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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. 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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 \u00e0 Limoges, XVIe-XVIIe si\u00e8cle"}],"school_or_style":[{"@link":{"type":"reference"},"admin":{"id":"term-10618","uid":"adlib-term-10618","uuid":"9ebc0ae1-8cf8-312b-832c-9cf44da02136"},"summary_title":"Renaissance"}],"subjects":[{"@link":{"type":"reference"},"admin":{"id":"term-108499","uid":"adlib-term-108499","uuid":"ad7b0b38-5f25-3f51-a548-f3948009220d"},"summary_title":"feasting"},{"@link":{"relation":"object name","type":"reference"},"admin":{"id":"term-107028","uid":"adlib-term-107028","uuid":"36d3f956-1278-3819-8484-7517f8fdfccc"},"summary_title":"table"},{"@link":{"relation":"object name","type":"reference"},"admin":{"id":"term-44707","uid":"adlib-term-44707","uuid":"82255e8a-fcea-3881-a4eb-5720c1910b4d"},"summary_title":"cistern"},{"@link":{"relation":"object name","type":"reference"},"admin":{"id":"term-91978","uid":"adlib-term-91978","uuid":"f613d852-fbf9-3766-a302-2f7fddd20fe5"},"summary_title":"two-handled cup"},{"@link":{"relation":"object 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He owned a houses in Park Lane,  Port Lympne, Kent and Trent Park, Cockfosters, north London."}],"type":"reference"},"admin":{"id":"agent-179459","uid":"adlib-agent-179459","uuid":"2566bf7f-b118-35af-8c23-4cc23995bb4b"},"summary_title":"Sassoon, Philip, Sir"},{"@link":{"type":"reference"},"admin":{"id":"agent-179458","uid":"adlib-agent-179458","uuid":"d77ef210-8e40-3c66-885e-359cad2b3525"},"summary_title":"Durlacher, George"},{"@link":{"relation":"person","type":"reference"},"admin":{"id":"agent-410","uid":"adlib-agent-410","uuid":"e4a0126f-5620-36a5-86f3-fc0eef3d6fd0"},"summary_title":"Adam"},{"@link":{"relation":"person","type":"reference"},"admin":{"id":"agent-149828","uid":"adlib-agent-149828","uuid":"c267f1be-fe9c-3ff7-aaea-fda5900bebea"},"summary_title":"Eve"},{"@link":{"relation":"person","type":"reference"},"admin":{"id":"agent-149826","uid":"adlib-agent-149826","uuid":"f906a265-7c36-3124-b8b1-413d93c6c0a7"},"summary_title":"Cain"},{"@link":{"relation":"person","type":"reference"},"admin":{"id":"agent-149825","uid":"adlib-agent-149825","uuid":"453c874c-87ca-307b-a09e-98aecf29d67f"},"summary_title":"Abel"},{"@link":{"relation":"person","type":"reference"},"admin":{"id":"agent-149992","uid":"adlib-agent-149992","uuid":"2fc34d64-f566-35ce-9ad4-98939c8fb978"},"summary_title":"God"}],"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-117089","uid":"adlib-term-117089","uuid":"70d59fbc-64f7-304e-a336-bf6d65a433a8"},"summary_title":"Louis C. G. Clarke"}],"component":[{"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":[{"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"}}]}],"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 in grisaille and pink flesh tones with five scenes from Genesis and gilded. Initialed PR. On the reverse, strapwork and grotesques."},{"value":"Copper enamelled on both sides in grisaille with pale greyish-pink flesh tones over a black ground, and gilded. The front has also a little red and blue enamel. Circular with a sloping rim with raised outer edge, deep sides, gently curved well and central boss.\nThe boss has an almost flat medallion bearing a beribboned shield charged with the arms, quarterly 1 and 3 chequey gules and or, and 2 and 4, azure, a hound\u2019s head, in chief, a label of three points and in base, a crescent or . This is surrounded by a raised white band decorated with black dots and continuous scalloping, a black cavetto with gold scrollwork, a band of black guilloche on a white ground, and tiny gold circles on a black band. Around this are five scenes from Genesis: the Creation of Eve, labelled \u2018I\u2019; the Fall of Man, labelled \u2018II\u2019; God admonishing Adam and Eve labelled \u2018III\u2019, initialled PR in black on the ground; the Expulsion from Paradise, labelled \u2018GENESE III\u2019; the Killing of Abel by Cain, labelled \u2018IIII\u2019. On the sides there is a repeating design of gold foliated scrolls on a black ground, and on the rim, pairs of foliated scrolls, each one terminating in a cornucopia, with a putto astride it, with sprays of gold foliage in the background.\nOn the reverse, the underside of the boss has a black ground, decorated with eight addorsed C- scrolls surrounded by scattered stars. On the back of the well there are four female terms linked by a continuous wavy drape, and holding up between them four dishes of fruit. Below each of which is a pair of affronted male and female monsters with wings and scrolling tails. Round the edge is a narrow and a broad band which rises into a small arch below the monsters. On the sides there are gold foliated scrolls on a black ground, and on the rim, foliated scrolls terminating in small monsters\u2019 heads and shells."}],"exhibitions":[{"@link":{"catalogue":"215","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.111-1961","primary":true,"type":"accession number","value":"M.111-1961"},{"priref":"139821","type":"priref","value":"139821"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/139821","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/139821"}],"inscription":[{"location":"on ground beside God admonishing Adam and Eve","method":"painted in black","transcription":[{"value":"PR"}],"type":"initial"}],"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":"Clarke died on 13 December 1960"}]}],"creation":[{"date":[{"earliest":1555,"from":{"earliest":1555,"era":["CE"],"latest":1555,"precision":"circa","value":"1555"},"latest":1565,"note":[{"value":"Four dated  examples are known: 1557 at Waddesdon Manor, two of 1558 respectively in the Hermitage, and the Germanisches Nationalmuseum, Nuremburg, and one of 1563, in the Walters Art Gallery, Baltimore."}],"range":true,"to":{"earliest":1565,"era":["CE"],"latest":1565,"value":"1565"}}],"maker":[{"@link":{"role":[{"value":"maker"}],"type":"reference"},"admin":{"id":"agent-114217","uid":"adlib-agent-114217","uuid":"d84e37de-af7e-3317-8a55-c97eb4e99bcc"},"summary_title":"Reymond, Pierre"},{"@link":{"qualifier":"after","role":[{"value":"printmaker"}],"type":"reference"},"admin":{"id":"agent-82113","uid":"adlib-agent-82113","uuid":"a9c432da-7fd3-3d18-a538-c2c7497fd5a0"},"summary_title":"Lucas van Leyden"}],"note":[{"value":"Circular basins were intended to accompany ewers, for hand washing at meals, but might also be displayed on a dressoir. Their decoration was designed to radiate inwards from the outer edge of the well towards the central boss, so that it would appear the right way up from all angles when the basin was lying flat with the ewer in situ. The biblical story of Adam and Eve and their sons, Cain and Able, told in the book of Genesis, 2-4, was well-suited for this purpose because it could be divided into a series of episodes. \n\nThe five scenes from Genesis which occupy the well of the basin were derived from a set of six engravings by Lucas van Leyden (1494-1533), dated 1529, but are not in the correct order: \nThe Creation of Eve\nThe Admonition not to eat the fruit of the Tree of Knowledge\nThe Fall of Man or Temptation \nThe Expulsion of Adam and Eve from Paradise\nThe murder of their son, Able by his older brother Cain\n\nHere, the Admonition, God\u2019s instruction to Adam and Eve not to eat the fruit from the Tree of Knowledge, appears to have been mistaken for God reprimanding them after they had done so. This, and the labelling of the scenes I, II, III, GENESE III and IIII, suggests that the painter was familiar with the woodcut illustrations by Bernard Salomon in Claude Paradin\u2019s, 'Quadrins historique de la Bible', Lyon (Jean de Tournes), 1553, 1555 or 1558 editions which have the Admonition between the Fall and the Expulsion, and use Roman numerals to identify the scenes. This is also indicated by the presence of a pilaster at the end of a wall behind Adam and Eve in the Expulsion scene, which is not present on the van Leyden print, but is present in the woodcut by Salomon. The grotesque decoration on the reverse, may also be partly derived from an ornamental print of 1528 by Lucas van Leyden featuring pairs of long-necked sphinx-like creatures with curling tails. Incidentally this shows how illustrated books and prints circulated widely and were used by craftsmen as sources for their designs.  \n\nThe story of Adam and Eve was extremely popular in the mid to late sixteenth century, and it was used on basins made in the Reymond workshop from at least 1557 until the mid 1560s. There are four initialled and dated examples by Pierre Reymond: at Waddesdon Manor Buckinghamshire, initialled  \u2018P.R\u2019 twice, and dated 1557;) in the Hermitage, St Petersburg, initialled \u2018P.R\u2019 and dated 1558 twice, and having the arms of de Mesmes on the underside of the boss; dated 1558,  in the Tucher-Schloss Museum, Nuremberg, initialled \u2018PR\u2019 and dated \u20181558\u2019 separately twice on the back of the rim which belonged to Linhard I Tucher of Nuremberg (1487-1568); and in the Walters Art Gallery, Baltimore, initialled PR and dated 1563 on which the enameller used only four of the Lucas van Leyden prints and made up the figures for the Admonition. Philippe Verdier considered that the Fitzwilliam\u2019s basin was probably earlier than the one at Baltimore. A further ewer basin, unseen, described as having \u2018grisaille scenes symbolizing  the Fall of Man with explanatory inscriptions\u2019, and initialled and dated P.R. 1570, was exhibited by D.C. Marjoribanks, MP in the exhibition held in the South Kensington Museum in 1862. There are several undated circular basins, such as two in the Los Angeles County Museum, and one formerly in the collection of Gustaaf Hamburger, sold in 2008 (see Documentation). Several of these have either lost their central boss, or have had it replaced. \n\nThe unidentified coat of arms on the Fitzwilliam\u2019s basin occurs on three small plates in the Louvre, decorated with scenes representing May, June, and September from a set of Labours of the Months (MR R 173 (formerly N 1370), MR 2436 (formerly N 1371) and MR 2435 (formerly N 1372), attributed by Baratte to Jean Court dit Vigier. However, when the Fitzwilliam's  basin was illustrated by an engraving in the journal 'L\u2019Art' in 1878, it was shown without a central boss, which seems to indicate that the arms were a later insertion (see Documentation)."}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-125332","uid":"adlib-term-125332","uuid":"76f10b5d-9bf4-36d4-b4e3-f4df05af8260"},"summary_title":"16th Century, third quarter"}],"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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C.\u2019; Louis Colville Gray Clarke, MA, LL D, Leckhampton, Cambridge."}],"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. pp. 32-3, enthusiastically described and illustrated p. 24 with an engraving which shows the basin without the central coat-of-arms on the boss.","page":"24-33","type":"reference"},"admin":{"id":"publication-200002856","uid":"adlib-publication-200002856","uuid":"e62e604a-0c62-3f5d-b161-8498b9711b0d"},"summary_title":"Exposition Historique de l'Art Ancien, Les Grandes Collections au Trocadero, Collections de MM les Barons de Rothschild (suite) Emaux"},{"@link":{"notes":"Publ. pp. 32-3 and illustrated by an engraving on p. 24, when in the collection of baron Gustave de Rothschild.  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Tucher, now in the Germanisches Nationalmuseum, Nuremberg, p. 247, figure 25.","page":"244-8","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. 15 and pls. 31 front, and 32, initialled PR twice an dated 1558; reverse, bearing the arms of de Mesmes. The second and third scenes are in different order from the Fitzwilliam's basin. From the Pourtal\u00e8s-Gorgier and Basilewsky collections. In v. F 288","page":"15","type":"reference"},"admin":{"id":"publication-6186","uid":"adlib-publication-6186","uuid":"d285f449-3ec3-39f8-be77-cd185ea3fe64"},"summary_title":"Painted Enamels of Limoges. 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Pl. 16 shows the basin without a central boss.","page":"23. 25","type":"reference"},"admin":{"id":"publication-5097","uid":"adlib-publication-5097","uuid":"3f273066-5292-3611-8791-142c76030836"},"summary_title":"Maleremails aus Limoges, Der Bestand des Berliner Kunstgewerbemuseums"},{"@link":{"notes":"Cf. p. 25, pl. 16, a basin lacking its central boss, in the Kunstsammlungen Schloss Friedenstein, Gotha, which has the scene of the First Prohibition or Admonition before the Temptation or Fall.","page":"25","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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