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Glaze colours are blue, yellow, brownish-yellow, brown, manganese-purple and red."}],"note":[{"value":"in parts and assembled"}],"reference":{"@link":{"type":"reference"},"admin":{"id":"term-111179","uid":"adlib-term-111179","uuid":"be5c887b-c0ed-3d89-82b2-c3a870e72a68"},"summary_title":"moulding"}}]}],"content":{"motifs":[{"@link":{"type":"reference"},"admin":{"id":"term-23385","uid":"adlib-term-23385","uuid":"4c17df77-7d4e-32bf-8ec9-921b71d218a2"},"summary_title":"religion"}]},"department":{"value":"Applied Arts"},"description":[{"value":"pale buff terracotta, decorated with coloured tin-glazes"},{"value":"Pale buff terracotta, tin-glazed on all surfaces except the back of the pedestal and interior, which is hollow. Glaze colours are blue, yellow, brownish-yellow, brown, manganese-purple and red.\nJudith stands on a rectangular pedestal, moulded in relief with an acanthus leaf on each front corner and with a frieze of figures across the front. Her weight is on her right foot and she rests her left on the torso of Holofernes, whose left shoulder and arm project over the edge of the pedestal. Judith holds his decapitated head by its hair in her left hand; her right arm is raised, the hand grasping a sword hilt (the blade missing). She has long hair, waist length at the back, falling in ringlets over her shoulders at the side. She wears a long gown with elbow-length sleeves, and a full-skirted, sleeveless tunic, fastened by a belt and doubled up over her hips. She has sandals, a bead armlet on each arm and a small tiara or frontlet.\nThe pedestal is yellow with a purple top. Judith's hair is brownish-yellow. Her gown is white with a yellow hem. Her over-gown is blue with yellow ornament round the neck, a yellow belt and hem. Her sandals are purple, her tiara, armlets and sword hilt yellow. Her flesh is tinted slightly pink and her features are delineated in manganese. Holofernes' torso is greyish-white; the edge of his neck is red, his hair and beard brown and his features manganese."}],"identifier":[{"accession_number":"C.2170-1928","primary":true,"type":"accession number","value":"C.2170-1928"},{"priref":"48211","type":"priref","value":"48211"},{"source":"Glaisher MS Catalogue, vol. 29","type":"old object number","value":"4674"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/48211","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/48211"}],"inscription":[{"description":[{"value":"rectangular with blue printed border"}],"method":"inscribed in black ink in J.W.L. Glaisher's hand","transcription":[{"value":"4674\/..."}],"type":"label"},{"description":[{"value":"circular white paper label"}],"method":"printed in black and hand-written in black ink","transcription":[{"value":"'.J.W.L. GLAISHER.\/COLLECTION' printed in a circle around  '4674' in black ink"}],"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"}}],"creation":[{"date":[{"earliest":1800,"from":{"earliest":1800,"era":["CE"],"latest":1800,"precision":"circa","value":"1800"},"latest":1860,"note":[{"value":"see production notes"}],"range":true,"to":{"earliest":1860,"era":["CE"],"latest":1860,"value":"1860"}}],"maker":[{"@link":{"qualifier":"probably","role":[{"value":"workshop"}],"type":"reference"},"admin":{"id":"agent-159102","uid":"adlib-agent-159102","uuid":"eb63d021-f963-35f4-aae7-31c18b9036af"},"summary_title":"Unidentified"},{"@link":{"qualifier":"after","role":[{"value":"workshop"}],"type":"reference"},"admin":{"id":"agent-35506","uid":"adlib-agent-35506","uuid":"96e5f49c-1ec6-3f34-b799-3b11533c41b7"},"summary_title":"Della Robbia, Giovanni"}],"note":[{"value":"The story of how Judith, a virtuous widow, saved the Israelites from defeat by the Assyrians by decapitating their general, Holofernes, while he slept in a drunken supor, is described in the Apocryphal Book of Judith XIII, 7-8. In art, the theme symbolized the triumph of humility over pride and vice, and we well known to Florentines through Donatello's bronze in the Piazza della Signoria."},{"value":"The tin-glazed terracotta group of Judith was attributed to Giovanni Della Robbia (1469-1529\/3- by Marquand (1920), and this opinion was upheld by Gentilini (nd 1992). Nine examples, excluding the Fitzwilliam\/'s have been recorded with their present locations by Tscermak von Seysenegg (1986 and 1989). Each model differs in some respects from the others. Rackham (1935) dated this example to about 1525  but it was probably made in the mid-19th century, The revised dating follows thermoluminescence analysis by the Research Laboratory for Archaeology and the History of Art, Oxford (sample 581m28 taken 8 October 1993, report dated 19 November 1993) which estimated that the material of the sample was last fired less than 200 years ago, i.e. after 1793. It is not known when Whewell purchased it or whether it belonged to one of his two wives, but given his date of death in 1866 it must have been made before the 1860s."}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-114523","uid":"adlib-term-114523","uuid":"435b2a3c-ff47-31ed-bed3-17b95d739d0a"},"summary_title":"19th Century, first half"},{"@link":{"type":"reference"},"admin":{"id":"term-109672","uid":"adlib-term-109672","uuid":"a788e98b-c8a4-313c-9617-1a812228e864"},"summary_title":"19th Century, Mid"}],"places":[{"@link":{"type":"reference"},"admin":{"id":"term-106508","uid":"adlib-term-106508","uuid":"f7f1399b-d092-3a3d-8f96-c3aee3ad8fd5"},"hierarchies":[[{"@link":{"type":"literal"},"name":[{"value":"Italy"}],"summary_title":"Italy","type":"country"}]],"summary_title":"Florence"}]}]},"materials":[{"note":[{"value":"pale 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(1794-1866), Master of Trinity College, Cambridge; Dr Bampstead, Leighton, Trumpington Road, Cambridge; sold  on the premises, 14-17th August, 1917, his sale lot 20; sold for \u00a31 to Mr Jolley of Cambridge, by whom sold for \u00a34.10s. on 6 October 1917 to Dr J.W.L. Glaisher, FRS,  Trinity College, 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. I, p. 282, no. 2170, II, pl. 162. Attributed to Giovanni Della Robbia and dated to about 1525.","page":"p. 282","type":"reference"},"admin":{"id":"publication-1031","uid":"adlib-publication-1031","uuid":"a5cc6cb3-2b6f-390a-af51-7e9d123e55ed"},"summary_title":"Catalogue of the Glaisher Collection of Pottery and Porcelain in the Fitzwilliam Museum Cambridge"},{"@link":{"notes":"Ref. and cf. p. 212, illustrated p. 211, fig. 153. H. 50 cm (the base is much higher than the Fitzwilliam's). This example, formerly in the Bardini collection is now in the Boston Museum of Fine Arts (inv. no. 46.839)","page":"212","type":"reference"},"admin":{"id":"publication-5655","uid":"adlib-publication-5655","uuid":"3558a7cd-de86-3c23-8c3b-5c5179cb5ca4"},"summary_title":"Giovanni della Robbia"},{"@link":{"notes":"Ref. and cf. pp. 30-1, pls. 3-5 which include the torso of Holofernes. p. 30, pl. 3 in the Kunstgewerbemuseum Schloss K\u00f6penick, Berlin (inv. no. Kh 9). p. 30, pl. 4, Bardini Museum, Florence. p. 31 pl. 5 Galerie Bellini, Florence. p. 32-3, pl. 7and detail, an example without the torso, with right hand and sword restored, then in a private collection in Stuttgart, and in 2009 with a London dealer.","page":"27-36","type":"reference"},"admin":{"id":"publication-200002267","uid":"adlib-publication-200002267","uuid":"8374d736-a735-3fdc-998f-baa264cd957e"},"summary_title":"Die Judith von Giovanni della Robbia"},{"@link":{"notes":"Ref. and cf. p. 67, pl. 1, an example at Schloss Pillnitz, near Dresden (Inv. no. 43518). This model differs considerably from the Fitzwilliam's. 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X: La Scultura del Cinquecento, part 3"},{"@link":{"notes":"Publ. I, p. 100 (under no. VII)\n(rough translation by C. van H. & RAB), vii: pp. 98-101, pl. 45\nBacchus of Latanzio Cortese\n'Two small bronzes are being connected falsely with the Bacchus and are attibuted to Jean Bologne. One was formerly in the Bisschoffsheum Palace Collection (W. Gramberg 1936, pl. 11). The other is in the Fitzwilliam Museum at Cambridge (Ulrich Middledorf, 1933; A Venturi, Roman X, 3-1937, p. 718). I have not seen the first. Judging it from the photograph (reproduction) it is difficult to regard it as a work by Jean Bologne because it lacks buoyancy in the posture, the block-like base, and the apparent lack of careful finishing. The Bacchus at Cambridge is certainly not work by Jean Bologne. Composition, posture, and movement lack the firm, balanced contraposto of the master; the motifs of the movement of the arms and head converge in the same direction. The attitude is hesitant and lacks buoyancy and tension. It is impossible to recognise in it the qualities of Jean Bologne's execution. The face is sharp; the eyes are drawn in, and the head-dress is chiselled decoratively, but not modelled plastically. Details, like the nails, show uneven finish. As a whole the little bronze lacks that marvellous and natural life found in Jean Bologne's work. It could very well be ascribed to Caccini.' [The sense of the Flemish base is such that a definite attribution is being suggested, although it sounds hesitant in translation]","page":"p. 100","type":"reference"},"admin":{"id":"publication-1180","uid":"adlib-publication-1180","uuid":"2cef542b-28b8-3f14-97b0-998f4b1ce7ce"},"summary_title":"Jean Bologne-Giovanni Bologna Fiammingo"},{"@link":{"notes":"Publ.","page":"139","type":"reference"},"admin":{"id":"publication-382","uid":"adlib-publication-382","uuid":"ee5148de-e3eb-3d38-88db-9a331edf70b6"},"summary_title":"Treasures of the Fitzwilliam Museum"},{"@link":{"type":"reference"},"admin":{"id":"publication-15","uid":"adlib-publication-15","uuid":"a688918a-bb81-3998-99cc-81244715767d"},"summary_title":"The Fitzwilliam Museum, An Illustrated Survey"},{"@link":{"notes":"Publ. p. 16 (under lot 61)","page":"p. 16","type":"reference"},"admin":{"id":"publication-2264","uid":"adlib-publication-2264","uuid":"8ff1b543-9530-3fbf-9433-dd213642fdfc"},"summary_title":"Sotheby's Sale Catalogue, 12th December 1958"},{"@link":{"notes":"Publ. pp. 62-65 (entry by C. Theuerkauff)","page":"pp. 62-65","type":"reference"},"admin":{"id":"publication-3292","uid":"adlib-publication-3292","uuid":"4b2646be-bcf3-3b3b-8d69-4369c7772002"},"summary_title":"Stiftung zur F\u00f6rderung der Hamburgischen Kunstsammlungen. Erwerbungen 1963"},{"@link":{"notes":"Publ. pp. 191-204","page":"pp. 191-204","type":"reference"},"admin":{"id":"publication-200001113","uid":"adlib-publication-200001113","uuid":"d1ee1be1-b131-3e9d-b5ca-65dbcc8ac24a"},"summary_title":"\u00dcber die Florentinische Einwirkung auf die Kunst des Johann Gregor von der Schardt"},{"@link":{"notes":"Publ. p. 194 (under entry on Hamburg Bacchus)","page":"p. 194","type":"reference"},"admin":{"id":"publication-3293","uid":"adlib-publication-3293","uuid":"791b7358-efd9-3c3c-909a-ff9f74110628"},"summary_title":"Jahrbuch der Hamburger Kunstsammlungen, 10, 1965"},{"@link":{"notes":"Publ. p. 21","page":"p. 21","type":"reference"},"admin":{"id":"publication-200001114","uid":"adlib-publication-200001114","uuid":"8bc56c20-cfd1-3c6c-80b2-46cde86ed66f"},"summary_title":"Aspetti della Scultura Fiorentina al Tempo della Formazione di Francesco Mochi"},{"@link":{"notes":"Publ. pp. 99-100, 102-3, fig. 1","page":"pp. 99-100","type":"reference"},"admin":{"id":"publication-200000840","uid":"adlib-publication-200000840","uuid":"9d15d085-52a2-3a0c-98c5-8e176bb1eae4"},"summary_title":"Schardt, Tetrode and some possible sculptural sources for Goltzius"},{"@link":{"notes":"Publ. p. 276, no. 30","page":"p. 276","type":"reference"},"admin":{"id":"publication-200001115","uid":"adlib-publication-200001115","uuid":"8eeab179-00b3-3f8f-8296-a9d2a6813f02"},"summary_title":"Willem Danielsz. van Tetrode"},{"@link":{"notes":"Publ. Cat. no. 42, p. 39 (entry by R. Crighton)","page":"p. 39","type":"reference"},"admin":{"id":"publication-1119","uid":"adlib-publication-1119","uuid":"8b3701d3-a6b9-3cdf-8f20-d50dda99c46c"},"summary_title":"Treasures from the Fitzwilliam: ''The Increase of Learning and other great Objects of that Noble Foundation''"},{"@link":{"notes":"Publ. pp. 112-115","page":"pp. 112-115","type":"reference"},"admin":{"id":"publication-3294","uid":"adlib-publication-3294","uuid":"3afd6e2d-9e38-3b57-bd08-13737efe17e0"},"summary_title":"Johan Gregor van der Schardt. Bildhauer bei Kaiser Maximilian II, am d\u00e4nischen Hofe und bei Tycho Brahe"},{"@link":{"notes":"Publ. Cat. no. 99, pp. 328-29, repr. (entry by U. Berger)","page":"pp. 328-9","type":"reference"},"admin":{"id":"publication-1232","uid":"adlib-publication-1232","uuid":"b82e6277-72ed-383a-a717-375529b3c494"},"summary_title":"Von Allen Seiten Sch\u00f6n, Bronzen der Renaissance und des Barock"},{"@link":{"notes":"Publ. p. 531","page":"p. 531","type":"reference"},"admin":{"id":"publication-200001116","uid":"adlib-publication-200001116","uuid":"ddfee090-056d-36f3-94a8-6d3d4d27af15"},"summary_title":"Tetrode, Willem Danielsz. van"},{"@link":{"notes":"Publ. p. 5","page":"p. 5","type":"reference"},"admin":{"id":"publication-200001117","uid":"adlib-publication-200001117","uuid":"52872929-a1e0-3fe9-93f9-3a6f57512128"},"summary_title":"Review of Berlin 1995"},{"@link":{"notes":"Publ. pp. 212-217, 295, no. 34. Attributed to Delft, c. 1570s","page":"pp. 212-217","type":"reference"},"admin":{"id":"publication-3259","uid":"adlib-publication-3259","uuid":"a66336df-0598-3f93-8c6d-4d1fa070ea38"},"summary_title":"Renaissance and Baroque Bronzes from the Fitzwilliam Museum, Cambridge"},{"@link":{"notes":"Publ. Illustrated, p. 30, no. 26, p. 29 and 32 discussion, - Catalogue by, Bieke van der Mark & Frits Scholten, p. 119, no. 13. The authors attribute the model to Rome or Florence","page":"pp. 29-30","type":"reference"},"admin":{"id":"publication-200001300","uid":"adlib-publication-200001300","uuid":"5d9acc5d-c414-3453-86db-b399f73b9646"},"summary_title":"Willem van Tetrode, alter Praxiteles"},{"@link":{"notes":"Publ. Illustrated, radiograph, p. 100, no. 109, with discussion on p. 101, and also mentioned on p. 104","page":"pp. 100-1","type":"reference"},"admin":{"id":"publication-200001301","uid":"adlib-publication-200001301","uuid":"674d5258-72dc-3638-a6c4-5dfc8be1ac8c"},"summary_title":"Towards a History of Tetrode's Casting Technique"},{"@link":{"notes":"Publ. p. 17, fig. 9, as an example of a bronze influenced by Sansovino's marble Bacchus, now in the Museo Nazionale del Bargello, Florence. The article is otherwise about stoneware and porcelain figures of Bacchus.","page":"13-25","type":"reference"},"admin":{"id":"publication-200002964","uid":"adlib-publication-200002964","uuid":"1c3998ab-95e0-3f64-9bcc-fbaca5536bae"},"summary_title":"Bacchus in Cambridge: Models and Copies"},{"@link":{"notes":"Cf. See a bronze attributed to Adrien de Vries, cat. no. 181, p. 150: pl. 181, p. 151.This was pointed out by Ian Robertson of the Ashmoleon, Oxford (H. 51.8 cm)","page":"pp. 150-1","type":"reference"},"admin":{"id":"publication-1265","uid":"adlib-publication-1265","uuid":"dc55db52-9b6c-3bf1-93ba-46b7a5274a1c"},"summary_title":"Die Bildwerke in Bronze und in Anderen Metallen"},{"@link":{"notes":"Cf. pp. 410-12, lot 639 another paired with a Faun (attributed to Adriaen de Vries), described as probably German, 17th century. The Fitzwilliam's example is mentioned as 'beautifully cast' and another example in Hamburg.","page":"410-12","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":"Publ. p. 99 in colour","page":"99","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 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London."}],"owners":[{"@link":{"type":"reference"},"admin":{"id":"agent-149638","uid":"adlib-agent-149638","uuid":"7376d833-d0a7-3be0-916e-9c892b7a24d8"},"summary_title":"The Fitzwilliam Museum"}],"project":[{"@link":{"role":[{"value":"reference number"}],"type":"literal"},"name":[{"type":"name","value":"Sculpture UK"}],"summary_title":"Sculpture UK"}],"publications":[{"@link":{"type":"reference"},"admin":{"id":"publication-544","uid":"adlib-publication-544","uuid":"721b393d-009f-30f4-8ad6-caee55ef3bec"},"summary_title":"Fitzwilliam Museum, Cambridge. 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G. Clarke"}],"component":[{"materials":[{"note":[{"value":"dark blue, translucent blue, turquoise, green, yellow, red, and mulberry, flesh-pink, brown, grey, opaque 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-125824","uid":"adlib-term-125824","uuid":"4b9c6839-6345-3262-8a42-294f538950b0"},"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":[{"note":[{"value":"dark blue, translucent blue, turquoise, green, yellow, red, and mulberry, flesh-pink, brown, grey, opaque 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"}}]}],"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, decorated with polychrome enamels over paillons and gilded; the reverse enamelled in grisaille and gilded, with terms, torches, and strapwork, initialled \".I.C.\""},{"value":"Circular with slightly raised applied edge, narrow sloping rim, shallow curved sides and centre. 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"}}}],"first_page_url":"?page=1","from":1,"last_page":1,"last_page_url":"?page=1","links":[{"url":null,"label":"« Previous","active":false},{"url":"?page=1","label":"1","active":true},{"url":null,"label":"Next »","active":false}],"next_page_url":null,"path":"","per_page":24,"prev_page_url":null,"to":4,"total":4}]