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Clarke"}],"component":[{"materials":[{"note":[{"value":"translucent blue, turquoise, green, yellow, mulberry, red, flesh pink, opaque white and black"}],"reference":{"@link":{"type":"reference"},"admin":{"id":"term-32638","uid":"adlib-term-32638","uuid":"97b8d1a5-7b8f-3a2a-a275-7d001aeaae2b"},"summary_title":"enamel"}},{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-28681","uid":"adlib-term-28681","uuid":"c1f659e2-1209-31cf-8ff4-154e11452559"},"summary_title":"gilding"}}],"name":"Decoration","techniques":[{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-28681","uid":"adlib-term-28681","uuid":"c1f659e2-1209-31cf-8ff4-154e11452559"},"summary_title":"gilding"}}]},{"name":"Decorating","techniques":[{"note":[{"value":"translucent blue, turquoise, green, yellow, mulberry, red, flesh pink, opaque white and black"}],"reference":{"@link":{"type":"reference"},"admin":{"id":"term-28662","uid":"adlib-term-28662","uuid":"dd47e505-ccda-3f2b-b576-6104109430e8"},"summary_title":"enamelling"}}]}],"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, the front enamelled in polychrome, partly over silver paillons, and gilded with Joseph reconciled to his brothers embracing Benjamin, and the back in grisaille with a radiating design of terms and torches linked by strapwork. Signed \"I.C.\" in black on white strapwork below one of the torches."},{"value":"Circular copper plate with slightly raised applied edge, narrow sloping rim, shallow curved sides (cavetto), and almost flat centre. On the reverse, there are a series of irregularly placed small holes in the enamel at the junction of the rim and well. The plate has a manganese-black ground. The polychrome design in the well is enamelled over a white layer in translucent bright blue, turquoise, green, yellow, mulberry, and red, with silver foils under the costume and carpet, and in black, opaque white and flesh pink, enhanced by gilding. The reverse is painted in grisaille with flesh pink, and gilding. The well is decorated with Joseph reconciled to his brothers embracing Benjamin. The action takes place in a townscape with on the right, a tower with a buttress; in the middle an arcade with a domed circular building behind it, and on the left a building with a balcony over the doorway. In the foreground there is a blue pavement with tiles decorated in gold with a circular motifs and stylized flower heads. Joseph stands on the right embracing one of his brothers, probably Benjamin, the other ten kneel in the centre. A purple greyhound crouches in the foreground. On the left, Pharaoh sits or stands on a balcony with a red rug hanging from it, and below there are two small standing figures in a doorway and two more approaching them The sky is inscribed in gold \"G.XLV.\" The sides are decorated with gold foliated scrolls with two narrow bold bands below. Above, a band of copper is visible through the enamel. The rim is decorated with two different female masks with draped fabric headdresses, and two different male masks with large ears and earrings, separated by pairs of tritons with tablets on their tails flanking turquoise two-handled vases, with sprays of gold foliage in the background and a very narrow gold band next to the white rim.\nThe reverse is painted in grisaille and flesh-pink with three terms and three flaming torches linked by scrolling strapwork on a black ground decorated with gold ara\\'acbesques and scrolls. On the rim between pairs of gold bands there is a wreath of gold laurel leaves and berries. On the strapwork are the initials '\"I.C\""}],"exhibitions":[{"@link":{"catalogue":"2568","type":"reference"},"admin":{"id":"exhibition-2249","uid":"adlib-exhibition-2249","uuid":"547b6a0d-a51d-3449-bcac-f9bc675d6f4b"},"summary_title":"Mus\u00e9e r\u00e9trospectif"},{"@link":{"catalogue":"3060 one of four plates","type":"reference"},"admin":{"id":"exhibition-2250","uid":"adlib-exhibition-2250","uuid":"84fa0414-bb62-3cb1-bc3b-7b3c7527322b"},"summary_title":"Exposition Universelle de 1867"}],"identifier":[{"accession_number":"M.115A-1961","primary":true,"type":"accession number","value":"M.115A-1961"},{"priref":"139826","type":"priref","value":"139826"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/139826","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/139826"}],"inscription":[{"location":"on front in sky","method":"painted in gold","transcription":[{"value":".G.XLV."}],"type":"inscription"},{"location":"on back on white strapwork below one of the torches","method":"painted in black","transcription":[{"value":".I .C."}],"type":"initials"},{"description":[{"value":"rectangular with cut corners, printed in black with a line border"}],"location":"on back","method":"printed in black and hand-written in black ink","transcription":[{"value":"UNION\/ CENTRALE with between the words in black ink 124\/2787"}],"type":"label"},{"description":[{"value":"circular paper label"}],"location":"on back","method":"printed in blue and hand-written in pencil","transcription":[{"value":"11\/4"}],"type":"label"}],"institutions":[{"@link":{"type":"reference"},"admin":{"id":"agent-149638","uid":"adlib-agent-149638","uuid":"7376d833-d0a7-3be0-916e-9c892b7a24d8"},"summary_title":"The Fitzwilliam Museum"}],"legal":{"credit_line":"Louis.C.G. Clarke Bequest, 1960"},"lifecycle":{"acquisition":[{"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-149875","uid":"adlib-agent-149875","uuid":"89f52d0e-b912-3dc9-8b2c-61d6aa011b16"},"summary_title":"Clarke, Louis Colville Gray"}],"date":[{"earliest":1961,"latest":1961,"value":"1961-04-27"}],"method":{"value":"bequeathed"},"note":[{"value":"Louis Clarke died on 13 December 1960"}]}],"creation":[{"date":[{"earliest":1585,"from":{"earliest":1585,"era":["CE"],"latest":1585,"precision":"circa","value":"1585"},"latest":1600,"note":[{"value":"the date is presumably after 1564 when 'Figures de la Bible' was published; there is a lack of dated examples of late 16th century polychrome enamelling over paillons, but it is generally regarded as coming into fashion after c. 1575\/80 and continuing into the seventeenth century"}],"range":true,"to":{"earliest":1600,"era":["CE"],"latest":1600,"precision":"circa","value":"1600"}}],"maker":[{"@link":{"qualifier":"possibly","role":[{"value":"maker"}],"type":"reference"},"admin":{"id":"agent-180599","uid":"adlib-agent-180599","uuid":"01cc9b0b-f6a4-3faa-b356-ba4da3ba8987"},"summary_title":"Court dit Vigier, Jean I"},{"@link":{"qualifier":"possibly","role":[{"value":"maker"}],"type":"reference"},"admin":{"id":"agent-186766","uid":"adlib-agent-186766","uuid":"9842ea2f-a073-3f9e-a28e-a1ca7001b3df"},"summary_title":"Court dit Vigier, Jean II"}],"note":[{"value":"The Biblical story of Joseph told in Genesis, was a common theme for the decoration of domestic objects in France in the second half of the 16th century. Limoges enamellers decorated caskets, ewers, dishes, and small plates with Joseph scenes. Although no complete sets are known, this plate was probably one of a set of twelve each decorated with a different event in the story, beginning when Joseph was already the slave of Potifar in Egypt, and extending from his rejection of the enticements of Potiphar\u2019s wife (Genesis 39.7) to his reconciliation with his brothers (Genesis 45.14-16). Ten of the scenes were closely based on Bernard Salomon's woodcut illustrations to Claude Paradin\u2019s 'Quadrins historiques de la Bible', first published by Jean de Tournes in Lyon in 1553. An augmented edition appeared in 1555, reprinted in 1558 and 1560, and another augmented edition in 1583. Each page had the biblical reference at the top, a woodcut, and an explanatory verse below. Another work of the same type, Guillaume Gu\u00e9roult\u2019s 'Figures de la Bible illustr\u00e9es de huictains francoys . . . (Guillaume Roville), Lyons, 1564 (2nd edn, 1565), with illustrations by Pierre Eskrich was used for the 7th and 10th plates in the series, and the 12th has aspects from the woodcuts in both publications. These books can be viewed online in the Gallica website of the Biblioth\u00e8que nationale.\n\nThis plate is decorated with the last scene in the series which occurs in Genesis 45. Joseph is shown with his brothers, rejoicing and weeping over them, and is embracing one, probably Benjamin, as mentioned in the Bible story. The scene was copied  from the woodcut titled \u2018GENESE XLV\u2019.by Bernard Salomon in Claude Paradin\u2019s, Quadrins Historique de la Bible, Lyon, 1553, or a later edition. However, the tower on the right, with its arched buttress, was taken from Pierre Eskrich's woodcut in Guillaume Gu\u00e9roult\u2019s 'Figures de la Bible illustr\u00e9es de huictains francoys . . .' (Guillaume Roville), Lyons, 1564 or 1565. In Quadrins historiques ... , the previous scene shows Joseph enthroned revealing his identity to the brothers, but the scene on the plate has usually been described as if it were that.  At least two more and possibly further plates decorated with this subject are known: a 20 cm plate also initialled I.C. on the back, was in the Rev. A.H.S. Barwell\u2019s bequest to the British Museum  (1913,1220.59), and another, 19.8 cm in diameter bequeathed by William G. Mather to the Cleveland Museum of Art, Ohio (1951.326), possibly the plate decorated with this subject formerly in the Marlborough, Spitzer, and J.E. Taylor Collections. Although this plate was in the same collection as M.115B-1961 in the nineteenth century, it is unlikely to have been from the same set originally, because it has a different ground colour.\n\nThe overall appearance of these plates, the border on the fronts,  and the style of grisaille decoration on the reverses, is comparable to a set of plates decorated with scenes from the Life of the Virgin signed' I.C.' . These have the de Vic arms below on the rims, probably for M\u00e9ry de Vic (d. 1622), who had been resident in Limoges as intendant during 1588 and 1589, while on a mission to restore order in the region for Henry III, and after his assassination in August 1589, had transferred his allegiance to Henry IV. It seems possible that the plates were made about that time, and if not, before 1603 when a change was made to the de Vic arms. \n\nThe initials \u2018I\u2022C\u2019 occur on a great many enamels made during the second half of the 16th and early 17th century. It therefore seems likely to have been a workshop mark used succesively by  members of the Court family. These were Jehan or Jean Court dit Vigier I (d. 1592) and his son, Jean Court dit Vigier II (b. c.1575-d. between 1631-5);  and a relative, Jehan Court le jeune who married in 1613, and  died between 1627-31, may also have used the mark, but was probably too young to have decorated the 'Joseph Plates'. (See Documentation, Beyssi-Cassan, 2006)"}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-126849","uid":"adlib-term-126849","uuid":"12adb53f-3133-3826-9950-cb457b8a568d"},"summary_title":"16th Century, Late-17th Century, Early"},{"@link":{"type":"reference"},"admin":{"id":"term-132649","uid":"adlib-term-132649","uuid":"059150e1-460a-3bf6-947f-a61ea03afc79"},"summary_title":"Henry III of France"},{"@link":{"type":"reference"},"admin":{"id":"term-132648","uid":"adlib-term-132648","uuid":"1c7f979e-d0e3-379b-8d64-a83e1fef8ced"},"summary_title":"Henry IV of France"}],"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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A comparable lamp, and decoration, p. 120, pl. V","page":"p. 120","type":"reference"},"admin":{"id":"publication-2127","uid":"adlib-publication-2127","uuid":"5d3a5dd3-0113-3743-b39f-87b0ec9420ea"},"summary_title":"National Museets Arbejdsmark 1960"},{"@link":{"notes":"Cf. An example in the Bargello, Florence in exhibition catalogue, Venice, Palazzo Ducale, 30tOctober 1993 - 30 April 1994, pp. 324-5, no. 190. Egypt or Syria, 1343-47. It bears the emblem of dawdar Tughaytimur, nominated amir by Ibn Qalawun, and who became secretary to three Mamluk sultans between 1342-3 and 1347.","page":"pp. 324-5","type":"reference"},"admin":{"id":"publication-2132","uid":"adlib-publication-2132","uuid":"20e0db67-4ca5-324f-bfbc-7970df7fbe92"},"summary_title":"Eredita dell'Islam, Arte Islamica in Italia"},{"@link":{"notes":"Cf. An Egyptian or Syrian Mamluk Mosque lamp made for Sultan Barquq 1382-99 AD, pp. 68-9. Estimate \u00a3400,000-\u00a3600,000. 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No. 116, bears the cup emblem of Sayf al-Din Qawsun (d. 1342), cup bearer to Sultan Nasir Muhammad ibn Qalaun","page":"228-36","type":"reference"},"admin":{"id":"publication-4680","uid":"adlib-publication-4680","uuid":"c5d30c7e-14e2-37aa-a503-485a1cf3aa33"},"summary_title":"Glass of the Sultans"},{"@link":{"notes":"Cf. pp. 38-45, no. 1 a mosque lamp with the cup emblem of the 'Great Amir Sayf al-Din Shaykhu al 'Umari'","page":"38-45","type":"reference"},"admin":{"id":"publication-7299","uid":"adlib-publication-7299","uuid":"6f4a68e9-f500-30d4-b9dd-88b93e40816a"},"summary_title":"The Wallace Collection, Catalogue of Glass and Limoges Painted Enamels"}],"school_or_style":[{"@link":{"type":"reference"},"admin":{"id":"term-9212","uid":"adlib-term-9212","uuid":"38c84262-2ff9-3774-a0cd-11e180850cc0"},"summary_title":"Mamluk"}],"summary":{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-70645","uid":"adlib-term-70645","uuid":"edd2f9d7-844f-3839-8d83-1bea98d329f8"},"summary_title":"mosque lamp"}},"summary_title":"mosque lamp","title":[{"value":"Mosque lamp"}],"type":{"base":"object","type":"OBJECT"}}},{"_index":"ciim","_type":"data","_id":"adlib-object-139825","_score":17.704197,"_source":{"admin":{"added":1592999766000,"created":1312637261000,"flag":"Standard Record","id":"object-139825","indexed":1755194554802,"modified":1711456398000,"processed":1755194515997,"source":"adlib","stream":"fitz-online","uid":"adlib-object-139825","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/139825","uuid":"5137a070-788b-3e5c-a053-2a914d03ecdb","version":11},"agents":[{"@link":{"note":[{"value":"Thomas Hope (1769 1831), The Deepdene, Dorking"}],"type":"reference"},"admin":{"id":"agent-179470","uid":"adlib-agent-179470","uuid":"aa1c96e4-5653-35d8-9522-fce5830d83f2"},"summary_title":"Hope, Henry"},{"@link":{"note":[{"value":"Henry Pelham Archibald Douglas Pelham-Clinton, 7th Duke of Newcastle (1864\u20131928), Clumber Park, near Worksop"}],"type":"reference"},"admin":{"id":"agent-179469","uid":"adlib-agent-179469","uuid":"03cf5536-b5a1-3d4c-bf6d-0f8195e69407"},"summary_title":"Pelham-Clinton, Henry Pelham Archibald Douglas"},{"@link":{"type":"reference"},"admin":{"id":"agent-179468","uid":"adlib-agent-179468","uuid":"342aefad-6df9-3102-b3a7-566050b046bf"},"summary_title":"Lockett, George A"},{"@link":{"relation":"person","type":"reference"},"admin":{"id":"agent-8649","uid":"adlib-agent-8649","uuid":"b3d510e7-0636-3578-92af-db3b410163da"},"summary_title":"Joseph"}],"categories":[{"@link":{"type":"reference"},"admin":{"id":"term-107563","uid":"adlib-term-107563","uuid":"38dcd825-1de1-3222-82c6-15a95729b5ff"},"summary_title":"enamels"},{"@link":{"type":"reference"},"admin":{"id":"term-125750","uid":"adlib-term-125750","uuid":"2b10ac09-63c3-34ed-87d5-487058c1c344"},"summary_title":"Limoges painted enamels"}],"collection":[{"@link":{"type":"reference"},"admin":{"id":"term-117089","uid":"adlib-term-117089","uuid":"70d59fbc-64f7-304e-a336-bf6d65a433a8"},"summary_title":"Louis C. G. 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The plate has a black ground. The central design is enamelled over a white ground in  translucent blue, turquoise, green, yellow, and mulberry enamels over silver foils, and opaque white, flesh-pink and black highlighted with gold. The cavetto has a black ground painted in gold. The rim has a black ground except for the foiled areas and the flesh areas which have a white preparation. The edge is white. The reverse is enamelled in grisaille with dark salmon-pink on a black ground painted in gold The underside of the rim has a black ground painted in gold.\nThe central design shows Joseph riding in Pharaoh's Chariot known as The Triumph of Joseph. Joseph, is seated a chariot on the right, with a crowd of Egyptians in front of him. In the background there are three buildings: on the right, a circular domed building with Corinthian columns round its circumference; in the middle, a smaller low building with a sloping roof, and on the left, a rectangular building with a triangular gable and arcaded lower storey. \"G.XLI\" is inscribed in gold on the sky. The sides are decorated with gold foliated scrolls between horizontal bands. On the rim are two different female masks wearing fabric headdresses, and two different crowned male masks, separated by vases flanked by pairs of tritons with tablets over their curly tails, with sprays of gold foliage in the spaces.\nThe reverse is enamelled en grisaille. In the centre there is a white flowerhead comprising a rosette, a broad circle and twelve petals, Around this are two dark salmon-pink masks without hair and two with hair, with drapery issuing from their mouths, confined by broad strapwork and fruit on stems. The black ground is decorated with gold arabesques, and on the rim, thee is a wreath of gold leaves and berries between gold bands. The mark \"I.C.\" is painted in black on a white circle surrounding the central rosette."}],"identifier":[{"accession_number":"M.114-1961","primary":true,"type":"accession number","value":"M.114-1961"},{"priref":"139825","type":"priref","value":"139825"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/139825","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/139825"}],"inscription":[{"location":"on strapwork on the back","method":"painted in black enamel","transcription":[{"value":"I\u2022C"}],"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":1960,"latest":1960,"value":"1960"}],"method":{"value":"bequeathed"},"note":[{"value":"There is no doubt that this plate was the one in the Duke of Newcastle, and Lockett collections because the Museum\u2019s copy of Christie\u2019s catalogue of the former\u2019s sale on 7 July 1921 is inscribed alongside lot 110, \u2018Lockett Sale\/1942\/now property of L.C.G. Clarke\u2019"}]}],"creation":[{"date":[{"earliest":1585,"from":{"earliest":1585,"era":["CE"],"latest":1585,"precision":"circa","value":"1585"},"latest":1600,"note":[{"value":"as some of the scenes on the twelve plates with Joseph scenes were from Figures de la Bibles, they were presumably made after 1564, although the first identified with a scene from that book was no. 7 in the sequence."}],"range":true,"to":{"earliest":1600,"era":["CE"],"latest":1600,"value":"1600"}}],"maker":[{"@link":{"qualifier":"possibly","role":[{"value":"maker"}],"type":"reference"},"admin":{"id":"agent-180599","uid":"adlib-agent-180599","uuid":"01cc9b0b-f6a4-3faa-b356-ba4da3ba8987"},"summary_title":"Court dit Vigier, Jean I"},{"@link":{"qualifier":"possibly","role":[{"value":"maker"}],"type":"reference"},"admin":{"id":"agent-186766","uid":"adlib-agent-186766","uuid":"9842ea2f-a073-3f9e-a28e-a1ca7001b3df"},"summary_title":"Court dit Vigier, Jean II"}],"note":[{"value":"The Biblical story of Joseph told in Genesis, was a common theme for the decoration of domestic objects in France in the second half of the 16th century. Limoges enamellers decorated caskets, ewers, dishes, and small plates with Joseph scenes. Although no complete sets are known, this plate was probably one of a set of twelve each decorated with a different event in the story, beginning when Joseph was already the slave of Potifar in Egypt, and extending from his rejection of the enticements of Potiphar\u2019s wife (Genesis 39.7) to his reconciliation with his brothers (Genesis 45.14-16). Ten of the scenes were closely based on Bernard Salomon's woodcut illustrations to Claude Paradin\u2019s 'Quadrins historiques de la Bible', first published by Jean de Tournes in Lyon in 1553. An augmented edition appeared in 1555, reprinted in 1558 and 1560, and another augmented edition in 1583. Each page had the biblical reference at the top, a woodcut, and an explanatory verse below. Another work of the same type, Guillaume Gu\u00e9roult\u2019s 'Figures de la Bible illustr\u00e9es de huictains francoys . . . (Guillaume Roville), Lyons, 1564 (2nd edn, 1565), with illustrations by Pierre Eskrich was used for the 7th and 10th plates in the series, and the 12th has aspects from the woodcuts in both publications. This indicates that the series of plates were made after  1564\/65.These books can be viewed online in the Gallica website of the Biblioth\u00e8que nationale.\n\nThis plate is decorated with the fifth scene in the sequence. The Triumph of Joseph, described  in Genesis, Chapter 41, 43: \u2018And he [Pharaoh] made him to ride in the second chariot which he had; and they cried before him, Bow the knee: and he made him ruler over all the land of Egypt\u2019. The Biblical reference \u2018.G.XLI\u2019  is given above the scene which was copied from a woodcut illustration entitled \u2018GENESE XLI\u2019 by Bernard Salomon in Claude Paradin, 'Quadrins Historique de la Bible', Lyon, 1553 or a later edition., . (The 1558 edn is in the Cambridge University Library Keynes, E.3.4, and in the Fitzwilliam Museum Dept. of MSS and Printed Books). At least two more plates are known decorated with this subject, one with a blue ground, in the Mus\u00e9e du Louvre (see Documentation, Baratte, 2000), and one with a manganese-black ground which descended in the family of Lionel de Rothschild (1808-79) and was sold by Sotheby's London in 2003 (see Documentation).\n\nThe overall appearance of these plates, the border on the fronts,  and the style of grisaille decoration on the reverses, is comparable to a set of plates decorated with scenes from the Life of the Virgin signed' I.C.' . These have the de Vic arms below on the rims, probably for M\u00e9ry de Vic (d. 1622), who had been resident in Limoges as intendant during 1588 and 1589, while on a mission to restore order in the region for Henry III, and after his assassination in August 1589, had transferred his allegiance to Henry IV. It seems possible that the plates were made about that time, and if not, before 1603 when a change was made to the de Vic arms. In that year, Henry IV granted to Dominic de Vic, a distinguished soldier, administrator and diplomat (d. 1610), and his brother, M\u00e9ry, the right to add to their arms 'un \u00e9cusson d\u2019azure charg\u00e9 d\u2019une fleur de lys d\u2019or et d\u2019une bordure du m\u00eame' (a blue shield charged with a gold fleur de lys and a border of the same). \n\nThe mark \u2018I\u2022C\u2019 seems likely to have been a workshop mark used succesively by  Jehan or Jean Court dit Vigier I (d. 1592) and his son, Jean Court dit Vigier II (b. c.1575-d. between 1631-5). The issue is complicated by the presence of another Jehan\/Jean de Court who witnessed the latter's wedding in 1598, and was therefore probably a relative, and possibly an enameller, and of another enameller, Jehan\/Jean Court dit Vigier le jeune who married in 1613, and  died between 1627-31, but seems likely to have been too young to have been the decorator of the Joseph Plates. (See Documentation, Beyssi-Cassan, 2006)."}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-126849","uid":"adlib-term-126849","uuid":"12adb53f-3133-3826-9950-cb457b8a568d"},"summary_title":"16th Century, Late-17th Century, Early"},{"@link":{"type":"reference"},"admin":{"id":"term-132649","uid":"adlib-term-132649","uuid":"059150e1-460a-3bf6-947f-a61ea03afc79"},"summary_title":"Henry III of France"},{"@link":{"type":"reference"},"admin":{"id":"term-132648","uid":"adlib-term-132648","uuid":"1c7f979e-d0e3-379b-8d64-a83e1fef8ced"},"summary_title":"Henry IV of France"}],"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":"The Triumph of Joseph, Limoges plate by Jean Court dit Vigier"}]},"type":{"base":"media","type":"image"}}],"name":[{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-34935","uid":"adlib-term-34935","uuid":"b6750733-fe79-33fc-b39a-c296fcd223b4"},"summary_title":"plate"}}],"note":[{"type":"history note","value":"Thomas Hope (1769-1831) before 1826; Henry Thomas Hope (1808-62); Mrs H.T. Hope (d. 1887); her daughter Henrietta Adele Hope (1843-1913), 6th Duchess of Newcastle; her son, Henry Pelham Archibald Douglas Pelham-Clinton (1864-1928), 7th Duke of Newcastle Christie\u2019s, 7 July 1921, Catalogue of fine old English silver-gilt plate, Limoges enamels, old Italian majolica and porcelain, the property of his grace the Duke of Newcastle, and removed from Clumber, Worksop, p. 19, lot 110, illustrated; sold for \u00a3780. George A. Lockett; sold Christie\u2019s, 12 June 1942, The Choice Collection of objects of Art and Furniture formed by the late George A. Lockett, Esq., p. 22, lot 203, illustrated; Mallett & Sons, London; purchased in September 1942 by Louis C.G. Clarke, MA, Cambridge."}],"objects":[{"@link":{"cascade":true,"role":[{"value":"same type"}],"type":"reference"},"admin":{"id":"object-139826","uid":"adlib-object-139826","uuid":"2161a683-841c-3ebb-ad57-f0bb7ae8697c"},"summary":{"reference":{"@link":{"impact":true,"type":"reference","workflow":true},"admin":{"id":"term-34935","uid":"adlib-term-34935","uuid":"b6750733-fe79-33fc-b39a-c296fcd223b4"},"summary_title":"plate"}},"summary_title":"plate"},{"@link":{"cascade":true,"role":[{"value":"same type"}],"type":"reference"},"admin":{"id":"object-156461","uid":"adlib-object-156461","uuid":"a5821ff5-0e9f-3506-b562-6073ee63e047"},"summary":{"reference":{"@link":{"impact":true,"type":"reference","workflow":true},"admin":{"id":"term-34935","uid":"adlib-term-34935","uuid":"b6750733-fe79-33fc-b39a-c296fcd223b4"},"summary_title":"plate"}},"summary_title":"plate"}],"owners":[{"@link":{"type":"reference"},"admin":{"id":"agent-149638","uid":"adlib-agent-149638","uuid":"7376d833-d0a7-3be0-916e-9c892b7a24d8"},"summary_title":"The Fitzwilliam Museum"}],"publications":[{"@link":{"notes":"Publ. p. 19, lot 110. Cf. lot 111 a plate decorated with Pharoah's Dream is now in the Herzog  Anton-Ulrich Museum, Braunschweig.","page":"19","type":"reference"},"admin":{"id":"publication-3407","uid":"adlib-publication-3407","uuid":"19cc80c0-e6e7-3fd0-9660-ce60875a0f41"},"summary_title":"Catalogue of fine old English silver-gilt plate, Limoges enamels, old Italian majolica and porcelain, the property of His Grace the Duke of Newcastle, and removed from Clumber, Worksop"},{"@link":{"notes":"Publ. p. 22, lot 203, illustrated","page":"22","type":"reference"},"admin":{"id":"publication-3221","uid":"adlib-publication-3221","uuid":"d6ca23eb-f1e5-32c4-b618-396e4ae4ca33"},"summary_title":"The choice collection of objects of art and furniture formed by the late George A. Lockett Esq."},{"@link":{"notes":"Publ. p. 161, fig. 15, and Table of Plates, no. 5.2. Higgott and Poole, provide the most detailed description of the 'Joseph plates' with a list of the known examples.","page":"161","type":"reference"},"admin":{"id":"publication-200003208","uid":"adlib-publication-200003208","uuid":"a080bc54-7f92-3d57-af8d-e44304d0a9af"},"summary_title":"L\u2019histoire de Joseph sur des assiettes en \u00e9mail peint de Limoges par l\u2019atelier portant la marque de fabrique \u201cI.C."},{"@link":{"notes":"Cf. p. 355, N 1359, a plate decorated with this subject on a blue ground, differing in details of the figures, and having clouds above, and with a different design on the reverse, very close to the Fitzwilliam Museum's plate C.115-1961 and similarly initialled '.I.C'. The execution of this plate is superior to the Fitzwilliam's particularly in the gilded details. Cf. p. 331, R315, a grisaille dish, with a similar design of masks and thick strapwork on the reverse, also initialled .I.C on the front.","page":"355","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. pp. 26-9, lot 15, part III, a comparable plate, one of a group of seven plates which had belonged to Lionel de Rothschild (1808-79) and his son Nathaniel Rothschild, 1st Lord Rothschild (1840-1915) They descended to Nathaniel Charles Rothschild (1877-1923) and to Victor, 3rd Lord Rothschild (1910-90), and were for a time on loan at Waddesdon Manor.","page":"26-9","type":"reference"},"admin":{"id":"publication-6195","uid":"adlib-publication-6195","uuid":"f4eed033-ca63-353d-b9ef-ac0aaf092f02"},"summary_title":"Treasures from the Rothschild Collection"},{"@link":{"notes":"Ref. pp. 13-33 and 291-3 for Quadrins historique de la Bible; for Pierre Eskrich see pp. 38-44","page":"130-33 and 291-3","type":"reference"},"admin":{"id":"publication-7342","uid":"adlib-publication-7342","uuid":"d9fb0bb5-2b35-34f7-88f4-b60331f55697"},"summary_title":"Bernard Salomon Illustrateur Lyonnais"},{"@link":{"notes":"Ref. p. 311 for a list of Joseph subjects on plates. The Fitzwilliam's Triumph of Joseph is listed as E.3. Cf. pp. 302-06, no. 80, Joseph storing Grain and pp. 307-10, Joseph taken to Prison. The author dates these to c. 1575-1600.","page":"p. 311","type":"reference"},"admin":{"id":"publication-7299","uid":"adlib-publication-7299","uuid":"6f4a68e9-f500-30d4-b9dd-88b93e40816a"},"summary_title":"The Wallace Collection, Catalogue of Glass and Limoges Painted Enamels"}],"school_or_style":[{"@link":{"type":"reference"},"admin":{"id":"term-10618","uid":"adlib-term-10618","uuid":"9ebc0ae1-8cf8-312b-832c-9cf44da02136"},"summary_title":"Renaissance"},{"@link":{"type":"reference"},"admin":{"id":"term-10600","uid":"adlib-term-10600","uuid":"02211e31-dcc2-3d71-afd8-d51e21c5dc5f"},"summary_title":"Mannerism"}],"subjects":[{"@link":{"type":"reference"},"admin":{"id":"term-120387","uid":"adlib-term-120387","uuid":"94d60187-0df2-31f4-b2e2-03ad2656fc88"},"summary_title":"Triumph of Joseph"},{"@link":{"relation":"object name","type":"reference"},"admin":{"id":"term-107505","uid":"adlib-term-107505","uuid":"c3d7bf9c-773c-34aa-80e1-8d38aa516639"},"summary_title":"chariot"},{"@link":{"relation":"named event","type":"reference"},"admin":{"id":"term-125812","uid":"adlib-term-125812","uuid":"e8032ba6-fb44-3ca2-85f5-12d79793ce2a"},"summary_title":"The Triumph of Joseph"},{"@link":{"type":"literal"},"name":[{"value":"chariot"}],"summary_title":"chariot"},{"@link":{"type":"literal"},"name":[{"value":"The Triumph of Joseph"}],"summary_title":"The Triumph of Joseph"}],"summary":{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-34935","uid":"adlib-term-34935","uuid":"b6750733-fe79-33fc-b39a-c296fcd223b4"},"summary_title":"plate"}},"summary_title":"plate","techniques":[{"description":[{"value":"copper, enamelled in polychrome and grisaille, and gilded. The design in the well is outlined in black and executed in translucent blue, turquoise, green, yellow, and mulberry enamels over silver foils, and flesh pink, opaque white, grey and black enamels over a white preparation, highlighted with gold. The cavetto has a black ground painted in gold. The rim has a black ground except for the foiled areas and the flesh areas which have a white preparation. The edge is white. The reverse is enamelled in grisaille with dark salmon-pink, on a black ground painted in gold The underside of the rim has a black ground painted in gold."}],"reference":{"@link":{"type":"reference"},"admin":{"id":"term-28810","uid":"adlib-term-28810","uuid":"c6a00cef-33f7-3107-8666-d791bd49707c"},"summary_title":"raising (metal forming process)"}}],"title":[{"value":"The Triumph of Joseph"}],"type":{"base":"object","type":"OBJECT"}}},{"_index":"ciim","_type":"data","_id":"adlib-object-139843","_score":17.667477,"_source":{"admin":{"added":1592970577000,"created":1312637261000,"flag":"Standard Record","id":"object-139843","indexed":1755194555014,"modified":1740413092000,"processed":1755194515997,"source":"adlib","stream":"fitz-online","uid":"adlib-object-139843","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/139843","uuid":"0f8268ca-30d9-367c-9c75-e050953fdd0c","version":15},"agents":[{"@link":{"note":[{"value":"before 1774"}],"type":"reference"},"admin":{"id":"agent-163244","uid":"adlib-agent-163244","uuid":"e6ad7c11-8918-3100-9cdd-07e15ab49643"},"summary_title":"Walpole, Horace"},{"@link":{"type":"reference"},"admin":{"id":"agent-83744","uid":"adlib-agent-83744","uuid":"0425c4cf-7e24-317e-91ee-38840b1cc6aa"},"summary_title":"Magniac, Hollingworth"},{"@link":{"relation":"person","type":"reference"},"admin":{"id":"agent-158722","uid":"adlib-agent-158722","uuid":"1cffff36-4957-3dbb-9b48-c4d5b506440a"},"summary_title":"Paris"},{"@link":{"relation":"person","type":"reference"},"admin":{"id":"agent-61111","uid":"adlib-agent-61111","uuid":"ea0f909c-be23-37f6-b642-bc3ac8c21293"},"summary_title":"Helen"},{"@link":{"relation":"person","type":"reference"},"admin":{"id":"agent-154115","uid":"adlib-agent-154115","uuid":"671b9a84-ed00-3718-b0e3-b41eee5e124c"},"summary_title":"jester"},{"@link":{"relation":"person","type":"reference"},"admin":{"id":"agent-186335","uid":"adlib-agent-186335","uuid":"7bb1d606-1331-3af8-aeb2-94abbfbfa1b9"},"summary_title":"Fortuna"}],"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":[{"note":[{"value":"white, turquoise-green, pale mauve, and black"}],"reference":{"@link":{"type":"reference"},"admin":{"id":"term-32638","uid":"adlib-term-32638","uuid":"97b8d1a5-7b8f-3a2a-a275-7d001aeaae2b"},"summary_title":"enamel"}},{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-39593","uid":"adlib-term-39593","uuid":"e3e2a3f8-2433-3f63-9bcf-e776644d312d"},"summary_title":"gold"}}],"name":"Decoration","techniques":[{"description":[{"value":"copper, enamelled in grisaille on a manganese-black ground, and gilded; the top also enamelled in turquoise-green, and the base in turquoise, and pale mauve."}],"note":[{"value":"white, turquoise-green, pale mauve, and manganese-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":"Width","units":"cm","value":"10.9"}]},"name":"Across Points"},{"measurements":{"dimensions":[{"dimension":"Width","units":"cm","value":"10"}]},"name":"Across Flat Sides"}],"content":{"motifs":[{"@link":{"type":"reference"},"admin":{"id":"term-102639","uid":"adlib-term-102639","uuid":"2c240716-c1bb-36c4-9594-b0a98f1208c2"},"summary_title":"allegory"}]},"department":{"value":"Applied 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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(according to the Wallace Collection\u2019s annotated catalogue). . . . Hollingworth Magniac (1786\u20131867, Colworth, Bedfordshire; his son, Charles Magniac(1827\u201391); \n sold Christie\u2019s, 2, 4-8 and 11-15 July 1892, Catalogue of the renowned collection of works of art chiefly formed by the late Hollingworth Magniac Esq. 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XXII","page":"110-111","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. 216, 64.21 under no. 64, pp. 210-19, two salts of the same form, with polychrome figures, of which no. 64b has analogous figures and inscriptions on the sides, but different heads on the top and base, see p. 215, pls. 64.12 to 64.19.","page":"216","type":"reference"},"admin":{"id":"publication-7299","uid":"adlib-publication-7299","uuid":"6f4a68e9-f500-30d4-b9dd-88b93e40816a"},"summary_title":"The Wallace Collection, Catalogue of Glass and Limoges Painted Enamels"},{"@link":{"notes":"Publ. p. 197, Fig. 216, and p. 270, Cat. 188","page":"197, 270","type":"reference"},"admin":{"id":"publication-7751","uid":"adlib-publication-7751","uuid":"cfa79c6e-ae29-31e3-85fa-3a838db1be3c"},"summary_title":"Treasured Possessions from the Renaissance to the Enlightenment"},{"@link":{"notes":"Cf. p. 51, no. 260 with different figures","page":"51","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. 15, for x-radiography of a hexagonal salt in the British Museum, 1888.0705.1, showing method of joining the three parts","page":"13-22","type":"reference"},"admin":{"id":"publication-200002564","uid":"adlib-publication-200002564","uuid":"292257b1-8817-3726-8f37-6bdaa3f7d9e1"},"summary_title":"Limoges Painted Enamels: evidence for specialist copper-smithing workshops"},{"@link":{"notes":"Cf. pp. 142-3, no. 30, a plaque from a coffer showing a man and woman in contemporary costume offering each other a rose and a heart respectively, painted in grisaille with green, turquoise, pink and gold,  dated to c. 1540-50. The salts in the Fitzwilliam Museum and the Wallace Collection are mentioned.","page":"142-3","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"},{"@link":{"notes":"Cf.  p. 136, fig. 12,  a mid16th century German broadside \u2018Wer Weis obs wahr ist? (Who knows whether it is true? with a jester watching amorous figures and other figures of men and women, with humorous inscriptions expressing views comparable to those on the salt","page":"125-48","type":"reference"},"admin":{"id":"publication-200002823","uid":"adlib-publication-200002823","uuid":"4d53f166-327c-3e3d-bf26-be13ff999fe3"},"summary_title":"Master E.S. and the Folly of Love"},{"@link":{"notes":"Ref. p. 41 for the author's view that 'Nimia voluptatis abundantia impedit amorem . . . .\u2019, (Excessive indulgence in pleasure hinders love)","page":"41","type":"reference"},"admin":{"id":"publication-7302","uid":"adlib-publication-7302","uuid":"a31822a4-e695-346f-a96c-92fbd79ab6b6"},"summary_title":"Andreas Capellanus on Love, edited with an English translation by P.G. Walsh"}],"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-125761","uid":"adlib-term-125761","uuid":"bce2de03-432e-3676-bb62-4a5042d2c1d3"},"summary_title":"dining"},{"@link":{"relation":"plant","type":"reference"},"admin":{"id":"term-51570","uid":"adlib-term-51570","uuid":"60c9a2b0-88e3-31c4-a903-cb3bfbb73411"},"summary_title":"rose"},{"@link":{"type":"literal"},"name":[{"value":"rose"}],"summary_title":"rose"}],"summary":{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-91292","uid":"adlib-term-91292","uuid":"d8901c0c-4f46-3a5a-b7db-d7013fed9c66"},"summary_title":"salt"}},"summary_title":"salt","title":[{"value":"Hexagonal Salt"}],"type":{"base":"object","type":"OBJECT"}}},{"_index":"ciim","_type":"data","_id":"adlib-object-156461","_score":17.667477,"_source":{"admin":{"added":1592999776000,"created":1312637261000,"flag":"Standard Record","id":"object-156461","indexed":1755194558979,"modified":1730836765000,"processed":1755194515997,"source":"adlib","stream":"fitz-online","uid":"adlib-object-156461","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156461","uuid":"a5821ff5-0e9f-3506-b562-6073ee63e047","version":9},"agents":[{"@link":{"note":[{"value":"Baron Gustave de Rothschild (1829-1911), Paris"}],"type":"reference"},"admin":{"id":"agent-179479","uid":"adlib-agent-179479","uuid":"bcd7b9cc-879f-37ac-90a7-2097d525fb8b"},"summary_title":"Rothschild, Gustave de, Baron"},{"@link":{"relation":"person","type":"reference"},"admin":{"id":"agent-10447","uid":"adlib-agent-10447","uuid":"245a8fdb-51ba-3c70-9445-c5772e95db78"},"summary_title":"Benjamin"},{"@link":{"relation":"person","type":"reference"},"admin":{"id":"agent-150844","uid":"adlib-agent-150844","uuid":"377f5a5d-87d0-3cbc-a198-d6a4d293d69f"},"summary_title":"Jacob"},{"@link":{"relation":"person","type":"reference"},"admin":{"id":"agent-149957","uid":"adlib-agent-149957","uuid":"593b52e1-d697-3d1d-814b-a17d4bee42ad"},"summary_title":"baby"},{"@link":{"relation":"person","type":"reference"},"admin":{"id":"agent-149742","uid":"adlib-agent-149742","uuid":"1d4d164f-45d5-3cec-ad71-bbc83cea9b86"},"summary_title":"woman"}],"categories":[{"@link":{"type":"reference"},"admin":{"id":"term-107563","uid":"adlib-term-107563","uuid":"38dcd825-1de1-3222-82c6-15a95729b5ff"},"summary_title":"enamels"},{"@link":{"type":"reference"},"admin":{"id":"term-125750","uid":"adlib-term-125750","uuid":"2b10ac09-63c3-34ed-87d5-487058c1c344"},"summary_title":"Limoges painted enamels"}],"collection":[{"@link":{"type":"reference"},"admin":{"id":"term-117089","uid":"adlib-term-117089","uuid":"70d59fbc-64f7-304e-a336-bf6d65a433a8"},"summary_title":"Louis C. G. Clarke"}],"component":[{"materials":[{"note":[{"value":"dark blue, translucent blue, turquoise, green, yellow, red, and mulberry, flesh-pink, brown, grey, opaque white, and black"}],"reference":{"@link":{"type":"reference"},"admin":{"id":"term-32638","uid":"adlib-term-32638","uuid":"97b8d1a5-7b8f-3a2a-a275-7d001aeaae2b"},"summary_title":"enamel"}},{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-125824","uid":"adlib-term-125824","uuid":"4b9c6839-6345-3262-8a42-294f538950b0"},"summary_title":"silver-foil"}},{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-39593","uid":"adlib-term-39593","uuid":"e3e2a3f8-2433-3f63-9bcf-e776644d312d"},"summary_title":"gold"}}],"name":"Decoration","techniques":[{"note":[{"value":"dark blue, translucent blue, turquoise, green, yellow, red, and mulberry, flesh-pink, brown, grey, opaque white, and black"}],"reference":{"@link":{"type":"reference"},"admin":{"id":"term-28662","uid":"adlib-term-28662","uuid":"dd47e505-ccda-3f2b-b576-6104109430e8"},"summary_title":"enamelling"}},{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-28681","uid":"adlib-term-28681","uuid":"c1f659e2-1209-31cf-8ff4-154e11452559"},"summary_title":"gilding"}}]}],"content":{"motifs":[{"@link":{"type":"reference"},"admin":{"id":"term-110523","uid":"adlib-term-110523","uuid":"d1291b77-5525-36c4-9cec-9f651a7a76a9"},"summary_title":"bible"}]},"department":{"value":"Applied Arts"},"description":[{"value":"Copper, decorated with polychrome enamels over paillons and gilded; the reverse enamelled in grisaille and gilded, with terms, torches, and strapwork, initialled \".I.C.\""},{"value":"Circular with slightly raised applied edge, narrow sloping rim, shallow curved sides and centre. Round the junction of the rim and well on the back there are a series of holes in the enamel left by supports during firing.The plate has a dark blue ground. The design in the well is enamelled over a white layer in dark blue, translucent blue, turquoise, green, yellow, red, mulberry, and brown with silver foils (paillons) under the costume, and in black, opaque white, flesh-pink, and opaque white, enhanced with gilding. The sides are decorated in gold over the dark blue ground. The motifs on the rim are executed in translucent enamels over foils and in flesh-pink, white and grey over a white ground, reserved in a dark blue ground with gilt ornament. The reverse is enamelled  in grisaille and with flesh pink, and gilding. \nThe well is decorated with Joseph's brother's showing Jacob that their money has been returned to them in their sacks of grain. The action takes place out of doors, with two buildings in the background to right, a landscape with a stream on the left, and a path and two bushes in the foreground. A woman holding a baby in her arms and another woman stand on the right with a small sack in front of them. Benjamin stands beside his father, Jacob, who is seated in a chair. To the left, there is a sack lying sideways on the ground, and two more upright, which are being searched by two of the brothers. Six more of them stand behind them, one raising his arms in a gesture of surprise. In the sky above, in gold, is \".G.XLII\"  with below it, gold rays streaming down towards Benjamin. The sides are decorated with gold foliated scrolls on a dark blue ground, and on the rim, two different male and two different female masks, separated by tritons with tablets over their scrolling tails flanking jewels, with gold foliated sprays on a black ground. The edge is white.\nThe reverse is  painted in grisaille and flesh pink with two female terms and one male [?] term and three torches without flames linked by strapwork. The dark blue ground is decorated with gold sprays and foliate scrolls. On the rim there is a wreath of gold leaves and berries between pairs of gold bands. On the back, \"I.C\" in black on white strapwork below one of the torches."}],"exhibitions":[{"@link":{"catalogue":"2569","type":"reference"},"admin":{"id":"exhibition-2249","uid":"adlib-exhibition-2249","uuid":"547b6a0d-a51d-3449-bcac-f9bc675d6f4b"},"summary_title":"Mus\u00e9e r\u00e9trospectif"},{"@link":{"catalogue":"3060, one of four plates","type":"reference"},"admin":{"id":"exhibition-2250","uid":"adlib-exhibition-2250","uuid":"84fa0414-bb62-3cb1-bc3b-7b3c7527322b"},"summary_title":"Exposition Universelle de 1867"}],"identifier":[{"accession_number":"M.115B-1961","primary":true,"type":"accession number","value":"M.115B-1961"},{"priref":"156461","type":"priref","value":"156461"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156461","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156461"}],"inscription":[{"location":"on front in sky","method":"painted in gold","transcription":[{"value":".G.XLII"}],"type":"inscription"},{"location":"on back on white strapwork below one of the torches","method":"painted in black","transcription":[{"value":".I . C."}],"type":"initials"},{"description":[{"value":"rectangular paper label with cut corners"}],"location":"on back of rim","method":"printed in black and hand-written in faded black ink","transcription":[{"value":"UNION\/CENTRALE\u2019 printed in black, with between the words in faded black ink, 124\/2788"}],"type":"label"}],"institutions":[{"@link":{"type":"reference"},"admin":{"id":"agent-149638","uid":"adlib-agent-149638","uuid":"7376d833-d0a7-3be0-916e-9c892b7a24d8"},"summary_title":"The Fitzwilliam Museum"}],"legal":{"credit_line":"Louis.C.G. Clarke Bequest, 1960"},"lifecycle":{"acquisition":[{"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-149875","uid":"adlib-agent-149875","uuid":"89f52d0e-b912-3dc9-8b2c-61d6aa011b16"},"summary_title":"Clarke, Louis Colville Gray"}],"date":[{"earliest":1961,"latest":1961,"value":"1961-04-27"}],"method":{"value":"bequeathed"},"note":[{"value":"The typed inventory of Louis Clarke\u2019s house, Leckhampton made by Sotheby's in October 1948, bears a handwritten note that this and C.115A-1961 were \u2018Formerly in Coll. of Gustave Rothschild\u2019 which was inherited by Sir Philip Sassoon and the Countess of Rocksavage.  The Museum\u2019s copy of the Christie\u2019s catalogue of their sale held on 26 November 1919 bears a note below lot 63, a set of four plates. \u2018Two of these now in Mallet bequest to Ashmolean, the other two to L.C. G.C\u2019 (indistinctly)."}]}],"creation":[{"date":[{"earliest":1585,"from":{"earliest":1585,"era":["CE"],"latest":1585,"precision":"circa","value":"1585"},"latest":1600,"range":true,"to":{"earliest":1600,"era":["CE"],"latest":1600,"value":"1600"}}],"maker":[{"@link":{"qualifier":"possibly","role":[{"value":"maker"}],"type":"reference"},"admin":{"id":"agent-180599","uid":"adlib-agent-180599","uuid":"01cc9b0b-f6a4-3faa-b356-ba4da3ba8987"},"summary_title":"Court dit Vigier, Jean I"},{"@link":{"qualifier":"possibly","role":[{"value":"maker"}],"type":"reference"},"admin":{"id":"agent-186766","uid":"adlib-agent-186766","uuid":"9842ea2f-a073-3f9e-a28e-a1ca7001b3df"},"summary_title":"Court dit Vigier, Jean II"}],"note":[{"value":"The Biblical story of Joseph told in Genesis, was a common theme for the decoration of domestic objects in France in the second half of the 16th century. Limoges enamellers decorated caskets, ewers, dishes, and small plates with Joseph scenes. Although no complete sets are known, this plate was probably one of a set of twelve each decorated with a different event in the story, beginning when Joseph was already the slave of Potifar in Egypt, and extending from his rejection of the enticements of Potiphar\u2019s wife (Genesis 39.7) to his reconciliation with his brothers (Genesis 45.14-16). Ten of the scenes were closely based on Bernard Salomon's woodcut illustrations to Claude Paradin\u2019s 'Quadrins historiques de la Bible', first published by Jean de Tournes in Lyon in 1553. An augmented edition appeared in 1555, reprinted in 1558 and 1560, and another augmented edition in 1583. Each page had the biblical reference at the top, a woodcut, and an explanatory verse below. Another work of the same type, Guillaume Gu\u00e9roult\u2019s 'Figures de la Bible illustr\u00e9es de huictains francoys . . . (Guillaume Roville), Lyons, 1564 (2nd edn, 1565), with illustrations by Pierre Vase\/Eskrich was used for the 7th and 10th plates in the series, and the 12th has aspects from the woodcuts in both publications. These books can be seen online in the website Gallica of the Biblioth\u00e8que nationale. The story of Joseph was also recounted at length by the Jewish historian, Flavius Josephus (c. 37 BC - after 100 AD), in his Antiquities of the Jews, Book II, II\u2013VII. This work was widely read in sixteenth-century France, and the Lyon edition of 1562, 'l\u2019Histoire de Fl. Josephe, Sacrificateur Hebrieu', translated by Fran\u00e7ois Bourgoing, and printed by Jean Temporal for Jean de Tournes, illustrates the part of Joseph\u2019s story which appears on the Limoges plates with Salomon\u2019s twelve woodcuts for those scenes, but without the biblical reference. It is therefore possible that the enameller could have used that rather than 'Quadrins historique de la Bible'. \n\nThis subject, the ninth in the sequence, was taken from the Book of Genesis 42  Joseph\u2019s brothers returned home to their father Jacob, having left Simeon behind in Egypt as a hostage. When they unpacked their sacks of grain, they discover that their money has been returned to them in their sacks.  The scene was after the woodcut titled GENESE XLII\u2019 by Bernard Salomon in Claude Paradin\u2019s, Quadrins Historique de la Bible, Lyon (Jean de Tournes), 1553 or a later edition. The plate was misidentified in the catalogue of the 1865 Mus\u00e9e retorspectif as Joseph selling corn to his brothers, and later as the Betrayal of Benjamin, and as the Finding of the Cup in Benjamin's Sack, which occur later in the story.Another plate decorated with this subject formerly belonged to Baron Ferdinand Anselm de Rothschild (1839-98), and is part of the Waddesdon Bequest in the British Museum (WB34) (see Documentation)\n\nThe plate has a blue ground, like those in a part set of six plates in the Louvre, which were acquired in 1794 having been seized for the state in 1793 from the collection of Louis-Hercule-Timol\u00e9on, duc de Brissac (1734-1792) then in the h\u00f4tel Talleyrand-P\u00e9ricord. The plates in that group however, are a little larger than this plate, 20.2 cm in diameter, and have different border designs on the rim, so although this subject is missing from that set (if it originally had twelve plates), the plate seems unlikely to have been part of it.\n\nThe overall appearance of these plates, the border on the fronts,  and the style of grisaille decoration on the reverses, is comparable to a set of plates decorated with scenes from the Life of the Virgin signed' I.C.' . These have the de Vic arms below on the rims, probably for M\u00e9ry de Vic (d. 1622), who had been resident in Limoges as intendant during 1588 and 1589, while on a mission to restore order in the region for Henry III, and after his assassination in August 1589, had transferred his allegiance to Henry IV. It seems likely that the plates were made about that time, and if not, before 1603 when a change was made to the de Vic arms.\n\nThe initials \u2018'I\u2022C.\u2019 occur on a great many Limoges enamels made during the second half of the 16th and early seventeenth century. The plate therefore seems likely to have been a workshop mark used successively by members of the Court family. These were Jehan\/Jean Court dit Vigier I (d. 1592), whose earliest known signed work was dated 1555, and his son, Jean Court dit Vigier II (b. c.1575; d. between 1631-5); a Jehan\/Jean de Court who witnessed the latter's wedding in 1598, and was therefore probably a relative (if he were an enameller which is not certain), and a related enameller, Jehan\/Jean Court dit Vigier le jeune who married in 1613, and  died between 1627-31. (See Documentation, Beyssi-Cassan, 2006)."}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-126849","uid":"adlib-term-126849","uuid":"12adb53f-3133-3826-9950-cb457b8a568d"},"summary_title":"16th Century, Late-17th Century, Early"}],"places":[{"@link":{"type":"reference"},"admin":{"id":"term-15498","uid":"adlib-term-15498","uuid":"61725bf5-360f-3837-8aab-3c90b956a537"},"hierarchies":[[{"@link":{"type":"literal"},"name":[{"value":"France"}],"summary_title":"France","type":"country"},{"@link":{"type":"literal"},"name":[{"value":"Haute Vienne"}],"summary_title":"Haute 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Tapestry, the property of Sir Philip Sassoon, BT., M.P., C.M.G., and the Countess of Rocksavage of 25 Park Lane, p. 8, part of lot 63; Walter Walter S. Burns, Esq., North Mymms Park, Herts; Mrs Walter Burns; Christie's, 28 June 1935, Catalogue of highly important enamels, faience and majolica and works of art, the property of Mrs Walter Burns (from the Collection of the late Walter S. Burns, Esq.) . . . . , lot 11, III; Louis C.G. Clarke, MA, LL.D., Leckhampton, Cambridge."}],"objects":[{"@link":{"cascade":true,"role":[{"value":"same type"}],"type":"reference"},"admin":{"id":"object-139825","uid":"adlib-object-139825","uuid":"5137a070-788b-3e5c-a053-2a914d03ecdb"},"summary":{"reference":{"@link":{"impact":true,"type":"reference","workflow":true},"admin":{"id":"term-34935","uid":"adlib-term-34935","uuid":"b6750733-fe79-33fc-b39a-c296fcd223b4"},"summary_title":"plate"}},"summary_title":"plate"},{"@link":{"cascade":true,"role":[{"value":"same type"}],"type":"reference"},"admin":{"id":"object-139826","uid":"adlib-object-139826","uuid":"2161a683-841c-3ebb-ad57-f0bb7ae8697c"},"summary":{"reference":{"@link":{"impact":true,"type":"reference","workflow":true},"admin":{"id":"term-34935","uid":"adlib-term-34935","uuid":"b6750733-fe79-33fc-b39a-c296fcd223b4"},"summary_title":"plate"}},"summary_title":"plate"},{"@link":{"cascade":true,"type":"reference"},"admin":{"id":"object-139825","uid":"adlib-object-139825","uuid":"5137a070-788b-3e5c-a053-2a914d03ecdb"},"summary":{"reference":{"@link":{"impact":true,"type":"reference","workflow":true},"admin":{"id":"term-34935","uid":"adlib-term-34935","uuid":"b6750733-fe79-33fc-b39a-c296fcd223b4"},"summary_title":"plate"}},"summary_title":"plate"}],"owners":[{"@link":{"type":"reference"},"admin":{"id":"agent-149638","uid":"adlib-agent-149638","uuid":"7376d833-d0a7-3be0-916e-9c892b7a24d8"},"summary_title":"The Fitzwilliam Museum"}],"publications":[{"@link":{"notes":"Publ. p. 225, no. 2569, as Joseph selling corn to his brothers and incorrectly as lent by Baron Alphonse de Rothschild instead of Baron James de Rothschild.","page":"225","type":"reference"},"admin":{"id":"publication-8967","uid":"adlib-publication-8967","uuid":"58e5940f-3893-32da-bdc1-20dee5f88c70"},"summary_title":"Exposition de 1865. Palais de l\u2019Industrie, Mus\u00e9e R\u00e9trospectif. Catalogue des objets d\u2019art et de curiosit\u00e9 expos\u00e9s au Mus\u00e9e R\u00e9trospectif ouvert au Palais de l\u2019Industrie en 1865"},{"@link":{"notes":"Publ. p. 8, part of lot 63.","page":"8","type":"reference"},"admin":{"id":"publication-3368","uid":"adlib-publication-3368","uuid":"25bf3f5d-bed3-3ace-8564-2a821cb84557"},"summary_title":"Catalogue of objects of art, porcelain and faience and fine French tapestry, the property of Sir Philip Sassoon Bart, MP, CMG and the Countess of Rocksavage of 25 Park Lane"},{"@link":{"type":"reference"},"admin":{"id":"publication-7027","uid":"adlib-publication-7027","uuid":"dedd6fca-e6f1-3dc8-981d-826b32b77670"},"summary_title":"Catalogue of highly important enamels, faience and majolica and works of art, the property of Mrs. Walter Burns (from the Collection of the late Walter S. Burns, Esq."},{"@link":{"notes":"Publ. p. 136-7, p. 156, fig. 5, p. 170, fig. 34, and Table of Plates, 9.1.","page":"136-7","type":"reference"},"admin":{"id":"publication-200003208","uid":"adlib-publication-200003208","uuid":"a080bc54-7f92-3d57-af8d-e44304d0a9af"},"summary_title":"L\u2019histoire de Joseph sur des assiettes en \u00e9mail peint de Limoges par l\u2019atelier portant la marque de fabrique \u201cI.C."},{"@link":{"type":"reference"},"admin":{"id":"publication-6647","uid":"adlib-publication-6647","uuid":"10f62349-c65f-3fee-a7e2-796d58c9e42c"},"summary_title":"Quadrins Historique de la Bible"},{"@link":{"type":"reference"},"admin":{"id":"publication-7342","uid":"adlib-publication-7342","uuid":"d9fb0bb5-2b35-34f7-88f4-b60331f55697"},"summary_title":"Bernard Salomon Illustrateur Lyonnais"},{"@link":{"notes":"Cf. pp. 350-7, N 1355-1360, a set of six plates with blue grounds and scenes from the life of Joseph of which N.1359 has a comparable design on the back of herms and strapwork. 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Hubert de Givenchy"},{"@link":{"notes":"Ref. pp. 378-80, nos. 5 , 6 and 7, for biographical information for the Court dit Vigier family","page":"378-80","type":"reference"},"admin":{"id":"publication-6116","uid":"adlib-publication-6116","uuid":"bbff1ced-945e-3b6f-8556-b6eedf278dea"},"summary_title":"Le m\u00e9tier d\u2019\u00e9mailleur \u00e0 Limoges, XVIe-XVIIe si\u00e8cle"},{"@link":{"notes":"Cf. p. 228-9, lot 533, the plate from the Givenchy Collection, attributed to Jean Court, c. 1600.","page":"228-9","type":"reference"},"admin":{"id":"publication-6431","uid":"adlib-publication-6431","uuid":"33b5e1a9-43d8-3747-bc67-a541758ebd9e"},"summary_title":"Collection Yves Saint Laurent et Pierre Berg\u00e9, Sculptures, Objets d'Art, Art d'Asie, Arch\u00e9ologie et Mobilier"},{"@link":{"notes":"Ref. p. 311, for a list of plates with Joseph subjects. The Fitzwilliam's plate with its old title, The Finding of Silver in Benjamin's Sack is listed as M.1. For two other subjects, see pp. 302-06, no. 80, Joseph Storing Grain, and pp. 307-10, no. 81, Joseph Taken Prisoner. The author dates these from 1675-1600.","page":"311","type":"reference"},"admin":{"id":"publication-7299","uid":"adlib-publication-7299","uuid":"6f4a68e9-f500-30d4-b9dd-88b93e40816a"},"summary_title":"The Wallace Collection, Catalogue of Glass and Limoges Painted Enamels"},{"@link":{"notes":"Ref. 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The sides are decorated in gold on a dark blue ground. The motifs on the rim are executed in translucent enamels over foils and in flesh-pink, white and grey over a white ground, reserved in a dark blue ground with gilt ornament. The reverse has a dark blue ground, painted in grisaille and with flesh pink, and gold. Round the junction of the rim and well on the back there are a series of holes in the enamel."}],"reference":{"@link":{"type":"reference"},"admin":{"id":"term-28810","uid":"adlib-term-28810","uuid":"c6a00cef-33f7-3107-8666-d791bd49707c"},"summary_title":"raising (metal forming process)"}}],"title":[{"value":"Joseph's brothers find their money returned to them in their sacks"}],"type":{"base":"object","type":"OBJECT"}}},{"_index":"ciim","_type":"data","_id":"adlib-object-139841","_score":17.667477,"_source":{"admin":{"added":1592997000000,"created":1312637261000,"flag":"Standard Record","id":"object-139841","indexed":1755194595648,"modified":1754040047000,"processed":1755194515997,"source":"adlib","stream":"fitz-online","uid":"adlib-object-139841","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/139841","uuid":"17a9e5bf-a7c0-30a6-bc50-dae3db8bce3d","version":18},"agents":[{"@link":{"relation":"person","type":"reference"},"admin":{"id":"agent-150796","uid":"adlib-agent-150796","uuid":"ec5a0c8a-e54c-3735-adea-0fd5dd14f994"},"summary_title":"Cupid"}],"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"}],"component":[{"materials":[{"note":[{"value":"blue, turquoise-green, flesh-pink, mulberry, 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-39593","uid":"adlib-term-39593","uuid":"e3e2a3f8-2433-3f63-9bcf-e776644d312d"},"summary_title":"gold"}}],"name":"Decoration","techniques":[{"note":[{"value":"blue, turquoise-green, flesh-pink, mulberry, black, grey, 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"}}]}],"department":{"value":"Applied Arts"},"description":[{"value":"Copper decorated with polychrome enamels and gilding with a female head on the top, a male head on the base, and on one side Cupid holding an arrow, and on each of the other sides a putto"},{"value":"Copper, enamelled in blue, pale bluish-green, flesh-pink, mulberry, and white on a black background, and gilded. Hexagonal with a circular depression in the top and bottom, projecting top and bottom edges, and straight sides.\nIn the salt pan there is a bust of a woman wearing a cap and elaborate coiffeur in profile to left, against a black background sem\u00e9 with gilt heraldic tears (gouttes), and surrounded by a border of three pairs of adorsed turquoise-green and mulberry foliated scrolls terminating in small white flowers, and three pairs of pale blue and turquoise-green. In the depression on the base is a bust of a man wearing armour and a parade helmet in profile to left surrounded by gold \u2018tadpoles\u2019 and enclosed by a gold line broken by groups of short oblique strokes. The border comprises small flowers on gold stalks flanked by pairs of feathery leaves: turquoise-green paired with blue; mulberry paired with turquoise-green; and blue paired with mulberry, repeated on the next three facets.                                                                                                                                                                                       The six sides are decorated respectively with Cupid standing beside a rock holding a gold arrow in his right hand, and a gold knot on a string in his left; a putto standing beside a small tree and holding aloft a bowl of fruit , a putto walking to the left holding a basket with a gold knot above his head; a putto sitting on the ground with a gold thread around his left leg and knot above, and overhead, a dove holding a gold necklace in its beak; a putto kneeling on a block of stone and beating a small drum; and a putto seated on a rock holding up a billowing drape. All have gold hair. At the top of each angle there is a half sunburst in gold. At the top and bottom there is a narrow gold line broken by five or six short oblique strokes."}],"exhibitions":[{"@link":{"catalogue":"21","type":"reference"},"admin":{"id":"exhibition-3305","uid":"adlib-exhibition-3305","uuid":"534a3247-91a9-398f-abe9-7b419586f568"},"summary_title":"Feast and Fast: The Art of Food in Europe (1500-1800)"}],"identifier":[{"accession_number":"M.4-1966","primary":true,"type":"accession number","value":"M.4-1966"},{"priref":"139841","type":"priref","value":"139841"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/139841","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/139841"}],"institutions":[{"@link":{"type":"reference"},"admin":{"id":"agent-149638","uid":"adlib-agent-149638","uuid":"7376d833-d0a7-3be0-916e-9c892b7a24d8"},"summary_title":"The Fitzwilliam Museum"}],"legal":{"credit_line":"Given by the Friends of the Fitzwilliam Museum"},"lifecycle":{"acquisition":[{"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-149645","uid":"adlib-agent-149645","uuid":"10925b71-6838-30f7-a8dd-b68a2afaa14d"},"summary_title":"The Friends of the Fitzwilliam Museum"}],"date":[{"earliest":1966,"latest":1966,"value":"1966-06-16"}],"method":{"value":"given"},"note":[{"value":"Entry date: 1966-06-16"}]}],"creation":[{"date":[{"earliest":1540,"from":{"earliest":1540,"era":["CE"],"latest":1540,"precision":"circa","value":"1540"},"latest":1550,"range":true,"to":{"earliest":1550,"era":["CE"],"latest":1550,"value":"1550"}}],"maker":[{"@link":{"qualifier":"workshop of","role":[{"value":"maker"}],"type":"reference"},"admin":{"id":"agent-114217","uid":"adlib-agent-114217","uuid":"d84e37de-af7e-3317-8a55-c97eb4e99bcc"},"summary_title":"Reymond, Pierre"}],"note":[{"value":"Hexagonal salts were fashionable during the mid 16th century and were made in silver, and ceramics, as well as in Limoges painted enamel. Limoges salts of this form bear dates from 1542 to 1547. The salt depression in the top and the matching depression in the base were usually decorated with a male or female head in antique or contemporary costume, sometimes identified in gold capitals as Paris and Helen, Hercules and Deianeira or Omphale, or Pallas and Jupiter. The sides were decorated with several different themes.The most popular, judging by the number of surviving examples, was the Twelve Labours of Hercules divided between two salts, which suggests that they were supplied in pairs. Others included half-length classical and contemporary male and female figures, classical and biblical male and female busts, singly or in pairs, sometimes enclosed by wreaths, and 'The Follies of Wise Men' and 'The Ages of Love' (see M. 50-1904), which diners probably found amusing. A few are decorated with nude little boys (putti) participating in the grape harvest, dancing, fighting, playing with various objects or on musical instruments. Pairs of analogous hexagonal salts with different heads in the salt depressions are in the Metropolitan Museum of Art, New York ( 32.100.372 and 32.100.373), and the Mus\u00e9e des Beaux-Arts, Limoges (84.432 and 84.433).\n\nPutti in various roles, derived from Roman architectural ornament and reliefs on the sides of sarcophagi, had become increasingly popular as decorative motifs in Italy during the fifteenth century. These archetypes were dissemininated to France and elsewhere in Europe through prints by artists such as Nicoletta da Modena, Master IB, and Marcantonio Raimondi. They also appeared on the title pages and borders of late fifteenth-century illuminated manuscripts (e.g. the Fitzwilliam's Book of Hours MS 153) and printed books imported from Italy, and by the beginning of the sixteenth, were appearing in French examples. Putti in the role of cherubs occur on early sixteenth century Limoges enamels of religious subjects, but were not often depicted until the 1530s when classical subjects based on Italian prints were introduced. On this salt the boy holding up a basket of grapes and the boy sitting on the ground with a bird above him were probably copied from a print of 'Children Harvesting Grapes', dated 1529 by the Monogrammist IB after Raphael (Bartsch, VIII.311.35; Illustrated Bartsch, 16, p. 78, no. 35 (311) ."}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-110475","uid":"adlib-term-110475","uuid":"223ae6a7-2f91-3314-ae3c-da3233ae47dc"},"summary_title":"16th Century, Mid"}],"places":[{"@link":{"type":"reference"},"admin":{"id":"term-15498","uid":"adlib-term-15498","uuid":"61725bf5-360f-3837-8aab-3c90b956a537"},"hierarchies":[[{"@link":{"type":"literal"},"name":[{"value":"France"}],"summary_title":"France","type":"country"},{"@link":{"type":"literal"},"name":[{"value":"Haute Vienne"}],"summary_title":"Haute 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Higgott, 2011, p. 227 pl. 65.24, copy of a design by Raphael. 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foil"}},{"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":"10.8"},{"dimension":"Width","units":"cm","value":"3.5"}]},"name":"Side Plaques"},{"measurements":{"dimensions":[{"dimension":"Height","units":"cm","value":"10.8"},{"dimension":"Width","units":"cm","value":"7.1"}]},"name":"Centre Plaque"},{"measurements":{"dimensions":[{"dimension":"Width","units":"cm","value":"11"}]},"name":"Closed"},{"measurements":{"dimensions":[{"dimension":"Width","units":"cm","value":"21.2"}]},"name":"Open"}],"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":"Copper, decorated in translucent and opaque enamels, partly over foils. The Crucifixion in the centre panel with St James on the left wing and St Catherine on the right wing, enclosed in a wooden frame with folding wings"},{"value":"Three copper plaques, almost flat, and partly foiled in silver, enamelled in translucent royal blue, two shades of green, and mulberry, and opaque flesh, red, white, and black,and gilded.                                                                                                   On the centre plaque Christ hangs on a gilded Cross with the word INRI on a titulus above his head. He wears a crown of thorns, and a loin cloth, and blood streams from a wound in his right side. The Virgin Mary stands on the left with her hands extended, wearing a green veil, a royal blue gown over a green skirt, and a purple cloak. St John stands on the right with his hands clasped in prayer. He has long blonde hair and wears a blue gown with green sleeves, and a purple cloak. The cloudy blue sky is scattered with small groups of gold rays, and on the right is a white crescent moon enclosing a profile face. The lower background is uneven dark green.\n\nThe Saints on the two wings each stand on a green tiled floor beneath an ogee arch supported by diagonally fluted columns with a shallow apse behind them. Above the arches there are circular medallions, reserved in a black ground, that on the left wing occupied by a bearded man in profile to right wearing a turquoise helmet, and that on the right by a a clean-shaven man three-quarters to left wearing a green helmet. On the left wing St James is depicted as a pilgrim holding a staff in his right hand and an open book in his left. He is bearded, and barefooted, and wears a green hat, blue gown, and a dark bluish-green cloak. On the other wing St Catherine holds the hilt of a sword in her right hand, and an open book in her left. She wears a gold crown, a purple gown over a dark blue petticoat, and a royal blue cloak. The outlines of the costume, the architectural features, and medallions are gilded, and there are gold foliated scrolls in the spaces around the medallions."}],"identifier":[{"accession_number":"M.43-1904","primary":true,"type":"accession number","value":"M.43-1904"},{"priref":"156429","type":"priref","value":"156429"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156429","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156429"}],"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":1850,"from":{"earliest":1850,"era":["CE"],"latest":1850,"precision":"circa","value":"1850"},"latest":1900,"range":true,"to":{"earliest":1900,"era":["CE"],"latest":1900,"value":"1900"}}],"maker":[{"@link":{"role":[{"value":"maker"}],"type":"reference"},"admin":{"id":"agent-149652","uid":"adlib-agent-149652","uuid":"0d4f90dc-b166-3d4b-b0db-25f4118b6e98"},"summary_title":"Unknown"}],"note":[{"value":"St Catherine and St James on the wings flanking the Crucifixion were early Christian martyrs, and among the saints most widely venerated in the later Middle Ages. Apart from their martyrdoms, they were particularly appropriate to accompany Nativity or Crucifixion scenes, because their feast days were respectively on 25 November and 25 July, the same day in the month as Christ's on 25 December.. \n\nAlthough in the style of Limoges Renaissance painted enamels, this triptych was made in the second half of the nineteenth century, probably in Paris. The martyrs on the wings were obviously inspired by their images on the wings of a famous late fifteenth-century triptych which has the inscription MONVAERNI on St Catherine\u2019s sword, then interpreted as the maker's name. In the nineteenth century that triptych was successively in the Didier-Petit, Odiot, and Cottreau collections in Paris, and was well known because it was exhibited at the Trocad\u00e9ro in the 1889 Exposition r\u00e9trospective. Since 1904 it has been in the Taft collection in the USA and is now in the Taft Museum, Cincinnati (See Documentation, Verdier, 1995). St Catherine's other attribute, a wheel, and her persecutor the Emperor Maxentius, which are shown on the original triptych wing have been omitted. Apart from its inferior quality, a feature which reinforces the dating of this triptych to the nineteenth century, is the stylistic mismatch between the wings and central Crucifixion which is reminiscent of early seventeenth-century examples, such as one by L\u00e9onard Limosin II in the Mus\u00e9e des Beaux-Arts, Limoges.\n\nAn almost identical nineteenth-century triptych in a similar frame, is in the Museo Diocesano Francesco Gonzaga at Mantua (see Documentation, Venturi, 2010), and another was sold by Christie's in London on 4 July, 2000, lot 37. It has not been possible to remove the plaques in the Fitzwilliam's triptych from their frame to see if they are signed, but another triptych at Mantua, which has a similar frame, contains  a plaque signed by Samson of Paris, a firm famed for reproductions of ceramics and enamels."}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-118652","uid":"adlib-term-118652","uuid":"5a255bf0-199c-337e-ae02-4096e18f0ccf"},"summary_title":"19th Century, second half"}],"places":[{"@link":{"type":"reference"},"admin":{"id":"term-129470","uid":"adlib-term-129470","uuid":"8353db27-fba9-33c1-94a1-f268fd2a2d21"},"hierarchies":[[{"@link":{"type":"literal"},"name":[{"value":"France"}],"summary_title":"France","type":"country"}]],"note":[{"value":"Probably made in Paris, or possibly in 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