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Lustred in red and coppery-gold lustre before reduction firing."}],"reference":{"@link":{"type":"reference"},"admin":{"id":"term-111179","uid":"adlib-term-111179","uuid":"be5c887b-c0ed-3d89-82b2-c3a870e72a68"},"summary_title":"moulding"}},{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-120059","uid":"adlib-term-120059","uuid":"dfa315b5-819d-37ab-ab22-bddfdbb3cbe7"},"summary_title":"tin-glazing"}}],"type":{"base":"object","type":"OBJECT"}}},{"_index":"ciim","_type":"data","_id":"adlib-object-15553","_score":17.215183,"_source":{"admin":{"added":1592995815000,"created":1312637261000,"flag":"Standard Record","id":"object-15553","indexed":1756836093428,"modified":1714464867000,"processed":1756836091182,"source":"adlib","stream":"fitz-online","uid":"adlib-object-15553","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/15553","uuid":"c8b4d32e-8124-3098-8796-c290951f55c4","version":12},"agents":[{"@link":{"note":[{"value":"not known whether the tile was from Marmirolo or the Castel San Giorgio, Mantua"}],"type":"reference"},"admin":{"id":"agent-184884","uid":"adlib-agent-184884","uuid":"0c9c53e9-9951-3dd2-978a-b6e9b5bf4c60"},"summary_title":"Francesco II Gonzaga"},{"@link":{"note":[{"value":"not known whether the tile was from Marmirolo or the Castel San Giorgio, Mantua"}],"type":"reference"},"admin":{"id":"agent-184883","uid":"adlib-agent-184883","uuid":"2fc30f28-ebb4-339f-a724-f32b1854174a"},"summary_title":"Isabella d'Este"}],"categories":[{"@link":{"type":"reference"},"admin":{"id":"term-108348","uid":"adlib-term-108348","uuid":"667e7a19-db33-3d85-bd9b-c2dafd8e02ff"},"summary_title":"tin-glazed earthenware"},{"@link":{"type":"reference"},"admin":{"id":"term-42865","uid":"adlib-term-42865","uuid":"92be1d50-bb1c-3472-950f-b140ee6cdde9"},"summary_title":"maiolica"}],"component":[{"materials":[{"note":[{"value":"blue, green, dark yellow and manganese"}],"reference":{"@link":{"type":"reference"},"admin":{"id":"term-108364","uid":"adlib-term-108364","uuid":"115b8729-a560-35c1-b654-4b9d2fc5f68b"},"summary_title":"high-temperature colours"}}],"name":"Decoration","techniques":[{"note":[{"value":"blue, green, dark yellow and manganese"}],"reference":{"@link":{"type":"reference"},"admin":{"id":"term-106226","uid":"adlib-term-106226","uuid":"194567f2-2bcd-3446-ae31-652386611815"},"summary_title":"painting"}}]},{"materials":[{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-39575","uid":"adlib-term-39575","uuid":"cdf6707a-1eeb-3622-a26b-6e54f1f8d4ab"},"summary_title":"tin-glaze"}}],"name":"Front","techniques":[{"description":[{"value":"earthenware, tin-glazed white on the upper surface and painted in blue, green, dark yellow and manganese; the back has been carved out to produce three concentric circles and triangular depressions in the corners"}],"note":[{"value":"white"}],"reference":{"@link":{"type":"reference"},"admin":{"id":"term-120059","uid":"adlib-term-120059","uuid":"dfa315b5-819d-37ab-ab22-bddfdbb3cbe7"},"summary_title":"tin-glazing"}}]}],"department":{"value":"Applied Arts"},"description":[{"value":"Maiolica floor or pavement tile, painted in blue, green, yellow and manganese with a hound sejant muzzled and leashed."},{"value":"Very pale buff earthenware, tin-glazed white on the upper surface and painted in blue, green, dark yellow and manganese. Square with deep sides. The back has been scooped out to produce three raised concentric rings. On the front, a white hound sejant in profile to the right with its head turned sharply to the right. The hound is outlined and shaded in blue and wears a dark yellow muzzle with a leash of the same colour coiling out behind it. The ground is green with yellow patches and tufts of blue grass. The background is manganese."}],"exhibitions":[{"@link":{"catalogue":"no catalogue","type":"reference"},"admin":{"id":"exhibition-1605","uid":"adlib-exhibition-1605","uuid":"04d3c358-0bef-3d8f-8df5-14f16987ac1b"},"summary_title":"Italian Maiolica in the Fitzwilliam Museum"},{"@link":{"catalogue":"183","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":"C.61-1927","primary":true,"type":"accession number","value":"C.61-1927"},{"priref":"15553","type":"priref","value":"15553"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/15553","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/15553"}],"institutions":[{"@link":{"type":"reference"},"admin":{"id":"agent-149638","uid":"adlib-agent-149638","uuid":"7376d833-d0a7-3be0-916e-9c892b7a24d8"},"summary_title":"The Fitzwilliam Museum"}],"legal":{"credit_line":"F. Leverton Harris Bequest, 1926"},"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":1927,"latest":1912,"value":"1927-12"}],"method":{"value":"bequeathed"}}],"creation":[{"date":[{"earliest":1492,"from":{"earliest":1492,"era":["CE"],"latest":1492,"precision":"circa","value":"1492"},"latest":1494,"range":true,"to":{"earliest":1494,"era":["CE"],"latest":1494,"value":"1494"}}],"maker":[{"@link":{"qualifier":"probably","role":[{"value":"maker"}],"type":"reference"},"admin":{"id":"agent-153985","uid":"adlib-agent-153985","uuid":"6edf9e47-aa3d-3506-b4c7-210b3dee06fe"},"summary_title":"Antonio dei Fedeli"}],"note":[{"value":"A white hound sejant (seated), muzzled and leashed, symbolizing fidelity, was a device adopted by Gianfrancesco Gonzaga (1395-1444), first Marquis of Mantua. It was one of eight Gonzaga devices pictured on tiles commissioned from Pesaro in 1493 by Giovanni Sforza on behalf of Marquis Francesco II Gonzaga (1466-1519) for his villa at Marmirolo. However, on their arrival at the Castel San Giorgio in Mantua on 1 June 1494, some of them were laid in the studiolo of his wife, Isabella d'Este (1474-1539). The project seems to have been undertaken partly for aesthetic reasons and partly as a measure to rid the room of mice which had been nesting under the floorboards. Apart from this, maiolica pavements were not very practical in domestic situations because their colourful designs were gradually worn away by people's feet. The back of this tile, like some of the others from this pavement, was scooped out to produce three concentric circles. This may have been done to speed the drying of the tiles before firing or to prevent them warping in the kiln.\nThe potter's name was not mentioned in the surviving corres\u00acpondence of 1493-4 concerning the tiles, but he may have been Antonio dei Fedeli of Pesaro, who was active in Pesaro between 1458 and 1509. On 7 May 1496 wrote to Isabella asking to be paid for tiles for which he had been prom\u00acised payment six months earlier. Presumably these were a differ\u00acent order but it seems likely that, having been satisfied with the tiles decorated with devices, Isabella would have extended her patronage to the same potter for another commission.\nThe other seven emblems on the tiles were  the arms of Gonzaga; a dove perching on a coiled and smoking fuse inscribed `VRAI AMOVR NESE CHANGE' (true love does not change); a sunburst interwoven by two ribbons inscribed `PER VND\/IXIR' (for a desire); a white doe below a scroll inscribed `BIDER GRAFT' (righteous power); a three-tiered island surmounted by a diamond and surrounded by smoking brands, inscribed on the lowest tier of the island in Greek `AMVMOC' (blame\u00acless); a muzzle over a ribbon inscribed `CAVTIVS' (more cautiously); and a steel gauntlet attached to a ribbon inscribed `BVENA FE NONES MVDABLE' (good faith is unchangeable). \nAfter her husband's death, Isabella moved to different apart\u00acments on the ground floor of the Corte Vecchia, and recreated her studiolo there. The first studiolo no longer exists and the subsequent history of the tiles is unknown until some, whether from there or from Marmirolo is not clear, were recorded in the collec\u00actions of Attilio Portioli of Mantua and Willelmo Braghirolli in 1878. Those now in the museum collec\u00actions were acquired after that date. 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Painted in dark blue, green, yellow, orange, brownish-red, and, on the border tile, black.\nThe lower half of a square tile is decorated with the lower part of a shield quartered with the arms of Piccolomini and Petrucci, and has a similar border with a mask in the spandrel."}],"identifier":[{"accession_number":"C.129-1927","primary":true,"type":"accession number","value":"C.129-1927"},{"priref":"48119","type":"priref","value":"48119"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/48119","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/48119"}],"institutions":[{"@link":{"type":"reference"},"admin":{"id":"agent-149638","uid":"adlib-agent-149638","uuid":"7376d833-d0a7-3be0-916e-9c892b7a24d8"},"summary_title":"The Fitzwilliam Museum"}],"legal":{"credit_line":"F. 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The pavement comprises pentagonal tiles of two sizes, square tiles, and rectangular border tiles. Some of the square tiles are decorated with the quartered arms of Piccolomini and Petrucci, with trophies, or with figures in landscapes reminiscent of those by Pinturricchio, Signorell, and Genga. The majority are decorated with grotesques, and the pavement is one of the most outstanding illustrations of this genre on early sixteenth-century maiolica. Over 300 tiles from the pavement are in the Victoria & Albert Museum, and there are seventeen in the Museum f\u00fcr Kunst und Gewerbe, Hamburg. 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Circular with a flange on the underside; the upper surface flat with a convex rim.\nThe Holy Family in an architectural setting; on the rim, bound leaves and berries between concentric yellow bands. On the back, two putti standing on clouds support a shield bearing the arms sable, a fess or, a chief party per pale gules and argent two rosettes counterchanged flanked by the letters `ELI' and `PYA'; below, a winged putto's head. The background is blue above the arms and brown below. The flange and rim are yellow."}],"exhibitions":[{"@link":{"catalogue":"245","type":"reference"},"admin":{"id":"exhibition-3305","uid":"adlib-exhibition-3305","uuid":"534a3247-91a9-398f-abe9-7b419586f568"},"summary_title":"Feast and Fast: The Art of Food in Europe (1500-1800)"},{"@link":{"catalogue":"340","type":"reference"},"admin":{"id":"exhibition-1610","uid":"adlib-exhibition-1610","uuid":"ce06b5fd-cb8c-31a1-8be4-bebc8b56e19d"},"summary_title":"Specimens of Hispano-Moresque and Majolica Pottery exhibited in 1887"},{"@link":{"catalogue":"no catalogue","type":"reference"},"admin":{"id":"exhibition-1605","uid":"adlib-exhibition-1605","uuid":"04d3c358-0bef-3d8f-8df5-14f16987ac1b"},"summary_title":"Italian Maiolica in the Fitzwilliam Museum"},{"@link":{"type":"reference"},"admin":{"id":"exhibition-1848","uid":"adlib-exhibition-1848","uuid":"6fcd371a-ed21-39fa-8912-93a6a46066c8"},"summary_title":"The Times of our Lives: Rites of Passage"},{"@link":{"catalogue":"plate 33","type":"reference"},"admin":{"id":"exhibition-2806","uid":"adlib-exhibition-2806","uuid":"6e1b65bf-b6bc-3f65-8be7-5ea2aab18496"},"summary_title":"Madonnas and Miracles. The Holy Home in Renaissance Italy"}],"identifier":[{"accession_number":"MAR.C.60-1912","primary":true,"type":"accession number","value":"MAR.C.60-1912"},{"priref":"77384","type":"priref","value":"77384"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/77384","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/77384"}],"inscription":[{"description":[{"value":"I smaller than L and Y and A joined"}],"location":"on back flanking arms","transcription":[{"value":"ELI PYA"}],"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. 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"},"note":[{"value":"For its possession by Signora Beni and Giuseppe Ranaldi, see Documentation,  Poole, 2003, p. 93."}]}],"creation":[{"date":[{"earliest":1531,"era":["CE"],"latest":1531,"precision":"circa","value":"1531"}],"maker":[{"@link":{"qualifier":"possibly","role":[{"value":"painter"}],"type":"reference"},"admin":{"id":"agent-160384","uid":"adlib-agent-160384","uuid":"5c6d6814-9356-3ed2-aa15-769c66acb5b6"},"summary_title":"Milan Marsyas Painter"},{"@link":{"qualifier":"possibly","role":[{"value":"painter"}],"type":"reference"},"admin":{"id":"agent-189937","uid":"adlib-agent-189937","uuid":"ba703f61-f3e2-3e9b-b254-4d098d09e339"},"summary_title":"Xanto, Francesco"},{"@link":{"qualifier":"after","role":[{"value":"printmaker"}],"type":"reference"},"admin":{"id":"agent-159002","uid":"adlib-agent-159002","uuid":"93c9a327-1a2c-3628-ab1d-6a7c039660b0"},"summary_title":"Caraglio, Giovanni Giacomo"},{"@link":{"qualifier":"after","role":[{"value":"painter"}],"type":"reference"},"admin":{"id":"agent-104194","uid":"adlib-agent-104194","uuid":"c673ad7d-c2a2-35a4-a7d0-1c7f30185198"},"summary_title":"Parmigianino (Francesco Mazzola)"}],"note":[{"value":"From at least the fifteenth century it was customary for a new mother to be given a little maiolica service to use for meals during her recovery after childbirth, sometimes as a gift from her husband. 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Others have childbirth scenes from the Bible or classical mythology, or subjects connected with qualities, such as valour, which it was hoped the child would acquire. \nThe Holy Family on the top of this cover was derived from the 'Adoration of the Shepherds', engraved by Giovanni Giacomo  Caraglio after Parmigianino (1503-40).  It shows the Virgin Mary, Joseph and a female saint, around the new-born baby Jesus, who is cradled in the arms of a woman who has no halo, and was perhaps a midwife. The scene was intended to inspire the new mother, who would have looked to the Virgin and St Anne as models of motherhood. The reverse is painted with two putti, the family\u2019s coat-of- arms, and the initials, \u2018ELI\u2019 and \u2018PYA\u2019, said to be for the name of the father, \u2018Elisio Piani\u2019, an official of the Monte Piet\u00e0 in Urbino in early sixteenth-century Urbino. A dish painted with the 'Judgement of Paris' by Francesco Xanto in 1531 bears the same coat-of-arms (Fitzwilliam Museum, C.86-1961)."},{"value":"If not painted by the 'Milan Marsyas Painter' this cover was probably painted by Francesco Xanto Avelli da Rovigo"}],"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-10618","uid":"adlib-term-10618","uuid":"9ebc0ae1-8cf8-312b-832c-9cf44da02136"},"summary_title":"Renaissance"}],"places":[{"@link":{"type":"reference"},"admin":{"id":"term-110708","uid":"adlib-term-110708","uuid":"ef038505-1555-3c61-b6e2-cadcedf6c42a"},"hierarchies":[[{"@link":{"type":"literal"},"name":[{"value":"Italy"}],"summary_title":"Italy","type":"country"},{"@link":{"type":"literal"},"name":[{"value":"the Marche"}],"summary_title":"the 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Alessandro Castellani; Paris, H\u00f4tel Drouot, 28 May 1878, Catalogue des fa\u00efences italiennes . . . et de deux pi\u00e8ces de la c\u00e9l\u00e8bre porcelaine des Medicis, composant l'importante collection de M. Alessandro Castellani, lot 292; C.B. 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In the colourful rustic scene, watched by Joseph and the animals, Mary adores the baby Jesus, who lies naked and motionless on a cloth like a corpse, as if to foretell his eventual death."},{"value":"Maiolica inkstands with three-dimensional figures were the ceramic equivalents of the bronze candle- and inkstands made by fifteenth-century sculptors such as Riccio. They enjoyed a fairly short period of popularity from probably about 1490 to between 1510 and 1515, and then seem to have been less fashionable until about 1570. This example is very close in appearance to three others in private collections, one of which is dated 1516. The iconography differs in several respects, but the figures and animals are modelled in the same simple style, and they all have a flat base, and at the front, a low wall. The figures and animals are comparable to those on fifteen more elaborate inkstands which have curved double-walled bases with inscriptions round the sides, and are raised on three lion, or hound supports. For a list and illustrations of these, and the examples with flat bases, see Documentation, Wilson and Sani, 2007."},{"value":"This inkstand was formerly attributed doubtfully to Faenza, but has been reattributed to Colle Val d'Elsa on the basis of the inscriptions on some of the other inkwells, in which the maker described himself as IOHANES NICHOLAI DEMANZONIBVS DECOLLE or GIOVANNI ACOLLE, and the discovery of a manuscript which confirms that the Manzoni family had a pottery at Colle Val d'Elsa (Siena), and concerns its sale in 1530. See Wilson and Sani, 2007, for an extract from the notarial document.  It therefore seems possible that similar inkstands without inscriptions and the three-dimensional model (C.2180-1928) were made there though possibly not all in the same workshop. This inkstand has had the inkpot on the right incorrectly restored. On other examples the pot is not cylindrical, but of a bulbous from. See Documentation, La Grazia dell'Arte, for an inkstand with the original bulbous inkpot."}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-106256","uid":"adlib-term-106256","uuid":"1bd8ad44-09c2-3c55-825a-635e463bb56b"},"summary_title":"16th Century, Early"},{"@link":{"type":"reference"},"admin":{"id":"term-10618","uid":"adlib-term-10618","uuid":"9ebc0ae1-8cf8-312b-832c-9cf44da02136"},"summary_title":"Renaissance"}],"places":[{"@link":{"type":"reference"},"admin":{"id":"term-126194","uid":"adlib-term-126194","uuid":"a30906f4-7ef1-324d-b658-04e8598bd757"},"hierarchies":[[{"@link":{"type":"literal"},"name":[{"value":"Italy"}],"summary_title":"Italy","type":"country"},{"@link":{"type":"literal"},"name":[{"value":"Tuscany"}],"summary_title":"Tuscany","type":"region"}]],"note":[{"value":"The name translates as Giovanni son of Nicola Manzoni of Colle"}],"summary_title":"Colle Val d'Elsa"}]}]},"materials":[{"note":[{"value":"dark 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Cf. p. 63, nos. 16-19, and no. 20,  examples with flat bases, and pp. 62-3, the 15 examples raised on lions or hounds, also the larger Adoration group without inkwell in the Fitzwilliam, all illustrated pp. 64-5.","page":"62-3, 65","type":"reference"},"admin":{"id":"publication-6085","uid":"adlib-publication-6085","uuid":"9e9f66b5-9967-3864-a61a-19e7c8db8cf5"},"summary_title":"Le maioliche rinascimentali nelle collezioni della Fondazione Cassa di Risparmio di Perugia, Vol. II"},{"@link":{"type":"reference"},"admin":{"id":"publication-7526","uid":"adlib-publication-7526","uuid":"ceb92dd4-7854-3192-82d7-ddfa5f0f3dd4"},"summary_title":"Italian Renaissance Maiolica"},{"@link":{"notes":"Cf. pp. 198-201, a completely different inkstand showing how complex these objects could be around 1490-1500. 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Painted in blue, green, yellow, orange, stone, brown, manganese-purple, black, and white. Shape 56 (Poole 1995). circular with broad, almost flat rim, and deep well; the underside of the rim moulded with three bands of reeding.In the well, within narrow blue and yellow concentric circles, two putti support a shield charged with the arms of Gonzaga impaling Este: argent, a cross patty gules cantoned by four eagles displayed sable (Gonzaga modern granted 1433), an escutcheon overall, quarterly, 1, 4, gules a lion rampant argent (Bohemia), 2, 3, barry of six or and sable (Gonzaga ancient) impaling Este, quarterly, 1, 4, azure three fleurs-de-lis or a bordure indented gules, 2, 3, azure an eagle displayed argent (gules shown orange throughout). Below on a scroll is the impresa `XXVII'. The sides are decorated in bianco sopra bianco with palmettes and scrolls, and a blue line encircles the shoulder. The rim is decorated with Peleus and Thetis. Peleus stands beneath a tree, gazing at Thetis, who sleeps nude on the ground in front of him. Further to the right she is transformed into a swan-like bird as he embraces her, and then into a dragon from which he turns away in horror. Higher up on the right, a goddess appears to Peleus who kneels before an altar. In the distance there is a mountainous landscape and sky. Suspended from the tree there is a shield of testa di cavallo form charged with the impresa of gold rods in a crucible surrounded by flames in a blue ground. The edge is yellow. On the back there is a narrow yellow band round the base and a wider band on the edge."}],"exhibitions":[{"@link":{"catalogue":"No. 136","type":"reference"},"admin":{"id":"exhibition-1607","uid":"adlib-exhibition-1607","uuid":"067f0641-1c25-3855-871f-ee848d69bdc9"},"summary_title":"Splendours of the Gonzaga"},{"@link":{"catalogue":"no catalogue","type":"reference"},"admin":{"id":"exhibition-1605","uid":"adlib-exhibition-1605","uuid":"04d3c358-0bef-3d8f-8df5-14f16987ac1b"},"summary_title":"Italian Maiolica in the Fitzwilliam Museum"},{"@link":{"catalogue":"211","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"},{"@link":{"type":"reference"},"admin":{"id":"exhibition-3944","uid":"adlib-exhibition-3944","uuid":"efb64902-4239-3ac6-accf-83ab547bb095"},"summary_title":"National Treasures: Botticelli in Cambridge"}],"identifier":[{"accession_number":"EC.30-1938","primary":true,"type":"accession number","value":"EC.30-1938"},{"priref":"47188","type":"priref","value":"47188"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/47188","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/47188"}],"inscription":[{"description":[{"value":"Rectangular with cut corners, printed in black `UNION\/CENTRALE' and inscribed in faded black ink with `155\/3657' between the two words"}],"location":"on the back","method":"printed in black and inscribed in faded black ink","transcription":[{"value":"'UNION\/1555\/3657\/CENTRALE'"}],"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":"Purchased with the Glaisher fund"},"lifecycle":{"acquisition":[{"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-150858","uid":"adlib-agent-150858","uuid":"d36d1847-4d6a-33eb-974b-f4b061db49f9"},"summary_title":"Sotheby's"}],"date":[{"earliest":1938,"latest":1938,"value":"1938-06-16"}],"method":{"value":"bought"},"note":[{"value":"accession date was given as the date of the sale, not of the Syndicate"}]}],"creation":[{"date":[{"earliest":1524,"from":{"earliest":1524,"era":["CE"],"latest":1524,"precision":"circa","value":"1524"},"latest":1525,"range":true,"to":{"earliest":1525,"era":["CE"],"latest":1525,"value":"1525"}}],"maker":[{"@link":{"role":[{"value":"painter"}],"type":"reference"},"admin":{"id":"agent-99016","uid":"adlib-agent-99016","uuid":"d1d63237-ac23-350a-897d-50f3369e87e8"},"summary_title":"Nicola di Gabriele Sbraghe da Urbino"}],"note":[{"value":"The potter, Nicola di Gabriele Sbraghe, known as Nicola da Urbino, was a workshop owner in Urbino from at least 1520 until his death at the end of 1537 or in January 1538. He was also a brilliant maiolica painter, whose work has been identified by comparison with five pieces of istoriato maiolica monogrammed or signed by him. Nicola painted in an exquisitely delicate manner, and was unusually imaginative in his adaptation of printed sources and in the creation of architectural and landscape backgrounds. His output of the 1520s, which includes several armorial services, is regarded as the acme of maiolica decoration."},{"value":"This exquisite dish formed part of a service which belonged to Isabella d'Este (1474-1539), widow of Francesco Gonzaga, fourth Marchese of Mantua (1466-1519).  It was made between 1522 and 1525, and may have been the service given to Isabella probably in November 1524 by her daughter, Eleanora, Duchess of Urbino, who thought that she might like to use it in her villa at Porto near Mantua. Twenty-two dishes and one fragmentary dish are known, two decorated with biblical scenes and the rest with subjects from classical mythology or history. Each dish also bears the arms of Gonzaga impaling Este, and one or more of Isabella's imprese (a device or emblem) or her initials YS intertwined. On this dish the arms are surrounded by bianco sopra bianco decoration, and the rim is decorated with the story of Peleus and Thetis from Ovid's Metamorphoses, Book XI. Having found the sea goddess Thetis asleep on the shore, Peleus entreated her to make love, but she refused and escaped by transforming herself into different forms. After praying to the sea god Proteus for advice, Peleus successfully overcame the goddess's scruples and she conceived the ill-fated hero, Achilles. Nicola based the figures on a woodcut illustration in Giovanni dei Bonsignori's Ovidio methamorphoseos vulgare, Venice (Giovanni Rosso da Vercelli for Lucantonio Giunta), 1497 or a later edition. Two imprese are shown: `XXVII' sounding like vinti s\u00e8te, (you are defeated), and gold bars in a crucible, which Isabella's husband adopted in 1495 to signify his integrity after successfully withstanding an accusation of 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Mentioned and illustrated p. 256, fig. VIII","page":"256","type":"reference"},"admin":{"id":"publication-200000981","uid":"adlib-publication-200000981","uuid":"d52556bc-fa74-31cc-b6dd-a883bfdb7474"},"summary_title":"The Damiron Collection of Italian Maiolica II"},{"@link":{"notes":"Publ. Mentioned on p. 92, and illustrated pl. XXII. Other dishes from the services are listed.","page":"92","type":"reference"},"admin":{"id":"publication-200000982","uid":"adlib-publication-200000982","uuid":"7a02b5b1-63e9-39d9-af7c-eb3225aa4293"},"summary_title":"Ancora nuovi piatti del servizio d'Isabella d'Este-Gonzaga"},{"@link":{"notes":"Publ. Vol. II, p. 16, fig. 120, and see vol. I, p. 30","page":"16","type":"reference"},"admin":{"id":"publication-3029","uid":"adlib-publication-3029","uuid":"80945d1b-c823-332c-b5d2-29f0090b906e"},"summary_title":"R\u00e9pertoire de la majolique italienne"},{"@link":{"notes":"Publ. See p. 20, fig. 21, and text pp. 18-21.","page":"20","type":"reference"},"admin":{"id":"publication-200000983","uid":"adlib-publication-200000983","uuid":"c0d3d31c-37bc-36b0-a244-af4edd73002b"},"summary_title":"Enqu\u00eate sur le sujet des majoliques"},{"@link":{"notes":"Publ. Illustrated pl. 69, and see text p. 23. Also illustrated on pl. 69 in the first edition of 1952.","page":"23","type":"reference"},"admin":{"id":"publication-3030","uid":"adlib-publication-3030","uuid":"b8528092-cf8f-373a-9fb3-548d79cede63"},"summary_title":"Italian Maiolica"},{"@link":{"type":"reference"},"admin":{"id":"publication-3031","uid":"adlib-publication-3031","uuid":"1e6af792-78aa-3c61-9b3d-4a31abe184a3"},"summary_title":"The Concise Encyclopedia of Continental Pottery and Porcelain"},{"@link":{"notes":"Publ. No. 5, and figs. 58,60.  This thesis provides details of the other known pieces, except for a then undiscovered fragmentary dish.","page":"67-8","type":"reference"},"admin":{"id":"publication-3034","uid":"adlib-publication-3034","uuid":"6df14384-a05b-3962-8d7d-12035f415ebf"},"summary_title":"A Maiolica Service for Isabella d'Este"},{"@link":{"notes":"Publ. No. 136.","page":"177-8","type":"reference"},"admin":{"id":"publication-1570","uid":"adlib-publication-1570","uuid":"587a2fe6-cae3-3832-a62b-2a2a1a3714e5"},"summary_title":"Splendours of the Gonzaga"},{"@link":{"notes":"Publ. Illustrated no. 67.3. Cf. p. 160 under no. 116 where other dishes from the service are listed","page":"247","type":"reference"},"admin":{"id":"publication-200000984","uid":"adlib-publication-200000984","uuid":"66e91566-e73d-3cc0-83a5-b0e3ce3bcb1c"},"summary_title":"Xanto and Ariosto"},{"@link":{"notes":"Publ. Illustrated, fig. 2","page":"72","type":"reference"},"admin":{"id":"publication-200000979","uid":"adlib-publication-200000979","uuid":"91511d08-b85d-306a-9662-81a0f76fa57b"},"summary_title":"Art on the Table"},{"@link":{"notes":"Publ. Illustrated in colour","page":"16","type":"reference"},"admin":{"id":"publication-200000985","uid":"adlib-publication-200000985","uuid":"ffddfa11-9999-3fac-afa7-83e016eaf9d9"},"summary_title":"Le maioliche italiane del Fitzwilliam in mostra"},{"@link":{"notes":"Publ. Illustrated fig. 1.","page":"14","type":"reference"},"admin":{"id":"publication-200000986","uid":"adlib-publication-200000986","uuid":"d741d506-4041-3c33-993e-041dbf2a711d"},"summary_title":"Ceramiche italiane a Cambridge\/Italian Pottery in Cambridge"},{"@link":{"notes":"Publ. p. 46, partially illustrated in article advertising the Fitzwilliam's maiolica exhibition of 1995","page":"46","type":"reference"},"admin":{"id":"publication-200002224","uid":"adlib-publication-200002224","uuid":"ad924f7e-133c-3af2-8d5d-3c5d891d1d38"},"summary_title":"Potted History"},{"@link":{"notes":"Publ. No. 376 for a full description of the dish, its design, coat of arms and imprese, and references to  publications on the other dishes in the service.","page":"304-7","type":"reference"},"admin":{"id":"publication-3010","uid":"adlib-publication-3010","uuid":"e3e61863-a797-3051-8d0a-20288306ca36"},"summary_title":"Italian Maiolica and Incised Slipware in the Fitzwilliam Museum Cambridge"},{"@link":{"notes":"Publ. pp. 58-9, no. 24","page":"58-9","type":"reference"},"admin":{"id":"publication-3378","uid":"adlib-publication-3378","uuid":"e4a41d6d-c98c-3959-bcb4-041c12eeb88c"},"summary_title":"Fitzwilliam Museum Handbooks, Italian Maiolica"},{"@link":{"notes":"Publ.","page":"135","type":"reference"},"admin":{"id":"publication-382","uid":"adlib-publication-382","uuid":"ee5148de-e3eb-3d38-88db-9a331edf70b6"},"summary_title":"Treasures of the Fitzwilliam Museum"},{"@link":{"notes":"Publ. p. 28 short text with colour illustration","page":"28","type":"reference"},"admin":{"id":"publication-200001843","uid":"adlib-publication-200001843","uuid":"4fa33587-103a-3608-9de5-1afa6891542b"},"summary_title":"Earth and Fire"},{"@link":{"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":"Ref. For the myth of Peleus and Thetis, see Book XI, lines 217-65.","page":"134-9","type":"reference"},"admin":{"id":"publication-3032","uid":"adlib-publication-3032","uuid":"424dff59-c2f4-34e7-b563-5ecaa3f39497"},"summary_title":"Ovid in Six Volumes IV Metamorphoses with an English translation by Frank Justus Miller, II, Books IX-XV"},{"@link":{"type":"reference"},"admin":{"id":"publication-3033","uid":"adlib-publication-3033","uuid":"dc9c073e-004e-3afd-a79a-6958c5c6642b"},"summary_title":"Ovidio methamorphoseos vulgare"},{"@link":{"notes":"Ref. For Isabella d'Este's imprese, and citations of earlier literature.","page":"65-6","type":"reference"},"admin":{"id":"publication-200000987","uid":"adlib-publication-200000987","uuid":"3fec68e9-fd46-3068-bf23-7a791ff224ce"},"summary_title":"The Gonzaga Devices"},{"@link":{"notes":"Ref. 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Estimate: \u00a390,000-130,000\/E 100,000-150,000","page":"24-26","type":"reference"},"admin":{"id":"publication-6806","uid":"adlib-publication-6806","uuid":"d7c91d4c-4d81-3a56-a39d-2187de2eac4c"},"summary_title":"500 Ans  Arts D\u00e9coratifs Europ\u00e9ens"},{"@link":{"notes":"Cf. p. 124, colour pl., an example in the Victoria & Albert Museum, a broad-rimmed bowl with Hippolytus and Phaedra with arms and devices of Isabella d\u2019Este,  XX\/VII, NEC SPE NEC METU and musical notes. By Nicola da Urbino. D. 27.2 cm. (V. & A. inv. no. C.2229-1910).","page":"124","type":"reference"},"admin":{"id":"publication-7526","uid":"adlib-publication-7526","uuid":"ceb92dd4-7854-3192-82d7-ddfa5f0f3dd4"},"summary_title":"Italian Renaissance Maiolica"},{"@link":{"notes":"Cf. pp. 82-7,inv. no. 470-D3, a shallow plate from the same service decorated with Jupiter and Semele and the imprese, NEC SPE NEC METU and XXVII. See p. 84 for a list of all the 23 plates by shape, size and title, and the one recorded ewer","page":"82-7","type":"reference"},"admin":{"id":"publication-8435","uid":"adlib-publication-8435","uuid":"6bb1d864-ca6a-3640-a048-6288582518f7"},"summary_title":"Italian Maiolica in the Collection of the National Gallery of Victoria"},{"@link":{"notes":"Publ. in Sannipoli, Ettore A.,  'Note sugli storiati \"a due orizzonti\", pp. 205-30, on p. 217, fig. 37, as an example of a design in which the deep well of the dish is occupied by a coat-of-arms.","page":"217","type":"reference"},"admin":{"id":"publication-8899","uid":"adlib-publication-8899","uuid":"7dafeb30-f997-369f-b2f1-e01a67ce47a9"},"summary_title":"La maiolica italiana del Rinascimento, Studi e ricerche"},{"@link":{"notes":"Cf. pp. 180-3, no 78, part of a plate with the 'Fall of Phaeton'. On pp. 181-2, the author lists the other known pieces from the service, in which the Fitzwilliam's dish is no. 3 of the 23 known.","page":"180-3","type":"reference"},"admin":{"id":"publication-8571","uid":"adlib-publication-8571","uuid":"1c526257-c1d6-33b1-a279-b3248fce0bcc"},"summary_title":"The Golden Age of Maiolica-Painting. 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Painted in dark blue, pale blue, green, yellow, orange, red, and black.\nCircular with sloping rim, upturned slightly at the edge; deep sides moulded with oblique reversed gadroons; flat centre with ribs encircling its outer edge and the emplacement for the ewer in the middle; low foot ring on the back. (Poole, 1995, Shape 69) \nThe central medallion contains a landscape in which a fox attempts to wrest a shield from the possession of a bear. The bear holds a sword in its right forepaw and rests its left on the shield, which is of testa di cavallo form, charged with the arms per fess gules and argent, overall a tree eradicated. A scroll above is inscribed, 'E COSI VA CHE TROPO VOLLE' (This is what happens to him who wants too much). The rest of the base is decorated with a battle between male and female satyrs and centaurs. The gadroons on the sides are painted in blue with stylised plants. On the rim there are grotesques reserved in a blue ground, interrupted by eight oval medallions, painted with eight subjects from the Bible and Roman history: Marcus Curtius leaping into the chasm, Dido falling on her sword, David with the head of Goliath, Judith with the head of Holofernes, Mucius Scaevola thrusting his right hand into the fire, a woman with a shield, Horatius defending the bridge and, probably, the suicide of Lucretia.\nThe back is decorated in blue and yellow with a trophy of two crossed quivers, a bow, and an arrow, surrounded by delicate coiling blue stems with blue, orange, and green foliage. The footring is blue with an invected circle within it. The sides and rim are decorated with blue and orange horizontally striped petals between blue bands and there are two blue bands on the outer edge."}],"exhibitions":[{"@link":{"catalogue":"5162","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":{"type":"reference"},"admin":{"id":"exhibition-1427","uid":"adlib-exhibition-1427","uuid":"b334aefb-5535-3bfc-8a31-25cd4aa669c2"},"summary_title":"The National Art Collections Fund at the Fitzwilliam Museum, An Exhibition to celebrate the Fund's 85th Anniversary"},{"@link":{"catalogue":"no catalogue","type":"reference"},"admin":{"id":"exhibition-1605","uid":"adlib-exhibition-1605","uuid":"04d3c358-0bef-3d8f-8df5-14f16987ac1b"},"summary_title":"Italian Maiolica in the Fitzwilliam Museum"},{"@link":{"catalogue":"63","type":"reference"},"admin":{"id":"exhibition-1789","uid":"adlib-exhibition-1789","uuid":"847b68d6-8267-37e9-868c-223c9328083f"},"summary_title":"Saved! 100 Years of the National Art Collections Fund"},{"@link":{"type":"reference"},"admin":{"id":"exhibition-2573","uid":"adlib-exhibition-2573","uuid":"992d85e4-5168-30d5-8235-23b6ec4bc04e"},"summary_title":"Majolique. 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See Bernard Rackham's notebook accompanying his bequest of sherds, p. 11, C for this tile. He noted that he thought it might have been given to Wallis by a former Director of the Victoria and Albert Museum, but that this was conjecture. Wallis might have acquired it in Italy, perhaps from Forl\u00ec."}],"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. 275, no. 350","page":"p. 275","type":"reference"},"admin":{"id":"publication-1579","uid":"adlib-publication-1579","uuid":"6da65e29-f8bb-3b5e-9817-cdbdb36a9527"},"summary_title":"Vitae virorum illustrium Foroliviensium"},{"@link":{"type":"reference"},"admin":{"id":"publication-1581","uid":"adlib-publication-1581","uuid":"47b3939f-cdb4-3f27-a7cd-629598b4736e"},"summary_title":"Maiolica"},{"@link":{"notes":"Ref. 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The dish has been attributed to Jacopo on the grounds of similarities to a dish decorated with an equestrian Judith with the Head of Holofernes, signed 'Japo in chaffagguolo' which is in the Victoria and Albert Museum. Jacopo di Stefano di Filippo died in 1576, and questions have been raised as to whether he and the painter of the dishes was the same man. It is also possible that the dish was made in Montelupo."},{"value":"The source for this scene was one of a set of twelve large woodcuts forming a Triumph of Caesar by Jacob Argentoratensis (Jacob of Strasbourg) to designs by Benedetto Bordon, published in Venice in 1504. The Triumph follows Appian's account of Scipio's entry into Rome at the end of the Second Punic War but details relating to Caesar were incorporated. His horse, for example, was based on Suetonius' description of it as having 'feet that were almost human; for its hoofs were cloven in such a way as to look like toes'. The maiolica painter followed the woodcut closely, including this feature, but omitted the small nude boy behind the horse. Each section of the Triumph is labelled with a letter from A to L, hence the 'H' below the scene. The next section, labelled 'I', occurs on a dish in the Victoria and Albert Museum, also dated 1514, but in Roman numerals. Prints of scenes from the 'Passion of Christ' by Jacob of Strasbourg were also used as sources of designs by maiolica painters, for example. a large dish decorated with the Flagellation  within a border of grotesques in the Hermitage, St Petersburg."}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-106256","uid":"adlib-term-106256","uuid":"1bd8ad44-09c2-3c55-825a-635e463bb56b"},"summary_title":"16th Century, Early"}],"places":[{"@link":{"type":"reference"},"admin":{"id":"term-110780","uid":"adlib-term-110780","uuid":"17d4199b-8038-380b-b5df-ce198a1dc5db"},"hierarchies":[[{"@link":{"type":"literal"},"name":[{"value":"Italy"}],"summary_title":"Italy","type":"country"}]],"summary_title":"Cafaggiolo"},{"@link":{"type":"reference"},"admin":{"id":"term-113219","uid":"adlib-term-113219","uuid":"166f4ea1-bd03-3f2e-bc7c-ce2145959ec5"},"hierarchies":[[{"@link":{"type":"literal"},"name":[{"value":"Italy"}],"summary_title":"Italy","type":"country"}]],"summary_title":"Montelupo"}]}]},"materials":[{"note":[{"value":"buff"}],"reference":{"@link":{"type":"reference"},"admin":{"id":"term-42861","uid":"adlib-term-42861","uuid":"5b368285-f1a8-3dcf-a5b2-637fd3c3956c"},"summary_title":"earthenware"}},{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-39575","uid":"adlib-term-39575","uuid":"cdf6707a-1eeb-3622-a26b-6e54f1f8d4ab"},"summary_title":"tin-glaze"}}],"measurements":{"dimensions":[{"dimension":"Height","units":"cm","value":"5.2"}]},"multimedia":[{"@link":{"type":"reference"},"admin":{"id":"media-17667","uid":"adlib-media-17667","uuid":"45bcb9d2-eb25-3571-9bc7-7537bb58abd2"},"processed":{"large":{"format":"jpeg","location":"aa\/aa19\/C_86_1927.jpg","location_is_relative":true,"measurements":{"dimensions":[{"dimension":"height","units":"pixels","value":757},{"dimension":"width","units":"pixels","value":760}]},"modified":1742581231393,"resizable":true,"type":"image"},"mid":{"format":"jpeg","location":"aa\/aa19\/mid_C_86_1927.jpg","location_is_relative":true,"measurements":{"dimensions":[{"dimension":"height","units":"pixels","value":498},{"dimension":"width","units":"pixels","value":500}]},"modified":1742581231393,"resizable":true,"type":"image"},"original":{"format":"jpeg","location":"aa\/aa19\/C_86_1927.jpg","location_is_relative":true,"measurements":{"dimensions":[{"dimension":"height","units":"pixels","value":757},{"dimension":"width","units":"pixels","value":760}]},"modified":1742581231393,"resizable":true,"type":"image"},"preview":{"format":"jpeg","location":"aa\/aa19\/preview_C_86_1927.jpg","location_is_relative":true,"measurements":{"dimensions":[{"dimension":"height","units":"pixels","value":249},{"dimension":"width","units":"pixels","value":250}]},"modified":1742581231393,"resizable":true,"type":"image"}},"sort":"0","type":{"base":"media","type":"image"}}],"name":[{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-90855","uid":"adlib-term-90855","uuid":"b48207ec-774d-3e3e-8ab3-536996bc5dac"},"summary_title":"dish"},"type":"object name"},{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-42865","uid":"adlib-term-42865","uuid":"92be1d50-bb1c-3472-950f-b140ee6cdde9"},"summary_title":"maiolica"},"type":"category"}],"note":[{"type":"history note","value":"Auguste Ricard de Montferrande; sold Christie's, 14-16 November 1859, Catalogue of the very extensive and valuable collection of majolica ware, the property of that well-known amateur, Monsieur Auguste Ricard de Montferrand of St Petersburgh . . .; p. 18, lot 283 (\u00a393.9); Alexander Barker; Sir Francis Cook, Bt.;Wyndham F. Cook; Humphrey Wyndham Cook; sold Christie's, 7 July 1925, Catalogue of an important collection of objects of art of the Middle Ages and Renaissance, the property of Humphrey W. Cook, Esq., and removed from 8 Cadogan Square, S.W., being a portion of the celebrated collection formed by the late Sir Francis Cook, Bart., p. 9, lot 21; The Right  Hon. F. Leverton Harris."}],"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. 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The author envisages these dishes as having been made in Montelupo. Cf. pp. 50-1, a dish in the Hermitage, St Petersburg, decorated with the Flagellation of Christ after a print by Jacobus Argentoratensis (Jacob of Strasbourg).","page":"60-1","type":"reference"},"admin":{"id":"publication-8848","uid":"adlib-publication-8848","uuid":"f98aa5bd-aba9-3b47-aaeb-3d71c381bbe8"},"summary_title":"Il pittore della processione papale. 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Painted in dark blue, green, yellow, orange, brownish-red, and, on the border tile, black."}],"reference":{"@link":{"type":"reference"},"admin":{"id":"term-120059","uid":"adlib-term-120059","uuid":"dfa315b5-819d-37ab-ab22-bddfdbb3cbe7"},"summary_title":"tin-glazing"}}]}],"content":{"motifs":[{"@link":{"type":"reference"},"admin":{"id":"term-1111","uid":"adlib-term-1111","uuid":"46c949dd-f376-3538-878f-397baee5be09"},"summary_title":"mythology"}]},"department":{"value":"Applied Arts"},"description":[{"value":"Cream earthenware, tin-glazed on the upper surface.  Painted in dark blue, green, yellow, orange, brownish-red, and, on the border tile, black. Pentagonal with part of the right and left sides chipped off.\nThe main field has a yellow ground decorated with grotesques: a vase and a mask on a pole between addorsed griffins seated on a bowl, flanked by foliated scrolls. The border comprises a narrow row of oval and circular beads, and a wider row of egg and dart ornament."}],"identifier":[{"accession_number":"C.127-1927","primary":true,"type":"accession number","value":"C.127-1927"},{"priref":"48107","type":"priref","value":"48107"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/48107","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/48107"}],"institutions":[{"@link":{"type":"reference"},"admin":{"id":"agent-149638","uid":"adlib-agent-149638","uuid":"7376d833-d0a7-3be0-916e-9c892b7a24d8"},"summary_title":"The Fitzwilliam Museum"}],"legal":{"credit_line":"F. Leverton Harris Bequest, 1926"},"lifecycle":{"acquisition":[{"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-157197","uid":"adlib-agent-157197","uuid":"ab234587-3b80-398a-9715-ce74f88dbb64"},"summary_title":"Harris, F. Leverton, The Right Hon."}],"date":[{"earliest":1927,"latest":1927,"value":"1927"}],"method":{"value":"bequeathed"}}],"creation":[{"date":[{"earliest":1509,"era":["CE"],"latest":1509,"precision":"circa","value":"1509"}],"maker":[{"@link":{"role":[{"value":"maker"}],"type":"reference"},"admin":{"id":"agent-189453","uid":"adlib-agent-189453","uuid":"73c60f26-7cd8-3336-9e7e-efe2008e3a3c"},"summary_title":"Unidentified Siena pottery"}],"note":[{"value":"The use of ornamental grotesques gained impetus in Italy after the discovery in about 1480 of the painted decoration of Nero's Domus Aurea in Rome.  By then its rooms were below ground and became known as grotte, from which the term grot\u00actesche was derived. Taken up by artists such as Pinturicchio and Signor\u00acelli, and dissemi\u00acnated by prints, grotesques rapidly became one of the most popular forms of Renaissance decoration. Maiolica potters working in Siena  had local examples in the splendid pendentives of the vault in the Piccolom\u00acini Library in the Cathe\u00acdral, which was commissioned by Cardinal Francesco Piccolomini from Pintur\u00acicchio and was completed about 1507.                                                                                                                                                                            \nThis tile fragment (and C.128-1927, C.129-1927, and C.130-1927) and another border tile fragment which has lost most of its glaze (C.131-1927) formed part of a tile pavement commissioned by Pandolfo Petrucci (1452-1512) for the Camera Bella, one of a suite of rooms in the Palazzo Petrucci which were to be occupied by his heir Borghesi Petrucci on his marriage to Vittoria Piccolomini which took place on 22 September 1509. The room is thought to have been decorated between 1508 and Petrucci's death, and three of the tiles are dated 1509. The pavement comprises pentagonal tiles of two sizes, square tiles and rectangular border tiles. Some of the square tiles are decorated with the quartered arms of Piccolomini and Petrucci, celebrating the 1509 marriage, or with trophies, or with figures in landscapes reminiscent of those by Pinturicchio, Signorelli and Genga. The majority are decorated with grotesques, and the pavement as a whole is one of the most outstanding illustrations of this genre on early sixteenth-century maiolica. Miller and Graves (see Documentation) have shown that the tiles were originally arranged in a way which produced an eight-pointed star and cross pattern comparable to Islamic star and cross tile patterns. The cross being formed by a square tile with four pentagonal tiles around it and the star by a small square with four small pentagonal tiles to form a cross, and four contrasting square tiles in the spaces between them. \nThe earliest recorded date for the dispersal of the pavement is November 1854 when the British Museum purchased one from the estate of a London dealer, William Forrest, who died in that year. (inv. 1854,11-2,2). The largest group surviving together is in the Victoria and Albert Museum, which acquired 475 tiles from the pavement in the 1857, but now has about 433, and there are over 90 in other collections. Further examples in Britain , are six in the Potteries Museum and Art Gallery, Stoke-on-Trent, two in the National Museums of Scotland, Edinburgh, two in the Courtauld Gallery, London, and two fragments probably from the pavement in the Brtiish Museum. When cataloguing the seventeen  tiles in the Museum f\u00fcr Kunst und Gewerbe, Ham\u00acburg in 1984, Rasmussen listed the locations of other tiles from the pavement, and his list was updated and added to by Thornton and Wilson in 2009. The largest group is held by the Mus\u00e9e du Louvre. 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I, pp. 132-3, no. 386, vol. 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See also no. 371 and 373 now at \u00c9couen, and nos. 375-99. For a further acquisition see Mus\u00e9e du Louvre, 2003 berlow.","page":"105-106","type":"reference"},"admin":{"id":"publication-1574","uid":"adlib-publication-1574","uuid":"159ac368-4d4c-3d0c-a949-566b288054c6"},"summary_title":"Catalogue des majoliques des mus\u00e9es nationaux"},{"@link":{"notes":"Cf. Vol. II, pp. 608-11, no. 378, a pentagonal tile. The authors discuss the pavement in relation to architectural and mural decoration of the period, and the approximate date of its dispersal judging by the dates when tiles were purchased by museums and private collectors. On p. 610 they update and add to the list of tiles made by Rasmussen, 1984. 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Painted in blue, green, and yellow.\nAlbarello with straight sides, sloping shoulders, a short neck with a groove below the projecting rim and two handles, each composed of three rolls of clay pressed together, with upturned terminals.\nThe front is decorated with a circular medallion containing a woman standing in a landscape with trees and buildings. She rests her right hand on a shield, and holds a spear in her left. The medallion is surrounded by symmetrical grotesques, including dolphins, flaming torches and foliated scrolls, reserved in a rectangular blue panel. A wide label with pairs of blue horizontal bands above and below, encircles the lower part of the jar. The front is inscribed in blue. Below, and on the shoulder at the front, there are foliated scrolls painted in blue alla porcellana. 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The inscription on this jar 'SLI RoI P stands for the Latin, salvia ridotto praeparatio (reduced sage preparation)."},{"value":"This pharmacy jar was attributed to Faenza in the unpublished third volume of the Pringsheim collection, and to Castel Durante in the Catalogue of the Pringsheim Sale, but the red fabric and bluish-green handles and rim suggest a Tuscan origin. In 1987 Wilson tentatively attributed the British Museum's jar to Montelupo, citing for comparison the grotesques on a jug which was excavated there. Luccarelli has attributed the two in the Museo Civico, Massa Marittima, to Siena, where grotesques were a prominent feature of frescos and tile pavements.  The panel on the front of the Fitzwilliam's jar seems to support Luccarelli's view, for both figure and landscape are similar in style to a series of late fifteenth-century panels representing famous men and women attributed to the Master of Griselda with Neroccio de' Landi (1447-1500) or Signorelli (active 1470-1523). 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