[{"admin":{"added":1592951343000,"created":1312633275000,"id":"publication-6919","indexed":1616539747542,"modified":1312672330000,"processed":1615826075028,"source":"adlib","stream":"fitz-online","uid":"adlib-publication-6919","uuid":"8b4a9038-183f-3bc5-8ff1-5233cdf97dbc","version":2},"lifecycle":{"publication":[{"date":[{"value":"2005"}],"place":[{"@link":{"type":"literal"},"name":[{"value":"St Petersburg"}],"summary_title":"St Petersburg"}]}]},"summary_title":"Limozhskie raspisnye \u0117mali v sobranii \u0116rmitazha\/\u00c9maux peints de Limoges de la collection de l'Ermitage","title":[{"primary":true,"value":"Limozhskie raspisnye \u0117mali v sobranii \u0116rmitazha\/\u00c9maux peints de Limoges de la collection de l'Ermitage"}],"type":{"base":"publication"}},{"current_page":1,"data":[{"_index":"ciim","_type":"data","_id":"adlib-object-156453","_score":18.771519,"_source":{"admin":{"added":1592970669000,"created":1312637261000,"flag":"Standard Record","id":"object-156453","indexed":1747160606084,"modified":1714475184000,"processed":1747159409017,"source":"adlib","stream":"fitz-online","uid":"adlib-object-156453","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156453","uuid":"35669590-727e-3743-bf39-a50421cd6c98","version":10},"agents":[{"@link":{"note":[{"value":"proprietor of a furnishing showroom and restoration workshop, trading from 1881 under the name Amad\u00e9e Joubert & Son at the Pheasantry, 152 King\u2019s Road, Chelsea. F\u00e9lix probably became its head after the partnership between Henri Charles Ren\u00e9 Joubert and Jules Joubert was dissolved in 1898. After 1914 the showroom closed, and until F\u00e9lix Joubert\u2019s retirement in 1932, the business concentrated on restoration work. He was an extraordinarily versatile and gifted craftsman, who was referred to by J. H. Duveen as the \u2018Chelsea Wizard\u2019. He collected and restored armour and weapons, and also practiced as a sculptor, decorative painter, cabinetmaker, and designer."}],"type":"reference"},"admin":{"id":"agent-207549","uid":"adlib-agent-207549","uuid":"150c3ca3-e7da-3905-999f-0a5eac1aac8b"},"summary_title":"Joubert, Felix (1872\u20131953)"},{"@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-152235","uid":"adlib-agent-152235","uuid":"abbfd154-1b29-395b-915a-fc47cace0fad"},"summary_title":"Mary Magdalene"}],"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-115872","uid":"adlib-term-115872","uuid":"6da1c0ff-a799-3023-9ff4-fe88fbdd54e2"},"summary_title":"Leonard D. Cunliffe"}],"component":[{"materials":[{"note":[{"value":"blue, green, yellow, brownish-mulbery, mauve, a little red,  black and white"}],"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-28681","uid":"adlib-term-28681","uuid":"c1f659e2-1209-31cf-8ff4-154e11452559"},"summary_title":"gilding"}}],"name":"Decoration","techniques":[{"description":[{"value":"rectangular copper plaque with arched top, the white preparation enamelled in blue, green, yellow, brownish-mulbery, mauve, a little red,  black and white and gilded. The drawing appears black on the white preparation. The circular jewels are foiled. The surface is slightly rippled and almost mat.The counter-enamel is not visible."}],"note":[{"value":"blue, green, yellow, brownish-mulbery, mauve, a little red,  black and white"}],"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-107470","uid":"adlib-term-107470","uuid":"f6217ee1-61ca-3c57-92a1-dd13e97bc77c"},"summary_title":"gilt-metal"}}],"measurements":{"dimensions":[{"dimension":"Height","units":"cm","value":"12.6"},{"dimension":"Width","units":"cm","value":"10.1"}]},"name":"Frame"},{"materials":[{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-39588","uid":"adlib-term-39588","uuid":"b17ff981-06b2-30a2-b9a9-b514fe84a191"},"summary_title":"copper"}}],"name":"Plaque"}],"department":{"value":"Applied Arts"},"description":[{"value":"Copper, decorated with polychrome enamels, foiled 'jewels', and gilding"},{"value":"Rectangular, almost flat copper plaque with arched top, the white preparation enamelled in blue, green, yellow, brownish-mulbery, pale purple, a little red,  black and white and gilded. The drawing appears black through the white preparation. The flesh is white over black with a pale mauve wash applied over parts of the faces and limbs.The circular jewels are foiled with presumed silver paillons. The surface is slightly rippled and almost mat.The counter-enamel is not visible.\nThe Virgin Mary is seated in the centre, looking down at the dead Christ who lies across her knees with his right arm hanging down, and his left extended but only partly visible. The Virgin\u2019s  right hand is raised, and she supports Christ\u2019s right shoulder with her left hand. Christ\u2019s left hand is held by Mary Magdalen, who stands on the right holding a jar of ointment in her right hand. St John stands on the left looking towards the others. Both he and the Magdalene are shown three-quarter view with their heads in profile.\nChrist wears a green head band and a brown cloth round his loins. The Virgin has a mulbery halo with gold rays and eight alternately green and blue jewels. She wears a dark blue cloak over a mulbery gown. Mary Magdalene has waist-length pale brown and gold wavy hair, and wears a green turban-like cap, and a pale purple cloak over a green dress. St John has shoulder-length golden hair, and a green halo with six alternately mulberry and blue jewels. wears a mulberry gown and has a pale blue cloth over his right arm. All have white flesh shaded in grey.\nBehind the figures is a niche with a trefoil arch rising from cylindrical columns with carved capitals and bases. The columns are blue and have three jewels on their capitals and two on their bases. The trefoil arch has a jewel on a trefoil on the two angles. The words \u2018O(insert a large n)  OVO AVER\u2019 are inscribed in gold on the wall of the niche. The lower part is scattered with gold dots over a black ground. The area within the trefoil arch is blue.\nThe plaque is set into a gilt-metal frame with a wire rope edge on the front partly covered by teeth folded over from the back which hold it in place. The frame covers the reverse completely and has  a vertically hinged prop, pierced by two groups of three holes. It is inscribed in black on the left B\/55\/L.D.C, and on the right 'igi' underlined, and lower down '615' on a tabula ansata with 'Ic.' (dot above I) above and below"}],"identifier":[{"accession_number":"M.7-1938","primary":true,"type":"accession number","value":"M.7-1938"},{"priref":"156453","type":"priref","value":"156453"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156453","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156453"}],"inscription":[{"description":[{"value":"underlined"}],"location":"on back at top right","method":"hand-written, probably in black Indian ink","transcription":[{"value":"igi"}],"type":"inscription"},{"description":[{"value":"possibly with a V in front of the first Ic."}],"location":"half-way down the right of the back","method":"hand-written, probably in black Indian ink","transcription":[{"value":"'615' on  a tabula ansata inscribed with \u2018Ic.\u2019 (dot above I) above and \u2018Ic.\u2019 below"}],"type":"inscription"},{"location":"on left side of back","method":"hand-written in black","transcription":[{"value":"B\/55\/L.D.C"}],"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":"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"},"note":[{"value":"Provenance from information in list of objects selected by the Fitzwilliam from Mr Cunliffe\u2019s collection."}]}],"creation":[{"date":[{"earliest":1500,"era":["CE"],"latest":1500,"note":[{"value":"When acquired, the plaque was dated to c. 1480, but it probably dates from around 1500. Its authenticity has been doubted but the degree of damage to its edges suggests that it is probably genuine, but heavily restored."}],"precision":"circa","value":"1500"}],"maker":[{"@link":{"qualifier":"probably workshop of","role":[{"value":"maker"}],"type":"reference"},"admin":{"id":"agent-88154","uid":"adlib-agent-88154","uuid":"fb2f6872-99ae-3003-8dd4-953d30c3a7dc"},"summary_title":"Master of the Orl\u00e9ans Triptych"}],"note":[{"value":"Plaques of this arched form were sometimes used as paxes, but few have retained their handle. Others were set into small free-standing frames, or were framed and hung at the head of the owner\u2019s bed, as an image de chevet."},{"value":"The composition is closely related to a Piet\u00e0 in the Hermitage, St Petersburg, which has a similar iconography but with a tau Cross and landscape in the background, and was attributed to the Master of the Orleans Triptych by Marquet Vasselot. (see Documentation). It differs from the Fitzwilliam\u2019s in three other iconographical details: the Magdelene has a jewelled halo, St John is shown three-quarter face instead of in profile, and there is a flower near the lower left corner. Another plaque in the Hermitage has analogous icongraphy and was alsoformerly attributed to the Master of the Orleans triptych. (see Documentation, Rapp\u00e9 and Boulkina, 2005). A plaque of this subject, presumably deriving from a shared source, but much more naively delineated, and with the group in a room with an ogee arch above is in the Louvre, OA 4011 (see Documentation, Baratte, 2000). All four plaques have a Mary Magdalene who wears a turban-like cap, fashionable in the mid to late 15th century, which distinguishes them from another series of plaques on which she it hatless and vaseless. She also appears in this way on the right wing of a triptych by the Master of the Orleans Triptych in the Hermitage (F 275), and in the Crucifixion forming the central panel of the triptych attributed to the workshop of Nardon P\u00e9nicaud at Bourges. This type of headdress went out of fashion by the early sixteenth century but continued to be worn by Mary Magdalene in works of art in which she was not depicted with her hair hanging loosely about her shoulders."},{"value":"The unidentified enameller known as the Master of the Orl\u00e9ans Triptych was named by J.J. Marquet de Vasselot in 1921 after a triptych which had been given to the museum at Orl\u00e9ans in 1825."}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-106256","uid":"adlib-term-106256","uuid":"1bd8ad44-09c2-3c55-825a-635e463bb56b"},"summary_title":"16th Century, 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M. Joubert, probably F\u00e9lix Joubert (1872\u20131953), The Pheasantry, 152 King\u2019s Road, Chelsea, London, from whom purchased probably on 17 November 1930 for \u00a350 by Leonard. D. Cunliffe (1860\u20131937); bequeathed by him."}],"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":"Cf.  p. 88, and p. 249, no. 60, ill. pl. XXI in the Hermitage, St Petersburg, which the author attributes to the workshop of the Master of the Orl\u00e9ans Triptych. Formerly in the Basilewsky collection. Rectangular with rounded top. Unframed","page":"88, 249","type":"reference"},"admin":{"id":"publication-6072","uid":"adlib-publication-6072","uuid":"16b7c8dd-a034-3641-b87a-c2f1ae0386e8"},"summary_title":"Les \u00e9maux limousins de la fin du XVe si\u00e8cle et de la premi\u00e8re partie du XVIe; \u00e9tude sur Nardon Penicaud et ses contemporains"},{"@link":{"notes":"Cf. pp. 122-3, no. 48 (F 273) the plaque in the Hermitage published by Marquet de Vasselot in 1921 (above) illustrated in colour. The plaque is slightly larger than the Fitzwilliam's h. 15, w. 11 cm. Another plaque in the Hermitage is mentioned, but was not considered by the authors to be by the same hand.","page":"122-3","type":"reference"},"admin":{"id":"publication-6117","uid":"adlib-publication-6117","uuid":"11dbf863-8759-3f10-b7ae-107ffcf6fd4d"},"summary_title":"\u00c9maux limousins du Mus\u00e9e national de l'Ermitage de Saint-P\u00e9tersbourg"},{"@link":{"notes":"Cf. p. 52, OA 4011, the author does not attribute the plaque and is a little doubtful of its authenticity","page":"52","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. 32, no. 6 (F 273; See also Limoges, 2004, no. 48) and p. 33, no. 7 (F 1418). The triptych on which a comparable Mary Magdalene is on the right wing pp. 30-31 no. 5 (F 275).","page":"33","type":"reference"},"admin":{"id":"publication-6919","uid":"adlib-publication-6919","uuid":"8b4a9038-183f-3bc5-8ff1-5233cdf97dbc"},"summary_title":"Limozhskie raspisnye \u0117mali v sobranii \u0116rmitazha\/\u00c9maux peints de Limoges de la collection de l'Ermitage"},{"@link":{"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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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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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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The jewels are formed by blobs of enamel over silver foil. The reverse has almost clear but cloudy and uneven counter-enamel with many pinholes"}],"note":[{"value":"multi-couche technique"}],"reference":{"@link":{"type":"reference"},"admin":{"id":"term-28662","uid":"adlib-term-28662","uuid":"dd47e505-ccda-3f2b-b576-6104109430e8"},"summary_title":"enamelling"}}]}],"content":{"motifs":[{"@link":{"type":"reference"},"admin":{"id":"term-108432","uid":"adlib-term-108432","uuid":"a486efc4-a304-3aa3-93bd-528fc7ebaff4"},"summary_title":"New Testament"}]},"department":{"value":"Applied Arts"},"description":[{"value":"Copper roundel decorated with polychrome enamels, and some jewelling over paillons, in circular gilt-wood frame. The Virgin sits with the Christ Child on her lap on the left in front of the gable end of a building. One king kneels to present a casket while the other two kings stand behind her."},{"value":"Circular very slightly convex copper plaque with a small hole on each side, painted in multi-couche technique in blue, greyish-blue, green, turquoise, pale yellowish-brown, mulberry, black, grey, on a white ground, with  jewelling over silver foil. The Virgin is seated on a wooden stool. She looks downwards, and holds the wide-awake infant Christ on her knee to greet one of the kings, who kneels before him holding out an open casket. A second king stands behind them in the centre, pointing to the right with his right index finger. The third more youthful king stands on the right. Behind the figures is the gable end of a rustic building, and on the right, an area of sky with a star. On the reverse, the copper is visible through the almost clear but cloudy counter-enamel with many pin holes. The plaque is mounted in a circular gilt wood frame with a border of small impressed circles round the top, and on the cavetto, a pricked repeating pattern of elliptical outlines. On accession the back was closed by brown paper, with near the top a small dark red leather suspension tab."}],"identifier":[{"accession_number":"M.39-1904","primary":true,"type":"accession number","value":"M.39-1904"},{"priref":"156425","type":"priref","value":"156425"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156425","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156425"}],"inscription":[{"description":[{"value":"circular paper label printed in a circle in black with the collection name surrounding the lot number in black ink"}],"location":"on brown paper backing of frame","method":"printed in black and hand-written in black ink","transcription":[{"value":"MAGNIAC COLLECTION, printed, 516 in hand-written black ink"}],"type":"label"},{"description":[{"value":"rectangular with blue border forming four shallow lobes"}],"location":"on brown paper backing of frame","method":"hand-written in black ink","transcription":[{"value":"Mr Magniac."}],"type":"label"},{"location":"on brown paper backing near the top","method":"hand-written in pencil","transcription":[{"value":"528"}],"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":"Entry date: 1904"}]}],"creation":[{"date":[{"earliest":1515,"from":{"earliest":1515,"era":["CE"],"latest":1515,"precision":"circa","value":"1515"},"latest":1530,"range":true,"to":{"earliest":1530,"era":["CE"],"latest":1530,"value":"1530"}}],"maker":[{"@link":{"qualifier":"possibly","role":[{"value":"production"}],"type":"reference"},"admin":{"id":"agent-206155","uid":"adlib-agent-206155","uuid":"a9ea7698-b53b-3e09-9513-ad18afd0846c"},"summary_title":"P\u00e9nicaud workshop"},{"@link":{"qualifier":"possibly","role":[{"value":"production"}],"type":"reference"},"admin":{"id":"agent-207553","uid":"adlib-agent-207553","uuid":"616b8dcf-7aa2-31c9-aa9b-012c74d905a2"},"summary_title":"Master of the High Foreheads"}],"note":[{"value":"The story of the journey of three wise men from the east to find the newly-born King of the Jews is told in St Matthew\u2019s Gospel, 2, 1-12. The Adoration of the Magi depicts their arrival at Bethlehem to worship the Infant Christ and present to him gifts of gold, frankincense and myrh signifying his royalty, divinity, suffering and death.\nThe small holes on each side, now filled, indicate that the medallion may originally have been intended to be mounted as a hat badge. Busts or  figures of Saints, and small Biblical scenes were popular subjects for these badges, which were worn on the upturned brims of men's hats during the late fifteenth and first half of the sixteenth century. A portrait of Louis XII painted c. 1510-14, in the Royal Collection at Holyrood House, Edinburgh, shows the king wearing a badge decorated with three saints. Several enamelled roundels of about the same size as the Fitzwilliam's, in the Walters Art Museum, the Museum Angewandte Kunst, Vienna, the Mus\u00e9e des Arts d\u00e9coratif, Paris, and the Mus\u00e9e des Beaux-Arts, Limoges  have 'jewelled' borders which make them appear even more likely to have been used in this way.\nThis and several other small plaques of the Adoration of the Magi were derived from either the same manuscript or printed source, or from one or other of a series of more accomplished late fifteenth century plaques attributed to the Monvaerni Master, which include Joseph on the left, the Virgin seated with an alert Christ Child on her lap, a bearded king kneeling to present a rectangular casket, two others standing behind him, of whom one or both are pointing upwards or sideways with one index finger, and an open gable end of a stable in the left background. A rectangular plaque with a slightly curved top in the Mus\u00e9e Municipal de l\u2019Ev\u00each\u00e9, Limoges, provides an approximate date range for the earliest examples because the scene includes on the right of the Biblical group, St John presenting Jean Barton II, Bishop of Limoges, from 1484-1510. and was probably made before the death in 1497 of his uncle and predecessor, Jean I Barton.  For the other plaques attributed to the Monvaerni Master see Documentation, Marcheix, 1967. Dalton attributed the Fitzwilliam\u2019s plaque to \u2018an enameller of the school of Nardon P\u00e9nicaud, and dated it to about 1500. However, the white preparation, only slight deterioration of the blue enamel, and almost clear cloudy counter-enamel suggest that it is more likely to be closer to 1525. The treatment of the heads, and the jewelling round the edges of Mary\u2019s halo and the garments of both figures, seems close in style to those of the Virgin and Gabriel on an unattributed pax of the Annunciation in the Victoria and Albert Museum."}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-106256","uid":"adlib-term-106256","uuid":"1bd8ad44-09c2-3c55-825a-635e463bb56b"},"summary_title":"16th 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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(known as the Colworth Collection), 5th Day, 7 July, p. 138, lot\u00a0516, sold for \u00a333.12.0 to Frank McClean, Tunbridge 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.138, 5th day, lot 516","page":"138","type":"reference"},"admin":{"id":"publication-5925","uid":"adlib-publication-5925","uuid":"5e8330b4-b645-34d4-88b6-acecc1f61ce6"},"summary_title":"Catalogue of the Renowned Collection of Works of Art, chiefly formed by the late Hollingworth Magniac, Esq. (Known as the Colworth Collection)"},{"@link":{"notes":"Publ., p. 109, no. 63, pl. XXIII, The reference by Dalton to two circular plaques in the Ashmolean Museum, with the Ecce Homo and the Piet\u00e0, presumably the two now described as Christ as Man of Sorrows and Lamentation over the Dead Christ, does not seem to be relevant, other than that the subjects are shown in a simple manner, comparable to this plaque.","page":"109","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":"Publ. p. 121, brief mention; the author likened it to some enamels by the Master of the High Foreheads. 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It has four holes in the perimeter. The size of the plaque is 6.8 cm and the frame on a covered stand 14 x 12.5 cm.","page":"26-7","type":"reference"},"admin":{"id":"publication-9084","uid":"adlib-publication-9084","uuid":"a4359251-d1f6-36ed-a382-709fba2d7769"},"summary_title":"De figuris et coloribus. Northern and Limoges Enamels (1150-1625). 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Inv. no. Kgewm H. 997 Cl. Formerly in the Clemens Collection. This plaque is in a very different style from the others.","page":"93-6","type":"reference"},"admin":{"id":"publication-7040","uid":"adlib-publication-7040","uuid":"3adfdbf4-05a1-311f-88b6-d5f5c591182c"},"summary_title":"Email, Kunst, Handwerk, Industrie"},{"@link":{"notes":"Cf. p. 98, no. 61, a small Adoration plaque framed as a pax in a private collection in Belgium, has iconography comparable to the Fitzwilliam's","page":"96","type":"reference"},"admin":{"id":"publication-6082","uid":"adlib-publication-6082","uuid":"933bba5a-0cd4-3497-ace0-4e67876ceb78"},"summary_title":"\u00c9maux de Limoges XIIe-XIXe si\u00e8cle"},{"@link":{"notes":"p. 28-9, no. 9. Formerly in the M.A. Rosenberg collection, Paris, sold, 1909. 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Its style is more closely related to an arched plaque formerly in the Pringsheim and Marcel von Nemes collections attributed to Nardon Penicaud when sold by Sotheby\u2019s London in 2004, and to an unusual plaque enamelled on silver in the Wallace Collection attributed to school of Jean I Penicaud.","page":"24-5","type":"reference"},"admin":{"id":"publication-7037","uid":"adlib-publication-7037","uuid":"c3e952d4-5ea2-3163-94a8-bd744dae4e83"},"summary_title":"F\u00fchrer durch das Kunstgewerbe-Museum zu Frankfurt am Main"},{"@link":{"notes":"Cf. p. 50, no. 248, unusual in being enamelled on silver, and one of the latest in the series","page":"50","type":"reference"},"admin":{"id":"publication-6083","uid":"adlib-publication-6083","uuid":"09810329-53bf-3713-bc5b-e194f6467063"},"summary_title":"Wallace Collection, Catalogue, Objects of Art, Illustrations"},{"@link":{"notes":"Cf. p. 49, lot 52, attributed to Nardon P\u00e9nicaud, second quarter of 16th century. H. 15.6 cm. 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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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title","value":"Limoges enamel basin, by Pierre Reymond (detail)"}]},"type":{"base":"media","type":"image"}}],"name":[{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-89303","uid":"adlib-term-89303","uuid":"7012fd66-769f-33c8-bb38-d805db27c8c9"},"summary_title":"basin"}},{"value":"ewer basin"}],"note":[{"type":"history note","value":"Baron Gustave de Rothschild (1829-1911); Sir Philip Sassoon, Bt., MP, CMG and the Countess of Rocksavage; Christie\u2019s, 26-27 November, 1919, Catalogue of objets of art, porcelain & faience and fine French tapestry, the property of Sir Philip Sassoon, Bart, M.P., C.M.G., and of the Countess of Rocksavage, p. 10, lot 74; George Durlacher; Christie\u2019s, 6-7 April 1938, Catalogue of Italian maiolica bronzes & objects of art, French and Italian furniture of the Renaissance, tapestry and textiles sold by order of George Durlacher Esq., p.\u00a012, lot 32, illustrated opposite; the Fitzwilliam\u2019s copy of the Catalogue is inscribed \u2018\u2018Bt by Durlacher at his sale at Christie\u2019s, by L.C.G. 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.  The engraving shows the basin without the central coat-of-arms on the bass.","page":"24-33","type":"reference"},"admin":{"id":"publication-200002855","uid":"adlib-publication-200002855","uuid":"75329c42-0cd7-369d-9d7e-994fea2ba4f9"},"summary_title":"Pierre Reymond, Emailleur \u00e0 Limoges"},{"@link":{"notes":"Publ. p. 10, lot 74","page":"10","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":{"notes":"Publ. p. 12, lot 32, illustrated opposite","page":"12","type":"reference"},"admin":{"id":"publication-6168","uid":"adlib-publication-6168","uuid":"6bc3976d-c874-3198-bc49-5521d852b034"},"summary_title":"Catalogue of Italian maiolica bronzes and objects of art, French and Italian furniture of the Renaissance, tapestry and textiles sold by order of George Durlacher Esq."},{"@link":{"notes":"Publ. p. 185, fig. 6.6, front and back illustrated, p. 252, cat. 215","page":"185, 252","type":"reference"},"admin":{"id":"publication-8743","uid":"adlib-publication-8743","uuid":"a86a8f73-aae5-372c-930d-aa215bd02c9b"},"summary_title":"Feast & Fast. The Art of Food in Europe 1500-1800"},{"@link":{"notes":"Ref. For the source of the scenes, p. 131, no. 1 (339), Creation of Eve; p. 132, no. 2 (339), God admonishing Adam and Eve; p. 133, no. 3 (340), The Fall of Man; p. 134, no. 4 (340), The Expulsion from Paradise; p. 135, no. 5 (340), and Cain slaying Abel.","page":"131-5","type":"reference"},"admin":{"id":"publication-6184","uid":"adlib-publication-6184","uuid":"26381161-6750-3ce2-92dd-d0916d46831c"},"summary_title":"Illustrated Bartsch, 12 Formerly Volume 7 (Part 3) Hans Baldung Grien, Hans Springklee, Lucas van Leyden"},{"@link":{"notes":"Ref. For the sources of the scenes,  p. 32, 1 (1) the Creation; p. 33 1 (2) the First prohibition, p. 34 1 (3) the Fall of Man, p. 35 1 (4) the Expulsion and p. 36 1 (5) Cain killing Abel.","page":"32-6","type":"reference"},"admin":{"id":"publication-6185","uid":"adlib-publication-6185","uuid":"155e644a-2ff4-301e-91a8-4ad523c75b26"},"summary_title":"The New Hollstein, Dutch and Flemish Etchings, Engravings and Woodcuts 1450-1700"},{"@link":{"notes":"Cf. pp. 244-8, no. 141, initialled by Pierre Reymond, and dated 1563. It has the second and third scenes in different order from the Fitzwilliam's dish. The author lists the other examples, and illustrates the ewer and basin dated 1558 made for L. 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. XV & XVI Centuries, The State Ermitage Collection"},{"@link":{"type":"reference"},"admin":{"id":"publication-6117","uid":"adlib-publication-6117","uuid":"11dbf863-8759-3f10-b7ae-107ffcf6fd4d"},"summary_title":"\u00c9maux limousins du Mus\u00e9e national de l'Ermitage de Saint-P\u00e9tersbourg"},{"@link":{"notes":"Cf.  pp. 144-7, no. 54, the basin mentioned in Dobroklonskaya 1969 and Limoges, 2004.","page":"144-7","type":"reference"},"admin":{"id":"publication-6919","uid":"adlib-publication-6919","uuid":"8b4a9038-183f-3bc5-8ff1-5233cdf97dbc"},"summary_title":"Limozhskie raspisnye \u0117mali v sobranii \u0116rmitazha\/\u00c9maux peints de Limoges de la collection de l'Ermitage"},{"@link":{"notes":"Cf. pp. 105-07, no. 12, unsigned, but attributed to Pierre Reymond, and dated c.1560. (Inv. 47,2,17 from the W.R. Hearst Collection), d. 46.7 cm. It has the second and third scenes in correct order, but Eve has back to viewer, and the arms of de Mesmes on the underside of the boss (but did not in the late 19th century). Cf. also pp. 99-103,  no. 11, initialled P.R. and dated c. 1558.  (inv. 48.2.19 from the W.R. Hearst Collection), d. 47.6 cm. On p. 101, fig. 22 and 23 are illustrations of Luca van Leyden's God admonishing Adam and Eve (The First Prohibition) and The Fall of Man, respectively.","page":"99-107","type":"reference"},"admin":{"id":"publication-6187","uid":"adlib-publication-6187","uuid":"d9b56215-1ae8-34ec-b9f5-72f704ccc214"},"summary_title":"The Painted Enamels of Limoges. A Catalogue of the Collection of the Los Angeles County Museum of Art"},{"@link":{"notes":"Cf. p. 23, note 22 and p. 25, pl. 16, a basin with the scenes in the usual order, and following the print of the Admonition closely, in the collection of the Dukes of Saxe-Gotha at Schloss Friedenstein, which was first recorded in an inventory of 1764.  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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The central oval medallion has a white ground, decorated in translucent blue, green, turquoise, brownish-yellow, and mulberry enamels over foils, and in pinkish-red, and white enamels for the flesh .The border has a black ground, with motifs in translucent enamels over foils. Gilding, brownish in places, has been applied for outlines or details over both areas."}],"note":[{"value":"translucent blue, green, turquoise, brownish-yellow, and mulberry;  pinkish-white, red, white, and black"}],"reference":{"@link":{"type":"reference"},"admin":{"id":"term-28662","uid":"adlib-term-28662","uuid":"dd47e505-ccda-3f2b-b576-6104109430e8"},"summary_title":"enamelling"}},{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-28681","uid":"adlib-term-28681","uuid":"c1f659e2-1209-31cf-8ff4-154e11452559"},"summary_title":"gilding"}}]},{"materials":[{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-39588","uid":"adlib-term-39588","uuid":"b17ff981-06b2-30a2-b9a9-b514fe84a191"},"summary_title":"copper"}}],"name":"Plaque"},{"measurements":{"dimensions":[{"dimension":"Height","units":"cm","value":"10.1"},{"dimension":"Width","units":"cm","value":"7.2"}]},"name":"Frame"}],"content":{"motifs":[{"@link":{"type":"reference"},"admin":{"id":"term-1111","uid":"adlib-term-1111","uuid":"46c949dd-f376-3538-878f-397baee5be09"},"summary_title":"mythology"}]},"department":{"value":"Applied Arts"},"description":[{"value":"Mirror enclosed in a gilt-metal frame with on the exterior a copper plaque decorated with polychrome enamels, partly over foils, and gilded. Jupiter in the form of Diana and Callisto in a landscape."},{"value":"Elongated octagonal slightly convex copper plaque, decorated in polychrome enamels over foils and and gilded. The central oval medallion has a white ground, decorated in translucent blue, green, turquoise, brownish-yellow, and mulberry enamels over foils, and in pinkish-red, and white enamels for the flesh. The border has a black ground, with motifs in translucent enamels over foils. Gilding, brownish in places, has been applied for outlines or details over both areas. The plaque is mounted in an octagonal gilt-metal frame hinged to another octagonal gilt-metal frame with an egg and dart border enclosing an octagonal bevelled mirror. At the top there is a foliated suspension loop with a ring through it, and another ring through that. decorated in polychrome enamels over foils and and gilded.\nWithin a horizonal oval medallion Jupiter in the form of Diana embraces Callisto in a landscape. The former wears a mulberry gown with a blue tunic and a blue scarf which billows out behind her. Callisto wears a blue dress which reveals her right leg. Both have wavy brownish-yellow hair drawn back from their brows. A gold bow and a quiver lie on the grass in the foreground. In the background to the right there is a tree on a mound, and to the left, a house beside a tree. The sky is blue. Above and below the panel there is a bird with blue, and mulberry plumage, flanked by green, mulbery or blue foiled flowers, reserved in a black ground decorated with delicate gold tendrils."}],"exhibitions":[{"@link":{"catalogue":"125","type":"reference"},"admin":{"id":"exhibition-2376","uid":"adlib-exhibition-2376","uuid":"3e2208a0-ad25-3b64-b03f-cb63aa00fd02"},"summary_title":"Treasured Possessions from the Renaissance to the Enlightenment"}],"identifier":[{"accession_number":"M.11-1938","primary":true,"type":"accession number","value":"M.11-1938"},{"priref":"139824","type":"priref","value":"139824"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/139824","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/139824"}],"inscription":[{"description":[{"value":"circular paper label; C looks rather like an L"}],"location":"on back of enamel plaque","method":"hand-written in faded black ink","transcription":[{"value":"B\/1\/L.D.C."}],"type":"label"}],"institutions":[{"@link":{"type":"reference"},"admin":{"id":"agent-149638","uid":"adlib-agent-149638","uuid":"7376d833-d0a7-3be0-916e-9c892b7a24d8"},"summary_title":"The Fitzwilliam Museum"}],"legal":{"credit_line":"L.D. Cunliffe Bequest, 1937"},"lifecycle":{"acquisition":[{"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-149807","uid":"adlib-agent-149807","uuid":"e699d770-0f16-32bf-b0b1-da62f9118c29"},"summary_title":"Cunliffe, Leonard Daneham"}],"date":[{"earliest":1938,"latest":1938,"value":"1938-02-15"}],"method":{"value":"bequeathed"}}],"creation":[{"date":[{"earliest":1600,"from":{"earliest":1600,"era":["CE"],"latest":1600,"precision":"circa","value":"1600"},"latest":1625,"range":true,"to":{"earliest":1625,"era":["CE"],"latest":1625,"value":"1625"}}],"maker":[{"@link":{"qualifier":"probably","role":[{"value":"maker"}],"type":"reference"},"admin":{"id":"agent-179445","uid":"adlib-agent-179445","uuid":"354c0b9b-f4b7-324d-9187-afb7d4d7d4c6"},"summary_title":"Limosin, Fran\u00e7ois I"},{"@link":{"qualifier":"perhaps","role":[{"value":"maker"}],"type":"reference"},"admin":{"id":"agent-179447","uid":"adlib-agent-179447","uuid":"e5d8ff65-d64f-33a8-bc21-4d0dbc106ae8"},"summary_title":"Limosin, Jean"}],"note":[{"value":"Portable mirrors in silver or gilt-metal frames backed by Limoges plaques survive in large numbers. They have octagonal or oval frames with a suspension loop at the top, and are decorated in polychrome enamels, partly over paillons (silver foil), usually with a central medallion surrounded by a border of stylized flowers and birds reserved in a dark manganese-black ground overlaid by gold foliage or rinceaux. There are several formats for these borders. Others have a mythological scene or figures with ornamental surrounds which cover the whole plaque. None of the recorded examples are dated, but on stylistic grounds their manufacture probably extended from the late 1590s to the 1620s.. The only closely datable examples have comparable borders around bust portraits of Louis XIII, or of Anne of Austria, probably made at the time of their marriage in 1615 (See Documentation, Baratte, 2000, and Sotheby's, 19 November, 2007, lot 26). Comparable motifs occur on a rectangular plaque with a portrait of the King apparently some ten years older in the Wallace Collection, which bears the initials IL separated by a fleur de lis, for Jean Limosin (c. 1580-1646).\n\nOvid tells the story of Jupiter\u2019s deception of Callisto by appearing to her as Diana, and then ravishing her, in Metamorphoses 2, 420-531. Associated with a mirror it might serve as a warning to the owner to beware of deceitful suitors. The figures on the plaque was probably derived from Bernard Salomon\u2019s woodcut illustration of 'Caliston de\u00e7ue par Jupiter' in  La Metamorphose d\u2019Ovide figuree, Lyon (Jean de Tournes), 1557, or the later editions of 1564 or 1583, and might also have been influenced by an engraving by  Antonio Tempesta  (1555-1630) in Metamorphoseon sive transformationum ovidianarum . . Amsterdam, 1606, pl. 13, which has the direction of the figures transposed.  A plaque for a mirror decorated with the same figures is in the Hermitage, St Petersburg. (see Documentation).  Another decorated with an earlier moment in the story, Jupiter in the form of Diana appearing to Callisto is in the Victoria and Albert Museum (8421-1863), and one with a later incident, Diana and her companions bathing with Callisto sitting apart because of her loss of virginity is in the Mus\u00e9e municipal de l\u2019\u00c9v\u00each\u00e9, Limoges.\n\nThis plaque has been attributed probably to Fran\u00e7ois I Limosin on account of stylistic resemblance to an oval plaque in the Mus\u00e9e du Louvre, which is initialled FL (see Documentation, Baratte, 2000).  It is also closely comparable to three octagonal mirrors attributed to Jean I (or II) Limosin, and one attributed either to him or Fran\u00e7ois Limosin in the James A. de Rothschild collection at Waddesdon Manor (see Documentation, Marcheix, 1977) These are decorated with mythological subjects and have similar flowers and birds reserved in the black background around the scene. Catalogue nos. 36 and 37 are signed I.L., with a fleur de lys between the letters on no. 37."}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-125343","uid":"adlib-term-125343","uuid":"d348d136-7498-3a55-85f7-09117d44d4e6"},"summary_title":"17th Century, Early"}],"places":[{"@link":{"type":"reference"},"admin":{"id":"term-15498","uid":"adlib-term-15498","uuid":"61725bf5-360f-3837-8aab-3c90b956a537"},"hierarchies":[[{"@link":{"type":"literal"},"name":[{"value":"France"}],"summary_title":"France","type":"country"},{"@link":{"type":"literal"},"name":[{"value":"Haute Vienne"}],"summary_title":"Haute 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