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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. (1881-1960), 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,"note":[{"value":"M.115B-1961 has same provenance"}],"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"},{"@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. 2568","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":{"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-156428","_score":17.28937,"_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. 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The counter enamel on the central plaque is thick and uneven dark brown; the reverses of the other plaques are not visible."}],"reference":{"@link":{"type":"reference"},"admin":{"id":"term-28662","uid":"adlib-term-28662","uuid":"dd47e505-ccda-3f2b-b576-6104109430e8"},"summary_title":"enamelling"}},{"note":[{"value":"presumed silver"}],"reference":{"@link":{"type":"reference"},"admin":{"id":"term-132644","uid":"adlib-term-132644","uuid":"f23112d2-b61b-3cfa-8afe-53677b3658a6"},"summary_title":"foiling"}},{"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":"Plaques"},{"measurements":{"dimensions":[{"dimension":"Height","units":"cm","value":"30.5"},{"dimension":"Width","units":"cm","value":"23.7"}]},"name":"Central 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":"Carved and gilt wood frame enclosing fifteen copper plaques enamelled in polychrome enamels over foil paillons, and gilt, including God the Father amid clouds, the Adoration of the Kings, two standing angels, Instruments of the Passion, and the symbols of the four Evangelists"},{"value":"Carved and gilt wood frame with scrolled edges set with fifteen (orginally seventeen) copper plaques, enamelled partly over foils in royal blue, pale and dark turquoise, pale green, greyish-green, bright pink, dark red, purple, buff, several shades of brown, black and white enamel, and profusely gilded. The counter enamel on the central plaque is thick and uneven dark brown; the reverses of the other plaques are not visible.                                                                       \nThe central oval plaque is enamelled with the Adoration of the Magi taking place outside a building of which the door and an external archway above a wall are visible. Joseph stands on the left bending towards the Virgin who sits on the ground holding the Christ Child on her lap. One of the kings kneels before her, and the other two approach from behind him, the first carrying a casket and the next a column-shaped vase. In the foreground there is a covered vase, and standing dish with flames in its bowl. The sky is scattered with gold stars and at the top of the plaque there is a comet.\nIn the frame above there is a smaller horizontal convex oval plaque of God the Father surrounded by a gold background and pale purple cloud scrolls. He has outstretched arms and wears a  red gown and a swirling blue drape. The details of his hair and beard are gold, and his garments and striated and dotted in gold. Above there are two small curved plaques decorated with gold stars on a black ground. On either side are circular plaques bearing the symbols of St Luke (angel) and St John (eagle) and below, attached to the top of the oval frame, on the right St Matthew (an ox). St Mark on the left (a lion) is missing.\nIn the frame below the Adoration plaque there is a small oval horizontal oval plaque with a chalice and instruments of the Passion, flanked by five-sided plaques decorated with gold stars on a black ground. There are four smaller similarly-decorated four-sided plaques below. Signed and dated on the reverse of the central plaque painted in gold."}],"identifier":[{"accession_number":"M.45-1904","primary":true,"type":"accession number","value":"M.45-1904"},{"priref":"162103","type":"priref","value":"162103"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/162103","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/162103"}],"inscription":[{"location":"on the reverse of the central plaque","method":"painted in gold","transcription":[{"value":"I.R.\/L"}],"type":"signature"},{"location":"on the curved plaque","method":"painted in gold","transcription":[{"value":"I.R. 15"}],"type":"signature"},{"location":"on right plaque","method":"painted in gold","transcription":[{"value":"I.R.1539"}],"type":"signature"},{"description":[{"value":"rectangular white paper lable"}],"location":"on back","method":"printed  in black","transcription":[{"value":"BEQUEATHED BY\/FRANK McCLEAN\/M.A.: F.R.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":"F. MacClean 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":1850,"from":{"earliest":1850,"era":["CE"],"latest":1850,"precision":"circa","value":"1850"},"latest":1880,"note":[{"value":"The style of this work is not consistent with the date 1539 inscribed on the two of plaques of angels and on the back of the central plaque. This, the colouring, style of the figures, and initials IR, suggest that it probably dates from about 1850 to 1880, This was confirmed by ion beam analysis of the enamels in 2012."}],"range":true,"to":{"earliest":1880,"era":["CE"],"latest":1880,"value":"1880"}}],"maker":[{"@link":{"qualifier":"probably","role":[{"value":"enameller"}],"type":"reference"},"admin":{"id":"agent-180985","uid":"adlib-agent-180985","uuid":"232e2811-c779-314c-9f39-2f6535fe1c82"},"summary_title":"Robillard, Julien"},{"@link":{"role":[{"value":"frame maker"}],"type":"reference"},"admin":{"id":"agent-159102","uid":"adlib-agent-159102","uuid":"eb63d021-f963-35f4-aae7-31c18b9036af"},"summary_title":"Unidentified"}],"note":[{"value":"The visit of the three wise men or kings to adore the Infant Christ is described in St Matthew's Gospel, 2, 1-12. The figures are set in front of a ruined building, which was an indication of the break with the old covenant between God and the Children of Israel symbolized by the temple in Jerusalem, and the beginning of a new era initiated by the birth of the Messiah. The column was also a portent of Christ's future suffering before his Crucifixion. The angels standing on either side may have been inspired by the four angels bearing Instruments of the Passion, after drawings by Nicolo dell'Abate, which flank the central oval panels of the two retables made by L\u00e9onard Limosin for the Sainte Chapelle, and now in the Louvre.\n\nThe date 1539 (or perhaps 1537) is inconsistent with the technique of enamelling in polychrome over paillons (silver foils) in a style which was fashionable in the late 16th and early 17th century. In that period, the initials I.R could have been those of either of two Jehan\/Jean Reymonds, one who died in 1603 and another who died c. 1631-2. But the mismatched date, the very bright pink and turquoise enamels, and the treatment of the faces, suggest that the plaques were made in the mid to late 19th century. This was confirmed by ion beam analysis of the enamels in 2012. The frame is also likely to be a reproduction. Very few original gilded wood frames have survived from the sixteenth century, the most famous being for a portrait by L\u00e9onard Limosin of Anne de Montmorency, the Constable of France, now in the Louvre inv. no. N 1254). \n\nThe initials IR coincide with those of Julien Robillard (1822-after 1886), who was born at Compi\u00e8gne in 1822, and was recorded at the Manufacture Royale at S\u00e8vres in 1845-6 as an aide-\u00e9mailleur (assistant enameller), in the enamelling studio there established in 1845 and continuing until 1872. He sent up his own business  in rue Montmorency, Paris, about 1850 and displayed enamels in Renaissance and other styles in exhibitions held in Dijon and Rouen in 1858, and in Paris during the 1860s. His address is given on an oval plaque decorated in polychrome with Mercury and Argus, signed \u2018J.Robillard\/rue Montmorency 44\/PARIS\u2019, now in the Hermitage, St Petersburg. He retired from business about 1875 and was succeeded by his son, Auguste Robillard. 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On the front, the Wedding of Psyche with a border of masks and strapwork on the rim. On the back, Jupiter astride an eagle surrounded by male and female masks, strapwork and bunches of fruit, with guilloche ornament and strapwork on the underside of the rim. Signed 'P. COVRTEYS' on the front, and dated '1560' on the back."},{"value":"Copper, enamelled in opaque white in  grisaille  technique and with pale salmon and darker salmon pink flesh tones, and a little red over a black background, with dotting, scrolls, sprays and other embellishments in gold. Oval with a narrow rim, shallow curved sides and uneven centre. The well  is decorated with the Wedding Feast of Cupid and Psyche. Six gods, alternately male and female are seated behind a table, including Jupiter on the left, and in front of the table on the right, Venus and Hercules are seen from the back, with below them on a cloud, the signature 'P. COVRTEYS' inscribed in black and gold. To their left Cupid emerges from under the table, holding up the cloth and gazing at Venus. Standing on the extreme left is Ganymede pouring out water into a cistern in which a ewer is standing. Behind the table above the guests there are three winged Horae scattering flowers.  On the rim there are four long-eared masks linked by strapwork. The edge is white.\nOn the middle of the reverse, is Jupiter astride an eagle within an oval guilloche frame, surrounded by two large male masks on right and left, and two smaller female masks above and below, linked by strapwork and bunches of fruit. On the rim, there is guilloche ornament broken at the cardinal points by a strap, one dated \"1560\" and at intervals between them by four oval cabochon motifs."}],"exhibitions":[{"@link":{"catalogue":"23","type":"reference"},"admin":{"id":"exhibition-3305","uid":"adlib-exhibition-3305","uuid":"534a3247-91a9-398f-abe9-7b419586f568"},"summary_title":"Feast and Fast: The Art of Food in Europe (1500-1800)"},{"@link":{"catalogue":"49","type":"reference"},"admin":{"id":"exhibition-2243","uid":"adlib-exhibition-2243","uuid":"2b58f1c5-23f1-3819-9d8d-1735bb74dc43"},"summary_title":"The Tale of Cupid and Psyche, Myth in Art from Antiquity to Canova"}],"identifier":[{"accession_number":"M.116-1961","primary":true,"type":"accession number","value":"M.116-1961"},{"priref":"156462","type":"priref","value":"156462"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156462","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156462"}],"inscription":[{"location":"on front on right below Venus and Hercules","method":"painted in black and over that in gold","transcription":[{"value":"P. COVRTEYS"}],"type":"signature"},{"location":"on rim on back on strapwork","method":"painted in black","transcription":[{"value":"1560"}],"type":"date"}],"institutions":[{"@link":{"type":"reference"},"admin":{"id":"agent-149638","uid":"adlib-agent-149638","uuid":"7376d833-d0a7-3be0-916e-9c892b7a24d8"},"summary_title":"The Fitzwilliam Museum"}],"legal":{"credit_line":"Louis C.G. Clarke Bequest, 1960"},"lifecycle":{"acquisition":[{"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-149875","uid":"adlib-agent-149875","uuid":"89f52d0e-b912-3dc9-8b2c-61d6aa011b16"},"summary_title":"Clarke, Louis Colville Gray"}],"date":[{"earliest":1961,"latest":1961,"value":"1961-04-27"}],"method":{"value":"bequeathed"},"note":[{"value":"Louis C.G. Clarke died on 13 December 1960"}]}],"creation":[{"date":[{"earliest":1560,"era":["CE"],"latest":1560,"note":[{"value":"Fran\u00e7ois II of France reigned 1559-60 and was succeeded on 5 December by his brother, Charles IX"}],"precision":"dated","value":"1560"}],"maker":[{"@link":{"role":[{"value":"maker"}],"type":"reference"},"admin":{"id":"agent-31093","uid":"adlib-agent-31093","uuid":"9bc7962d-b314-3768-8723-f79c848ca3ea"},"summary_title":"Courteys, Pierre I"}],"note":[{"value":"The story of Psyche was told by Lucius Apuleius (c. 125- c. 175 CE) as a story within a story in Books 4 to 6 of Metamorphoses, also known as The Golden Ass. The Feast of the Gods or Wedding Feast of Cupid and Psyche, is described in Book 6, 25. The event takes place after Psyche, having suffered many trials, has finally been reunited with her lover, Cupid, and at the latter\u2019s request, has been raised by Jupiter to the status of an immortal with the assent of the other gods. \n\nThe enameller, Pierre Courteys, based his design on an engraving by the Master of the Die after Raphael. The use of this print as a design source by Limoges enamellers seems to have been far less common than another of the same subject, which was the penultimate print in a series of thirty-two with verses illustrating the Fable of Psyche by Agostino Veneziano and the Master of the Die after Michiel Coxie (1497-1592). Three more dated oval dishes after the print by the Master of the Die by Pierre Courteys are known: signed P. CORTEYS and dated 1554 in the Walters Art Gallery; signed and dated P. CORTEYES 1560 in the Louvre; and signed P. COVRTEYES MAF (joined) and dated 1567 in the Walters Art Gallery. He also produced small plates decorated with scenes from the story. The alternative engraving of the Wedding of Psyche, in the series by the Master of the Die after Michiel Coxie, was copied by several Limoges enamellers including L\u00e9onard Limosin, Pierre Reymond, and Jean Court dit Vigier."}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-110475","uid":"adlib-term-110475","uuid":"223ae6a7-2f91-3314-ae3c-da3233ae47dc"},"summary_title":"16th Century, Mid"},{"@link":{"type":"reference"},"admin":{"id":"term-132671","uid":"adlib-term-132671","uuid":"f006b837-d45b-35cb-b08c-31d2329e6115"},"summary_title":"Fran\u00e7ois II"},{"@link":{"type":"reference"},"admin":{"id":"term-132670","uid":"adlib-term-132670","uuid":"56770bd8-e7d0-3475-bffb-c451ef2b639d"},"summary_title":"Charles 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A Catalogue of the Collection of the Los Angeles County Museum of Art"},{"@link":{"notes":"Ref. p. 194, no. 38 (210), for the source of the design on the front of the dish, the Wedding of Psyche by the Master of the Die after Raphael. For the alternative print of the subject, by Agostino Veneziano and the Master of the Die after Michiel Coxie (1497-1592), see p. 225, 69-II.","page":"194","type":"reference"},"admin":{"id":"publication-6649","uid":"adlib-publication-6649","uuid":"1833a7cf-82d2-340a-80d9-54239aba61f2"},"summary_title":"The Illustrated Bartsch 29 Formerly Volume 15 (Part 2), Italian Masters of the Sixteenth century"},{"@link":{"notes":"Cf. pp. 270-2, no. 149, a dish decorated with the Wedding of Psyche after the same print, signed \u2018P. CORTEYS\u2019 and dated \u20181554\u2019 in the front border. 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. Mus\u00e9e du Louvre, D\u00e9partement des objets d'art"},{"@link":{"notes":"Ref. pp. 124-6 for the story of Psyche ; pp. 127-33 for the literary and graphic sourcs, and pp. 134-9 for the representation of the story on Limoges painted enamels. 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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There are small gold plants on the green ground below, and the black ground above is scattered with gold stars around the large striated halo of the Virgin. At the bottom below a gold lines, is a horizontal black band inscribed 'S.MARIA\u2019 between stylized plant sprays, and on the extreme right the initials \u2018I L\u2019 with an ill-defined fleur-de-lys or cross between them, all in gold. 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(See Documentation) An unsigned plaque of St Agnes, similarly titled, and of the same size as the Fitzwilliam\u2019s, was with Bernard Descheemaeker Works of Art, in Antwerp in 2009.\n\nJean or Jehan Limosin I was one of several sons of Fran\u00e7ois Limosin ( c. 1550- c.1606). His older brother, Leonard, and younger brother, Joseph were also enamellers. He was not mentioned in the roll for the taille in 1602 which suggests that he was too young to be included, and therefore probably born about 1580. He married Anne Chambinaud, probably about 1605. They appear to have lived in the parental home until 1615 when Leonard and Jean divided their inheritance. Jean received all the enamels and enamelling equipment and moved out into a nearby house which belonged to his mother-in-law, while L\u00e9onard remained in the parental home. Documents in the archives of the department of Haute-Vienne at Limoges dated in 1621, 1623 and 1627 referred to Jean as enameller to the King. which explains his use of a fleur-de-lys between his initials when he signed enamels, but this may have been used as a workshop mark after 1615. It was also used by their relative L\u00e9onard Limosin (1560\/65-1635). Jean's brother Joseph probably worked with him, and it is difficult to distinguish between their enamels. Jean was still working in 1635 when he was described as \u2018esmailleur\u2019 in the roll for the taille. 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St Eleonor holding a palm, in an oval medallion titled below in two panels 'SAINTE' 'ELEONOR'; raised white foliage reserved in a black ground in the spandrels"},{"value":"Rectangular copper plaque with slightly waisted sides and a hole at top centre and at bottom centre, enamelled in  blue, green, yellow, pink, flesh- pink, orange-red, stone, brown, black, and white, and gilded. The counter-enamel is cloudy dark brownish-black.\nAn oval medallion with a white border encloses a full-length seated figure of St Eleonor holding a green palm in her left hand, and resting her right hand on her breast. She has black and red jewels in her hair, and wears a red long-sleeved dress highlighted in pink, a white collar with red stripes, and a brooch at centre front, and a blue ermine-lined cloak sem\\'e9 with gold fleurs-de-lys. To her left there is a chest covered by a white cloth decorated with fleur-de-lys, on which rests a crown and sceptre. Behind her is a stone-coloured wall and a black background. The black spandrels outside the frame are decorated in raised white with stylized foliage. Two narrow white panels at the bottom of the plaque are inscribed in black,'SAINTE ELEONOR'.  Signed on the reverse in gold: 'B.TE. NOVAILHER.\/ EMAILIEVR\/A. LIMOGES'  followed by a flourish."}],"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.47-1904","primary":true,"type":"accession number","value":"M.47-1904"},{"priref":"156433","type":"priref","value":"156433"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156433","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156433"}],"inscription":[{"location":"on front of plaque at the bottom","method":"painted in black","transcription":[{"value":"SAINTE.\u2019 \u2018ELEONOR."}],"type":"inscription"},{"description":[{"value":"the TE is raised and smaller"}],"location":"on back","method":"painted in gold","transcription":[{"value":"B.TE. NOVAILHER.\/EMAILIEVR\/A. LIMOGES\u2019 followed by a flourish"}],"type":"signature"},{"location":"on back","method":"handwritten in black","transcription":[{"value":"PN and P     \/Sl"}],"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":1730,"from":{"earliest":1730,"era":["CE"],"latest":1730,"precision":"circa","value":"1730"},"latest":1760,"range":true,"to":{"earliest":1760,"era":["CE"],"latest":1760,"value":"1760"}}],"maker":[{"@link":{"role":[{"value":"maker"}],"type":"reference"},"admin":{"id":"agent-178513","uid":"adlib-agent-178513","uuid":"375dcc28-c8d4-3d54-80d2-91bdb3455524"},"summary_title":"Nouailher, Jean-Baptiste I"}],"note":[{"value":"By the end of the seventeenth century demand for Limoges enamelled tableware had declined, and in the early eighteenth century the few remaining enamellers produced mainly small items, such as snuff rasp covers, plaques for purses, and drinking cups. 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She died at Amesbury on 24 June 1291, and was buried there. Her heart was taken to London to be buried in the church of the Fransiscans, the order which she particularly favoured, and had provided her spiritual advisers. Her acts of piety including the founding of a Dominican priory at Guildford, and benefactions  to the hospital of St Katharine by the Tower, and the Cistercian nunnery of Tarrant in Dorset. Her granddaughter Beatrice, who took the veil at Amesbury shortly before she did, later became Abbess of Fontevrault. The cult of St El\u00e9onore developed unofficially and she has not been canonized. \n\nThe bright colouring contrasting with a black ground is typical of mid eighteenth-century enamels, as is the raised white decoration in the corners. The reverse of the plaque has very dark brown counter-enamel which is also characteristic of eighteenth-century enamels. The plaque was probably produced by Jean-Baptiste Nouailher I, son of Pierre Nouailher (probably the elder of two brothers with the same name), and Anne Faulte, who was baptised in the Parish of Saint-Pierre en Saint-Etienne, on 26 May 1697 and died in 1775, rather than Jean-Baptiste Nouailher II (baptised 1732-1804).  When signing his work Jean-Baptiste Nouailher I dropped his first Christian name  or abbreviated it to Bte or BTE, and wrote his second in full, as on the reverse of this plaque."}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-106451","uid":"adlib-term-106451","uuid":"9cdfd62c-ee07-3884-ae08-c797aad08631"},"summary_title":"18th Century, Mid"},{"@link":{"type":"reference"},"admin":{"id":"term-15538","uid":"adlib-term-15538","uuid":"e4001da7-ed48-3271-a6fb-c7f54095a1ad"},"summary_title":"Louis XV"}],"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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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. 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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. 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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. 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Edwin H. 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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. Several others were mentioned in 19th century French and English sales."}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-118735","uid":"adlib-term-118735","uuid":"1631bde8-d0c4-3507-be3b-ac03c59ba807"},"summary_title":"17th Century, second half"},{"@link":{"type":"reference"},"admin":{"id":"term-15536","uid":"adlib-term-15536","uuid":"02571f2e-a606-30c6-a49e-85d820d4a0cd"},"summary_title":"Louis XIV 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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. 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He was knighted in 1904, and in the same year became the first Briton to receive the Lavoisier medal from the French Academy of Sciences.According to the Oxford Dictionary of National Biography, his house 1 Scroope Terrace, Cambridge was filled with objets d\u2019art of all kinds."}],"type":"reference"},"admin":{"id":"agent-179443","uid":"adlib-agent-179443","uuid":"aa3c0e88-fe45-3eda-ae80-ff9783ab714a"},"summary_title":"Dewar, James, Professor"},{"@link":{"relation":"person","type":"reference"},"admin":{"id":"agent-150796","uid":"adlib-agent-150796","uuid":"ec5a0c8a-e54c-3735-adea-0fd5dd14f994"},"summary_title":"Cupid"}],"categories":[{"@link":{"type":"reference"},"admin":{"id":"term-107563","uid":"adlib-term-107563","uuid":"38dcd825-1de1-3222-82c6-15a95729b5ff"},"summary_title":"enamels"}],"component":[{"materials":[{"note":[{"value":"blue, green, yellow, orange-red, pale manganese\/mulberry, 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-39593","uid":"adlib-term-39593","uuid":"e3e2a3f8-2433-3f63-9bcf-e776644d312d"},"summary_title":"gold"}}],"name":"Decoration","techniques":[{"note":[{"value":"blue, green, yellow, orange-red, pale manganese\/mulberry, 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"}}]},{"measurements":{"dimensions":[{"dimension":"Diameter","units":"cm","value":"15.2"}]},"name":"Lobe To Lobe"},{"name":"Bowl","techniques":[{"description":[{"value":"copper, raised, and decorated in three techniques: painting en grisaille on a black ground and gilded; painted in blue, green, yellow, orange-red, pale manganese\/mulberry, and black on a white ground; and enamelled in blue, turquoise, green, yellow, and mulberry over silver foils in a black ground, and gilded"}],"reference":{"@link":{"type":"reference"},"admin":{"id":"term-28810","uid":"adlib-term-28810","uuid":"c6a00cef-33f7-3107-8666-d791bd49707c"},"summary_title":"raising (metal forming process)"}}]}],"content":{"motifs":[{"@link":{"type":"reference"},"admin":{"id":"term-109568","uid":"adlib-term-109568","uuid":"f91d54fe-9a3c-3a31-a3d6-dc88cb330cd8"},"summary_title":"emblems"}]},"department":{"value":"Applied Arts"},"description":[{"value":"copper, decorated with en grisaille and polychrome enamels and gilding. Cupid riding on a lion with inscription 'omnia.vincit amo' surrounded by stylized flowers and birds on a white ground; on the reverse, a cntral landscape, surrounded by stylized flowers and foliage on a black ground."},{"value":"Copper, raised, and decorated in three techniques: painted en grisaille on a black ground and gilded; painted in blue, green, yellow, orange-red, pale manganese\/mulberry, and black on a white ground; and enamelled in blue, turquoise, green, yellow, and mulberry over silver foils in a black ground, and gilded.  The hexafoil bowl has lobed sides rising from an almost flat hexagonal base, and the stumps of 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. On the left and above is the inscription \u2018.omnia.vincit amo\u2019 in gold. On the low skyline below the lion there are two very small gold trees. The initials \u2018\u2022I\u2022L\u2022\u2019 are inscribed in front of the lion\u2019s rear left paw. The sides have a white ground painted with blue, pale mulberry, and red and yellow flowers, and green leaves on black stems, amongst which on three lobes is a fanciful bird. Round the rim is a black line with continuous scallops below.\nOn the base is a landscape with a mill house beside a pond. a path and a bridge on which is a red and gold man holding a staff. Behind the house there are trees, and two flocks of birds in the sky. The black sides are decorated in translucent enamels over foils with flowers with gold foliage, and, on two lobes, with an owl and a fanciful bird respectively."}],"identifier":[{"accession_number":"M.3-1928","primary":true,"type":"accession number","value":"M.3-1928"},{"priref":"156451","type":"priref","value":"156451"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156451","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156451"}],"inscription":[{"location":"on left of central area","method":"painted in gold","transcription":[{"value":".omnia.vincit amo"}],"type":"inscription"},{"location":"in front of the lion\u2019s rear left paw","transcription":[{"value":"\u2018\u2022I\u2022L\u2022"}],"type":"initials"},{"description":[{"value":"rectangular paper label with rounded sides"}],"location":"on one lobe near to the rim on the exterior","method":"hand-written in black ink","transcription":[{"value":"Six lobed enam -\/elled tray with Cupid\/riding a lion at the\/bottom, and underneath\/a cottage and trees..\/b. at the Dewar sale at\/Cambridge May 26\/ 1904"}],"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":"Dr J.W.L. Glaisher Bequest"},"lifecycle":{"acquisition":[{"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-152564","uid":"adlib-agent-152564","uuid":"c20df94d-f096-3e0b-a9b5-6ddd12161fb7"},"summary_title":"Glaisher, J. W. L., Dr"}],"date":[{"earliest":1928,"latest":1928,"value":"1928-12-07"}],"method":{"value":"bequeathed"},"note":[{"value":"entered in the M category accession register for 1928 without a date"}]}],"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 two-handled bowls or cups with hexafoil or circular rims have survived in large numbers. Most of the hexafoil examples 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.\n\nCupid riding a lion, emblematic of the power of Love occurs on several of the bowls. The inscription \u2018omnia vincit amor\u2019 was taken from Virgil\u2019s Eclogues, X, 69, \u2018omnia vincit Amor: et nos cedamus Amori.\u2019 (Love conquers all; let us, too, yield to Love\u2019). Hexafoil bowls with the same subject are in the Fitzwilliam (M.51-1904), Mus\u00e9e Municipal de l\u2019\u00c9vech\u00e9, Limoges (Inv. 101); and bowls with circular rims in the Ashmolean Museum  (OA 248); Victoria and Albert Museum (C.23-1923), and the Mus\u00e9e des Beaux-Arts, Dijon (Inv. no. CA T 1322; acq. 1878) . Another, shape uncertain, was formerly in the K\u00f6nigliche Kunstkammer Berlin, (Inv. I.G.179 or K 5084), but was lost."}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-118735","uid":"adlib-term-118735","uuid":"1631bde8-d0c4-3507-be3b-ac03c59ba807"},"summary_title":"17th Century, second half"}],"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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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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Burns, Esq., North Mymms Park, Herts; Mrs Walter Burns; 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.) . . . . , lot 11, III; Louis C.G. 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-156452","_score":16.321407,"_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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Cover, probably Andrew Fountaine IV (1808\u201373) but not in the Catalogue of the Fountaine sale of 1884. The Hon. W.F.B. Massey-Mainwaring, M.P. (1845\u20131907), and the Hon. Mrs Massey-Mainwaring; Robinson & Fisher, 6 June, 1904, lot 81; sold to Lichfield."}],"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":"Ref. p. 317, for discussion of the identities of the master (s) signing ICDV, IC, and IDC. Cf. pp. 340-1, no. R 287 with the Temptation after Etienne Delaune inside the bowl with comparable treatment of the foliage on the trees, and further scenes from Genesis on the outside of the cover, attributed to Master IC","page":"340-1","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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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. Catalogue nos. 36 and 37 are signed I.L., with a fleur de lys between the letters on no. 37."}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-125343","uid":"adlib-term-125343","uuid":"d348d136-7498-3a55-85f7-09117d44d4e6"},"summary_title":"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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