NOTICE OF THE MAGNIAC COLLECTION. = NOTICE OF THE PRINCIPAL WORKS OF ART IN THE COLLECTION OF HOLLINGWORTH MAGNIAC, ESQ. BY J. C. ROBINSON, F.S. A. MEMBER OF THE ACADEMY OF FINE ARTS OF FLORENCE, ETC. ETC. SUPERINTENDENT OF THE ART COLLECTIONS OF THE SOUTH KENSINGTON MUSEUM, ILLUSTRATED WITH PHOTOGRAPHS. +. od LONDON: CUNDALL, DOWNES, & CO. 168, NEW BOND STREET. 1861. ADVERTISEMENT. N {electing for illuftration the objects herein defcribed, from amongft the extenfive and varied collection at ¢ Colworth, the author has endeavoured, in the firft place, to fingle out fuch as were of {pecial rarity and intereft, from the point of view both of art and archeology ; and, fecondly, fuch as in their feveral fections were obvioufly the moft excellent and valuable of their kind. Such a choice muft, to fome extent, be a matter of perfonal tafte ; and it is poffible that amongft the fpecimens left unnoticed—probably five times as numerous as thofe now defcribed—may be fome, which, in the judgment of others, might have feemed equally deferving of mention. CONTENTS. SECTION I. Objedts of Ecclefiaftical Ufe, chiefly Goldfmith’s Work, Medieval Enamels, &c. No x. E gable ends of a large <¢ Chafle” or Reliquary, 12th cen- tury. . z. Candleftick, champlevé enamel on copper, 12th century . 3. Small oblong “Chaffe” or Coffer, Rhenith Byzantine, 12th et - or 13th century 6 é 5 6 b , 4. “ Chaffe ” or Reliquary, Limoges work, with the legend of St. Valerie, circa 1280 : - : . . . : 5. Ciborium or Pyx in form of a dove, Limoges, 13th century work 6. Candleftick, champlevé Limoges enamel, 13th century 7. Ciborium or Pyx, champlevé Limoges enamel, circa 1300-50 8, 9. Two Limoges enamelled Bowls, circa 1300 10. Crofier, Limoges champlevé enamel, 13th century : : : 11. Head of a Staff of a ruler of the choir, or Crofier, Limoges work, circa 1280 : . . C . . : 12. Paftoral Staff in carved bone, Italian, 14th or 15th century 13. Head of a Crofier in gilt metal, French or Flemith, 15th century 14. Crofier in gilt metal, French renaiffance work 15. Reliquary in rock cryftal, mounted in filver gilt, circa 1400 16. Turret-fhaped Chrifmatory in filver gilt, circa 1340 17, 18. Pair of Sacramental Cruets in filver, parcel gilt, 15th century 19. Octagonal {pire-fhaped Pyx or Reliquary, circa 1480 20. Spire-fhaped Mon/france or Pyx, in filver gilt, circa 1400-50 21. Large hexagonal {pire-fhaped T'abernacle—Gothic work 22. Spire-fhaped Tabernacle in filver, parcel gilt, circa 1350 . Page Contents. 45 51 44 46. 47 48 52 53 54. Silver gilt Bow! or Drinking-cup, Swifs work, dated 1453 535. Statuette of a Stag in filver gilt, Swifs work, 16th century 56. Old Englith filver mounted earthenware Jug, 16th century . Reliquary in cryftal, mounted in filver gilt, German or French, 15th century “ : : c : : - - - . Reliquary in the form of a fandalled foot, in filver gilt, fet with jewels, dated 1470 : 6 é . Pyx in ivory, mounted in gilt metal, French or German, 15th century . Cylindrical Pyx in filver gilt, German, dated 1493 Silver “ Chaffe” or Shrine Reliquary, German Gothic work, circa 1480 . Silver gilt Sacramental Chalice, German, dated 1575 . Chalice, decorated with tranflucent enamels, Siennefe work, 15th century _ Morfe ” or Brooch for a cope, tranflucent enamel on filver, Florentine or Siennefe work, circa 1420 9 : . © Morfe,” Italian work, firft half of 15th century . “ Morfe,” in filver gilt, Flemifh, circa 1490 . 5 : . Boat-fhaped Incenfe Veflel (“* Navette”), Italian work, circa 1460 _ Statuette of a Bifhop in filver, parcel gilt, circa 1560 : : . Pair of mounted Straps or Clafps from the binding of a manufcript, 15th century SECTION II. . Lock and Key in chifelled iron, French, circa 1480 . . Pair of brafs Fire Dogs, Flemifh, circa 1500-20 Serving-knife, German “ Gothic,” circa 1480 . Serving-knife with gilt metal hilt, German, circa 1570 . Cylindrical rock-cryftal Beaker, mounted in filver gilt, German work, 14th century. : . 49. Rock-cryftal Cup and Cover, mounted in filver gilt, German or Swils, 15th century * * 50. Sceptre in rock cryftal, mounted with filver gilt, &c., circa 1500-40 . Spoon, in filver gilt, with rock-cryftal ftem, circa 1500 . Engraved filver Medallion, Flemith, dated 1526 A . Turned wood “ maxer”’ Bowl, mounted in filver gilt, 15th century Various Decorative Objeéts of Secular Origin, chiefly Works in Metal. 48) ib. 30 ib. Contents. SECTION III. Decorative Arms and Armour. No. 65. Emboffed fteel Breaftplate, the work of Paolo de Negroli, circa 1530-40 66. “ Chanfron” or Armour-plate for a horfe’s head, circa 1540-50 67. Emboffed fteel Helmet with Gorget attached, Italian, middle of 16th century : . 5 68. Suit of emboffed fteel Ramen [aan or ienehs circa 1570 69. Emboffed fteel Helmet, Italian, circa 1550-60 70. Pair of Holfter Piftols mounted in chifelled fteel, Italian, 17th pena SECTION IV. Limoges and other Painted Enamels. 80. Small Plague, the Crucifixion, Flemifh enamel on gold, circa 1480 . 81. Small Plague, Paris flaying Achilles, Italian painted enamel, circa 1480 82. Square Plaque, the Crucifixion, Italian painted enamel, circa 1500-30 83. Plaque, battle fubject, by Kip 84. Limoges enamel Cafket, ee with batile aes fiend Te P., circa 1530-40 : 85. Limoges enamel P/ague, arms, ae device ae the ‘Cacia ae Gra- monte, circa 1530-34 . 86. Oviform Ewer, by Penicaud (dheeays circa 1540-50 87, 88. Pair of oval Salt-cellars, by Penicaud (third), circa 1550 89. Plate in colours on foils, circa 1530 zs go. Hunting-horn in Limoges enamel, by Leonard Limon circa Hen ; gi. Large Plague, fubjeét uncertain, by Leonard Limofin, circa 1570 92, 93. Two enamel Portraits, by Leonard Limofin; the Cardinal de Guife and Anne d’Efte Ferrara, Duchefs of Guife, circa 1556- 1557 : : : 94. Portrait of a Lady, Pea by daa aaa circa 1550-60 95. 35 Gentleman, unknown, by Leonard Limofin, dated 1542 . 96. 56 Henri d’Albret, King of Navarre, by Leonard Limofin 97. 3S Marguerite de Valois, Queen of Navarre, by Leonard Li- mofin 98, 99. ‘Two Portraits of ctr de Bae Kins of Nee by freee nard Limofin . c 100, 101. Pair of companion Poriaey by Leonard atin: Charles IX. and his Queen, Elizabeth of Auftria, dated 1573 102. Funnel-fhaped Ewer, by an anonymous artift, circa 1550 b Contents. No. 103. Hexagonal Salt-cellar, by an anonymous artift 104. Limoges enamel Coffer, by an anonymous artift 105. Limoges enamel Casket, painted with fimilar fubjects 106. Limoges gri/aille enamel Cafket, painted with figures fonang sith animals, &c., circa 1540 7. « Chafle”’? or Coffer of Limoges hema plagues ‘abet aor the Ody‘fley . : 108. Triptych, the Crucifixion, naened aimed on foils, circa eae: 40 109. Taxza, Galatea, by Pierre Remond, circa 1540-50 110. Hexagonal Salt-cellar, by Pierre Remond 111, 112. Pair of circular Salt-cellars, by Pierre Remond 113. Zazza and Cover, painted with the “ quos ego,” after Marc Antonio, by Pierre Remond : 114. Pedeftal Salt-cellar, by Pierre Maes 115, 116. Pair of gri/aille painted Plates, by Pierre Revers dared ee 117. Pillar Candleftick, by Jean Courtois, circa 1560 : : 118, 119. Pair of Candlelticks, by Jean Courtois, circa 1570 . 120. Oviform Ewer in colours, by Jean Courtois 121. Deep tazza Plate in colours, by Jean Courtois 122. Salt-cellar, by Jean Court dit Vigier : 123. Large oval Difh in colours, by Mar tial Courtois, circa 1580 124. Oviform Ewer in colours, by Mar tial Courtois SECIIONAVE POTTERY. Majolica, Faience of Henri Deux, Bernard Paliffy Ware, Sc. 135. Two-handled Vafe, Hifpano -Morefco luftred ware, 15th century . 136. Grotefque boat- fhaped Mz ajolica Vafe, Urbino ware, circa 1550- 60. 137. Jar-fhaped Cruche, German enamelled ftoneware, 16th century 138. Ewer or Aiguiére, Faience de Henri deux, circa 1540-50 139. Circular Plateau, with a relievo of Diana, Bernard Palifly ware, circa 1570-80 140. Circular Plateau, bi eae oan ieaeast ‘fh, hhells, ii a5 Been Palifly ware : e 141. Statuette of a Man, in ek century eine pea Palifly ware . 142, Statuette of a Grey Horfe, Bernard Palifly ware Contents. X1 SECTION VI. GLASS WARES. Medieval Enamelled Glaffes, Oriental, Venetian, &c. No. Page 150. Enamelled glafs fufpenfion Lamp, Oriental, 14th century ; - 80 151. Chalice-fhaped Goblet, enamelled with figure fubjects, Venetian, 15th century . c On 152. Flattened oval Flafk or “ Pi Igrim’s Bottle,” von sueaeee glafs 82 153. Oval green glafs Flafk, mounted in gilt metal, German, circa 1560 . id. SECTION VII. Carvings in Ivory. 160. Ivory Hunting-horn, O/ifant, Byzantine, 12th century ‘ qe 161. Series of twenty-nine ivory Draughtfmen, German, 12th century . id. 162. Hilt or Grip of a Dagger, Byzantine? 13th century? . c ga 163. Ivory Comb, Italian work, 14th century . : : 5 s 8G 164. Circular Mirror-cover, French, 14th century 2 4 ABs 165. Plague, Leaf of a Diptych, the Murder of St. Then of Gaae bury, French, circa 1320 . : : : : : a. We 166. Shrine or Polyptych, circa 1300-20. c 5 AD: 167. Ivory Coffer, carved with the legend of St. Buteace! ac century, a 37, 168. Square Cafket, French work, 15th century . . : ao be) 169. A/to-relievo, St. George and the Dragon, 15th century . : ao Ge 170. Small Statuette of St. George, German, 15th century -. : sa SECTION VIII. Carvings in Hone-ftone, Box-wood, Sc. 176, Alto-relievo in German hone-ftone, circa 1550 . . g2 177. Carved box-wood Coffer, with filver mounts, German or Swit Ais century . 0 : o Ds 178. Small box-wood eles of geal origin to tite aiceuene : 94 179. Hilt of a Dagger or Hunting-knife, in carved box-wood, Flemith work, 15th or early 16th century work : : é 5 OG No. 185. 186. 187. 188. 190. Ig. 192. 193. 194. 195. 196. 197. 198. 199% 200, 2017 208. 209. 210. Ait Zia. Contents. SECTION IX. Decorative Furniture. Page Bellows in carved oak, German or Flemifh, circa 1480 . é = 1196 Bellows in carved cheftnut-wood, Italian, circa 1560 . 5 so aes Chair in carved oak, French renaiflance work, circa 1500-20 ee 0)7/ Caffone, Italian, 16th century . . : ; : : + 98 SECTION X. Illuminations and Portrait Miniatures in Water Colours. Illuminated Page, frontifpiece to a Flemifh manufcript, circa 1480 . 99 Leaf from the Calendar of a Flemifh Miffal, the months of May and June, circa 1520-30 . : “ 5 100 Illuminated Page from a French Manufcript, nunen ieaeerdel by the three eftates of his realm . : 4 110g) Miniature Portrait on vellum of Henry VIII, by Ei Holbein «eet Miniature Portrait of Queen Catherine of Aragon, by Holbein - 104 Miniature Portrait, believed to be of Charles Brandon, Duke of Suffolk, by Holbein . 2 LOS Miniature on vellum of Nicholas ; Hill Nard: hele ieee Pe OmemmnTOO Miniature on vellum, of Darnley, Earl of Lennox, by Nicholas Hil- a liard, dated 1560 5 : ue Miniature of Lady Arabella Sears By INichelas Hill eal c LOT, Miniature, {aid to be the Lord Chancellor Bacon, by Tfaac Oliver, dated 1590 . : : : A Ye Miniature of Lady Haneon, by ‘Tie Oliver ; 4 : IOS SECTION XI. Portraits of Hiftorical Perfonages—Piétures in Oil. Philippe le Bon, Duke of Burgundy . : : z 3 = LQ Mary of Burgundy . : : : 5 a De The Emperor Maximilian, aferibed to one Green ; : - elLO Philippe le Beau, Archduke of Auftria, &c. . : : ; 5) SN The Emperor Charles V. : : : 6 ° 0 Engelbert, Count of SAE dated Lge ; 5 ies . A Flemifh Gentleman or Prince, unknown, i iaea to Mabeufe Contents. Xlil Page . Albert Durer, in the 26th year of his age. : : ; 5 Hig) . Henry VIII, King of England . : : : : ¢ 5 iid - Queen Catherine of Aragon. : ; : é 2 a te - Queen Anne of Cleves? . : : 4 A : é 5 IS . Mary Tudor, fifter of Henry VIII? : ; czas . Lorenzo de Medici, Duke of Urbino, aferibed to Raffaelle P 5 1 - Eleonore d’Autriche, Queen of Francis I, afcribed to Jean Clouet . 123 . Equeftrian Portrait of Francis I, by Jean Clouet . é ° zd . Equeftrian Portrait of Henry II, by Jean Clouet . : : 26 . Equeftrian Portrait of Charles IX, by Frangois Clouet . , 5 AE . The Comte de la Marque, afcribed to Frangois Clouet . 5 129 . Claude de Clermont, Sieur de Dampierre, afcribed to Francois Cloner 130 . A Gentleman, unknown, circa 1550, afcribed to Francois Clouet . id. . A Gentleman, unknown, circa 1550-60, afcribed to Francois Clouet 7d. - A Gentleman holdinga ring in one hand, circa 1550-60, afcribed to Frangois Clouet . 9 131 . A Family Portrait group of Giga de Medicis and four of ie Children, afcribed to Francois Clouet . - és ; : ib. . Frangois de Lorraine, Duc de Guife . ; 0 o gyi . Henri de Lorraine, Duc de Guife, called « La Balafré” d qiBG . Blaife de Monluc, Marefchal de France : 0 7 ' 4 LOG . Marguerite de Valois, Queen of Navarre. : a 8D . Oval Miniature of a Lady, unknown, by Sir Ratoni More 5 5 PHOTOGRAPHIC ILLUSTRATIONS. No. 10. IMOGES “ champlevé” enamel Crofier, 13th century. 11. Head of a Staff of a Ruler of the Choir (?), Limoges Work, circa 1280. el 13. Head of a Crofier, in gilt metal, French or Flemifh, 15th century. Ofagonal Pyx or Reliquary, in filuer gilt, and No. 20, Spire-/baped Pyx. Reliquary from the Treafury at Bafle, in filver, fet with jewels, circa 1470. Silver “ Chaffe” or Shrine Reliquary, German * Gothic,” circa 1480. Silver-mounted earthenware Fug, Englifh “ Elizabethan”’ work. Emboffed ficel Breaftplate by the Milanefe armourer Negroli. 67,68. Suit of emboffed feel Armour and Helmet, Italian or French, circa 85. go. 92. Sp 100. Iol. 108. Wie 1570. Limoges enamel Plaque, by one of the Penicaud family. Hunting-horn in Limoges enamel, by Leonard Limofin. Limoges enamel Portrait of the Cardinal de Guife, by Leonard Limofin. Limoges enamel Portrait of Anne @Efie Ferrara, Duchefs of Guife, by Leonard Limofin. Limoges enamel Portrait of Charles IX, by Leonard Limofin. Limoges enamel Portrait of Elizabeth of Auftria, Queen of Charles IX, by Leonard Limo/fin. Limoges enamel Triptych, circa 1530-40. Limoges enamel Taxz%a, by Pierre Remond. Photographic [luftrations. No. 123. Limoges enamel Difb, in colours, by Martial Courtois. 135. Vafe, Hifpano-Morefco luftred ware, 15th century. 138. Ewer, or “ Aiguicre,” French inlaid earthenware, “‘ Faience de Henri deux.” 138.* Ewer, or “Aiguitre,” French inlaid earthenware, ** Faience de Henri deux.” (The fame, fide view.) 150. LEnamelled glafs fufpenfion Lamp, Egyptian or Syrian work, 14th century. 160. Ivory Hunting-horn, Byzantine, 12th century work. 187. Chair, in carved oak, French renaiffance work, circa 1500-20. SecTion I. Objects of Ecclefiaftical Ufe, chiefly of Gold{mith’s Work, Medieval Enamels, &c. lhe % Rhenifh Byzantiné work, 12th century. Height of 4 & . . ] . each end 23 inches, width 15 inches. The “ Chaffe,” from which thefe two ends were removed, is faid to be ftill preferved in its mutilated ftate in one of the churches of Cologne. Thefe fpecimens illuftrate in an interefting manner the general ftyle of defign, and likewife moft of the decorative procefles of the ecclefiaftical goldfmiths of the early Cologne fchool. “The centre of each end, forming a funk panel, is filled in with a large relievo hammered out from a thin plate of filver, and the margin or ftyle framing around is decorated with gilt metal plates, overlaying the thick oak board, which formed the fub- ftance of the entire coffer; thefe metal plates are deeply engraved with floriated and interlaced ornamentation in the well-known ftyle of the epoch, and are at intervals fet with large cryftal cabochons and oblong applied (appliqué) plates of champlevé enamel, of various floriated and diapered patterns, whilft in feveral other parts of the work the gold diapering on a ground of laquered red copper, peculiar to the Rhenifh {chool, is introduced. Around the bevelled margins of the framing are a number of fmall box-fhaped cavities covered with plates of horn, and con- taining relics, all of which are duly labelled; thefe are additions of the 15th or 16th century. One of the filver relievi reprefents our Saviour, B Objects of holding in one hand a book, and in the other a ftaff or fceptre with a ball and crofs at the top, he is ftanding on the necks of a lion and of a dragon, according to Pfalm xci. 13: ‘¢ The young lion and the dragon fhalt thou trample under feet.”” The other re/ievo reprefents a female faint with a palm-branch and a book, flanked by two fmaller ftanding figures of angels bearing fcrolls. Several infcriptions, doubtlefs the names of the faint and the angels, are vifible on the field of this re/evo, beaten up like the reft of the work; but they have been fo much battered and defaced as to be no longer legible. 2. S¥ANDLESTICK, inlaid or encrufted (‘“ champlevé”) enamel on copper, 12th century work. Rhenifh Byzan- tine. Height 7 in. This candleftick is a work of much higher artiftic value than thofe of the better known fchool of Limoges. ‘The bafe is hemifpherical, fluted or gadrooned; each flute bearing a rectangular panel containing an allegorical figure. The ftem of the candleftick is formed by two large circular knops, with a fhort cylindrical fhaft betwixt them; the knops are ornamented with interfecting circles, and the fhaft is divided into chequered {quare compartments, each containing a cruciform ornament. On the top of the upper knop refts the cup or bowl of the candleftick, the underfide being ornamented with an elegant running {croll pattern. Unfortunately the champlevé enamel, which formerly decorated the entire furface of the candleftick, has almoft entirely perifhed, a few fragments only remaining, fufficient to indicate the original colours of the feveral details. The figures on the bafe, defigned in a far more artiftic ftyle than was ufual at the epoch, are full of life and movement. ‘They are imperfona- tions of the vices or deadly fins; all of them reprefented as draped females in fomewhat ftrongly contrafted attitudes : under each is engraved its title as follows :—1. “ /ra,” a figure ftabbing herfelf with a fword. 2. °¢ Idolatria,” with a lance the point held downwards. 3. ‘¢ Infania,” with a barbed dart or lance, held obliquely, the point downwards. 4. “ Avaricia,” a figure with a knife. 5. ‘¢ Libido,” alfo holding a lance with the point downwards. 6. ‘ Superbia,” holding a large knife. Lo) Ecclefiaftical Ue. 3. SeEMALL oblong coffer Reliquary, with raifed or bevelled lid. Rhenifh Byzantine, rath century. Length 42 inches, width 24 inches, height 2 inches. The fide-panels of this very elegant little coffer are overlaid with thin plates of filver and gilt copper, the bevelled fides of the lid or cover are in champlevé enamel, and the long narrow reétangular panel on the fummit of the fame is alfo of thin filver plate. The ornamentation at the fides is in low relief, executed en repouffé, or more probably ftamped or emboffed in a die, or elfe beaten over a raifed matrix; it confifts of fix femicircles or arcades, two at each fide and one at each end, embofled with half figures of angels with extended wings, holding books in their hands, and the fpandrils above are filled with gilt copper plates, orna- mented with foliated fcroll work. The bevelled or floping enamelled plates of the cover are of very original and tafteful defign, and in moft perfect prefervation, the long ones at the fides being ornamented with a lozenge diaper with marginal band of leaf work, and the triangular plates at each end contain, the one an expanded flower or palmette ornament, and the other a beautiful branch of {croll foliage. The enamels are of great brilliancy, and a fine turquoife tint, pale lilac, bright yellow, and deep morone purple are very confpicuous; the colours are more varied and more brilliant than thofe of the Limoges fchool. 4. OFFER Reliquary or ‘‘ Chaffe.” Limoges work, de- corated with champlevé enamel, circa 1280. Length 15 inches, width 64 inches, height 123 inches. This important {pecimen of ecclefiaftical metal work was evidently made for fome church in the diocefe of Limoges, the legend reprefented being that of St. Valerie, a local faint. It is of the ufual quadrangular fhape with a high-pitched roof or cover, furmounted along the ridge by an openwork creft, on which (at each end and in the centre) are pofted three oval balls of rock cryftal.. The decoration confifts of applied figures in gilt metal in a/to relieve, fixed on to a diapered ground of eee of champlevé enamel of a well-known Limoges pattern. The edges or margins of the chaff are finifhed by plates of gilt metal, engraved and fet with numerous oval jewels of crimfon, blue, and green glafs paftes. On the fide-panels are ten ftanding figures of draped faints (five on each fide) holding books ; thefe figures all very much refemble each other. At each of the gable ends is a larger figure of a faint, one of which, holding a book and a {word, is evidently St. Paul, the other apparently a fubftitute of the 15th century for the original figure (of St. Peter?) is St. Valerie | holding a palm-branch and a book; (it is evident that originally the faints round the fides were intended to reprefent the twelve apoftles, St. Peter and St. Paul refpectively occupying the confpicuous pofitions at the gable ends.) “The legend of St. Valerie is reprefented on the two fides of the floped roof ;* on one fide are five figures as follows,—on the left is the * The legend of St. Valerie is related as follows in a local publication entitled, «¢ Hiftoire facrée de la Vie des Saints principaux, &c. . . . quiont vecu ou qui font en vénération particuliére en divers lieux du Diocefe de Limoges,” par M. I. Collin, &c. &c., L TROBE) 1672, in 12mo. p. 679 et fuiv. :— “ Valérie fut fille du ae Léocade et de Sufanne, et recueillit feule les opulentes “ fucceffions de ces proconfuls, du cofté de fon pere, et de celuy de fa mére Sufanne, elle * fut heritiére des biens de Mani ius. . . . Or, encore bien que Sufanne ne fat pas “ encore efclairée du flambeau de I’ le, elle ne laiffoit pas pourtant d’avoir efté nourrie dans la vertu, en la ma e eftoit pratiquée parmy des perfonnes qui n’avoient pas encore la connoiffance edu vray Dieu. Car les Gentils, tous Idolatres qwils eftoient, faifoient grand gloire de certaines louables habitudes ou vertus “cc ““c 66 “¢ morales, pour eftre diftingué du commun des hommes . . . . et ces vertus morales “ font comme les fauvageons fur lefquels on ente heureufement les plus beaux greftes ce | de toutes fortes de vertus chrétiennes.... | “ Valérie, profitant tous les jours autant des ae que des inftruétions de fa bonne mere, adjoufta aux beautez de fon one dont la nature l’avoit excellemment DNs toutes celles de ame, autant que la fombre lueur de la gentilité ot elle ‘ vivoit le luy pouvoit permettre Elle vivoit donc ainfi doucement dans le Chafteau « de Limoges fous l’aile de fa mére ; et le vieux manufcript de l’abbaye de S. Martial tef- moigne que dans cette vie privée Pasar gagné l’amitié de tout ‘leur voifineage. ... ce Or, comme la charge de Proconful des Gaules eftoit vacante, par la déceds de Saeco ade, Leta pe jeur Claude Tibére en pourvut Junius Silvanus, fon parent proc he ett -apable de l’exercer. Il dreffa done fon equipage et vint au pais, ou il en prit pofleffi ion. En faifant {es vifites dans fon gouvernement, il ne manqua pas de voir Sufanne comme eftant veufve de fon prédéceffeur, avec fa fille Valérie ; mais la bonne grace de cette jeune demoifelle luy donna fi fort dans la veué, quil fut incon- tinent furpris de fon amour, et, ayant appris es grandes fucceffions que luy eftoient efcheués, il creut que ce party luy pourroit eftre avantageux, s’il eftoit fi heureux que de avoir en mariage. II obtint aifément le confentement de l’empereur pour lef- “ poufer, et Sufanne et Valérie ayant tenu fes recherches 4 un trés-grand honneur, les 1 fiancailles furent célébrées avec toute la pompe convenable. . 5 iets la Provid Bare Divine, qui vouloit que la mére et la fille fuffent deux tres “belles lumiéres dans VEglife, leur fit naiftre une occafion avantageufe pour pafler a une perfeétion plus Hautes ....CarSaint Martial, eftant pour rere dans le Limofin, eut un commandement exprez de la part de Jéfus-Chrift, qui luy apparut pour cet effet, de fe tranfporter | dans la ville de Limoges, et y prefcher fon évangile. Il y fut donc, et d’abord fe “ logea prés du Chafteau, chez une bonne dame nommée Radégonde. Mais il n’y eut “< yas demeuré un jour pour fe difpofer a fa premiére fortie, qu’i] entendit un bruit Ecclfiaftical Ufe. 5 prefect feated on his throne, St. Valerie brought before him by a foldier forms a group of two figures in the centre, and on the right is a foldier in the act of beheading the faint. On the oppofite fide the meaning of the relievi is not quite fo obvious,—on the left St. Valerie kneels before our extraordinaire dans le Chafteau, et s’eftant enquis de ce que c’eftoit, on luy dict que c’eftoit un pauvre frénétique qui faifoit ce défordre, et qu’il eftoit de fois 4 autre fi cruellement tourmenté de fa maladie que perfonne n’en ofoit approcher, qu’on avoit mefime efté conftraint de l’attacher: et encore y avoit-il bien de Ia peine a le tenir, et que la Dame du lieu n’efpargnoit quoy que ce fut pour le faire traigter. Saint Martial fe perfuada qu’il eftoit a propos de commencer fa miffion par cette premiére vifite. I] fut donc 1a dedans, et voyant ce pauvre malade ainfi lié, comme il eftoit, il en eut grand pitié, et faifant deflus luy le figne de la croix, ces chaifnes dont on Pavoit attaché fe rompirent incontinent, et en mefme temps il fe trouva remis dans “* Pufage de fon bon fens. ** A cefte veué, Sufanne et Valérie furent ravies d’avoir expérimenté l’efficace du figne de la croix, et toutes eftonnées du miracle, donnérent a Saint Martial, par les curieufes demandes, l’occafion de leur defcouvrir les Myfteres de noftre Sainte foy. Etcomme la grace du Saint-E{prit agiffoit puiffamment dans leurs ames, le faint apoftre n’eut pas beaucoup de peine a leur perfuader de l’embrafler. Elles luy demandérent done le baptefme, que le faint leur donna volontiers, aprés les avoir fufifamment inftruites pour ces premiers commencements: et fix cents de leurs domettiques fuivirent 4 mefme temps l’exemple de leurs deux maiftrefles. “+... .. L’on donne mefme pour conftant que Sainte Valérie, ayant un jour ouy parler cet homme (Saint Martial) des louanges de la virginité, elle s’obligea par un voeu expres qu’elle en fit, de la garder inviolablement toute fa vie; renoncant par ce moyen a V’alliance du Proconful et a toutes les grandeurs qu’elle pouvait efpérer dans un fi riche mariage. “Or le Proconful eftant de retour penfant reprendre les premiéres erres de fon mariage, fut bien eftonné quand on luy dic que fa maiftrefle pretendué avoit fait de nouvelles amours et changé de deffein. Ces nouvelles non attendués outrérent cet efprit altier, qui pour s’efclaircir du fait Penvoya quérir fur-le-champ, ayant de la peine a croire qu’il fe fut trouvé dans la province qui que ce fut qui eit of€ courir fur fes brifées et luy defbaucher fa maiftreffe. Elle vint donc en fa préfence, et avec un maintien modefte et ferieux, fe jetta 4 fes pieds; mais luy, la voyant dans ce changement, jettant feu et flamme par les yeux, luy demanda d’un ton de voix qui defcouvroit affez laltération de fon ame, s°il eftoit vrai qu’elle efit un autre ferviteur? et quel eftoit celuy qui avoit efté fi hardy que de courir fur fon deffein. Mais elle, prenant la parole avec une modeftiec angélique, luy dict qu’elle n’avoit jamais cru mériter Phonneur de {es recherches, qu’elle s’eftimeroit la plus malheureufe damoifelle de la province, fi elle avoit jamais penfé de luy préférer quelqu’autre que ce flit; qu’au refte il eftoit véritable quelle avoit donné fon cceur et toutes fes amours, au fils du Roi du ciel, qu’elle prétendoit d’avoir pour efpoux: mais qu’elle ne luy faifoit point de tort a luy Proconful, fi elle luy préf€roit le Créateur du ciel et de la terre, etc. . . . . . Mais la colére qui emporta cet homme outré de douleur ne permit pas a Sainte Valérie de parler plus longtemps. II la fit donc ofter de 1A, et commanda a fon Efcuyer de V’aller faire mourir en quelque part. Elle alloit a la mort en riant comme fi elle fit allée A noces. Jamais on ne la viét plus fatisfaicte. - +... En chemin mefime, elle dict a celuy qui la conduifoit 4 la mort, qu’il eftoit bien abuzé sil penfoit qu’elle s’en alloit perdre la vie: C’eft toy-mefime, luy diét-elle “en riant, qui mourras aujourd’huy, et je ne commenceray qu’s vivre...... A ““mefme temps on ouyt en I’air une voix, qui luy dia, Courage Valérie, voici les « Anges qui t’attendent pour te conduire (ame) a ton efpoux. L’eftafier luy avale la nA rN * tefte avec un revers, et l’on ouyt les Anges faifant un trés-agréable concert, et fon “* ame fut veué de toute l’afliftance montant en guife d’une boule de feu dedans le ciel “ . . . . Mais la bienheureufe martyre prit fa tefte toute coupée qu’elle eftoit entre “fes deux mains; et d’un pas ferme et fans broncher pafla de la forte au travers de la 6 Objects of Saviour, who ftands with a crofs in one hand and extends the other to- wards the faint, as if about to raife her up; in the centre are two erect figures of female faints holding cylindrical vafes or other objects of un- certain fignification, with their right hands uplifted as if in benediction ; and on the right a group of two figures, one an angel with large wings, with a book in his hand, feated on a throne (or perhaps an open fepulchre), in which, by his fide, ftands St. Valerie. The Abbé Texier (‘* DiGtionnaire d’Orfévrerie,” &c. Paris, 1857, p- 1430) defcribes at great length a fmall ‘ chaffe,” colleétion, on which the legend of St. Valerie is reprefented in a different manner from the prefent. He fays alfo:—“ L’importance que nous donnons apparently in his own “¢ 4 ce reliquaire a befoin d’excufe. Elle s’explique par Ja perte que le “< Limoufin a faite de deux autres chaffes plus importantes, qui repré- “ fentaient le méme fujet. Les brocanteurs les ont livrées a des cabi- “nets, et la deftruction des vitraux Limoufins antérieurs au 14™° fiécle “rend cette perte plus fenfible encore. L’image vénérée de Sainte “ Valérie y brillait de toutes parts.” In all probability the Magniac Chaffe is one of thofe the lofs of which the learned Abbé deplores. LY HIBORIUM or Pyx, in form of a dove, ftanding on a circular plate or medallion, attached to which are four projecting rods of metal, intended to afford points of fufpenfion for chains. Limoges, 13th century work. Extreme length g+ inches, height 6% inches. The body of the dove is in gilt copper, the feathers, &c. engraved, but * ville, et alla fe rendre au lieu ot Saint Martial prioit Dieu. ... Mais l’efcuyer ‘* Hortarius, tout eftonné de tant de merveilles qu'il avoit veués, alla les raconter au “ Proconful, luy difant mefme que, comme il la conduifoit ala mort, la vierge luy avoit « diét qu'il mourroit 4 ce mefme jour; et il n’eut pas achevé le mot, que le voila qui “* tombe roide mort a fes pieds. “On comprend l’étonnement du Proconful; quelques chrétiens lui confeillent d’en- “ voyer chercher Saint Martial. Celui-ci touché des priéres du gouverneur romain et “ faififfant ’occafion qui fe préfentait d’accomplir {a miffion apoftolique, prend Horta- “rius par la main en lui ordonnant de fe lever au nom de Jéfus-Chrift. Le mort “ revient a la vie et, fe profternant aux pieds du faint, confeffe qu’il eft ferviteur du vrai “ Dieu. A la vue de ce miracle, le Proconful Silanus embraffe la religion chrétienne, “ et regoit au baptéme le nom d’Etienne et fit ruiner les Temples des Idoles, et donna «4S. Martial de grands thréfors pour en faire batir des temples au vray Dieu.” Ecclefiaftical Ufe. 7 the wings and tail are encrufted with champlevé enamels of varied colours, and the circular bafe is alfo inlaid with a rofette ornament in coloured enamels, ‘The box or cavity for the confecrated euchariftic particles, kept for the communion of the fick and dying, is in the body of the bird, and a circular lid, opening with a hinge in the back of the dove, gives accefs to it. During the 13th century, and indeed until a very recent period, the pyx, or veflel in which the facramental wafers were preferved, was generally fufpended over the altar by chains, and the dove, the fymbol of the Third Perfon of the Trinity, was much affected as an appropriate form for this purpofe. The prefent is a characteriftic {pecimen of a clafs of veflels of this type, doubtlefs fabricated at Limoges, and of which many other ex- amples are extant. It was purchafed at the fale of the Debruge-dumefnil collection. Engraved and defcribed in Shaw’s ‘ Decorative Arts of the Middle Ages” (London, 1851). LTAR Candleftick in champlevé enamel, Limoges 13th century work. Entire height, including the pricket, 10 inches. The ftem is ornamented with two bulbs or knops enamelled with running fcroll ornaments; the triangular bafe has a grotefque femi- human figure, the upper part of which reprefents a knight brandifhing a {word and fhield, but with the head of a lion, which (alone) is chifelled in relief, the reft of the ornamentation being in the engraved and gilded furface metal and encrufted enamels; the lower part of the figure termi- nates in a dragon’s or lizard’s body with a floriated {croll tail, the bow] or cup of the candleftick at the fummit is alfo decorated in enamel with rofettes, &c. 7° SIBORIUM or Pyx, champlevé Limoges enamel, circa 1300-50. Height g inches, diameter acrofs the bowl * 42 inches, diameter acrofs the foot 6 inches. This utenfil confifts of a body or receptacle in two hemifpheres, Objects of the upper one hinged and forming the lid ; it is mounted on a tall flender circular ftem with an oétagonal knop in the centre; the foot or bafe is of greater diameter than the body of the pyx, and the margin is cut or fhaped fo as to form a hexafoil alternating with angular points. The ground or fubftance of the objec, as ufual, is of copper gilt, the various figures and ornaments being delineated by engraved outlines. The ground {paces of the furface are filled in with red, blue, and green enamels. The fubje&s on the cover are four in number, as follows :—Chrift mocked, our Saviour with his hands tied (two foldiers holding a bandage over his eyes and ftriking him), next, the flagellation—Chrift bearing his crofs, and laftly, the crucifixion. Each of thefe fubjeéts is reprefented under a wide circular cufped arcade. On the under fide of the cup are fix circular medallions with half figures of angels, the {paces or fpandrils betwixt them filled in with fcrolls. The upper furface of the foot is likewife decorated with fix medallions alfo bearing demi-angels. “The fpandrils betwixt each, filled in with a fleur-de-lys. 8. IRCULAR enamelled copper Bowl. Limoges work, circa 1300. Diameter 8% inches. In the centre of the infide is a circular medallion containing a draped figure on a galloping horfe, with a lizard or dragon beneath its feet. Around the margin is a feries of eight arcades or horfe-fhoe fhaped compartments, in each of which are figures, apparently of minftrels or mountebanks; amongft them may be feen a draped female tumbling or walking on her hands, and two figures of men playing violins. On one fide, near the margin of the bowl, is a projecting {pout in the fhape of an animal’s head. From the collection of M. Didier Petit, of Lyons. QO. IMILAR Bowl; in the centre a king on his throne, on a dia- pered background of floriated fcrolls, around the margin four | compartments formed by interfecting femicircles. ‘The fpan- drils near the margin of the bowl are each filled in with a caftle (arms of Cattille, doubtlefs in compliment to Blanche of Catftille, Queen of Saint Louis). In one of the compartments is a man kneeling and holding out Ecclefiaftical Ufe. 9 a boar-fpear, the boar (in the next compartment) rufhing towards him and attacked by a hound ; in the other two compartments a man with a dog, founding an olifant, and in the next a ftag advancing towards him, being pulled down by a dog. ‘The whole of the background {paces are filled in with floriated fcrolls. “This bowl has no fpout. Diameter 8% inches. The two bowls here defcribed, notwithftanding that the pictured fub- jects reprefented on them are of a fecular charaCter, were in all probability ecclefiaftical utenfils. Their ufe was to contain the water with which the prieft wafhed his hands during the ceremony of the mafs ;* they were always in pairs, one with a {pout from which the water was poured, and the other without a fpout in which it was received. From thus being ufed in pairs, they were called ‘ gemelliones.” ‘The prefent {pecimens, though not originally belonging to each other, reprefent the two varieties. Many other examples of fimilar ftyle and origin have been preferved. IO. ROSIER in Limoges champlevé enamel. Height 11 inches, width acrofs the volute 4 inches. The ufe of the crofier or paftoral ftaff is fimply as an emblem of authority ; its fignification in faét is analogous to that of the fceptre of the king or the mace of the municipal ruler. Its origin has been fancifully fuppofed to have been derived from the lituus of the ancient augurs; a fhort curved wand or crook held in the hand during the ceremonies of facrifice and divination. The moft ancient monuments in which the pattoral ftaff occurs, reprefent it indifferently of three different models ; firft, that of acrutch or tau ; fecondly, that of a long wand furmounted by a ball and a fmall crofs; and thirdly, in the ufual voluted form. The crofiers of the firft and laft of thefe models, in the earlieft periods, were frequently not longer than ordinary walking ftaves, and were evidently held in a fimilar manner, z.¢. by the crutch-fhaped crofs-piece, or the crook or volute. The refemblance of the voluted ftaff to the fhepherd’s * Dr. Rock, whofe invaluable advice in refpeét to the prefent catalogue the author moft gratefully acknowledges, diflents from this view. He fays in reference to this paffage :—‘* I think not ; they were the bafin and ewer always ufed at great houfes «¢ where the ceremony of pouring water on the hands of the lord and lady and great <« suefts, by one of the yeomen, was punctilioufly followed ; (fee the ‘ Boke of Curtafye,’ “p.27.) The bafin and ewer for liturgical ufe were fimaller.”” ( crook probably at laft fixed the orthodox conventional fhape, and it thus occurs on various ancient monuments at leaft as early as the ninth century. In the ages of fymbolifm, indeed, the ftriking and pertinent analogy of the epifcopal office to that of the paftor, confecrated moreover by our Saviour’s parable of the good fhepherd, could fcarcely fail to caufe the final adoption of this form in preference to that of the common walking ftaff, whilft the long ferule, furmounted by a ball or fmall Maltefe-fhaped crofs, feems to have become (in aétual ufe) efpecially, if not exclufively, affigned to the Pope, who never ufes the crofier, and in plaftic re- prefentations to have become the attribute of archangels and heavenly powers. It is evident, in fhort, that the fixing of the crofier in its pre- fent fhape was the refult of a gradual concretion of various natural and myftical ideas, and that no precife dates can be afligned to any of the various changes and modifications of its form which have taken place. Of all the produéts of the early Limoges {chool perhaps none are more interefting, nor, at the prefent day, better known than the crofier heads; the general elegance of defign, the brilliancy and originality of the enamels with which they are encrufted, and at the fame time the com- paratively little coft at which they were originally produced, muft have rendered them univerfally popular. They were, in fact, a current article of manufacture, and as fuch, beautiful as they are, are not to be ranked with the fplendidly wrought crofiers in more precious materials, which were poflefled by the higher members of the epifcopal order. It is moft likely, indeed, that they were more particularly deftined as fepulchral .crofiers, it being the well-known cuftom to bury their appropriate infignia along with the bodies of ecclefiaftical perfons. Moft of the Limoges crofiers now extant, and notably the prefent example, have indeed been recovered from tombs. Thefe Limoges crofiers are of very uniform types, a few prefcriptive models feeming to have been adhered to with great con- ftancy ; of one of thefe, viz. that with the volute filled in with an ex- panded flower, the prefent example is perhaps the moft elegant and perfect {pecimen extant. It may be briefly defcribed as follows. Beginning with the focket which fits on to the wooden fhaft, this is enriched with large lozenge-fhaped compartments containing dragons or grotefque winged monfters, and floriated ornaments on a ground of blue enamel ; the knop is enriched with four circular medallions connected together with elegant rofettes and fcrolls grounded in enamel; in each of the medallions is a dragon or fyren with a human head, chifelled in relief, the tail ending in foliage, the ground fpaces perforated or cut through; from the knop rifes the lofty volute, which is crocketed on the outer edge, the Ecclefiaftical U, fe. II furface covered with running fcrolls grounded in blue; the crook, which forms a double involution, ends in a beautiful opened flower of triangular form, the point of each of the three long leaves elegantly curled over on to its outer margin; the leaves are filled in with blended or fhaded enamels of blue, green, red, and white colours—the metal portions have all been richly gilded. This crofier was found in a tomb in the ancient abbey of Foigny in France, by the Marquis de Liancourt, who purchafed the national domain at that place. The tomb was fuppofed to have been that of Barthelmy de Vir, Bifhop of Laon, who is recorded to have died in 1181.* The crofier, however, is unqueftionably of a later date (probably to- wards the middle of the 13th century).+ It is beautifully illuftrated by a coloured engraving in Shaw’s “‘ Deco- rative Arts of the Middle Ages;”’ in “ Mélanges d’ Archéologie” de Cahier et Martin, vol. iv. p. 221; alfo in “‘ Choice Examples of Decorative Art.” London, Cundall and Addey, 1851. It has likewife been recently en- graved on a {mall fcale in Didron’s “¢ Orfévrerie Religieufe.’’} * According to other and probably more authentic accounts, this prelate lived at the beginning of the 12th century, having attended the reconfecration of his cathedral in 1114. + This is likewife the opinion of the learned Pére Martin (“‘ Mélanges d’Archéo- logie,” above cited), who obferves :— “ Des fyrénes mollement cambrées fur le noeud, et des dragons grimpant le long de “ Ja douille, font auffi tous les frais du fymbolifme incomplet d’un monument delicat << pofledé par M. Magniac (fig. 93). Ce monument vient, helas! de France, comme “tant d’autres appreciés par le gout et conquis par l’or de nos heureux voifins. On “ dit qu’elle provient de l’abbaye de Foigny, et qu’elle a été trouvée dans la tombe du « célébre Barthélmi de Vir, le fondateur, d’aprés Guibert de Nogent, de la cathédrale “« de Laon, dans les premiéres années du XII¢ fiécle. Le ftyle du travail n’indiquerait “¢ pas une époque auffi reculée et j’entreverrais méme, a coté de beaucoup de grace et “de finefle, tant foit peu de maigreur et de maniére, indice de ’approche du XIV¢ eoriieclesms M. Didron not having feen the original object, and apparently judging only from the indifferent engraving in the “‘ Mélanges Archéologiques,” exprefles doubts as to the authenticity of this crofier; one of his very fingular objections being the un- ufual lightnefs and elegance of its fhape. He alfo demurs to the crockets on the outer margin of the volute. Had M. Didron {een the original, thefe doubts, for which there is not a fhadow of foundation, would certainly never have been expreffed. 12 Objects of Il. EAD of a Staff of a ruler of the choir, or of a crofier, in gilt bronze, with a knop or ball of rock cryftal. Limoges work, circa 1280. Height 125 inches, width acrofs the volutes 64 inches. This unique and celebrated monument was formerly in the collection of M. Dugué of Paris, at whofe fale in 1851 it was acquired by the prefent poffeflor. It has been repeatedly engraved, and has been the fubject of much archzological refearch and difcuffion. Accounts of it will be found, firft, in “‘ La Revue Archéologique” de M. Leleux, t. iv. p. 816, where it is defcribed in an erudite memoir by M. Adrien de Longperier—an engraving of it, and alfo of feveral medizval ecclefiaftical coins in illuftration, accompanies this paper; fecondly, in Shaw’s “¢ Deco- rative Arts, &c. of the Middle Ages” (1851), (coloured engraving and defcriptive text); thirdly, in Cahier et Martin’s “ Mélanges Archéolo- giques,” t. iv. p. 233 (1856), (engraving on wood). It may perhaps ftill admit of doubt whether this moft interefting object was the head of the ftaff of a chanter or ruler of the choir, or of a double crofier, i.2. a crofier with two volutes. ‘The former fuppofition, however, feems the more probable. In any cafe, no other {pecimen of the fame kind is known, nor is there any certain evidence of any fuch thing as a double crofier having ever been in ufe. The object confifts of a vertical fhaft or ftem, fimilar in general afpect to that of many crofiers of the Limoges fchool, except that it branches into two volutes, diverging in oppofite direétions from the ftem, which is prolonged vertically betwixt them, and is furmounted by a {mall ftatuette of St. Michael flaying the dragon ; in one of the volutes is a kneeling figure of a female faint, holding her head in her hands, and fupported by an angel, who appears to be iffuing from the clouds, and in the other a bifhop ftanding in front of an altar, on which is a chalice covered with its corporal. Thefe figures reprefent the refufcitation of St. Valerie by St. Martial, both local faints of the city of Limoges. The knop, placed in the fame pofition as in ordinary crofiers, is in rock cryftal,* and the ftem and * For an account of the legend of St. Valerie, fee notice of the “ Chaffe,” No 4 in this Catalogue. M. de Longperier fuppofed the cryftal knop to be an addition of more recent date than the object itfelf. The author cannot, however, agree in this opinion; he has in faét no doubt but that it formed part of the original defign, and that the object, wanting of courfe the ftaff, is in every other refpeét perfectly intact. hi Ecclefiaftical Ufe. 13 volutes are ornamented with fcrolls in filagree wire-work foldered on to the ground, and alfo with numerous {mall cryftal cabochons. The outer margins of the volutes are crocketed, and the ends terminate in {croll foliage ; the focket part of the ftem, beneath the knop, is ornamented with three lizards or dragons. The ufes and prefcriptive form of the crofier are well known, and need not be further alluded to here. The “‘baculus cantorum,” or chanter’s ftaff, on the other hand, differs effentially from it: its ufual typical form is that of a “tau,” or crutch-headed ftaff, the wand being furmounted with a fhort T-fhaped crofs-piece, which was very often of ivory and richly carved. It appears, however, from old inventories, that the crofs- piece was alfo frequently of metal, and that it fometimes fupported {mall groups or ftatuettes. Some defcriptions, indeed, feem to denote a difpofi- tion very fimilar in effential features to that of the prefent fpecimen ; the volutes, however, are nowhere indicated. Canon Rock, in his in- valuable “¢ Church of our Fathers,” vol. ii. p. 201, thus defcribes the ufe and appearance of the “ ruler of the choir’s” ftaff:— “The reéores chori, or rulers of the choir, who were few or many, according to “ the folemnity of the feftival, but always arrayed in alb and cope, and often having ‘“‘ the precentor at their head, direéted the finging of the choir all through many parts “ of the divine fervice—at matins—at mafs—at even-fong. As they arofe from their * ftools or went down from their ftalls to clufter around the large brazen eagle, upon the “ out{tretched wings of which lay open the heavy Grail, or widely-{preading Antiphoner ‘«* —from the noted and illuminated leaves of which they were chanting ;—or as they ‘* walked to and fro, giving out to each high canon in his turn the anthem to be fung, “ thefe rulers of the choir bore in their hand a ftaff, fometimes beautifully adorned and “ made of filver, ending, not with a crook, but a fhort crofs-beam, which carried fome ““ enrichment, elaborately wrought and richly decorated. . .. . The enameling, the ‘ imagery, the lace-like tabernacle-work, beftowed efpecially upon the head of the Englifh *¢ ftaif, for the rector of the choir, may be almoft feen from the defcription of the Baculi “ pro chori regentibus, fet down in the lift of plunder carried off by Henry VIII. from ‘* Lincoln cathedral. ‘ Imprimis, a ftaff covered with filver and gilt, with one image “© of our Lady graven in filver at one end, and an image of St. Hugh in the other end ; * “and having a bofs, fix-{quared, with twelve images inammelled, having fix buttrefles, ‘« “wanting one pinnacle and two tops. Item, two other ftaves, covered with filver and “ gilt, having an image of our Lady, and a chanon kneeling before her at every end, ** «with this f{cripture, Pro zobis ora, etc. ; having alfo one knop, with fix buttreffes, ‘* and fix windows in the midft, one of them wanting a pinnacle, with this fcripture “ “about the ftaff, Benediftus Deus in donis fuis. Item, two other ftaves, covered with “ ¢filver parcel gilt, having a knop in the midft, having fix buttreffes, and fix windows “ ¢in every ftaff, gilt, wanting one round filver plate of one crouches end.’—Duc- “ DaLE, Mon. Anglic. t. viii. p. 1281. From thefe and other defcriptions, it would ‘ appear that the head of the ftaff was made like St. Anthony’s crofs, or the capital “letter T. Upon the top of this were fet the images.” Dr. Rock, whofe opinion is entitled to the greateft weight, believes the prefent object to be a chanter’s ftaff and not a crofier; and le Pére Martin appears to incline rather to his view than to that of M. de Long- perier, who, on the contrary, maintained it to be a double crofier. M. 14 Objects of de Longperier feems to have aflumed the exiftence of double crofiers on inferential evidence only ; his theory being, that abbots and bifhops, who prefided over two feparate ecclefiaftical governments, were in the habit of ufing a crofier with two volutes fymbolical of their double jurifdiction ; and in fupport of this view he adduces feveral examples of a clafs of eccle- fiaftical coins of the 12th and 13th centuries, iffued by dignitaries poflefling this duality of jurifdiction, on which are figured two crofiers, but on one only of which appears two crofiers with apparently double volutes, difpofed en faltire.* M. de Longperier, in the conclufion of his eflay, remarks :— “Jt is alfo very certainly in that city (Limoges) that the double crofier “ belonging to M. Dugué was fabricated. It refts, however, to be afcer- “¢ tained for what perfonage it was made. I have faid that amongft the “¢ Bifhops of Limoges I find no one to whom it could have belonged on “the hypothefis above ftated. It is certain, however, that the manu- “¢ facture of Limoges furnifhed bronzes and enamels for the churches “© of every part of France, and the fact of the patron faints of Limoges “* being confpicuous features in the crofier, does not neceffarily preclude ‘its having been manufactured for fome other diocefe.” 12. SASTORAL Staff in carved bone. Italian 14th century ¥ work. Entire length of ftaff 6 feet g inches, width acrofs the volute 9% inches. The head of this crofier is compofed as follows. The knop is a large thomboidal mafs formed from a {quare block by cutting off the angles, fo as to leave four lozenge-fhaped fpaces at the fides, thefe are filled in with emblems of the evangelifts carved in low relief; the fhaft of the volute rifes above this in the fhape of a dragon’s head and neck with gaping * ‘The coin in queftion, figured in the “ Revue Archéologique” on the fame plate as the ftaff, is a “‘denier braétéate de Conftance, frappé au 13™° fiécle;” and M. de Longperier remarks in reference to it, “or, ce denier appartient inconteftablement aux “ évéques (H. Meyer, die Braétéaten des Schweiz, de Zurich, 1845, p. 55, et fuiv. “Taf. iii, No. 159.), et l’on ne pourrait admettre qu’ils euffent placé fur lear monnaie les ‘‘infignes du grand-chantre ou de tout autre dignitaire eccléfiaftique.” The occur- rence of the two crofiers on this coin M. de Longperier fays is fymbolical of the abforption of the ancient fee of Windifch by that of Conftance, other coins are cited, particularly two of Noyon and Tournay, both bearing wo feparate crofiers of the ordinary type, without doubt indicating the union of thefe two fees. ‘Thefe coins, however, do not in the author’s opinion, which is alfo that of more competent autho- rities in this country, afford fufficient evidence of the exiftence of the double crofier. Ecclefiaftical Ufe. 15 mouth, from which grows the volute, enriched on the outer margin with ten boldly projecting leaf-fhaped crockets rudely carved ; the volute en- clofes a lamb with the ftem of acrofs or banner, the upper part of which is broken away, and alfo in the upper part a dove; the extremity of the volute forms another dragon’s head with gaping mouth thickly fet with teeth, and apparently menacing the lamb : the head and fhaft of the crofier are diapered over with floral ornaments, rofettes, grotefque dragons, and other animals, rather coarfely executed in furface gilding, outlined with red and black. Other crofiers of this identical type, moft likely produced in the fame diftri&t and at the fame period, are ftill preferved ;* they are apparently of North Italian origin. It is difficult to determine their approximative date with any certainty ; it is probably, however, later than might be at firft fuppofed. The quafi-Byzantine ftyle, efpecially marked in the diapered ornaments painted on them, would apparently indicate the 13th or early part of the 14th century ; but judging from other details of a more modern afpect, it feems more likely that thefe feemingly very ancient motives were only traditionally or prefcriptively retained in fome remote diftriats. Crofiers enclofing a lamb with a crofs in the volute, menaced by a dragon, were a favourite type, particularly in the rath, 13th and 14th centuries. As a myftical emblem of the conteft of our Saviour with the evil one, this defign is too obvious to require further elucidation. A com- plete chapter, however, on this type, by Pére Martin, illuftrated with engravings of other examples, will be found in “ Mélanges d’Archéologie,” vol. iv. p. 198. TBs EAD of a Crofier in gilt metal. French or Flemith work, 15th century. Entire height 131 inches, width acrofs the crook 6 inches. The knop or head is o€tagonal in fhape, each face enriched with a funk niche furmounted with a crocketed ogee canopy and containing a ftatuette of a faint, the angles are fanked with minute buttrefles, termi- nating in detached pinnacles. The crook or volute which rifes above has boldly chifelled crockets projecting from the outer margin ; the extremity * A fine example was (October, 1860) in the poffeffion of the dealer Kuhn of Geneva, obtained by him in the North of Italy ; and at prefent two other crofier heads of the fame {chool are on fale by M. Delange of Paris. 16 Objeéts of ramifying into two branches, both of which terminate in elegant recurved {croll foliage. Each fide of the crook is decorated with {mall detached flowers or “ fprigs,” repeated at regular intervals. The focket or por- tion below the knop is wanting. ae =¥ROSIER with ftaff complete in gilt metal, Flemifh, circa 1520. Length 6 feet g inches, width acrofs vo- lute 64 inches. It is not eafy to give an adequate idea by a mere defcription of this elaborately decorated crofier ; an engraving of it, however, will be found in the “ Mélanges Archéologiques,” vol. iv. p. 253, and alfo in “ Du- fommerard, Album,” &c. férie 10, pl. 27. The knop, as in moft of the renaiffance crofiers, forms an octagonal tabernacle, in lieu of the fimple ball of the earlier fpecimens ; this is decorated with circular niches or arcades enclofing {mall figures of faints, the angles flanked by terminal caryatides and other motives of renaiflance defign. The volute is beautifully enriched with acanthus foliage, arranged, neverthelefs, in the ancient method, as recurved crockets; and in the centre of the volute is a group of St. Hubert as a bifhop, with the miraculous ftag, with the crucifix betwixt its horns, couchant near him, The ftaff itfelf is encafed in metal, and is embofled with a variety of “ tranfitional Gothic” pat- terns of flutings, zigzags, diapers, 8c. Le Pére Martin obferves, in reference to the prefent work (‘* Mélanges, &c.” p. 153):— “Mais 3 mefure que la renaiflance Grecque et Romaine pourfuit fon ceuvre, “ Dingénuité du fentiment chrétien s’affaiblit dans beaucoup d’écoles avec amour des « yieilles traditions. De beaux talents facrifient tout au gotit de la forme et femblent “ avoir pris pour devife celle de V'art pour Vart. Ainfi que Varchiteéture, Vorfévrerie « {e pare de bijoux charmants, mais ou la coquetterie et le caprice font plus confultés « que la raifon et les convenances. Voyez la belle croffe en ftyle de Frangois 1% <‘ appartenant a M. le Prince Soltikof (fig. 149). Que peut-on voir de plus élégant, “ de compofé avec plus d’efprit, d’executé avec plus de finefle? Malheureufement < nous fommes ici par trop loin de la gravité des vieux fiécles. Que veulent done dire « ces fatyres au rire rabelaifien? Et ces tétes de bélier, débris de quelque facrifice aux « divinités de ’Olympe? Et cette victoire ailée qui vient foutenir fur la pointe de fa « queue de ferpent l’écu paftoral? Je ne parle pas des grenades entre ouvertes qui « peuvent avoir en leur fignification populaire a une époque rapprochée de la conquéte « de Grenade et dans les mains aujourd’hui inconnues du premier deftinataire. En « fuivant ce dernier ordre didées on fera peut-étre conduit a voir dans la coquille le “« fymbole d’un lieu de pélerinage, tel par exemple que |’Abbaye de Saint-Hubert. « Saint-Hubert et fon cerf figurent en effet dans I’ceil de la volute. Je ferai remarquer “ Je velum attaché a la douille.”” ' Ecclefaftical Ufe. 17 Formerly in the colle&tion of Prince Soltikoff, (purchafed at the fale in Paris, 1861,) and previoufly in that of M. Montfort. It is ftated in Dufommerard to have been originally brought from the abbey of St. Hubert in Brabant. ras 4ELIQUARY in rock cryftal, mounted in filver gilt, j French or German? “Gothic,” circa 1400. Height 12% inches, diameter of cup 3? inches. The reliquary confifts of a cylindrical twelve-fided cup in cryftal, with a dome-fhaped cover of the fame material ; this is mounted ona tall ftem, which has a wide bafe and a knop in the centre, alfo of cryftal. The mounts are formed by bands of openwork quatrefoils, enclofed betwixt flender moulded filets. From the fummit of the cover rifes a fhort quad- rangular conical turret or fpire, terminated by a chafed finial. 16. ~URRET-SHAPED (Chrifmatory) in filver gilt. Ger- man ‘‘ Gothic,” circa 1340. Height 74 inches. ri} A flender o€tagonal turret furmounted by a low conical {pire, fupported on a fhort moulded ftem, which expands again to a wide bafe, are the main features of this beautiful little utenfil. It is ftri€tly architectural in defign, and might literally ferve as a model for a ftone turret or pro- jecting tourelle; at each angle of the o€tagon isa flender diagonal buttrefs, rifing from the bafe to the battlemented cornice and finifhing imme- diately under it with a pinnacle. ‘The turret is divided into two unequal {tages by a dripped ftring-courfe, marking the divifion of the moveable cover, which flides on to the lower part like the lid of a pen-cafe. The panels or wall-fpaces are filled in with fimulated Gothic windows with mullions and tracery. In the lower portion, which is three times the length of the upper one, the window is divided in two by a crofs tranfom; the windows in both divifions are furmounted by elegant tri- angular crocketed canopies. Affixed on two oppofite fides in the upper D 18 Objeéts of part are circular tubes, in the femblance of projecting turrets, crowned with cornice and battlements ; thefe are intended to hold cords, which, when pafled through them, ferved to fufpend or carry the flafk. The facramental oils, three in number, were generally kept in fmall feparate phials, placed within a filver vafe, in three divifions. Several of thefe chrifmatories are extant; they ufually form a clufter of three fimu- lated turrets. (See {fpecimen in the South Kenfington Mufeum, No. 7243.) The ufe of the prefent flafk, however, moft likely was to contain one of the phials, perhaps that of the oleum infirmorum for extreme unction, efpecially when carried out for ufe by the prieft. It was purchafed in Paris at the fale of M. Préaux, January, 1850, and is engraved in ‘ Choice Examples of Art Workmanthip, &c.” 1851. 7 and 29), # AIR of Sacramental Cruets (“ dureties”) in filver, parcel gilt. Flemifh or German, firft half of the 15th century. Height 9% inches. Thefe beautiful cruets are of fomewhat larger fize than ufual ; they are octagonal in fhape, mounted on tall chalice-like ftems, with knops in the centres ftudded with lozenge-fhaped projecting bofles. ‘The body of the cruets, the bafe and ogee dome-fhaped hinged covers, are ornamented with highly-wrought mouldings, and the covers are furmounted with chafed finials. On the wide-fpread bafe of each cruet is a circular appliqué medallion, grounded in red and blue enamels, bearing refpectively the letters A and V, (Aqua et Vinum.) IQ. CTAGONAL fpire-fhaped Py« or Reliquary in filver gilt. Flemifh work, circa1480. Height 154 inches. In its general features this beautiful fpecimen of ecclefiaftical metal work confifts of an octagonal box, fupported on a tall ftem with a knop in the centre, and furmounted with a fpire or canopy in feveral heights or divifions, richly adorned with detached pinnacles, gargoyles, crockets, Ecclefiaftical Use. 19 finials, &c. ‘The principal panels of the box or body contain fmall ftanding ftatuettes of faints under ogee-fhaped canopies. Purchafed at Liege. 20. APIRE-SHAPED Mon/trance or Pyx in filver gilt. j Flemifh or German work, circa 1400-50. Height # 16% inches. The receptacle or body is formed by a cylindrical cryftal tube or barrel, elevated on a tall octagonal ftem and furmounted by a crocketed {pire, the beautiful crowning finial of which ferves as a pedeftal to a {mall ftatuette of a faint. The general ftyle of the pure and beautiful “* Gothic” architeCtural motives of this piece feems to denote the neigh- bourhood of Cologne as the place of its origin. 21. GAARGE hexagonal fpire-fhaped Tabernacle or Pyx. Height 22 inches, diameter at wideft part 6 inches. This effective piece is of three diftin@ periods, having evidently been reconftructed from the remains of two other pyxes or monftrances, during the 17th or early part of the laft century. The bafe, ftem, and knop are in copper-gilt, enriched with tranflucent enamel plaques on filver, and on the bafe is an applied fhield bearing the pellets of the Medici family ; this portion was the lower part of a fine Florentine ciborio of the middle of the 15th century. The upper part of the tabernacle, which is in three heights or ftages, is again of two different epochs and {chools; the one Flemifh or French, circa 1490, the other a debafed Gothic ftyle of the 17th? century. The Flemith portion confifts of a feries of little openwork filver-gilt niches or tabernacles, containing fta- tuettes of eleven of the Apoftles and a group of the crucifixion; thefe are arranged as panels in two heights, and are encafed in a framing (of the later period) of elaborate fhrine-work in filver, and in the upper divi- fion, the body or drum of that portion of the tabernacle is of the old Flemith work, and forms a hexagon ornamented with ogee canopies fup- 20 Objects of ported by fmal! circular angle columns, each canopy furmounting a fmall ftatuette of a faint. This portion is finally furmounted by a crocketed {pire of the recent period. An engraving on wood of this tabernacle will be found in “ Choice Examples of Art Workmanfhip, &c.” Dy hig PIRE-SHAPED Tabernacle in filver, parcel gilt. Ger- man Gothic work, circa 1350. Height 10% inches. This exquifite fpecimen of ‘‘ Gothic” metal work was probably in- tended fimply as an aid for private devotion. It confifts of a kind of lantern or tabernacle of quadrangular fhape, the fides open, furmounted by a crocketed {pire, which is finithed by a crucifix ; this tabernacle is fupported on a tall flender oftagonal {tem with a wide-{preading bafe and knop of the ufual pattern with projecting lozenge-fhaped boffes, each of the open fides or panels is furmounted by a triangular crocketed canopy, and the angles are flanked by diagonal buttrefles terminating in pinnacles ; within the taber- nacle is a {mall ftatuette of the Virgin with the infant Saviour. Nothing can furpafs the admirable purity of ftyle and delicacy of execution of this beautiful obje&t, which was doubtlefs made at Cologne, where, alfo, it was purchafed from the reprefentatives of the late Pierre Leven, of whofe well-known colleétion it had long been a notable ornament. dis, oor 4ELIQUARY in rock cryftal, mounted in. metal gilt. | Flemifh or French? 15th century. Height 6% inches, e4 length 34 inches. A quaint and original example, on a fiall fcale, of a favourite type of reliquary, viz. that of a cylindrical tube or barrel of rock cryftal placed horizontally, each end encafed in metal fhrine and pinnacle work and fupported on four legs, which in this example are elegantly curved and gathered together by a knop fo as to forma central pillar or ftalk, feparated again below the knop and forming the ftand. li Ecckfiaftical Ue. 21 DA. @ELIQUARY in the form of a fandalled foot, in filver j gilt, fet with jewels, &c. Swifs work, dated 1470. fol Length 91 inches, height 54 inches. The foot is in filver, well and minutely modelled in beaten work, the toes executed with fingular truth in the naturaliftic ftyle of Martin Schéngauer, or the artifts of the Van Eyck fchool; the fandal forms a covering for the greater part of the foot, leaving the toes only expofed ; it is diapered all over with fmall gilded applied rofettes in relief, and bound round by feveral ftraps, which are profufely fet with large jewels and glafs paftes. In front, on the inftep, is a raifed circular medallion, containing a pane of glafs, intended for the infpeétion of the relic formerly contained within; and above it is a large rofette in high relief of elegant foliage in gold fet with pearls. On each fide of the ankle alfo, the fandal is decorated with a large circular applied medallion, formed by a beau- tiful tranflucent cloifonné enamel of green, red, and white tints and gold filets, arranged in a floriated pattern, furrounded by zones of filagree work, and thickly fet with feed pearls. Around the top, where the ankle is cut, the margin is furrounded by a band of jewels, crefted with a raifed openwork crown of ftrawberry leaves; this enclofes a circular medallion carving (placed horizontally on the fummit), reprefenting, in an excellent Gothic ftyle, the Prefentation in the Temple. Accefs to the interior of the foot is obtained in the fole of the fandal by a hinged door, which is ornamented on both fides by infcriptions varied with fcroll ornaments, engraved or chifelled in low relief in large church-text characters. On the exterior the infcription is as follows :—‘‘ In. tegmen. pes de innocen- “ tibus Sanétus Columbanus dedit ;” and infide: ‘* Ofvaldus fecit hoc “* opus de voluntate dei 1470 iar.” This celebrated reliquary was formerly in the treafury of the cathe- dral of Bafle, and was obtained from a jeweller and antiquary in that city, who purchafed it at the fale of the church property in 1834. This perfon is faid to have taken out the moft coftly of the ancient jewels, which he refold to the chapter of the cathedral, and replaced them with the prefent ones. In the fixteenth century, at the period of the Reformation, the treafures of the cathedral of Bafle were fequeftrated by the city authorities, and never afterwards reftored to the church; but from time to time deputations from the government or municipality a Objeéts of were formally direéted to make inventories of the various objects, pro- bably with the intention of converting them into fpecie in any moment of penury. ‘At length, in 1826, this treafure was conveyed, for “‘ sreater fecurity, to the Hotel de Ville, as the provifional ftage towards << its becoming public property, as was the cafe after the revolution of July, ‘© 1830, the influence of which was ftrongly felt in Switzerland. “ The canton of Bafle became divided, and the people of the country, ‘“‘ having feparated from the city, demanded their fhare of the Church “¢ property, and obtained two-thirds of its treafures, which, on the 23rd ‘“‘ May, 1834, were put up for fale to the higheft bidder by a government “in the greateft financial diftrefs, and which had no refpeét for hiftory or “Cart.” See preface to a Catalogue of {pecimens of Art, (including the cele- brated gold altar frontal of the Emperor Henri I. now in the Mufeum of the Hotel de Cluny in Paris,) from the treafury of Bafle, exhibited in London by Col. Theubert in 1842. As indicated by the infcriptions, this reliquary was made to contain a foot of one of the Innocents, given to the church by St. Columban, and was the work of one Ofwald, not improbably an artificer of the city of Bafle. St. Columban was one of the earlieft promoters of Chriftianity in Helvetia; he was an Irifhman, born in the province of Leinfter towards the middle of the fixth century, and died at the famous monaftery of Bobbio in Lombardy, which he founded, on the 21ft November, 615. M. Didron, ‘‘ Manuel d’Or- févrerie du Moyen-Age,” p. 27, gives a woodcut of a reliquary now in the Mufée de Cluny, made to contain the foot of the abbot St. Alard. He obferves that—‘ Les reliquaires en forme de pied font aflez rares “© aujourd’hui; je ne me rappelle pas en avoir vu dans les églifes que je “ connais en France: quant aux reliquaires en bras et en main, ils font “ plus nombreux.” There can be no doubt but that the prefent is by far the richeft and moft beautiful fpecimen of this type of reliquary now extant. It is well engraved in Shaw’s ‘ Decorative Arts of the Middle Ages,” &c. 25. =8Y LINDRICAL Pyx-box for the confervation of the facred wafer, in ivory, mounted in gilt metal. French or German “‘ Gothic” work, 15th century. Diameter 3% inches, entire height 34 inches. Ecclefaftical Uje. caer The lower rim of the box and the margin of the hinged cover are formed by gilt metal mouldings, thofe of the cover furmounted by a low bat- tlement ; three winged angels in metal, in kneeling pofitions, form the feet or fupports of the box; whilft in the centre of the lid is placed a {mall ftatuette of Chrift, with a banner in his hand, rifing from the fepulchre. The drum or body of the box is a plain cylinder of turned ivory. 26. yay, Y LINDRICAL Pyx in filver, parcel gilt, German work, ¢ dated 1493. Diameter 23 inches, extreme height 24 inches. This is a plain cylindrical box, with a hinged cover beaten up to a low point or {pire, and furmounted by a round gilt ball; the cover is clofed by a hafp and a hook-and-eye. On one fide of the lid is a thield of arms of a characteriftic German fhape, the charge a fox paflant ; around it, deeply engraved on the lid, is a taftefully difpofed label {croll, with the following infcription in black letter, “haus Fuchs ritter, 1493.” ‘This fimple yet very original and elegant pyx was evidently that of the chapel of a German knightly family of the familiar name of ‘ Fuchs” (Fox). 271, ILVER “Chafe” or Shrine Reliquary, German “Gothic” work, circa 1480. Length g inches, width 42 inches, # extreme height to top of pinnacle 64 inches. The general fhape is that of an oblong box furmounted by a ridged roof or cover; at each angle is a femi-detached diagonal buttrefs, termi- nating in a tall crocketed pinnacle. ‘The cornice or moulding at the top of the box, the ridge and each angle of the roof, are enriched with open- work ftrawberry-leaf crefting ; and each end of the ridge is terminated by a demi-angel with outftretched or uplifted wings. The fides of the chaffe are filled in with niches or panels, formed by attached fhafts fupporting ogee cufped and crocketed canopies, under which, in the centre of each compartment, are {mall ftatuettes of the Apoftles, the Virgin and our 24 Objects of Saviour, in high relief. The floping fides of the roof are engraved with Gothic foliated f{crolls, enclofing emblems of the Evangelifts, in the admirable ftyle of Martin Schén or Ifrael Van Mecken. 205 SHILVER gilt Sacramental Chalice, German, dated 1575. Height 94 inches, diameter of bowl 4% inches. This magnificent chalice is unufually large and maffive; the bafe, which is of trefoil fhape, the ftem, knop, and the lower part of the bowl, are all formed by interlaced vine-branches covered with foliage and clufters of grapes, executed in the moft fpirited and truthful ftyle. Underneath the bafe is the following infcription :—“ Im . 1575. iar . “ich. urfula. frau. V. Prufkaw . geborne . Lobkowicz . auf. Altenburg. “ difen. Kelch . zur. ehr . Gottes. und meyner . gedechtnus . machen . “laffen. (In the year 1575, 1, dame Urfula Von Prufkaw, (born Von “¢ Lobkowicz) of Altenburg, caufed this cup to be made to the honor of “¢ God and my own memory.”?) ‘The family names here mentioned, and the locality Altenburg, point to South Germany, probably Bohemia or Auftria, as the locality in which this chalice was produced. Purchafed at the fale of the Soltikoff colleétion. 2Q- ALICE, Siennefe work. Firft half of 15th century. Height 7% inches. The foot, knop, and lower part of the bowl are richly decorated with applied tranflucent enamels on filver. On the foot are fix hexafoil panels, five of which contain half-figures of faints, and the fixth our Saviour on the crofs, furrounded by the emblems of the paffion ; the foot is likewife ornamented with twelve fmaller angular plaques, enamelled with cherubim and foliated ornaments; round the bofs are fix other hexafoils containing half-figures of faints, and at the bottom of the bowl fix circular panels alfo containing half-figures of faints. Ona narrow band betwixt the mouldings, above the foot, is infcribed the maker’s fig- Ecclefiaftical Ue. 25 nature as follows: ‘ Andrea Petruci de Senis me fece.”” ‘The procefs of enamelling here illuftrated, though carried out by all the medieval gold{miths, was more efpecially developed by the admirable artift-gold- {miths of Italy, efpecially thofe of Florence and Siena. It is literally the covering of a bas-relief filver chafing with a coating of vitrifiable tran{pa- rent enamels of the varied colours required by the work. 20. BORSE or Brooch for a cope, applied tranflucent enamel on filver, in fetting or framework of gilt bronze. Florentine or Siennefe work, circa1420. Diameter 53 inches. The defign or general arrangement of this admirable work is as follows. The framework confifts of a circle or medallion forming the central or main compartment, and around are arranged fix femicircles or lunettes, which again in the angles are filled in with triangular points; the entire figure is a fpecies of rofette forming in all thirteen feveral compartments, each of which enclofes a tranflucent enamel on filver. Around the margin of the circular central medallion are fet, at regular intervals, fix facet-cut pafte jewels in raifed fettings; thefe, however, are modern, and have replaced the ancient cabochons, which were probably precious ftones. The fubject in the principal medallion reprefents the birth or nativity of St. John the Baptift, a beautiful compofition of five female figures and the fwathed infant, in an interior of the period of the enamel. The fix mar- ginal lunette-fhaped compartments contain half-figures refpeCtively of the Eternal Father, the Magdalen(?), St. Michael the Archangel, St. Margaret, St. Paul, and a fainted bifhop, probably St. Zenobio? The fmall angular plaques in the projecting points contain each a portion of an infcription, which in its entirety is as follows: ‘¢ Beati Johis Batifta Nativitas.” A beautiful coloured engraving and a notice of this object will be found in Shaw’s ‘‘ Decorative Arts of the Middle Ages,” &c. London, 1851. Objects of euNe FORSE or Brooch to a cope. Italian work of the firft half of the 15th century. Diameter 42 inches. This beautiful morfe confifts of a circular plate of filver gilt, within which is a panel or compartment formed by a quatrefoil combined witha {quare, a well-known medizval geometrical figure, which interpofes a triangular point betwixt each lobe of the quatrefoil; each of the fmall {pandrils betwixt this figure and the circular margin is filled in with a per- forated trefoil. In the centre of the quatrefoil is a raifed circular medallion, containing a half-figure of our Saviour holding a book in one hand and with the other raifed in the a& of benediétion, executed in tranflucent enamel on filver. This medallion is bordered with a margin of cut and perforated leaf-work, in which are alfo fet four fmall pafte cabochon jewels. Four fmaller circular medallions, containing the emblems of the four evangelifts, alfo in tranflucent enamel, occupy the lobes of the quatrefoil, whilft each of the triangular points is filled in with a lozenge-fhaped pafte jewel in raifed fetting. See coloured engraving and notice in Shaw’s “* Decorative Arts of the Middle Ages.” 22. o ORSE or Clafp fora cope, in filver gilt. Flemifh work, circa 1490. Diameter 6% inches. This fpecimen is hexafoil-fhaped, reduced to a trefoil by a fyftem of interfecting mouldings. The centre is filled in by a group in entire relief ; the Virgin and Child, feated on a throne furmounted by a rich Gothic fhrine or canopy entirely detached from the ground, are adored by a prieft or bifhop, who kneels before them ; behind him is a lion couchant, and on each fide a ftanding figure of a faint (probably St. Peter and St. Paul). On various portions are fet three large pearls, a large balas ruby cabochon, and two rough emerald cabochons. “he outer border is adorned with beautiful applied rofettes and branches of Gothic foliage. ’ Ecclefiaftical Ufe. 27 38e OAT-SHAPED Incenfe Veffel (“ Navette,” Fr.) in gilt copper. Italian work, circa 1460. Length 10 inches, extreme height 44 inches. The triangular compartments formed by the lids are each beautifully engraved, one with a half-figure of St. Catherine within a cufped ogee- fhaped quatrefoil, and the other that of a bifhop with a nimbus. The ground {pace around the quatrefoils is engraved with foliage, and at each extremity of the veffel, perched on the apex or prow, is a {mall figure of a winged dragon, one of which ferves as a handle to open the moveable lid. A moft beautiful fpecimen, probably of North Italian work. The ufe of this veffel was to contain the incenfe burnt during the fervice of the altar ; the ancient {poon with which the incenfe was put into the thurible is preferved with the prefent fpecimen. 34. ej LATUETTE of a Bifhop in filver, parcel gilt, exe- cuted en repouffé and elaborately chafed. Date about “ 1560. Height 64 inches. He is holding in one hand a book and in the other his crofier; the cope, mitre, &c. are elaborately diapered and otherwife ornamented at the back; the hood of the cope is chafed with figures of St. Peter and St. Paul. It is difficult to decide on the {chool or country to which this admir- able fpecimen of the goldfmith’s art fhould be referred. In fome details a refemblance to Flemifh motives of ornamentation may be difcovered, whilft in other refpects an Italian bias is perceptible. It is not improbable, however, though there is nothing to pofitively warrant the fuppofition, that it is really of Spanifh origin, reminifcences or partial imitations of both Italian and Flemifh defign being not unfrequently traceable in Spanith 16th century art. Objeéts of Ecclefiaftical Use. 35+ SW AIR of mounted Straps or Clafps from the binding of a q manufcript. French Gothic work, firft half of the 15th century. The ftraps are in thick crimfon filk ribbon lace, ornamented with a diapered pattern in gold, they are mounted at the two ends in filver, parcel gilt. At the hinged ends, formerly attached to the cover of the book, the ornamentation confifts of chafed leaf-{croll foliage and per- forated tracery work; but the other end, forming the tongue, is in each, delicately chifelled in high relief, with a Gothic niche or compartment of canopy work, with a minute ftatuette under it left ungilded. One of thefe ftatuettes is that of the Virgin, and the other the announcing Angel holding a fcroll. Thefe clafps were, until a fhort time before their prefent pofleflor obtained them, attached to a fplendid manufcript, which was unfortunately broken up, for the fake of the illuminations, by the dealer into whofe hands it had fallen. Section II. Varwus Decorative Objects of Secular Origin, chiefly Works in Metal. 44. 34, OF FER, Lock, and Key in chifelled iron. French flamboyant Gothic, circa 1480. Height 1o inches, width 72 inches. This fine fpecimen of Gothic metal work was in all probability a piece de maitrife, or {pecimen work, of a mafter lock{mith. In the centre divifion a projecting canopy decorated with openwork tracery, flying buttreffes, and numerous fmall pinnacles, furmounts a rood or group of the crucifixion, beneath which is a fmall ftatuette of a fainted pilgrim, pro- bably St. James. The flat furface of the lock is broken by four boldly projecting buttrefles crowned by pinnacles, and the outer fpaces are filled with panels of the moft elaborate flamboyant perforated tracery of varied patterns. ‘The key is decorated with openwork tracery in the ftyle of the lock, and is a genuine 15th century example of a type reproduced with little variation by the French lockfmiths down to the 18th century even. Both lock and key are beautifully engraved on wood in “ Choice Examples of Art Workmanhhip,” &c. 45. PAIR of Fire Dogs in brafs or /atten. Flemith tranfitional Gothic work, circa 1500-20, Height of each 3 feet 3 inches. Thefe utenfils were probably manufaétured in fome one of the great } 4 j { j } Various Objects Ww @) Flemifh cities, Bruges, Ghent, or Antwerp. The maffive upright ftems are balufter-fhaped, elaborately moulded and decorated with leaf-work, funk flutings, arabefques, &c.; they reft on claw-feet invefted with acanthus foliage of femi-Gothic character, and the fpaces between the two feet are filled in with Gothic cufps ending in ftrawberry-leaf ornaments. The upright ftems are each furmounted by an eagle in full relief; they are of careful and highly-finifhed execution, and efpecially interefting from their characteriftic tranfitional ftyle. 46, ¥ARGE Knife with broad fpatula-fhaped blade, probably 3 the ferving knife of an “‘ecuyer tranchant.” German " work, circa 1480. Entire length of the knife 164 inches. The mafs of the hilt is of ivory, but it is bound round with a frame- work or fileting of engraved brafs; at the fummit or pommel is a fmall figure in full relief of a couchant lion; on each fide, the hilt is divided into two fmall panels by a tranfverfe band of brafs, in the centre of which is engraved a heart. The upper compartment of one fide is filled in with a ftanding figure of apparently a middle-aged man in coftume of the 15th century, holding in his right hand a flewr-de-lys, and with the other grafping the hilt of his fword; the correfponding figure on the oppofite fide is a lady alfo apparently of middle age, in like manner holding a feur- de-lys ; the lower panel on the fame fide contains a nude female figure, probably Venus, holding up a rofe, and on the oppofite fide to correfpond, a ftanding figure of a young man dreffed in a tabard and holding up his hand; the brafs fileting is engraved with fcroll-work, and the narrow fide of the hilt has a running foliated ribbon fcroll in carved ivory. 47. 2EERVING-KNIFE of fimilar fhape to the preceding. German work, circa 1570. Length 153 inches. The hilt is in maffive gilt copper, exquifitely chifelled with ftrap-work of Secular Origin. 31 ornament, terminal figures, cornucopia, &c. and inlaid on each fide with two fmall panels of minute chequered mofaic of ivory and dark-coloured wood. 48. AP #Y LINDRICAL rock-cryftal Beaker, mounted in filver gilt. German work, 14th century. Height 84 inches, = diameter at cover 32 inches. The cryftal goblet is polygonal, z.e. cut into twelve vertical facets, and near the top is a projecting torus, or bead moulding, cut from the mafs of the cryftal. The filver mounting of the bafe, margin of the beaker, and the cover, all follow the fhape of the cryftal ; and the hinged cover forms an ogee-fhaped dome, the point furmounted by a ball. The vafe is fupported on three flender animals’ legs or paws, and three narrow vertical ftraps in filver connect the mountings of the bafe with thofe of the upper part and cover. Around the bafe is a band or fa/cia enriched with champlevé tranflucent enamels, green and blue in the alternate facets, forming the background of an infcription in bold Gothic characters and in an old German dialect, which is continued all round, and reads as follows :— “WER. HIER. US. DRINCGET . WIN + DER . MUEZZE . IEMER . SELIG . STN which tranflated as a fimilar diftich may be— « Whofo drinks wine in me + Shall ever happy be.” In the infide of the cover, at the top, is a hook, evidently fixed there in order to fufpend fome objeét within the cryftal cylinder. It is difficult to determine the ufe of this cup; it is ill adapted for a drinking veffel, whilft the mundane charaéter of the diftich, and the abfence of devotional infignia, feem to preclude the idea that it was intended as a reliquary, for which its general fhape and defign would otherwife feem to have adapted it. aig 5) CS Various Objeéts | 49. ) emg OCK-CRYSTAL Cup and Cover, mounted in filver 19 es gilt. German or Swifs work, 15th century. Height “e2~4 6 inches, diameter of cup 34 inches. As in the previous inftance, it is not eafy to decide whether the original deftination of this beautiful cup was for fecular purpofes or to ferve as a reliquary. It is fimilar in form to the well-known covered mazer-bowls of turned maple-wood. ‘The cryftal bowl is of globular fhape, cut polygonally into flat vertical ftripes or facets, and has a {mall handle projecting at right angles from one fide, cut from the mafs of the cryftal. The cover, likewife in cryftal, is hemifpherical, and cut like the bowl. The cover and handle are mounted in filver gilt, the fimple ornamentation confifting chiefly of Gothic mouldings. The foot is entirely in filver gilt; it is hexagonal in fhape, fpreading out in the ufual manner, and the bottom edge is furrounded by a low raifed gallery or band of open quatrefoils. On the top of the cover is a difk-fhaped knop in filver gilt, the flat fummit of which is inlaid, with a medallion bearing two fhields of arms, in tranflucent enamel, with blazon as follows :—dexter fhield, azure, three torteaux or, a chief argent; finifter fhield, quarterly, 1ft and 4th, party per fefs, fable and argent, two {words croffed gules ; 2nd and 3rd, Vair, three, two, and one—and the infcription, ‘“‘ 2vFABVB.”” This medallion has doubtlefs replaced the original one at a period indi- cated by an infcription engraved underneath the foot of the vafe, which 4] fays, ‘‘renovatum anno 1618.” ‘ 50. /g-“¥{CEPTRE or Baton in rock cryftal, mounted in filver gilt, enamelled and fet with pearls, circa 1500-40. “ Entire length 10% inches, diameter of cryftal fhaft at bottom 14+, ditto at top 52. it | 16? yi This remarkable and unique obje€t confifts of an octagonal fhaft or Vf rod of rock cryftal, flightly diminifhing or tapering towards the upper ex- a tremity, capped at each end with an elegant tranfitional ‘* Gothic” } H mounting ; thefe cappings are nearly identical in defign, each being in the =e __._)n,.,, EEE of Secular Origin. Bm form of a turret; the loweft member of the mount is a moulded ftring fet with large feed pearls projeéting in their full relief, above this is a plain necking, and then a feries of delicately wrought mouldings forming a fpecies of cornice, which in turn fupports an openwork gallery, flanked at each angle by a {mall femi-detached balufter-fhaped pinnacle. “The projecting gallery has a floped or bevelled roof, on each face of which is fet a large feed pearl, above this again is another perforated gallery of dimi- nifhed diameter, with a cornice furmounted by a delicately wrought battle- ment, from which rifes a conical or pyramidal roof, the eight faces of which are encrufted with tranflucent enamels alternately blue and green. On the fummit is another collar or necking with fix fmall feed pearls, and finally a ball finial enamelled, with a filver ring attached for fufpenfion. The lower or larger extremity correfponds in every refpect, except that the roof or capping is curved or dome-fhaped inftead of pyramidal. This obje&t may poftibly be of Englith origin ; it was evidently a ftaff or baton of office. It was acquired at the fale of the Strawberry Hill Collection, (lot 73, fifteenth day’s fale,) when it was defcribed as follows :—‘“‘ An exceedingly beautiful cryftal {ceptre, richly fet in gold with pearls and enamelled. A very curious and interefting relic from lady Elizabeth Germaine’s Col- leétion, and prefented to Horace Walpole by his niece Lady Temple.” Loe POON, in filver gilt with ftem in rock cryftal, circa 1500. Length 84 inches. The refemblance of this beautiful object to the cryftal fceptre renders it probable that both are works of the fame excellent artift. The fhaft is formed by a precifely fimilar o€tagonal rod of rock cryftal, the end terminating by a capping in filver gilt, with projecting architeCtural mouldings and a conical roof, which in this inftance is finifhed by an elegant chifelled Gothic finial. At the lower extremity of the cryftal fhaft is another capping of the fame defign, on which is perched a grotefque figure of a dragon holding the bowl of the fpoon in its mouth, its long tail extending downwards on to the cryftal fhaft. On the under fide of the bow] is a hall mark, or maker’s cipher, but unfortunately it has been too much defaced to admit of being deciphered. F q i | | i I 34 Various Objects a2. EDALLION for fufpenfion to a fearf or ribbon. F lemifh work, dated 1526. Diameter 34 inches. This beautiful obje& is a circular filver plate or medal, engraved with the burin on both fides, with fubjeCts from the hiftory of Efther. Thefe compofitions, which are extremely minute in execution and crowded with figures, ornamental architecture, and decorative acceflories, are en- graved in the ftyle of Lucas van Leyden. On two cartouches, pendent from columns in one of the compofitions, is the date 1526, and the monogram of the artift Sp. The plate is fixed in a beautiful frame or border of openwork arabefque ornaments in filver gilt, fet round the margin with five {mall circular cor- nelians; there is alfo a loop for fufpenfion. Nothing can exceed the admirable tafte of thefe ornaments, which recall the ftyle of the defigns for goldfmith’s work of Holbein. Dr. C. K. Nagler, “ Monogrammiften,” vol. ii. page 409, gives the monogram of the artift, copied from this identical medallion, which appears to be the only known work of the mafter extant. The fubftance of his remarks, condenfed from the original in German, is as follows :— “‘ Monogram of an unknown goldfmith who worked in Holland in 1526 (or 1556). “It is on a round filver plate, engraved on both fides, which appears to have been “ prepared for filling up with niello.* In 1837 this plate came from the collection of “‘ Count Cicognara, and perhaps previoufly from Vienna, as the art dealer there, S. ‘¢ Barmann, put in circulation impreffions from it. On the obverfe is Efther kneeling “ before Ahafuerus, . . . a greyhound is between them, and Haman with a courtier is “behind. A palace is feen in perfpestive through a portico ; on the pillars fupporting “ the canopy hang two tablets, one with the initials, the other with the date. “© The other fide of the medallion exhibits Efther with Mordecai at the royal “« banquet, the cupbearer prefenting a goblet. In the foreground a dog overcomes a “ wolf, to the left Haman kneels before Efther, and in the background the traitor is “ hanged; both thefe compofitions recall in ftyle and treatment Lucas van Leyden, and “ fuggeft a Dutch mafter. In any cafe Holland or Germany, rather than Italy, is “ indicated by the ftyle. “© Whether any contemporary impreffions on paper exift is uncertain, though it “ appears to be the cafe. “© Paffavant, to whom we owe the monogram, faw in the Paris Mufeum two im- « preflions, which perhaps belong to an earlier time. % Nagler’s cut of the monogram is evidently copied from a hafty and carelefs tran- {cript; the date, which in the original is plainly given 1526, being blundered and confufed by the tranfcriber. The lines of the engraving were never intended to be filled with niello, being far too minute and delicate for this {pecies of work. of Secular Origin. 25 “ Alfo Count Cicognara poffeffed two excellent impreffions on old paper, and they ** do not appear to have left him, as there is no trace of them in his auétion. “ The plates were, however, printed from after 1837. Copies are rare.” Some impreffions have been taken from this interefting plate fince it has been in the poffeffion of the prefent owner. 53: 4URNED wooden “ mazer” Cup or Bow! mounted with a wide-fplayed lip or margin in filver gilt; 15th century. Diameter 6 inches, height 24 inches. In the infide, in the cup, is a raifed medallion of filver gilt containing a figure of St. Margaret holding a crofs and a book, and trampling the dragon beneath her feet; the figure is flanked by two trees. The outline is engraved, and the champlevé background is filled in with green tranf- lucent enamel ; 15th century. 54. ALLVER gilt Bowl or Drinking-cup. Swifs Gothic work, dated 1453. Diameter 64 inches, height 13 inches. An infcription under the foot of this quaint and interefting Gothic cup runs as follows: ‘‘ Herman Hirtz ellabt zum Uhri ano 1453.” It is evident, however, that it was engraved on the cup at a more recent period than is here indicated, as the characters are of the 16th or r7th century ; but the ftyle of the piece agrees in every refpect with that of the period ftated, and there is no reafon to doubt the genuinenefs of the infcription, which apparently records the name of the donor and date of the gift of this cup to fome guild or corporation of the Canton of Uri. The fhape is that of a fhallow bowl or patera, it is ornamented on the inner furface en repouffé in low relief, with large conventionalized rofes, with heart-fhaped leaves and fmall berries in the interfpaces. In the centre of the bowl is a raifed medallion furrounded with a battlemented gallery, with a ftatuette of a ftag couchanty with a crofs betwixt its horns, (the ftag of St. Hubert,) in full reliefpofed upon it. On one fide of the bowl, projecting from the margin at right angles, is affixed a trefoil- fhaped handle adorned with elegant openwork Gothic foliage. Various Objects Hes BL ATUETTE of a Stag in filver gilt, ftanding on an oval moulded bafe or pedeftal fet with facet-cut jewels. * Extreme height to the tips of the horns 1 foot g inches, ee of bafe 113. inches, width of bafe 7% inches. Round the neck of the animal is a collar decorated with rofettes, ftrapwork, &c., from which in front hangs by achain an oval plaque with the arms of the Archduke Ferdinand? brother of Charles V.? and King of Hungary. The head is loofe and may have been intended to ferve as a {pecies of drinking-cup in the fame manner as the antique rhytons, whilft the body of the ftag formed an ewer or wine flagon; the whole is executed en repouffé or hammered work, and muft have neceflitated the moft fkilful foldering. This quaint {pecimen of ancient plate was evidently deftined to be ufed as an ornament to the dreffoir or dinner table on occafions of ceremony. Defcriptions of fimilar pieces abound in ancient inventories ; they were in their origin generally gifts to guilds or corporate bodies. The prefent fpecimen was formerly\the property of the city of Bafle in Switzerland, and was fold with the reft of the ancient plate in 1837. No record, however, exifts of the particular circumftances attending its prefentation; but fuppofing it really to have been given by the Archduke Ferdinand, judging from the arms, it muft have been after he had become King of Hungary and Bohemia (in 1527), and before he acquired the title of the King of the Romans (1531).* In fpite, how- ever, of the apparently precife indications furnifhed by the armorial bear- ings, it is fomewhat difficult to believe that the piece itfelf can be quite fo ancient as the period denoted. The general ftyle of the ftatuette rather feems to indicate the fecond half of the 16th century, whilft the bafe on which it ftands is probably ftill more recent. * Ferdinand was Archduke of Auftria in 1521, Count of Tyrol in 1522, King “ of Hungary and Bohemia in 1527, King of the Romans in 1531. In the arms the “ lion of Bohemia and the crofs of Hungary fupport the crown of the latter country, “ and not that of Charlemagne, which would have denoted the dignity of King of the « Romans, whilft the archducal crown fupports the arms of Auftria and the red eagle of “ the Tyrol, the blue and gold bands of Burgundy occupying the lower part of the “ fhield,”—Memorandum in Mr. Magniac’s poffelfion. of Secular Origin. 7 On UG or Tankard in glazed eathenware mounted in filver gilt, Old Englifh Elizabethan work, date 1572. Eliza- “beth de France,t Le Connétable de Montmorency,§ et l'année fuivante le roi de “ France, Francois II.|| le Duc de Guife, Frangois de Lorraine, Marguerite de “ Valois,** le Cardinal Francois de Lorraine ++ et enfin, Amyot.[f Ces grands *< portraits, véritable galerie hiftorique inaltérable, furent exécutés pour Henri II, et décoraient fes réfidences ; mais Léonard lancé dans cette voie, faifait en méme temps, pour les particuliers, beaucoup d’autres portraits d’un méme mérite, quoique de moindres dimenfions. I] les répétait méme plufieurs fois, tant leur fuccés était grand, pour fatisfaire aux défirs des parents et des amis.” “cc “cc (73 66 * < Collection de Don Valentin Carderera a Madrid.” + “Jai trouvé a Londres, chez M. Seymour, Membre du Parlement, cing portraits admirables de la méme dimenfion, des mémes émaux encadrés dans le méme entou- “ yage, portant le méme date que le portrait du Duc de Montmorency, de la collection “ du Louvre, qui lui-méme fait fuite avec le Francois II. Roi de France, et le Fran- “ cois de Lorraine, Duc de Guife. Tous ces portraits ont été évidemment faits pour “ Henri IT. et ne font fortis de France qu’a l’époque ou de triftes défordres furvinrent << dans les réfidences royales 4 la fuite de nos révolutions. Je me fuis interdit toute “ defcription des émaux qui ne font pas partie du Mufée du Louvre; je ne ferai donc eetquerles citer t “ Collection Seymour. Sur le fond bleu a droite on lit, LL. 15565; et 4 gauche, Gb, BGG § “ Muf€ée du Louvre, No. 245.” | ‘© Mufée du Louvre, No. 244.” q <“‘ Mufée du Louvre, No. 254.” “¢ Collection Seymour. Marguerite de Valois. Au bas fur la baluftrade a “ droite, LL. 1557. C’eft la grande Marguerite, foeur de Frangois premier, avec le “quel elle avait beaucoup de reffemblance. Léonard fuivait les bons portraits du “‘ temps, et pour celui-ci quelque original de Janet dont nous n’avons que des répé- “ titions dans les collections Sutherland (ancienne colleétion Alex. Lenoir), Carlitle, “ Bibliothéque St. Génévieve de Paris, &c. Ila reproduit ce portrait en petit : collection “ Germeau. Médaillon rond entouré d’un cercle d’émail bleu et noir: la figure de la “ reine fe détache, avec beaucoup de fineffe, fur un fond bleu d’azur. La fignature “‘ LL. en or, les deux lettres feparées par une fleur de lys, fe voit au bas. Diamétre aehOnD Ove tt “ Collection Seymour. 11 n’eft ni figné, ni daté, mais la nature du travail et de “« Pemail, de méme que la difpofition de l’encadrement, prouvent qu’il appartient 4 la “ méme fuite.” tt “ Méme colleétion, méme remarque que dans la note précédente.” ‘ a No. 93. Limoges enamel Portrait of Anne d Efe Ferrara, Duchefs of Guife, by Leonard Limofin. Painted Enamels. Be In addition to the portraits belonging to this feries enumerated by M. de la Borde fhould now be cited :—A portrait of Catherine de Medicis (lot 1544 in the Bernal Colle€tion) purchafed at the fale by M. Alphonfe de Rothfchild of Paris, in whofe collection it now remains, together with, as the author is informed, two (?) others of the fame fuite. Louis (2nd) de Lorraine, Cardinal de Guife, was born in 1556. Like the other members of this powerful family he devoted himfelf to the attainment of political power, and with his brother Henri, Duc de Guife, called ‘la balafré,’” headed the faction of the Leaguers. In 1588 he was prefident of the clergy at the aflembly of the états held at Blois, when he animadverted on the difcourfe which Henri II]. pronounced at the opening of the aflembly, and wrung from the feeble king a promife to retract the paflages which had difpleafed him. ‘This audacity deter- mined the king to get rid of him by affaffination, together with his brother ; but his quality as a prince of the church, and the fear left his death fhould caufe an infurreétion, caufed the king to hefitate. The cardinal was in the hall of the états when the Duke of Guife was affaflinated by the guards, who were pofted there for the purpofe. On hearing the cries, he rufhed forward, and exclaimed, ‘ They are killing my brother!’’ But he was immediately feized and imprifoned in the chateau ; and, after much deliberation of the king and his confederates, he was murdered in his prifon on the morrow (Dec. 24, 1588). Anne d’Efte Ferrara, Duchefs de Guife, &c., was daughter of Ercole, fecond Duke of Ferrara, and Renée de France, daughter of Louis XII, born about 1530, married 1549 the celebrated Francois, Duc de Guife, and became mother of the Duc Henri and the cardinal. She married a fecond time, in 1566, Jacques de Savoie, Duc de Nemours, and died in Paris in 1607. 94. EVAL Limoges enamel Plague. Portrait of a lady ; by Leonard Limofin. Circa 1550-60. Height 62 inches, width 54 inches, This evidently noble lady is reprefented in buft or “ three-quarter” fize, the head turned to the left, apparently at about thirty-five years of age; fhe wears her hair brufhed back in the ufual fathion of the period ; and over it a clofe-fitting cap or bonnet. Her black drefs is worn low, 54 Limoges and other difclofing a wide expanfe of embroidered chemi/ette, gathered tight round the neck and bordered with a narrow frill; it is elaborately embroidered with a lozenge-diaper pattern in red and gold, alternate compartments of which are filled in with the accompanying monogram, BX. The fea- tures are delineated in the mannered or conventionalized ftyle into which moft of the French portrait painters feem more or lefs to have fallen at this period ; there is therefore not {ufficient individuality or pofitive like- nefs to admit of the identification of the perfonage. This lady was, however, formerly fuppofed to be Marguerite de Valois, fifter of Francis I, and the monogram embroidered on the chemifette was conftrued to mean ‘¢ Marguerite Princefle de Navarre ;” but the fea- tures have not the flighteft refemblance to thofe of the Queen of Navarre. (See No. g7 in this colleGtion.) She has alfo been fuppofed to be Diane de Poitiers, on the ftrength of the monogram only, which by a different in- terpretation can be made to read “ Diane.” This enamel was formerly in the collection of Baron Brunet Denon of Paris, at whofe fale, in 1846, it was purchafed. 95: AIMOGES enamel Portrait of a gentleman, on a fquare plaque. Afcribed to Leonard Limofin; dated 1542. i Height 5 inches, width 44 inches. The perfonage reprefented has fome refemblance in phyfiognomy to Antoine de Bourbon, King of Navarre; but the abfence of the forked beard, the different colour of the hair, and other peculiarities, denote him to be a different perfon. He is reprefented three-quarter fize, with his hands clafped acrofs his waift and holding in them a {croll, or perhaps his gloves ; he is habited in black, with a flat black cap; the features difplay a promi- nent aquiline nofe, rather fharp bony chin, a fmall black mouftache and whifkers, and clofely cropped beard. ‘The fignature of Leonard LL., and the date 1542, are feen in the right-hand lower corner. From the Strawberry Hill Collection. Painted Enamels. 55 96. AAIMOGES enamel Portrait of Henri d’Albret, King of Navarre; by Leonard Limofin. Circa 1556(?) Height 3+ inches, width 24 inches. Buft portrait, the head turned towards the left. The king is reprefented in a black doublet or “ pourpoint,” fitting tight round the throat, flafhed and embroidered with oblique lines in gold ; {mall linen collar turning over the ftand-up collar of the pourpoint ; flat black cap worn on one fide, with a {mall oftrich feather. He has fhort hair, a mouftache and beard of a yellowifh colour, cropped clofe; the head is relieved, as ufual, on a bright blue background, and at the bottom of the enamel is a band or fa/cia of light blue, as if prepared for an infcription. ‘ This little portrait is in Leonard’s moft delicate and finifhed ftyle.* It was purchafed at the fale of the Strawberry Hill Collection (lot 82, 14th day). Henri d’Albret, King of Navarre, fecond of the name, was the fon of Jean d’Albret and of Catherine de Foix, Queen of Navarre, born April, 1503, married 24th January, 1526, to Marguerite d’Orleans-Angouléme, fifter of Francois Premier, died 25th May, 1555. He fucceeded in 1517 to the kingdom of Navarre, and was grandfather to the celebrated Henri Quatre, King of France. Die IMOGES enamel Portrait of Marguerite, Queen of Na- varre; by Leonard Limofin. A circle, diameter 33 inches. This celebrated lady is reprefented apparently in a mourning coftume * M. de la Borde, “ Notice des Emaux, &c.,” p. 183, note 8, notices two other por- traits of Henri d’Albret, both by Leonard, one of which is dated 1556—“ Collection “* Pourtales. Henry d’Albret, roi de Navarre, grandpére de Henry IV. II eft décrit “ fous le No. 703 dans le catalogue de M. Labarte; il porte unefignature et une date “ tracées fur la bande bleue d’en bas, ainfi: L.L. 1556. Hauteur, 0,195; largeur,o,140. “ ColleGion Rattier. Le méme portrait, mais beaucoup plus petit et auffi plus fin, plus “¢ doux, plus brillant. Il porte au basce titre: Henry d’Albret. LL, Hauteur, 0.080 ; “ largeur, 0.060. On voit au dos les deux LL. et une fleur delys au milieu. Ces deux << portraits en émail font faits d’aprés une méme peinture originale de quelque bon pein- “< tre Frangais.”” The Rattier portrait correfponds exaétly in fize to the prefent {pecimen, and was moft probably painted at the fame time and from the fame original piéture. EE, 7 A 56 Limoges and other of black drefs and black hood, perhaps that of her widowhood, and therefore before her thirty-fifth year, when (1526) the married for the fecond time. It does not, however, follow that the enamel was executed at fo early a date; in fact, there can be little doubt but that it formed part of one of the feries executed by Leonard, circar556. The fafhion of the drefs, however, efpecially in the high-fhouldered fleeves, would {carcely indicate fo early a date as 1526, even fuppofing, as is doubtlefs the cafe, that the enamel were copied from an earlier oil portrait. The well-known features of the lady, however, leave little doubt as to her identity, and it feems diffi- cult to account for her lugubrious coftume in an age of unufual luxury in drefs, on any other fuppofition than the one here given. Marguerite d’Orleans (de Valois), fifter of Francois I, King of France, was the eldeft daughter of Charles d’Orleans, Comte d’Angouléme, and Louife de Savoie, born April 11, 14.92, married gth Otober,1509, to Charles, Duc d’Alengon, and again January 24th, 1526, to Henri d’ Albret, King of Navarre, died 21f{t December, 1549. Marguerite de Valois was in every refpect a remarkable perfonage, one of the moft popular and ftriking figures of the great age of Francis I, to whom fhe was devotedly attached; fhe was the authorefs of a collection of tales, written in the romantic or “ galant” tafte of theage, which crowned, bya wide-fpreadliterary celebrity, her many charms of perfon and manner. ‘The “ Biographie Univerfelle” fays, ‘* Savante et polie, belle, douce et compatiflante autant que fpirituelle, “* elle fit tendrement cherie de Frangois I, que l’appelait fa ‘ Mignonne’ ** et la ‘ Marguerite des Marguerites,’ il lui confia plufieurs négociations ‘* importantes, dans lefquelles elle ne fe borna pas a des confeils judicieux. “¢ Elle était ’ornement de la cour de France, &c. &c.” When, after the battle of Pavia, her brother was imprifoned at Madrid by Charles V, fhe went there alone to endeavour to procure his releafe. Her marriage with the King of Navarre was a bleffing to that country, where fhe conftantly laboured to promote agriculture, commerce, and good government. From the Strawberry Hill Colleétion. 98 and gg. WO Limoges enamel Portraits of Antoine de Bourbon, King of Navarre; by Leonard Limofin. No. 98, a circle, diameter 34 inches. No. gg, a fquare plaque, height 4% inches, width 4 inches. Painted Enamels. 57 The circular portrait (No. 98) reprefents Antoine de Bourbon at an earlier period of his life than the fecond, which in all probability was taken after his acceffion to the throne of Navarre: Judging from his apparent age, as feen in No. 98 (about 35 ?), that enamel would have been executed circa 1553, and the fecond fomewhere betwixt 1555 and 1562. As thefe fmall enamels, however, appear to have formed parts of feries of portraits of eminent men, and were doubtlefs copied from oil pictures and not directly from the life, their oftenfible and actual dates may be con- fiderably at variance. The probability, indeed, is that they were both executed circa 1555-60, the period of Leonard’s greateft aCtivity in portraiture, and confequently during the king’s lifetime. In both he is reprefented in a black ‘* pourpoint”’? embroidered with gold, with a {mall frill round his neck, and a black cap or bonnet, which is of an earlier fafhion in the firft than in the fecond enamel. In the firft the features are fharper and more angular, the hair cropped clofe, fmall mouftache, without whifkers, and with only an incipient forked beard on the point of the chin. In the fecond the features are fuller and more developed, the hair fomewhat more abundant, and mouftache very long, projecting far beyond the cheek and whifkers, and twifted at the points, and the beard, though fhaven away from the chin, or rather growing from the point only, is a continuation of an ample whifker, which extends unin- terruptedly all round the face. Both portraits are executed on the ufual blue backgrounds, and in the lower part in each, is a band of green, in- tended to reprefent a table covered with a green cloth, behind which the figure is fuppofed to be feated. The initials of Leonard, LL., are in the right-hand corner in each. Several other portraits of Antoine de Bourbon by Leonard are extant. Antoine de Bourbon, King of Navarre, Prince de Bearn, Duc de Venddme, de Beaumont, and d’Albret, was fecond fon of Charles de Bourbon, Duc de Vendome, &c., and of Frangoife d’Alengon, daughter of René, Duc d’Alengon, born in 1518, married 1548, to Jeanne d’Albret, Queen of Navarre, of which marriage was born, in 1553, Henry IV. of France, he died 1562. He bore at firft the title of Duc de Vendéme, and became King of Navarre in 1555, on the death of Henri d’Albret, his father-in-law; he was governor of Guienne and lieutenant-general during the minority of Charles IX. His death occurred at Andelys in confequence of.a wound received at the fiege of Rouen. Both thefe enamels were purchafed at the fale of the Strawberry Hill Collection. peer > a ee a SES = I Sy oe Limoges and other \ 100 and ro1. AIR of Limoges enamel Portraits. Charles IX, King of France, and his Queen Elizabeth of Auftria; by Leo- * nard Limofin; dated i573. Painted on concave plaques. Height of each 12 inches, width g inches. The king is reprefented ftanding at full length, his left hand refting on a helmet, which is fupported on a pedeftal ornamented with a relievo of a battle fubjeét, in the other hand he holds his gloves. He is dreffed in a rich fuit of white fatin, flafhed and embroidered with black and gold; a fhort black cloak richly embroidered with gold, black cap with a fmall oftrich plume, long rapier, and a medal hanging on his breaft complete the coftume. On each fide, in the upper part, is a green curtain looped up ; the background isa brilliant blue enamel. On the floor towards the right are the initials LL., and date 1573. The queen is ftanding near a table, which is covered over with a [ turquoife blue cloth, with a book and a vafe of flowers ftanding on it. In | her right hand fhe holds a fan of feathers, and in her left her gloves. The background, as in the companion {fpecimen, is bright blue, and a green curtain looped up occupies the right fide of the plaque. The coftume of the queen is extremely rich and elaborate ; fhe wears an open robe of rich figured brown and gold brocade, bordered with black velvet and furred infide with ermine, with long puffed and flafhed fleeves hang- ing down loofe; under the robe the gown is feen, it is of white fatin em- : broidered with oblique ftripes of red, and it has a broad vertical band in front, of brown brocade and black velvet, ftudded with jewels and large pearls. The tight-fitting fleeves of the gown are of white fatin with red oblique ftripes and a vertical band of large pearls ; fhe has a rich cap or head-drefs ftudded with pearls and other jewels, and round her neck and breaft two necklaces of pearls, from one of which a large jewel is pendent, whilft a fecond hangs from a maffive gold chain of feveral ftrands. The initials of the artift and date 1573 are on the vafe which ftands on the table. Thefe interefting enamels were, according to M. de la Borde, taken from original pictures by Frangois Clouet ; they were painted towards the clofe of Leonard’s long career, and are unufuaily careful and well-finifhed fpecimens of his period of decline. M. de la Borde cites two fimilar oval enamels, alfo figned and dated in this fame year, in the collection of M. ——= _ <= : SI — The funk centre of this fine falver is entirely filled by a figure of j Diana, of elegant defign, feated on a rocky bank, her left hand refting on t the fhoulder of a ftag; fhe is alfo furrounded by dogs. The border, is ot NES elaborately ornamented in relief with oval funk pools, differently grounded Kh ) in enamel, and in the fpaces betwixt them are arabe{ques confifting of ag f fatyrs, mafks, and cornucopia, winged cherubs’ heads, &c.; the margin ; N or ftrap mouldings of the piece are decorated with beads or pearls in re- ’ lief. The enamel colours and glaze of this {plendid fpecimen are of the moft forcible and brilliant kind. TAC: EIRCULAR Plateau. Bernard Paliffy ware. Diameter re A 175 inches. This is an interefting fpecimen of the well-known and moft original variety of Palifly’s pottery, viz. that characterized by the introduction of objects in relief moulded from Nature. The ground is white, 7. ¢. left of the natural colour of the body or pdte; and the objects, which are Pottery. 79 {catered with unufual profufion over the furface, are lizards, fmall fhakes or blindworms, fifh, frogs, crayfifh, dragon-flies, beetles, and various fhells, leaves and {mall plants, all enamelled in appropriate colours. Palifly himfelf alludes to this clafs of his works as his ‘‘ ruftic figu- lines.”” Of the numerous pieces preferved in collections probably only a {mall proportion are aétually from Paliffy’s own workfhop, his original {pecimens, of which the prefent is undoubtedly one, having been con- ftantly moulded and reproduced by his fucceflors and imitators. The pieces with the white or colourlefs backgrounds are fomewhat more rare than thofe with blue or mulberry-coloured ones. IAI. SH LATUETTE. Bernard Paliffy ware. Height 8 inches. A man, probably a bully or bravo, (“ Capitaine Bravache,”) in a walk- ing attitude, one hand refting on the hilt of his rapier, the other holding his gloves. He is dreffed in the coftume of circa 1580, ftriped or flafhed doublet and trunk hofe, a ruff round his neck and frills round his wrifts ; a {quare hat, the brim turned up in front, with a band or fcarf tied round it; over his fhoulders he alfo wears a fcarf, tied in a knot or bow over the left fhoulder, with a medal hanging from it on his breaft. He has a turned up mouftache and a {mall beard or imperial, with a fierce femi- ludicrous expreffion of countenance. From the fharp careful execution and vivid colours of the enamels, there can be little doubt but that this figure is the work of Palifly himfelf. 142. BCATUETTE of a Grey Horfe in a walking attitude. Bernard Palifly ware. Height 8 inches, length 10 % inches. Judging from the fharpnefs of the modelling and the perfeétion of the enamel glaze, there can be no doubt but that this alfo is from the hand of Palifly himfelf. The clever managernent of the mottled enamel is very noteworthy ; it expreffes with great felicity the dappled colour of the animal. Section VI. GLASS WARES. Medieval Enamelled Glaffes, Oriental, Venetian, &c. HO ay LASS fufpenfion Lamp, gilded and enriched with | coloured enamels. “Brought from the Mofque of the Sultan Hafan, at Cairo; made circa 1356-9. Height 14 inches, greateft diameter acrofs the body 104 inches. The body of the veffel is bulb-fhaped, mounted on a low conical foot, and is furmounted by a wide funnel-fhaped neck. To the upper part of the body are affixed fix {mall loop handles for fufpenfion. ‘The entire furface is covered with infcriptions in the Arabic character treated as an ornamental diaper. This remarkable fpecimen was formerly in Lady Bagot’s ColleCtion, and was obtained from a Jew at Pola in Iftria, who procured it in Cairo. It is probable that in thefe Egyptian or Syrian glafles we have the earlieft examples, at any rate in the medizeval epochs, of the application of vit- reous enamels to glafs. They are doubtlefs of anterior origin to the ena- melled glaffes of Venice, none of which feem to be of earlier date than the latter years of the r5th century; the enamel colours employed, and the methods of applying the gold, are fimilar in both varieties, from whence it may be inferred that the Oriental fpecimens were the immediate proto- types of the Italian {pecimens. Glafles of this Oriental manufacture were during the middle ages current articles of importation into Europe, and fome rare fpecimens are ftill preferved elegantly mounted in ‘¢ Gothic”’ filver work, the ftyle of which plainly denotes the 15th century. They are likewife defcribed in ancient inventories as ‘¢ verres a fagon de Damas,” Enamelled glafs fufpenfion Lar Syrian work, 14 th century. ; ‘ | Gla/s Wares. 81 and Damafcus may indeed have been a principal centre of their fabrica- tion.* A lamp of very fimilar defign to the prefent was acquired a fhort time ago for the South Kenfington Mufeum, from J. W. Wylde, Efq., who brought it from Cairo. Two? others are {aid to be in the collections of the Mefirs. de Rothfchild of Paris. T'wo, alfo (brought from Cairo) are in the poffeffion of the Honourable Francis Baring. The author is indebted to E. Stanley Poole, Efq. of the Science and Art Department, long a refident in Cairo, and an accomplifhed Arabic {cholar, for the following fatisfactory information refpecting this lamp. “The infcription is as follows :— “< «God is the Light of the heavens and the earth. ‘The fimilitude of his light is as “¢ 4 niche in which is a lamp.’ (From the Kur-an, chap. xxiv. ver.35, but imperfectly “ written) ; and below—‘ To our lord the Sultan, El-Melik en Nafir, aider of the world « “and the religion, Hafan, fon of Mohammed ; mighty be his aid rendered.’ “ The Sultan Hafan began to reign in the year of the Flight 748 (a.D. 1347-8), at “the age of 13, and was put to death 14 years afterwards. He built a fine mofque in “‘ Cairo, immediately beneath the citadel, remarkable for its lofty minaret and great “dome ; it forms the moft conf{picuous object in Cairo. ‘The mofque was commenced “in A.H. 747 (A.D. 1356), and completed, except the minarets, in three years. ‘The ** minarets were finifhed two years after: one has fince fallen. “In the principal place of prayer, along each of the fide walls, are hung lamps fimilar “ to the one in Mr. Magniac’s Collection, which undoubtedly originally belonged to this edifices: 150. HH ALICE-SHAPED Goblet on ftem, dark purple glafs, enamelled and gilt. Venetian; circa 1480. Entire height 72 inches, diameter of bowl 34 inches. The bowl is decorated with a frieze of Scriptural fubjeGts, painted in enamel, the continuity of which is in part interrupted by two circular me- dallions with narrow borders of raifed pearl or jewel work, containing fubjeéts drawn on a {maller fcale, but in fequence with thofe of the body * The Hon. Robert Curzon, in his ‘ Monafteries of the Levant,” p. 81, notices thefe lamps as follows :— ‘* There were feveral curious lamps in the church of Baramous, formed of ancient * glafs—like thofe in the mofque of Sultan Hafan at Cairo, which are faid to be of ie ‘¢ fame date as the mofque, and of Syrian manufa¢ture. “« Thelamps of Baramous, in the fhape of large open vafes, are ornamented with pious ‘¢ fentences, in blue on a white ground; they are very handfome, and excepting one of « the fame kind which is now in England, in the pofleffion of Mr. Magniac, I never “ faw any like them. They are probably fome of the moft ancient fpecimens of orna- “ mental glafs exifting.”” The accomplifhed author in the fame paflage fuggefts that they may poffibly be of Venetian origin. I have no doubt, however, that he has long fince been convinced that the popular opinion which he previoufly alludes to is the cor- rect one. M 82 Gla/s Wares. of the goblet. The fubject firft in order is the Almighty creating Eve ; and above it, reprefented as in a fecond plane or middle diftance, is (2) Cain killing Abel; 3 (to the right in the medallion), the Temptation, in which Adam receives the forbidden fruit from the Serpent; 4 (on the body of the vafe), the Almighty, reprefented as a draped figure with a nimbus, ftands betwixt Adam and Eve, and appears to be converfing with Adam ; above the group is a rainbow or canopy in the form of a pointed arch ; 5 (in the medallion), Adam and Eve partly draped—Adam leaning on a {pade, Eve fpinning, betwixt them the children Cain and Abel wreftling with each other. The lip or margin of the glafs is furrounded by a band of gilded ornament and pearls in white enamel. This moft rare and beautiful glafs was originally in Lady Bagot’s Collection; it is one of the earlieft known {pecimens of its kind. Unfortunately the foot is a modern reftoration. Purchafed at the fale of Lady Bagot’s ColleCtion. 152. BLATTENED oval Flafk or “ Pilgrim’s Bottle.” Ve- netian enamelled glafs ; circa 1500. Height 12 inches, 8 greateft width 7 inches. On each fide is painted the fame device, viz. two youths holding up a blank fhield, againft or in front of a tree. The neck of the flafk is decorated with two bands of pearl or jewel work and a frieze of fcroll foliage, and the lower part of the body is alfo ornamented with a fimilar belt of pearls ; a band of turquoife enamel, with fcroll ornamentation, runs round the foot ; on each fide are two glafs loops for fufpenfion. Ta: =H ASK of flattened oval form, in green diamond-moulded glafs, with narrow funnel-fhaped neck, inclined at an Pe29 angle with the body, and alfo a fmall fcroll or loop handle. Height 8 inches, extreme width 43 inches. It is mounted with ftraps or bands of gilt bronze, and in the centre of each fide is a circular medallion of the fame metal, engraved with a fhield of arms furrounded by a foliated wreath, with cartouche ornaments, and the infcription, “ Albert. Otto.G.Z.S.H.Z.M. Wo Sh” An unique and very elegant {pecimen of German work of circa 1560. Section VII. Carvings in Ivory. 160. fos VORY O/ifant or Hunting-horn. Length 21 inches, | diameter at the mouth 5 inches. The centre portion of the horn is diapered with a pattern carved in relief, confifting of circles, tied or interwoven together, with cruciform ornaments in the intervening lozenge-fhaped fpaces. ‘The circles or medallions are filled in with fingle figures of animals and groups combined with lacertine ornamentation. Amongtt the animals may be diftinguifhed winged griffins, eagles, peacocks, and lions rampant. The piece is likewife encircled by feveral bands of lacer- tine or guilloche ornament, and the margin or mouth is furrounded by a deep band of interlaced circles alfo containing animals. Two plain bands of filver encircle the horn, and are modern fubftitutes for the more ancient metal mounts. ‘The practice of giving a horn as a mark or evidence of tenure, on the transfer of landed property, is a very ancient one, and feveral, the hiftory and origin of which are on record, are ftill preferved. Of thefe the horn of Ulphus at York Minfter is perhaps the beft known. The prefent fpecimen had doubtlefs a fimilar deftination. It is probably a work of the Byzantine fchool of the twelfth century, executed at Conftantinople. OE. SERIES of twenty-nine ivory Draughtfmen or Coun- ters, fifteen of the feries tinted black. Diameter of each of the pieces 2 inches, thicknefs =, of an inch. Carvings in Ivory. Each piece contains a figure of an animal, carved in very high relief, within a raifed ornamental border. The ornaments of the border exhibit a great diverfity of foliated and geometrical patterns, no two being alike; the patterns are fimply carved down from the furface, and the high relief of the animals is obtained by finking the background {paces deeply down, the projection being thus obtained in the mafs of the piece itfelf, whilft the border ftands up around as a raifed wall. “The animals are all different; fome treated in a very grotefque manner. Amongft them may be fpecified a lion, unicorn, ape, ftag, bull, boar, horfe, goat, ibex, dromedary; there is alfo an elephant with a caftle on its back, a hippopotamus (?), a mare fuckling a foal, a fow with two fucking-pigs, a goat plucking grapes from a vine and fuckling a kid; and one piece, which, however, may have belonged to a different feries, has a grotefque compofition of two human-headed birds, their tails conjoined and held in the mouth of a grotefque mafk. Judging from the ftyle of the orna- mental borders, and from other indications, this remarkable feries muft be referred to the twelfth century. It is apparently of German origin. Purchafed at the fale of the Strawberry Hill Collection. 162. HILT or Grip of a Dagger, in carved ivory. Length 43 inches, width 2 inches. On the fummit is a figure of a couchant lion, and on one fide of the grip is a bearded figure riding on a rearing lion, and wearing a mantle and gaberdine and a conical or funnel-fhaped cap. On the oppofite fide a fimilar figure on horfeback with a fquare cap is fhooting an arrow from a bow. The reft of the furface is filled in with conventionalized trees or branches, the leaves and ftems of which were originally undercut, and in parts detached from the ground; they have, however, been much injured by ufe, and in great part broken away: underneath, nearer the infertion of the blade, is a frieze of {mall animals. A dagger, with its ivory fheath complete, in precifely the fame ftyle as this fragment, is in the collection of John Webb, Efq.:—both are in all probability of Byzantine Greek workmanthip of the thirteenth, or early part of the fourteenth century. Carvings in Ivory. 85 LORe #VORY Comb, ornamented on each fide with an oblong funk panel or frieze carved in low relief. Italian 14th # century work. Length 5% inches, height 44 inches. In the centre of each panel is a fountain, and at the fides, ftanding betwixt conventionalized trees, are figures of young men and maidens con- verfing with and embracing each other. The compofition here repre- fented is evidently the favourite amatory romance fubject, ‘The Garden of Love.” The fcene is fuppofed to be laid in a fhady grove of trees, and the fountain in the centre of the compofition has probably a myftical or romantic fignification. On one fide a gentleman is leading his miftrefs towards it, whilft on the oppofite fide the lady advances alone, her lover following her. Each group evidently reprefents a diftin& phafe of love- making, and, although quaint and ftiff, the attitudes of the figures are full of fentiment. ‘There are four feparate groups, or eight fingle figures in each compofition. The two defigns are nearly identical in general arrangement, but vary flightly in the attitudes and expreffion of the figures. Several other combs are known on which the fame, or a very fimilar fubject is reprefented. ‘They are all apparently of the fame date (fourteenth century), and probably of the fame local origin, which is evidently Italian. ‘This, like fo many other of the decorative utenfils of the medizval periods, is clearly to be referred to the category of gifts or wedding prefents. From the ColleGtion Didier-Petit of Lyons, fold 1843. 164. RCULAR Mirror-cover, the margin ornamented by 4 four crocket-fhaped figures of grotefque nondefcript " monfters or dragons. French work? date, firft half of the 14th century. Diameter 43 inches. The relievo fubject reprefents a lover and his miftrefs riding fide by fide on horfeback ; the gentleman has a hawk on his left hand, and is in the act of turning round to embrace the lady ; behind the pair walks an attendant carrying a lance: in the background an oak-tree. Many 86 Carvings in Ivory. fimilar mirror-cafes are extant: they originally contained mirrors in } polifhed fteel or bronze. The two halves of the cafe were adjufted to each other by a worm or fcrew-thread cut in the edges of each piece, but they are now rarely if ever found together. They were doubtlefs, like fo many other mediaeval decorative utenfils, fabricated to ferve as lovers’ gifts or wedding prefents. 165. APRIGHT plaque, Leaf of a Diptych, fculptured in two jf compartments. French? Circa 1320. Height 44 i inches, width 2% inches. On the upper one, under a canopy of Gothic cufped and crocketed arcades, is the Crucifixion with the Virgin fwooning ; in the lower one, the murder of St. Thomas of Canterbury. The faint is reprefented as kneeling before an altar, whilft behind him are three knights, one of whom cleaves his head with a fword. On the right, ftanding by the fide of or behind the altar, a prieft extends a proceffional crofs over the head of the martyr, and is apparently endeavouring to ward off the blow with it. The knights are habited in hauberks of ringed mail, clofe-fitting fcull-cap helmets or “ camails,” and long-flowing furcoats ; they have each alfo large fquare fhoulder-plates, and one of them bears a circular target or buckler, carved in the femblance of a lion’s or leopard’s face. The death of St. Thomas is a fubject of rare occurrence in ivory fculpture, although a very ufual reprefentation with the enamellers of the Limoges fchool, at a fomewhat earlier period than that of the prefent work. 166. ORY Shrine or Polyptych; circa 1300-20. Entire i height 6% inches, width including the opened volets 48 inches. The Virgin with the Child in her arms, in nearly full relief, ftands under a cufped and crocketed canopy, upheld by two flender detached fhafts. The fhrine is clofed in on each fide by hinged double doors Carvings in Ivory. 87 (‘ volets”), on which are carved various facred fubjects in bas-relief. The door on the right is fculptured in the upper part with the Birth of our Saviour, and in the lower part with the Prefentation in the ‘Temple ; that on the left contains, above, the Angelic Salutation, and below, the Ado- ration of the Kings. This beautiful work may be either of French, Flemith, or German origin. Itis, at all events,a monument of the pureft “‘ Gothic” art of Weftern Europe, at the period of its moft complete expreffion. Its ufe was doubtlefs for private devotion, being probably placed near the bed’s head of its owner. Few polyptychs of this {mall fize have come down to us intaé, as in this inftance ; but detached portions or fragments are not very uncommon, and ferve to fhow that the prefent Was not an exceptional type. ‘The larger fpecimens of the fame defign were moft likely intended to accompany the portable altars, and were in like manner tranfported from place to place, and ufed whilft travelling. 167. aVORY Cafket, carved with the Legend of St. Euftace, with filver gilt and enamelled mounts. French? or a Englifh? work, firft half of the 14th century. Length 7 inches, width 44 inches, height 3 inches. This moft beautiful cafket is of the ufual oblong re@tilinear fhape, conftructed of five or, including the bottom, fix plaques or flabs of ivory, the fides and lid being divided into fquare panels, containing relievi funk or carved down from the furface. The original hinges, long bands or clamps, lock, and handle on the lid, remain; thefe are diapered with cham- plevé fleurs-de-lys and lions paffant, “‘ /emée” on a ground of tranflucent blue enamel, and the fquare lock-plate, which is in gold enamelled, is embla- foned quarterly, 1ft and 4th, azure /emée of fleurs-de-lys ; 2nd and 3rd gules, three lions paffant, or. In the centre of each of the long ftrap or bar clamps on the lid is a fmall cabochon ruby of fine water, fet in an elegant gold rofette. The entire Legend of St. Euftace (or St. Euftache) is re- prefented in fifteen compartments; namely, eight on the lid, three in front, three at the back, and two at the ends ; confpicuous in front, in the large panel in which the lock is placed, may be noticed the faint adoring the miraculous image betwixt the horns of the ftag, whilft on the lid an equally confpicuous compofition reprefents the martyrdom of the faint and his family, who are being burnt alive inthe brazen bull. It is {carcely ! | co co Carvings in Ivory. neceflary to defcribe in detail every illuftration, almoft all the leading in- cidents in the hiftory of the faint may be recognized. ‘The legend is quoted as follows in Mrs. Jamefon’s ‘‘ Sacred and Legendary Art,” i, p. 792 :— “ St. Euftace was a Roman foldier, and captain of the guards to the Emperor « Trajan, His name before his converfion was Placidus, and he had a beautiful wife “‘ and two fons, and lived with great magnificence, praétifing all the heathen virtues, < particularly thofe of loyalty to his fovereign and charity to the poor. He was alfo “© 4 great lover of the chafe, {pending much of his time in that noble diverfion. “ One day, while hunting in the foreft, he faw before him a white ftag, of marvel- “ lous beauty, and he purfued it eagerly, and the ftag fled before him, and afcended a “high rock. Then Placidus, looking up, beheld, between the horns of the ftag, a “ crofs of radiant light, and on it the image of the crucified Redeemer; and, being < aftonifhed and dazzled by this vifion, he fell on his knees, and a voice, which feemed “ to come from the crucifix, cried to him, and faid, ‘ Placidus! why doft thou purfue «¢me? I am Chrift, whom thou haft hitherto ferved without knowing me. Doft thou « © now believe?’ And Placidus fell with his face to the earth, and faid, ‘ Lord, I be- “ ¢ lieve!’ And the voice anfwered, faying, ‘Thou fhalt fuffer many tribulations for “< ¢my fake, and fhalt be tried by many temptations; but be ftrong and of good “© courage, and I will not forfake thee.’ To which Placidus replied, ‘ Lord, I am ¢¢ content. Do thou give me patience to fuffer!” And when he looked up again “¢ the wondrous vifion had departed. Then he arofe and returned to his houfe; and “< the next day he and his wife and two fons were baptized, and he took the name of “‘ Euftace. But it happened as it was foretold to him; for all his poffeflions were “ {poiled by robbers, and pirates took away his beautiful and loving wife; and being “ reduced to poverty, and in deep affliction, he wandered forth with his two children, “‘ and, coming to a river {wollen with torrents, he confidered how he might crofs it. “ He took one of his children in his arms, and fwam acrofs, and having fately laid the * childon the oppofite bank, he returned for the other; but, juftas he had reached the « middle of the ftream, a wolf came up and feized on the child he had left, and ran off “¢ with it into the foreft; and when he turned to his other child, behold, a lion was in & the a&t of carrying it off! And the wretched father tore his hair, and burft into « lamentations, till remembering that he had accepted of forrow and trial, and that he “¢ was to have patience in the hour of tribulation, he dried his tears and prayed for re- “ fignation; and, coming to a village, he abode there for fifteen years, living by the “labour of his hands. At the end of that time, the Emperor Adrian being then on « the throne,and requiring the fervices of Placidus, fent out foldiers to feek him through “ all the kingdoms of the earth. At length they found him, and he was reftored to « all his former honours, and again led on his troops to victory ; and the emperor “loaded him with favours and riches: but his heart was fad for the lofs of his wife and children. Meanwhile, his fons had been refcued from the jaws of the wild beafts, “¢ and his wife had efcaped from the pirates; and, after many years, they met and re- “ cognized each other, and were reunited ; and Euftace faid in his heart, ‘ Surely all “© ¢ my tribulation is at an end!’ But it was not fo; for the Emperor Adrian com- “¢ manded a great facrifice and thank{giving to his falfe gods, in confequence of a “¢ vi&tory he had gained over the barbarians. St. Euftace and his family refufed to “ offer incenfe, remaining fteadfaft in the Chriftian faith, Whereupon the emperor or- « dered that they fhould be fhut up in a brazen bull, and a fire kindled under it; and “ thus they perifhed together.” vol. From the armorial bearings there can be no doubt but that this coffer was originally made for fome Englith prince or princefs. It was, however, moft probably the work of a French artift, as it has every characteriftic of the well-known ftyle of ivory {culpture of which fo many fpecimens, Carvings in Ivory. 89 (efpecially decorative objects of domeftic ufe,) of undoubted French origin, executed about this time (1340?) have come down to us.* More interefting evidence, however, of its original ownerfhip is af- forded by the fact of its having remained in the poffeffion of the ex-royal family of England, until the laft of the race, Cardinal York, who ftyled it the “royal Stuart coffer,” and at whofe death, in Rome, in 1807, it was purchafed by the dowager Duchefs of Cleveland, from whofe collection it was acquired by Mr. Magniac. 168. BQUARE Cafket, encrufted with plagues or panels of {culptured ivory, in numerous fquare compartments, containing fubjects from the life of our Saviour, under Gothic canopies; the ground fpaces of the relievi cut through. Length 52 inches, width 41 inches, diameter 4 inches. On the lid are twelve compartments, containing fubjeéts from the Paffion. On the fide in front, feven compartments, and amongft the fubjects, the Flight into Egypt, the Prefentation in the Temple, and the incredulity of St. Thomas, are confpicuous. At each end are four larger panels, containing re/ievi of the Laft Supper, the pilgrims at Emmaus, the Adoration of the Kings, the Defcent into Hades, Chrift walking on the fea, &c. At the back eight compartments, with other Scriptural reprefentations. It does not appear that any particular order has been obferved in the arrangement of the fubjeéts. The compartment con- taining the lock is flanked by two men in coftume of the 15th century, each holding a lion by a chain; thefe figures being on a larger fcale than the reft, and of difproportionate fize to the lions, are perhaps intended for giants,—one of them has a mace in his hand. ‘The cafket is beauti- fully mounted with filver gilt clamped hinges, lock, and a {wivel handle on the lid, the clamps terminating in delicately wrought ‘¢ Gothic” * The retention of the fleurs-de-lys femée alone, it may be obferved, fufficiently de- notes the age of this coffer; the original introduction of the fleurs-de-lys into the Englith fhield took place on the marriage of Edward I, in 1299, with a French princefs (Mar- garet, daughter of Philip III.) ; they were introduced “ /emée,” as in the French coat, and fo borne till the marriage of Henry V. with Katherine of France, when Henry fol- lowed the example of Charles VI. of France, who had reduced the number of fleurs-de- lys to three, inftead of bearing them femée. They have thus continued to the prefent time in both countries. N go Carvings in Ivory. ftrawberry leaves; the ends of the handles and hafp of the lock are finifhed with fmall finials. It is difficult to affign an exact date to this interefting coffret, though doubtlefs a work of the 15th century, and from fome indications perhaps to be referred to the firft half. Other {pe- cimens of fimilar ftyle or pattern are extant, and many ifolated ivory panels fculptured in a fimilar manner, in open work, are to be found in different collections, fome dating as early as the beginning of the 14th century. This method of fculpture, perforated “‘ @ jour,” was probably common to all the Gothic ivory fculptors of Northern and Weftern Europe. The prefent fpecimen is moft likely of French origin. 169. 4LTO-RELIEVO in carved ivory—St. George and the Dragon. The faint, reprefented on horfeback in plate armour, and wearing a long furcoat or tabard, flying in the wind, is transfixing the dragon with his lance. Height 52 inches, width 24 inches. This group in full relief, is attached by one or two points only to a background reprefenting a high rock or mountain, on which the princefs is feen kneeling in prayer; the fummit crowned. by a caftle. The harnefs of the horfe and the fpurs of the faint are exquifitely executed in filver gilt affixed to the ivory. Near the princefs is a fmall figure of a lamb, alfo in filver gilt. This moft beautiful work is in the higheft ftyle of Flemifh (?) art, of the fecond half of the 15th century. It is moft likely that it originally formed part of a picture tablet, furrounded by a frame or border. 170. MALL Statuette of St. George, in ivory, transfixing the Dragon, which is writhing under his feet. Height 3 including pedeftal 3+ inches, height of figure alone 23 inches. He is clad in a full fuit of plate-mail of the fafhion of circa 1480, but is without a helmet, his long hair being bound round with a twifted torfe or chaplet. The pedeftal of this exquifite little figure is in filver gilt of con- Carvings in Ivory. gI temporary work, and doubtlefs by the fame artift ; it is triangular in fhape, and is upheld at each angle by an eagle perched on a branch, and holding the letter E in its beak. On each of the angles of the upper furface of the pedeftal is a fmall fhield of arms. The ivory figure has been originally painted in proper colours; it is either of Flemifh or German origin, of about the clofe of the 15th century. Both this and the pre- ceding object are juft fuch admirable works as may be fuppofed to have been produced by great mediaeval artift goldfmiths, fuch as Martin Schéngauer or Ifrael Van Mecken. Section VIII. i Carvings in Hone-ftone, Box-wood, Sc. 176. eb O-RELIEVO in German Hone-ftone. Nurem- ANS! berg or Augfburg work? circa 1550. 12 inches {quare. The decollation of St. John the Baptift, the daughter of Herodias receiving the head in a charger. The background is filled with numerous figures, reprefenting other a€tions or epifodes of the ftory, and elaborate architecture of the German renaiffance ftyle. In the middle diftance Herod is feen feated on his throne, furrounded by cour- tiers and counfellors, who are apparently awaiting the event, and in a plane ftill further removed is the king feated at table with the women, the head in a charger before him. ‘The coftumes of the executioner and of the courtiers are furcharged with the moft elaborate arabefques and foliated ornaments, as is alfo the architecture. “The various details are elaborately picked out in gold. Purchafed at the fale of M. Rouffel’s Collection, 1848. L777 BLONG Coffer in carved box-wood, with lock, &c. in filver gilt. German or Swifs, firft half of 15th century. Length 52 inches, width 3% inches, height 2% inches. This moft elegant little coffret, evidently a love gift, is of the ufual oblong fhape, ornamented with funk panels, containing carvings. ‘Thefe panels are eight in number, viz. two in front, two behind, (which are Carvings in Hone-ftone, Box-wood, Sc. 93 blank,) two on the lid, and one at each end ; at each angle of the box is a {mall attached fpiral-twifted fhaft, with moulded cap and bafe in filver gilt, and the lock is ornamented with an applied branch of Gothic foliage, combined with two dragons delicately chifelled in high relief. The carvings confift of figures in elegant 15th century coftumes, and animals on a background of Gothic foliage, which is perforated, difclofing an under lining of filk, red and green in the alternate compartments ; each fubject is accompanied with a large label fcroll, with an infcription in black-letter charaéters in relief. On the cover, where the fubject appears to commence, the two panels are refpectively occupied with a lady and a young gentleman her lover; the latter kneels on one knee, and on the label fcroll, which he holds, are the difconnected letters D. D.L. G.L.G.S. The lady is feated; the holds a wedding ring? in her left hand, and in the other a heart, which fhe is rubbing on a large tablet ftudded with points, held on her knee, (evidently a rafp or grater,) and one corner of which is inferted in the mouth of a mortar with a peftle in it; on the label fcroll above her head are the letters D. H. D.M. IDs 1B In the compartments in front are refpectively a lady (apparently middle aged) feated, wearing a turban and holding a {croll infcribed, ‘als narr” (like a fool), and a hideous ape or wild man pointing to the lady and looking at his own face in a mirror with the motto ‘ Ich harr” (I wait) ; under- neath the lock-plate is a fmall label {croll with the initials F. A . T . pro- bably thofe of the donor or proprietor. At one end is a unicorn couchant, its head hanging down, the huge horn on its head pointed downwards and touching the ground, with the initias A, A.G.D.W.G. At the other end an eagle ftanding on a rock holding the letter D in its beak; a coney is timidly looking out of the mouth of its burrow beneath the eagle’s claws. The ideas plainly exprefled in thefe relievi {carcely need comment, they are as old as the world; but even though four hundred years have elapfed, millions of lovers have fighed in vain, and countlefs ladies lived in fingle bleflednefs fince the gay damoifeau gave this cafket to his lady love, it is impoffible not to fympathize with him in his addrefs, which whoever is expert in old German riddles might couple with its reply doubtlefs indicated by the bare initial only of each word. ‘The inordinate and infatiable cruelty of the lady is amufingly expreffed by her not only rafping her lover’s heart as it were with flow torment, but being ready even to utterly crufh and de- molifh all that was left of it in the fymbolical peftle and mortar at her feet ; whilft, in return, the very ungallant fubje& in front fhows the cruel 94 Carvings in fair one the rifk fhe incurs of waiting until youth and beauty pafs away, when the is plainly told by the unicorn, (the fymbol of chaftity,) with its horn pointing to the ground, that fhe will inevitably die an old maid. Purchafed at the fale of M. Coutereau’s Collection in Paris. 78s IMALL carved box-wood Coffer, with filver lock and i hinges. German or Swifs work, firft half of 15th cen- tury. Length 34 inches, width 24 inches, height 2 inches. This charming little coffret is evidently of the fame period, and to all appearance by the fame hand, as the previous one. ‘The panels are here five only in number, each occupying the entire fide of the box. It was probably made as a cafe for a fingle jewel prefented as a love gift. On the lid, the fubje@, pierced through as in the previous fpecimen, is a lady feated, before whom a ftag is ftanding; the lady is evidently fuppofed to be addreffing the beaft, which replies to her; over both figures are large label {crolls filled with initials as before. In front is a blind man led by a dog. At the back is a hound chafing a hart, and at one end a maftiff running after a greyhound. Each of thefe relievi is accompanied with a fimilar difconneéted infcription. At the other end of the box is a filver enamelled fhield, party per pale, argent and fable, fufpended by a cord from elegantly interlaced branches and tree ftems. The minute fcale of the infcriptions renders it very difficult to copy them correétly ; and even if faithfully tran{fcribed, it would probably at the prefent day, from the changes in orthography that muft have taken place, be quite impoffible to conftrue them rightly. This cafket was purchafed many years ago at Bafle, and a fuppofed explanation of the infcription in MS. by fome previous poffeflor was enclofed within it. It is as follows: ‘‘ Geneveva uns nim Gefucht “¢ van den fond verfolgte die lieb trift in fyn ryck. Anno den 2 ten Dez- “ ember 1414 (or 1514?) fyn end Joh Henrich Van de Lyr abt zu ¢ Uhri, und das kaftchen ift in Bafle verfertigt.” Unfortunately it is quite impoffible to extract the foregoing circum- ftantial information from the infcription a€tually on the box; the lady with the ftag is obvioufly not intended for St. Genevieve, whilft that it was made in Bafle, and belonged to Jean Heinrich Van der Leer, a curate of Hlone-ftone, Box-wood, &c. 95 Uri, is moft probably a mere romance. It is all but certain indeed that this little cafket is now the only evidence of the lives and loves of its original poffeffors. 170. AILT of a Dagger or Hunting-knife, in carved box-wood. M | Flemifh work, end of the rsth or beginning of the i 16th century. Length 43 inches. It is difficult to defcribe the defign of this exquifite fpecimen of wood carving in miniature ; it belongs to a clafs of works of more than Chinefe minutenefs, evidently executed as ‘¢ tours de force,” and of which the well- known rofary beads are perhaps more familiar types. The hilt is oval in feGtion, and on each of the wider fides or faces are two elaborate funk niches, each containing a fmall ftatuette of a faint ftanding on a pedeftal, and furmounted with a canopy richly carved in open work ; on one fide thefe figures are St. Anthony and St. Roch, and on the other St. Anne holding the Virgin and the infant Saviour on her knees, and St. Chriftopher. On a funk band or filet on each of the nar- row fides or edges is the Flemifh motto, ‘ Myn leven lanck,” (“ my life “ long,’’) in church text. Section IX, Decorative Furniture. 185. 4 AIR of carved oak Bellows. German or Flemifh “Gothic,” circa 1480. Entire length 27 inches, width acrofs 8 inches. original {pecimens of this utenfil which has come under the author’s notice. The upper furface of the heart-fhaped leaf or valve is entirely filled with a carving in high relief, reprefenting the Flight into Egypt, under which, fide by fide, are two efcutcheons bearing (the dexter fhield), or, a fpread eagle fable; (the finifter fhield) gules, on a pale fable three faltires couped, argent. The hole for the ingrefs of the air in the oppofite valve is an elegant pierced trefoil within a moulded circle. The fpout, which is in wood, is fafhioned as a dragon’s neck and head, with gaping mouth, from which iffues a fhort metal pipe or nozzle. All the carved work is picked out with gold and colours, which have never been reftored, and the entire piece is in the moft extraordinary ftate of prefervation. It was formerly in the collection of M. Dugué of Paris. 186. ELLOWS in carved cheftnut-wood, picked out with gilding. Italian work, circa 1560. Entire length 2 feet 7 inches, width at wideft part 1 foot. Decorative Furniture. 97 The fhape or general conformation of this familiar utenfil has always marked it out as a vehicle for decoration, and the prefent is an excellent example of a clafs of which many other fpecimens are extant. The heart-fhaped wooden fides or valves, upper and under, are both carved in relief; the upper one difplays an elegant compofition of two naked fatyrs, their lower extremities terminating in cornucopic, arranged fo as to follow the outline of the valve. The {pace in the centre, which they enclofe, is filled in with a {mall figure of Mars as a Roman foldier, with a lance and a fhield, ftanding in a fhell, which again refts on a grotef{que winged mafk. The under fide is ornamented with ftrap-work, and has a mafk or Medufa’s head in the centre, the wide-gaping mouth of which forms the valve, which gives ingrefs to the air. The fpout or nozzle is in bronze, elaborately chifelled with ftrap-work, foliated orna- ments, &c. Engraved in Shaw’s ‘ Decorative Arts of the Middle Ages.” TOF HAIR, in carved oak. French renaiffance work ; circa 1500-20. Entire height 5 feet g inches, extreme " width 2 feet 4 inches. Many richly-carved chairs of this charaéter, moftly dating from the beginning to the middle of the 16th century, have been preferved. The prefent example, a beautiful {pecimen of the earlier French models, is a large perpendicular ftall, the lower part beneath the feat forming a fquare box, from which rifes a high-panelled back and two {quare panelled arms. ‘I’he angles of the chair are ornamented with circular or oGta- gonal fhafts, richly carved with a variety of decorative patterns. The large panel of the back itfelf is filled in with a moft intricate compofition of foliated ornamentation, {pringing from a central candelabrum ftem, affording a characteriftic example of early renaiflance or tranfitional ornament. ‘The fhafts and various mouldings are of a decided 15th century or ‘‘ Gothic”? chara€ter, and the panels of the lower part of the chair are filled in with linen fcroll ornaments of the ufual “ fam- boyant Gothic” type. Decorative Furniture. 188. AASSONE or large Coffer, in carved cheftnut-wood. Italian work; circa 1540. Length 6 feet 3 inches, width 2 feet 1 inch, height 2 feet 3 inches. An excellent and finely-preferved fpecimen of one of the well-known Italian cingue-cento caffoni, or “* marriage coffers,” fo called becaufe they were often given as prefents at weddings; their ufe was to contain linen, &c. and they were moft frequently placed in bed-rooms. ‘The fubject is carved in alto-relievo, and, with the central efcutcheon and its fpirited male fupporting figures, forms a continuous frieze on the front of the coffer, reprefenting on the one hand, Czefar croffing the Rubicon, and on the other fide, Czefar drawn in triumphal proceffion in his car, crowned by Vi&tory, and driving a band of captives before him. | It was formerly in the collection of M. Didier-Petit of Lyons. SECTION X. Tuminations and Portrait Miniatures in Water Colours. Igo. LUMINATED Page; frontifpiece to a Flemith manufcript. Circa 1480. Height 163 inches, width ¢ 114 inches. This fplendid folio page is obvioufly the work of two different indi- viduals, one an artift of high talent, an immediate follower of the Van Eycks, the other, an ordinary book decorator or painter of miffal borders and heraldry. In the upper part of the page is a large fquare picture, and beneath it a panel containing two large lozenge-fhaped fhields of arms ; the whole is furrounded by a border of the ufual floriated ornaments of the period; a fmaller lozenge-fhaped efcutcheon being placed in the centreof the border atthebottom. ‘The picture reprefents a doubleadtion going on in the fame interior, which is a lofty Gothic hall, with an open cir- cular arch on one fide, difclofing the crowded buildings of a Flemih city, fuch as Ghent or Bruges. The two fubjects are feparated from each other by a Gothic column, forming the centre pier for two circular arches, and conftituting a kind of framework for the picture. In the compartment on the right, a prieft or canon in black kneels before a king of France, (recognizable as {uch by various heraldic indications, and apparently a por- trait of an actual fovereign,) and prefents to him a thick folio book ; the canon is introduced to the king by a higher ecclefiaftic, who wears a {carlet robe and conical cap of the fame colour; various attendants and officers of the court are ftanding round, all of whofe countenances are fo truthful and individualized as to appear to be portraits. In the compartment on the left is an emperor of Germany on his throne, with four perfonages 100 TTuminations and ftanding near him, apparently learned doétors and high court fun¢tion- aries, whilft, in the foreground, an ecclefiaftic or doctor, in a red gown lined with ermine, and with a grey hood, is feated at a round table crowned by a lectern defk, reading from a large folio volume, feveral other books being placed on the table. Another figure ftands befide the table, with one elbow leaning on a book. The emperor feems to be liftening to a man who ftands before him dreffed in a blue gaberdine with light yellow fleeves, and a green fteeple-fhaped hat, and who may be fuppofed to be making a report on the work written by the perfonage feated at the table, (the latter being apparently the fame individual who kneels before the king of France in the other compartment ;) the coftumes in the fecond divifion appear to be fomewhat idealized in treatment, whilft thofe of the firft are of the fafhion a@tually worn at the period of the illumination. The art difplayed in the miniature is fuch as might have been expected from Hugo Van der Goes or Memling, had either of thefe great artifts exercifed the art of miffal painting. The heraldic bearings and devices in the lower part of the fheet are very complex and elaborate, and any exact defcription would be unneceflarily tedious ; the arms, however, are thofe of one or more ladies of the great Flemifh houfe of Croy ; probably one or other of the married daughters of the celebrated Antoine de Croy ; a powerful and attached fubje& of Philip the Good and Charles the Bold, Dukes of Burgundy.* In the ornamental border may be noticed the frequent introduction of the daify (‘¢ Marguerite”), the well-known badge of Margaret, Duchefs of Burgundy, wife of Charles the Bold, and fifter of Edward IV. of England. ‘This fplendid page was doubtlefs the frontifpiece or principal illuftration to a book on divinity. It was purchafed at the Strawberry Hill fale. Igl. REAF from the Calendar of an Jlluminated Miffal, the months of May and June. Flemifh; circa 1520-30. Height 53 inches, width 3% inches. Thefe exquifitely beautiful illuminations (two in number, painted on each fide of the leaf) were evidently illuftrations of the months (May and * See “ La Généalogie et Defcente de la trés-illuftre Maifon de Croy,” par M. Jean Scohier Beaumontais, Douay, 1589, 4to. in the Art Library of the South Kenfington Mufeum. Portrait Miniatures. 101 June) from the calendar at the commencement of a fuperb Flemifh miffal. They are fubftantially landfcapes peopled with numerous figures, full of truthfulnefs and life. The f{peCtator is indeed tranfported, as it were, to the country and epoch, fo vividly do they bring back the actual facts of Nature, the peculiar characteriftics of the country and the inhabitants thereof. It would be irkfome to defcribe thefe compofitions in detail, they are fo full of incident, that to do fo would demand feveral pages. In the one reprefenting the month of May, the fcene confifts of the /o//é of a town, over which is a bridge and entrance gate. An equeftrian proceffion of burghers, bearing green branches in their hands, is croffing the bridge and entering the town, whilft on the water beneath is a boat covered with an awning, containing a mufical party of gentlemen and ladies ; in the diftance is feen the market-place of the town, with people dancing in a ring. In the fubjeét indicating the month of June the fcene is laid in a flowery meadow near a country-houfe, furrounded by a moat, with a farm- yard adjoining it. Three feveral groups of gentlemen and ladies are promenading in the foreground. The background exhibits a wide expanfe of cultivated fields, with a city in the diftance backed by blue hills. Two other leaves, containing four compofitions from the fame calendar, have been recently added to the colleétions of the Britifh Mufeum, and another leaf is in the poffeffion of W. Mafkell, Efq. ; four of the fix leaves which originally compofed the calendar are confequently known, and there can be little doubt that other illuminations from this fame moft precious book will come to light. Mr, E. Harzen of Hamburg, whofe erudition in matters of art is fo widely known and appreciated, unhefitatingly pronounces thefe illumina- tions to be the work of Gerard Horebouts of Ghent, and the author is indebted to Mr. Harzen’s kindnefs for the following abftract of an article on Horebouts, written by himfelf, in the 4th vol. of ‘* Archiv fir “die zeichnenden Kiinfte,” Leipfic, 1858. The firft clue to the identification of Horebouts’ miniatures was obtained by an infpection of the famous “ Grimani Breviary” in the Library of St. Mare at Venice, which, according to the “* Anonymo di “ Morelli,” who faw it in Cardinal Grimani’s poffeffion in 1521, (fhortly after it was executed,) was the work of three artifts, the firft mentioned being Gerard of Ghent. Mr. Harzen fays :— “ This mafter muft be the fame Gherardo whom Guicciardini mentions in his “ ¢ Defcription of the Low Countries,’ as one of the moft excellent miniature painters, “‘ whom in another place of his book he, by miftake, calls Luke Horebout, inftead of “ Gerard, whofe fifter Sufan (Gerard’s daughter) was fo eminent in miniature paint- “‘ ing that Henry VIII. engaged her to come over to London, where fhe died after “ many years’ refidence. 102 TVuminations and “ Albert Durer got acquainted with Horebout during his ftay at Antwerp in 1551, “and ftates in his diary :—‘ Mafter Gerard, the miniature painter, has a daughter “ ¢eighteen years of age, called Sufan, who did a fmall miniature with the figure of “¢ ¢our Saviour, for which I gave her a florin; it was quite furprifing a wench was “ ¢ capable of doing it.’ “Tn a document produced by Vertue our painter is named Gerard Luke Horneband « (probably Lucas from his father’s Chriftian name) as being in the fervice of Henry “ VIII, and having received in February, 1530, a payment of 56s. 9d. per month. < (See Walpole’s‘ Anecdotes of Painting,’ the Strawberry Hill edition of 1762, 4°. vol. “i, p. 56.) His wife Margaret lies buried in Fulham Church near London, where “ fhe died in the year 1529. Mention is made on her tomb that her daughter Sufan “‘ was married to John Parker the king’s cafhier, (fee Immerziel’s ‘ Lives of Dutch, “ ¢ &c,, Painters,’in Dutch; Article Horebout,) adding that on the contrary herdaughter “ Sufan was married to an Englifh fculptor by name of Whorfley, which ftatement “ has been adopted by Wornum in his edition of Walpole’s works. “¢ Pinchart of Bruffels has publifhed interefting information refpecting Horebout, who “« appears in the regifters of the Archives under different names, fuch as Horrenbout, “ Horebault, Huorbout, Harrebout, Hurembout, Haremburg, &c., being in the fervice “ of Margaret of Auftria, Governefs of the Netherlands in 1521; he amongft others “ executed a portrait of Chriftian, King of Denmark, very likely the fame now extant “ in the collection of the Society of Antiquarians in London, though of little importance. “ According to M. Pinchart, Horebout executed the miniatures of two prayer- “ books, which were paid for in January, 1521. One of them is probably the famous “‘ horary of Charles V, now at the Imperial Library of Vienna, a volume in 12mo. “ with miniatures of exquifite finifhing. It was given to Charles V. by his aunt “¢ Margaret, according to a line of her own handwriting in the fame. Charles went “ to Spain as early as 1517, and the book muft have been finifhed about that time ; “¢ notwithftanding Margaret, who was known to be very penurious, did not fettle her “ accounts with Horebout before 1521, about the time he left her fervice. The great “ fimilarity in the execution fhows that the prayer-book of Charles V. and the Grimani “ breviary were illuminated by the fame hand. “ This is alfo the cafe with a collection of fongs with mufic compofed by Margaret, ‘ adorned by Horebout with two beautiful miniatures, executed about 1510. “ Another fplendid manufcript with miniatures by Horebout, a ‘ Hortulus anime,’ “ exifts at the Imperial Library at Vienna, another, a Pfalterium in 3 fol. vols. at the “‘ Vatican Library, both equal to the Grimani breviary. “ The earlieft works of Horebout we have met with are contained in a prayer-book “ of Labella of Caftille in the Britifh Mufeum, executed between 1496 and 1504, &c. “ From a certain analogy in their works we may conjecture that Horebout was a “ pupil of Hemlink ; perhaps not poflefling quite his fobriety and fimplicity, and a little “ inclining to mannerifm, but making amends for it by an unparalleled richnefS and “ variety of compofition and fcenery, and a very fuccefsful attempt to introduce the aérial “ perfpettive into the land{cape. Nothing can be finer or more grand than the pathetic “ expreflion in Horebout’s heads of the Magdalen, of the Mater Dolorofa, or the clergy- “ man in the funeral mafs, &c. in the breviary. “¢ He mutt have flourifhed between 1500 and his removal to England, when illumi- “ nated manufcript went out of fafhion, and miniature painting was confined to “ portraits. His year of birth cannot be 1498, according to Defcamps, becaufe in the “‘ year 1521 he had a daughter eighteen years of age ; fo that, to bring it in accordance “ with V. Mander’s ftatement, that he went to England in advanced age, we can hardly “ eftablih it later than 1475. In accordance with the circumftance that Guicciardini “ does not mention Horebout and his daughter amongft the artifts alive (in 1566), “€ Vaernewyck in his Chronicle ftates them to have died about his time.” Portrait Miniatures. 103 192. LUMINATED Page; frontifpiece to a French Manufcript. Francis I. on his throne furrounded by d the three eftates, the Church, the Law, and the Army. Circa 1530. Height 9% inches, width 6% inches. A fimilar compofition, of fomewhat fmaller fize, the king reprefented being Henri Deux, is prefixed to a manufcript book of ftatutes of the order of St. Michel in the colleétion of R. H. Holford, Efq., and there can be no doubt but that the prefent page has been cut from a fimilar book. Both are by the fame excellent illuminator, whofe ftyle has fomewhat of the Italo-Flemifh bias particularly feen in the works of Bernard von Orley. The compofition, painted in the gayeft and moft brilliant colours, with equal delicacy and tafte, is enclofed within a beautiful architectural border. In the upper part the king is feated on his throne, holding his fceptre and “ main de juftice,’ on his right is a numerous group of bifhops and other clergy, headed by a cardinal, who is fuppofed to utter the words “ Juftus “ ex fide vivit,” (written on a fcroll proceeding from his mouth.) On the oppofite fide is a fimilar crowd of lawyers, in front of whom, at a table, on which is a coffer with the great feal of France, fits another cardinal (the Chancellor du Prat) ; he is fuppofed to be uttering the words, “ Honor “ regis judicium diligit.” The foreground is filled by a brilliant crowd of foldiers, guards, nobles, &c. in fplendid coftumes,—one of them fays, “Gloria virtutis fre tu es.” Many of the figures, efpecially of the churchmen and lawyers, appear to be portraits. This miniature was formerly in the Strawberry Hill Colle¢tion, and at the back, in Walpole’s handwriting, is infcribed, “‘ Francis I. fupported ‘© by the church, law, and army; Cardinal du Prat, the chancellor, fits at “ the table.’—H. W. “N.B. Two of the foldiers in the foreground have been copied by «© Montfaucon in his Antiquities of France.” Lee INIATURE Portrait on vellum of Henry VIII; by Hans Holbein; painted in 1526. Height 2% inches, 4 width 1% inches. This admirable miniature is a three-quarter buft portrait of the king, 104 Illuminations and painted in his thirty-fifth year, in a circular medallion contained within a fquare. “The background of the circle is azure or ultramarine blue, and the ground of the fpandrils or fpaces of the fquare, vermillion. In the corner fpandrils are painted, in gold fhaded with brown, four draped flying angels holding cords, which are interlaced with the initials H. K. in elegant characters, repeated at the top and bottom. On the blue back- ground {pace is written, in bold characters in gold, H.R. VIII. ano xxxv. The king is dreffed in a black figured damafk jerkin, trimmed with fable fur, the fleeves looped with gold tags and points; the hem of his fhirt is feen above it bordered with-minute embroidery in black ; he has a plain gold chain round his neck, and a flat black cap or bonnet on his head, with a gold medallion and points. Holbein arrived in Eng- land in 1526, and confequently this is probably the earlieft of the many portraits of the king by his hand. Formerly in the Strawberry Hill Collection. A beautiful copy of this miniature by Hildyard is in the Royal Collection at Windfor Caftle. 194. FINIATURE Portrait of Catherine of Aragon, Queen 4 of Henry VIII; by Holbein. Height 2+ inches, width 1% inches. The entire range of portraiture can fhow nothing more admirable than this moft exquifite miniature: although from its fhape it does not appear to have been painted as a companion to that of the king, it was doubtlefs executed at or near the fame time, which was the period of the full development of Holbein’s powers, whilft he was doubtlefs exerting himfelf to the utmoft to pleafe his new Englifh patrons, and before fuccefs and the multitude of commiffions he received had rendered him carelefs.* It is a fquare miniature, with an arched or rounded top, the background blue as ufual. The figure is a half-length, painted with microfcopic delicacy ; it is, in faét, a moft living likenefs, and has a fin- * Holbein is ftated to have been born, either at Augfburg or Bafle, in 1498. In 1526 he came to England, under the patronage of Sir Thomas More, to whom he was recommended by Erafmus, and he was introduced to Henry VIII. in the fame year by the Chancellor. His death was formerly believed to have occurred in 1554. (of the plague in London); but by the recent difcovery of his will, dated 1543, it is now fuppofed that he muft have died in that year, Portrait Miniatures. 105 gular refemblance to a beautiful minute photograph. ‘The truth and reality of expreffion of the head is indeed moft wonderful, whilft every detail is painted with a perfection and yet perfect eafe and facility of execution, probably never approached by any other artift. The queen wears a black drefs trimmed with black fur; yellow fleeves, with the lawn fleeves of the chemife puffed and protruding. She holds a green velvet-covered book and alfo a {tring of red beads in her hands, and has a rich bonnet of cloth of gold of the ufual Englifh triangular fhape, with a wide black falling band behind, on her head. Her neck and bofom are adorned with numerous gold chains, pendent jewels, &c. ‘This miniature came from the Strawberry Hill Collection (fourteenth day’s fale, No. 65.) Walpole himfelf fays of it:—‘I have Catherine of Aragon, a “* miniature, exquifitely finifhed ; a (round)? on a blue ground. It was *¢ given to the Duke of Monmouth by Charles II. I bought it at the “ fale of the Lady Ifabella Scott, daughter of the Duchefs of Monmouth.” Catherine of Aragon was the fourth daughter of Ferdinand and Ifabella, King and Queen of Caftille and Aragon. She was born in 1485, and in her fixteenth year was married to Arthur, Prince of Wales, but her hufband died a few months afterwards. Henry VII, being unwilling to part with her dower, obliged his fecond fon Henry to marry her. Henry VIII. repudiated her in 1529, and fhe died in 1535. 195. IRCULAR Miniature on vellum, believed to be a por- trait of Charles Brandon, Duke of Suffolk; by Hans Holbein. Diameter 13 inches. A buft-fize miniature on the ufual blue background. He wears a plain black drefs and black cap. In the feries of Holbein’s portrait drawings in the Royal colleGtion at Windfor is a head, thought to be that of Charles Brandon, which has confiderable refemblance to this portrait. This celebrated and profperous nobleman married Mary Tudor, fifter of Henry VIII. and widow of Louis XII. of France. He was born about 1485, and died in 1545. From the Strawberry Hill Collection. 106 TVuminations and 196. SINIA TURE on vellum of Nicholas Hilliard ; by him- felf; dated 1550. Diameter 14 inches. This interefting little miniature, a fmall circle furrounded with an infcribed band or legend, reprefents Hilliard himfelf as a youth of thirteen. It is a head or buft only on a vermillion background. He wears a flathed doublet of light brown or tawny colour, blue fleeves, and a ruff or frill round his neck. The furrounding band is blue, with an infcrip- tion in gold capitals as follows :—‘ 44 Opera quadam ipfius Nicholais “‘ Heliard in ztatis fue 13 ;’’ and on the background, on the left, is the monogram N41, and date 1550. According to this miniature the celebrated artift muft have been born in 1537 (and not 1547, as is ftated in Walpole). He died in 1619. He was the fon of Richard Hilliard of Exeter, high Sheriff of that city and county in 1560. Brought up as a jeweller and gold{fmith, he fuper- added painting in miniature, and became limner, jeweller, and goldfmith to Queen Elizabeth, and afterwards to James I. In Walpole’s “ Anec- dotes, &c.”? an account of him and of many of his works is given; and at page 177, vol i. (ed. Bohn 1849), Walpole fays :—¢ Hilliard’s “ portrait, done by himfelf, at the age of thirteen, was in the cabinet of “ the Earl of Oxford.” Dallaway engraves another miniature of him at a more advanced age (in the Penfhurft Collection), but which agrees in likenefs with the prefent, which in all probability is the one previoufly cited by Walpole. 1074 VAL Miniature on vellum, of Darnley, Earl of Lennox; by Nicholas Hilliard; 1560. Height 13 inches, 3 width 14 inches. This moft interefting miniature is, without doubt, by Nicholas Hilliard. It is painted, on an ultramarine background, on which is written in gold letters, in accordance with Hilliard’s frequent practice, “ Comes Linox . Afio Diii 1560. ABtatis fue 18.” He is dreffed in a yellow clofe-fitting doublet, covered with fmall flafhings, arranged in horizontal bands, alter- Portrait Miniatures. 107 nately with rows of gold ftuds or buttons, and has a narrow frill round his neck furmounting the ftiff ftand-up collar of the doublet. This miniature muft have been painted during Darnley’s refidence in England, where he was born, and, according to the date, five years pre- vious to his unfortunate marriage with Mary Queen of Scots (in 1565). Darnley’s tragical hiftory is well known, and need not be repeated. He was of royal defcent, his father being Matthew Stuart Earl of Lennox, his mother Margaret, daughter to Archibald Douglas Earl of Angus and Queen Margaret, fifter of Henry VIII. of England and widow of James IV. of Scotland. Darnley was murdered in 1567. 198. ¥VAL Miniature in vellum—the Lady Arabella Stuart ; by Nicholas Hilliard. Height 22 inches, width 13 inches. She is reprefented ina white fatin drefs, elaborately puffed and flafhed, large frilled ruff, her hair dreffed with a profufion of {mall curls ; the head is relieved on the ufual blue background. This miniature, an excellent example of Hilliard’s later manner, was purchafed at the fale of the Strawberry Hill Collection, having been obtained by Horace Walpole from Lord Wilmington’s Colleétion. Arabella Stuart was the only child of Charles Stuart, fifth Earl of Lennox, by Elizabeth, daughter of Sir William Cavendith, of Hardwick, in Derbyfhire, fhe is fuppofed to have been born in 1577. Her father was of the blood royal both of England and Scotland ; for which reafon his unfortunate daughter fuffered life-long perfecution from the jealoufy of both Elizabeth and James I. She died in the Tower in 1615. From the Strawberry Hill ColleGtion. 199. #VAL Miniature, faid to be the celebrated Lord Chan- cellor Francis Bacon, Vifcount St. Albans; by Ifaac 1 Oliver ; dated 1590. Height 2 inches, width 13 inches. 108 I/luminations and Portrait Miniatures. This miniature is a half-length ; he wears a black flafhed and braided doublet, 8&c., and plain frill ruff, the background blue as ufual; infcribed H in gold, “ Ano Dni 1590. Etatis fue 27.” Tfaac Oliver, one of the moft celebrated of the Englifh miniaturift fucceflors of Holbein, was born in 1555, and died in 1617. ZOO: SYVAL Miniature Portrait of Lady Hunfdon; by Ifaac Oliver. Height 24 inches, width 1? inches. Although fomewhat faded, this is one of Oliver’s fineft and moft 4 highly-finifhed miniatures, it is figned with his monogram on the right fide. | The lady is dreffed in a rich coftume of embroidered white fatin, trimmed with blue; fhe wears a profufion of point lace, under a moft elaborate ruff, her hair is brufhed back in the ufual fafhion of the age of James I, and is adorned with jewels. The background is a crimfon curtain. | From the Strawberry Hill Collection. SECTION XI. Portraits of Hiftorical Perfonages—Piétures in Oil. Ova ORTRAIT of Philippe le Bon, Duke of Burgundy ; painted in oil, on panel. Height 124 inches, width y ( 84 inches. A charaéteriftic portrait, of head or “ three-quarter” fize, painted on a dark bluifh green background. ‘The duke, whofe well-known benevo- lent features are rendered in a delicate highly-finifhed ftyle of execution, is dreffed in a plain black furcoat, edged with fur; he wears a voluminous black turban-fhaped cap, with a jewel in it, from which hangs a large pear-fhaped pearl. The collar of the Golden Fleece, and a fmall gold pectoral crofs hang round his neck ; and in his hand he holds a {fcroll of paper. ‘The author has before noticed pictures by this fame early Fle- mifh portrait painter. The ftyle of the prefent picture can hardly be fo early as 1467, and it is in all probability a pofthumous portrait, painted fomewhere betwixt that period and the year 1500. This excellent and powerful monarch was the fon of Jean Sans Peur, Duke of Burgundy, he was born in 1396, and died at Bruges in 1467. Philippe le Bon was the founder of the order of the Golden Fleece. 208. WORTRAIT believed to be of Mary of Burgundy ; on panel. Height 17% inches, width 12 inches. A fimall life-fize buft portrait, treated fomewhat in the ftyle of the | | Portraits of early Italian guattro-cento portraits, (in profile on a blue ground.) She wears a fteeple or conical horned head-drefs of crimfon ftuff, encircled in the lower part with a wide black band, which falls down on to the fhoulders, and is decorated with a large jewel pinned on to it; from the horn hangs down a veil of fine white muflin. Her drefs is a boddice of cloth of gold, cut low, leaving the bofom expofed, with a black fleeve puffed or cut on the upper part, fhowing the white chemifette beneath. Round her neck is a collar of gold, compofed of interlaced circles with pen- dent ornaments, and two necklaces of pearls alternating with black jet beads. The peculiar light and delicate colour of this picture refemble that of the early French fchool. It is probably a pofthumous portrait, painted in the earlieft years of the 16th century. Mary of Burgundy, daughter of Charles le Temeraire, was born in 1457. In her twenty-firft year, by the death of her father, fhe became fole heirefs of the vaft dominions of the houfe of Burgundy. She married, in 1477, Maximilian of Auftria, afterwards Emperor, and was killed from the confequence of a fall from her horfe in 1482. She left two children, Philippe, father of Charles V, and Marguerite, Duchefs of Savoie. 209. SORTRAIT of the Emperor Maximilian; afcribed to Lucas Cranach; painted on panel. Height 2 feet g inches, width 1 foot 10 inches. The emperor, reprefented down to the waift, is clad in golden armour, wears the imperial crown, and a crimfon mantle edged with a wide border of pearls and other jewels; he holds in his right hand a golden fceptre, and in his left grafps the hilt of a two-handed fword. The background is divided into two halves, the larger portion, to the left, on which the figure is detached, being a fcreen or curtain of crimfon brocade diapered with a beautiful Gothic pine-apple pattern. ‘The por- tion to the right, fuppofed to be an open arcade or window, difclofes a fantaftic landf{cape of water and trees, with a road leading under a bridge or archway betwixt two high banks; the character of the landfcape ftrongly refembles that of the neighbourhood of Drefden, (the Saxon Switzerland,) and lends fupport to the author’s belief, that the picture itfelf is a beautiful work of the earlier period of Lucas Cranach, whofe peculiar touch, colour, and general ftyle of defign, feem to him to be very Eiiftorical Perfonages. III perceptible in it. (Cranach—1470-1553—was in full practice before the commencement of the 16th century, and, judging from the apparent age of the emperor as here reprefented, and from the general ftyle of coftume and acceffories, this portrait cannot have been painted later than about 1495.) ‘The features of the emperor are more refined and dignified than ufual, and his whole bearing and attitude are truly imperial. In the background, on the right, is infcribed, in Roman letters, “© Maximilianus “¢primus Romanorum imperator.” ‘Maximilian I, Emperor of Germany, was born in 1459, and died in 1519. 210. SWORTRAIT of Philippe le Beau; by a contemporary Flemifh mafter ; on panel. Height 153 inches, width 114 inches, This beautiful early Flemith portrait has, in the firft place, the fingular advantage of being in the moft perfect ftate of prefervation. It reprefents the duke whilft very young, perhaps fifteen or fixteen years old, as a buft portrait, the head (a three-quarter face, verging towards a profile) turned towards the left; he has very long ftraight blond hair, cut fquare acrofs the forehead, and wears a black cap or barrette; his drefs is a peliffe or furcoat of gold brocade, with a wide collar or lining of dark fur; around his neck he wears the maffive collar of the Golden Fleece. It is not poffible to afcribe this pi€ture to any known mafter. It is, however, certainly by one of the moft excellent Flemith portrait painters of the time, and may have been painted from the life. Philippe, Archduke of Auftria, &c. called the handfome, was fon of the Emperor Maximilian and Mary of Burgundy, born 1482, died in 1506. He was the father of the Emperor Charles V. 211. ORTRAIT of the Emperor Charles V; by an early Flemifh matter ; painted circa 1 $11, onpanel. Height 2 feet 4 inches, width 1 foot 8 inches. This beautiful portrait, a head, of proportions confiderably larger than life, reprefents Charles V. at about feventeen or eighteen years old. He 112 Portraits of wears a doublet of crimfon damafk, the boddice only vifible; over it a cloak of cloth of gold, with a wide fur collar; a plaited lawn fhirt edged with gold embroidery rifes above the doublet ; round his neck is hung a band of black ribbon, probably to fufpend a reliquary or miniature, which is hidden under his doublet; acrofs his fhoulder is the maffive collar of the Golden Fleece. On his head he wears a wide-brimmed black hat or cap, ornamented with gold tags and a large gold enamelled medal. The picture has a green background. ‘The head of the king is feen nearly in profile, looking towards the right, the lower part of the face thrown for- ward, giving unufual prominence to the chin and under lip—an attitude feen in many portraits of Charles in his earlier days. The likenefs to his father Maximilian is very vifible in this fine picture. From the Strawberry Hill Colle¢tion. Charles V, Emperor of Germany and King of Spain, was born in 1500, abdicated in favour of his fon Philip in 1556, and died at the mo- naftery of Yufte, in Spain, in 1559. 212. SWORTRAIT of Engelbert, Count of Naffau, Governor of Brabant; by anunknown Flemifh mafter; dated 1497. i Height 13 inches, width 9% inches. This little portrait is an excellent example of one of the 15th century “ tables ;” it is painted on an oak panel, retaining its original narrow moulded border or frame, which is of a piece with the panel. ‘The por- trait is a half or three-quarter length, is painted in oil on a dark red back- ground. The count is fimply dreffed in a black doublet or furcoat, wearing the collar of the Golden Fleece, and a black cap; he has a hooded falcon perched on his left hand, which is gloved. The ogee moulding of the border is decorated with heartfeafe flowers; on the gold ground at the top of the frame, on the marginal flat, is the date 1497, and at the bottom the infcription in church text, “ Engylbert Conte de Naflau.” This perfonage was, according to ancient chronicles, un feigneur < vaillant, fage et prudent fur tous autres de fon fiécle, bon foldat et <¢ prand capitaine.” He was a ftaunch adherent of the Burgundian dy- nafty, and was taken prifoner at the battle of Nanci, where Charles the Bold perifhed with the flower of his nobility ; he afterwards fignalized Liftorical Perfonages. 113 himfelf confpicuoufly at the battle of Guinegate, which victory was chiefly owing to his bravery and military fkill. He died in 1504, and was interred at Breda, where there is a magnificent monument to him and his wife, a princefs of Baden. (See Biographie Univerfelle.’”’) 2s WORTRAIT of aFlemith Nobleman or Prince, unknown; afcribed to Jean de Mabeufe ; painted circa 1500-10; on panel. Height 13 inches, width g inches. A three-quarter portrait of a gentleman, of apparently about thirty-five years old; he has long flowing brown hair and a continuous whifker round his face ; he is richly habited in coftume of the period, wears the collar of the Golden Fleece, and holds a pink in his right hand. The background is an interior of ornamental architeéture, with an open arcade to the left, through which is feen a village with rocky hills in the diftance. This portrait was formerly fuppofed to reprefent the Emperor Maxi- milian ; it has, however, no refemblance to him. 214. HORTRAIT of Albert Durer, in the twenty-fixth year of his age; on panel. Height 23 inches, width 17 inches. This is a beautiful repetition, in the moft perfect ftate of prefervation, of a well-known portrait of Durer by himfelf. It is evidently the work of a firft-rate German artift, probably a pupil of the great mafter, and inthe author’s opinion was painted fomewhere towards the year 1560. Durer is reprefented with long golden hair, falling in ringlets on to his fhoulders, and with a {mall forked beard and mouftache ; he has a picturefque brown and white coftume, bordered with black ftripes, and a black and white ftriped linen cap on his head ; on the right, through an opening, is feen a diftant hilly landfcape with a river; underneath this in the background is written in white,—* 1498 ‘© Das malt Ich nach meiner geftalt “* Ich war fex und zwanzig jar alt °¢ Albrecht Diirer.” Q 114 Portraits of Underneath this infcription is alfo painted the well-known monogram of Durer. Albert Durer was born at Nuremberg in 1471, and died in the fame city in 1528. ourse SORTRAIT of Henry VIII, King of England. Height sav : ; 151 inches, width 113 inches. This picture, a head or buft portrait of {mall life fize, reprefents the king at an early age, probably very fhortly after he came to the throne. It is evidently the work of a Flemith painter, and moft probably formed one of a feries of portraits of contemporary great perfonages. An infcription in an ancient hand, written in ink on the back of the panel, “¢ Ritrato dipinto in tavola di Holbein,” in all probability denotes that the picture was at fome period or other taken to Italy. ‘The king is repre- fented in a rich coftume of gold brocade trimmed with fur, black cap or barrette with a medal in it, two broad gold collars fet with enamelled red rofes and large pearls, he holds in his hand a Gothic ball-fhaped po- mander ; the background is green with a diapered pattern. Henry was born in 1491, afcended the throne in 1509, and died in 1547. 216. §¥ORTRAIT of Catherine of Aragon, Queen of Henry | VIII. Height 143 inches, width ro inches, Evidently the companion to the previous picture, by the fame hand, and painted at the fame time (about 1509 ?). The queen is reprefented in a rich coftume of crimfon brocade and gold tiffue ; a large jewel on her ftomacher, two ftrings of pearls round her neck, and a rich jewelled head-drefs of the ufual Englifh triangular form. Background green and diapered, as before. Hiftorical Perfenages. 115 217. SORTRAIT believed to be of Anne of Cleves, Queen of | Henry VIII. Painted in oil on vellum, ftrained on fine canvas or lawn. Height 15 inches, width 14 inches. A half-length portrait on dark blue or bluifh green background. The queen, apparently painted before her marriage with Henry, is habited in a {plendid Flemith coftume of gold tiflue covered with jewellery ; fhe wears a rich head-drefs enriched with feed pearls, and with the motto “‘a bon fine” embroidered on it in gold, in her right hand fhe holds a red clove pink. Another portrait of the fame fize, and by the fame hand, in which, with the exception of the head-drefs, which is different, the queen is habited in the fame rich coftume, was fold at the Bernal fale (lot 927). A wood-engraving of it is given in the fale catalogue. Anne of Cleves was the fourth wife of Henry VIII, who married her in 1540, and was divorced from her fix months afterwards. Holbein was fent over previous to the marriage to paint her portrait. ‘The prefent picture, however, is clearly by a Flemifh painter, and was probably exe- cuted a year or two previous to the marriage. 218. GORTRAIT of Mary Tudor, fifter of Henry VIII. Painted on a circular-topped panel. Height 162 inches, width 15 inches. Whether or not this picture reprefents Mary Tudor may admit of fome difpute ; at all events it is certain that it is an exquifite early Flemifh portrait of a beautiful young girl. It is a head or buft portrait, treated in a fomewhat idealifed manner; probably it was intended to re- prefent the lady under the femblance of “ Sz. AZagdalen,” as fhe holds in her two hands a vafe or pot, the ufual emblem of the faint. She is habited in a rich coftume of gold brocade profufely ornamented with jewels and large pearls, and the background is a curtain or {creen of green brocade or velvet ornamented with a raifed pine-apple diaper pattern. Mary Tudor, daughter of Henry VII, born 1498, was firft married (in 1514) to Louis XII. of France, then an aged man in declining 116 Portraits of health. He died three months after the marriage, and within a few days after fhe was fecretly married again to Charles Brandon, Duke of Suffolk, who had accompanied her to France. The ceremony was publicly re- peated foon after at Calais, and finally, with the confent of her brother Henry VIII, at Greenwich, May 13, 1515. Mary died in 1533. 210. SORTRAIT of Lorenzo de Medici, Duke of Urbino ; | afcribed to Raffaelle; (painted in 1518) on canvas. Height 3 feet 3 inches, width 2 feet 8 inches. He is painted at halflength, in a fplendid coftume, his doublet, the boddice and fleeves of which only are feen, is of rich gold tiffue; a linen fhirt rifes fome inches above the doublet, leaving the neck bare; he wears a wide kelt or trunk hofe of white fatin ftriped with cloth of gold, and over all an open robe of crimfon filk woven with a zigzag pattern in gold, it has wide puffed fleeves tied or gathered in with bands of grey fur; the robe has alfo a collar of the fame fur. On his head he wears a plain black cap or “ barrette” with an enamelled gold medal in it, the gold pommel of his dagger, emerging from under the robe, is feen on the right. In the right hand he holds an enamelled medal or counter, the left refts on his hip. He has brown hair worn low on his forehead, fhort beard, whifkers, and mouftache. The background of the picture is dark green. This important and beautiful picture was formerly afcribed to Bronzino, and believed to be a portrait of Frangois I. The author, on firft fight of it, when hung rather high up in the hall at Colworth, was truck with its excellence as a work of art, far exceeding in this refpect the many beautiful portraits hung around it, and then ftated his belief that it was by an earlier and more powerful hand than Bronzino’s (a fact indire@tly fhown indeed by the coftume, which is of a fafhion many years anterior to the period of Bronzino’s labours), and alfo that the head had no phyfiognomic refemblance to that of Francois I, He was at the fame time ftongly impreffed with its refemblance, in general afpect and technical qualities, to the portraits of Raffaelle’s later time, (notably the portrait of Leo X. and two Cardinals in the Pitti palace, the Schiarra violin player, and the Jeanne d’Aragon in the Louvre.) He was likewife con- vinced that he had feen fomewhere another portrait of the fame perfonage, Hiftorical Perfonages. 117 the features, and in fact, the picture itfelf, feeming to a certain extent familiar to him. He could not, however, recall to mind anything definite refpecting it. Asa matter of courfe he believed this picture to be an original work and not a copy. The admirable ‘‘fine/fe,” and yet eafe and fimplicity of execution, in thofe portions of the picture which the hand of the reftorer (unfortunately far too ative in many other parts) had entirely fpared, would have left him no room for doubt on this point had any fuch ever occurred to him. Whilft very recently endeavouring to arrive at fome more definite conclufion refpecting it, with a view to the prefent catalogue, the picture being in the meantime temporarily exhibited to the public in one of the galleries appropriated to the re- ception of works of art on loan at the Kenfington Mufeum, he was much gratified by the receipt of a note from Sir Charles Eaftlake in reference to it.* ; The identification of this portrait is thus due to Signor Raffaelle Pinti. Both Sir Charles Eaftlake and Mr. Pinti have fince carefully examined the picture, together with the author, and are agreed that it is fubftantially the Raffaelle portrait of Lorenzo de Medici. Whether it be or not the original, z.¢. the pi€ture aQtually painted by the hand of the great matter, is the only point remaining to be decided. We fhall revert to this all-important point again. It will be defirable previoufly to give * Sir Charles’s communication is as follows :— My pean Sir, “ 7, Fitzroy Square, July 13, 1861. © Do you think it would be poffible to have a photograph taken of a half- “ Jength portrait lent by Mr. Magniac to the South Kenfington Mufeum. Mr. Pinti, *¢ whom I believe you know, called my attention to that portrait, and I have no doubt, “from his ftatements and from other evidence, that it is a copy from Raphael’s loft “ portrait of the young Lorenzo de Medici, who, through the machinations of Leo X, “¢ was for a fhort time Duke of Urbino (while Francifco Maria della Rovere was tem- “ porarily difpoffeffed). The portrait was painted in 1518, as is evident from a portion “ of a letter in Gaye, Lorenzo was then twenty-fix, but as he died when twenty-feven, “ of what may be called premature old age, the appearance of the portrait (which at “ firft fight looks older) is accounted for. ‘< Mr. Pinti had an idea that this might be the original picture; but, unlefs it has “ been altogether difguifed and painted over, I cannot fuppofe that to be the cafe, «¢ He had himfelf fome years fince a good copy of the upper portion with the in{fcrip- “ tion, ‘Laurentius M. dux Urbini,’ fo that there appears to be no doubt as to the “ portrait. . . . My infpeéction, though affifted with fome fteps, was ftill neceffarily im- *¢ perfect, as it was not poffible to approach very near; my conclufion, however, was “as Ihave ftated. Still I fhould like to have an opportunity of examining it when it “is taken down. A photograph of the picture would be very defirable. “ T remain, my dear Sir, faithfully yours, « J. C. Robinfon, Efq. “°C, L. EasTLake.” 118 Portraits of a brief abftraé&t of what is recorded refpe€ting this portrait. Vafari, (edition Lemonnier, Florence, 1852, vol. viii. p. 34,) having previoufly defcribed the portrait of Leo X. and the two Cardinals, fays, ‘‘ Fece “ fimilmente il duca Lorenzo e ’] duca Giuliano, con perfezione non “¢ pid da altre che da effo dipinta nella grazia del colorito; i quali fono “ appreffo, a gli eredi di Ottaviano de Medici, in Fiorenza.”” A note by the recent editor on this paflage ftates that the original picture is no longer to be found, refers to portions of two letters given in Gaye’s “¢ Carteggio inedito d’ Artifti, &c.” ii. 146, from Lorenzo, in which he {peaks of this portrait by Raffaelle, mentions that a portrait of Lorenzo in the Mufée Fabre at Montpellier is believed by fome to be the original, and finally that there is a copy of it in the feries of family portraits of the Medici now placed in the long corridor leading from the gallery of the Uffizi to the Palazzo Pitti. M. Paffavant, in his important work on Raffaelle, French edition, 1859, vol. ii. p. 274, after quoting the letters publifhed by Gaye, which eftablifh the fact of the picture having been painted in 1518, (two years before Raffaelle’s death,) fays :— « Du temps de Vafari, ce portrait fe trouvait encore, avec celui de Julien de Médicis, “4 Florence, chez les héritiers d’Ottaviano de Médicis. Quant ace qu’il eft devenu “ depuis, on Pignore; mais, au Mufée Fabre, 4 Montpellier, on en voit une copie an- “ cienne fur bois (H. 98 cent. ; 1. 74. cent.) quinous prouve que l’original était le digne “ pendant du portrait de Julien de Médicis, Cette copie de Mufée de Montpellier “ refta enfermée jufqu’en 1824 dans une villa prés de Sienne, et elle fut donnée en “ payement, avec d’autres peintures fans valeur, a un peintre de Florence qui avait «« décoré les chambres de cette villa. M. Fabre l’acheta 4 bas prix, en 1826, ce que “ occafionna enfuite des pourparlers entre lui et le peintre qui la lui avait vendue, car “« le poffefleur avait fait grand bruit de fon acquifition et le peintre Florentin voulait “ yéfilier la marché. “ Ce portrait repréfente le duc en demi-figure, ou de trois-quarts, tourné de coté ‘« gauche ; les traits de fon vifage portent bien le type des Médicis, il tient le pommeau «Wun poignard,* dans fa main et laiffe tomber fon bras gauche en arriére. Ses che- “¢ yeux bruns et fa barbe de la méme couleur, font coupés court. II eft coiffé d’une “ barrette, ornée d’une médaille. Une chemife blanche reffort de fon pourpoint 4a manches “ rouges, broché d’or, par-deffus lequel il porte un vétement garni de fourrures, 4 larges “manches, Le fond eft vert. Quoique ce tableau foit donné comme original, l’exécu- “« tion cependant dément cette originalité, et, d’ailleurs, felon l’ordinaire des copies, il “¢ a beaucoup pouflé au noir. “* Deux autres copies du méme portrait fe trouvent dans les magazins de la galerie “ de Florence.” The author has already ftated his opinion, that the prefent is an ori- ginal picture. This conclufion was his firft natural and unfufpecting one, long before Mr. Pinti’s identification of it; and now that he muft perforce deem it an original portrait by Raffaelle, he fees no poffibility of fhrink- ing from the refponfibility of affirming his belief that itis fuch. Mr. Pinti, * This is an error, it is a gold enamelled medal. Hiftorical Perfonages. 119 afterthe moft careful microfcopic examination of the furface of the picture, recognizing thereby, unfortunately, very many injuries caufed by re- peated cleanings and repaintings, declares his conviction that it can be no other than the original picture by the hand of Raffaelle. Sir Charles Eaftlake, on a further more careful infpection, although not difpofed, in the prefent ftate of the picture, to explicitly reverfe his original judgment, is anxious that mutch of the modern repainting (of the head mainly) fhould be removed, before pronouncing any more decided opinion either for or againft its originality; and at all events, the author believes he may affirm, does not now wifh it to be underftood that he takes it for granted that the picture is a copy.* The picture is painted on a very fine fharp-toothed canvas or rather lawn, “tela da faxxoletto,’” fuch as was often employed by Giovanni Bellini and other early Venetian matters in their more highly-finifhed works. The picture was evidently painted almoft dire@ly on the canvas, with little if any priming. It may be obferved, in paffing, that the ufe of this peculiar canvas, obvioufly a recherché”’ material, is in favour of its originality—copyifts feldom going out of their way to procure extraordi- nary or expenfive vehicles for their common-place and ill-paid labours. The head and hand, the only nude portions, are painted very thinly, the threads of the canvas being everywhere vifible, whilft all the details of the coftume are executed with more impa/fo. It is the opinion of the writer that Lorenzo did not atually fit for this picture ; the head is treated in a grandiofe hiftorical ftyle, fcarcely lefs abftraét in its neverthelefs powerful expreffion than that of Michael Angelo’s famous ftatue of him—the “¢ Penferofo” of the San Lorenzo tomb. ‘The hand is treated alfo with a certain Raffaellefque mannerifm, difficult to defcribe, but very appreci- able to whoever has much acquaintance with the pictures and drawings of the great artift, The draperies and various acceflories of coftume, on the other hand, muft have been carefully painted from the actual ftuffs arranged on the lay figure ; and the author feels convinced that whoever having that actual technical knowledge of art which gives a fort of intu- itive intelligence in matters of practice, examines carefully the general imitative manipulation, touch, local colour, &c., will, whilft delighted with * The confcientious inveftigation and refearch which all who know the director of the National Gallery may be certain will precede the expreffion of his decided opinion, will naturally renderthat opinion of the very higheft weight, when it may be exprefled, And in having thus conneéted Sir Charles Eaftlake’s name with the prefent fubject, the author wifhes it to be diftinétly underftood that he is himfelf alone refpon- fible for doing fo ; at the fame time he believes that he has given a moft unbiaffed and literal verfion of the prefent impreffions of that very eminent authority. 120 Portraits of the elegant graceful ftyle, the eafe and abfence of effort, which the exe- cution of every point of the genuine furface of the piCture difplays, feel with him, that it is all but impoffible that any copyift, however eminent, could at fecond hand, have rendered the facts of nature in fuch an ad- mirable manner. M. Paffavant remarks of the Montpellier piture, that it has “ pouffé ** au noir” in the manner of moft copies. This moft pregnant remark is the more to be noted from the fact that the prefent work is entirely free from any fuch tendency ; it is, on the contrary, fingularly lightfome and brilliant in afpeét, and in fpite of, in parts, very fevere reftoration, glows with that ‘light within” which copies feldom or never poflefs. In rich- nefs and harmony of colour it may indeed be compared with the clear filvery pictures of the later period of Giovanni Bellini: whilft pofleffing a certain analogy in the general fcheme of colour with the Jeanne d’ Aragon in the Louvre, being equally clear in tone, the colour is in the author’s opinion ftill more delicate and refined. It muft at the fame time be ad- mitted, that the picture has irrecoverably loft its original furface in many important parts, although perfectly preferved in others. A reference to the letters of Lorenzo and his agents Goro Gheri and Baldaflare Turini, given in Gaye (“‘Carteggio, &c.” vol. ii. pp. 145-7), gives indirect fupport to the author’s fuppofition, that the head was painted from a drawing and not direély from the life. Lorenzo was in Rome at the latter end of the year 1517, having doubtlefs gone there from An- cona after his recovery from his wound. It is evident that he then, if not earlier, entered into relations with Raffaelle, who at that time was overwhelmed with weighty undertakings for the Pope, which would naturally leave him but little time for the minuter ftyle of portraiture, (accordingly we fee in this pifture the very beau ideal of a hiftorical or monumental portrait.) The interefting letter, No. 88, in Gaye, from Goro Gheri in Florence to Lorenzo in Rome, dated 6th Nov. 1517, requefts the duke to get Raffaelle, or fomebody elfe capable, to make “la impromptu fua fchizzata in carta col carbone,” and in profile (“an *¢ off-hand fketch in charcoal on paper”), to ferve as a model for the head on his coinage, becaufe, as he fays, that which he already has, in full face, will not do for the purpofe. A letter from the duke, who was then in Florence, to Turini in Rome (No. 89), dated 4th Feb. 1518, directs his portrait, ‘* El ritratto mio” (evidently from other indications a finifhed portrait), to be fent to him as foon as it was finifhed; and from this correfpondence wealfo learn the important facts, that Raffaelle was at this fame time engaged upon the two celebrated pictures—the great Hiftorical Perfonages. 121 Michael and the Holy Family of the Louvre ; alfo for the duke, who had them fent after him to France in the fame year, 1518, and doubtlefs gave them to Francis I. It is extremely interefting to be able to conneé this pi€ture (affuming it to be the original) with two fuch celebrated works of Raffaelle as thefe laft mentioned. The analogy of ftyle, indeed, is very obvious, whilft in refpect to its ftate of confervation, it is at leaft as well preferved as the Saint Michael, the fucceffive deteriorations and fo-called reftorations of which have been recently placed in the crudeft and moft glaring light by the cleaning it has juft undergone, and its fubfequent removal to the “Salon Carré” of the Louvre, where it has been hung in a prominent pofition on a level with the eye of the fpectator. Lorenzo was the fon of Pietro de Medici and nephew of Pope Leo X, born in 14923 he was taken two years afterwards, to Urbino, when his parents were driven from Florence, and was hofpitably fheltered by the Della Rovere family. This kindnefs he afterwards repaid with the blackeft ingratitude. In 1513, Leo X. entrufted to him the government of Florence, having taken it from his uncle Giuliano, whofe better nature was an obftacle to the Pope’s ambitious defigns. No {fcruples, as the latter well knew, were likely to have weight with Lorenzo, who was a depraved and licentious tyrant. Under various pretexts Leo enabled him to drive out the fon of his former benefactor, Francefco Maria, Duke of Urbino, from his hereditary ftates, the Pope conferring them again upon Lorenzo with the title of Duke, &c. Francefco Maria, however, foon rallied the country to his caufe, and made vigorous war on him, and in one of the actions (in 1517) Lorenzo was dangeroufly wounded by a fhot from an arquebus. When he recovered from his wound (in 1518), he was fent to France, in confequence of the negotiations of the Pope, to become fponfor to a fon of Francis I, and alfo to marry a rela- tive of the French king, (Madeleine, daughter of Jean de la Tour de Boulogne d’Auvergne, and Jeanne de Bourbon.) Lorenzo died in the fucceeding year, 1519, from the effects of early excefles, his wife having alfo died fhortly before him in childbirth. The child furvived, and was the celebrated Catherine de Medicis, who afterwards married Henri II, King of France. Portraits of 220 to 270. BERIES of Portraits by the two “ Janets.” It feems defirable to preface the notice of thefe portraits by a few introductory remarks on this family or fchool of painters, whofe real or family name was Clouet. Until very recently little more was known of them than their common furname or /oubriquet of *¢ Janet,” and a number of beautiful portraits, nearly always on a {mall feale, af- cribed with a fort of traditional abfence of difcrimination, indifferently to them or to “‘ Holbein.”? A confiderable amount of information however, has latterly been got together in France concerning them.* It appears that the family was of Flemifh origin. A certain Jean Clouet, who is cited as a painter in the fervice of the Duke of Burgundy at Bruffels in 1475, being the father of Jean (2nd); the latter was pro- bably the firft who fettled in France: he married the daughter ofa gold- {mith of Tours, and became painter in ordinary to the king, Francis I. (‘¢ Peintre ordinaire et valet de chambre du Roy”). He feems to have died in 1541. Jean Clouet (2nd) was fucceeded by his more celebrated, though probably not more talented fon, Frangois, who inherited his father’s official charge, and alfo his familiar furname of Janet. Frangois obtained letters of naturalization from Frangois Premier, and retained his office under Henri IT, Francois II, and Charles IX. He was doubtlefs born early in the firft half of the century, as he had evidently obtained celebrity long before his father’s death. He is laft mentioned in 1570, and is fuppofed to have died about 1572. Some mention is alfo made by M. de la Borde of a brother of Francois Clouet, who is fuppofed to have died young, and who was alfo a painter. Of the portraits hereafter defcribed, Nos. 220, 221 and 222, according to M. de la Borde, fhould be afcribed to Jean Clouet, whilft the author can give Nos. 223, 224, 225, 226, 227, and 228, to no other hand than that of his more famous fon Francois. The feries of five fmall portrait heads, on green backgrounds, in this * See the invaluable work of the Comte de la Borde, “ La Renaiffance des Arts a la Cour de France,” vol. i. p. 1 to 37, and 79 to 150; alfo, “‘ Additions au tome “ premier,” p. 565 to 595, and 629 to 661; and articles in Chenneviére’s “‘ Archives de l’Art Francais,” by Meffrs. de Treville and Salmon, vol. v. pp. 97 and 287-91, alfo vol. viii. p. 44. + “La Renaiflance des Arts, &c.,”’ “ Additions au tome premier,” p. 588, &c. Hiftorical Perfonages. 123 colleCtion, are all moft certainly original pictures, none of them are copies. They are, moreover, evidently all by the fame artift; a fa& proven with even the greater certainty from the natural and progreflive changes of manner vifible in the later as compared with the earlier fpecimens. Although with the utmoft deference to fo high an authority, the author cannot but think that M. de la Borde has been fomewhat too fceptical in judging of this clafs of portraits.* Whilft truly deeming it impoffible that Francois Clouet fhould have been the painter of anything like the number of {pecimens of this well-known type ftill extant, M. de la Borde feems even to exprefs doubts whether any of them are his work. It is all but certain, however, that a confiderable number of Frangois Clouet’s works are {till preferved; and as the portraits now in queftion are one and all admirable works of art, by the fame French artift, always fuppofed to be Frangois Clouet, inferior only indeed to the works of Hans Hol- bein, it feems impoffible to conclude otherwife than that thefe at leaft are really works of the mafter himfelf, and not of the Corneilles, Foulons, or Dumonttiers, to whom, doubtlefs, the great number of imitations and obvious copies of works of this clafs is due.t 220. GORTRAIT of Eleonore d’Autriche, Queen of Francis I; afcribed to Jean Clouet (Janet the elder). Height 2 feet 5 inches, width 1 foot 11 inches. A “three-quarter ’’ portrait, life fize, painted on panel, on a dull green background. ‘The queen is looking towards the left; fhe holds an orange in her hands. Her coftume is in the Spanith fafhion, viz. black drefs with wide fleeves, embroidered with feed pearls, flathed and * See “ La Renaiffance des Arts,” pp. 144 and 145, vol. i. + In the interval which elapfed betwixt the publication of the firft volume of the “ Renaiflance des Arts” and that of the “ Additions” to the fame volume (five years, 1850-55), M. de la Borde feems to have greatly modified his views refpeéting the genuine pictures of Francois Clouet, and to be inclined to regard many as true which he had formerly referred to pupils and imitators, The queftion is really, however, a very difficult one; a Catalogue raifonnée and comparifon of the numerous pictures of the Janet family and {chool, extant in the various collections of France and England, fhould be undertaken by fome competent French connoifleur ; it would be the only effectual bafis for a proper claffification of their works. ———— | | 124 Portraits of puffed with white fatin. She wears a magnificent necklace of large jewels, and alfo a ftring of pearls hanging down upon her ftomacher. On her head fhe has a flat black cap or bonnet, with a net or caul of gold tiflue under it; the cap, which is worn on one fide, is richly adorned with jewels, a very large pendent pearl being very confpicuous. In the wardrobe account or inventory of Henry VIII.’s poffeffions, made in the firft year of the reign of Edward VI. (1547), (MSS. Harl. 1419, in the library of the Britifh Mufeum), amongft the pi€tures in St. James’s Palace, occurs “a table of the Frenfhe queene Elonora in the ‘* Spanyfhe arraie, and a cap on her head, with an orange in her hande, “ (fifter of the Emperour. )” The prefent picture is doubtlefs either the one here mentioned or a replica of it, and was probably painted about the period of her marriage with Francis I. (1530.) A fmall picture (152 inches by 12 inches), alfo afcribed to Janet, was in the Bernal Collection (fale catalogue, No. 926; with an engraving). Although fubftantially the fame portrait, it differs in many minor particulars. In the Bernal picture the queen holds a letter in her hands ; the coftume, however, is nearly identical. M. de la Borde notices it in “ Additions, &c.” p. 633. Another portrait of this queen, alfo afcribed by M. de la Borde to Jean Clouet, is at Hamp- ton Court. As in the Bernal pi€ture, fhe holds a letter. Eleonore d’Autriche, daughter of the Archduke Philippe d’Autriche, and fifter of Charles V, was born at Louvain in 1498, married firft, in 1519, Emmanuel, King of Portugal, who died in 1521, leaving her with two children. In 1530 fhe was married to Francis I; this union having been ftipulated by Charles V. as one of the conditions of the liberation of Francis from captivity. Becoming a fecond time a widow in 1547, fhe retired firft to the Low Countries, and afterwards to Spain, where fhe died in 1558. 221. HQUESTRIAN Portrait of Frangois Premier, King of France; afcribed to Jean Clouet; painted in oil, on panel. Height 11 inches, width 82 inches. The king is mounted on a white horfe, with black legs, mane, and tail. He has on a fuit of black armour, richly emboffed or damafcened with filver in elaborate patterns of arabefque ornament. In his right Fiftorical Perfonages. 125 hand is a gilded mace, and he holds the bridle of the horfe with the other hand, refting it at the fame time on the pommel of his faddle. He is bareheaded, and looks towards the fpeCtator. The faddle and houfings of the horfe are crimfon and gold, and on the horfe’s head is a lofty plume of light yellow, pink, and black oftrich feathers. The horfe is ifluing from a triumphal arch decorated with fluted marble columns, and walks towards the left ; the horizon, low down in the picture, is bounded by bare blue hills. This beautiful portrait is one of a feries of the kings of France whom the two Janets, father and fon, fucceffively ferved. They were probably repeated more than once. ‘The prefent {pecimen is unquef- tionably an original pi&ture. It is painted in precifely the fame manner as the portrait of Henri II. (No. 222), and evidently by the fame hand. (Francis I. was born in 1494, and died in 1547.) M. de la Borde (‘‘ Renaiflance des Arts, &c.” vol. i. p. 18) notices two other repetitions of this portrait. All three have interefting variations. In the prefent example the king is bareheaded ; in the Florence picture he wears a plumed cap or bonnet; and in the Sauvageot picture, which is painted in diftemper, a helmet. M. de la Borde’s interefting remarks are as fol- low :— “ Le portrait a cheval repréfente le roi a l’'Age de 30 ans; le portrait en bufte doit “* étre poftérieur de 3 or 4 ans, c’eft-a-dire que lun a été peint vers 1524, l’autre vers DO Wiehe “* Frangois 1° eft a cheval, couvert de fon armure de guerre, la téte coiffée d’une “* toque a plume, une maffe d’armes dorée 4 la main droite ; il tient les guides de fon ** cheval qui piaffe fous fon noble cavalier en marchant vers la gauche. L’armure en “ fer damafquinée d’argent, le harnachement du cheval en rouge, le cheval gris a cri- “* niére noire, race efpagnole. A droite, un arc de triomphe; pour fond, un payfage. “ Haut. 32 cent. larg. 26. “ Ce tableau eft placé dans la galerie de Florence fous le nom de Jean Holbein ; ‘nous expliquerons plus loin Vorigine de cette erreur et la raifon de {a perfiftance. “ C’eft une délicieufe peinture frangaife, toute flamande encore dans fa vérité, dans fa ‘‘minutie, un peu gothique auffi dans fa filhouette de bas-relief, mais vivante par “ Yobfervation heureufe, la finefle habile des détails, l’éclat argentin du coloris et la « fimplicité de l’effet. “ Ce portrait a été reproduit plufieurs fois dans l’atelier du maitre, et l’une de ces “* répétitions s’eft confervée dans la collection de M. Sauvageot, je pourrais dire dans “fon mufée, fi les dimenfions du local et la modeftie du favant propriétaire ne me “ défendaient toute autre défignation. La miniature fur vélin de grande dimenfion “ porte en général a la recherche et s’oppofe 4 V’accentuation. Jean Clouet n’avait “* pas befoin d’étre pouflé dans ce fens; mais, malgré ce défaut, on ne peut qu’admirer “ Ja finefle des traits de ce vifage bien connu, l’habileté des détails, la favante anatomie ‘« du cheval, la vérité de fa téte, le feu de fon ceil. Sans doute le peintre trahit dans “ce travail, encore plus que dans fon tableau a Vhuile, l’école du miniaturifte dont il “ eft forti, mais on fent en lui l’étoffe d’un peintre.” Portraits of 222. (QUESTRIAN Portrait of Henri II, King of France ; afcribed to Jean Clouet; painted in oil on panel. Height 103 inches, width 8% inches. The king is mounted on a black horfe walking towards the right (both horfe and rider are feen in profile); he wears the coftume of a “ Capitaine de chevaux légers,” habited in a fuit of black armour richly damafcened with {croll foliage, apparently chifelled in relief in filver. The horfe is richly caparifoned, all the trappings and other details being white with gold braidings and ftuds.* The king has a gilded mace in his right hand, and is bareheaded, his hair being cut very clofe.. The horfe’s head is decorated with a bunch of white and green oftrich plumes. In the background is a portion of a wall or perhaps a gateway, from which the horfe and its rider are fuppofed to be iffluing. The landfcape back- ground fhows a great expanfe of blue fky, the horizon being low down in the picture, and formed by diftant mountains. An original drawing for this picture was formerly in the colleCtion of M. Alexander Lenoir, who publifhed it in the ‘“‘ Mufée des Monuments “‘ Francais, &c.” 8, pl. 276. It (the drawing) is alfo well engraved in out- line in Willemin’s “‘ Monuments Frangais, inédits,” vol. 2, p. 239. It differs flightly in fome details from the prefent picture, principally in that the king wears a flat cap or bonnet, whereas in the picture he is bare- headed.t This picture was purchafed at the fale of the late King of Holland’s * According to Brantéme, Henri II.’s livery was black and white—‘‘a caufe de “ Ja belle veuve qu'il fervait ” (Diane de Poitiers). + Willemin, texte, p. 45, notices the drawing as follows :— “Le portrait de Henri II, que nous avons fous les yeux, témoigne de cette exacti- & tude et de ces foins minutieux. II eft impoffible de rendre avec un fini plus pré- “ cieux tous les détails de l’armure du monarque, de l’équipement et du caparagon du “ cheval. Henri II. eft ici repréfenté dans la coftume et l'appareil généralement ufités “ pour faire fon entrée dans quelque bonne ville de fon royaume. Un deffin de la col- « JeGtion de Fontette le repréfente a peu prés de la méme maniére, faifant fon entrée a “ Rouen, en 1550. Le riche caparacon du cheval, a laniéres et houppes flottantes, “ était complétement dans le gotit et les ufages du temps, et l’on ne peut lire fans “ étonnement, dans la defcription de l’entrée que nous venons de citer (c’eft la Déduétion « du fomptueux Ordre, &c. Rouen, 1551, in4°), le détail minutieux de tous les ornements, « proderies, floccars et pennaches qui entraient dans la compofition d’un pareil équipe- «ment. La riche armure cifelée que porte Henri IT, et qui, fuivant Pufage de fon épo- “« que, s’arrétait aux genoux, reflemble, fous quelques rapports, a une magnifique armure “ confervée au Mufée royal d’artillerie, et connue fous le titre de l’armure aux lions.”’ Hiftorical Perfonages. 127 ColleGtion, and was then called a portrait of Don John of Auftria. M. de la Borde notices it as follows, ‘ Renaiflance des Arts,” &c. t. i. p. 148, note :-— ** ¢Don Juan d’Autriche, dans une attitude triomphante, eft repréfenté montant un cheval noir ; il a Ja téte découverte, il eft vétu d’une armure émaillée et cifelée en “ “argent. II porte une maffue en or élegamment travaillée. Son cheval eft paré de “¢ “riches harnais, le bridon eft garni de plumes au-deffus de la téte. Le fond de ce “tableau eft un pan de mur qui fe détache fur le ciel. Le lointain eft fimplement com- “ pof€, et le coloris en eft faible.” (Defcription des Tableaux, parC. J. NiEUWEN- “ HUIS, in 8°, 1843.) “ Ce portrait n’eft pas de Frangois Clouet et ne repréfente pas Don Juan d’Autriche. ** Tl eft de, Jean Clouet, il a été fait pour fervir de pendant au portrait de Francois 1° “ (décrit p. 18), et il repréfente Henri II. 4 Page de 29 ans, en 1546. Mémes dimen- ‘* fions, méme armure, méme équipement. Seulement la téte du prince eft découverte, “* fon cheval, de robe noire, eft harnaché de broderies blanches, et il marche de gauche “4 droite. A ces différents titres, ce petit tableau mérite toute notre attention, et je “n'ai relégué fa defcription dans cette note que parce il porte les traces d’une main “* fatiguée par lage, et qui ne pouvait fervir a caractérifer complétement la maniére du “maitre. En effet, ce portrait n’atteint que médiocrement la reflemblance; la téte “ eft petite et maigre, le modéle pauvre et le ton plus faible encore que dans le portrait “de Frangois 1%, Le peintre n’a retrouvé fa vigueur de jeuneffe que pour rendre, “ avec fa furprenante habileté, toutes les broderies du harnachement et la damafquinure “* @argent fe détachant fur le fer noir de ’armure. Une main maladroite a repeint eolerciel “ Si, comme on le murmure, la collection du Roi de Hollande doit devenir le proie “* des enchéres, il eft 4 fouhaiter que ce portrait de Jean Clouet foit acquis pour le * Louvre. Aucun autre mufée ne peut en apprécier, auffi bien que nous, les mérites “* de toutes fortes.” ee The author cannot agree with M. de la Borde that this exquifite little picture bears any traces of a fenile hand, that ‘‘ the head is meagre ‘in drawing, or too fmall, ort hat the modelling and tone are poor and “¢ thin.” On the contrary, it is in his opinion, quite equal, in thefe and all other refpects, to the portrait of Frangois I, and unfurpafled by any portrait of the Janets the author has ever feen. In truth of charaéter, living expreffion, and admirably beautiful execution, this head of Henri II. is excelled only by fome of the fuperb miniature heads of Holbein, fuch as Nos. 193 and 194 in this collection. It is fcarcely neceflary, however, to obferve that a certain hardnefs and poverty of afpeét are in- feparable from the treatment of a head in ftriét profile, efpecially, alfo, when, as in this inftance, it is boldly detached on a background of clear blue fky ; but when thefe difficulties are properly taken into account our admiration of the elder Janet’s(?) technical fkill and tafte, as fhown in the compofition and execution of this portrait, is even greatly increafed. In the ‘‘ Additions au tome premier” of the “ Renaiffance des Arts,” (p- 574), M. dela Borde, after an interval of five years, under the heading, ** Portraits équeftres de Frangois 1° et de Henri deux,” returns again to the confideration of this pi@ure as follows::— 128 Portraits of “J'ai éprouvé un véritable embarras devant le portrait équeftre de Henri deux “¢ faifant le pendant du portrait de Francois 1° de la galerie de Florence. A l’époque “ oi je le décrivis, il fe trouvait dans le mufée du Roi de Hollande, il a été vendu de- « puis, avec cette magnifique collection . . . Ce portrait pourrait bien n’étre que la “ yépétition en petit d’un grand tableau que Francois Clouet aurait peint en 1547, a “ ?époque de l’avénement de Henri IT. au tréne, en fe conformant 4 une donnée “ traditionelle, et en s’efforgant de donner a fa maniére tout le folennel de la peinture “ officielle. Maintenant que la date de la mort de Jean Clouet, le fecond des quatre <“ Clouets, peut-étre placée en 1541, il faudrait pour lui attribuer ce portrait fuppofer “ gw il Paurait peint en 1540, et Henri II. n’avait alors que vingt-deux ans. Le “ portrait indique un homme plus 4gé, méme en tenant compte de la force et de la “ formidable encolure qu’eut, dés fa jeuneffe, le fils de Frangois 1°.” M. de la Borde ( Additions, &c.” p. 570,) further adduces a paflage from an obfcure contemporary French writer, Eftienne Jodelle, in which the life-fized piGture is alluded to as follows :— “ Henrici equitantis domi, fic nuper 4 Janetio Parifienfi excellentiffimi in majore “ tabula depitti.” Although the author has followed M. de la Borde’s opinion, previoufly exprefled, that both this picture and the Frangois I. are by Jean Clouet, he fully fhares the mifgivings indicated in the previous paflage, which fhows an evident fufpicion in the mind of the writer, that, after all, they are really by Francois Clouet the fon. This fufpicion, moreover, is greatly ftrengthened by the fact that, although painted in diftemper, the picture next to be defcribed (equeftrian portrait of Charles 1X.) is apparently by the fame hand as the other two ; and it is needlefs to obferve that Janet the elder could not by any poffibility have painted Charles IX. The fubje&, however, is full of difficulties. Henri II. was born in 1518, fucceeded to the throne on the death of Francis I. in 1547, and died in 1559. O22. HQUESTRIAN Portrait of Charles IX, King of France; painted in water colours on vellum; by Francois Clouet, (Janet the younger.) Height 11 inches, width 84 inches. This is probably the lateft of the feries of equeftrian portraits of the kings of France, painted and doubtlefs repeated more than once, by the two? Janets. Unlike Nos. 221 and 222, this of Charles IX. is painted in water colours, in the ufual miniature ftyle on vellum, ftrained over an oak panel. The king is reprefented on a grey horfe, riding towards the Eiiftorical Perfonages. 129 left, the background formed by the loop-holed wall of a fortrefs. He wears a crimfon fatin doublet and hofe, and fhort black cloak embroidered with gold, a frill round his neck, and pendent chain of large cluftered pearls, black cap or bonnet with a gold band, and {mall oftrich plume. The faddle-cloth and houfings of the horfe are black and gold, the former diapered with broad diagonal bands /emée of fleurs-de-lys. "The face, turned towards the fpectator, is fingularly truthful and lifelike, and is marked by a fomewhat auftere melancholy or preoccupied expreffion. This fine mi- niature is moft delicately painted, and is in the moft perfect ftate of pre- fervation. It was formerly in Mr. Harmann’s Collection. Two companion portraits, alfo painted in water colours, and evidently “¢ en fuite”’ with the prefent, were in the Bernal Colle¢tion, (Nos. 1135 and 11363) they were Henri II. by Janet, ina green drefs and black cloak, on a white horfe covered with crimfon trappings, and Henri III. (by Janet ?) in a black drefs, on a brown horfe. They were purchafed at the fale by Mr. Colnaghi, from whom they were acquired by His Royal Highnefs the Duc d’Aumale. Charles IX. was born in 1550, and died in 1574. 224. ZORTRAIT of the Comte de la Marque; afcribed to Frangois Clouet. Height 7 inches, width 53 inches. A fmall head or three-quarter portrait, on a light azure or green back- ground, of a gentleman, apparently about thirty years old; he has a red or fandy coloured broad forked beard, mouftache, whifkers and hair of the fame colour, and light blue eyes. The coftume is that of circa 1540-50, viz. black jerkin, white fatin ? wide fleeves, and flat black cap with gold points, and a {mall black plume. At the back of the panel is written in an ancient hand, on paper pafted on :— “ Monfeigneur le Comte de la Marque, Seigneur de Brainne et autre “ lieux, oncle de Madame de Gonzague, abefle d’Avenoy, en 1584, de “¢ qui vient le prefent portrait, que m’a efté donné par l’aumonnier de “© Madame l’Abeffle d’Avenoy en 1639. A Bavilly Chanoine de St. ‘© Symphorien.” From the Strawberry Hill Collection. Ss Portraits of 225. ZORTRAIT of ‘* Claude de Clermont, Sieur de Dam- pierre;” afcribed to Frangois Clouet. Height 7+ inches, width 53 inches. Small head or three-quarter portrait of a gentleman of about thirty or five-and-thirty years old; he is of blond complexion, has blue eyes, and a forked red beard, mouftache of the fame colour, the hair darker. The coftume is of circa 1540-50, viz. a black doublet trimmed with gold braid and filver buttons, black cap likewife trimmed to match, alfo with a gold medal and two fmall white oftrich feathers tipped with black,—plain green background. From the Strawberry Hill Colleétion, 226. SORTRAIT of a Gentleman, unknown; afcribed to Fran- _ cois Clouet; on panel. Height 63 inches, width 51 inches, He is apparently aged about thirty-five or forty, has a bufhy red beard, whifkers and mouftache, coftume of circa 1550, viz. plain black frieze doublet and black cap or “‘ barrette,” without any ornaments: the back- ground is green. ‘The general tone of this picture is rather darker, and the execution fomewhat more forcible, than that of the preceding picture; it is, however, certainly by the fame hand. From the Strawberry Hill Collection, (lot 60, 20th day,) defcribed as a © Fine head by Janet”’ oor, ORTRAIT of a Gentleman,unknown; afcribed to Fran- gois Clouet; on panel. Height 63 inches, width 54 inches. This portrait, obvioufly by the fame hand as the three previous ones, Hiftorical Perfonages. 131 reprefents a man of about thirty years old, with a fmall beard and whifker, and incipient mouftache. He is in half-length, with the hands feen, wearing a plain black drefs and cap, holding his gloves in one hand, with the other in the folds of his black cloak. The coftume is appa- rently of about 1550-60, and the picture altogether is, perhaps, a rather more recent performance than the laft ; it is equally forcible in tone with the previous picture, and is likewife painted on a green ground. From the Strawberry Hill Collection, (day 20, lot 53,) called in the catalogue, (but evidently in error,) “A fon of Sir Thomas More, by Holbein.” 22.8, SORTRAIT of a Gentleman, unknown; afcribed to Francois Clouet; circa 1560; on panel. Height 9% * inches, width 7 inches. This perfonage, fimply habited in a black drefs and holding a gold ring in his hand, is of fomewhat ftout habit; he has the air of a doctor of laws or medicine ; he wears a flat black cap or barrette, is without beard or mouftache, and his hair is cut clofe or {quare acrofs his forehead in the ancient fafhion, falling down long on each fide. The background is green as ufual, and the execution and tone of the picture correfpond in every refpect with the two previous fpecimens. It was purchafed at the Straw- berry Hill fale (lot 65, 20th day), being defcribed as a “¢ Portrait of Lu- “ther.” This picture, with another, was a prefent to Walpole from his great nephew George, Earl of Cholmondeley. On the back of the panel is written in an ancient hand:—‘¢r11. 2 data, Excel Phpis Valliftari “ avunculi munere.”” And alfo in more recent characters :—‘ Agoftino “ Landi, Princ de Valliftari de Taro—tableau du palais de Monaco “ Phpis Valiftari munus.” 220. FAMILY Portrait group of Catherine de Medicis and four of her Children—Charles IX, the Ducd’ Anjou, afterwards Henri III, the Duc d’Alengon, and the Princefs Marguerite, afterwards Queen of Navarre ; painted in 132 Portraits of 1561; afcribed to “ Janet;” painted on canvas. Height 6 feet 8 inches, width 4 feet 74 inches. The figures, of {mall life fize, are all reprefented ftanding at full length on a ftep or low dais. Catherine, in a widow’s black drefs, is on the left of the pi@ure; fhe holds Charles IX. by the hand, her left hand reft- ing on his fhoulder. Befide the young king ftands his brother, the Duc d’Anjou, afterwards Henri III, holding a letter or fmall paper book in his right hand and a white handkerchief in his left. The young Duc d’Alencon ftands near his mother on the extreme left, with one foot only on the ftep ; and laftly, the Princefs Marguerite is feen in the background betwixt her two elder brothers. The coftume of the three boys is exactly alike, viz. doublet, flafhed and puffed trunk hofe of tawny yellow laced with filver, and yellow tight- fitting under-hofe ; the doublet and trunk hofe are embroidered with ver- tical bands filled in with diagonal ftripes and fimall flafhings, a fhort falling cloak of the fame colour and pattern, of the ufual fafhion of the period, and a yellow cap ornamented with pearls and a {mall white and yellow plume, complete the fuit. The king and the elder duke wear the jewel of the order of St. Michel, pendent on their breafts from a yellow {carf. The princefs is dreffed in a greenifh blue robe, open in front and orna- mented with a wide border of gold embroidery, underneath it a white fatin petticoat, round her waift is a band of large jewels, a long ftring of the fame falling vertically down in front nearly to her feet, ferves to fuf- pend a {mall flagon vafe-fhaped pomander ; on her head is a rich band or coronet of jewels. The pi€ture has a plain dark background, and on the ftep under- neath the feet of the king is infcribed in bold letters, ANN. #TA. $V# . XI., an indication which correfponds exactly with his apparent age, and fixes the date of the picture (1561). It was formerly in the Strawberry Hill Collection (21ft day, lot 89), and is defcribed by Mr. Robins in the fale catalogue as :— « A fplendid gallery piéture, whole length portraits of Catherine de Medicis and “ her children, Charles IX, Henri III, the Duc d’Alengon, and Marguerite, Queen “ of Navarre, by Janet :”"— “ This extraordinary and powerful picture was purchafed from Mr. Byde’s Collec- “ tion in Hertfordfhire. It difplays, with the greateft accuracy, the rich coftume of “ the period, and, as a work of art, may be pronounced matchlefs. A ftrong likenefs, “ it will be obferved, is vifible in the countenances of the children, which prefent a “ fine inftance of the early period of portrait painting.” A fimilar pi@ture is extant in the Caftle Howard Collection. It is thus Eiftorical Perfonages. ie defcribed in Dr. Waagen’s “ Treafures of Art in Great Britain,” vol. iii. pe3222— “* Catherine de Medicis, Confort of King Henri II, with her children, afterwards “‘ King Francois II, Charles IX, and Henri III, and the Princefs Marguerite, “* whole length figures, the fize of life, very carefully painted in his pale colouring, and “ efpecially delicate in the hands. A more important piture of this, the beft French “portrait painter of that age, than any that the Louvre poffefles.” M. dela Borde quotes Dr. Waagen’s defcriptions of this picture, ‘¢ Re- “ naiflance, &¢.” vol. i. pp. 110 and 146. After alluding to certain loft pictures of Francois Clouet of life fize, he fays :— “Il faudrait voir ce tableau. $’il eft de Janet, nous pourrons mieux nous figurer pee : 3 2 “ce qu’étaient les grandes peintures du cabinet doré dans le Luxembourg.” In the “¢ Additions au tome premier,” p. 592, publifhed five years afterwards, he reverts again to this picture as follows :— “ Je n’ai point retrouvé les tableaux du Luxembourg, c’eft un mécompte, mais j’ai été jufqu’au fond de Angleterre, 4 Caftel-Howard, dans Punique but de voir ce grand tableau de cing figures repréfentées par Frangois Clouet, en pied et de grandeur “naturelle, Ce fut un fecond mécompte. Ce tableau eft placé au-deflus d’une cheminée et encaftré dans la muraille. La reine, dans fon coftume de veuve, mais avec des traits que Page n’a pas encore fatigués, occupe fur un fecond plan la gauche “du tableau. Elle appuie fa main gauche fur l’épaule de Francois II. qu’elle préfente pourainfi dire du haut de fon eftrade; prés de lui, a la droite du {pectateur, fe tient de face le prince Charles IX ; plus en arriére, la princeffe Marguerite, et fon le premier plan le jeune Henri IIT, montant de fon pied gauche fur l’eftrade, en fe tournant prefque de face vers le fpestateur. Le tableau a en hauteur 6 p. 6 p. en largeur 5 p. 4 p. (mefure anglais), “ Ce n’eft pas une ceuvre de Francois Clouet, c’eft de la peinture plate, fans éclat, fans vigueur, fans confiftance. Les reflemblances des perfonnages font vraies, mais elles font fans vie; tous les yeux reffortent en noir au milieu de carnations platrées; le deffin des mains exagéré, {uivant la mode de Fontainebleau, Pélégance des doigts effilés; des détails de coftume fans peints a l’effet, mais quand on regarde de prés, on voit qu’ils font groffigrement rendus. C’eft auffi en prenant une échelle pour mieux examiner cette peinture, qu’on voit combien elle eft lachée et délayée, le grain de la toile percé de longues trainées de couleur. Tooutefois ces critiques s’adreffent 4 opinion que attribue cet ouvrage au peintre Janet; autrement, je dirais que c’eft un tres curieux et trés eftimable tableau de quelque peintre Francais devenu a moitié Italian. Je donnerai une idée exaéte de fa maniére en renvoyant au portrait “de Henri quatre enfant, du Mufée de Verfailles. Celui-la auffi fut long temps at- tribué 4 Janet. Tous deux participient de ce mélange de qualités eftimables, mais contraires, qui fe nuifent en s’affociant.” In a note to the above M. de la Borde fays that the Caftle Howard picture came from Strawberry Hill. It is needlefs to fay that this is a miftake, the prefent being the real ‘¢ Strawberry Hill” pi@ture, where it was purchafed at the fale by Mr. Scarifbrick of Scarifbrick, at the recent difperfion of whofe extenfive gallery of pictures it was acquired by Mr. Magniac. In all probability it, and not the Caftle Howard picture, is the original work; at all events both are fubftantially the fame compofi- tion. The infcription recording the age of the young king Charles IX, 134 Portraits of however, feem to be wanting on the Caftle Howard picture. M. de la Borde, moreover, following Dr. Waagen, has fallen into a notable error refpecting the perfonages reprefented; the eldeft of the princes is not Francois IT. but Charles IX, the other three being Henri II], the Duc @ Alengon, and the Princefs Marguerite, as rightly ftated by Walpole ; the proof of this is very obvious. Catherine is reprefented as a widow, evidently therefore pofterior to the year 1559, in which year her hufband died, whilft at the fame time the p/eudo Francois I. was, according to the infcription, in his eleventh year when this picture was painted; he was, however, fixteen years old at the death of his father in 1559 ; whereas, fuppofing the eldeft boy to be Charles IX, which is certainly the cafe, there is no longer any difficulty. Charles came to the throne on the death of his brother Francois in the following year 1560, being then ten years old ; and as the picture was painted when he was eleven years old, we arrive at the year 1561, at which time Catherine had been two years a widow. The royal line of Valois came to an end with the individuals here reprefented, all the children of Catherine having died without iffue. This picture is, indeed, a moft expreffive hiftorical monument ; the attitude of the queen mother vifibly reprefents her as the guardian and protector of the young king, and it was about the time of the execution of this picture that her political fupremacy, the deteftable fruits of which fo long devaf- tated and demoralized France, really commenced. It may perhaps be ufeful to note that Catherine de Medicis was daughter of Lorenzo de Medicis, Duke of Urbino, her mother being a French princefs ; born in 1519; fhe was married to Henri II. in 1533 (before his acceffion to the throne); that for ten years this marriage was unfruitful; at the end of which period fhe became a mother, and bore the king in fucceffion ten children in as many fucceffive years, moft of whom died in their infancy ; three of her fons reigned in fucceffion (Francois II, Charles IX, and Henri III). She was perhaps the real author of the Maffacre of St. Bar- tholomew, and died in 1589. 230. ZORTRAIT of Francois de Lorraine, Duc de Guife ; by a contemporary French (?) painter ; in oil, on panel. # Height 84 inches, width 6 inches, The duke is reprefented at full length dreffed in white fatin, laced or trimmed with gold; in his right hand he holds his gloves, and in his left Hiftorical Perfonages. 135 his long rapier. Over his fhoulder he wears a fhort black cloak, and he has a black cap or barrette with a {mall white plume, on his head. A maflive gold chain wound twice round hangs on his breaft, with a gold medal, apparently that of the order of St. Michel, pendent from it. The background reprefents the interior of a hall or gallery, a pedeftal and fluted Corinthian pilafter may be remarked on the right, and two large green curtains are pendent, one on each fide. ‘This beautiful little portrait is in all probability a repetition reduced from a life-fize picture. It is painted with great maftery, and with more ‘‘zmpa/fo” than ufual with the French portrait painters of the period, and in a clear filvery tone. It would be ufelefs to condenfe in a few lines the biography of this celebrated hiftorical perfonage. It is only neceflary to note, that this Duke Frangois fhould not be confounded with his almoft equally cele- brated fon Henri. He was born in 1519, and was flain at the fiege of Orleans in 1563. ao ie ORTRAIT of Henri, Duc de Guife, called “ La Ba- lafré ;? on a {mall oval panel. School of Francois * Clouet. Height 5% inches, width 44 inches. This interefting little portrait, acquired from the Bernal Colleétion, reprefents the duke ftanding, his right hand refting on an opened map of a fortified town, fpread out on a table covered with a blue cloth trimmed with gold lace and fringe; a blue velvet curtain bordered with gold fringe on the right. “The duke wears a {uit of rich emboffed half armour ; the ground gold, the arabefque ornaments, in which equeftrian figures are very confpicuous, black. He wears a white fcarf over the right fhoulder, and white fatin hofe. On the ground near him is his helmet, black and gold, like the reft of the fuit. This picture was afcribed to Pourbus in the Bernal catalogue, but it is evidently by one of the numerous French portrait painters of the Janet f{chool. It was probably painted either during the duke’s lifetime (circa 1580-88), or fhortly after his murder at the laft-named date. Henri de Guife was the eldeft fon of the Duc Frangois, and was born in 1550. ‘The circumftances attending his murder by order of Henri III. are alluded to in the notice of the Cardinal, his brother. (See page 53.) s Portraits of af F 23:2. WORTRAIT of Blaife de Monluc, Marfhal of France ; on panel; fchool of Janet. Height 84 inches, width " §2 inches. He is reprefented in a buff jacket or doublet trimmed with red ; fall collar and a gold chain with a medal attached, round his neck. On his head is a black cap or barrette, with a gold band and a {mall black plume in it. He has a ftern weather-beaten countenance, grey beard and mouftache, and is apparently betwixt fixty and feventy years old. At the bottom, on a band, is painted in characters of the time, “ Blaife de *¢ Monluc, Marec. de Fr.” Monluc was a celebrated foldier of fortune, engaged in nearly all the French wars of the firft half of the fixteenth century. Born in 1502, he entered the army at an early age as a common foldier, went through every fucceffive grade and was finally made marfhal of France at the fiege of Rochelle in 1573. He died in 1577- From the Strawberry Hill Collection. bees SORTRAIT of Marguerite de Valois, Queen of Na- varre; painted in 1570; fchool of Francois Clouet ; on panel. Height 124 inches, width g+ inches. This moft genuine and well preferved old French portrait is an excellent example of a clafs of pictures generally afcribed to Janet. ‘ Interefting as thefe pictures are however, highly finifhed and precife in execution, delicate in colour, and when perfectly ,preferved, as in this in- ftance, of a fine enamelled impa/to, which, from its brilliant fuavity of tone, is in itfelf very attractive, they are ftill far inferior to the genuine works of either of the Janets. The author is not fufficiently acquainted with the individual characteriftics of the later French portrait painters of the 16th century to afcribe the picture to any mafter in particular. It feems to him, however, to have confiderable analogy with the crayon heads of the Dumonftiers, and may very likely be by one of thofe fertile limners. 37 In the right hand upper corner of the picture is the date 1570, evidently original ; it was therefore painted in Marguerite’s eighteenth year, two years before fhe married Henri de Bearn. It is a head or buft portrait, down to the waift. She is dreffed in a quaint, tight-fitting drefs of white fatin, trimmed with pearls, and has a fingular heart-fhaped gauze ruff, and puffed lace frill round her neck. Her hair is dreffed in fmall crifped curls, with a cap or bonnet of gauze of the fame pattern as the ruff. This celebrated lady was the daughter of Henri II. and Catherine de Medici. Bornin 1552, fhe married, in 1572, the Prince de Bearn, after- wards Henri Quatre, from whom fhe was afterwards legally feparated. She died in 1615. 2 AG VAL Miniature of a Lady, unknown; in oil ; by Sir An- tonio More; circa 1550. Height 2 inches, width 12 inches. A delicate little miniature, painted on an oval filver plate. It is unqueftionably from the hand of Sir Antonio More; and from the cof- tume and type of phyfiognomy, evidently reprefents a Flemith lady. She is of blond complexion, aged about twenty-five or thirty, wears a black drefs, fmall linen fall collar with a band of black embroidery, and a flat black cap or bonnet, with a gold band and medal in it, over a net or caul of gold tiffue, which confines her crimped blond hair. Sir Antonio More was born at Utrecht in 1519 (?), and died in 1576(?). From Lord Camden’s Colleton. FINIS. CHISWICK PRESS :—-PRINTED BY WHITTINGHAM AND WILKINS TOOKS COURT, CHANCERY LANE. > ‘ t ' 4 é + r 4 ‘ iG r)