SOUTH KENSINGTON MUSEUM EXAMPLES OF THE WORKS OF ART IN THE MUSEUM AND OF THE DECORATIONS OF THE BUILDING WITH BRIEF DESCRIPTIONS PUBLISHED, WITH THE SANCTION OF THE SCIENCE AND ART DEPARTMENT BY SAMPSON LOW, MARSTON, SEARLE, AND RIVINGTON, CROWN BUILDINGS, 188, FLEET STREET, LONDON. -urnini— ku)„, , rrr l~ ^-r »U.vi . vr, .. , r v 4_jU MMUHBIIMUlJg Mvjmmiiy WM Mm - 1 1 ■ *§•,; T^HE present volume contains representations of nearly eighty speci¬ mens of works of art, selected from the collections in the South Kensington Museum. These are printed from etchings which have been made by the students—past and present—in training as Art teachers, in the etching class at the South Kensington Art schools since about the year 1865, under the direction, first, of the late Richard J. Lane, A.R.A., then of T. O. Barlow, A.R.A., and now of Mr. A. Legros. Besides these etchings illustrations are given of portions of the buildings and decorations, several of which have been engraved on wood. The chief object aimed at by the Department of Science and Art in this publication has been to put within the reach of art-students and work¬ men useful or suggestive examples of design and workmanship, at the lowest possible price. An adaptation of lithography has enabled the publishers to meet the views of the Department. Some of the works of art which are engraved in this volume are of the highest excellence; such, for instance, as the silver mounting of the agate cup, No. 63. Another specimen of English silver work equally good is interesting and historically important, as showing the estimation in which Chinese porcelain was held in England so far back as the reign of queen Elizabeth. Other examples have been selected from ancient and mediaeval works in ivory (especially the famous leaf of the Roman diptych of the second century, No. 23), from chests and cabinets in wood, from Italian bronzes of the fifteenth and sixteenth centuries, and from ecclesi- astical metal work of the middle ages. With reference to this last, the brief remarks made in the description of the silver pyx, No. 74, will explain the reason why so large a proportion of works of art from the tenth to the sixteenth century is supplied by what has been preserved in the treasuries of churches and monasteries. A few art objects have been included not so much as excellent and valuable in themselves but as likely to give hints to workmen in more respects than one. For instance, the brass plaque, No. 22, and the covers of the ivory writing tablets, No. 75 One very celebrated piece of Japanese work in iron is engraved, No. 40. CONTENTS. Title Page. Doorway from Genoa. Marble. By L. di Romenio da Campione. A. D. 1519 . . . . Woodcut. Di-awn by G. W. Rhead. West Staircase, leading to the ceramic gallery Cruet. Crystal and silver gilt Credence or Sideboard. Carved oak Bowl or Box. Bell-metal Jug. Porcelain, silver gilt mounting Mirror Case. Ivory Design for a Niche. Woodcut. From an original drawing by Pierino del Vaga. Apelles. From the cartoon by E. J. Poynter, R.A. Etched by B. Collier. Mirror Frame. Walnut wood . . . Etched by A. F. Brophy. 1. 2 . 3 - 4 - 5 - 6 . 7 - 9 - 10. 11. 12. 13 - 14. IS- Etched by John Watkins. Etched by W. M. McGill. Etched by F. A. Slocombe. Etched by W. E. Mackancss. Etched by Z. Pritchard. Etched by W. Wise. Cup. Silver, parcel gilt .... Knocker. Bronze .... Head of a Pastoral Staff. Ivory Crucifix. Silver gilt .... Design for end of Prince Consort Gallery in the Museum. Woodcut. From an original drawing by Godfrey Sykes. Giovanni Cimabue. From the cartoon by Sir Frederick Leighton, P.R.A. Etched by W. M. McGill. Etched by M. Sullioan. Etched by A. A. Bradbury. Etched by W. M. McGill. Etched by Bernard Collier. 16. Bas Reliefs. On the front and ends of a marble sarcophagus attributed to Donatello. Etched by C. Stoney. 17. Central Recess in the principal Quadrangle Etched by John Watkins. 18. Diptych. Gilt bronze and silver; figures in bone. Etched by J. P. Fraser. CONTENTS . 19. Horn, or Oliphant. Ivory Etched by A. A. Bradbury. 20. Chrismatory. Silver, parcel gilt . Etched by S. Thomas. 21. Box. Oak ..... Etched by F. A. Slocombc. 22. Plaque. Brass .... Etched by Z. Pritchard. 2 3 - Leaf of a Diptych. Ivory . Etched by W. Wise. 24. Design for a Salt Cellar. Woodcut. From Giulio Romano. original drawing attributed to 25- Doorway leading from Quadrangle. Woodcut. From design by Godfrey Sykes. 26. Lamp. Bronze .... Etched by W. M. McGill. 27. Reliquary. Rock crystal and copper gilt Etched by J. S. Goepel. 28. Cabinet. Walnut wood Etched by J. Randall. 29. Head of a Pastoral Staff. Ivory Etched by W. Wise. 30- Mace. Silver .... Etched by W. W. McCarty. 3i- Casket. Copper, enamelled . Etched by W. Harbutt. 32- Panel. Marble .... Drazon by J. /. Williamson. 33- Central or Loan Court Etched by John Watkins. 34- Knocker. Bronze Etched by J. Emms. 35- Bellows. Carved wood Etched by D. Jones. 36. Monstrance. Gilt metal Etched by John Watkins. 37- Panels. Carved ivory . Etched by F. A. Slocombe. 38. Book Clasps. Silver . Etched by W. E. Mackaness. 39 - Designs for Panels. Woodctit. From drawings ascribed to Giovanni da Udine. 40. Eagle. Iron .... Drawn by J. I. Williamson. 41. Decorations of the West Dining Morris and Co. Room. Woodcut. From a design by 42. Book Cover. Gilt metal upon wood Etched by W. Razvson. 43- Fire Dog. Bronze Etched by J. Brooke. 44. Box. Wood and ivory . Etched by W. Tzicker. 45- Cup, attributed to Wentzel Jamnitzer. Silver Etched by J. Watkins. 46. Head of a Tau. Ivory Etched by F. A. Slocombe. 47- Knife Case. Wood, painted Etched by W. M. McGill. 48. Bust of Pope Innocent X. Bronze Etched by Bernard Collier. 49- The Ceramic Gallery Etched by John Watkins. 50. Pax. Silver gilt .... Etched by W. M. McGill. CONTENTS . 5 i- Casket. Silver ...... Etched by W. Jones. 52 - Mirror Frame. Walnut wood Etched by F. A. Slocombe. 53 - Vase. Bronze ...... Etched by R. I. Stevenson. 54 - Box. Box wood ...... Etched by S. Thomas. 55 - Inkstand. Bronze . . . . . Etched by W. W. McCarty. 56 . Decorative Wall Tile. January. From a design by E. J. Poynter , R.A. Drawn by J. M. Benson. 57 - Ceiling in the ceramic gallery Woodcut. From design by F. W. Moody. 58 - Book cover. Silver .... Etched by W. Jones. 59 - Inkstand. Bronze .... Etched by W. F. Randall. 6o. Rood cross. Silver, parcel gilt Etched by J. S. Goepel. 6i. Box. Ivory . . . . . . Etched by M. Sullivan. 62. The Syon cope. A portion . Drawn by J. /. Williamson. 63- Cup. Agate, on silver gilt stand . Etched by W. M. McGill. 64. Pandurina. Beech wood Etched by D. Jones. 65 - Staircase. Details of decoration . Etched by John Watkins. 66. Vase and cover. Bronze Etched by W. M. McGill. 67. Chest. Walnut wood .... Etched by A. F. Brophy. 68. Knife-handle. Silver .... Etched by J. S. Dominy. 69. Inkstand. Bronze . . • ■ Etched by S. Thomas. 70. Portable altar. Porphyry Etched by W. Jones. 7 i- Cup. Silver gilt . Etched by John Watkins. 72. Mirror frame . Woodcut. From a design ascribed to Pierino del Vaga. 73 - One Bay of Water-Colour Galleries. Richard Redgrave, R.A. Woodcut. From a design by 74 - Pyx. Silver gilt. Etched by R. /. Stevenson. 75 - Writing Tablets. Silver . Etched by W. Ilarbutt. 76. Chest. Oak ...■•• Etched by F. A. Slocombe. 77 - Triptych. Ivory . Etched by D. Jones. 78. Cups. Silver . Etched by R. /. Stevenson. 79 - Beaker. Glass ■ Drawn by J. I. Williamson. 80. Morse. Silver gilt ■ Etched by John Watkins. 81. The Sheepshanks Gallery . Etched by John Watkins. 82. Dagger Sheath and Hilt. Ivory Etched by J. Brooke. CONTENTS . 83. Hand Bell. Bronze . 84. Pastoral Staff. Gilt metal 85. Incense Boat. Crystal and silver 86. Folding Chair. Walnut wood 87. Pedestal. Bronze 88. Ewer. Pewter 89. Alphabet .... 90. Cocoa Nut. Mounted in silver 91. Reliquary. Crystal and silver 92. Lamp. Bronze 93. Crucifix. Gold and ivory 94. Coffer. Wood 95. Snuffers. Bronze 96. Mirror case. Ivory Etched by W. E. Mackaness. Etched by J. A. D. Campbell. Etched by F. Brown. Etched by F. A. Slocontbe. Etched by D. Jones. Etched by W. W. McCarty. Woodcuts. From designs by Godfrey Sykes. Etched by J. S. Goepel. Etched by W. M. McGill. Etched by W. W. McCarty. Etched by A. A. Bradbury. Etched by W. Catley. Etched by W. Wise. . . Etched by I). Jones. With the Sanction of the of the Committee of Science and Art Department Council on Education. IN MONTHLY PARTS, EACH CONTAINING EIGHT PLATES, WITH DESCRIPTIONS, FOR ONE SHILLING. THE SOUTH KENSINGTON MUSEUM. J N order to render the Art-Treasures of South Kensington available for the instruction of all classes, it is proposed to publish a series of etchings and engravings of many of the most important objects in the Museum, at the lowest possible price. Taking advantage of the many new processes for the reproduction of drawings and objects of art, each monthly part of “The South Ken¬ sington Museum ” will contain eight pages of illustrations, with descrip¬ tions, for the price of one shilling; and for the especial benefit of students, arrangements have been made for the sale of single plates at the book¬ stall of the Museum at one penny or twopence each. In this series will be included representations of Decorative Art of PREFACE. all countries and all times, from objects in the South Kensington Museum under the following classes :— SCULPTURE : Works in Marble, Stone, Terra-Cotta, and other Materials. BRONZES: Statuettes, Medallions, Plaques, Coins. DECORATIVE PAINTING. DECORATIVE FURNITURE and CARVED WOOD-WORK. CARVED IVORY-WORK and BONE. ECCLESIASTICAL METAL-WORK. GOLD and SILVERSMITH’S WORK. JEWELLERY and BIJOUTERIE. DECORATIVE METAL-WORK. ENAMELS : Oriental and Limoges. POTTERY OF ALL COUNTRIES. GLASS : Oriental, Venetian, and German. DECORATIVE BOOKBINDING. TEXTILE FABRICS: Embroidery and Lace. DECORATIVE CLOCKS and WATCHES. ORNAMENTAL CUTLERY. ORIGINAL DESIGNS for Works of Decorative Art. The plates will be carefully printed with a Japanese tint on thick plate paper, atlas 8vo., and will be included in a stout wrapper, orna¬ mented with a drawing of “ the Genoa Doorway,” recently acquired by the Museum. Crown Buildings , 188 , Fleet Street. WEST STAIRCASE LEADING TO THE CERAMIC GALLERY. M R. W. F. MOODY designed the decorations of this staircase, of which the first flight is shown in the etching. The ornamentation of the walls is carried out in enamelled terra-cotta, the colours being white, buff, and celadon green : executed by Minton and Co. The ceiling, dome, the panels above the dado, and the spandrels, are in Mr. Colin Minton Campbell’s new process of vitrified ceramic painting. In the two painted glass windows seen on the first landing are figures (designed by Mr. Moody and executed by Messrs. Powell) of men who are celebrated either in science or in art. C.SYKES. INU. AiREID DEJ Panel in Window Recess. South Kensington Museum. Designed by Godfrey Sykes. CRUET. CRYSTAL AND SILVER GILT. No. 15—1864. VERY fine example, believed to be French work of the fifteenth cen- Ti- tury. Possibly we are right in thus attributing it: but there is nothing so absolutely distinct as to prevent the supposition that it may be English. The upright straps which secure the wide rim surrounding the neck of the crystal to the foot or base have a decided English character, which is commonly found in cups and jugs similarly mounted about a hundred years later. The same may be said of the small beaded orna¬ ment following the mouldings of the cusped lobes at the foot. The crystal vase itself is probably much older even than the mount; and the cruet itself may have been one of a pair used at mass in some catholic church ; the one for wine, the other for water. The body of the vase is round, with slightly expressed divisions or flat fliltings; the handle is flat at the top, bending downwards at an acute angle. A rib or collar is left a little below the neck, over which the upright bands (before spoken of) are bent. The crystal cover is a half globe or circle. The mount, silver gilt, is very rich ; and consists of a foot, a wide neck from which the spout issues, a handle, and decorations of the cover. The handle is (as it were) independent of the crystal handle, and is fixed above it, as if to be used by a second finger; it is partly enamelled. The upper part of the neck is polygonal, chased with cusped arches each finished below with a fleur-de-lys. The use of this emblem is the chief ground for supposing the work to be French; by no means leaving it beyond doubt, as the lily was a common emblem in the decoration of church utensils attached to altars or chapels dedicated to the blessed Virgin. Below the line of the fleur-de-lys, and divided from it by a moulding of small beads, is a rich architectural arcade. The top edge is ornamented with similar lines and a zigzag moulding ending in two graceful volutes with acorn eyes, which form a purchase by which to raise the lid. The spout is a short tube issuing from a lion’s head. A tall finial, with very elegantly designed leaves, surmounts the crystal cover. The foot is somewhat flat, spreading in six round lobes, each chased with cuspings and fleurs-de-lys and below them is a beaded moulding. The height of the cruet is about eight inches and a half. Bought for 1 20 1 . I. 2 CREDENCE, OR SIDEBOARD. CARVED OAK. No. 8439—1863. I T is not certain to what country we can attribute this fine piece of furniture: but it is most probably Flemish. Whether in England, France, or Flanders, the fourteenth and fifteenth centuries produced artists in wood who were quite equal, both for design and for the quality of their work, to those who have left us the churches and other buildings of that time. The general character of all wood-work, and therefore of furniture, partook of an architectural type. Coffers and chests, panel¬ ling in rooms, stall ends in churches, bench ends in halls and rooms, were commonly designed after the patterns of tracery of doors and windows. Little buttresses and pinnacles were placed on the angles and divisions between the panels. The sideboard engraved is an excellent example of this kind of work, now very rarely found complete. It was formerly in the celebrated Soulages collection. The date given in the etching is too early by some fifty or sixty years : the style shows it to be of the end rather than the beginning of the fifteenth century. The arches are all very flat or circular, and there is a mixture of styles in the angle buttresses which we see in the old Bishop’s palace at Liege, in the Exchange at Antwerp, and in other monu¬ ments of the civil architecture of that period in Belgium. The centre projects from its base with a narrowed front and canted sides. These are divided from the square part at the back and from the front by elegant buttresses of about one inch and a half projection. The panels are cut into rounded arches and are in two tiers. In the upper row are single figures of the cardinal virtues, with bas-reliefs of St. Catharine of Alexandria and St. Barbara in smaller arched panels on each side of the door. The iron hinge straps form two narrow panels, and are richly deco¬ rated with pierced tracery work and three heads in relief. Below these CREDENCE, OR SIDEBOARD. upper tiers is a lower tier with reliefs representing Fortitude, Cowardice, Temperance, Excess, &c. The door in the centre is separated from a nar¬ row panel on each side by two projecting beak-headed grotesques. The buttress legs are joined by frame pieces cut into wide and narrow arches on the front and sides respectively; a horizontal bar connects them at the feet. The square side panels are also carved. The upper shelf is hollow, has round arches at each end with short pinnacle columns at the corners, and probably had, originally, a depressed round arch in front. The place of this is now supplied by a horizontal panel of cinquecento arabesque with the arms of De Clare on a shield in the middle. The same bearings (or three chevrons gules) may, however, have been those of some continental owner in the sixteenth century. The cabinet stands about 5 feet 3 inches in height, by 2 feet 1 inch in width. Bozight for 80/. BOWL OR BOX. BELL-METAL. No. 2812—1856. B RONZE is obtained from the melting together in certain proportions two metals, copper and tin; and the mixed substance not only differs in colour from either of its constituent elements, but in various other qualities. As regards colour, for example, in place of the white of the one and the ruby of the other we have a golden brown. Bronze varies in quality according to the quantities used of the two metals, and many experiments have been made, in the way of analysis and otherwise, to ascertain the proportions from which the fine antique bronze was produced. The famous EEs Corinthiacum , Corinthian bronze, is supposed to have had small additions of other metals, gold and silver; but the story on which this tradition rests has but slight foundation. Eighty-eight parts of copper to twelve of tin may be taken as the general result of many analyses of ancient bronzes. In later time, since the sixteenth century, other metals are also employed, such as lead or brass ; but in very small quantities. Bell-metal is a variety of bronze, with a somewhat larger proportion of tin, and the addition of silver, according to some manufacturers, in order to im¬ prove the sound. Instructions to make bell-metal in the twelfth century prescribe a fifth part to be of tin. This bowl was probably made about the year 1600, and may have been intended for a tobacco box. The workmanship is Flemish, and the design of the decoration, which is in low relief, is good and elegant. It consists of foliated scroll-work, running round both the box and the cover, divided by masks and other ornaments. Some very excellent artists in bronze worked in the Netherlands and in Holland about the beginning of the seventeenth century, such as Adrian Fries ; and we may add Fiammingo, who supplied several designs. Bought for 4 1. 1 6s. SKM ( 33 ) IY CIRCULAR BOWL IN BRL-lyiETAL ,,DUTCH. DATE ABOUT IGOO. H, DIAM.6.IN. S.K.M. C No 28 12 ^ W, E IVI.ACKAN ESS, FECIT. JUG. PORCELAIN, SILVER GILT MOUNTING. No. 7915—1862. O NE of the most important and remarkable objects in the Museum. Not because of the rarity of the jug itself, nor of the especial good¬ ness of the mounting, but because the two are combined. Pieces of porcelain are in the collection quite as good in quality, and examples no less beautiful of Elizabethan silver work. But the jug is mounted upon a piece of plate bearing the hall mark of 1585. It is quite possible that the jug may be much older than even the end of the sixteenth century ; but it cannot be of later date. No history is attached to it, and one can only guess how it came to England ; whether direct from China, or through some earlier possessor in Italy or France. That the first English owner set a high and just value on his acquisition is quite evident from the care and money which he spent upon it. The porcelain is like the famous blue and white Nankin: octagonal in shape ; and the upright spout is connected with the body by a scroll of porcelain. The handle is of the usual form ; and the body is decorated with small figures of men or boys, one in each panel, divided by upright ribs. The mounts and cover are of the best character of Elizabethan work of that period ; boldly embossed with fruit and flowers. There is at this time (1880) on loan at Bethnal Green a cup (if we may call it so) in the exact form and shape of a modern teapot, also with a fine English mount, but not hall marked : not later than about 1610. This jug stands 10 inches in height. 1. 5 Bought for 75/. SKM (43a) tea-pot, ORIENTAL PO RCEL A IN WHITE & BLUE, MOUNTED IN SILVER, ENC'WOR K. I SR5 S.K.M.(7ilS) Z. PRITCHARD, FECIT. MIRROR CASE. IVORY. No. 1617—1855. HERE are several good examples of mediaeval ivory mirror cases in the Museum, and this is one of the finest. Probably of French art, it may possibly, nevertheless, be attributed without rashness to an English sculptor. The date is of the best period of the fourteenth century. The mirror cases of the middle ages were either in two parts, almost always round, which screwed or fitted closely one within the other, forming a front and cover: or they were made of a single piece of ivory or wood, &c. (as the material might be), with a hollow cut out at the back for the glass or metal which formed the mirror. It is not known when glass was introduced instead of the earlier metallic mirror: very probably about the year 1200. Ladies using mirrors at their toilets frequently are to be met with in illuminations of manuscripts of the fourteenth and fifteenth centuries, and generally in the shape and size which we find in the ivories which have come down to our own times. Ivory was always a very expensive material, and therefore was usually highly ornamented also. The most frequent subjects which the artist sculptured were taken, as with combs, caskets, and writing-tablets, from the popular romances and ballads of the time. Among them, especially, from the famous “ Romance of the Rose ” and the “ Siege of the Castle of Love.” The attack and surrender of the “ Castle of Love ” supplies the subject which decorates the present example. In front and occupying the centre is the closed gateway, but with raised portcullis. A tower flanks the entrance on each side, and behind it is the battlemented wall, over which the ladies have been watching and attempting to defend themselves against the assault. On the left at the top of a rope ladder a knight, from whose head the MIRROR CASE. helmet has been removed, has just reached the parapet where he is helped over by one of the ladies. Close behind him, on horseback, is another knight, who raises his sword with one hand by the point, and with the other lifts the heavy helmet from his head. Inside the battlements in the middle, a knight already received into the castle, probably the chief, kisses and embraces one of the ladies ; and by their side other knights are making their way over the wall: one of them, the easier to get up, stands on the pommel of the saddle of his horse. He is further helped by another knight on horseback who half pushes him over. Above this part of the castle is a square tower with a balcony orna¬ mented with trefoils in open or pierced work. In this an allegorical figure of Love stands, winged like a seraph and striking with an arrow in each hand two ladies. Two other ladies sit at the ends of the balcony looking over, as if still watching or meditating. Three lions, carved with much vigour, creep round the outside rim of the mirror case. A fourth has been broken off. The diameter of the case is about five inches and a half. The workmanship displayed upon this beautiful mirror case is quite equal to the design; and it has been well and carefully preserved, the only injury being the loss of one lion. It is also worthy of special study and examination, as furnishing an excellent illustration of this particular portion of the history of the siege, in which at last the defenders of the castle surrender it. The attack is an equally frequent subject; where the ladies resist the knights by throwing down on them showers of roses. Bought for 50 /. 12s. SKM ( 41 ) UDQR COVER OF A CIRCULAR MIRROR. CASE - IN CARVED IVORY - FRENCH ? \ EARLY PART OF 1-4-Tr" CENT- D1AM fj S'fl ' NS 5-K.M.^N u ^'/) w .wise, fecit. - I. 6. DESIGN FOR A NICHE. No. 2235. Art Library. A PEN and bistre tint drawing upon paper, ascribed to Pierino del ■t-*- Vaga. Richly decorated pilasters are on the sides of the niche, and above it two nearly nude sitting figures are placed in front of the pediment, between whom is a cartouche, intended probably for a coat of arms. Pierino del Vaga was born in a village near Florence about the year 1500, and after studying as a pupil of Ridolfo Ghirlandaio, went to Rome, where he was employed by Raffaelle in the execution of his designs for the Loggie of the Vatican. He died in 1547. i- 7 DESIGN FOR A NICHE. From an original drawing ascribed to Pierino del Vaga. In the Art Library , South Kensington Museum. I 7 APELLES. GLASS MOSAIC. * I 'HIS etching is from the original cartoon by Mr. E. J. Poynter, R.A., "*■ which has been executed in Italian glass mosaic by Salviati of Venice. The portrait forms one of the series of eminent painters, sculptors, and architects, filling the panels in the arcade of the upper part of the central or loan Court. Apelles died about b . c . 340. Panel of Window-frame. South Kensington Museum. Designed by Godfrey Sykes. APELLES MIRROR FRAME. WALNUT WOOD. No. 7695—i86r. '"T'HE mirror itself is metal: and the frame belongs to the best period of -1 Italian wood carving, when the treatment of classical details in archi¬ tecture and wood-work was still new, and was managed with an amount of care that was lost when the study of Roman classicalism led to the adoption of vast proportions in structure, and consequent coarseness in the decoration required. The work cannot be put later than the very beginning of the sixteenth century; that is, before the year 1520. Mirrors of so large a size as this were always of metal in the middle ages: although glass undoubt¬ edly was used as far back as the fourteenth century for the small round hand mirrors. The present example was purchased with the Soulages collection. The mirror stands upon a square base with canted angles, shaped like the stem of a chalice or drinking cup. The four large sides rise to within three inches of the frame, gradually diminishing so as to contain four slightly concave panels, which are decorated with carved emblems, each in a circle. The intervening narrow panels on the angles have palmette work, which also runs round the base. Below, is a straight plinth with upper and lower bead mouldings, raising the decorated border on a sort of stand. The emblems in the four panels are—1. An elephant, the meaning of which is not very clear: but may possibly have reference to some story or tradition in the family of the lady for whom the mirror was intended. 2. A goose carrying a pin in its mouth; an allusion, some say, to the classic notions of the fidelity of that fowl. 3. A civet cat, prized for its musk perfume. 4- A knot of twisted hair, fastened at the bottom to a base of velvet or other material for a head dress. The mirror is set upon this stand; but between the two is an interval MIRROR FRAME. of about three inches, and this portion is worked into a wide and well shaped baluster with a knop and collars turned in the lathe. By this the mirror was easily held up for use; the knop giving a firm hold for the hand. Small square tablets are placed immediately under and in the middle of the square frame, having on each side scrolls which serve as the main supports. These scrolls and a similar tablet are repeated at the top of the frame. The little tablets have carved on them the device of a small mound with three “ Marguerites ” or daisies. The frame itself is orna¬ mented with delicate line mouldings formed of notches, plait work, guil- loches, &c: with a broad band of palmette leaves outside. These leaves and all the other details are modelled and relieved with great delicacy; and the same tender and beautiful treatment, carried out with most careful and excellent workmanship, is evident in every part. This mirror, upon which no pains nor expense was spared, must have been made for some lady in high position; and the daisies carved upon the little panels suggest that possibly she was Marguerite of Valois, daughter of Charles of Orleans and Louise of Savoy. She was born in 1492; was first married in 1509, and, by her second marriage in 1526 to the king of Navarre, became the mother of Henry the fourth, king of France. She died in 1549. The frame stands in height 2 feet 7 inches: the plate of metal is 10J- inches by a little less than 9 inches. Bought for 150/. CUP. SILVER, PARCEL GILT. No. 320—-1854. G ERMAN work of the seventeenth century, and useful as an example of the general style and manner of that period and country. The bowl is a segment of a somewhat flattened globe, with the upper part of the outside in plain metal. The stem, which is the best designed part of the cup, has a central knop formed by four curling scrolls alternating with four light flowers. A crown of light flat flower-work, falling over in flowers and leaves, covers the point of junction between the stem and the bowl. The foot spreads below a short circular pedestal, and is decorated with arabesques and strap-work. The inside of the bowl is beaten up with a composition of figures : Tobit carrying a fish, accompanied by his dog and the archangel, in a land¬ scape. The design of this cup is better than the execution ; on the whole, the piece is effective in outline and arrangement, and the fine beaten leaf-work round the junction of the stem and bowl is light and graceful. The cup stands rather more than 6 inches in height. Bought for 15 1 . T. 10 KNOCKER. BRONZE. No. 573 —1865. SUPERB example, Italian work of the sixteenth century, which was formerly in the Soulages collection. In the lower part two mermaids or syrens are embracing. On the shoulder of one of these an amorino stands, filling the centre of the group; and on either side is an undraped boy. Some have attributed this knocker to John of Bologna; nor is it unworthy of so great an artist. Few finer specimens exist of highly artistic modelling as applied to objects of every-day use. Still fewer can be seen upon the doors of the palaces for which they were designed : originally, in pairs. Another knocker in the Museum, No. 588 ’53, may be compared with this. In point of design this last may be praised the most; but in both of them the execution is equally admirable and masterly. Bought for 80/. THE HEAD OF A PASTORAL STAFF. IVORY. No. 218—1863. I T is more difficult to decide upon the country where this remarkable crosier-head was made, than upon the date of it. Generally supposed to be of German origin, it may with equal probability be ascribed to an English artist. The character, in some details, of the draperies and theii ornaments is not unlike the style of carvings in ivory of that school, and the same date—the twelfth century. The outside of the volute is carved in high relief, with many small figures. Some of these, issuing (as it were) from the body of the ivory itself, show a treatment which is almost if not quite unique. The subjects are not all easy of explanation. There is no doubt as to the meaning of the sculpture at the base— namely, the Nativity: the blessed Virgin draws aside curtains and con¬ templates the Infant in His cradle. Her robe is open at the throat, with an ornamental border. Above this, the Virgin is seen again, seated, and suckling the Child. St. Joseph, dose by, stretches out his hands to Him. On the top of the volute three women lie, sleeping; immediately below, on the slope of the volute, reclines a half clothed figure, which a man, standing under, appears ready to receive : this man is assisted by a woman on the other side, not shown in the etching. It is difficult even to guess at what these figures are meant to represent. The extremity of the volute is formed by an angel with extended arms supporting a small lamb resting before a cross. On the reverse is the Virgin asleep; and the Infant above lying in swaddling clothes. • Bought for 140/. CRUCIFIX. SILVER GILT. No. 181—1866. T)ERHAPS German work, early in the fifteenth century; and more richly decorated than crucifixes either at that period or later are generally found. The figure of our Saviour is on a scale considerably less than usual, but this is accounted for by the small space left for the extended arms upon the cross-beam. The four limbs of the cross end in large quatrefoils, having on their edges a moulding of small grains. Each contains a symbol of the four evangelists and a scroll with the name. The stem immediately under the lowest quatrefoil is surrounded on the front and back with a rich arcade of arches on either side. These arches are headed by crocheted gables with trefoil cuspings of tracery. Six figures stand under the arches, and tiny buttresses dividing the sides from the front and back serve also to support the corners of the canopy. The figures represent the blessed Virgin, St. John, St. Mary Magdalen, St. Bartholomew, and two other saints; one of these last is a female saint, and each of them holds a palm branch. The base is plain, spreading somewhat flatly but with good effect into six lobes ; beneath which is an upright border with a very pretty diamond- traced ornament. The base has also two small shields; one coat bears, argent, a fess gules, over all a tree with three leaves, rooted proper; the other, argent, an escutcheon sable. The head of our Lord leans towards the left side, in death. The body is but slightly clothed, having a wide-folded cincture round the loins. Each hand extends towards a tallow-cut sapphire, and a small facetted sapphire is set over the head. The title INRI is in Gothic letters upon a scroll, of which the ends pass beyond the width of the upright of the cross. The whole figure of our Lord is very carefully wrought. The back of the crucifix is plain, with an opening in the centre for relics. Inside there remains a small cross of crystal, split and hollowed in i. *3 CRUCIFIX. the middle, and fastened along the two sides by a wire sewing. The ends of the wire are still secured by the old official seal of authentication, but the relics seem, nevertheless, to have been removed. There are several similar crucifixes, and of about the same date, in the Museum, with which the present example may be very profitably compared ; for instance, a gilt copper cross, with a parcel gilt silver figure, No. 1172’ 64. In this, again, the figure is small in proportion, and without the same necessity, because of want of room. The base is of the same style, but even more plain and simple, and there is also a cavity behind for relics. The remarkable feature in the crucifix here engraved, namely, the architectural arcade and figures of saints, is much more commonly found in chalices or monstrances. This crucifix stands about 10 inches high. Bought for 10I. - 1 DESIGN FOR END OF PRINCE CONSORT GALLERY. In the South Kensington Museum. A DESIGN BY THE LATE GODFREY SYKES. HIS design has not yet been fully carried out. It was intended for the -L end of the gallery in the Museum in which some of the finest examples of gold and silversmith’s work, enamels, and metal-work of various kinds are now placed. The gallery gives access to the singing balcony brought from the church of Santa Maria at Florence, from which the northern court of the Museum, now chiefly filled with mediaeval and renaissance Italian marbles and reproductions, is overlooked. The doorway itself is finished ; but not the double arch nor the decora¬ tions of the pilasters. These are still wanting. The medallion portrait of the Prince Consort and the figures on each side have been executed in ceramic mosaic by Minton, Hollins & Co. The date 1857 is the year in which the buildings at South Kensington were first opened. The late Mr, Godfrey Sykes died in his forty-first year, in 1866: and if he had lived would have been a very distinguished man. He received his first education in art as a pupil in the government School of Art at Sheffield, in which he was afterwards a master. A great spur was given to his exertions, and a way opened to thought and aspiration, by a journey which he made to Italy. He had in himself a germ of real power in design and a keen perception of natural beauty. The capacity of designing correctly is less uncommon than the sense of the right application of this capacity to decoration. Ordinary training may enable an artist to model a figure or a vegetable rightly, but it will not impart the knowledge of the great restraint required in applying this skill to decoration. Here the golden rule is to know how to suppress details, where to stop, what to emphasize, or what to omit. These rare qualities were possessed by Mr. Sykes, and we need no further proof than his first great work, the arcades of the Horticultural Gardens; especially of the conservatory. The capitals, the columns, the circular panels and many other details, prove that he was not only endowed with great power of design, but with, what is so rare in our time, a just feeling of the decorative treatment needed to secure a true effect. The work chiefly aimed at by Godfrey Sykes was decorative, and the buildings at South Kensington, for which the larger portion of the drawings which he left behind him was intended, are as yet not completed. A few years hence the extent and importance of these works will be justly recog¬ nized and widely appreciated. 1. 14 GIOVANNI CIMABUE. CERAMIC MOSAIC. HE original cartoon from which this etching is taken was painted about fourteen years ago by Sir Frederick Leighton, now president of the Royal Academy. It has been reproduced in ceramic mosaic by Messrs. Minton and Co. as one of the series of portraits filling the pantls in the arcade of the upper part of the central or loan Court. Cimabue was born in Florence in 1240. His first celebrated picture, a Madonna and Child, was painted for the church of S. Maria Novella in that city, where it is still preserved. It is said to have been the largest altar-piece produced up to that date, and was carried in festive procession from his house outside the walls of the city to the church. An early painting by Sir Frederick Leighton representing this proces¬ sion, now the property of the Queen, is well known. Cimabue died about 1302. Panel in balcony of quadrangle, South Kensington Museum. Designed by Godfrey Sykes. BAS RELIEF - MARBLE - ALTAR- OR SHRINE OF FEMALE SAI NT- BY OONA.TELL0 - ITAL! AN - e, 1^50 - 60 BAS-RELIEF ON THE FRONT OF A SARCOPHAGUS. No. 75—1879. HE collection in the South Kensington Museum of Italian mediaeval J- works in marble and terra-cotta is unequalled by any other similar collection either in this or any foreign country. Gathered together at its commencement in 1857, under the advice and with the approval of Mr. J. C. Robinson, at that time curator of the Museum, it contains many most admirable examples, and among them none which exceeds in beauty of design or excellence of workmanship the bas-relief which is here engraved. No engraving—no photograph, even—can justly express the qualities of the original: it must, in truth, be seen in order to be fully appreciated. For this superb marble the nation is also indebted to the kindness and energy of Mr. Robinson, who, as soon as he heard of its existence, lost no time in securing it for the Museum. A brief description cannot be given in better words than those in which Mr. Robinson himself wrote of the bas-relief in a letter published about May, 1879. He says: “ This is a marble sarcophagus, hollowed out and large enough to contain a dead body; in front is the exquisitely sculptured presentment of the personage whose relics doubtless it once enshrined, and at each end is a draped boy angel, swinging a censer. Nothing finer can be conceived than this exquisite recumbent figure, sculptured in the lowest relief—rather, as it were, painted in marble than carved. Clad from head to foot in a diaphanous veil or shroud, a crown upon her head, which is surrounded by a nimbus, the holy maiden is not dead, but sleeping as if in a trance of eternal beatitude. Intensely human, but divinely beautiful, the work is a triumph of the world’s highest art.” The previous history of the sarcophagus, so far as it R known, is thus X. 16 BAS-RELIEF. given by Mr. Robinson : “ The recent owner purchased it at Padua, where, in a garden or vineyard, it had probably for a century or two done duty as a water-trough, the sculptured face placed downwards, so that the very existence of the figure had in consequence been forgotten. It needed no special acuteness to divine the train of circumstances which might have led to this ignoble misappropriation. There was a time in Italy (in the seventeenth century) when the debased taste of the age gave rise to a mania for the so-called restoration and reconstruction of ecclesiastical monuments, and on all hands the beautiful sculptured altars and other great works of the period of the revival were voted old-fashioned and barbarous. Hundreds of noble works of art were then ruthlessly swept away and replaced by overcharged structures of gilded wood and metal, coloured marbles, and mosaics—rich in everything but art. Although the strongly-marked individual manner of Donatello was stamped in every line and form of the work in question, so that there could be no uncertainty as to the authorship, the fact of its having come to light at Padua was an additional evidence ; for it is well known that Donatello found for many years a home in that city, and there executed a vast number of works. He seems to have returned to Florence shortly before the year 1456 ; the sarcophagus, therefore, must have been executed prior to that date. “ There was a local saint of Padua—Santa Justina—and her relics were enclosed in a shrine or chest under the high altar of the church dedicated to her in that city, but when the choir was rebuilt in 1627 the relics were translated into a sumptuous vault under the new altar. This Santa Justina was a king’s daughter, and it will be noted that the effigy wears a regal crown as well as a nimbus.” We may conclude it to be almost certain, therefore, that this sarco¬ phagus was designed and made by Donatello in order to receive the relics of Saint Justina. Donatello was born in 1383, and died in 1466. The sarcophagus is 2 feet 2 inches in height, 6 feet 5! inches long, and 18} inches wide. Bought for 186/. CENTRAL RECESS IN THE PRINCIPAL QUADRANGLE. A N external view of the windows in a recess which gives light to the ceramic gallery near the stairs leading to the lecture theatre. This portion of the building was built from designs by the late Captain Fowke, R.E. The terra cotta columns supporting the arcade were designed by Godfrey Sykes and executed by Blanchard and Co. They are fifteen feet in height. Each column consists of six drums, three of which are fluted and surrounded by branches of trees or boughs, modelled from nature and laid over the flutings. The alternate drums have figure sub¬ jects, typifying the three ages of man; childhood, manhood, and old age. Childhood has, i, the baby ; 2, playfellows ; 3, playing at soldiers. Man¬ hood : 1, the bridegroom; 2, the warrior; 3, ambition; 4, the cup of temptation. Old age: 1, the dignity of age; 2, the weariness; 3, the helplessness. The three drums are placed in the different columns so as to present different sides to the spectator, thus ensuring also great variety. |NV. A.REIO. OEI Panel in Terra Cotta, designed by Godfrey Sykes. ■ ( U3-SS) 3. T FRA DIPTYCH. GILT BRONZE AND SILVER, WITH FIGURES IN BONE. No. 4355—1857- 'TAIPTYCHS, or folding tablets for devotional purposes, of this character are extremely rare. The present beautiful example is Italian, of the middle of the fifteenth century. Each tablet is surrounded with a square border, carrying an inscription; and above each is a decorated tympanum. On each tablet is a single figure, carved in bone; and placed upon a back¬ ground of black horn. The subject is the Annunciation. Upon the left tablet the archangel kneels upon one knee, having his right arm thrown with a gesture of reve¬ rence across his breast and holding a blooming lily in the left hand. Round his head is a coronet of flowers, and he is vested in a long robe doubled at the girdle. The right foot is shown bare. The figure is admi¬ rably designed and well executed: both the attitude and the expression are full of humility and devotion. Upon the other leaf is represented the blessed Virgin ; standing, and clothed as usual in a gown or tunic with a very ample pall or cloak. On her left shoulder is a small flower or leaf. Her head is covered with a light veil, above which is a nimbus. She, also, stands in an attitude of humility and obedience, one hand crossing her breast and with eyes cast down. Before the Virgin a tall reading-desk is placed: having on it an open book to which a cloth is attached, as was common in the middle ages, to protect the binding. This desk is carefully modelled after those used in Italy about 1490, the early renaissance period. In the left tympanum is a half-figure representing God the Father holding up the right hand in the act of benediction. In the right the Sacred Dove is descending upon the Virgin’s head. Round the border is a legend in large square letters (silver upon a gilt ground), which begins round the half containing the archangel. After the auc 2©aria is added “ Ji2e timcas egaria, inbcmsti gratiam.” The out- 1.18 DIPTYCH. side of the diptych is formed of two smaller panels of silver, each containing a candelabrum ornament, gilt: round this is a border of niello. There is also another legend, continued through the two leaves, “ ©altlE tatlir sancta cr qua munDo lur est orta ahe regina cclorum ct Domina angelorum.” The tympanums on the outside are filled with chased ornaments and the sacred monogram. Under the bases of each leaf is a bracket-shaped finial of acanthus foliage ; in gilt metal. The whole diptych is a charming example of foliage and niello work, and the sculpture very good. The etching is about two-thirds the size of the original. Bought for 250/. __ HORN, OR OLIPHANT. IVORY. No. 7953—1862. I T is somewhat difficult to say to what country we should attribute this horn : it is Byzantine in general character, and was probably carved in some part of northern Europe by an artist of that school. The date is the eleventh century. What the original purpose may have been, whether for mere state or for actual use, is also uncertain. This is a remarkably fine example of the kind. The outside is covered with interlacing circles, sharply cut, enclosing figures of various animals and birds in high relief. Many of these, as was usual in similar decorations of the tenth and eleventh centuries, are fabulous or grotesque; but among them are an elephant, caparisoned, a stag, hares, and eagles. There are about thirty over the whole body of the horn. Each end is surrounded by a wide border, filled also with interlacing circles and animals. The tusk has been hollowed throughout down to a slight thickness, scarcely more than sufficient to enable the artist to carve the design without piercing the ivory. In its present state, together with some light metal mountings at both extremities, the horn weighs six pounds and a quarter. It was formerly in the famous Soltikoff collection, dispersed in 1862. The length is two feet and an inch. Several mediaeval horns in ivory, among which a few may date as far back as the tenth century, are preserved in England ; generally they have been regarded and styled “ tenure horns.” Among these the most famous are the horn of Ulphus, in the treasury at York, and that given by Henry the First to the cathedral at Carlisle. Ivory horns, like caskets and rosaries and othe r ornaments, are frequent items in English inventories not only of churches and monasteries but of private families of the middle ages. There are two or three very fine examples in the Museum. Bought for 193/. 1. 19 CHRISMATORY. SILVER, PARCEL GILT. No. 7243—1861. HRISMATORIES of modern times are seldom made so rich or of so large a size (nearly eight inches) as the present example. They are among the most ancient of ecclesiastical vessels, and were in use among our Saxon forefathers in the 7th and 8th centuries. A chrismatory is intended to hold the three holy or sacred oils, which are hallowed by a bishop every year, on the Thursday in Holy week, and kept by all parish priests in com¬ munion with the Roman Church both in England and abroad, to be used as occasion requires. There are three kinds of oil thus blessed : one called chrism, to be put into the baptismal font and for other especial ceremonies, as (for instance) at confirmations, ordinations of priests, and coronations; the second, the oil for exorcisms, more especially, for the first unction at baptisms; the third, the oil for the sick, used only in giving the sacrament of extreme unction. The three oils are always most carefully kept, and in distinct flasks or small bottles. This chrismatory is German work, probably late in the fifteenth century. The three small vases are cylindrical, and placed upright in the usual way. They are firmly bound together, above and below, with rims and lines of beaded and plain metal; the upper rim finished with a cresting of foliage, and the lower supported upon three lions. The cover, fitting closely into the upper rim, is divided by a long gilt acanthus leaf into three divisions, corresponding with each of the holy oils. The divisions have inscriptions incised on them; one “ S. Cate: ” for catechumens ; another, “ Chri,” the chrism ; and the third, “ I,” for the sick or infirm. The whole chrismatory is surmounted by a crucifix, of which the extremities of the cross are richly foliated; and the inscription INRI is not only put above the head of the Saviour, but is repeated on the back. Between the cylindrical divisions are three crocketed and pinnacled canopies; under each is a small image, x. The blessed Virgin and Child : 2. St. John the evangelist: 3. A saint vested as an archbishop. Inside is a flat plate, pierced with holes; intended to hold properly the separate small bottles, and marked for the chrism and the oils. Bought for 70 1 . I. 20 BOX IM CARVED OAK FRENCH j DATE ABOUT 0*0 . L.l I % IN. W.y IN. D . S"l N . S . K . M (n° L 5"2 BOX OAK. No. 2528—1856. HIS little casket is a good example of the best kind of architectural ornamentation, as applied in the fourteenth and fifteenth centuries to boxes, chests, and other furniture, whether of household or of ecclesiastical use. It may be either of French or of English work, about the year 1350. The box is decorated throughout with geometric window tracery, filling the several panels, and with notchings on the angles. The clamps and mounts are iron, and of excellent workmanship. A hammered plate forms a clamp passing completely round the top edge under the cover, and finishing with a flower of beaten work on each side of the lock plate. The plate of the lock has foliated corners. The size of the casket is nearly a foot long by about nine inches in width, and five inches high. Bought for 2 1 . I. 21 P L A QJU E. BRASS. No. 1217—1855. HE centre of this charming piece of ornamental repoussd metal work, J- probably Flemish of the seventeenth century, represents a tulip in full flower surrounded by two rich floriated ornaments. The three are tied together with a band below. The etching is of the size of the original. Excellent ornamental metal work in bronze and brass was produced in the Netherlands in the seventeenth and eighteenth centuries ; the style being for the most part modified by French taste, both in design and ornamentation. Bought for 16.?. LEAF OF A DIPTYCH. IVORY. No. 212—1865. NYTHING doubled or doubly folded is a diptych; and the term was commonly applied anciently to the tablets used for writing on with metallic or ivory styles. Sometimes these tablets had three leaves, some¬ times five or more. In the first case they were then called triptychs, in the other pentaptychs or polyptychs. Examples of arrangements of both these last kinds are to be seen in the shrines of the middle ages. When intended for writing-tablets the back of each leaf of the diptych was generally slightly hollowed in order to receive the wax for writing on. But not always ; other modes (by a separate frame, for instance, attached to the leaves) were also used to preserve the wax from injury. We are there¬ fore not to conclude that ivory diptychs so large as this were not intended for writing-tablets, or for the preservation of some family memoranda or records because the insides are smooth. This leaf or plaque is Roman work of the third century, even if not of the second. Most of the large diptychs or portions of diptychs which have come down to our own times from that early period are what are called con¬ sular diptychs. These were made to form part of the presents commonly sent by the newly appointed consuls to eminent persons and to their own friends. About thirty of these consular diptychs, or leaves of them, are believed to exist now in various public and private collections. A perfect one of Probus Orestes and a leaf from a diptych of Anastasius are among the ivories in the Museum. Both are of a much later date; namely, of the sixth century. Another is in the Mayer collection at Liverpool; which also possesses two leaves claiming to be consular, but of which the genuineness is some¬ what more than doubtful. There is, probably, no carved antique ivory in the world which exceeds the leaf here engraved in interest or importance. And this, not only on account of its very early date, but from the beauty of its style and execution, and the fine state of its condition. Two narrow fractures of the border and of a small piece of a finger are the only injuries which it has suffered during the lapse of so many ages. The other leaf is preserved in the museum of the hotel Cluny at Paris. When kept together the two leaves had long been known and were famous. For centuries they formed the doors of a reliquary in the convent I. 23 LEAF OF A DIPTYCH. of Moutier in the diocese-of Troyes, in France. Gori described both in his Thesaurus, published about the year 1740. They disappeared during the troubles of the French Revolution of 1790, and for many years were sup¬ posed to be lost. Happily both have been discovered within the last thirty years. The other leaf unfortunately is greatly injured ; having been found at the bottom of a well. As a diptych the two leaves had names on labels at the top, on the one NICOMACHORVM, on the other SYM- MACHORVM. It is probable that it was originally made for a gift on the occasion of some marriage between members of the two patrician families ; or perhaps as a joint offering to the temple of Bacchus or of Cybele. On this leaf a female, it may be a priestess, is represented standing before a low altar on which a fire is burning. She is clothed from the shoulders to the feet in a long tunic, over which is thrown a pall or cloak, falling behind her over the left shoulder. In one hand she holds a little open box from which she takes a grain, perhaps of incense, with the finger and thumb of the right hand, to drop it on the flame. Her hair is bound with a fillet of ivy or small vine-leaves and gathered by a band into a knot behind the head. On the wrist of either arm is a bracelet something like an East Indian bangle, and sandals on the feet. The whole figure is extremely graceful and dignified; the expression of the face earnest and devotional; the form rightly expressed beneath the drapery, and the hands and feet well and carefully carved. Behind the altar is a young female attendant, who holds a bowl in one hand and a two-handled cup in the other, both of which she presents to the priestess, looking up to her. The girl is clothed in a single light garment. Behind, again, is an oak tree having several branches spreading over the head of the priestess, with very delicately executed leaves and acorns. The altar is of the usual classic form, having on the top slab a wide scroll with volutes: the sides are ornamented with a bold wreath and fillets. The whole subject is surrounded by a rich border of floriated ornaments interlacing. The leaf preserved at Paris also represents a bacchante or priestess, but without an attendant: a pine tree, stiff in design and not to be com¬ pared with the oak on the South Kensington leaf, is behind the altar before which she stands. The size of the leaf is eleven inches and three-quarters in length, and in width four inches and three-quarters. Bought for 420/. DESIGN FOR A SALT CELLAR. From an original drawing attributed to Giulio Romano. In the Art Library, South Kensington Museum. DESIGN FOR A SALT-CELLAR. No. 4900. Art Library. A DRAWING in pen and bistre tint, ascribed to Giulio Romano. -‘DA- It is on paper, and was formerly in the famous collection of Dr. Wellesley, which was sold in 1866. Three goats, each of which rests one leg on the trunk of a tree before him, support the salt-cellar. The base is decorated with leaves or scattered foliage, somewhat roughly indicated. Giulio Romano (whose family name was Pippi) was born at Rome in 1492, and died in 1546. He was among the most distinguished of the pupils of Raffaelle. V . ' . . ; . / DESIGN. DOORWAY LEADING FROM QUADRANGLE. A LL the decorations and figures of this doorway, which leads from the centre quadrangle to the corridor near the refreshment rooms in the Museum, were designed by the late Godfrey Sykes: the modellers were J. Gamble and R. Townroe. The mouldings round the doorway are in terra-cotta, executed by Blanchard and Co. Some small lizards crawling over them, in relief, are worthy of especial notice. The doors are of electrotyped bronze, gilt; by the late well-known Giovanni Franchi. They contain in separate panels six figures, in high relief, of men illustrious in Science and Art. Science occupies the left side, and we have Davy, Newton, and Watt. The right hand panels show Bramante, Michel Angelo, and Titian. Over the doorway are typical figures of Science and Art, executed in majolica by Minton and Hollins, which were also modelled by Gamble and Townroe. FRIEZE IN REFRESHMENT ROOM, SOUTH KENSINGTON MUSEUM, DESIGNED BY J. GAMBLE. ITALIAN I&TH LAMP BRONZE. No. 137.—1865. HIS lamp, which was obtained at the sale of Lord Cadogan’s collection J- in 1865, is in unusually good preservation. The decorations are numerous and varied ; designed with great spirit and executed by a good Florentine artist, in the early part (the best period) of the sixteenth century. Giovanni Rustici, a pupil of Verrocchio, Jacopo Sansovino, and others of the same school, produced many admirable works in bronze at that time; but we cannot name the master to whom this lamp can be with certainty attributed. The taste of the later part of the fourteenth and the beginning of the fifteenth centuries was greatly influenced by the admiration then spreading for the antique. The general idea of this lamp is borrowed from the shape of an ancient galley. The body is covered with reliefs : tritons and other fabulous marine animals, with a larger central subject in a medallion. Grotesque terminal figures, with foliated scrolls, fill the sweeps at the stern. Underneath, floral and other projections serve as supports. The rudder is equally rich in similar ornament; and the cover is surmounted by a Cupid, riding upon a dolphin. The height of the lamp is five inches, the length rather more than eight. Bought for 163/. x. 26 RELIQUARY. ROCK CRYSTAL AND COPPER GILT. No. 7946.—1862. T HIS admirable reliquary (formerly in the Soltikoff collection) is pro¬ bably French, early in the fourteenth century. It stands about four¬ teen inches in height: twice the height and size represented in the etching. Originally, the reliquary seems to have been intended to hold four relics, whether of different saints or of the same saint cannot now be deter¬ mined. The two largest of these relics would be placed, one in the centre at the top; the other in the half-circle (now glass, which has replaced crystal) immediately above the base. Smaller relics were (almost cer¬ tainly) preserved in the crystal turrets. The reliquary is composed of two parts : a base or foot, with the semicircular glass; above which is an architectural shrine, standing on what some might call a sarcophagus, but which may rightly be described as of the shape of a small portable altar. The base is square, with square enamelled edges; these are divided into oblong compartments, two on each side. One compartment has two small grotesque animals or monsters ; the other a leaf ornament with small stones set upon the face. Above this the surface slopes inward up to a flat square, from which rises the stem itself, two inches in height. This stem is enriched with a foliated decoration. The sloping surface of the concave below the stem has four composi¬ tions in low relief: they are not easily to be explained. On one side there seems to be a representation of one of the legends connected with the life of St. Jerome: and the saint is seen seated on an ass. A lion belonging to the monastery was usually sent out to protect the ass in his service to and fro: but having returned without his companion, which had been stolen, was made by the monks to bear the ass’s burthen. The lion is here shown bringing back the ass ; and one of the merchants who had stolen it is entering through a door of the monastery. In another com- I. 27 RELIQUARY. partment a king is seated between two abbots at the entrance of an abbey, of which the doors are sculptured with images, pinnacles, &c. Another abbot, or bishop, draws a man out of the mouth of a well. On the third side a bishop is giving the tonsure to a youth whose mother presents him. Two bishops are placing a mitre on the head of an ecclesiastic vested in an alb. The fourth side is shown in the etching. A man, kneeling, offers a reliquary to a king sitting on his throne. Two women, standing behind, also carry reliquaries or little shrines, waiting their turn to offer. Behind these, again, are three servants bringing in chests containing other offerings. The semicircular piece of glass on which the small altar rests still contains what appears to be a fragment of a skull. The upper part of the little altar or sarcophagus slides ; and beneath it is a rectangular space, in which there is at present a small relic, which seems from the date of an inscription on it to be of much later time than the reliquary ; probably deposited by a pious possessor in the last century. The sides are filled with eight double windows under arches, having a projecting cornice above and below. The surfaces are covered with metal work beaten into small flowers, with pieces of silver niello ornament at intervals. Above the altar is a square, richly decorated panel finishing above with a gable, and sup¬ ported on each side with a round turret or buttress, the shafts being crystal. In the centre of the panel is a circular case covered with a crystal, in which probably the chief relic was originally deposited. On the back is an incised figure of the Virgin and Child, with a background of floriated ornament in niello. The enrichments of the whole panel consist of filigree silver work, enclosing a number of crystals and precious stones. The turrets at the angles are topped by conical roofs of metal work. Botight for 130 1. I CABINET. WALNUT-WOOD. No. 772—1865. O F French art, this cabinet dates from about the year 1550. At that period the renaissance in France had advanced far beyond the extent to which it had been received in England and Flanders. Francis the First had not only sent workmen to be educated in Florence and Rome, but had invited artists out of Italy to teach in different schools as architects, painters, and sculptors. The names of Primaticcio and Cellini occur to us at once, and prove how great must have been the influence which they exercised. The present example of French woodwork of that period is one of the best in the large and important collection gathered together in the Museum. It is extremely well composed in outline, with justly proportioned and arranged mouldings, and with decorations admirably suited to the object. The cabinet is made up in two stages, the upper receding nearly eight inches from the top of the lower. It has side offsets, which supply a richer character than mere upright mouldings; and the diminution of width and depth, giving a lightness to what is, in fact, a large piece of furniture, is worth careful observation. The lower portion forms a cupboard, with a pair of drawers over it. It is lifted from the ground by broad horizontal mouldings which, being the widest measure of the whole piece, serve in the way of gradation to the other parts as they rise up. Four stout feet with claws support the two front corners. The doors of the cupboard are panelled, with projecting outside mouldings, cut into small egg and tongue on the inside. The flat parts of the panels are covered with a tracery in marquetry of delicate foliage and flowers, springing from vases. The side framing-piece and the drawer- fronts are inlaid in like manner; and the top is carried on a mask in the centre with brackets at the corners. The top half of the cabinet contains two drawers and two cupboards, as below. But the drawers are, in this case, placed below the cupboards, and 1. 28 CABINET. these last are, of necessity, much narrower. A wide side margin of three inches surrounds the cupboard doors, and above them spreads a projecting moulded cornice. The cornice is supported at the corners by four grotesque human-headed terminal figures. Their bodies bulge outwards in the centre and recede again, so as to fall in, bracket-shaped, down to a hori¬ zontal parcel of string-mouldings which keeps the whole together. Beneath this string the terminal supports descend in claw feet spreading upon the table of the lower cupboards. The top piece under the cornice is fronted with arabesques and small figures in relief connecting baskets of flowers at each corner, and a tablet with marble inlay forms the centre. Above the cornice (but not»shown in the etching) is a pierced pedimental composition of two human-headed winged dragons, with arabesques, strapwork, &c., above which is a pelican feeding her young. This stands out on the front edge of the cabinet. It is impossible to say by what artist this cabinet was designed. Jean Goujon, whose sculptures still remain on the Louvre, stands at the head of the French masters of that time. Others were Philibert de L’Orme and Bachelier of Toulouse. To the last of these the present example has been, with great probability, attributed. The cabinet is seven feet ten inches high, by three feet eight inches long, and one foot ten inches wide. It was formerly in the Soulages collection. Bought for 200 1 . HEAD OF A PASTORAL STAFF. IVORY. No. 214.—1865. HIS is a very splendid example of a class of carvings in ivory which is extremely rare ; nor is it easy to say why this should be the case. In the middle ages there must have been many crosier-heads made in ivory as well as in metal or in silver. The cost would have had no effect in diminishing the number: for ivory, in pieces of the size required, would have been little less costly than silver, and considerably more than metal. Even if the general destruction in England of all ecclesiastical ornaments in the sixteenth century would account for the rarity now of these things in our own country, yet we can scarcely give the same reason for the smallness of the number still known to exist abroad. We find comparatively very few in the great collections at Paris, or Vienna, or elsewhere. The difficulty is increased when we remember that not only bishops but the heads of religious houses, both in England and abroad, carried these staffs as emblems of their authority ; and scarcely anything is found more frequently than an entry of an ivory crosier or staff in mediaeval in¬ ventories. Ivory, as a material, is admirably adapted for the crooks of pastoral staffs ; and not only so, but admits of very graceful work in the decoration and applying of the appropriate symbols. Very anciently, the shape was simple, in the plain form of a shepherd’s crook; then treated as a serpent of which the termination was the head, often with widely expanded jaws ; later on, many symbolic ornaments were added, and groups of figures were carved in relief, not only upon the volute, but introduced into and filling up the centre. This crosier-head is French, of the best period of the fourteenth century. In height, six inches and three-quarters ; in width, nearly four; somewhat larger than it is represented in the etching. The whole of it is carved from a single piece of ivory. The outside of the volute is ornamented with a very richly designed branch of a vine, cut in high relief, and of admirable workmanship : there HEAD OF A PASTORAL STAFF. are, here and there, a few small bunches of fruit. The volute is supported by an angel, designed with great spirit, whose wings on one side spread to the inner angle, and his hands stretch forward towards a scroll in front. He is vested in a long garment, under which are seen the feet, on the side not shown in the etching. The centre is entirely filled with two groups, standing (as it were) back to back. On one side is the Crucifixion. Our Lord is represented dead, with His head drooping over the body ; on His right hand is the blessed Virgin, on the other is St. John. Both these are standing. On the reverse are the Virgin and Child with two angels, grouped in the manner common in the fourteenth century. The Virgin holds the Infant on her left arm, and the angels attend, one on each side, carrying candle¬ sticks. They are all fully draped in long vestments. The mediaeval ivory heads of episcopal staffs show often great clever¬ ness in adapting two groups for the centre, so that one of the two might face the people as it was carried along. In the present example, the figures which serve upon the one side for the Crucifixion, represent upon the other the blessed Virgin and the attendant angels. Bought for 1 68 1. MACE. SILVER. No. 31—1869. L' NGLISH work, late in the seventeenth century. The stem is twisted with two knops—one, the largest, in the middle; the other at the bottom, near the end. The foot is a flattened cone, bearing underneath the arms of the city of Cork : a ship entering a port between two towers, in full sail. The middle knop, which is quite round, has four figures : Temperance, Fortitude, Justice, and Prudence. These are in relief, within circles. The head is a regal crown, surmounted by a cross and supported by an octagonal bracket, which grows out of the stem. Upon this bracket are eight shields. These may possibly have been those of other corporations or companies connected with that to which the mace belonged. For example, among them is a shield bearing a covered cup between two candlesticks, with a device, two hands issuing from a cloud and holding pincers. Another has, on a chevron, between three tents, three cinquefoils ; for a device, a tent-head, and for supporters, two boys. Another, on a chevron, three cinquefoils between three grates ; for a device, two arms upraised’ holding a dish, and a motto, “ In God is all my trust.” To name one more only : this bears a tobacco-plant in full blossom, proper ; for a device, a demi-man, with arms extended, holding a pipe and a cake of tobacco ; for supporters, two savage men, cinctured with leaves. On the crown is a hall-mark, R. C., a castle and flagstaff, and a galleon. There is also the following legend : “ This mace was made at y e charge of y e whole Sosiety of Goiddsmiths, Robert Goble , M tr . IVtr. Hughet, W tr . Harvy, bVard ns , 1696.” The length is an inch and a-half over three feet, the width of the crown about five inches. I. 3° Bought for 73/. 103. _— I .. 1 — CASKET COPPER: ENAMELLED. No. 4.—1865. HERE are very few objects in the collections of the Museum which are more important or of higher historical interest than this casket. It is English work of the end of the thirteenth century, and was probably made for Valence Earl of Pembroke. The enamelling is like that of Limoges, which came largely into use about the year 1200 and was applied constantly in the way of decoration to all kinds of metal work of moderate size. Reliquaries, pastoral staffs, candlesticks, basins, jewels, and coffers, were richly ornamented with enamel : occasionally, also, monumental brasses. This casket is flat, and stands on four legs rudely and plainly shaped. It is entirely of copper-gilt and covered with champlevd enamel; displaying the armorial shields, in lozenge or diamond-shaped compartments, of England, AngouHme, Dreux Duke of Brittany, and Valence Earl of Pembroke. These compartments touch at the points, with small quatrefoil ornaments at the points of intersection. The shields have the following heraldic bearings repeated throughout :— 1. Sable, a lion rampant, or. 2. Barry of twelve, argent and azure, six martlets, gules, for Aymer de Valence. 3. Checquy, argent and sable, the second charged with crosses patde, or, in dexter chief a canton ermine. 4. Checquy diamondwise, or and gules. 5. Or, a lion rampant, gules. All the colours are in fair preservation, some even bright, and easily to be distinguished. Besides the shields there is no decoration, except a narrow Vandyke- fashioned border round the edges of each side. The hinges are round bars, shaped at the ends, as was very common at that period, into dragons’ heads; they are welded on over the lid and back. The lock is a similar bar with a hasp hinged to it; having an inside lock, locked through a key¬ hole. A well-designed and properly-sized handle serves to raise the lid. The casket is about seven inches long, by five and a quarter wide. It stands nearly four inches high. Bought for 150/. PANEL. MARBLE. No. 314—1878. P'HIS panel is almost square in shape, and the subject is carved in low relief. It is of the school of Donatello, Italian, of the early part of the fifteenth century. It was obtained from the Lazzari palace at Padua. In the centre, the Blessed Virgin is seated, holding the dead body of our Lord on her lap, and supporting His head with her left hand, whilst her right arm, passed across her breast, lifts Him up beneath His shoulder. This portion of the composition is in the common style of a Pieta of the middle ages. But the group which is gathered round the two chief figures is treated in a very unusual manner : nor is it easy to suggest whom the figures are intended to represent. Five, in the background, stand upright and are men ; probably two or three of them (more especially the second man on the left hand, whose face is seen in profile) are portraits. A portion of the foot of the Cross would seem to be indicated, as if embraced by the man standing in the middle of the group of five. If this be so, the whole subject would be the Deposition : an interpretation in full accordance with the gestures and arrangement of the lower group of figures, which consists of four women. Two of these stand behind the Blessed Virgin with clasped hands, in an attitude of great grief; a third, kneeling, almost touches with her lips, in a posture of adoration, the Saviour’s knees; a fourth, an old woman sitting on the ground, tenderly lifts up the left hand of the dead body, wrapped reverentially in a portion of her robe. Three of the women, and the Blessed Virgin also, have their heads covered with the draperies of their outer robes, in the manner of a hood under which is a kind of low veil, almost hiding the eyes and passing straight across the forehead. The kneeling figure on the left alone has her head un¬ covered, and possibly is meant for St. Mary Magdalen. This marble is a very fine and very rare example of the school to which it belongs, and deserves to be most carefully studied. The group of women who weep round the dead Saviour is full of character and feeling, and the execution admirable throughout. The I. 32 * % PANEL. draperies, the feet and hands of the figures, the varied expression of the faces, and the solemn grandeur of the head and body of our Lord, will bear comparison with the best works of a somewhat later time. The panel measures three feet four inches in height, by about three feet seven in width. Bought for 300 1 . VIEW ACROSS THE CENTRAL OR LOAN COURT. /^APTAIN FOWKE, R.E. (who died in December, 1865) designed this court, which was opened in 1862 ; and the decorations are by Godfrey Sykes. Brown relieved with gold and blue with white form the key of the scale of colour. All the iron columns, ribs, and girders are exposed to view and have been treated as surfaces for decoration ; even the bolts and rivets form ornamental details. On the upper part are shown some of the portraits, in mosaic, of men connected with the arts from the earliest times to the present. i- 33 Panel of Window Frame, South Kensington Museum. Designed by Godfrey Sykes. KNOCKER. BRONZE. No. 588—1853. HP HIS is one of a pair of knockers which were formerly on the large doors of the palazzo Martinengo-dobblo at Brescia; and the com¬ panion knocker was still hanging there within the last few years. It is probably Venetian work, of about the middle of the sixteenth century. Venice seems to have relied until the fifteenth century for whatever bronze work she might require upon the supply which she was able to procure through her intercourse with Constantinople. Even in instances which may be found where the artists employed worked at home, very strong Byzantine feeling and marked style are to be traced ; as, for example, in one of the doors of St. Mark’s, made as early as the twelfth century. But later on, the influence of the schools of Squarcione and Mantegna made itself felt; and still more powerfully the inspiration which spread all over the north of Italy from the studio of Donatello. By the beginning of the sixteenth century Venetian workers in bronze had established a wide renown; and to Alessandro Leopardi may be attributed, with almost certainty, considerable portions of the famous equestrian statue of Barto¬ lomeo Coleoni. Later still, Jacopo Sansovino, Alessandro della Volpe, and Titiano Aspetti worked at Venice. To either of these or to their pupils this knocker may be ascribed, even if it be thought somewhat too late in style to be given to Leopardi himself. Although small works in bronze, like inkstands, knockers, or ornamental furniture, carry with them certain characteristics of style, approximately indicating the hand which modelled them, yet very often it is impossible to set them down with absolute cer¬ tainty to any particular artist. In this splendid knocker the composition is formed by two dolphins, which extend, one on each side, from a winged mask of Medusa at the top. i- 34 KNOCKER. Each dolphin is entwined with a serpent and supports a satyr, whose trun¬ cated arms, ending in curled scrolls, are hooked into a blank escutcheon which forms the centre of the group. A small tragic mask, uniting the heads of the dolphins, completes the lower portion. This example is one of the most artistic and vigorous of those which still exist. Large and heavy as they are, nevertheless, when fixed to the huge doors of the great Italian palaces, they harmonize perfectly with the proportions and architecture of the buildings for which they were designed. The height is fourteen inches by eleven in width. Bought for 21 1 . BELLOWS. WOOD. No. 7698—1861. I TALIAN artists in the sixteenth century did not confine themselves to the designing and executing important works, but were also ready to give their aid to the making of furniture, chests, cabinets, tables, &c., in every variety of material and with all kinds of decoration. Even things which one would suppose to be intended only for the commonest domestic use were not beneath their notice. Wood was very frequently employed . and it was ornamented with rich carvings, or with gilding and painting; inlaid with agate, lapis lazuli, or other precious marbles; or with ivory, tortoise-shell, and mother-of-pearl. The bellows here engraved is Italian of about the middle of the six¬ teenth century: formerly in the Soulages collection, and an admirable example of excellent design and bold carving in high relief applied to a common object. The front forms a circular cartouche with scroll ends curled over, half covering a border richly made up with fruit and flowers. The panel has at the top a mask, and the centre is filled with two dolphins, their tails continuing in scrolls which roll over and terminate in demi-figures of men with shields and wielding clubs. The arms on one shield are, bendy of six with a lion rampant over all: on the other a double-headed imperial eagle displayed, bearing an inescutcheon charged with a fesse. Where the bodies of the dolphins leave a space in their sweep towards each other is a scallop-shell, answering to the mask above. A squatting female figure, winged, is carved upon the handle. The body of the bellows rests upon an eagle standing, with outstretched wings: well executed and vigorous in design. The back of the bellows has also a cartouche, with masks, shells, &c., supporting it. The wind-pipe is formed by a grotesque animal (issuing from a satyr’s head) with wings and with the fore paws under its throat. The old undressed buff-leather is still left on the edges, fastened to the wood with rosette-shaped nails of bronze. The diameter of the bellows is rather less than eleven inches. Bought for 40 1 . MU9 MONSTRANCE. GILT METAL. No. 4310—1857. N important piece of Spanish work, about the beginning of the r\ sixteenth century. Important, not only on account of having a date and of the very characteristic style of the design, but because also of the material of which it is made. Spanish mediaeval work in bronze or copper is more rare than in silver or iron. Bronze lamps, mortars, and perfume- burners, and some representations of animals, are preserved in a few museums, but these are almost all to be referred to Spanish-Moresque artists and workmen. The famous and beautiful “ tenebrarium, or triangular candlestick (used during matins in Holy-week for the fifteeen tapers) kept in the cathedral at Seville is the most remarkable work in bronze ever executed in Spain. This was made in 1562 by Bartolomei Morel, an artist who was contemporary with the maker of the monstrance shown in the etching. The monstrance is designed as an architectural shrine of three or four stories. The plan of the body is triangular, and the shrine is built upon a platform curving inwards. Three terminal figures of prophets, wearing turbans and holding scrolls, stand on square dado bases covered with arabesques in relief. Upon the scrolls is an inscription: “Adorate scabellum pedum ejus quoniam sanctus est.” Behind these figures are columns with Corinthian capitals to which are attached little angels, who seem to be flying downwards and _ holding censers with which they incense the Host. The columns and figures together support architraves and cornices richly decorated and divided into panels, which run con¬ tinuously round the entire piece. Above this another little temple or shrine is raised. This is round, marked as if with courses of stone, and divided by three piers which faced by columns, supported on the outside by well-designed, bold, 1. 36 are MONSTRANCE. scroll-shaped brackets. Three round-headed arches contain three images : i. The Redeemer holding an orb in one hand and raising the other in benediction. 2. The blessed Virgin with the Infant in her arms. 3. St. John the Baptist. Upon the same floor, outside the brackets, are three small figures of bishops, vested and mitred and holding pastoral staffs. They hold also, one a book, another a rosary, and the third a heart pierced with two nails. Again, resting upon this round shrine is placed a drum covered by a smaller dome standing on six balusters, and the summit carries a crucifix. This crucifix is double, having a figure on both sides of the cross. The actual receptacle for the Host is an upright cylinder of glass, occupying the centre of the lowest story; and the metal support is a double image, the Virgin and Child with a kneeling bishop, and the Assumption. The stem is straight, with a large knob or boss in the middle by which to raise the monstrance safely; the whole of it enriched with medallions in strap-work. Below this the foot spreads, having not only the same kind of ornament, but also three circular medallions, and three settings for gems or coloured pastes. In the medallions are the evan¬ gelists, St. Matthew, St. Luke, and St. John. The height of the monstrance is twenty-one inches. Bought for 60 1 . PLApUES OR PANELS' OF A CASKET. , ONE A FRAGMENT , IVORY FRENCH , l^’CENT. PANELS. IVORY. No. 284—1867. 1VT OT only because of the good workmanship and graceful design shown ' in them, or because there are few pieces more characteristic of the period and style when they were carved, but because they are examples of English art, these small panels are extremely valuable and important. Originally, it is probable that they formed the decoration of a very beautiful small casket, of which the three panels in one piece made the front or back. The date is about the middle of the fourteenth century. The panel is divided into three compartments; in each of them is a sitting figure. In one is a lady caressing a dog ; in the others two gentle¬ men, both carrying a hawk upon the wrist. All three have the long narrow strips hanging from their sleeves; and the men show also the pointed shoe of the time of Edward the Third, which was worn before the fashion came in of the exaggerated elongation beyond the foot. Each figure is placed under a rich canopy; an ogee arch with bold cusps floriated at the points and supported by pinnacled turrets or buttresses at the sides. Carried upon the arches is a battlemented wall with windows, and above this a low-roofed building with a gable in the middle. The whole of the architectural decoration is delicately cut in open or pierced work. The fragment to the left is a portion of one of the sides, with the sitting figure of a lady. The piece with the three panels is five inches long, and five wide. Bought for 10/. I- 37 SKM ( 29 ) book clasp in silver BOOK CLASPS . A PAIR German . S k.m. gilt, FRENCH. Pjr r - H Ceim S.K.M, ^No3^33.) CHASED SILVER HEART-S H A PEQ ENDS (.No 9019, ooi9«; w-e mackan fecit. 1-38. BOOK-CLASPS. SILVER. Nos. 3583—1853, and 9019—1863. | 'HE centre clasp is intended for a single one to close a book, and is a good example of French design and workmanship of about the year 1690. The material is silver, which has been gilded ; the decoration is with filigree work, surrounding three small plaques of champlevd enamel in niello. The clasp is rather over five inches in length from point to point, but the same design could easily be adapted for books either of larger or smaller size. The other two clasps are a pair, to be fitted across the edges near the top and bottom of the binding. They are also silver, very carefully chased with scroll or foliated ornaments and heart-shaped ends. It is not easy to determine where they were made, but at some time early in the last century. The etching represents the size of the originals. Bought for 3/. 1 is. 8 d. 1 . 3S IN THE ART LIBRARY, SOUTH KENSINGTON MUSEUM. THREE DESIGNS FOR PANELS. No. 8076. Art Library. HESE are pen and bistre drawings, perhaps designs for friezes, and are ascribed to Giovanni da Udine. They are upon paper, by the same hand but not on the same sheet. Giovanni Nanni, called “da Udine,” was born at Udine in 1494 ; and at an early age was placed under the tuition of Giorgione at Venice. From thence he went to Rome, where he was employed by Raffaelle to execute the greater part of the arabesque and grotesque ornaments in stucco by which the apartments in the Vatican are decorated. He died at Rome in 1564. EAGLE. IRON. No. 603—1875. A MAGNIFICENT example of Japanese work in iron. The bird, an eagle or osprey, stands with spread feet and out¬ stretched wings upon a rock, eagerly looking, as if preparing to swoop downwards on his prey. The body and wings are composed of numberless pieces of iron, some cast and others cut and hammered, with chasing. The name of the artist is known—Miybchin Mun6haru. He lived in the sixteenth century, and his works are especially valued in Japan. The height is two feet four inches and a half, and the expanse of the wings three feet one inch. Bought for 1,000/. I. 40 DESIGN: DECORATIONS OF THE WEST DINING-ROOM. 1\ \ ORRIS and CO. designed and executed these decorations. The engraving shows portions of the upper panels of the dado. The figures represent the twelve months of the year or the signs of the zodiac with two additional personifications of the sun and the moon. The inter¬ mediate panels are filled with fruit and foliage. The two figures engraved show Libra or September, and the Moon. Panel in window recess, South Kensington Museum. Designed by Godfrey Sykes. BOOK COVER. GILT-METAL UPON WOOD. No. 1057—1871. "C' XAMPLES of undoubtedly English work in metal of this date, 4 early in the fourteenth century, are rare, and the book-cover shown in the etching is an extremely important specimen. Even if we had no guide to lead us in the manuscript which it contains, there is a peculiar and characteristic style, both in the workmanship and in the design, which would leave us in very little doubt as to the country in which it was made. The manuscript is English of about the year 1400; including the office for the dead (the dirge and placebo), also the office for anniversaries, and a portion (the sequences) of the mass for All Souls’ day. The centre panel, which is somewhat recessed, represents the Visitation; the Virgin and St. Elizabeth stand facing each other vested in ample robes, and with hands clasped in each other's in the front. These figures are in high relief. Behind them is shown a gateway of a town, with flanking towers. Eight plates of metal work fixed to the wood with pins form a border round the central compositions. They are decorated with a rich and well- designed flamboyant tracery within panels, in pierced or open work. Four antique gems are set in the corners, surrounded by a somewhat bolder ornament of foliage. One of these gems has a hand upon it in relief, two are cut in intaglio, and one is plain. The cover measures about ten inches, by seven in width. Bought for 30 1 . I. 44 FIRE-DOG. BRONZE. No. 3011—1837. /^\NE of a pair of fire-dogs : the difference between the two being that the figure upon this represents Jupiter, on the other Venus. The height is three feet and a half. The modelling is bold and the ornamentation rich, almost overdone; but the base is not sufficiently solid. The composition is arranged in four stages ; the decorations consisting of festoons, masks, and terminal figures. These fire-dogs are important from their size and from the signature of the maker, inscribed on the back: “Josephodi Levi in Verona mi fece.” Their date is the sixteenth century. Bought for 151 /. the pair. I- 43 * , COFFRET. BOXWOOD WITH IVORY FILLETS. ITALI AN . 16 ** C EN T. 5 1 N. B Y 6 f IN. g.K. M.(N0 53 2.-’6g.) BOX OR SMALL COFFER. WOOD AND IVORY. No. 532—1869. A RATHER remarkable specimen of the peculiar work not uncommon in the north of Italy from about the middle of the fifteenth to the middle of the sixteenth century. This casket is probably Venetian about the year 1500, and is made of olive-wood. The top is arched or cylin¬ drical, and the whole is decorated with reticulations pierced right through, alternately long and short but not over half an inch in the longest of these dimensions. This pattern work without exactly following the cuspings of English fifteenth century tracery has much the same general effect. The panels are divided by crossing bands of ivory, engraved with lines in simple knots. The box measures five inches by six inches and a half. Bought for 12 1 . 1. 44 “ '-A CUP. SILVER. No. 150—1872. A CUP of Nuremberg work which has been attributed by some whose authority deserves consideration ^o Jamnitzer, a goldsmith admitted into the Nuremberg guild about 1534. The etching is about three-fourths the height of the original. The bowl of the cup stands on a baluster-shaped stem, and is cusped at the lip in six lobes descending in points; the intervals as they increase in width are filled with good taste by six corresponding lobes, ascending till the points are lost between the cuspings of the lip. Small subjects in repoussd work are embossed below the points under the cup. They repre¬ sent three fishes, a lizard, a frog, a prawn, a dolphin, and a snail. The surfaces of the lobes which diminish upwards are covered with strapwork and cartouches containing three demi-figures alternating with arabesque ornaments. The upper and larger lobes have graceful figures of Diana with a bow, Lucretia with a dagger, and a third of doubtful meaning, said (but improbably) to be Judith with the head of Holofernes. Three vases intervene. The edge of the lip for about an inch is quite plain: and imme¬ diately under the cusps masks and arabesque work are placed alternately. The base of the cup is trefoil-shaped with a bold half torus. The knop in the middle resembles the capital of a renaissance column, with three rams heads, three bunches of fruit, and volutes. This stands on a round basket connected with the base by three dolphin-shaped brackets. The stem, which is hexagonal and divided by horizontal collars and neckings, is connected with the bowl by six delicate acanthus brackets. The condition of this cup is as good as when it came from the hand of the maker, and it must have been very little used. Two cups of similar workmanship belong to the municipal collection at Nuremberg, and arc shown in the town-hall. The three (this and the other two) were exhibited together at Nuremberg at the 400th anniversary of Albert Diirer, in 1871. Wentzel Jamnitz or Jamnitzer was the author of a work on perspective with cuts by Jost Amman, and was one of a family of gold and silver¬ smiths. There is some correspondence of style and execution between the three cups and a very beautiful cup preserved in the' British Museum, and believed to be by Cellini; but which, with more probability, is the work either of Wentzel or an artist of the same school. I- 45 Bought for 150/. < . ' • IVORf CARVING, HEAD QF A TAU OR T SHAPED STAFF. IN WALRUS TUSK,THE COMPARTMENTS CONlAlNlNG THE S I & N S O.F THE ZODIAC, 12 CS CE NT fsOLTI KOFE C-0 LL) L^IN. S . K . M, (.N* 2.15 6r) F. A .SLOCOMB E ■ FECIT 1-46 HEAD OF A TAU. IVORY. No. 215—1865. I 'HE Tau was one form of the heads of pastoral staffs adopted in some countries of western Europe early in the middle ages : the use of it seems to have died out soon after the eleventh century ; but it can be traced back almost to primitive times. The most ancient shape of the episcopal staff is to be found represented in the catacombs; a short handle with a plain end slightly curved. Soon after, and this also in the catacombs, the truer form of a shepherd’s crook occurs, with a complete and still unorna¬ mented curve at the extremity of the staff. Succeeding all these simpler forms came the admirable design, frequently executed in the thirteenth and fourteenth centuries, in which the volute is carried half round again and filled within the circle with religious emblems or with groups of figures. Ivory taus are of great rarity ; and no other collection, whether public or private, can boast of a finer or more important example. It is carved out of walrus ivory : in some country of western or northern Europe, and possibly may be English art late in the eleventh century. The two ends are lost; probably they represented the heads of animals, and may have been hollowed out in order to hold relics. The sides are divided into diamond-shaped compartments, in each of which is carved, in high relief, a sign of the zodiac. The bands which separate these compartments are richly ornamented with small beads; and a larger circle or hollow at the intersections was originally, without much doubt, filled with gems. Smaller animals (some of them hares or birds, some grotesque beasts) occupy the smaller divisions where portions only of the diamond compartments can find room. In the centre of the under part is a round opening, into which the up- 1. 46 HEAD OF A TAU. right staff was fitted : on either side is a niche under canopies of three small round arches supported on columns with early Norman capitals. In one there stands (it seems) an abbot tonsured, vested in an alb and short chasuble, holding a book in his left hand, and in the right a short pastoral staff with the crook turned towards himself. Under the other canopy stands another ecclesiastic vested in like manner, who carries a tau in his left hand ; a long staff with a short cross-piece at the top. With the right hand he gives benediction. He is also tonsured. There is an orna¬ ment upon the front of his chasuble which might be supposed to represent an archbishop’s pall; but more probably it is an orphrey of the vestment. The length of the tau is five inches, and the width nearly two. Bought for 77/. KNIFE CASE. WOOD, PAINTED. No. 2156—1855. A N Italian work, and important as having a date, 1564. The case is formed by three satyrs bound with linen bands to a triangular pedestal which rests upon three harpies. The satyrs are black, with horse’s hoofs, and two of them are dressed with Indian feather skirts. The triangular pedestal is painted the colour of Siena marble. The sphinx on the top holds a scutcheon by the left paw ; but the arms once painted on it cannot now be blazoned. The head turns slightly and is crowned with bay leaves. There are some imitation jewels on the base, painted in glazes over gilding. The case was bought from the Bernal collection in 1855, and stands about fourteen inches high. The date is on a small scutcheon in the centre of the base. Bought for 10 1 . 1 or. 1. 47 BUST. BRONZE. No. 1088—1853. A PORTRAIT bust in bronze, considerably larger than life, of pope Innocent the tenth, Gian. Battista Pamfili, of Rome; who was elected in 1644 and died in 1655. It is Italian and contemporary. The artist is unknown; more probably he was Alessandro Algardi, who died in 1654, than Bernini to whom the work has been by some ascribed. The pope wears a plain close-fitting cap upon his head, and a vestment which may, possibly, be intended for a cope; the border of the vestment is decorated with olive-branches intertwined so as to form circles, containing alternately a fleur-de-lis and a dove, the emblems of the family. The workmanship and modelling are both good ; and the finishing of the casting and tooling also excellent. Probably the bust was executed when pope Innocent was a cardinal, as there is no emblem upon it having reference to the papal chair and dignity. The height is three feet three inches, by two feet ten inches in width. 1. 4S Bought for 90 1 . CERAMIC CALLER V. SOUTH KENSINCTON MUSEUM INTERIOR OF THE CERAMIC GALLERY. T N this gallery (which was opened in 1868) are exhibited the museum col- T lections of various kinds of pottery and porcelain, chiefly European. The decorations are partly from designs by the late Godfrey Sykes, but chiefly by others, among whom Mr. J. Gamble and Mr. F. W. Moody may especially be named. They are intended to illustrate in some degree the special purpose for which the gallery was built. For example, the columns which support the roof are of enamelled terra cotta, executed by Minton & Co.; they are white and celadon green with capitals partly gilt. Round each pillar is a band bearing the name of some celebrated potter. On the frieze are the names of places where pottery has been, or is now, manufac¬ tured ; and the windows on the north side, designed by Mr. W. B. Scott, contain a series of pictures giving the history of the manufacture of china and pottery in different ages and countries. The large object in the foreground of the etching is a green earthen¬ ware stove from the Black Forest. 1. 49 Panel, from a Design by Godfrey Sykes. PAX SILVER GILT. No. 3580—1856. « HE design and composition of this pax are of the character of similar objects by Italian artists, to which school about 1550 the design belongs. The centre panel represents the Nativity, with the blessed Virgin and St. Joseph kneeling on either side of the infant Saviour. Two half-angels behind the manger join in an attitude of adoration, and two shepherds are seen at the back of the Virgin. This is executed in niello. The frame stands upon a dado and is supported by flanking brackets. Two side pilasters filled with arabesque work of great delicacy support the entablature. The tympanum contains a representation, also in niello, of the Eternal Father with arms extended and surrounded by angels. The dado is filled with a light arabesque ornament; and on the entablature is the legend “Gloria in excelsis Deo, et in terra pax!' The size is eight inches in height by about five across. The pax is used at high mass in the catholic Church : very frequent notices of it are to be found in mediaeval inventories, and in service books of the Church of England before the reign of Edward the sixth. Several examples in metal and in ivory are preserved in the museum. Bozight for 100/. CENT. H 4-i IN. LJ*IN. CASKET. SILVER. No. 2126—1855. I 'HE workmanship of this pretty casket is probably north Italian rather than German, and the date about the end of the sixteenth century. The shape and style might very usefully be adapted to various common things of the same kind at the present day. The whole surface is covered with filigree ; each depression being filled with enamel of different colours—turquoise blue, yellow dots, and deep purple. The feet are well designed, and give a good character to the casket; they represent grotesque figures, something like a sphinx. The height is four and a half inches, by nearly six long, and three and a half wide. Bo2tght for 38/. MIRROR FRAME. WALNUT WOOD. No. 7226—1860. HIS fine specimen of wood-work, Italian of the sixteenth century, is 1 useful not only as a type and style which may be copied or adapted for the same purpose, namely, for a mirror frame, but also for other articles of furniture ; for panels of cabinets and the like. Mirrors in our own time are very much larger in proportion to the frames. The plate is metal, burnished, and is partly covered by a sunk sliding panel admirably carved in slight relief with a profile female head in classic costume. The frame is richly carved also in relief with masks and garlands of fruits and flowers resting on a bracket and surmounted by a cornice. On each side is the head of a boy, with a scroll of acanthus leaves above and below. The flat portions of the frame are inlaid with what appears to be cork, but is perhaps cut from the excrescences of a chestnut tree. Originally the large bracket had armorial bearings carved upon the shield which occupies the centre; but these have been defaced. This frame formed part of the Soulages collection. The height is nearly three feet and a half, by two feet two inches in width. Bought for 200/. I- 5 2 VASE BRONZE. No. 35—1865. VERY beautiful work of the Italian school of the latter half of the z*- sixteenth century. The body of the vase is cylindrical, diminishing towards the foot with a bold gadroon ornament. The cylinder itself has a rich foliated decoration of an antique character, with a handle on each side formed as a drooping acanthus leaf. The foot is very simply moulded. Round the neck is another belt of classic foliation, with borders of leaves, flowers and ox-skulls, suspended by ribbons. The style of this vase is good: and the ornaments are executed sharply and firmly, yet with great delicacy. It is of the best Florentine time, and might have been produced in the studio of Donatello. Or we may attribute it to Verrocchio, or one of his pupils. Verrocchio’s works are by no means numerous, and are marked by great individuality and highly finished execution. Bought for 206/. ,TH COVER IN sox WOOD. NECKING ANC KNCI BOX. BOXWOOD. No. 1153—1864. HIS box was intended and probably has been used for holding the -L unconsecrated wafers for mass. In this material, and of the same date, i.e. late in the fourteenth century, such examples are uncommon. It is possibly of Italian workmanship, and has been attributed to a Venetian artist. This, however, is very doubtful. The decoration is rich, and the style and execution of the design are extremely good. The top is ornamented merely with foliated scroll work, with a plainer scroll on the flat silver mount below it. The body of the box is divided into twelve compartments with cusped arches over each, and a carved saint in high relief occupies every spandril. The subjects in the panels represent the different events of the Passion of our Lord ; those which are shown in the etching being Pilate washing his hands, the carry¬ ing of the Cross, the Crucifixion, the Entombment, and the Resurrection. The figures filling the arches are something over half an inch in height. The etching is the full size of the original. Bought for 1 61. X KSTAND or PERFUME BURNER.. BRONZE . FLORENTINE . 15 -cjENTi/.. (&0ULAGE3 Coll*) £ .k . m (ns 575. — 1 65 ) W,w, M £ CARTY , FECIT-