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A a half-length figure of the Virgin holding the Christ Child to her breast, against a black ground strewn with gold stars, titled 'S.MARIA', and initialled 'I L' with an ill-defined fleur-de-lys or cross between the letters"},{"value":"Rectangular, convex copper plaque with a small circular hole in each corner, decorated with translucent, blue, green, mulberry and purple enamels, and yellowish-brown, pinkish-red, grey, black and white enamels, and gilded. The outlines are executed in black, and the flesh areas are hatched and cross-hatched in grey and black, and stippled in pinkish-red. The counter-enamel is transparent.\nA half-length figure of the Virgin holding the Christ Child to her breast with her right hand and helping him to feed with her left. The Virgin has a blue and purple headdress over her brownish-yellow hair, and wears a purple and mulberry gown with long blue sleeves, and a blue cloak. The Christ Child wears a white napkin. There are small gold plants on the green ground below, and the black ground above is scattered with gold stars around the large striated halo of the Virgin. At the bottom below a gold lines, is a horizontal black band inscribed 'S.MARIA\u2019 between stylized plant sprays, and on the extreme right the initials \u2018I L\u2019 with an ill-defined fleur-de-lys or cross between them, all in gold. A narrow gold line runs round the outer edge of the plaque."}],"identifier":[{"accession_number":"MAR.M.255-1912","primary":true,"type":"accession number","value":"MAR.M.255-1912"},{"priref":"156450","type":"priref","value":"156450"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156450","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156450"}],"inscription":[{"location":"on front at the bottom","method":"painted in","transcription":[{"value":"S.MARIA"}],"type":"inscription"},{"description":[{"value":"with an ill-defined fleur-de-lys or cross between letters"}],"location":"on front in lower right corner","method":"painted in gold","transcription":[{"value":"\u2018I L"}],"type":"initials"},{"description":[{"value":"circular paper label inscribed  in faded black ink"}],"location":"on back","method":"hand-written in faded black ink","transcription":[{"value":"Jean\/Laudin\/MARLAY\/1912"}],"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":"C.B. Marlay Bequest"},"lifecycle":{"acquisition":[{"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-149674","uid":"adlib-agent-149674","uuid":"de1bf9dd-2091-39ca-85f6-41e736f6e32b"},"summary_title":"Marlay, Charles Brinsley"}],"date":[{"earliest":1912,"latest":1912,"value":"1912"}],"method":{"value":"bequeathed"}}],"creation":[{"date":[{"earliest":1605,"from":{"earliest":1605,"era":["CE"],"latest":1605,"precision":"circa","value":"1605"},"latest":1635,"range":true,"to":{"earliest":1635,"era":["CE"],"latest":1635,"value":"1635"}}],"maker":[{"@link":{"qualifier":"probably","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":"The earlier attribution of this plaque to Jean Laudin was probably made in error for Jacques Laudin I or II who signed with the initials \u2018.I.L.\u2019, but without a fleur-de-lys or cross between the letters. The latter version is associated with Jean or Jehan Limosin (c. 1580; d. 1646) and after 1615 with his workshop. It may also have been used by his brother Joseph Limosin."},{"value":"The image of the Virgin breast-feeding the Infant Christ (Virgo lactens) was copied from a print etched and engraved by Annibale Carracci (1560-1609) in about 1585-7.  A similar image occurs on a plaque with arched top, attributed to Jean Limosin  in the Victoria and Albert Museum (2804-1856), which has rather more prominent hatched shading and no title at the bottom. The rectangular format is comparable to plaques of the Virgin and Child in the Mus\u00e9e des Arts d\u00e9coratifs, Paris, and St Catherine of Alexandria in the Walters Art Gallery, Baltimore, which has a star-strewn background and S CATHARINA in gold on a horizontal panel at the bottom followed by the artist\u2019s initials with a clear fleur-de-lys between them. (See Documentation) An unsigned plaque of St Agnes, similarly titled, and of the same size as the Fitzwilliam\u2019s, was with Bernard Descheemaeker Works of Art, in Antwerp in 2009.\n\nJean or Jehan Limosin I was one of several sons of Fran\u00e7ois Limosin ( c. 1550- c.1606). His older brother, Leonard, and younger brother, Joseph were also enamellers. He was not mentioned in the roll for the taille in 1602 which suggests that he was too young to be included, and therefore probably born about 1580. He married Anne Chambinaud, probably about 1605. They appear to have lived in the parental home until 1615 when Leonard and Jean divided their inheritance. Jean received all the enamels and enamelling equipment and moved out into a nearby house which belonged to his mother-in-law, while L\u00e9onard remained in the parental home. Documents in the archives of the department of Haute-Vienne at Limoges dated in 1621, 1623 and 1627 referred to Jean as enameller to the King. which explains his use of a fleur-de-lys between his initials when he signed enamels, but this may have been used as a workshop mark after 1615. It was also used by their relative L\u00e9onard Limosin (1560\/65-1635). Jean's brother Joseph probably worked with him, and it is difficult to distinguish between their enamels. Jean was still working in 1635 when he was described as \u2018esmailleur\u2019 in the roll for the taille. 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St Eleonor holding a palm, in an oval medallion titled below in two panels 'SAINTE' 'ELEONOR'; raised white foliage reserved in a black ground in the spandrels"},{"value":"Rectangular copper plaque with slightly waisted sides and a hole at top centre and at bottom centre, enamelled in  blue, green, yellow, pink, flesh- pink, orange-red, stone, brown, black, and white, and gilded. The counter-enamel is cloudy dark brownish-black.\nAn oval medallion with a white border encloses a full-length seated figure of St Eleonor holding a green palm in her left hand, and resting her right hand on her breast. She has black and red jewels in her hair, and wears a red long-sleeved dress highlighted in pink, a white collar with red stripes, and a brooch at centre front, and a blue ermine-lined cloak sem\\'e9 with gold fleurs-de-lys. To her left there is a chest covered by a white cloth decorated with fleur-de-lys, on which rests a crown and sceptre. Behind her is a stone-coloured wall and a black background. The black spandrels outside the frame are decorated in raised white with stylized foliage. Two narrow white panels at the bottom of the plaque are inscribed in black,'SAINTE ELEONOR'.  Signed on the reverse in gold: 'B.TE. NOVAILHER.\/ EMAILIEVR\/A. LIMOGES'  followed by a flourish."}],"exhibitions":[{"@link":{"type":"reference"},"admin":{"id":"exhibition-2107","uid":"adlib-exhibition-2107","uuid":"07086265-735b-3fd0-90c6-7b1c4f93cb94"},"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."}],"identifier":[{"accession_number":"M.47-1904","primary":true,"type":"accession number","value":"M.47-1904"},{"priref":"156433","type":"priref","value":"156433"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156433","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156433"}],"inscription":[{"location":"on front of plaque at the bottom","method":"painted in black","transcription":[{"value":"SAINTE.\u2019 \u2018ELEONOR."}],"type":"inscription"},{"description":[{"value":"the TE is raised and smaller"}],"location":"on back","method":"painted in gold","transcription":[{"value":"B.TE. NOVAILHER.\/EMAILIEVR\/A. LIMOGES\u2019 followed by a flourish"}],"type":"signature"},{"location":"on back","method":"handwritten in black","transcription":[{"value":"PN and P     \/Sl"}],"type":"inscription"}],"institutions":[{"@link":{"type":"reference"},"admin":{"id":"agent-149638","uid":"adlib-agent-149638","uuid":"7376d833-d0a7-3be0-916e-9c892b7a24d8"},"summary_title":"The Fitzwilliam Museum"}],"legal":{"credit_line":"Frank McClean Bequest"},"lifecycle":{"acquisition":[{"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-172414","uid":"adlib-agent-172414","uuid":"73d94f64-8c0d-30c1-9764-25b005f3ce1d"},"summary_title":"McClean, Frank"}],"date":[{"earliest":1904,"latest":1904,"value":"1904"}],"method":{"value":"bequeathed"},"note":[{"value":"Frank McClean died in Brussels on 8 November 1904"}]}],"creation":[{"date":[{"earliest":1730,"from":{"earliest":1730,"era":["CE"],"latest":1730,"precision":"circa","value":"1730"},"latest":1760,"range":true,"to":{"earliest":1760,"era":["CE"],"latest":1760,"value":"1760"}}],"maker":[{"@link":{"role":[{"value":"maker"}],"type":"reference"},"admin":{"id":"agent-178513","uid":"adlib-agent-178513","uuid":"375dcc28-c8d4-3d54-80d2-91bdb3455524"},"summary_title":"Nouailher, Jean-Baptiste I"}],"note":[{"value":"By the end of the seventeenth century demand for Limoges enamelled tableware had declined, and in the early eighteenth century the few remaining enamellers produced mainly small items, such as snuff rasp covers, plaques for purses, and drinking cups. 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She died at Amesbury on 24 June 1291, and was buried there. Her heart was taken to London to be buried in the church of the Fransiscans, the order which she particularly favoured, and had provided her spiritual advisers. Her acts of piety including the founding of a Dominican priory at Guildford, and benefactions  to the hospital of St Katharine by the Tower, and the Cistercian nunnery of Tarrant in Dorset. Her granddaughter Beatrice, who took the veil at Amesbury shortly before she did, later became Abbess of Fontevrault. The cult of St El\u00e9onore developed unofficially and she has not been canonized. \n\nThe bright colouring contrasting with a black ground is typical of mid eighteenth-century enamels, as is the raised white decoration in the corners. The reverse of the plaque has very dark brown counter-enamel which is also characteristic of eighteenth-century enamels. The plaque was probably produced by Jean-Baptiste Nouailher I, son of Pierre Nouailher (probably the elder of two brothers with the same name), and Anne Faulte, who was baptised in the Parish of Saint-Pierre en Saint-Etienne, on 26 May 1697 and died in 1775, rather than Jean-Baptiste Nouailher II (baptised 1732-1804).  When signing his work Jean-Baptiste Nouailher I dropped his first Christian name  or abbreviated it to Bte or BTE, and wrote his second in full, as on the reverse of this plaque."}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-106451","uid":"adlib-term-106451","uuid":"9cdfd62c-ee07-3884-ae08-c797aad08631"},"summary_title":"18th Century, Mid"},{"@link":{"type":"reference"},"admin":{"id":"term-15538","uid":"adlib-term-15538","uuid":"e4001da7-ed48-3271-a6fb-c7f54095a1ad"},"summary_title":"Louis XV"}],"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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Lawrence, FSA (1819-91), 84 Holland Park, London;  sold Christie\u2019s, 4-6 May 1892, second day, first part of lot 168; Frank McClean, MA, FRS (1837\u20131904), Rusthall House, Tunbridge Wells; bequeathed by him."}],"objects":[{"@link":{"cascade":true,"type":"reference"},"admin":{"id":"object-156434","uid":"adlib-object-156434","uuid":"6b4848b6-c84d-3682-90b5-0185bd230b80"},"summary":{"reference":{"@link":{"impact":true,"type":"reference","workflow":true},"admin":{"id":"term-107484","uid":"adlib-term-107484","uuid":"935e21d3-0b7f-3ca6-9987-b79c82e054fd"},"summary_title":"plaque"}},"summary_title":"plaque"},{"@link":{"cascade":true,"type":"reference"},"admin":{"id":"object-156432","uid":"adlib-object-156432","uuid":"5e825690-10f0-33ed-a6e0-2dbb0eb47e3d"},"summary":{"reference":{"@link":{"impact":true,"type":"reference","workflow":true},"admin":{"id":"term-107484","uid":"adlib-term-107484","uuid":"935e21d3-0b7f-3ca6-9987-b79c82e054fd"},"summary_title":"plaque"}},"summary_title":"plaque"}],"owners":[{"@link":{"type":"reference"},"admin":{"id":"agent-149638","uid":"adlib-agent-149638","uuid":"7376d833-d0a7-3be0-916e-9c892b7a24d8"},"summary_title":"The Fitzwilliam Museum"}],"publications":[{"@link":{"notes":"Publ., p. 115, no. 73","page":"115","type":"reference"},"admin":{"id":"publication-4060","uid":"adlib-publication-4060","uuid":"0f6d91a4-87ab-338c-b868-7d56c66bc250"},"summary_title":"Fitzwilliam Museum, McClean Bequest, Catalogue of the Mediaeval Ivories, Enamels, Jewellery, Gems and Miscellaneous Objects Bequeathed to the Museum by Frank McClean, M.A., F.R.S."},{"@link":{"type":"reference"},"admin":{"id":"publication-6952","uid":"adlib-publication-6952","uuid":"1b9f57bb-99fd-39ea-9da6-da0a17e91052"},"summary_title":"Eleanor of Provence: queenship in thirteenth century England"},{"@link":{"notes":"Ref. 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slightly slightly convex copper plaques with a white preparation, enamelled in blue, turquoise, green, flesh pink, mulberry, tan, brown, grey, black, and white, and gilded. The reverses have clear counter-enamel."}],"reference":{"@link":{"type":"reference"},"admin":{"id":"term-28779","uid":"adlib-term-28779","uuid":"9ded0180-afed-3209-bd56-ea3a2c252893"},"summary_title":"hammering"}}]},{"measurements":{"dimensions":[{"dimension":"Height","units":"cm","value":"20.2"},{"dimension":"Width","units":"cm","value":"17.2"}]},"name":"Centre Panel"},{"measurements":{"dimensions":[{"dimension":"Height","units":"cm","value":"20.2"},{"dimension":"Width","units":"cm","value":"7.8"}]},"name":"Side Panels"}],"department":{"value":"Applied Arts"},"description":[{"value":"Copper, polychrome enamels, and gilding. Triptych comprising plaques of the Lamentation over the Dead Christ flanked by the Prophet Daniel and St Peter"},{"value":"Three slightly convex copper plaques with a white preparation, enamelled in blue, turquoise, green, flesh pink, mulberry, tan, brown, grey, black, and white, and gilded. The reverse has clear counter-enamel.\nThe central plaque shows the three Marys and the Virgin grieving over the dead Christ with St John standing on the right beside a tree, accompanied by an elderly bearded man, and a partly visible clean-shaven man, probably Joseph of Arimathea and Nicodemus;  on the left, behind the Marys, is a partly visible bald-headed man. In the landscape background there are rocks and a tree on the left, and on the right, on Golgotha, a man, three crosses and a ladder propped against the one vacated by Christ. The sky is scattered with stars.\nThe Virgin wears a white wimple, a blue dress and blue cloak. The Mary to the left of her is dressed in a turquoise dress and pale brown cloak. The one nearest to her on the right wears a turquoise hat and dress, and the Mary further to the right, a green swathed cap and a tan dress. St John has a blue cloak over a mulberry gown. Joseph of Arimathea has a turquoise turban, and blue gown, and Nicodemus a blue hat and a turquoise jacket with a collar. The man on the left is dressed in a blue coat with a collar. In the foreground there are three turquoise plants on the green ground. Gold is used for the hair of Christ, two Marys and St John, to outline the edges of some of the garments, and ADD   \nOn the left wing, the prophet Daniel stands on a hexagonal platform in a niche below an ornate canopy. He faces front, with his head in profile to the right, and holds a scroll inscribed in black,\"O VOS.O(M)NES I.TRANSITIS.PERVIAM. ATENDITE.ET VIDETE. SI. EST. DOLOR.SIMI\" (sic, the ending should be SICUT DOLOR MEUS) (O all of you who travel by the road, wait and see if there is such sorrow). He is bearded, and wears a greyish-turquoise turban, a gown of the same colour, and a blue cloak. The platform, niche, and canopy are tan with gilded details. The sides of the platform have two panels carved with nude figures, flanking one carved with two foliated scrolls terminating in monster heads. The canopy has a winged putto's head in the gable, and on the sides, three panels of nude figures. Above the gable there are pairs of foliated scrolls and at the top, divided by the apex of the gable,\"15 P\"and \"R 38\"  inscribed in gold. The wall of the niche are scattered with fleur-de-lys, and level with the figure head have a cornice inscribed \"DANIEL PROFETE\"\nOn the right wing, an apostle, probably St Peter, stands in an analogous niche. He is shown in profile stepping towards the left holding a scroll inscribed \"CHRISTVS. PASSVS. EST  PRO. NOBIS.VOBIS RELINQVENS EXEMPLUN\" (sic the last letter should be M)(Christ suffered for us, leaving for you an example). He is bald-headed and bearded, and wears a a long blue gown with a turquose shawl round his shoulders. The front of the platform is decorated with two panels carved with nude figures flanking one carved with a pair of foliated cornucopia. The gable of the canopy has a reclining putto, and on the sides below are two panels carved with reclining figures flanking one with two putti supporting a shield inscribed \"Ihs\". Above there are pairs of foliated scrolls and in the top corners \"P\" and \"R\" in gold. The niche are scatteed with groups of four dots on the right, and ? cross-hatched on the left, and at the top have a cornice decorated with a row of circles instead of an inscription."}],"exhibitions":[{"@link":{"catalogue":"1750","type":"reference"},"admin":{"id":"exhibition-1265","uid":"adlib-exhibition-1265","uuid":"723e9b4e-5a35-3d5f-933e-29f6c9da35fe"},"summary_title":"Special Exhibition of Works of Art of the Mediaeval, Renaissance and More Recent Periods"},{"@link":{"catalogue":"148","type":"reference"},"admin":{"id":"exhibition-2003","uid":"adlib-exhibition-2003","uuid":"96abc825-e9c0-3b63-b36c-44f6245b9959"},"summary_title":"Catalogue of a Collection of European Enamels from the Earliest Date to the End of the XVII Century"},{"@link":{"catalogue":"45","type":"reference"},"admin":{"id":"exhibition-1609","uid":"adlib-exhibition-1609","uuid":"6d201037-48f1-3a69-9e4e-72551b7f32d0"},"summary_title":"Treasures from the Fitzwilliam"},{"@link":{"catalogue":"97","type":"reference"},"admin":{"id":"exhibition-1933","uid":"adlib-exhibition-1933","uuid":"d334c181-c6c3-3d54-a77d-d572588c9a30"},"summary_title":"William Beckford, 1760-1844: An Eye for the Magnificent"}],"identifier":[{"accession_number":"M.1-1926","primary":true,"type":"accession number","value":"M.1-1926"},{"priref":"131080","type":"priref","value":"131080"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/131080","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/131080"}],"inscription":[{"location":"top of left panel","method":"painted in gold","transcription":[{"value":"15  P R 38"}],"type":"initials"},{"location":"top of right panel","method":"painted in gold","transcription":[{"value":"PR"}],"type":"initials"},{"location":"on centre panel below Christ","method":"painted in gold","transcription":[{"value":"PR"}],"type":"initials"},{"location":"on left wing","method":"painted","transcription":[{"value":"DANIEL PROFETE"}],"type":"inscription"},{"location":"on left wing on scroll held by Prophet","method":"painted","transcription":[{"value":"O VOS.O(M)NES I.TRANSITIS.PERVIAM. ATENDITE.ET VIDETE. SI. EST. DOLOR.SIMI"}],"type":"inscription"},{"description":[{"value":"the last letter should be an M"}],"location":"on right wing on scroll held by Saint","method":"painted in","transcription":[{"value":"CHRISTVS. PASSVS. EST  PRO. NOBIS.VOBIS RELINQVENS EXEMPLUN"}],"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":"Bequeathed by F. Leverton Harris"},"lifecycle":{"acquisition":[{"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-151483","uid":"adlib-agent-151483","uuid":"26fbb332-a159-3961-80ad-ff1bd1a618c2"},"summary_title":"Harris, Frederick Leverton"}],"date":[{"earliest":1926,"latest":1926,"value":"1926-11-14"}],"method":{"value":"bequeathed"},"note":[{"value":"the testator died on 14 November 1926 and this was the date entered in the accession register, although presumably the objects in his bequest did not arrive until several weeks later. The next entry was dated 1 March 1927."}]}],"creation":[{"date":[{"earliest":1538,"era":["CE"],"latest":1538,"precision":"dated","value":"1538"}],"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-112340","uid":"adlib-agent-112340","uuid":"a9104dd3-daf9-32ba-b083-c074b588b652"},"summary_title":"Raimondi, Marcantonio"}],"note":[{"value":"Triptychs were used as a focus for private devotions by religious and lay persons. When not in use the hinged wings could be folded over the central plaque to protect it. The exquisite execution, Raphaelesque style, and colouring of this example are characteristic of Pierre Reymond's early polychrome religious works dated in the late 1530s. The figures and architectural canopies on the wings are similar to those on a triptych with a central plaque of the Virgin and Child with Saints which he made for Louis de Bourbon (1495-1575), Abbess of Fontevrault in the same year, 1538, and is now in the Minneapolis Museum of Art (inv. 88.53). \n\nThe Lamentation was not described in the Gospels but was assumed to have taken place after Christ's body had been removed from the Cross, and before it was taken away for burial. The composition of the centre panel closely follows the engraving by Marcantonio Raimondi after Raphael of the 'Three Marys Lamenting the Dead Christ', although the enameller made some alterations to the heads of the man on the extreme left and the two Marys on either side of the Virgin. The inscription held by the Prophet Daniel is taken from the Lamentations of Jeremiah 1, 12, which if complete would read 'O all uou who travel by the road, wait and see if there is any sorrow like my sorrow'. This was an appropriate quotation for a wing flanking a scene from the Passion of Christ, because lessons from Lamentations were included in the tenebrae services which took place on the three days preceding Easter Sunday. The inscription on the scroll held by the other figure is from1 Peter 2,21, 'Christ suffered for us, leaving for you an example', which was equally  appropriate. It also indicates that the figure is St Peter, although he does not hold a key, his usual attribute. \n\nThe triptych was acquired by the English collector, William Beckford (1760-1844) at an unknown date before 1822, possibly on one of his visits to France. The triptych's superb quality and Raphaelesque style would have appealed to Beckford's taste for High Renaissance art, as would its deeply moving religious subject. His small but splendid collection of Limoges painted enamels included an earlier triptych attributed to Nardon P\u00e9nicaud, now in the British Museum. On Beckford's death the Fitzwilliam's triptych was inherited by his daughter, Susan Euphemia (1786-1859), who had married Alexander, 10th Duke of Hamilton (1867-1852), who, like her father, was an ardent francophile, and art collector."}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-120009","uid":"adlib-term-120009","uuid":"690a6332-cfc1-3411-a716-4dd4ec7d9a65"},"summary_title":"16th Century, second quarter"},{"@link":{"type":"reference"},"admin":{"id":"term-15528","uid":"adlib-term-15528","uuid":"e0418d83-969d-363c-8fb5-34f0fc63d26a"},"summary_title":"Fran\u00e7ois I"}],"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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Duchess of Hamilton, n\u00e9e Beckford  (1786\u20131859), and her husband, Alexander, 10th Duke of Hamilton (1767\u20131852); by descent to the 12th Duke of Hamilton (1845\u201395); sold Christie\u2019s, 17 June - 20 July 1882, Catalogue of the Collection of Pictures, Works of Art, and Decorative Objects the Property of His Grace the Duke of Hamilton, K.T., lot 971 (\u00a31,218); W. Wareham; John Edward Taylor (1830\u20131905); his widow, Martha (d. 1912); Christie\u2019s, 1-4 and 9-10 July 1912, Catalogue of the Renowned Collection of Works of Art . . . formed by the late John Edward Taylor, day 1, lot 142; Durlacher Bros, London; Frederick Leverton Harris (1864-1926), London."}],"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. 165-6, no. 1750. Cf.  p.166, no. 1,751, a triptych of 1538 by Reymond which was made for Louise de Bourbon, Abbess of Fontevrault, lent by Baron Gustave de Rothschild.  The treatment of the figures and architectural canopies on the wings is comparable.","page":"165-6","type":"reference"},"admin":{"id":"publication-3723","uid":"adlib-publication-3723","uuid":"1c3867f1-219e-387c-82a4-3cce59de08e2"},"summary_title":"Catalogue of the Special Exhibtion of Works of Art of the Medieval, Renaissance, and more Recent Periods, on loan at the South Kensington Museum, June 1862"},{"@link":{"notes":"Publ. p. 10, where the centre panel is described as the Deposition, illustrated pl. 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Arts"},"description":[{"value":"copper enamelled in grisaille and in turquoise-green, turquoise and mauve on a black ground and gilded"},{"value":"Hexagonal with straight sides, projecting upper and lower edges, and a concave central depression in the top and base. Copper, enamelled en grisaille on a black ground, and gilded; the top also enamelled in turquoise-green, and the base in turquoise, and pale mauve.  The salt pan is decorated with a bust of a man in profile to right wearing a hat with a feather in it, and is inscribed \"IE SVIS  PARIS\" (I am Paris) in gold surrounded by two gold circles. On the flat surround there are three pairs of cornucopia with foliated terminals, containing turquoise fruits. Round the outer edge is a gold line broken at regular intervals by five oblique strokes. In the depression in the base is a head of a woman in profile to left, wearing a turquoise frontlet, a snood, and a turquoise oval cabochon over her ear. The black ground is dotted with gold, and inscribed \"LABELLE ELLENE\" (Beautiful Helen) in gold within a gold circle. On the flat area there are three white roses and three pale mauve roses linked by stems bearing either two pairs of turquoise or two pairs of green leaves, and pairs of gold tendrils. Round the outer edge is a gold line broken at regular intervals by five oblique strokes. The sides are decorated with six figures flanked by rocks and small gold plants, each with a gold inscription above. From right to left:\nFortune stepping to the right, holding the staff of a billowing pennant in her right hand, and its tail in her left; inscribed \"TOVT. FORTVNE\/LE VA\"  with an orb between the LE and VA.\nA jester steps to the left raising his right hand, and holding a jester's staff over his shoulder in his left; inscribed \"IL SEMBLE AVVILART.ABVZ.QVE.LES.  IEVLX\/DAY MER SOYENT PERDVZ\" (It seems to the old mistakenly that the games of love may be over, i.e. lost for ever or It seems to the old that enjoyment of the games of love may be lost through over indulgence).\nAn old woman in sixteenth century costume holding a walking stick in her left hand and placing her right held to her bosom; inscribed, \"QVA(N)T.DVIEV.DAYMER.  ME\/SOVVIE(N)T.LA.LARME.AVXI.EVLVLX.ME VIEN.A 70 ANS\" (When I remember the game of love a tear comes to my eyes at 70 years).\nAn old man in sixteenth century costume walking to the left, holding up his right hand and holding a walking stick in his left; inscribed \"HELAS.IESVS.VR(A)I\/DIEV:DE GRACE.E.IEV.D.YMER.FAICT.N.ENCORES A.80 .ANS (Alas, Jesus true God of Grace, I still like to do it  at 80 years).\nA middle aged woman, perhaps a nun, wearing sixteenth century costume, walking to the left, holding a gold rosary in her right hand and holding up her skirt in her left hand; inscribed \"QVANT.ON.LE ME.PRE SANTE. IELE. PRENS.EN\/ PACIANCE A. 40.ANS\" . (When someone offers I take it patiently at 40 years).\nAn middle aged man in sixteenth century costume with a turquoise jewel on each sleeve opening, walking to the left leaning on a walking stick held in his right hand, and holding his left with its thumb tucked into his belt; inscribed \"ET.MOY.TEL.QVE.IE.SVYs IL LE .FAIZ QVANT.IE.PV.A.50 ANS\"  (And me, such as I am, I do it when I can at 50 years).\nOn each of the angles there is a foliated spindle (?), and on the top of the projecting base a border of overlapping wavy lines forming a cable."}],"exhibitions":[{"@link":{"catalogue":"1725","type":"reference"},"admin":{"id":"exhibition-1754","uid":"adlib-exhibition-1754","uuid":"d50e860c-2dca-313a-9970-1b01cecbbb85"},"summary_title":"Catalogue of the Special Exhibition of Works of Art of the Medieval, Renaissance, and more Recent Periods, on loan at the South Kensington Museum, June 1862"},{"@link":{"type":"reference"},"admin":{"id":"exhibition-1077","uid":"adlib-exhibition-1077","uuid":"a9790b74-5102-3534-9d71-e4f0dc4f89f3"},"summary_title":"Tempus, The Art of Time"},{"@link":{"catalogue":"188","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.50-1904","primary":true,"type":"accession number","value":"M.50-1904"},{"priref":"139843","type":"priref","value":"139843"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/139843","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/139843"}],"inscription":[{"location":"on salt pan","method":"painted in","transcription":[{"value":"IE SVIS  PARIS"}],"type":"inscription"},{"location":"on base","method":"painted in","transcription":[{"value":"LABELLE ELLENE"}],"type":"inscription"},{"description":[{"value":"an orb between the LE and VA"}],"location":"on side decorated with Fortune","method":"painted in","transcription":[{"value":"TOVT\u2022PAR\u2022FORTVNE\/LE VA"}],"type":"inscription"},{"location":"on side decorated with jester","method":"painted in","transcription":[{"value":"IL SEMBLE AVVILANT\/ PAR\u2022ABVZ\u2022QVE\u2022LES\u2022 IEVLX\/DAY MER SOYENT PERDVZ"}],"type":"inscription"},{"location":"on side with old woman with walking stick","method":"painted in","transcription":[{"value":"\u2018QVA(N)T\u2022DVIEV\u2022DAYMER\u2022 ME\/SOVVIE(N)T\u2022LA\u2022LARME\u2022AVXI\/\u2022EVLVLX\u2022ME VIEN\/\u2022A 70 ANS"}],"type":"inscription"},{"location":"on side with old man with walking stick","method":"painted in","transcription":[{"value":"HELAS\u2022IESVS\u2022VR(A)I\/DIEV:DE GRACE\u2022LE\u2022 IEV\u2022D\/AYMER\u2022FAICT\u2022ON\u2022ENCORES\/A\u202280\u2022ANS"}],"type":"inscription"},{"location":"on side with middle aged woman holding rosary","method":"painted in","transcription":[{"value":"QVANT\u2022ON\u2022LE ME\u2022PRE\/ SANTE\u2022IELE\u2022PRENS\u2022EN\/PACIANCE A\u202240\u2022ANS"}],"type":"inscription"},{"location":"on side with middle aged man","method":"painted in","transcription":[{"value":"ET\u2022MOY\u2022TEL\u2022QVE\u2022 IE\u2022SVYs\/IL LE\u2022FAIZ QVANT\u2022IE\u2022PV\/\u2022A\u202250 ANS\u2019"}],"type":"inscription"},{"description":[{"value":"part of a circular paper label with a black border"}],"location":"on rim below the depression containing Helen","method":"hand-written in pencil","transcription":[{"value":"390\u2019"}],"type":"label"},{"description":[{"value":"a very small rectangular paper label"}],"location":"stuck on top of the circular label","method":"printed in black","transcription":[{"value":"512"}],"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"}}],"creation":[{"date":[{"earliest":1540,"from":{"earliest":1540,"era":["CE"],"latest":1540,"precision":"circa","value":"1540"},"latest":1545,"note":[{"value":"The dating is suggested by a salt dated 1542 in the Wallace Collection"}],"range":true,"to":{"earliest":1545,"era":["CE"],"latest":1545,"value":"1545"}}],"maker":[{"@link":{"qualifier":"probably","role":[{"value":"maker"}],"type":"reference"},"admin":{"id":"agent-99908","uid":"adlib-agent-99908","uuid":"376e1128-04f6-3812-88a6-e4928cb7732d"},"summary_title":"Nouailher, Colin"}],"note":[{"value":"The amorous message of this salt is related to the theme of the Ages of Man, which during the Middle Ages and Renaissance might be identified as three, four, seven, or twelve stages. The Ages of Man in decades was a late medieval development and was more common in the Low Countries and Germany.  Normally the ages of life after forty would be shown as a gradual decline towards death, but the decoration here presents a more optimistic view because the middle aged and old people express views which indicate that their interest in love-making continues. The goddess Fortuna\u2019s ability to make or marr lovers\u2019 happiness by her fickle behaviour is mentioned frequently in French literature from the late 12th century onwards, and a jester or fool was often used in 15th and 16th century art as an indication of lust or folly. The jester's statement on the salt is ambiguous, according to the interpretation of the word 'abus'. It could be read as meaning that the old are mistaken in thinking that their ability to enjoy love-making is lost, or that the ability to love is lost through excessive indulgence in love-making, a view expressed in a well known late 12th century treatise 'De Amore' by Andreas Cappellanus. Possibly the head of Helen, the beautiful wife of Menelaus, King of Sparta, and that of Paris, who precipitated the Trojan War by abducting her, represent the prime of life, but their presence could also be a reminder that unbridled passion may  lead to disaster.\n\nThere is an analogous polychrome salt in the Wallace Collection, which has similar figures and inscriptions with variant spellings but without the ages on the sides, and, on the top and bottom depressions respectively, profile busts of Pallas surrounded by cornupias, and Jupiter surrounded by stylized roses (III M 260). (1) It is inscribed, with the letter \u2018N\u2019 in gold suspended from a swag on the side of the old woman. A companion salt in the Wallace (III M.261), dated 1542, is decorated in a similar manner, but with different heads and figures. The top and base are decorated respectively with Paris and Athena with cornucopia borders. One side is decorated with Cupid blindfold, one with Venus in her chariot, and the other four with a young lady or a gentleman accompanied by an inscription. (See Documentation, Higgott, 2011) These salts suggest that the Fitzwilliam's may originally have had a pair which represented the earlier Ages of Man or Love. The figures of the middle-aged man and woman are reminiscent of two lovers on a small plaque attributed to Colin Nouailher in the Mus\u00e9e des Arts D\u00e9coratifs in Paris, (See Documentation Biron, 2011).\n\nThe Fitzwilliam\u2019s salt was attributed tentatively to Colin Nouailher by Dalton, 1912, a reasonable suggestion in view of the inscriptions, a feature of Colin Nouailher\u2019s work, and the expressions of the figures, which are similar in character to those on his few initialled works. This attribution is supported by the letter 'N' on one of the salts in the Wallace Collection. The rose border on one end of this salt was also used in Pierre Reymond's workshop and there are several hexagonal salts of this form initialled PR, but they are enamelled in a very different style. See Fitzwilliam M.4-1966, where these are mentioned. \n\nThe salts were constructed in an interesting way. X-radiography of a hexagonal salt in the  British Museum revealed that it was made in three parts. The sides were made of one piece of copper which was bent into shape and had a flap folded over on one angle. 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The outlines are in black. The reverse has clear counter-enamel.\nChrist hangs on a gold Cross with  \u2018INRI\u2019 written in gold on a white panel over it. He wears a green crown of thorns and a white drape which is being blown out on either side by the wind. Blood pours from the wounds in his head, hands, feet, and side. At the base of the cross there is a white skull with black eye sockets. On the left the Virgin stands with her hands together in prayer, looking away from the Cross. She wears a white wimple, and a pale blue mantle over a mulberry dress. St John stands on the right holding a bluish-green book with both hands, and looking towards the Virgin. He has pale straw-coloured hair, and wears a white mantle over a mulberry gown. The ground is bluish-green. The black background has a gold sun on the left of the Cross and a moon on the right, and below its arms is sem\u00e9 with shooting stars (tadpole-like shapes). A narrow gold band runs round the curved edge, and within it is a line broken at intervals by four oblique strokes."}],"identifier":[{"accession_number":"MAR.M.252-1912","primary":true,"type":"accession number","value":"MAR.M.252-1912"},{"priref":"156447","type":"priref","value":"156447"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156447","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156447"}],"inscription":[{"location":"on label at top of Cross","method":"hand-written in gold","transcription":[{"value":"INRI"}],"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":"C.B. 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He may have purchased the plaques, but they could have been inherited from his father, George Frederick Samuel Robinson (1827-1909); 1st Marquess of Ripon and 3rd Earl de Grey (1859-71), a politician and diplomat, who converted to Roman Catholicism in 1874, and died at Studley Royal."}],"type":"reference"},"admin":{"id":"agent-207552","uid":"adlib-agent-207552","uuid":"859a1816-bf5e-3b20-96c6-cbe4f66f7986"},"summary_title":"Robinson, Frederick Oliver (1852-1923)"},{"@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":[{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-109906","uid":"adlib-term-109906","uuid":"cbea03fb-f9ac-3c28-ab2d-d20a955a2b53"},"summary_title":"silver foil"}},{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-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":"two adjacent narrow rectangular copper plaques enamelled in multicouche technique (Biron Type A) with dark and white layers overlaid by translucent pale and bright blue, green, tan, and brownish-mulberry, and in black, and opaque white, and gilded. The flowers and jewels are backed with lozenge-shaped silver foils (pailons)."}],"note":[{"value":"blue, green, red, tan, brown"}],"reference":{"@link":{"type":"reference"},"admin":{"id":"term-28662","uid":"adlib-term-28662","uuid":"dd47e505-ccda-3f2b-b576-6104109430e8"},"summary_title":"enamelling"}}]},{"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":"22.5"},{"dimension":"Width","units":"cm","value":"16.3"}]},"name":"Frame"}],"content":{"motifs":[{"@link":{"type":"reference"},"admin":{"id":"term-110523","uid":"adlib-term-110523","uuid":"d1291b77-5525-36c4-9cec-9f651a7a76a9"},"summary_title":"bible"}]},"department":{"value":"Applied Arts"},"description":[{"value":"Copper, enamelled in polychrome with Mary Magdalene encountering Christ after his resurrection"},{"value":"Two joined narrow slightly convex rectangular copper plaques enamelled over dark and white layers in translucent blue, green, red, tan, mulberry-brown, and opaque white, and gilded  The flowers and jewels are backed with silver foil.                                                                                \nOn the left plaque (A), Mary Magdalene stands in profile to right holding an ointment pot in her left hand and raising its conical lid in her right. She wears a blue and white headscarf which billows out behind her, a mulberry brown dress and a royal blue cloak. Behind her there is a tan-coloured wattle fence with a lychgate on the left. In front of her is half of a tree with a tall narrow trunk and a round top with leaves and flowers with white petals and blue or mulberry centres.                                               \nOn the right panel (B), Christ stands facing three-quarters to the left, raising his right hand. to prevent the approach of Mary Magdalene, and showing the bleeding wound in his hand. Blood also trickles from his side and from the thorn wounds in his head. He has a dark brown cloak held together with a green brooch. In his left hand he holds the staff of a cross with a pennant. Behind him there is a tan wattle fence and to the left, half of a tree matching that on the other plaque.The ground of both plaques is green with numerous plants bearing daisy-like flowers with blue or red centres and white petals. The sky at the top of both panels is closely strewn with gold stars. The counter-enamel on the reverse is semi-translucent dark brown, with uneven concentrations of colour giving a mottled effect.     \nThe rectangular gilt-metal frame has applied ornaments of a twisted stem with a leaf on each end: two on the top and bottom, and three on he sides. The outer frame is of red velvet, extremely worn on the edge. The back of the plaque is covered by a red damask-covered board with a hinged prop in the centre of more recent manufacture."}],"identifier":[{"accession_number":"M.10A & B-1938","primary":true,"type":"accession number","value":"M.10A & B-1938"},{"priref":"156454","type":"priref","value":"156454"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156454","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156454"}],"inscription":[{"description":[{"value":"an octagonal white stick-on label edged by a broad blue line and a narrow blue line"}],"location":"on reverse of both plaques","method":"hand-written in black ink","transcription":[{"value":"E. De Grey"}],"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"}],"method":{"value":"bequeathed"},"note":[{"value":"bequeathed 1937"}]}],"creation":[{"date":[{"earliest":1500,"from":{"earliest":1500,"era":["CE"],"latest":1500,"precision":"circa","value":"1500"},"latest":1525,"note":[{"value":"the frame is second half of 19th century"}],"range":true,"to":{"earliest":1525,"era":["CE"],"latest":1525,"value":"1525"}}],"maker":[{"@link":{"qualifier":"workshop of","role":[{"value":"maker"}],"type":"reference"},"admin":{"id":"agent-105577","uid":"adlib-agent-105577","uuid":"0760ccbc-1239-3a7f-9ad2-4b95d7f1dece"},"summary_title":"Penicaud, Nardon"}],"note":[{"value":"Mary Magdalene\u2019s meeting in the garden with the risen Christ whom she at first supposes is a gardener is described in the Gospel of St John (20:14-18), and more briefly by St Mark (16:9-10).\n\nThe design may have been derived from more than one printed source. Possibly Martin Schongauer\u2019s Christ appearing to Mary Magdalene, which has a fence and tree in the background but shows Christ with his arm outstretched and Mary Magdalene kneeling with her ointment pot beside her on the ground, and his Resurrection for the position of Christ\u2019s raised hand.  Comparable scenes with a central tree occur in manuscripts, such as a Flemish or northern French Legenda Aurea of c. 1480-1515, in the Fitzwilliam (MS 22, fol. 45 v) .The standing figure of Mary Magdalene might have been influenced by one of a series of forty-eight roundels for use by goldsmiths by Israhel van Meckenhem (1440-1503) after Master ES, which shows her standing holding her jar and wearing a turban-like cap with streamers at the back.\n\nThe plaques can be compared with three other versions of the same subject. One, likewise on two plaques, whose present location is unknown, was formerly in the collection of  Prince Czartoryski, in the Ch\u00e2teau de Goluchow, Poland.This has a tree divided between the two plaques, and a Magdalene who kneels holding her ointment pot in her right hand but it is not by the same enameller. The background is reminiscent of the central panel of a triptych in the Bargello, attributed to the Monvaerni Master (Pseudo Monvaerni) by Marquet de Vasselo, but at present to an anonymous enameller, which features an analogous wattled fence with a lychgate on the left, and a tree in the centre, but different figures of Christ and the Magdalene. A smaller version of the Noli me tangere on one plaque is in the Mus\u00e9e des Arts D\u00e9coratifs, Paris (see Blanc, 2011).                                                                                                           \n On entering the collection the two plaques were attributed to Nardon Penicaud and there seems no reason to change that. The design of the body of Christ and the draping and fastening of his cloak are fairly close to those of the Risen Christ in the right wing of a two-stage triptych attributed to Nardon Penicaud in the Frick Collection."}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-124749","uid":"adlib-term-124749","uuid":"3cb14eef-9414-324c-8abb-f4e5e0d52ff1"},"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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Royal, Yorkshire; his cousin, Clare Vyner, Esq., Studley Royal, Yorkshire; sold Sotheby's, 19 March 1926, Catalogue of the well-known collection of old English wine glasses, etc. the property of Henry Peech Esq., . . . . A Fine large enamel, Japanese Imari ware . . . the property of Clare Vyner Esq., removed from Studley Royal. From the collection of the late Marquess of Ripon, p. 13, lot 78; sold to S.J. Phillips. 113 New Bond Street,  London, W1, for \u00a3410 on behalf of Leonard D. Cunliffe (1860-1937), 109 Eaton Square, London, and Trelissick, Cornwall;  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":{"type":"reference"},"admin":{"id":"publication-7042","uid":"adlib-publication-7042","uuid":"fbdb694f-29d2-3112-a1bf-3ce1177f5109"},"summary_title":"Objets d\u2019art du Moyen Age et de la Renaissance : Collections du ch\u00e2teau de Goluchow"},{"@link":{"notes":"Cf.  p. 350, no. 194, not illustrated, the plaque in the ch\u00e2teau de Goluchow","page":"350","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. 24-35, 16.4.3,  a triptych, with the risen Christ on the right wing, see illustrations on p. 25 and 35","page":"24-35","type":"reference"},"admin":{"id":"publication-200002180","uid":"adlib-publication-200002180","uuid":"a2294bc4-cc14-3e0f-9aab-728d1027c94e"},"summary_title":"Limoges Painted Enamels, Sixteenth and Seventeenth Centuries"},{"@link":{"notes":"Cf. pp. 40-1, no. 8,  four plaques with arched tops, the last of which depicts the Noli me tangere scene, which although different in details of iconography (e.g. the ointment pot is on the ground), and style, has some features in common, and is attributed to the Penicaud workshop","page":"40-1","type":"reference"},"admin":{"id":"publication-7297","uid":"adlib-publication-7297","uuid":"63470d8f-cfbe-3825-9919-c40c11c83e45"},"summary_title":"\u00c9maux peints de Limoges XVe-XVIIIe si\u00e8cles, la collection du Mus\u00e9e des Arts D\u00e9coratifs"}],"school_or_style":[{"@link":{"type":"reference"},"admin":{"id":"term-10618","uid":"adlib-term-10618","uuid":"9ebc0ae1-8cf8-312b-832c-9cf44da02136"},"summary_title":"Renaissance"}],"subjects":[{"@link":{"type":"reference"},"admin":{"id":"term-102735","uid":"adlib-term-102735","uuid":"9ffebc71-0d53-3435-b13f-9ab850955082"},"summary_title":"prayer"},{"@link":{"relation":"object name","type":"reference"},"admin":{"id":"term-108538","uid":"adlib-term-108538","uuid":"795ce314-a9bb-3fcc-9c39-4b671ec72fc3"},"summary_title":"cross"},{"@link":{"relation":"object name","type":"reference"},"admin":{"id":"term-101999","uid":"adlib-term-101999","uuid":"3f48e900-1eee-39b3-bb67-6acd9b9e1d62"},"summary_title":"pennant"},{"@link":{"relation":"object name","type":"reference"},"admin":{"id":"term-66011","uid":"adlib-term-66011","uuid":"a139886c-fb20-367b-b5aa-bd52177a9c5c"},"summary_title":"fence"},{"@link":{"relation":"object name","type":"reference"},"admin":{"id":"term-125796","uid":"adlib-term-125796","uuid":"5a1e9dbf-5375-39eb-b42b-36a19854ad55"},"summary_title":"ointment jar"},{"@link":{"relation":"plant","type":"reference"},"admin":{"id":"term-106795","uid":"adlib-term-106795","uuid":"619c7689-2029-3c57-b0e2-12f5b54bedb8"},"summary_title":"flower"},{"@link":{"relation":"plant","type":"reference"},"admin":{"id":"term-58471","uid":"adlib-term-58471","uuid":"ce00216e-da4e-37b3-974c-c2b6377d6c19"},"summary_title":"tree"},{"@link":{"relation":"object name","type":"reference"},"admin":{"id":"term-147448","uid":"adlib-term-147448","uuid":"d3b6b8e7-10cf-3af7-af41-82d020f36b58"},"summary_title":"lychgate"},{"@link":{"type":"literal"},"name":[{"value":"cross"}],"summary_title":"cross"},{"@link":{"type":"literal"},"name":[{"value":"pennant"}],"summary_title":"pennant"},{"@link":{"type":"literal"},"name":[{"value":"fence"}],"summary_title":"fence"},{"@link":{"type":"literal"},"name":[{"value":"ointment jar"}],"summary_title":"ointment jar"},{"@link":{"type":"literal"},"name":[{"value":"flower"}],"summary_title":"flower"},{"@link":{"type":"literal"},"name":[{"value":"tree"}],"summary_title":"tree"},{"@link":{"type":"literal"},"name":[{"value":"lychgate"}],"summary_title":"lychgate"}],"summary":{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-107484","uid":"adlib-term-107484","uuid":"935e21d3-0b7f-3ca6-9987-b79c82e054fd"},"summary_title":"plaque"}},"summary_title":"plaque","title":[{"value":"Noli me Tangere"}],"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":6,"total":6}]