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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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The description does not state whether it was of hexafoil form or circular.","page":"158","type":"reference"},"admin":{"id":"publication-5097","uid":"adlib-publication-5097","uuid":"3f273066-5292-3611-8791-142c76030836"},"summary_title":"Maleremails aus Limoges, Der Bestand des Berliner Kunstgewerbemuseums"},{"@link":{"type":"reference"},"admin":{"id":"publication-6073","uid":"adlib-publication-6073","uuid":"273632b3-da99-366e-9c3b-efd466467b8e"},"summary_title":"Les \u00e9maux peints de Limoges. Mus\u00e9e du Louvre, D\u00e9partement des objets d'art"},{"@link":{"notes":"Cf. p. 87, pl. 43, and pp. 263-4, no. 146, an example with Marcus Curtius in the centre surrounded by flowers on a white ground, and on the reverse, a landscape surrounded by coloured decoration on a black ground. Attributed to Jacques I Laudin, mid 17th century. The author lists other examples with different themes for the central plaque, including the Fitzwilliam's.","page":"87, 263-4","type":"reference"},"admin":{"id":"publication-6120","uid":"adlib-publication-6120","uuid":"3031603c-c1e6-3c56-aa2f-a4da4420218f"},"summary_title":"Maleremails des 16. und 17. 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The shaft is in two sections divided by a knop of flattened sherical form with a central ridge. The knop is of an openwork design of eight biting beasts, their tails ending in foliated scrolls. They are engraved with a scale pattern, except for a plain band on their back which is studded with three small turquoise pastes. The lower or socket part of the shaft is decorated with blue enamel with a foliated scroll pattern reserved in the metal. To it are attached three beasts (one missing) with their heads downwards and their tails curled above touching the lower part of the knop; the back of each is set with turquoise pastes.  The crook which springs from a collar of leaves, has a serrated outer edge, and is decorated with a scale pattern in blue enamel; it terminates in a serpent's head. The volute contains the winged figure of St Michael plunging a spear vertically through the back of the dragon. Its body is marked with scales except for a plain band running down either side which is studded with turquoise pastes, and its tail passes through the curl of the volute terminating in a spray of foliage fixed to the stem of the crosier."}],"identifier":[{"accession_number":"M.2-1924","primary":true,"type":"accession number","value":"M.2-1924"},{"priref":"139831","type":"priref","value":"139831"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/139831","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/139831"}],"institutions":[{"@link":{"type":"reference"},"admin":{"id":"agent-149638","uid":"adlib-agent-149638","uuid":"7376d833-d0a7-3be0-916e-9c892b7a24d8"},"summary_title":"The Fitzwilliam Museum"}],"legal":{"credit_line":"Given by the Rt. Hon. F. 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XVII.","page":"10","type":"reference"},"admin":{"id":"publication-1569","uid":"adlib-publication-1569","uuid":"4825b83f-3a92-3c6d-b58b-2686ea0509e0"},"summary_title":"The Leverton Harris Collection"},{"@link":{"notes":"Publ. p. 158, fig. 1, under pp. 158-9, no. 33, a comparable corzier head, dated to the second quarter of the 13th century. H. 18.4 cm.","page":"158","type":"reference"},"admin":{"id":"publication-6311","uid":"adlib-publication-6311","uuid":"91d2ec3f-376a-37a7-b4d2-73fcb919f25e"},"summary_title":"The Thyssen-Bornemisza Collection, Medieval Scultures and Works of Art"},{"@link":{"notes":"Publ. p. 98, fig. 2.40","page":"98","type":"reference"},"admin":{"id":"publication-6368","uid":"adlib-publication-6368","uuid":"9c344200-cd9c-3b07-ac5e-06c969ee810c"},"summary_title":"I Turned It Into a Palace, Sydney Cockerell and the Fitzwilliam Museum"},{"@link":{"type":"reference"},"admin":{"id":"publication-6309","uid":"adlib-publication-6309","uuid":"b1a94906-ef6a-3e82-bbe0-c69eea7ded21"},"summary_title":"Catalogue of Pastoral Staves"},{"@link":{"notes":"Cf. pp. 74-5, no. 9, and pl. 9, a crozier with St Michael and the Dragon; different decoration on shaft","page":"74-5","type":"reference"},"admin":{"id":"publication-6121","uid":"adlib-publication-6121","uuid":"edb2cc2b-550b-3473-bce4-a7a6664c85a0"},"summary_title":"Smalti-Avori del Museo d'Arte Antica"},{"@link":{"notes":"Ref.  Cited p. 46. Bilimoff identified thirty Limoges crosiers of this type.","page":"37-51","type":"reference"},"admin":{"id":"publication-200002228","uid":"adlib-publication-200002228","uuid":"a536dc9a-51a8-36bc-81e9-8cc6f2e72d72"},"summary_title":"Saint Michel dans les crosses limousines, styles et chronologie"},{"@link":{"notes":"Ref. Blair discusses the career of the restorer F\u00e9lix Joubert, described by J.H. Duveen as the 'Chelsea Wizard'. He collected and restored armour, weapons, and enamels, and also practiced as a sculptor, decorative painter, cabinetmaker, and designer.","page":"165-8","type":"reference"},"admin":{"id":"publication-200003261","uid":"adlib-publication-200003261","uuid":"58004fae-c935-3dfa-a460-28d9bdde9a92"},"summary_title":"Crediton: the Story of Two Helmets"},{"@link":{"type":"reference"},"admin":{"id":"publication-6310","uid":"adlib-publication-6310","uuid":"6bc09acb-83e9-3889-af97-3241c348dcd8"},"summary_title":"L'Oeuvre de Limoges, Emaux limousins du Moyen Age"},{"@link":{"notes":"Cf. pp. 36-8 and p. 45, no. 2. A crozier head with the dragon's wing still in position, excavated in 1929 at the cathedral of Lescar, in the Pyr\u00e9n\u00e9ese-Atlantique is dated to c. 1220-1230.","page":"36-8 and 45","type":"reference"},"admin":{"id":"publication-8897","uid":"adlib-publication-8897","uuid":"4d762994-6219-3aa4-a019-de2aa8e41394"},"summary_title":"La crosse et l'anneau, \u00e9clats m\u00e9di\u00e9vaux du tr\u00e9sor de Lescar"},{"@link":{"notes":"Cf. pp. 46-49, no. 8, a bishop's crosier showing St Michael and the Dragon, dated to c. 1220-1240. This is an addition to the list made by Bilimoff in 1979. The Fitzwilliam's example is cited on p. 46 and 48.","page":"46-49","type":"reference"},"admin":{"id":"publication-8911","uid":"adlib-publication-8911","uuid":"432e26e6-d8c7-3413-83c1-a9c57a7ed276"},"summary_title":"The Neutelings Collection. 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