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He had been an undergraduate at Trinity College, Cambridge, and after gaining his degree in 1859 was employed as an apprentice on drainage work on the Fens being undertaken by Sir John Hawkshaw. He then joined his father\u2019s firm, McClean and Stileman, becoming a partner in 1862, but found engineering increasingly irksome, and retired from business in 1870 in order to concentrate on astronomy. It is not known when he began to collect enamels."}],"type":"reference"},"admin":{"id":"agent-172414","uid":"adlib-agent-172414","uuid":"73d94f64-8c0d-30c1-9764-25b005f3ce1d"},"summary_title":"McClean, Frank"},{"@link":{"relation":"person","type":"reference"},"admin":{"id":"agent-154123","uid":"adlib-agent-154123","uuid":"2fef3fa1-e550-35f4-b4de-2ced0eb2272a"},"summary_title":"Virgin Mary"},{"@link":{"relation":"person","type":"reference"},"admin":{"id":"agent-149696","uid":"adlib-agent-149696","uuid":"c1d7b5bf-63d4-3ba4-a080-9810b80bf16c"},"summary_title":"Christ"},{"@link":{"relation":"person","type":"reference"},"admin":{"id":"agent-8649","uid":"adlib-agent-8649","uuid":"b3d510e7-0636-3578-92af-db3b410163da"},"summary_title":"Joseph"},{"@link":{"relation":"person","type":"reference"},"admin":{"id":"agent-156777","uid":"adlib-agent-156777","uuid":"8966210f-6104-3951-a8bc-afb0f577470e"},"summary_title":"Magi"}],"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":[{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-107470","uid":"adlib-term-107470","uuid":"f6217ee1-61ca-3c57-92a1-dd13e97bc77c"},"summary_title":"gilt-metal"}}],"measurements":{"dimensions":[{"dimension":"Height","units":"cm","value":"11"},{"dimension":"Width","units":"cm","value":"17"}]},"name":"Frame"},{"materials":[{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-32638","uid":"adlib-term-32638","uuid":"97b8d1a5-7b8f-3a2a-a275-7d001aeaae2b"},"summary_title":"enamel"}},{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-39593","uid":"adlib-term-39593","uuid":"e3e2a3f8-2433-3f63-9bcf-e776644d312d"},"summary_title":"gold"}}],"name":"Decoration","techniques":[{"description":[{"value":"rectangular, slightly convex copper plaque, enamelled en grisaille on a translucent brown ground, and gilded. The reverse has clear counter-enamel, but much of it is covered by a black substance"}],"reference":{"@link":{"type":"reference"},"admin":{"id":"term-28662","uid":"adlib-term-28662","uuid":"dd47e505-ccda-3f2b-b576-6104109430e8"},"summary_title":"enamelling"}},{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-28681","uid":"adlib-term-28681","uuid":"c1f659e2-1209-31cf-8ff4-154e11452559"},"summary_title":"gilding"}}]},{"materials":[{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-39588","uid":"adlib-term-39588","uuid":"b17ff981-06b2-30a2-b9a9-b514fe84a191"},"summary_title":"copper"}}],"measurements":{"dimensions":[{"dimension":"Height","units":"cm","value":"8.9"},{"dimension":"Width","units":"cm","value":"15.1"}]},"name":"Plaque"}],"content":{"motifs":[{"@link":{"type":"reference"},"admin":{"id":"term-107707","uid":"adlib-term-107707","uuid":"cbae1ed2-5069-35db-a029-700dc23ada11"},"summary_title":"Christian religion"}]},"department":{"value":"Applied Arts"},"description":[{"value":"Rectangular plaque of the Adoration of the Magi painted en grisailled on a translucent brown ground, and gilded"},{"value":"Rectangular, slightly convex copper plaque, enamelled en grisaille on a translucent brown ground, and gilded. The reverse has clear counter-enamel, but much of it is covered by a black substance, partly scraped away.\nThe Virgin is seated on the left holding the Christ Child on her knee. St Joseph stands to the left in profile, and an aged King with a long beard kneels in front of the Child and holds His left foot in his hand. The other two kings holding cups in their right hands stand in front of a column in the middle. One faces the front, and doffs his hat. The other, richly-dressed, has his back towards the viewer. Further to the right a retainer stands beside a horse, Behind it is another horse ridden by a man with a shield and a banner, and a third man stands gazing back towards a star with a streaming tail in the sky on the left. Below it is a castle, and another is on a hill rising up behind the retainers and horses. In the foreground to left there is a fragment of broken column, and to right a small heap of stones and a low wall Gilding is used sparingly for the halos of the Holy Family, a chain round the neck of the man doffing his hat, the star, and the lower end of a staff or sword scabbard at centre. In a gilt-metal rectangular moulded frame with a rosette in the middle of each side, and a stud in each corner."}],"identifier":[{"accession_number":"M.53-1904","primary":true,"type":"accession number","value":"M.53-1904"},{"priref":"156442","type":"priref","value":"156442"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156442","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156442"}],"inscription":[{"description":[{"value":"rectangular paper label with rounded corners, and blue edge and dotted border"}],"location":"on back","method":"hand-written","transcription":[{"value":"illegible"}],"type":"label"},{"description":[{"value":"rectangular paper label with cut corners, completely obliterated by the black substance on the back of the plaque."}],"type":"label"}],"institutions":[{"@link":{"type":"reference"},"admin":{"id":"agent-149638","uid":"adlib-agent-149638","uuid":"7376d833-d0a7-3be0-916e-9c892b7a24d8"},"summary_title":"The Fitzwilliam Museum"}],"legal":{"credit_line":"Frank McClean Bequest"},"lifecycle":{"acquisition":[{"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-172414","uid":"adlib-agent-172414","uuid":"73d94f64-8c0d-30c1-9764-25b005f3ce1d"},"summary_title":"McClean, Frank"}],"date":[{"earliest":1904,"latest":1904,"value":"1904"}],"method":{"value":"bequeathed"},"note":[{"value":"Frank McClean died in Brussels on 8 November 1904"}]}],"creation":[{"date":[{"earliest":1840,"from":{"earliest":1840,"era":["CE"],"latest":1840,"precision":"circa","value":"1840"},"latest":1880,"note":[{"value":"in the style of the mid 16th century, but scientific analysis of the enamels indicated that it was made in the mid to late 19th century"}],"range":true,"to":{"earliest":1880,"era":["CE"],"latest":1880,"value":"1880"}}],"maker":[{"@link":{"qualifier":"probably","role":[{"value":"maker"}],"type":"reference"},"admin":{"id":"agent-159102","uid":"adlib-agent-159102","uuid":"eb63d021-f963-35f4-aae7-31c18b9036af"},"summary_title":"Unidentified"}],"note":[{"value":"This Adoration of the Magi was probably based on a Flemish panel painting successively attributed to Pierre Coeck d\u2019Alost and Bernard van Orley, which in 1966 was in the collection of Am\u00e9d\u00e9e Hus at Paris, and is now in the Mus\u00e9e Rolin at Autun (inv. 2014.4.9)  In addition to the Fitzwilliam\u2019s, which was probably made in Paris c. 1850-80, there are at least six more enamel plaques derived from this painting (or possibly a print after it, although none has yet been found), all of which differ from it in showing on the right side, a man leading a horse, a man holding a pennant on a pole, and in the background a castle on a hill. This could be accounted for if the painting had since been cut down on that side. The example with the earliest provenance, said to be initialled P.M., and to have been in the Defournet collection, Paris in 1820, was sold in the Hamilton sale of 1882, and was last  recorded collection of Baron Alphonse de Rothschild (1827-1905). The others are in the Petit Palais, Paris, (ODUT01259) The Royal Museum of Scotland, Edinburgh (1948.146), the Bloomington Indiana University Art Museum (inv. no. 72.88.1), the Museo L\u00e1zaro Galdiano, Madrid (inv.no. 2223), the Hermitage, Leningrad (inv. no. F 2662), and a French private collection. The brown enamel ground on this example is similar in tone to the frame of the example in the Petit Palais.            . \n\nAfter the bequest of the plaque to the Fitzwilliam there was uncertainty as to whether it was of sixteenth- or nineteenth-century manufacture, but because of its high quality, it was included in O.M. Dalton's Catalogue of the McClean bequest (1912). This doubt increased as more plaques of the same subject were identified, and in 2012 ion beam analysis of the enamels confirmed that it had been made during the mid to late nineteenth century."}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-109672","uid":"adlib-term-109672","uuid":"a788e98b-c8a4-313c-9617-1a812228e864"},"summary_title":"19th Century, 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Wells"}],"objects":[{"@link":{"cascade":true,"type":"reference"},"admin":{"id":"object-162103","uid":"adlib-object-162103","uuid":"e05e2619-0017-38f8-982d-23070d21e91d"},"summary":{"reference":{"@link":{"impact":true,"type":"reference","workflow":true},"admin":{"id":"term-126653","uid":"adlib-term-126653","uuid":"38ec5aff-ff75-3732-b28b-2cdc948738a2"},"summary_title":"plaques in frame"}},"summary_title":"plaques in frame"}],"owners":[{"@link":{"type":"reference"},"admin":{"id":"agent-149638","uid":"adlib-agent-149638","uuid":"7376d833-d0a7-3be0-916e-9c892b7a24d8"},"summary_title":"The Fitzwilliam Museum"}],"publications":[{"@link":{"notes":"Publ., p. 110, no. 64, pl. XXI","page":"110","type":"reference"},"admin":{"id":"publication-4060","uid":"adlib-publication-4060","uuid":"0f6d91a4-87ab-338c-b868-7d56c66bc250"},"summary_title":"Fitzwilliam Museum, McClean Bequest, Catalogue of the Mediaeval Ivories, Enamels, Jewellery, Gems and Miscellaneous Objects Bequeathed to the Museum by Frank McClean, M.A., F.R.S."},{"@link":{"notes":"Ref. especially pp. 129 to end; p. 135, pl. 2 for the Flemish Adoration; p. 136, pl. 3, a plaque by Master PM, unknown location; p. 136, pl. 4 attributed to Jean II Pennicaud, Paris, Petit Palais; p. 137, pl. 5, anonymous plaque in a French private collection, and p. 137, pl. 6 anonymous, Bloomington, Indiana, University Art Museum.","page":"127-37","type":"reference"},"admin":{"id":"publication-200002179","uid":"adlib-publication-200002179","uuid":"5e5a05b1-70b7-327a-b2e0-4fb6b17fba22"},"summary_title":"Deux tableaux flamands non sign\u00e9s du XVIe si\u00e8cle: Cene et Adoration des Mages"},{"@link":{"notes":"Cf. ninth day, Tuesday, 4 July 1882, p. 119, lot 973, a plaque painted in grisaille on a black ground, said to be initialled PM on the truncated portion of a capital of a column in the foreground (Leroy 1989, pl. 3), 6 in x 3 3\/4 in. in gilt metal frame M. Defournet, Paris, 1820. Alexander 10th Duke of Hamilton (?) and by descent to the 12th Duke. . Baron Alphonse de Rothschild; current location unknown","page":"119","type":"reference"},"admin":{"id":"publication-5967","uid":"adlib-publication-5967","uuid":"47692106-b892-341c-bd59-6a861a6bb97f"},"summary_title":"Catalogue of the Collection of Pictures, Works of Art, and Decorative Objects the property of His Grace the Duke of Hamilton, K.T"},{"@link":{"notes":"Cf. p. 127, lot 273, sold to G. Attenborough for \u00a31,328.5s. illustrated by engraving opposite p.129. Location unknown.","page":"127","type":"reference"},"admin":{"id":"publication-7331","uid":"adlib-publication-7331","uuid":"9a66be30-0009-31e3-ba39-02836bb1ef04"},"summary_title":"The Hamilton Palace Collection. Illustrated Priced Catalogue"},{"@link":{"notes":"Cf. p. 77, lot 429, a plaque of the Adoration of the Magi attributed to Jean I P\u00e9nicaud, and said to be after a print by D\u00fcrer, now in the Petit Palais, Paris, see Leroy, 1989, pl. 4.","page":"77","type":"reference"},"admin":{"id":"publication-6145","uid":"adlib-publication-6145","uuid":"d2eab095-7fe8-339d-b76e-9d166988d709"},"summary_title":"Catalogue des objets d\u2019art et de haute curiosit\u00e9, antiques du Moyen-age & de la Renaissance composant l'import\u00acante et pr\u00e9\u00accieuse collection Spitzer"},{"@link":{"notes":"Cf. pp. 240-1, no. 82 an Adoration of the Magi formerly attributed to Jean II P\u00e9nicaud, and now considered to be made in the 19th century, in the Dutuit collection in the Petit Palais, Paris. This has a frame with a brown enamel border of approximately the same colour as the ground of the Fitzwilliam's Adoration plaque, but the ground of the plaque itself appears black, The writer mentions other related plaques.","page":"240-1","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":"Cf. pp. 310-11, no. 139, F 2662, measuring 8.8 x 15 cm.  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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. The last record of him exhibiting enamels was at Limoges in 1886."}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-118652","uid":"adlib-term-118652","uuid":"5a255bf0-199c-337e-ae02-4096e18f0ccf"},"summary_title":"19th Century, second 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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. 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The counter-enamel is clear but appears uneven dark red."}],"note":[{"value":"blue, green, pink, red, brown, mulberry, grey, black, and white enamels"}],"reference":{"@link":{"type":"reference"},"admin":{"id":"term-28662","uid":"adlib-term-28662","uuid":"dd47e505-ccda-3f2b-b576-6104109430e8"},"summary_title":"enamelling"}},{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-28681","uid":"adlib-term-28681","uuid":"c1f659e2-1209-31cf-8ff4-154e11452559"},"summary_title":"gilding"}}]},{"materials":[{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-39588","uid":"adlib-term-39588","uuid":"b17ff981-06b2-30a2-b9a9-b514fe84a191"},"summary_title":"copper"}}],"name":"Plaque"}],"content":{"motifs":[{"@link":{"type":"reference"},"admin":{"id":"term-107707","uid":"adlib-term-107707","uuid":"cbae1ed2-5069-35db-a029-700dc23ada11"},"summary_title":"Christian religion"}]},"department":{"value":"Applied Arts"},"description":[{"value":"rectangular copper plaque painted in polychrome enamels and gilded. St Elizabeth giving alms to a beggar, titled below 'SANCTA.ELISABETHA'; white relief foliage and gold foliage on a black ground in the spandrels."},{"value":"Rectangular, slightly convex copper plaque with a small hole at top centre and at bottom centre, and an inward curve to the left side, enamelled in blue, green, pink, red, brown, mulberry, grey, black, and white, and gilded. The counter-enamel is clear but appears uneven dark red.  An oval medallion with a white and gold frame encloses a three-quarter length figure of St Elisabeth giving alms to a beggar. The Saint has a gold crown which forms part of her halo. Her dark brown hair has a centre parting and is ornamented on her left side with three rows of white pearls. Over a pleated mulberry dress, she wears a dark blue cloak with a green lining, and an ermine collar. The folds of the fabric are highlighted by small gold dashes. In her left hand she holds a gold sceptre terminating in a fleur-de-lys, and with her right is about to place a coin into the hat of a beggar approaching from her right. Only the upper part of his body is shown. His right arm is outstretched holding his hat, and his left hand is close to his chest. He wears a mulberry tunic, and a white and red cloth wound round his head. Behind him is a column and a green curtain. Both figures have red fingernails and shading on their hands. The spandrels outside the frame have a black ground decorated with gold foliage, and white foliage in relief. Across the bottom of the plaque is a narrow white label inscribed in black \u2018: SANCTA \u2022 ELISABETHA\u2019. On the back in black, \u2018P. Novailher\/esmaillieur\/A Limoges\u2019"}],"identifier":[{"accession_number":"M.48-1904","primary":true,"type":"accession number","value":"M.48-1904"},{"priref":"156434","type":"priref","value":"156434"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156434","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156434"}],"inscription":[{"location":"on front of plaque at bottom","method":"painted in black enamel","transcription":[{"value":"SANCTA.ELISABETHA"}],"type":"inscription"},{"location":"on back","method":"painted in black enamel","transcription":[{"value":"P. Novailher\/esmaillieur\/A Limoges"}],"type":"signature"},{"location":"on back near the top","method":"hand-written in black","transcription":[{"value":"Pi ?\/S\/1\/ [1 raised over horizontal line]"}],"type":"inscription"}],"institutions":[{"@link":{"type":"reference"},"admin":{"id":"agent-149638","uid":"adlib-agent-149638","uuid":"7376d833-d0a7-3be0-916e-9c892b7a24d8"},"summary_title":"The Fitzwilliam Museum"}],"legal":{"credit_line":"Frank McClean Bequest"},"lifecycle":{"acquisition":[{"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-172414","uid":"adlib-agent-172414","uuid":"73d94f64-8c0d-30c1-9764-25b005f3ce1d"},"summary_title":"McClean, Frank"}],"date":[{"earliest":1904,"latest":1904,"value":"1904"}],"method":{"value":"bequeathed"},"note":[{"value":"Frank McClean died in Brussels on 8 November 1904"}]}],"creation":[{"date":[{"earliest":1690,"from":{"earliest":1690,"era":["CE"],"latest":1690,"precision":"circa","value":"1690"},"latest":1710,"note":[{"value":"previously dated c. 1700-40 but the colouring suggests that it could have been made before 1710 and not as late as1740"}],"range":true,"to":{"earliest":1710,"era":["CE"],"latest":1710,"value":"1710"}}],"maker":[{"@link":{"qualifier":"probably","role":[{"value":"maker"}],"type":"reference"},"admin":{"id":"agent-207865","uid":"adlib-agent-207865","uuid":"e75ee0ce-7ba2-3cf9-8517-cf4a83dcc4a1"},"summary_title":"Nouailher, Pierre, l'aisn\u00e9"},{"@link":{"role":[{"value":"maker"}],"type":"reference"},"admin":{"id":"agent-207866","uid":"adlib-agent-207866","uuid":"26e43dd7-2eb1-3b71-9ccc-57d1ed72af94"},"summary_title":"Nouailher, Pierre, II"}],"note":[{"value":"St Elizabeth of Hungary was born in 1207, traditionally at S\u00e0rospatak. At the age of fourteen she married Ludwig IV, Landgrave of Thuringia with whom she lived happily until he embarked on the Sixth Crusade, and died at Otranto in Italy in 1227. Elizabeth refused to remarry, and moved to Marburg, where she may have become a tertiary of the Fransiscan order. She founded a hospital, and continued the charitable good works for which she had become famous during her marriage. She died in 1531, and was canonized in 1235 by Gregory IX, and made patroness of the Third Order of St Francis.. Her bones were translated to the church of St Elizabeth at Marburg, which became a pilgrimage centre. In 1539 the Lutheran Landgrave Philip of Hesse had her bones removed to an unknown situation to prevent superstitious practices. She became a popular saint, and depictions of her giving alms occur on plaques, holy water stoups, and reliquary frames (frames with several small relics mounted within them)\n\nRectangular plaques decorated with oval portrait medallions and spandels decorated in relief with stylized foliage, usually in white with gilding on a black ground came into fashion in the second half of the seventeenth century and continued into the early eighteenth. Relief decoration is also found on two-handled bowls, candlesticks, ewers, and purse plaques."},{"value":"This plaque was probably made by Pierre Nouaillier, l'aisn\u00e9 (c. 1657-1717), or his younger brother, Pierre II Nouailher (1665-after 1743). The format and style is similar to others with portraits of Christ, the Virgin, or Saints usually attributed to Pierre II Nouailher, and the signature on the back is similar to that on the reverse of a plaque of St Simon, in the Mus\u00e9e des Beaux-Arts, Limoges.  His treatment of the facial features, and the halos with wavy rays alternating with groups of shorter straight rays was distinctive, and can be seen on many other plaques. The quality seems inferior to enamels attributed to Pierre I Nouailher, such as the  bowl of a cup signed  'P. NOVALHER. ESMAILLEIVR\u2019 in the Walters Art Gallery, or three two-handled cups in the Louvre. But the dark colouring suggests that it was made before about 1720, as the colouring of painted enamels became brighter and paler towards the middle of the century."}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-120948","uid":"adlib-term-120948","uuid":"709dd310-07e3-34e8-9f19-225896efdf8c"},"summary_title":"17th Century, Late-18th Century, Early"}],"places":[{"@link":{"type":"reference"},"admin":{"id":"term-15498","uid":"adlib-term-15498","uuid":"61725bf5-360f-3837-8aab-3c90b956a537"},"hierarchies":[[{"@link":{"type":"literal"},"name":[{"value":"France"}],"summary_title":"France","type":"country"},{"@link":{"type":"literal"},"name":[{"value":"Haute Vienne"}],"summary_title":"Haute 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Edwin H. Lawrence, FSA (1819-91); Christie\u2019s, 4-6 May 1892, 2nd day, second part of lot 168; Frank McClean, MA, FRS (1837\u20131904) ; bequeathed by him"}],"objects":[{"@link":{"cascade":true,"role":[{"value":"same provenance"}],"type":"reference"},"admin":{"id":"object-156432","uid":"adlib-object-156432","uuid":"5e825690-10f0-33ed-a6e0-2dbb0eb47e3d"},"summary":{"reference":{"@link":{"impact":true,"type":"reference","workflow":true},"admin":{"id":"term-107484","uid":"adlib-term-107484","uuid":"935e21d3-0b7f-3ca6-9987-b79c82e054fd"},"summary_title":"plaque"}},"summary_title":"plaque"},{"@link":{"cascade":true,"role":[{"value":"same provenance"}],"type":"reference"},"admin":{"id":"object-156433","uid":"adlib-object-156433","uuid":"0ecb3b55-d3a0-33c1-a6f4-76b1f6a362f7"},"summary":{"reference":{"@link":{"impact":true,"type":"reference","workflow":true},"admin":{"id":"term-107484","uid":"adlib-term-107484","uuid":"935e21d3-0b7f-3ca6-9987-b79c82e054fd"},"summary_title":"plaque"}},"summary_title":"plaque"}],"owners":[{"@link":{"type":"reference"},"admin":{"id":"agent-149638","uid":"adlib-agent-149638","uuid":"7376d833-d0a7-3be0-916e-9c892b7a24d8"},"summary_title":"The Fitzwilliam Museum"}],"publications":[{"@link":{"notes":"Publ., p. 115, no. 74. Not 247 in Magniac sale as stated by Dalton.","page":"115","type":"reference"},"admin":{"id":"publication-4060","uid":"adlib-publication-4060","uuid":"0f6d91a4-87ab-338c-b868-7d56c66bc250"},"summary_title":"Fitzwilliam Museum, McClean Bequest, Catalogue of the Mediaeval Ivories, Enamels, Jewellery, Gems and Miscellaneous Objects Bequeathed to the Museum by Frank McClean, M.A., F.R.S."},{"@link":{"notes":"Ref. pp. 155-6, for Saint Elizabeth","page":"155-6","type":"reference"},"admin":{"id":"publication-4997","uid":"adlib-publication-4997","uuid":"ba4ddd50-47c1-39de-a05b-b52317cb4138"},"summary_title":"The Oxford Dictionary of Saints"},{"@link":{"notes":"Cf.  p. 348-9, no. 186, the bowl of cup attributed to Pierre I","page":"348-0","type":"reference"},"admin":{"id":"publication-6021","uid":"adlib-publication-6021","uuid":"6dafbb49-bc39-3d0c-b5ad-634dbead2cf0"},"summary_title":"The Walters Art Gallery, Catalogue of the Painted Enamels of the Renaissance"},{"@link":{"notes":"Cf. p. 415, no. MR 2634 (other inv. N. 1421) the Virgin and Child with similar signature except for no s in 'esmailleur'. The treatment of the eyes, which Baratte singles out as characteristic of this enameller are comparable to those of the saint on the Fitzwilliam's plaque. Cf. also pp. 412-4, nos. MR 4269,  MR 2468 and MR 2451, attributed to Pierre I.","page":"415","type":"reference"},"admin":{"id":"publication-6073","uid":"adlib-publication-6073","uuid":"273632b3-da99-366e-9c3b-efd466467b8e"},"summary_title":"Les \u00e9maux peints de Limoges. Mus\u00e9e du Louvre, D\u00e9partement des objets d'art"},{"@link":{"notes":"Ref. p. 400 for the dates of Pierre Nouailher, l\u2019ain\u00e9 (I), c. 1657 to 28 September 1717. 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Hexagonal with a circular depression in the top and bottom, projecting top and bottom edges, and straight sides.\nIn the salt pan there is a bust of a woman wearing a cap and elaborate coiffeur in profile to left, against a black background sem\u00e9 with gilt heraldic tears (gouttes), and surrounded by a border of three pairs of adorsed turquoise-green and mulberry foliated scrolls terminating in small white flowers, and three pairs of pale blue and turquoise-green. In the depression on the base is a bust of a man wearing armour and a parade helmet in profile to left surrounded by gold \u2018tadpoles\u2019 and enclosed by a gold line broken by groups of short oblique strokes. The border comprises small flowers on gold stalks flanked by pairs of feathery leaves: turquoise-green paired with blue; mulberry paired with turquoise-green; and blue paired with mulberry, repeated on the next three facets.                                                                                                                                                                                       The six sides are decorated respectively with Cupid standing beside a rock holding a gold arrow in his right hand, and a gold knot on a string in his left; a putto standing beside a small tree and holding aloft a bowl of fruit , a putto walking to the left holding a basket with a gold knot above his head; a putto sitting on the ground with a gold thread around his left leg and knot above, and overhead, a dove holding a gold necklace in its beak; a putto kneeling on a block of stone and beating a small drum; and a putto seated on a rock holding up a billowing drape. All have gold hair. At the top of each angle there is a half sunburst in gold. At the top and bottom there is a narrow gold line broken by five or six short oblique strokes."}],"exhibitions":[{"@link":{"catalogue":"21","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)"}],"identifier":[{"accession_number":"M.4-1966","primary":true,"type":"accession number","value":"M.4-1966"},{"priref":"139841","type":"priref","value":"139841"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/139841","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/139841"}],"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 Friends of the Fitzwilliam Museum"},"lifecycle":{"acquisition":[{"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-149645","uid":"adlib-agent-149645","uuid":"10925b71-6838-30f7-a8dd-b68a2afaa14d"},"summary_title":"The Friends of the Fitzwilliam Museum"}],"date":[{"earliest":1966,"latest":1966,"value":"1966-06-16"}],"method":{"value":"given"},"note":[{"value":"Entry date: 1966-06-16"}]}],"creation":[{"date":[{"earliest":1540,"from":{"earliest":1540,"era":["CE"],"latest":1540,"precision":"circa","value":"1540"},"latest":1550,"range":true,"to":{"earliest":1550,"era":["CE"],"latest":1550,"value":"1550"}}],"maker":[{"@link":{"qualifier":"workshop of","role":[{"value":"maker"}],"type":"reference"},"admin":{"id":"agent-114217","uid":"adlib-agent-114217","uuid":"d84e37de-af7e-3317-8a55-c97eb4e99bcc"},"summary_title":"Reymond, Pierre"}],"note":[{"value":"Hexagonal salts were fashionable during the mid 16th century and were made in silver, and ceramics, as well as in Limoges painted enamel. Limoges salts of this form bear dates from 1542 to 1547. The salt depression in the top and the matching depression in the base were usually decorated with a male or female head in antique or contemporary costume, sometimes identified in gold capitals as Paris and Helen, Hercules and Deianeira or Omphale, or Pallas and Jupiter. The sides were decorated with several different themes.The most popular, judging by the number of surviving examples, was the Twelve Labours of Hercules divided between two salts, which suggests that they were supplied in pairs. Others included half-length classical and contemporary male and female figures, classical and biblical male and female busts, singly or in pairs, sometimes enclosed by wreaths, and 'The Follies of Wise Men' and 'The Ages of Love' (see M. 50-1904), which diners probably found amusing. A few are decorated with nude little boys (putti) participating in the grape harvest, dancing, fighting, playing with various objects or on musical instruments. Pairs of analogous hexagonal salts with different heads in the salt depressions are in the Metropolitan Museum of Art, New York ( 32.100.372 and 32.100.373), and the Mus\u00e9e des Beaux-Arts, Limoges (84.432 and 84.433).\n\nPutti in various roles, derived from Roman architectural ornament and reliefs on the sides of sarcophagi, had become increasingly popular as decorative motifs in Italy during the fifteenth century. These archetypes were dissemininated to France and elsewhere in Europe through prints by artists such as Nicoletta da Modena, Master IB, and Marcantonio Raimondi. They also appeared on the title pages and borders of late fifteenth-century illuminated manuscripts (e.g. the Fitzwilliam's Book of Hours MS 153) and printed books imported from Italy, and by the beginning of the sixteenth, were appearing in French examples. Putti in the role of cherubs occur on early sixteenth century Limoges enamels of religious subjects, but were not often depicted until the 1530s when classical subjects based on Italian prints were introduced. On this salt the boy holding up a basket of grapes and the boy sitting on the ground with a bird above him were probably copied from a print of 'Children Harvesting Grapes', dated 1529 by the Monogrammist IB after Raphael (Bartsch, VIII.311.35; Illustrated Bartsch, 16, p. 78, no. 35 (311) ."}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-110475","uid":"adlib-term-110475","uuid":"223ae6a7-2f91-3314-ae3c-da3233ae47dc"},"summary_title":"16th Century, Mid"}],"places":[{"@link":{"type":"reference"},"admin":{"id":"term-15498","uid":"adlib-term-15498","uuid":"61725bf5-360f-3837-8aab-3c90b956a537"},"hierarchies":[[{"@link":{"type":"literal"},"name":[{"value":"France"}],"summary_title":"France","type":"country"},{"@link":{"type":"literal"},"name":[{"value":"Haute Vienne"}],"summary_title":"Haute 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Cunliffe"}],"component":[{"materials":[{"note":[{"value":"translucent blue, green, turquoise, brownish-yellow, and mulberry, and pinkish-white, red, 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-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":"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."}],"note":[{"value":"translucent blue, green, turquoise, brownish-yellow, and mulberry;  pinkish-white, red, white, and black"}],"reference":{"@link":{"type":"reference"},"admin":{"id":"term-28662","uid":"adlib-term-28662","uuid":"dd47e505-ccda-3f2b-b576-6104109430e8"},"summary_title":"enamelling"}},{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-28681","uid":"adlib-term-28681","uuid":"c1f659e2-1209-31cf-8ff4-154e11452559"},"summary_title":"gilding"}}]},{"materials":[{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-39588","uid":"adlib-term-39588","uuid":"b17ff981-06b2-30a2-b9a9-b514fe84a191"},"summary_title":"copper"}}],"name":"Plaque"},{"measurements":{"dimensions":[{"dimension":"Height","units":"cm","value":"10.1"},{"dimension":"Width","units":"cm","value":"7.2"}]},"name":"Frame"}],"content":{"motifs":[{"@link":{"type":"reference"},"admin":{"id":"term-1111","uid":"adlib-term-1111","uuid":"46c949dd-f376-3538-878f-397baee5be09"},"summary_title":"mythology"}]},"department":{"value":"Applied Arts"},"description":[{"value":"Mirror enclosed in a gilt-metal frame with on the exterior a copper plaque decorated with polychrome enamels, partly over foils, and gilded. Jupiter in the form of Diana and Callisto in a landscape."},{"value":"Elongated octagonal slightly convex copper plaque, decorated in polychrome enamels over foils and and gilded. The central oval medallion has a white ground, decorated in translucent blue, green, turquoise, brownish-yellow, and mulberry enamels over foils, and in pinkish-red, and white enamels for the flesh. The border has a black ground, with motifs in translucent enamels over foils. Gilding, brownish in places, has been applied for outlines or details over both areas. The plaque is mounted in an octagonal gilt-metal frame hinged to another octagonal gilt-metal frame with an egg and dart border enclosing an octagonal bevelled mirror. At the top there is a foliated suspension loop with a ring through it, and another ring through that. decorated in polychrome enamels over foils and and gilded.\nWithin a horizonal oval medallion Jupiter in the form of Diana embraces Callisto in a landscape. The former wears a mulberry gown with a blue tunic and a blue scarf which billows out behind her. Callisto wears a blue dress which reveals her right leg. Both have wavy brownish-yellow hair drawn back from their brows. A gold bow and a quiver lie on the grass in the foreground. In the background to the right there is a tree on a mound, and to the left, a house beside a tree. The sky is blue. Above and below the panel there is a bird with blue, and mulberry plumage, flanked by green, mulbery or blue foiled flowers, reserved in a black ground decorated with delicate gold tendrils."}],"exhibitions":[{"@link":{"catalogue":"125","type":"reference"},"admin":{"id":"exhibition-2376","uid":"adlib-exhibition-2376","uuid":"3e2208a0-ad25-3b64-b03f-cb63aa00fd02"},"summary_title":"Treasured Possessions from the Renaissance to the Enlightenment"}],"identifier":[{"accession_number":"M.11-1938","primary":true,"type":"accession number","value":"M.11-1938"},{"priref":"139824","type":"priref","value":"139824"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/139824","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/139824"}],"inscription":[{"description":[{"value":"circular paper label; C looks rather like an L"}],"location":"on back of enamel plaque","method":"hand-written in faded black ink","transcription":[{"value":"B\/1\/L.D.C."}],"type":"label"}],"institutions":[{"@link":{"type":"reference"},"admin":{"id":"agent-149638","uid":"adlib-agent-149638","uuid":"7376d833-d0a7-3be0-916e-9c892b7a24d8"},"summary_title":"The Fitzwilliam Museum"}],"legal":{"credit_line":"L.D. Cunliffe Bequest, 1937"},"lifecycle":{"acquisition":[{"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-149807","uid":"adlib-agent-149807","uuid":"e699d770-0f16-32bf-b0b1-da62f9118c29"},"summary_title":"Cunliffe, Leonard Daneham"}],"date":[{"earliest":1938,"latest":1938,"value":"1938-02-15"}],"method":{"value":"bequeathed"}}],"creation":[{"date":[{"earliest":1600,"from":{"earliest":1600,"era":["CE"],"latest":1600,"precision":"circa","value":"1600"},"latest":1625,"range":true,"to":{"earliest":1625,"era":["CE"],"latest":1625,"value":"1625"}}],"maker":[{"@link":{"qualifier":"probably","role":[{"value":"maker"}],"type":"reference"},"admin":{"id":"agent-179445","uid":"adlib-agent-179445","uuid":"354c0b9b-f4b7-324d-9187-afb7d4d7d4c6"},"summary_title":"Limosin, Fran\u00e7ois I"},{"@link":{"qualifier":"perhaps","role":[{"value":"maker"}],"type":"reference"},"admin":{"id":"agent-179447","uid":"adlib-agent-179447","uuid":"e5d8ff65-d64f-33a8-bc21-4d0dbc106ae8"},"summary_title":"Limosin, Jean"}],"note":[{"value":"Portable mirrors in silver or gilt-metal frames backed by Limoges plaques survive in large numbers. They have octagonal or oval frames with a suspension loop at the top, and are decorated in polychrome enamels, partly over paillons (silver foil), usually with a central medallion surrounded by a border of stylized flowers and birds reserved in a dark manganese-black ground overlaid by gold foliage or rinceaux. There are several formats for these borders. Others have a mythological scene or figures with ornamental surrounds which cover the whole plaque. None of the recorded examples are dated, but on stylistic grounds their manufacture probably extended from the late 1590s to the 1620s.. The only closely datable examples have comparable borders around bust portraits of Louis XIII, or of Anne of Austria, probably made at the time of their marriage in 1615 (See Documentation, Baratte, 2000, and Sotheby's, 19 November, 2007, lot 26). Comparable motifs occur on a rectangular plaque with a portrait of the King apparently some ten years older in the Wallace Collection, which bears the initials IL separated by a fleur de lis, for Jean Limosin (c. 1580-1646).\n\nOvid tells the story of Jupiter\u2019s deception of Callisto by appearing to her as Diana, and then ravishing her, in Metamorphoses 2, 420-531. Associated with a mirror it might serve as a warning to the owner to beware of deceitful suitors. The figures on the plaque was probably derived from Bernard Salomon\u2019s woodcut illustration of 'Caliston de\u00e7ue par Jupiter' in  La Metamorphose d\u2019Ovide figuree, Lyon (Jean de Tournes), 1557, or the later editions of 1564 or 1583, and might also have been influenced by an engraving by  Antonio Tempesta  (1555-1630) in Metamorphoseon sive transformationum ovidianarum . . Amsterdam, 1606, pl. 13, which has the direction of the figures transposed.  A plaque for a mirror decorated with the same figures is in the Hermitage, St Petersburg. (see Documentation).  Another decorated with an earlier moment in the story, Jupiter in the form of Diana appearing to Callisto is in the Victoria and Albert Museum (8421-1863), and one with a later incident, Diana and her companions bathing with Callisto sitting apart because of her loss of virginity is in the Mus\u00e9e municipal de l\u2019\u00c9v\u00each\u00e9, Limoges.\n\nThis plaque has been attributed probably to Fran\u00e7ois I Limosin on account of stylistic resemblance to an oval plaque in the Mus\u00e9e du Louvre, which is initialled FL (see Documentation, Baratte, 2000).  It is also closely comparable to three octagonal mirrors attributed to Jean I (or II) Limosin, and one attributed either to him or Fran\u00e7ois Limosin in the James A. de Rothschild collection at Waddesdon Manor (see Documentation, Marcheix, 1977) These are decorated with mythological subjects and have similar flowers and birds reserved in the black background around the scene. 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