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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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See p. 9 for information about various members of the Manzoni family.","page":"10","type":"reference"},"admin":{"id":"publication-200003165","uid":"adlib-publication-200003165","uuid":"4758aab1-2193-390d-902b-fc41ef893d47"},"summary_title":"I Calamai del Manzoni"},{"@link":{"type":"reference"},"admin":{"id":"publication-8422","uid":"adlib-publication-8422","uuid":"849d6b11-70f3-3a5b-9261-5930e598885c"},"summary_title":"Madonnas and Miracles. The Holy Home in Renaissance Italy"},{"@link":{"notes":"Publ. p. 65, no. 17, dated 1510. 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The glaze has crawled to the left of bottom centre. Painted in watery dark blue, pale blue, yellow, orange, and dark manganese-brown.\nRectangular, with two suspension holes inside the raised frame at top centre.\nWithin a frame of egg and dart ornament is a half-length figure of the Virgin with the infant Christ sitting on a cushion on her lap. He plays with her veil and she restrains Him with her right hand. On each side of the Virgin's head is a cloud with a cherub flying out of it, holding a crown in the hand nearest to her and a palm in the other. The dark blue background is scattered with stars."}],"exhibitions":[{"@link":{"catalogue":"30","type":"reference"},"admin":{"id":"exhibition-1662","uid":"adlib-exhibition-1662","uuid":"911c989a-e42d-3013-8eb0-c992b72acf8c"},"summary_title":"Loan Exhibition of Pottery and Porcelain held in the Fitzwilliam Museum"},{"@link":{"catalogue":"A5","type":"reference"},"admin":{"id":"exhibition-1070","uid":"adlib-exhibition-1070","uuid":"2cb713dc-899f-35df-9c15-515a05f38d48"},"summary_title":"Plagiarism Personified? 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The Holy Home in Renaissance Italy"}],"identifier":[{"accession_number":"C.2200-1928","primary":true,"type":"accession number","value":"C.2200-1928"},{"priref":"73227","type":"priref","value":"73227"},{"source":"Glaisher MS Catalogue, vol. 1","type":"old object number","value":"1342"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/73227","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/73227"}],"institutions":[{"@link":{"type":"reference"},"admin":{"id":"agent-149638","uid":"adlib-agent-149638","uuid":"7376d833-d0a7-3be0-916e-9c892b7a24d8"},"summary_title":"The Fitzwilliam Museum"}],"legal":{"credit_line":"Dr J.W.L. Glaisher Bequest"},"lifecycle":{"acquisition":[{"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-152564","uid":"adlib-agent-152564","uuid":"c20df94d-f096-3e0b-a9b5-6ddd12161fb7"},"summary_title":"Glaisher, J. W. L., Dr"}],"date":[{"earliest":1928,"latest":1928,"value":"1928-12-07"}],"method":{"value":"bequeathed"}}],"creation":[{"date":[{"earliest":1600,"from":{"earliest":1600,"era":["CE"],"latest":1600,"precision":"circa","value":"1600"},"latest":1700,"range":true,"to":{"earliest":1700,"era":["CE"],"latest":1700,"value":"1700"}}],"maker":[{"@link":{"role":[{"value":"maker"}],"type":"reference"},"admin":{"id":"agent-190452","uid":"adlib-agent-190452","uuid":"d7536c72-123d-3c81-a2f5-4b97f80a1f56"},"summary_title":"Unidentified Deruta potter"},{"@link":{"qualifier":"after","role":[{"value":"sculptor"}],"type":"reference"},"admin":{"id":"agent-10360","uid":"adlib-agent-10360","uuid":"a406342a-5dbf-3bb9-b64a-ea223118c48f"},"summary_title":"Benedetto da Maiano"}],"note":[{"value":"Devotional panels moulded in relief with this representation of the Virgin and Child were been made mainly in Deruta.  The image derives from a marble relief attributed to Benedetto da Maiano (1442-97), formerly in the Orl\u00e9ans collection at Bologna and now in the Blumenthal collection in New York.  The location of the panel in the sixteenth and seventeenth centuries is not known, and the immediate prototype of the maiolica panels was probably a terracotta or plaster cast."},{"value":"Label text from the exhibition \u2018Madonnas and Miracles: The Holy Home in Renaissance Italy\u2019, on display at The Fitzwilliam Museum from 7 March until 4 June 2017: This rectangular plaque has two holes at the top, suggesting that the image originally hung on a wall. The heavenly colours of blue, gold and white, as well as the starry background and the angels holding crowns, remind the viewer that, according to Catholic tradition, the Virgin was crowned \u2018Queen of Heaven\u2019 after her death. The Child is shown entwined in her golden veil."},{"value":"There are numerous panels of this type, which can be divided into two main groups. The relief moulding of one group, to which this example belongs, follows the iconography of the marble. The other group deviates from it in having a cherub's head in the fold of the drapery under the Virgin's left arm, which may be accompanied by a cherub or angel's head in the background on the right, or both sides, of the Virgin's head, sometimes obscured by the painted background.  This group appears to be related to a painted plaster relief  also attributed to Benedetto da Maiano in the Skulpurengalerie, Staatliche Museen Preussischer Kulturbesitz, Berlin. This has three cherub's heads, and is approximately the same size as the maiolica panels, 49.5 x 39 cm. A tondo, without cherub's heads, is in the Palazzo di Venezia, Rome (PV5480). The painted backgrounds of both groups of maiolica reliefs include draped curtains, draped curtains with a window on the left, a wall with or without drapes, and a landscape with buildings.  The number of moulds used suggests that production continued over a long period, probably throughout the seventeenth century. The only dated example cited is at the Bowes Museum, Barnard Castle (X 1559). This belongs to the second group, and differs from most of the others in having a panel at the bottom bearing two coats of arms, and an inscription giving the date 25 February 1633. Somewhat similar panels, presumably inspired by an Italian example, were made at Triana, Seville."}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-106447","uid":"adlib-term-106447","uuid":"c24dda6b-b738-3a7d-bddf-648ede5b5cd4"},"summary_title":"17th 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Painted in watery dark blue, pale blue, yellow, orange, and dark manganese-brown."}],"reference":{"@link":{"type":"reference"},"admin":{"id":"term-120072","uid":"adlib-term-120072","uuid":"f2a6661f-ccfe-38cf-a4f5-d56df121ce83"},"summary_title":"moulding in relief"}}],"title":[{"value":"Virgin and Child"}],"type":{"base":"object","type":"OBJECT"}}},{"_index":"ciim","_type":"data","_id":"adlib-object-77384","_score":16.569086,"_source":{"admin":{"added":1592999700000,"created":1312637261000,"flag":"Standard Record","id":"object-77384","indexed":1758045644991,"modified":1758030480000,"processed":1758045642794,"source":"adlib","stream":"fitz-online","uid":"adlib-object-77384","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/77384","uuid":"5c4427dc-4583-3990-ba88-69421e10e6b3","version":16},"agents":[{"@link":{"relation":"person","type":"reference"},"admin":{"id":"agent-160752","uid":"adlib-agent-160752","uuid":"8aa6316a-4aea-37a0-94f1-af69f4610c71"},"summary_title":"Christ Child"},{"@link":{"relation":"person","type":"reference"},"admin":{"id":"agent-154123","uid":"adlib-agent-154123","uuid":"2fef3fa1-e550-35f4-b4de-2ced0eb2272a"},"summary_title":"Virgin Mary"},{"@link":{"relation":"person","type":"reference"},"admin":{"id":"agent-149649","uid":"adlib-agent-149649","uuid":"94539a8b-dbbb-3f21-8501-c4bf2d8b0190"},"summary_title":"St Joseph"},{"@link":{"relation":"person","type":"reference"},"admin":{"id":"agent-156435","uid":"adlib-agent-156435","uuid":"178d07f2-1335-3d55-a064-7b3bdb752d1d"},"summary_title":"St Anne"},{"@link":{"relation":"person","type":"reference"},"admin":{"id":"agent-152774","uid":"adlib-agent-152774","uuid":"de99f35f-cc87-3d6f-95a7-70a6d0601039"},"summary_title":"putti"}],"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"}],"collection":[{"@link":{"type":"reference"},"admin":{"id":"term-107444","uid":"adlib-term-107444","uuid":"571df7cf-e062-3968-ae5e-bec9d5a82f92"},"summary_title":"C. 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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. 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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. Marlay before 1887."}],"objects":[{"@link":{"cascade":true,"type":"reference"},"admin":{"id":"object-76242","uid":"adlib-object-76242","uuid":"4fe95d0f-2c96-3192-8a98-0a11c8c2e24d"},"summary":{"reference":{"@link":{"impact":true,"type":"reference","workflow":true},"admin":{"id":"term-90855","uid":"adlib-term-90855","uuid":"b48207ec-774d-3e3e-8ab3-536996bc5dac"},"summary_title":"dish"}},"summary_title":"dish"}],"owners":[{"@link":{"type":"reference"},"admin":{"id":"agent-149638","uid":"adlib-agent-149638","uuid":"7376d833-d0a7-3be0-916e-9c892b7a24d8"},"summary_title":"The Fitzwilliam Museum"}],"publications":[{"@link":{"type":"reference"},"admin":{"id":"publication-3237","uid":"adlib-publication-3237","uuid":"641efb1b-182f-38f5-ad20-f731e926aca0"},"summary_title":"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"},{"@link":{"notes":"Publ. p. 49, no. 340","page":"p. 49","type":"reference"},"admin":{"id":"publication-3222","uid":"adlib-publication-3222","uuid":"46285040-527c-3f90-ae0b-6eaf4d86f6d0"},"summary_title":"Catalogue of Specimens of Hispano-Moresque and Majolica Pottery Exhibited in 1887"},{"@link":{"notes":"Publ. pp. 333-5, no. 389; for the printed source, see p. 335, fig. 28","page":"pp. 333-5","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. 64-5, no. 27","page":"64-5","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. p. 147 illustrated.  Ref. 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Fig. 12 reproduces the accouchement set cup in Cipriano Piccolpasso, 'Li tre libri dell'arte del vasaio'.","page":"32-33","type":"reference"},"admin":{"id":"publication-8422","uid":"adlib-publication-8422","uuid":"849d6b11-70f3-3a5b-9261-5930e598885c"},"summary_title":"Madonnas and Miracles. The Holy Home in Renaissance Italy"},{"@link":{"notes":"Publ. p. 213, fig. 7.18, and p. 253, cat. 245","page":"p. 213, 253","type":"reference"},"admin":{"id":"publication-8743","uid":"adlib-publication-8743","uuid":"a86a8f73-aae5-372c-930d-aa215bd02c9b"},"summary_title":"Feast & Fast. The Art of Food in Europe 1500-1800"},{"@link":{"notes":"Ref. For the social background for accouchement sets.  The Fitzwilliam's accouchement bowl cover is mentioned on p. 90. 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Painted in greyish-blue, sage-green, yellow, orange, brown, and manganese. Circular with curved sides, standing on a low footring.\nInside, the Virgin holding the Christ Child stands between sprays of foliage in front of the Santa Casa. Round the rim between greyish-blue lines there are alternating sprays of greyish-blue and yellow leaves, interrupted by the words `CON.POL.DI.S.CASA' (with dust of the Holy House) in manganese. 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Very rare."}],"type":"label"},{"location":"on front below figures","method":"painted in manganese","transcription":[{"value":"CON.POL.DI.S.CASA"}],"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":"Dr J.W.L. Glaisher Bequest"},"lifecycle":{"acquisition":[{"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-152564","uid":"adlib-agent-152564","uuid":"c20df94d-f096-3e0b-a9b5-6ddd12161fb7"},"summary_title":"Glaisher, J. W. 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On 10 December 1294 it was moved again to a forest near Recanati but, because of brigands in the area, it was moved in August 1295 to a hilltop. This site in turn proved unfavourable because two brothers robbed the pilgrims who went there, and after one brother murdered the other, the angels transported the house to its final resting place at Loreto.  During the late Middle Ages Loreto developed into an important pilgrimage centre, and a great church, completed in 1500, was built around the `house' which was encased in an elaborate marble rivestimento during the early sixteenth century. In addition to the Holy House, pilgrims came to venerate a statue of the Virgin and the Holy Bowl said to have been used by her."},{"value":"Souvenir bowls for pilgrims bear the words 'CON POL DI S CASA' (con polvere di Santa Casa), referring to the adding of dust from the sweeping of the Holy House to the clay from which they were made. Bowls like this one are fairly common. The scene inside was probably copied from a woodcut on one of the printed attestations, which pilgrims acquired as evidence of their visit to the shrine. The Virgin is shown wearing a stiff robe similar to that worn by the famous statue, and stands in front of the church of the Santa Casa. Another common design is painted in baroque style, mainly in blue and yellow. The origin of most of these bowls is uncertain. 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