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OiH-'JriHiumr; aoetc'boi ituutmtrn clnit fiitm'no At oWu Airrfloeif gut diet fttm tjor{r fotml fim'^ticttn tonal ftta-iomnwe-'igateatti f(*mf4Juncfmr-tiix ^rtnuti<;TAaJfrnoti7 fttirao ^rtmtiiti^u ^tmcptngtuiticitiiu^r plcctnliatiasrrsrBogitnt'aitruorfi&eoi tiynre mgtntftoc- afoUmmi ymfilUnitnrc 3 - Digitized by the Internet Archive in 2016 https://archive.org/details/catalogueofmediaOOgatt ( LIVERPOOL FREE PUBLIC MUSEUM. CATALOGUE MEDIAEVAL & LATER ANTIQUITIES CONTAINED IN THE MAYER MUSEUM, INCLUDING THE MATHER COLLECTION OF MINIATURES AND MEDALS RELATING TO THE BONAPARTE FAMILY. BY CHARLES T. GATTY, F.S.A., CURATOR. Published by Permission of the Library, Museum, and Arts Committee. LIVERPOOL: GILBERT G. WALMSLEY, 50, LORD STREET. 1883. ' PREFACE. Many of the objects here catalogued have been previously described in print, some of them in the Catalogue of Mr. Mayer’s Colquitt Street Museum,* and others in the two Catalogues of the Mather Collection, one published by Mr. Mayer in 1855, the other by the Library and Museum Committee in 1874. Descriptions of many of the ivory carvings will be found in Mr. Pulsky’s Catalogue of the Fejervary Ivories, and in the works of Mr. Maskell and Professor Westwood. Besides these, there are many illustrations of, and allusions to, these objects scattered about in various archaeological works, especially in the publications of the English archaeological societies. These the writer has now attempted to gather into this Catalogue, together with many other matters never before published. Tin's material forms a considerable mass of archaeological information, but the subjects are too disconnected to be placed in any consecutive series ; it has therefore been thought advisable to give to each group its own explanatory introduction. Nearly all the manuscripts, ivories, enamels, and miniatures came with the rest of Mr. Mayer’s gift in 1867 ; but most of the Venetian and other glass has been recently purchased out of the Mayer Museum Duplicate Fund. The Mather Collection was left to the city in 1872, by the late Mr. John Mather, who obtained it in the first instance by purchase from Mr. Mayer. The collection of French Revolution badges and medals was purchased in 1870. This Catalogue does not mention every object in each department, but only such as are typical or special. There is a running number throughout the Catalogue, placed at the commencement of each description, and a similar series will be found attached to the objects in the cases ; the number at the end of each description is the Museum registration number. Attention has been called in this Catalogue to some of the artistic features of the mediseval antiquities, in the hope that art students in Liverpool may make use of that most valuable series ; and the writer * Catalogue of the Egyptian Museiun, No. vm., Colquitt Street, Liverpool, mdccclii Mawdsley and Son, Printers, Castle Street. IV. PREFACE. has the authority of Mr. Mayer for saying here that it was his special intention, in making this collection and presenting it to the town, that it should be a means of education to the local art students. Coming from a potter’s family, and being himself a gold and silver smith, Mr. Mayer appreciated of what value it would be to artists and workmen could they refer at will to a public treasure-house, in which were preserved the art traditions of past times. It is of course necessary that, in a collection representing all ages and styles, there should be many inferior and imperfect examples, of no value to the art student, though of importance to the archaeologist ; still, if the student be rightly directed, he will find in the Mayer Museum a store from which may be selected an invaluable series of historical examples for art education. He can see something of the perfect caligraphy and illumination of the 13th century, its exquisite skill in execution, design, and colour. He can learn the historical traditions and technical excellencies of Gothic sculpture from ivory carvings, ranging in date from the Byzantine age down to the 15th century ; and can trace in each department of mediaeval art the gradual inroad of the classical revival, which in course of time entirely supplanted the Gothic school. CHARLES T. GATTY, November 14th, 1882. CURATOR, MAYER MUSEUM. CONTENTS Preface Medieval Antiquities — Introduction Manuscripts Ivory Carvings : Byzantine and Gothic Carvings in Jet ... Enamels ... Coins Seals Pilgrim’s Signs or Badges Niello Work Miscellaneous Objects ... Mediaeval and Modern Glass ... Oriental Glass ... Venetian Glass ... German Glass ... Spanish Glass ... French and Danish Glass English Glass Enamels: i6th Century and Later ... Page I 3 12 25 26 30 31 34 37 38 4 1 44 45 47 49 49 50 5 1 VI. CONTENTS. Page Miniature and other Portraits ... ... ... ... 57 Miscellaneous Portraits ... ... ... .. ... 63 Miscellaneous Personal Relics ... ... ... 64 Badges and Medals connected with the French Revolu- tion and First Empire... ... ... ... ... 69 Medallions in Wedgwood Ware, illustrating the French Revolution Period ... ... ... ... ... gi The Mather Collection of Miniatures and Medals re- lating to the Bonaparte Family ... ... ... 92 Miscellaneous Objects ... ... ... ... ... ... 95 Medals ... ... ... ... ... ... ... ... 96 Medals of the French Empire ... ... ... ... 99 Miscellaneous Objects ... ... ... ... ... ... 107 Pedigree of the Bonaparte Family. List of Subscribers. LIST OF PLATES. Plate I. Mediaeval Manuscript — Bible. II. Ditto History of the World. III. Ditto Breviary. IV. Ditto Book of Hours. V. Ditto ditto. VI. Mediaeval Ivory Carvings — two figures of S. John the Baptist. VII. Mediaeval Ivory Carving — the Crucifixion and Resur- rection. VIII. Mediaeval Ivory Carving — Virgin and Child. IX. Ditto, Panel of Triptych. X. Ditto, Diptych. XI. Ditto, top, sides, and cover of Casket. XII. Limoges Enamels— -Mater Dolorosa, St Bernard, Ecce Homo. XIII. Battersea Enamels- —Portraits. XIV. Liverpool Enamels- —Portraits, &c. XV. Miniatures. XVI. Ditto. via. LIST OF PLATES. Plate XVII. Badges and Medals of the French Revolution period. XVIII. Wedgwood Medallions of the French Revolution period. XIX. Miniatures of the Bonaparte Family. XX. Ditto ditto Medieval Antiquities. INTRODUCTION. In this group are examples of the Manuscripts, Ivory Carvings, Enamels, &c., of the Middle Ages or mediaeval period. Most of the objects were made for the service of religion, and many of them are the works of the mediaeval monks, who practised architecture, painting, penmanship, and the like arts, in days when the Church was the only home of European art and learning. Although the mediaeval antiquities in any museum are necessarily small, they may be of infinite value to an art student, especially if they are com- pared with the larger works, architecture, &c., of the same date. Such studies and comparisons as these form the basis of art education. It is necessary also, in order to ' learn all that such antiquities can teach, to know the condition of life and thought amidst which they appeared. Works of art, like other works of man, are shaped in accordance with man’s condition, and their character is determined by religion, education, government, wealth, country, and climate. It may be of service to say one or two words here as to some of the artistic characteristics of these mediaeval antiquities. The arts which they illustrate are principally penmanship with illumination, bas-relief sculp- ture in ivory, and metal work, with and without enamel. The earliest examples were made by the inheritors of the art traditions of ancient Greece, following which are the purely Gothic examples, and after them illustrations of the renaissance of the classical manner during the 16th cen- tury. These three styles are called respectively Byzantine, Gothic, and Cinquecento (1500). The first ranges from the 6th to the r 2th century, the second is at its best in the 13th, and the third flourished after the end of the 15th century. As human history during these ages exhibits the rise and fall of ideas and systems, so do these antiquities illustrate the progress and retrogression of human art. The earlier examples are simple and skilful, with well ordered proportions, and without excess or luxury of ornamentation, having nothing about them but what had its ascertainable use ; whilst in the later examples, the principal purpose of the work is often concealed behind a mass of ornamentation, that has lost the early B 2 MEDIAEVAL ANTIQUITIES : INTRODUCTION. precision, fineness, and inimitable skill. In the manuscripts and sculp- ture of the best time, the words that have to be written and the subjects that have to be depicted are evidently the first consideration of the artist ; hence the pages have much exquisite writing with subdued ornamentation, and in the sculpture, each figure is made to take his part in such earnest, that in a less sincere age such work has been called grotesque. In later manuscripts and sculptures, the pages have much elaborate ornamentation with little writing, and sacred subjects seem chosen by the sculptor chiefly to give his powers opportunity for display. This introduction is necessarily limited for space, but one other point connected with these antiquities it is important to notice, namely, that they are immediately and directly the handiwork of man, without the interven- tion of any mechanical appliances that interfere seriously with the freedom of human skill. They are made from the simplest natural materials, the skins and bones of animals, and the metals of the rocks, and upon these no line is written, carved, or graved, that has not come directly from the hand and brain of the artist. And with this precious quality is allied that of durability. Six hundred years, with as many surrounding vicissitudes, have not blanched the colour or tarnished the gold of our two exquisite 13th century Bibles, where they have been honourably treated, nor can any reason be shewn why they should not complete such another term. It is indeed fortunate for us that vellum and ivory have no intrinsic value, and that these manuscripts and sculptures have been spared the fate of many mediaeval works of art in precious metals. Books on Mediaeval Antiquities. Archceologia ; Journal of the Archaeological Institute ; Journal of the British Archceological Association; Arts of the Middle Ages, Labarte ; Architecture of the Middle Ages, R. Willis; The Dark Ages, S. R. Maitland; Glossary of Terms in Gothic Architecture, Parker ; Les Arts an Moyen Age, Du Sommerard; The Seven Lamps of Architecture, J. Ruskin ; Modern Painters, vol. iii., J. Ruskin ; Chronology of History, Sir H. Nicholas; Le Moyen Age et la Renaissance, Lacroix et Sere; Nouveaux Melanges d' Archeologie, C. Cahier; Dictionnaire Raisonne de i Architecture Francaise, Viollet-le-Duc ; Dictionnaire du Mobilier Francis, Viollet-le- Duc ; Costumes, Works of Art, etc., Von Hefner Alteneck, translated with notes by W. H. T. Weale ; Denkmale deutscher Bildnerei und Malerei, Ernst Forster ; Les Arts Somptuaires, Ch. Louandre. Other works, treating of special branches of mediaeval art, will be found recommended in this Catalogue under the subjects which they illustrate. ( 3 ) MEDIEVAL MANUSCRIPTS. Most of these are Catholic church books, or private prayer books, written on vellum at various periods, for the most part before the invention of printing ; executed generally in monasteries, by the religious set apart to work in the scriptorium or writing apartment. Some interesting descrip- tions of such work are given by Dr. Maitland, in The Dark Ages; he translates an autobiographical passage of Othlonius, a monk at Ratisbon, in the nth century. Othlonius commences by stating how God had honoured him with a remarkable facility for writing, as a child ; and in spite of his acquiring a habit of holding his pen in a wrong manner, he goes on to state how he laboured hard and successfully at writing until it affected his eyesight, and enumerates some of his labours : — “ I wrote nineteen missals — ten for the abbots and monks in our own monastery, four for the brethren at Fulda, five for those in other places; three books of the Gospels, and two with the Epistles and Gospels, which are called Lectionaries; besides which I wrote four Service Books for matins. Afterwards old age and infirmity of various kinds hindered me, especially the tedious interruption, which lasted for a very long time, through various anxieties, and the grief which was caused by the destruction of our monastery ; but to Him Who is the Author of all good, and Who alone governs all things, and Who has vouchsafed to give many things to me unworthy, be praise eternal, be honour everlasting.” A long list of books, written by a nun in Bavaria, is also given by Dr. Maitland — two Bibles, five Missals, five Office Books, and about twenty vols. of the Fathers SS. Gregory, Augustine, Jerome, and others. Peter the Venerable, in writing to a monk named Gilbert, tenders the following advice : — “ Instead of the plough, you may take in hand the pen ; and instead of marking the field with furrows, you may score page after page with sacred letters ; and the Word of God may be sown in parchment.” S. Dunstan spent his leisure in reading the Scriptures and correcting the copies of them, and the following extract from the works of Magnus Aurelius Cassiodorus, a Roman statesman of the 5th century, will give an idea of the estimation in which this monastic work was held : — “ I confess that among all the occupations of bodily labour done amongst you (monks), the work of copyist pleases me most, provided that they copy faithfully. And I think my sentiment is reasonable, because by thus reading over and over again the Divine Scriptures, they find a wholesome instruction for their own minds, and they spread the law of the Lord far and wide by their writing. It is a happy ambition, and a praiseworthy b 2 4 MEDIAEVAL ANTIQUITIES : ' MANUSCRIPTS. toil, to preach to men with one’s hand, to loose men’s tongues with the fingers, to give silently salvation to men, and to fight with pen and ink against the lawless temptations of the devil. For Satan receives as many wounds as the copyist writes down words of our Lord. Without moving from his place, he travels through various provinces by the spread of his work. His labour is read out in holy places : the people hear from it how they may be converted from evil desires and how they may serve God with a pure soul. He continues then to work, though his work is far away. I cannot deny that he will receive a reward from so much good that is accomplished, provided he has laboured, not out of avarice, but with a pure intention. Thus man multiplies heavenly words, and, if it be lawful to say it, with his three fingers he writes what the power of the Holy Trinity effects. Oh ! it is a glorious sight to those who well consider it, to see the heavenly words transcribed with that quick-running reed, and the devil’s artifices frustrated by that which he caused our Lord’s Head to be smitten in His Passion.” Besides the monastic scribes, there were others who worked on their own account. In the 15th century the art of illuminating had become so commercially important, that in many of the larger towns, the scribes, illuminators, miniaturists, and book-binders, were numerous enough to form themselves into independent guilds. A notice of the guild of illumi- nators established at Bruges in 1453, has been given by Mr. W. H. James Weale, in Le Bejfroi , vols. ii. and iv. In the less important towns, they formed a section of the guild of painters. These mediaeval manuscripts illustrate the arts of penmanship and illumination, as practised in Western Europe during a period of something like three hundred years, and shew many differences in purpose and style, and gradations of merit in execution. If students compare the examples of the 13th century with those of the 15th, they will readily learn the character of the best work in contrast with the decline. In the 13th century the ornamentation occupies a subordinate position on the page, and is almost entirely confined to the margin ; if figures are introduced occasionally to decorate a capital letter, they are drawn with exquisite fineness, and are so earnestly portrayed as to appear grotesque at first sight; in short, these manuscripts give more importance to the subject or object to be written or drawn, than they do to the dexterity of the penman employed upon them. In the later manuscripts the writing is coarser, and without the early exquisite pre- cision ; the pages are so heavily charged with ornamentation that the writing is buried in illumination ; the subjects have lost the extreme earnestness, and have become small pictures, exhibiting artistic skill in effective shading, &c. It may be useful to give here some account of the contents of the MEDIAEVAL ANTIQUITIES : MANUSCRIPTS. 5 liturgical and devotional books described below. All such manuscripts are vulgarly termed Missals, and at one time nearly all those in this collec- tion were so labelled, when as a matter of fact there was no Missal amongst them. There are in this collection the Breviary, Antiphoner, Processional, and Primer, or Book of Hours of the Blessed Virgin. “ The Breviary contains the offices of the canonical hours for the whole year, for week-days, Sundays, and festivals. These services were composed of Psalms and Canticles, with their antiphons ; hymns, lessons (lections, readings, consisting of portions from the Holy Scriptures, or from the homilies and other writings of the Fathers, or the biographies of Saints for their festivals), and collects.” (Searle.) The Catholic clergy are bound to say daily the offices it contains. In cathedral and collegiate churches and in all religious communities, the Divine Office, as the Breviary offices are generally termed, is said and sung by the members together in their choir ; and the Antiphoner, or Antiphonarium, is an Office Book containing the chants used for various portions of the Divine Office, collected into a distinct volume for the use of the singers. The Processional contains the hymns, anthems, and music used in processions in various offices, and at different seasons. The Primer, or Book of Hours of the Blessed Virgin, is a compilation of devotions intended chiefly for the use of the laity, the principal portions being ex- tracts from the Breviary. The contents of the Primer varied considerably. Mr. Searle on p. xiv. of his Introduction, gives a very full list of these prayers and offices. In this collection the most common contents are — • The Calendar ; Portions of the Gospels, and the Passion of our Lord, according to the four Evangelists ; Hours of the Blessed Virgin Mary ; Hours of the Holy Ghost ; The Seven Penitential Psalms and Litany of the Saints; The Office for the Dead; The Joys of the Blessed Virgin Mary ; also various other prayers from S. Bernard, S. Gregory, S. Augustine, and the Venerable Bede, and commemorations of the Saints. The offices in these liturgical and devotional books varied more or less in different dioceses, and the calendars give the names of the saints whose festivals were observed in the district for which they were made. These local variations became recognised in course of time, and are termed Uses. There are two books in this collection according to the Sarum or Salis- bury use ; others are of various continental uses. The date and locale of each manuscript is given when known, and the specimens have been arranged as nearly in chronological order as possible. The manuscripts were obtained by Mr. Mayer from various quarters, and references to any previous mention in print are dispersed throughout the following descriptions. 6 MEDIAEVAL ANTIQUITIES : MANUSCRIPTS. Books on Mediaeval Manuscripts. Palceographie Universelle, Silvestre ; Origiti and Progress of Writing, Astle; National MSS. of Ireland, Gilbert and James; Anglo-Saxon and Irish MSS., Westwood ; Early Drawings and Illuminations, Birch and Jenner ; The Publications of the Palceographical Society ; The Art of Illuminating, Tymms and Wyatt; lexicon Diplomaticum, Walter; The Art of Illumination, Shaw; Nouveau Traite Diplomatique, by two Bene- dictine Fathers, Toustain and Tessin, of the congregation of S. Maur ; Catalogjie of the Illuminated MSS. in the Fitzwilliam Museum, Searle; The Bibliographical Decameron , Dibdin ; De Re Diplomatica, Mabillon ; Court Hand Restored, Wright; The Dark Ages, Maitland; Les Arts au Moyen Age, Du Sommerard ; Knight’s English Encyclopaedia of Arts and Sciences, Article “ Book”; Descriptive Catalogue of Materials relating to the History of Great Britain , &>c., Sir Thomas Duffus Hardy ; History of Malmesbury, Moffatt ; English Monasticism, O. T. Hill ; Bibliomania in the Middle Ages, Merryweather. 1 . Psalter. German. i2th-i3th century. 145 ff. Page iojin. x 7-Jin.; text 6fin. x 4jin. Calendar, with round arches and columns, gilt, and illustrated with vignettes of the signs of the Zodiac and occupations for the month ; such as tree-felling in January, ploughing in February, brewing in September. October is set apart for being ill in bed, No- vember for pig killing, and in December, a man is seated before a fire with one boot off, warming his toes. This is followed by 10 pages, each illuminated with two scenes from the life of our Lord, coloured, the backgrounds richly gilt. The first scene represents the Blessed Virgin, rod in hand, taking our Lord as a boy to school ; the master is depicted holding a rod in one hand, and the hair of a boy’s head in the other. Throughout these scenes S. Peter is distinguished from all the rest of the apostles by a tonsured head. The sixteenth scene represents our Lord delivering souls out of Purgatory, — Adam and Eve being the first two souls. After the Psalms come Collects, and a commemoration of S. Katharine who is styled the Jewel of Greece, from the city of Alexandria. After this, other Canticles, the Benedicite, Benedictus, Magnificat, Nunc Di- mitris, Lord’s Prayer, Apostles’ Creed, Te Deum, Quicunque vult, commonly called the Athanasian Creed, and the Litany of the Saints. The writing is not good, and the drawing is inferior to English or Italian work of the same time. The binding is of old wooden boards, covered with skin. 12004 2 . Bible, with prologue at the be- ginning and interpretations of proper names at end. French. 13th cen- tury. 512 ff., of very thin vellum. Page 6Jin. x 4jin. ; text (double column) 4in. x 2 Jin. The writing is small, but very steadily and beauti- fully done ; the ornamentation is subordinate to the lettering, and is - Plate II. l mUj tw torVuceuf V« ^twjS^toirdju^ 31 -M-fif tvuCtnfuCo vutnarwj ftuC i)oC 1 jA!U»*c fiWqn'i Vt npt^tnU“/^tX;' : * % V V\ %. v CjLui Sijtovc CmA tnAw&ffn* oca?A , , tvutt^Arif • fiXufc\nPt\} . AvnftoVolo • inevpar* als^uAvo i ticst-fteciC t tAuS5* nulWainUtiiir ma , n«t>C iftnw a*-tV^A-S^~ f W AtAjaUo 'W 4g^?toi4^te Aur«m Aw-Uuf (>ott *L#w?& CtttWJ cumfel>w(*$tAr ty j t-^utMtUw StCtoew Aouutout ^VvtttoAto toi«$&ru£- cmttfonuif' §4'A$u£) % / ft. ¥ • / \ <’ ’ v vi*v hmwv *y tuvtv tw ^ 'mnnabAw^Am & confuliiuf r^f Acril ffkjifiL p Amnf «sc A$iiu-'-?2t pmt^T&srtttwlvCo ’ b4$SkwC^vi) • $t-iukm sj^ccif fuc«2$«tnvtrt- c&n&iUf' utt\', OnPaiNttl' 6 OiiXtoiAiOOOCsXC 6 S^^ ' VV Vv-S ^ 1 V W?©fec ^ ^ _,-... VoW « 4w^ & uotutidkcm lu^ctL OcaC> "(aww Vnun-I^iuuwrf W>t ^Ut tutU— _J$«t k}CVVoi* Aun^A Cge- >^ococoavoo^coc^x> jfik W^aC Atitt^Al (fe t(tK> (J^lnf | VcwtWuC tw^ACAW^feucuf (JoA-W^Aro cum AnclnUo V* wg-no tototUnC V>Vt . ^ 1 faat>(tafw ' ‘Sntmf t*dtnAm ttttitnf Acaiitownot)^ 4 • ^ ^At7iiiltrAt« i* V » » ' tr « -TV * 14 ; A\ /P f pap- tv ^AwtT' > 7 vv ^ K ^WHWVW-U 4t«T A^Vt^ni vu t(uo ^AUatf “?• £tni£»fivntf fuF ttofmftuCtC ^Ci^.JT^cccc^'W- /v VVv^-v ' t'ST^ vacn’rc Au^n OASCO^SiXW > f>i 3 Amu( wUx mevtuuf Au^ufl? , f, vxfu^uAr AuntCA- ^tnto&i'wf v 'vv — ?r ^varut-^. t(tuUt( ■ «cttno ^wu> A ^ . 3C»ii3najCfti^«*fe'A^ Wn-uT-i^'^Aco |tet irn of wwbinC nn^oGt4i-tmr- ^toWnno An !to> vAtiv — ^t'AvtvAljA^ iXk Anr< 'fnAe sni’pfu —* vw . v ~v (n.'ofcco.' wtuf (xs^Tj '<& fcj^4rt{ (>4uluC UnjrAm ^(n^tcAnon Ci^t-of to Attm£m»Am^lvt«vJ£yiCk>4Ai^^ Ivr t*iViAg^{tma ^ai^o Anno vviijmi Au^rufk nAcnf -4 ionuunC- Amw V An — i Awpuftnf i>fni2UWttt wmftnt-iut'* ypn- «A' ^X«r%invn fdiu Ann«^4 toVr^nwAto- t^nWto. qut'~? Vut*uf «flr to q>i6 ctotto r CwA g J £A'-^nptetAt* «dr. (S-ntaT ^sAtrto ^ C^nnm Ctocro 'tuunr' - 5 i*4.4mAt-Wnr fainted upon it in enamel. Chinese. 1974 200 Snuff-bottle, in opaque white glass, with blue glass ornaments carved in relief upon it. This type of bottle is made originally all over with two layers of blue and white ; the upper layer of blue is then cut away sufficiently to leave the orna- ments in blue cameo on a white ground. Chinese. 10. 8. 76. 7 VENETIAN GLASS. 201. Bowl, of colourless glass, with enamelled gilt scale ornamen- tation round the outside, with gem decoration, possibly in imitation of the end of a peacock’s feather (?). See Slade Collection Catalogue , p. 72. H. 6in. Dia. ngin. 202. Dish, of colourless glass. Presented by A. W. Franks, F.S.A. Dia. 185m. 1 r. 8. 76. 2 203. Tall goblet, of colourless glass, the stem of which forms the figure 8, with other pressed orna- mentation. See Slade Collection Catalogue, pi. i. H. 8fin. 10. 8. 76. 6 204. Tall goblet, of colourless glass, with elaborately convoluted stem, enclosing red and white threads, and having pressed orna- mentation round the side. See Slade Collection Catalogue, pi. i. H. login. 17. 8. 76. 12 205. Wine-glass, of colourless glass, with scalloped bowl, sup- ported on a ribbed stem, with yellow scroll wings, edged with pressed ornaments. H. 4fin. 17. 8. 76. 13 206. Tall bouquetier, of colour- less glass, exceedingly thin and light. H. 1 of in. 17.8. 76. 15 207. Tazza, of colourless glass, with shallow bowl, supported on a ribbed stem. H. 6in. 11. 8. 76. 5 208. Goblet, of colourless glass, with broad bowl. H. 7fin. 17. 8. 76. 14 209. Dish, of colourless glass, with bands of opaque white glass, radiating from the centre. Dia. i5fin. 10. 8. 76. 9 46 MEDIAEVAL AND MODERN GLASS. 210. Decanter, of colourless glass, with curiously twisted neck, and filaments of opaque white glass round the bowl. H. 9m. 1. 8. 78. 2 211. Goblet, cylindrical shape, of colourless glass, with opaque white lines running diagonally from top to bottom. Round the centre are raised lions’ heads, gilt. H. 6fin. 10. 8. 76. 3 212. Biberon, of amber-toned glass, ornamented with opaque white festoons. See Slade Collection Catalogue, fig. 186, p. 1 12. H. 6£in. 10. 8. 76. 4 213. Tall goblet, with cover, decorated with opaque white, and white filigree perpendicular bands. For a description of this kind of glass, see Apsley Pellat’s Curiosities oj Glass-making, p. 113. H. 142 in. 10. 8. 76. 5 214. Cup, of similarly decorated glass as No. 213, only much more elaborate in design, and very beau- tifully made. See Slade Collection Catalogue , p. 114. H. i|in. Dia. 3 in * 811 5 215. Tall beaker, of cylindrical shape, decorated in the same manner as No. 213. FI. i3fin. 17. 8. 76. ti 216. Large wine-glass, decorated in the same manner as No. 213, and very finely worked. FI. 7fin. 11. 8. 76. 1 217. Plate, of colourless glass, with elaborate lattice-patterned orna- ment, called Reticelli, at each inter- section of which is enclosed an air-bubble. See Apsley Pellat’s Curiosities of Glass-making , pp. 1 1 3 and 139. Dia. 8fin. 10. 8. 76. 8 218. Bowl, of crackled or frosted glass, caused by dipping the glass, whilst hot, into cold water, and then re-heating it. The outside only is frosted ; from the centre of the bottom inside rises a hollow ball of blue glass. See Apsley Pellat’s Curiosi- ties of Glass-making, 1 16. H. 5 1 in. 10. 8. 76. 2 219. Tazza, ofgreenglass. H. 2^in. Dia. 6 4 in. 1 1. 8. 76. 3 220. Long-necked bottle, of yel- low glass, with opaque white orna- ment round the neck. FI. 7fin. i7. 8. 76. 7 221. Two tazzas, of colourless glass, with blue linear ornamenta- tion round the centre. 11. 8. 76. 4 21. 4. 77. 5 222. Small oval cup, of rich purple glass, with bands of opaque white glass round the lip. H. if in. L. 3Jin. 17. 8. 76. 21 223. Small covered vase or flacon, of rich purple glass, with colourless glass wings and foot. H. sin. 17. 8. 76. 5 224. Vase, the body of rich green glass, and the top and foot of colourless glass. Prom the upper part of the oval body rise up spouts with blue rims, and on the base of which are raised lions’ heads that have been gilt. H. 8in. 17.8.76.17 225. Perfume sprinkler, ofopaque white glass, with blue rim round the foot. H. 6in. 21. 3. 78. 18 226. Bottle, of blue glass, with opaque white splashed ornamen- tation upon it. On the neck is a metal mount, with screw for top. H. 6in. 17. 8. 76. 6 227. Two basons, of opaque white glass, with blue splashed ornamen- tation. 1644 & 17. 8. 76. 3 MEDIAEVAL AND MODERN GLASS. 47 228. Cup and saucer, of opaque white glass, splashed with purple. 17. 8. 76. 4 229. Two-handled cup, of opaque white glass, splashed with blue, red, and yellow. 17. 8. 76. 19 230. Half a ball of glass, com- posed of sections of variously- coloured canes, enclosed within a coating of colourless glass. The ball has been pierced. Some of the canes inside this ball are similar to those from which the beads Nos. 231-6 were made. 8136 231. Glass bead, said to have been found with Saxon antiquities in Kent, and formerly in the Faus- sett collection, and figured in the Inventorium Sepulchrale, plate 5, fig. 2. This bead does not appear in Mr. Faussett’s original MS. of the Inventorium. For a descrip- tion of these beads see Archceologia, vol. xlv., p. 297 and foil. 6363 232. Fragment of a similar bead. Locality unknown. 6688 233. Fragment of a similar bead, said to have been found at Gilton. Formerly in the Rolfe collection. L. fin. 7187 234. Bead, of similar construc- tion, very much worn. Locality unknown. 6679 235. Small bead, of similar con- struction, said to have been found, together with seven other Anglo- Saxon beads, at Ozengell, in Kent, November, 1846. For figure of this bead see Archceologia , vol. xlv., plate 22, fig. 3. Formerly in the Rolfe collection. 7338 236 Thirteen glass beads, of similar construction, and evidently G2 comparatively modern, said to have been found in a ditch at Elham, in Kent, in 1767. Formerly in the Faussett collection. 6121. 237. Canes of clear blue glass, and of white, red, and blue glass, of similar construction to the above, found at Walton, near Liverpool, during excavations for a railway. 32. 12. 78. 7 238. Small bead, of similar con- struction to the above, taken, with numerous other remains, from a cemetery at Samamer (?) in Peru. 3. 10. 78 239. Necklace, of Venetian glass beads. 8155 240. Two sample books of Francis Greil, of Venice, containing modern Venetian glass beads used for expor- tation from Liverpool to the AVest Coast of Africa and other places. 16. 6. 75. 3. Presented by F. Radcliffe. 241. Cup and saucer, of glass, made in imitation of the minerals agate and avanturine ; the body of the glass is brown when held up to the light. 17. 8. 76. 20. GERMAN GLASS. 242. J ug, of smoky coloured glass, enamelled with the date 1600, and the legend, das .walt. got . n. s.a.s. “ May God direct.” H. 6£in. 17. 8. 76. 8. 243. Bottle, of blue glass, the neck and foot mounted in silver ; on the four sides are enamelled designs, and on one the legend, anno dommino 1 607. There is a plate mark on the silver, apparently two initials, eo or eg. H. 9m. 8 1 2 1 4 3 MEDIAEVAL AND MODERN GLASS. 244. Vessel, of green glass, cylin- drical shape ; enamelled in various colours with a German coat of arms, the initials i . h . h.z.s. and the date 1629 ; also with a floral design behind. H. lojin. 17.8.76.10 245. Triptych, in wood, set in front with plates of glass ornamented with back painting. This is effected by outlining the subject in black on the back of the glass, and then backing that with a gold or silver deposit on the glass, or with gold or silver foil. The subjects are mostly religious. In the centre is the Cru- cifixion, around which are Cupids personating the seven arts, and above which is a double outspread eagle, and below, the legend septen artivm. The other subjects in the centre leaf are, S. Ann and the Blessed Virgin with the Infant Christ ; Christ as the Good Shep- herd ; the Adoration of the Magi ; the Last Supper ; the Ascension ; S. John the Baptist before Herod ; an Angel adoring the Infant Christ and His Mother ; and the Agony in the Garden. There is an imper- fect inscription round the centre part. In the side leaves are the four Evangelists, represented with their respective emblems, above each is the name, and below each a long legend. Centre and leaves mea- sure 2i£in. x iojjin. 17th century. 182 246. Small cup, of early glass, with embossed ornaments in relief round the sides. H. 2in. ; dia. 2m. 8130 247. Three wine glasses, with engraved bowls, and white and co- loured interlaced threads running up the stems. 8 1 26-8 248. Pickle or preserve stand, in colourless glass, with ornamental handle, and engraved round the outside. 17. 8. 76. 9 249. Large goblet, in colourless glass, engraved with three medallions — (1) Two huntsmen meeting, one of them followed by an attendant with dog ; over this the legend, anfang UND ENDE WOHL BEDACHT, “ A beginning and end well considered.” (2) Men with carts, &c., in a forest, building up an enclosure for a stag hunt ; over this the legend, und DANN AUFT GOTTES NAHMENGE wagt, “ Daring it in God’s name.” (3) Men hunting stags with dogs, in an enclosed space ; over this the legend, das heist dierechte jagt geiagt, “ That means hunting aright.” H. nin. 17. 8. 76. 1 250. Vessel with cover, in colour- less glass, use uncertain. There are six depressions towards the inside round this vessel, which were pro- bably made for inserting the finger and thumb to raise it. H. 9 jin. 8181 251. Tumbler, in colourless glass, engraved. No. II. H. 5 Jin. Dutch or German ? 8122 252. Bottle, of ruby coloured glass, engraved with various designs, figures of women holding fruits, birds, fish, &c., and elaborate ara- besques. A very magnificent piece of colour. 17th century. H. ioAin. 17. 8. 76. 16 253. Tall goblet, in colourless glass, etched with a diamond point in a sketchy style ; a crowned shield containing a double eagle, and a tree with peacocks perched on it, and the sun. H. i2fin. 17. 8. 76. 2 MEDIEVAL AND MODERN GLASS. 49 254. Tureen and cover, of co- lourless cut glass, with gilt designs. Dutch (?) 8114. 255. Burette or cruet, in colour- less glass, such as are used at the Mass for holding the wine and water. H. 6 Jin. Dutch or German (?) 8123. 256. Tobacco pipe and stem, in green coloured glass. 8152 257. Mug, of opaque white glass, painted in various colours, with a conventional, semi-classical, semi- tropical landscape. This piece is probably continental. Mugs of this kind are not at all uncommon, and are sometimes mistaken for the Bristol glass. H. 6 Jin. Probably German. 17. 5. 75. 2 258. Mug, of the same material as No. 257, painted with a rural scene, a sportsman in a three-cor- nered hat, shooting a fox. H. 5fin. Probably German. 1406 SPANISH GLASS. 259. Plate, of opaque white glass, painted in enamel, with bouquets of flowers and the legend Viva Espana. Dia. 8in. 1673. 260. Bottle, of opaque white glass, painted in various colours, with bouquets of flowers. This bottle was brought from Portugal. H. 4fin. 2i. 3. 78. 14 261. Two-handled vase, of olive green glass ; very much broken. H. 9-Jin. 21.4.77.7 262. Vase, with two small handles, of olive green glass. H. 7 fin. 32. 12. 78. 10 263. Mug, with handle, of olive green coloured glass. H. 6in. 21. 4. 77. 8 264. Three mugs, of similar glass to No. 263. Most of these speci- mens were broken in transmission from Spain. 21. 4. 77. 9-10. 12 265. Small vase, with two handles, of olive green coloured glass. H. 4fin. 21. 4. 77. 11 266. Dish, of greenish coloured glass, ornamented with lines of opaque white. Modern Spanish ? 21. 4. 77. 4 267. Bottle, of dark brown glass, with a few streaks of red ornamen- tation upon it. 11. 8. 76. 10 268. Deep saucer, of dark yellow glass. H. ijin., dia. 5Jin. 21. 4. 77. 3 269. Mug, of thick green glass. Modern Spanish? 32. 12. 78. 11 270. Flask, in shape of a barrel, with four legs and a metal mounted spout at the top, of colourless glass, ornamented at both ends. L. 6Jin. 21. 4. 77. 6 271. Bottle, of deep blue glass, ornamented with small patterns made up of raised white enamel dots. H. 8Jin. 21. 4. 77. 2 273. Decanter with stopper, of colourless glass, with floral orna- mentation engraved upon it, and gilt afterwards. II. 8 Jin. 21. 4. 77. 1 FRENCH AND DANISH GLASS. 274. Wine glass, of colourless glass, engraved with two Cupids with H 50 MEDIAEVAL AND MODERN GLASS. hammers, working at an anvil, and the legend, profit du temps. Old French glass. H. 5 Jin. 17. 8. 76. 18. 275. Tumbler, of colourless glass, with enamelled decoration, a mono- gram surmounted by a crown, and the legend, vivat rex danni^e. H. 3fin. Danish. 812c ENGLISH GLASS. 276. Quarrel, of English medise- val glass, from a church window in Canterbury, with rebus, a robin in a tree, and the initials r. t. (Robin Tree ?) See four. Brit. Arch. Ass., vol. ix., p. 75. This quarrel is figured in the Publications of the Antiqua- rian Etching Club, vol. iv., plate 67. Formerly in the Rolfe collection. 5iin. x 3 Jin. 8113 277. Portion of a pane, from a mediaeval stained glass window, with three objects painted upon it in black. Early English ? 6Jin. x 3^in. 8131 278. Old green glass wine bottle, found in Vernon Street, Liverpool, and presented by Messrs. Macfie and Sons, 1872. English mediaeval or later. H. 5fin. 26. 6. 72. 1 279. Old green glass wine bottle, with a crest (a griffin’s head upon a coronet) and the initials i. 1. in relief, upon a circular raised boss. H. 53m. 12. 8. 69. 5 280. Circular boss, of green glass, from an old bottle, with a crest in relief upon it, a tree upon a coronet. 8156 281. Circular boss, of green glass, from an old bottle, with an armorial shield upon it. 8145 282. Circular boss, of green glass, from an old bottle, with an armorial shield upon it. 8140 283. Circular boss, of green glass, from an old bottle, on which is a fish in relief and the initials d. b. 8144 284. Circular boss, of dark green glass, from an old bottle, with a very curious figure upon horseback, in relief, upon it, worked in the most archaic style, also the initials c. p. 1. 7634 285. Circular boss, of green glass, from an old bottle, with the initials T. c. in relief, upon it. 8139 286 . Fragment of a boss, of green glass, from a bottle, with portion of an armorial shield, and inscription upon it. 8157 287. Circular boss, of green glass, from a bottle, with a bell and the initials s. s. upon it. 28. 2. 68 288. Circular boss, of green glass, from an old bottle, upon which is the legend, in relief, SOLOMON FARRIER SANDWICH, I 744. 8143 289. Circular boss, of green glass, from an old bottle, upon which is the legend, in relief, R. HARVEY (?) 1765. 8146 290 . Bottom of a bottle, of colourless glass, impressed with the figure of a cock and the initials c. s. c. 8149 291. Two low hemispherical lumps of dark-coloured glass, such as were used during the last century for smoothing and glazing linen. ENAMELS. 51 These implements have been found in graves in Norway and in Scotland. See Proc. of Soc. Ant. of Scot.,v ol. ii., new series, p. 63 and foil. H. 2 Jin. Dia. 4jin. 8147-8. 292. Centre vase and two beakers, in opaque white glass, with gilt sur- face decoration of birds and flowers. The vase is figured in Mr. Owen’s Two Centuries of Ceramic Art in Bristol , p. 383, and was made in that city, and painted probably by an artist named Edkins, from whose grandson, Mr. William Edkins, of Bristol, these specimens and No. 293 were obtained. H. of centre vase 9iin. 16. 9. 75. 1—3 293. Two small long-necked bottles, of opaque white glass, decorated with coloured enamel decoration, Chinese figures, and foliage. Bristol glass, obtained from the same source as No. 292. H. 4iin. 16. 9. 75. 4, 5 294. Group of jewellery, set with glass imitations of precious stones — diamonds, rubies, amethysts, & c. English and French, 18th and 19th centuries. 4279-80. &c. 295. Scent bottle, in green glass, decorated with tree and bird in gild- ing. English, probably made at Chelsea, 18th century. H. 2 Jin. 125 296. Medallion portrait, in white opaque glass cameo upon cloudy glass ground, of Haydn the com- poser. Signed on the shoulder, I . HAYDN MUS . D . 1792, also On the coat, tassie f. 4m. x 2fin. 4015 297. Medallion portrait, in intag- lio on clear glass, of James Watt, the engineer. Inscribed in the field, j . watt, and on the shoulder, mayer D. if in. x iiin. 8134 298. Medallion, in clear blue glass, with a profile helmeted head, in greenish coloured glass cameo, in the centre, surrounded by a border of balls. This medallion was sold as an antique in the Hertz collection. See catalogue, No. 1172. 3fin. x 2§in. 8116 299. Human-headed seated sphinx, in dark purple glass, the surface rendered completely i?iat by the application of an acid in the manufacture. Although the glass is really purple, its surface appear- ance is black, and it might readily be mistaken for one of Josiah Wedgwood’s black basalt ware figures. Made recently at Man- chester. 1. 9. 76. 1 ENAMELS : i6th CENTURY AND LATER. In this group are included the enamels made at Limoges in France, after the Gothic period, together with several still later examples of English, German, and Oriental manufactures. In an earlier portion of this Cata- logue a description will be found of several enamels made during the 52 ENAMELS. Gothic period, at Limoges ; and it may be seen that those specimens are all examples of the school which used enamel as a means of giving coloured ornament to engraved metal work. During the Cinquecento and later periods, however, the Limoges work altered considerably in its character ; the enamel was no longer used as an accessory, but the whole plate of metal was coated with an opaque enamel, upon the surface of which the artist painted and etched the subject. This later period of Limoges work is generally regarded as the time when the enamelling art attained its greatest perfection, but this opinion is not universal. The English specimens are of considerable interest, and a few are of local manu- facture. These are decorated with transfer printed designs, the work of Messrs. Sadler and Green, of Harrington Street, Liverpool, who, from about 1756 up to nearly the end of the 18th century, were engaged in engraving various designs and transferring them on to pottery and enamels. To Sadler has been ascribed the invention of the art of transfer printing upon pottery. Of enamellers in Liverpool, nothing is known. The name of “ William Stringfellow, Enameller, Park Lane,” occurs in Gore’s Liverpool Directory for 1766. 300. Tazza, in copper, covered with black enamel, upon which are subjects painted in white and black enamel and gilding. Inside is the Judgment of Paris, the figures being flesh-tinted and with stippled shading. On the outside, round the rim, is a border of fruit and flowers ; and in the centre, four female heads, with baskets of fruit upon them. Signed on the ground inside, p. r., for Pierre Eaymond, enameller at Limoges, 1534-1572. This tazza has evidently had a foot, which has been broken away. Dia. 6jjin. 41 301. Tazza, similar to the last, in copper, covered with black enamel, with subjects painted in white and black enamel, and gilding. Inside, are four medallion portraits of illus- trious Romans and their wives ; and outside, round the rim, is a wreath of leaves and fruit ; and round the centre, a procession of Diana in a car, drawn by four stags, preceded by trumpeters. Behind the car are female attendants with four dogs. One of the attendants draws two winged girls and a youth by chains. Venus and Cupid are chained to the back of the car. For a subject similar to this, see Labarte's Arts of the Middle Ages, p. 175. This tazza was probably painted by the same artist as No. 300. The foot is wanting as before. Dia. 7 jin.. 42 302 . Two oval medallions, of copper, painted with opaque and translucent enamel colours, the subjects representing Justice and Fortitude. The colours employed are blue, purple, green, yellow, and white. Each 3}in. x 3m. 46 303 . Saltcellar (?) or stand, in copper, covered with black enamel, upon which is painted, with black Plate XII. ENAMELS. 53 and white enamel and gold, the head of a lady in the cup at the top ; and round the egg-shaped stem, Neptune and Amphitryte riding through the sea on dolphins, followed by marine deities. Round the foot is the history of David and Bathsheba. H. 4|in. Dia. of base, 3iin- 43 304. Pax, in silver, which has been gilt, in shape of an open work screen of Gothic architecture, with small statues of the Evangelists and their emblems ; into which is mounted a plaque of copper painted with black and white enamel. The subject represents our Lord turning water into wine at the marriage feast at Cana. The handle of the pax is still in situ at the back. H. 5 fin. VV. 4fin. 40 305 . Four oval medallions, in copper, covered with black enamel, upon which are painted in white, black, and blue enamel and gilding, the heads of Roman emperors, Nero, Germanicus, Otho, and Vitellius, Each 2-Hjin. x 2jin. 47 306 . Oval medallion, in copper, with full length standing figure of a lady, painted in purple, white, blue, yellow, and red enamel, and gilding, on a black ground. 3^in. x 2 Jin. 5i 307. Plaque, in copper, covered with black enamel, upon which is painted, in white and black enamel and gilding, a figure of the Mater Dolorosa. Under the figure is mater dei and the signature 1. l. On the back of the plaque is written in gold laudin email- lieur a. Limoges i l. Joseph Laudin was painting enamels at Limoges in 1693. 4m. x 31-in. 44 308. Plaque, in copper, covered with black enamel, upon which is painted, in black, white, yellow, green, and purple enamel, and gild- ing, a figure of S. Bernard holding a discipline in each hand. Behind the saint and before him, on a table, are emblems of the Passion. Under the figure is s eernardvs and the signature (also repeated on the back of the plaque) 1. l. This plaque is evidently by the same artist as No. 307. 4m. x 3tVin. 45 309. Plaque, in copper, enamelled, and painted with various enamel colours. Subject, the Ecce Homo. Our Lord, crowned with thorns and wearing a purple robe, is being de- rided by a crowd of priests, &c. ; at His feet sits a little child, who holds out his hand and apparently ad- dresses the crowd. 6Jin. x 5-gin. 37 310. Plaque, in copper, enamelled, and painted with various enamel colours, and gilding. Subject, the Last Supper. The drawing is very rude; S. John is singularly delineated, leaning on the table, his head on his arms, apparently under the right elbow of our Lord. nfin. x 8in. 38 311. Plaque, in copper, enamelled, and painted with various enamel colours, and gilding. Subject, the Last Judgment. Our Lord is seated on a rainbow, with the Blessed Virgin on His right hand, and a saint on His left. Below is the Resurrec- tion, and an angel conducting the good souls towards Heaven, and the devil driving the wicked into Hell, which is depicted as the mouth of a huge monster, nfin. x 7gin. 39 312. Tray, in copper, enamelled, and painted with various enamel 54 ENAMELS. colours. On the bottom inside is a female figure, and round the sides, birds and flowers. Outside, on the bottom, is a small landscape, and round the sides, birds and conven- tional floral ornamentation in gild- ing. H. 1 1 in. Dia. 6|in. 34 313. Circular dish, in copper, enamelled, and painted with enamel colours, blue, white, green, and red. The design is conventional, and mostly effected in gilding. Venetian work. Dia. 9m. 36 314. Fire-dog, in brass, in which are, in red, white, and blue enamel, the English royal arms, with sup- porters below. Also, a brass boss, with floral designs, decorated with blue and white enamel, similar to the above. The arms are such as were borne by Charles II., and the work is of that date. In the Journal of the A rchceological Institute, vol. xix., p. 291, the following description is given of a pair of fire-dogs, evidently similar to this example : — “ A pair of handsome enamelled fire-dogs, which have been preserved at Lake House, near Amesbury. They are specimens of a peculiar coarse kind of enamelling, usually on brass, not on copper, by the champlevt process, as practised in England during the reign of Elizabeth and in subsequent times. It consisted of inlaying enamels, fusible, probably, at a low tempera- ture, in the interstices of a pattern in relief. The enamels, light and dark blue, black and white, do not fill the cavities on the metallic sur- face, the raised outlines of metal are mostly more elevated than the enamelled surfaces, whilst in the earlier productions of the champlevt process, the enamels and the metal fillets are rubbed down uniformly to a smooth face. Several fire-dogs of this work have been preserved, and on some of these are the royal arms.” One or more of these fire- dogs are preserved at Haddon Hall. H. of two ornaments 19 Jin. Dia. of boss sJin. 27-9 315. Two candlesticks, in copper, covered with white enamel, and painted with flowers in various colours. Made at Battersea. H. 9-ioin. 30-1 316. Jug, with lid, in copper, covered with white enamel, and painted with coloured medallion in front, a landscape with two pastoral figures among ruins in the fore- ground. Made at Battersea. H. 9in. 32 317. Small oval box, in copper, enamelled, and painted with small landscape medallions, upon a purple and white ground. Made at Batter- sea. L. 2 Jin. H. 1 fin. 205 318. Profile portrait, to right, of the Duke of Cumberland, second son of George II., a rose-coloured trans- fer print, upon an oval enamelled copper medallion. Under the shoulder are the indistinct remains of the artist’s signature, evidently raven et f t -, the same as a sig- nature on a similar portrait in possession of Mr. A. W. Franks, F.S.A. Probably made at Battersea. In original brass frame. 3Jin. x 2|in. 3104 319. Portrait of Sir Robert Walpole, a brown-coloured transfer print, upon an oval enamelled cop- per medallion. Probably made at Battersea. In original brass frame. 3Jin. x 2|in. 3106 320. Portrait of Miss Gunning, afterwards Duchess of Argyle and Hamilton, a red transfer print, upon an oval enamelled copper medallion, Plate XIII. 320. 318. 3*9 Plate XII ENAMELS. 55 Probably made at Battersea. In original brass frame. 3Jin. x 2fin. 3io5 321, Oval medallion, in copper, covered with white enamel, and transfer printed with a profile por- trait of George II . ; above, is a crown and sword and sceptre, and below, a trophy of arms and flags and seated figure of Britannia. No doubt one of Sadler’s enamels. There is a scratched memorandum on the back of this medallion, of recent date, stating that the portrait was engraved by Sadler, and the enamel made by Wedgwood, but there is no evidence to support the latter part of the statement. 3102 322. Portrait of Frederick the Great, below which is Frederick III. KING OF PRUSSIA. DONE FROM AN ORIGINAL, PAINTED AT BERLIN IN 1756. J. SADLER, LIVERP U enam l - “ Frederick III.” should of course be “Frederick II.” s^in. x 4 §in- 3 io 3 323. Portrait of William Pitt, a transfer print on enamel. Below the portrait — the right hon ble w m. PIXX ES qr. ON e of his majesty’s PRINCIPAL SECRETARIES OF STATE AND ONE OF HIS MOST HON BLE PRIVY COUNCIL. J. SADLER LIVERP. enam u In old wooden frame. 5|in. x 4^in. 29.9.81.1 324, Oval medallion, in copper, covered with white enamel, upon which is transfer printed the arms and insignia of the Honourable Society of Bucks. In the centre a buck on a shield, with plough above, and over it industry produceth wealth. Below the shield, free- dom with innocence, and on either side, a huntsman as supporter, holding a staff surmounted by a buck’s head, and on their belts, BE MERRY, — AND WISE. Below this is a representation of Hisop’s fable of the bundle of sticks, and round it unanimity is the strength of society, and on either side, we obey. The medallion is signed sadler, Liverpool. The Society of Bucks was evidently a sporting and convivial society, which flourished in Liverpool during the latter half of the last century. In the Liverpool Advertiser for 9th July, 1756, is the following notice : — “ By order of the Grand, the Honourable Society of Bucks are hereby required to attend at Mr. Banner’s, the Golden Fleece Inn, in Dale Street, on Wednesday next.” In the same paper for 21st July, 1769, the following advertise- ment occurs — “ The Anniversary Meeting of the Society of Bucks will be at the usual place on Tuesday next, the 25th inst., where the Bretheren are desired to attend. W. W., Secretary. Dinner to be on the table at two o’clock.” Among the Liverpool Municipal Records (Holt and Gregson MSS., vol. 24, p. 353) is an entry under date 8th February, 1760, to the effect that the Honourable Society of Bucks subscribed eighty guineas towards “ cloathing and rewarding the British Troops in Germany.” See also Notes a?id Queries, 6th series, vol. iv., p. 467. 5 gin. x 4Jin. 3 I0 ° 325. Six labels for bottles, enamels on copper, with painted and printed designs in colours, for PUNCH, MUSCADE, ALE, BEER, and cyder. Probably Liverpool work. 3107 — 9. 4010 — 2 326. Oval copper medallion, covered with enamel, and painted with a portrait, over which is john 56 ENAMELS. HORNE TOOKE, ESQ 1 *’ 2in. xi^in. 9. 3. 82. I 327. Enamel, painted by William Bone, and signed, in monogram, W.B. ; a girl looking from a window, leaning upon the sill. 33 -in. x 2 ^in. 214 328. Enamel, on oval copper plaque, part of the subject in silver, in relief, a man hunting a bear (?) The landscape is painted in colours on enamel. ifin. x ijin. 224 329. Locket, heart-shaped, in silver-gilt (?), set with enamel, painted ; a boy under a tree. On the back is an indistinct signature. Probably French. 55 330. Enamel, on copper, sub- ject, delicately painted in grey and white, and pink ground, Venus and Cupid. Signed, moser. w. i-Jin. x ijin. 220 331. Portions of the Russian Order of S. Andrew, in gold, orna- mented with dark blue enamel, set with small brilliants. The inscrip- tion reads, “ For Faith and Truth.” Taken from the body of a Russian officer at Alma. 157 332. Pair of plaques, in copper, covered with enamel, and painted in colours with landscapes, sea or river scenes, with ships, figures, and bales of merchandize ; in the foreground, classical ruins. Pro- bably German. 4|in. x 3m. 225 333. Oval box, of copper, covered with white enamel, painted with subjects in various colours. On the lid, four Ziethen hussars and four clergymen drinking and drawing the liquor from a barrel, and the legend, LONG LIVE THE KING OF PRUSSIA. Inside the lid is a well-painted por- trait of Frederick the Great. Round the sides trophies of arms, and vive LE ROI FREDRIC LE GRAND, and FRIEDERICUS REX BORUSSI.E ELEC- TOR BRANDENBURGICjE. NAT. 1712 D. 24 jan. On the bottom are six lines of poetry, which state that for long enough the fame-desiring world quarrelled as to who was the perfect hero ; each nation, indeed, sang the glories of a hero, but each crowned only its own hero, and so the hero rose and fell through favouritism only: then God said “Let Frederick be !” and the quarrel was ended. Probably a Dresden enamel, sin. x 3fin. 206 334. Tray, of cloisonne enamel ; figures of lions and various emblems, in red, blue, yellow, green, &c., on a turquoise blue ground. Chinese. i4Jin. x 6iin. 18. 2. 76. 4. 335. Jug and bason, in cham- pleve enamel on copper ; insects, flowers, &c., in various colours, on a blue ground. Chinese. 5582 336. Urn with lamp, made for the European market, and plates, small tray, and cup, all in champlevd enamel on copper, painted with landscapes, figures, flowers, &c. Chinese. 33. 36. 5578-81 337. Circular dish, of cloisonne enamel ; figures of horses, birds, and flowers, in subdued dull colour. Japanese, probably of the last cen- tury. Dia. i5Jiii. 24. 8. 75. 1 338. Jar and cover, of cloisonne enamel. A conventional pattern in red, yellow, blue, and green, on a blue ground. Japanese, probably of the last century. H. 7^in. 24. 8. 75. 2 339. Plaque, of cloisonne enamel ; two flocks of wild geese, one among reeds, the other flying towards MINIATURE AND OTHER PORTRAITS. 57 them. In the sky the crescent moon and clouds, on a bright blue ground, with border of coloured flowers on a black ground. Recent Japanese work. i9iin. x i3fin. 8. i. 80. 2 340. Two plaques, of cloisonne enamel ; figures of birds amongst flowering plants. Very delicate and fine drawing. Recent Japanese work. 9}in. xjjin. 8. 1. 80. 3 MINIATURE AND OTHER PORTRAITS. During the 17th and 1 8th centuries, before the invention of photo- graphy, the art of miniature portrait painting was much practised in England. In almost all the old families of English gentry are to be found a number of these little pictures, in some cases of family heroes whose histories are well known, but in others of the less celebrated members, whose very names have been forgotten. Many of them were originally mounted in gold on gilt frames, and worn as personal ornaments. Miniature painting continued to be practised until almost entirely superseded by photography; and the professional miniature painter, as described by Charles Dickens, in the character of Miss La Creevy, in Nicholas Nicklcby, belongs to a past generation. A Loan Exhibition of Portrait Miniatures, held at South Kensington Museum, in 1865, was contributed to by the Royal Family and many of the oldest and most celebrated English families. This collection was an important representation of miniature painting and English por- traiture. Mr. Redgrave, the Rev. James Beck, and Mr. R. H. Soden Smith prepared a Catalogue, which forms a handbook to the subject, and to which the writer is indebted for some information in this Catalogue. The two Liverpool miniature painters mentioned in the Catalogue referred to are : — Thomas Hargreaves, “ born at Liverpool in 1775, came to London in 1793, and was articled to Sir Thomas Lawrence ; but his health failing, he returned to his native town, where he practised miniature painting, and met with much encouragement. He died at Liverpool in 1846, leaving three sons, who followed his profession.” Also, Thomas Hazlehurst, who “ practised as a miniature painter, at Liverpool, in the last half of the 18th century, some of his early works being dated about 1 760.” Mr. J. H. Gibson, in his “ Notes Historical and Antiquarian relating to Lancashire and Cheshire,” {Trans, of His. Soc. Lan. and Ches ., vol. xxxi., p. 73,) gives the advertisement of a Mrs. Lightfoot, of Liverpool, who 1 58 MINIATURE AND OTHER PORTRAITS. practised taking what are known as silhouette, or shade profile portraits. Mrs. Lightfoot’s advertisement promises “ exact symmetry and animated expression of the feature,” and the further advantage, that the time of sitting occupied only one minute ! To anyone acquainted with the capabilities of a cut-out black paper profile, as a medium for animated expression of any feature, Mrs. Lightfoot’s advertisement will appear possibly an exaggeration : but it is true that some very remarkable like- nesses used to be done in this manner by experts, in a few seconds. Another Liverpool miniature painter is brought to light in this collection. No. 376 is a portrait of a Mrs. Lenham, and is stated to be painted by J. Lyon, painter, 182, Brownlow Hill. The earlier miniatures are generally painted on card or metal, such as oil-colour on copper. At a later date ivory was employed, on account of its exquisitely smooth surface. Miniatures on card and ivory are nearly always in water-colour. The best work of reference for English miniature artists is perhaps J. Redgrave’s Dictionary of Artists of the English School. In this book, which was published thirteen years after the South Kensington Catalogue of Miniatures, the information respecting the artists is much more ex- tended, and there are generally a few remarks given upon the kind and quality of each man’s work. Bryan’s Dictionary of Painters and Engravers is, of course, another work of reference on this subject. In this Catalogue, the name of the portrait and of the artist are given in every case when they are known. 341. Anne of Cleves, Queen of Henry VIII. (?) Oil on card. 43m. x 3^ in. 244 342. Ben Jonson. Card. Signed 1. o., Isaac Oliver, a well-known artist, who was born in Leicester- shire in 1556. He painted Queen Elizabeth, Mary Queen of Scots, Prince Henry, also a full-length portrait of Sir Philip Sidney, and the miniatures of many other cele- brated persons. Died in London 1617. (See Redgrave.) Most of Isaac Oliver’s miniatures at the South Kensington Exhibition were signed I. O. 2j-in. x aim 284 343. Queen Henrietta Maria. Card. On the back is written — HENRIETTA MARIA Q. OF K. CH S - Y E I S . T 1680. PRESENTED BY THE DUKE OF HAMILTON TO CH AS - O. BYRON, esq e - 2 in. x i fin. 290 344. The two children of King Charles the first, painted in oil colours, on a piece of Vauxhall mirror glass. 7111. x 5jjin. 298 345. Portrait of a gentleman, name unknown. Oil-colour on white metal. 2-ffm. x 2 in. 293 346. Portrait of a gentleman, name unknown. Oil-colour on cop- per. 3|in. x 2xilin. 258 MINIATURE AND OTHER PORTRAITS. 59 347. Duchess of Suffolk, Princess Mary of England, and widow of Louis XII. Oil-colour on copper. The name is written on the back. 2§in. x 2in. 271 348. Portrait of a gentleman, name unknown. Oil-colour on cop- per. Signed a. d. 4-JIin. x 3 Lein. 245 349. Countess of Rochester, Court lady, time of Charles II. Card. Said to have been painted by one of the Hoskins. The name of the portrait and artist are written on the back. 2 Jin. x 2jin. 268 350. Catharine Sedley, Countess of Dorchester, mistress of James II. Card. Signed m : s : fc 1652. No doubt by Matthew Snelling, who painted a miniature portrait of Charles I., signed in a similar man- ner. See South Ken. Cat., No. 1450. 2|in. x 2m. 269 351. The Countess of Tavistock, Oil-colour on copper. 2jin. x 2m. 270 352. Portrait of a gentleman, name unknown, in costume of the reign of James I. Mounted in oval pendant frame. 2in. x ifin. 289 353. Portrait of a lady, name unknown. Oil-colour on copper, lain- x Jfin. 259 354. Portrait of a gentleman, name unknown, with long light hair, and dressed in costume of the time of Charles I., a black slashed tunic, with large square-cut white collar. The ground is light blue, on which is a monogram and date in gilt, apparently p. h. f. 1640. It is a pity that neither the original of this portrait nor the name of the artist should be known, for the work is exceedingly beautiful, and the face that of a refined and cultivated man. Card. In elaborately carved wooden frame, gilt. Miniature, 3Jin. x 2jin. 2 5 i 355. Queen Anne. Oil-colour on copper, mounted in a brass frame, covered with designs and inscrip- tions. At the top, in front, le mai re fecit, and a crown, sceptre, and two hearts, inscribed two in one — for ever ; below, the royal arms, and semper eadem. On the back the two hearts are inscribed glory bi (?) to god ; and below, a medall upon the apy union of great brittain to the immor- TALL GLORY OF HER MOST EXCEL- LENT MAIESTIES QUEEN ANNE JULY THE 3 ANNO D M 1708 IN THE 7TH YEAR OF HER MAJESTIE’S REIGNE. MADE BY BARTHELEMY LE MAIRE HIS MOST EXCELLENT MAIESTYS KING CHARLES THE 2 DS - OF BLESSED MEMOR 1 ' INGRAVER IN ORDINARY SWORN AT WHITALL THE 25TH OF JUNE 1670 IN THE 22° OF HIS MAIESTIES REIGNE. MADE BY THE SAID LE MA IRE IN THE 63 YEAR OF his age. Below this is the Order of the Garter, and semper eadem. Miniature Qin. x ijin. Frame, 51-Vim x 3 Jin. 291 356. Portrait of a gentleman, name unknown. Card, ifim x 1 Jin. 280 357. Joseph Addison. Card. Said to have been painted by Chris- tian Frederick Zincke, 1684-1767. Zincke was a native of Dresden, but came to England, and practised miniature painting and enamelling with great success, being largely patronised by George II. and his Queen. ijin. x 1 Jin. 278 358. Portrait of a gentleman, name unknown. Ivory. Mounted in silver, ifin. x ijin. 265 6o MINIATURE AND OTHER PORTRAITS. 359. Portrait of an old lady, with black hood or cap ; said to be the mother of Oliver Cromwell. On card, painted in black, on a surface coated with plaster. 2fin. x ifin. 286 360. An eastern potentate, or patriarch. Oil on copper. irWin. x le-in. 297 361. Portrait of one of the De Witts, in armour, with long flowing wig. Card. Signed c. l. in mono- gram. 3^in. x 2f in. 307 362. Portrait of a lady, name unknown ; standing, holding a pic- ture of a skeleton, inscribed “ How changed !” Ivory. Signed s d pinx 1776. 5 fin. x 3 fin. 301 363. Lady Frederick Howard, ?ie’e Catharine Blake, and married Lord Frederick Henry Howard, cousin of John second Earl of Staf- ford. Ivory. Signed b. l. (in monogram) 1719; evidently Ber- nard Lens, a miniature painter of some note, who was born in London in 1680, and was the son of a mezzo- tint engraver, and grandson to an enameller, both named Bernard Lens. Bernard Lens was much patronized by the Royal family and the nobility. He died in 1740. In the Duke of Marlborough’s collec- tion there is a miniature portrait by Lens of the Countess of Sunderland, after a portrait by Sir Godfrey Kneller, signed b. l. 1720. 3m. x 2 fin. 302 364. Miss Roberts, of Windsor. This name, and the date, 1765, are written on the back of this minia- ture. Ivory. 1 fin. x ifin. 287 365. Countess of Coventry, Court lady, time of Charles I., nee Maria G (?) This name is written on the back of the miniature. Ivory. 2fin. x i-fin. 267 366. Portrait of a lady, name unknown. On the back is written, PAINTED 1763 AT BATH, NAME FOR- GOT, no. 6. Ivory, ifin. x i|in. 260 367. Portrait of a lady, name unknown. Ivory. i-fV x ifin. 262 368. Miss Gunning. This name is written on the back of this beauti- ful miniature. Ivory. Signed n. By James Nixon, A.R.A. Born about 1741, and died at Tiverton in 1812. Nixon painted miniatures chiefly, but also oil portraits, and a few illustrations for books. 2 fin. x 2 f in. 273 369. Fortrait of a lady, name unknown. Ivory. On the back are the initials o. h. in monogram, and 1769. Ozias Humphrey, born at Honiton, 1742. Studied under Collin, miniature painter, at Bath. Settled in London, and was encou- raged by Reynolds. Visited Italy with Romney, and afterwards went alone to India. He returned to London, and was patronised by Royalty, and attained great distinc- tion in his line. Died 1810. (See Redgrave.) iffin. x r tVin. 253 370. Fortrait of a lady, name unknown. Ivory. Mounted in a pendant gilt frame, ifin. x ijin. 276 371. Portrait of a judge (?), in robes, with long flowing wig. On card, in pencil. Signed r. forster delin. 1702.” (?) The South Ken- sington Catalogue says of Thomas Forster : — Practised about the be- ginning of the 1 8th century. His finished pencil portraits on vellum MINIATURE AND OTHER PORTRAITS. are excellent. His name is worthy of record, but is not to be met with in any work on art, or in any other source to which we have been able to refer.” 4fin. x 3iin. 304 372. Portrait of a lady, name unknown. Ivory. Signed masselin. 2|in. x 2jin. 303 373. Portrait of a lady, name unknown. Ivory, aim x if in. 317 374. Portrait of a lady, said to be “ Jenny Cameron.” Ivory, Qin. x ijin. 274 375. Portrait of a lady, name unknown. Card. ifin. x i-iin. 318 376 Portrait of a lady, name unknown. Seated under a tree, with rural landscape beyond. A very charming portrait, in the style of Sir Joshua Reynolds. Ivory. On the back is written, painted 1793 BY H. EDRIDGE DUFOURS PLACE BROAD ST. GOLDEN SQUARE. Henry Edridge, A. R. A., was born in 1768, and was a pupil of Pether. He exhibited miniatures in the Royal Academy. His early works were on ivory, and afterwards on paper, drawn in pencil and tinted, the head only with great finish, the other parts slightly. He was much noticed by Sir Joshua Reynolds, whose style he studied. He died in 1821. (From the South Kensington Catalogue. ) 5Jin. x 4 in. 299 377. Mrs. Lenham. This name is written on the back of the frame, and on a paper at the back is written the name of the artist, mr. j. lyon, PAINTER, ETC., 1 82, BROWNLOW HILL .... In Gore’s Liverpool Directory for 1807, George Lyon is described as a painter, of 2, Back Russell Street, and with a shop at 60, Brown- 61 low Hill. In Gore’s Directory for 1823, George Lyon and Son are described of 91, Brownlow Hill ; and a Joseph Lyon, painter, of 2, Rupert Street, is named. George Lyon and Son seem to have lived for some years at various numbers in Brownlow Hill. In the minia- ture, the lady is seated in a church, nursing an infant, and looking up towards a white marble bust of a man, and memorial tablet. Ivory. 6fin. x 4Jin. 300 378. Portrait of a lady, name unknown. Ivory. Signed 1. s., pos- sibly j. s. for John Smart, a well- known miniature painter, who lived in London at the end of the last and the commencement of this century. 2in. x ifin. 248 379. Miss Wilmot is the name slightly written on the back of this unfinished miniature. Ivory, ain. x 1 fin. 295 380. Portrait of a lady, name unknown. Ivory. Signed d. bossi pinxit. 1797. stock. Dia. 3fin. 249 381. Portrait of a lady, name unknown. Ivory. Mounted in gilt pendant frame. itWin. x i jin. 261 382. Portrait of a gentleman, name unknown. Ivory. A memo- randum on the back says that this miniature was painted by Meyer. “Jeremiah Meyer, R.A. Born at Tubingen, 1728. Came to England at the age of 14, and was for a time the pupil of Zincke, and, studying the manner of Reynolds, soon distinguished himself. He was appointed miniature painter to the Queen, and enameller to George III. 383. Two little children with a dog. Ivory. Mounted in gold as a pendant. i£in. x ifin. 242 62 MINIATURE AND OTHER PORTRAITS. 384. Mrs. Newson; a memorial locket, mounted in gold, on the back of which is scratched mrs. newson obiit 1785 jet . 62. In black on ivory. rgin. x rin. 241 385. Sir Jacob Wolf, Bart. Ivory. i|in. x iiin. 257 386. Portrait of a gentleman, name unknown. Ivory, i-Afin. x gin. 387. Portrait of a gentleman, name unknown. Ivory, t^in. x 1 i in- 255 388. Thomas Lord Dartrey. An enamel on copper. Signed on the back, thomas lord dartrey. hurt er fec. 1784. John Henry Hurter, who was a native of Schaff- hausen, was induced by Lord Dart- rey to come to London, where he remained for some time practising in enamel, chiefly as a copyist. He eventually returned to Switzerland. At the South Kensington Exhibition there were a number of enamels by Hurter, and two or three of Lord Dartrey. These were chiefly in the possession of Lord Cremorne. rfin. x ijin. 256 389. Lord Kelson. A poor work in ivory. Dia. rjin. 264 390. Voltaire. Enamel. Signed perlet pinx. 1779. 1 sin. x rfin. 283 391. Lady Hamilton. This name is written on the back of this minia- ture. Ivory. Signed with a name unfortunately illegible, which appears to read stevely. Very pretty work, engrisaille. 2/, in. x 2§in. 272 392. Portrait of a gentleman, name unknown. Ivory. Signed shelly pinxt. Shelley was born in Whitechapel, London, about r75o. He practised for many years, ex- hibited in the Royal Academy, and was one of the original members of the Water-colour Society. He died in London in 1808. Mounted in oval gilt frame. 2^in. x 2|in. 294 393. John Keats, the poet. Ivory. Said to have been painted by Richd. Otway (?), possibly a mistake for Richd. Cosway, of whom there is an interesting description in Red- grave’s Dictionary. He appears to have been an eccentric character. He was born at Tiverton in 1740, and died in London in 1821. As a miniature painter he showed great ability, and he was patronized by royalty and the fashionable world in London. 2jin. x 2in. 306 394. Portrait of a gentleman, name unknown. Ivory. ifin. x 1 fin. 308 395. Portrait of a gentleman, name unknown. Ivory. 3^in. x 2 fin. 316 396. The Rt. Hon. Lord Frederick Campbell. Enamel. On the back is inscribed R T - hon ble lord fred k - CAMPBELL. LONDON FEB y - 1814. PAINTED BY HENRY BONE, R.A. ENAMEL PAINTER TO H.R.H. THE PRINCE REGENT AFTER A DRAWING by H. edridge. Henry Bone was born at Truro in 1755, and showing a taste for art was apprenticed at the Plymouth porcelain works, and after- wards at Bristol. He afterwards came to London, and practised enamelling, gradually rising from the ornamentation of jewellery to the execution of large subjects and portraits. He died in London in 1834. (See Redgrave’s Dictionary.) 6-gin. x sf in. 210 397. Sir Joshua Reynolds, after the portrait by himself. On the Plate XVI. MINIATURE AND OTHER PORTRAITS. 6 3 back is a memorandum that this miniature was painted by William Wood, a distinguished draughtsman, who practised miniature painting in London. Born about 1760, died 1809. Ivory. 2-fin. x igin. 279 398. Portrait of a gentleman, nearly full face, in light purple coat. Name unknown, i Jin. x iin. 5646 399. Portrait of a gentleman, in dark blue velvet coat, trimmed with gold lace. Name unknown. 1 fin. x ifin. 5647 400. Portrait of a lady, name unknown. Ivory. On the back is the memorandum, j. c. d. engle- HEART, PINXIT, 1821. 70, BERNERS S T -, London. Redgrave gives but a short account of Engleheart, only saying that he first exhibited in the Royal Academy in 1802, and dis- appears after 1828. 4m. x 3m. 296 401. Eight miniature portraits, of the Queen, Prince Consort, and six of the Royal Family. On ivory, mounted in gilt frames set with hair. Painted by William Egley, 75, Con- naught Terrace, Hyde Park, 1851. William Egley was born at Don- caster in 1798, and practised minia- ture painting in London for many years. He died in 1870. These portraits of the Royal Family are not, perhaps, fair examples of his ability, as Redgrave praises his work. 275 402. Photograph on glass, of Sir Wm. Brown, donor of the Liver- pool Free Library and Museum. 2fin. x 2gin. 239 403. Joseph Mayer, Esq., F.S.A., a photograph on silver, called rfaguerrotype , after the painter Daguerre. On the back of the frame is T. wharton n°- 791 . 24 . august 1841. 240 MISCELLANEOUS PORTRAITS. 404. Full-face portrait of Fran- coise Marguerite de Silly, in relief, on a square plate of steel, the dress, & c., inlaid with gold and silver Damascene work. The name is engraved over the portrait. French, 1 6th century. 5 fin. x 4Jin. 5997 405. Profile portrait of a youth, carved in ivory. German, 18th century. This charming portrait of a youth in armour, with a flag under the breast, upon which is the spread eagle, is surrounded by an elegant foliated design, in open work. 2 gin. x 2^in. 8082 406. Portrait of a lady, on an ivory tablet. English, 1 8th century. There is no name given to this por- trait, but HORACE WALPOLE 1783 is written on the back, in faded ink, and the ivory is said to have come from the Strawberry Hill collection. 4 Jin. x 3 Jin. 8103 407. Portrait of a gentleman, in oil colour, name unknown, in costume time of George I. or II., with black three-cornered hat under left arm. Without frame, ioin. x 8in. 595S 408. Portrait of a gentleman, in crayons ; costume of the 18th century, blue coat and full white neckcloth. Name unknown ; but not altogether unlike one of the family of George III. On the in- side of the frame is written, in ink, mr. keating. Said to be the work of John Russell, R.A., 1744 — 1806. Without frame. 15m. x nin. 4501 6 4 MISCELLANEOUS PERSONAL RELICS. 409. Portrait of Joseph Mayer, F.S.A. An oil painting, by William Daniels of Liverpool, a well-known local artist, of whose work this may be considered a very excellent example. 410. Profile head of Mrs. Sand- bach, daughter of William Roscoe. Modelled in clay, upon a circular slab of slate, by John Gibson, R.A. Signed i. gibson ft. Dia. iojin. 5837 411. Plaque, in ivory. German, 17th century. Figure of a warrior in full armour, his left hand resting on a shield, on which is a griffin rampant. 3fin. x 2§in. 8105 412 . Lid of a box, in ivory. Dutch. 1 8th century. On one side is a pastoral scene, carved in relief, and coloured green and gold ; and on the reverse is an old sea paint- ing, signed j. or t. w. rothamer or robbermer. 4-Jin. x 2in. 8075 413. Seven medallions, in ivory. English. 1 8th century. Six of these bear portraits of the members of the House of Tudor, (1) Lady Margaret Tudor, (2) Henry VII., (3) Henry VIII., (f) Edward VI., (5) Queen Mary, (6) Queen Elizabeth. These are said to be the work of Grinling Gibbons; and a memorandum with them stated they were bought at Hereford Gastle. The medallion of Edward VI. has a large initial G upon it. Each medallion 2|in. x ijin. 8098 MISCELLANEOUS PERSONAL RELICS. 414. Reliquary, of silver gilt, containing a fragment of the Cross of Our Lord, and relics of S. Gregory, S. Augustine, St. Ambrose, S. Jerome, S. Athanasius, S. Basil, S. John Chry- sostom, and S. Gregory Nazianzen. This reliquary was given to Miss Tinne, during the “ Dutch Ladies’ Expedition,” by Agabios, Bishop of the Greek Church at Beyrout. Dia. 2|in. 7. 7. 70. 112 Presented by J. A. Tinne. 415. Rosary and Reliquary, of horn, each bead containing three relics of the saints, and the pen- dant at the end twenty-four ; the central one missing. There are 57 horn beads. See Trans. His. Soc. of Lan. and Ches., vol. vi., p. 132, where a description of this rosary is given, and it is stated that the Cru- cifix, No. 416, was attached to it. It is scarcely probable that this attachment was originally intended. 4037 416. Crucifix, in wood, carved ; figure of the Mater Dolorosa ; a small receptacle at back with lid, in which are a few relics, and a small picture described as the head of H. ANATSASY MART. CARM. ORT. German, 17th century (?). H. 5 Jin. 4054 417. Portions of two reliquaries, containing relics of various saints. 1 76 418. Pair of boots and pair of gloves, and silver spoon, once belonging to King Henry VI., and given by him to Sir Ralph Pudsey, at Bolton Hall, Yorkshire, where the King lay concealed after the MISCELLANEOUS PERSONAL RELICS. 65 battle of Hexham, fought May 15, 1464. These interesting relics were preserved at Bolton Hall, and after- wards at Hornby Castle, from that date onwards, until they came direct from the hands of Sir Ralph Pud- sey’s descendants into the possession of Mr. Mayer. They were very carefully engraved in th & Antiquarian Repertory , (edition commenced in 1775,) vol. iii-j p. 168; see also Chambers’ Book of Days, vol. i., pp. 669-70 ; Gentlemen' s Magazine , June, 1785 ; Trans. His. Soc. of Lan. and Cites., vol. xxiv., pp. 197-8. An engraving of these is also given in Dr. Whitaker’s Deanery of Craven, opp. p. 1 14. Dr. Whitaker re- marks : — “ The boots are of fine brown Spanish leather, lined with deer’s skin, tanned with the fur on ; and about the ankles is a kind of wadding under the lining, to keep out wet. They have been fastened by buttons from the ankle to the knee ; the feet are remarkably small (little more than eight inches long), the toes round, and the soles, where they join the heel, contracted to less than an inch diameter. The gloves are of the same material, and have the same lining : they reach up, like women’s gloves, to the elbow ; but have been occasionally turned down, with the deerskin outward. The hands are exactly proportioned to the feet, and not larger than those of a middle-sized woman. In an age when the habits of the great, in peace as well as war, required per- petual exertions of bodily strength, this unhappy prince must have been equally contemptible, from corporeal and from mental imbecility.” The silver spoon has been engraved in W. J. Cripps’ Old English Plate , p. 227. Mr. Cripps remarks : — “Of the genuineness of this spoon there is no doubt ; the head of the handle K is hexagonal, somewhat resembling the capital of a Gothic shaft, and on the flat top is engraved a single rose, the badge of the King. It is of the usual form of ancient spoons, and the marks thereon are as fol- lows : — Inside the bowl is stamped the leopard’s head — and all the ancient English spoons, previous to the Restoration, are so marked ; — on the back of the stem is stamped with a punch, a small heart, for maker’s mark ; and above that is the annual letter, also stamped with a punch. This, which is a Lom- bardic fj), stands for the year 1446, which agrees both with the history and the make of the spoon.” See also H. Chaffers’ Hall Marks on Plate , p. 52. 19. 11. 74. 1-3 419. Cup .and small medallion, said to be made from the wood of a mulberry tree planted by William Shakespeare, at Stratford-on-Avon. This tree was taken down by its owner, the Rev. Francis Gastrell, in 1759; and Sharp, a clock and watch maker, in Stratford-on-Avon, who died in 1779, made a declaration on oath, to the effect that he purchased the felled tree from Mr. Gastrell, and made numerous articles out of it. Halliwell, in his History of New Place , says that the main facts in this affidavit appear reliable. Both these relics are stamped with Sharp’s name. 5848 420. Memorial pendant of King Charles I., in gold, shaped like a coffin. Under the glass in front is a small but admirable painting of the dead body of the King, in his shroud, holding the crown and sceptre. The gold work is inlaid with black enamel. At the back the legend, though DEAD YET SPEAKETH. English, 17th century. L. ijin. 66 MISCELLANEOUS PERSONAL RELICS. Silver Spoon and Case, No 4 421. Pair of large leather boots, said to have belonged to Oliver Cromwell, and to have been brought from one of his residences. See Jour. Brit. Arch. Ass., vol. xiii., P- 343- 4899 422. Gourd cup, silver mounted, said to have be- longed to Oliver Cromwell, but the mounting seems of a later date. See Jour. Brit. Arch. Ass., vol. xiii., p. 344. 4312 423. Snuff box, made from the wood of the ship “ Betsy Cains,” which brought King William III. to England in 1688. The “Betsy Cains” was lost off the rocks at Tyne- mouth, 1 8th February, 1827, and the wreck was purchased by Richard Beall, who pre- sented this box to Henry Hewitson. 200 424. Memorial pendant of Queen Anne, in gold, set with a lock of her hair. 137 425. Crucifix, scent-bottle, and snuff-box, said to have once belonged to Prince Chas. Edward Stuart (the young Pre- tender.) The snuff-box has two lids ; upon the inner one is a portrait of Prince Charlie. The box is painted outside with a Scotch tartan. The scent-bottle is ofwood, very well carved in cinque cento style with figures holding wreaths, &c. On the silver stopper is engraved a crown, and below it the letters v s in monogram. 209 426. Silver spoon, presented to an ancestor of the person from whom Mr.Mayer obtained MISCELLANEOUS PERSONAL RELICS. 67 it, by Prince Charles Edward Stuart (the young Pretender), as a remem- brance of him, and an acknowledg- ment of the hospitality which he received during his stay in Man- chester, on his intended march to London in 1745. The spoon has. a joint near the heel of the bowl, which enables it to be folded into its accompanying shagreen case. On the back of the bowl the initials m c are engraved, and the plate marks are a bear (?) passant below a fleur- de-lis, and the letter p above three crescents. The spoon and case are figured on pi. opp. p. 134, vol. iv., Trans. His. Soc. Lan. and dies. 439 6 427. Brooch, in silver, said to have been worn by Rob Roy. See Trans. His. Soc. Lan. and Ches ., vol. i., pi. opp. p. 28, fig. 6. 62 428. Small two-handled quaigh cup, made from the wood of Dud- dingston Thorn, near Winburgh, known as a landmark in 1107, and blown down 25th May, 1840. 4314 428. The initials of Henry Kirke White, carved by him upon the bark of an ash tree on the banks of the Trent, near Nottingham, in 1803. 5 8 49 430. Cap, gloves and shoes, worn by Lord Byron in Greece, 1822. See Trans. His. Soc. Lane, and C/ies., vol. i., p. 1 19, where one of the shoes is figured. Leigh Hunt men- tions Byron’s vel- vet cap ; see also frontispiece to Leigh Hunt’s Lord Byron and some of his Contempo- raries. 5847 K2 431. Wooden candlestick, for- merly in the possession of Robert Burns, the poet. A letter from Burns’ son, Robert, with this relic, states that the candlestick formed part of the poet’s household furni- ture, both at Mossgill and Ellesland, before he came to live at Dumfries. 8111 432. Walking cane, with silver knob, formerly belonging to King William IV. 43°7 433. Two walking sticks, for- merly belonging to H. R. H. the Duke of Sussex ; one with a gold knob, and the other composed of entwined wires made of gold, pla- tina, silver, copper, tin, and iron, and presented to the Duke by An- drew Smith, the patentee. 4307-9 434. Memorial brooch, of Prin- cess Charlotte Augusta, daughter of George IV. 138 435. Inkstand, made from the wood of the Royal George. 4309 438. Testimonials, presented in New York to the late Capt. Dayman, R.N., Commander of H. M. steam frigate Gorgon , commemorating the part taken by him in the laying of the first telegraph cable between Europe and America, August, 1858. Two gold medals, one given by the City and the other by the Chamber of Commerce ; also, an address on vellum, rolled round a piece of 68 M1SCF.LLANE0US PERSONAL RELICS. cable, presented by the Mayor and Corporation. Bequeathed by the late Captain Dayman, R.N. 8. 4. 69. 1-3 437. Wooden glove or gloved hand, hung up in Chester for many years, in early times from a pole, and later from St. Peter’s Church, to indicate the commencement of each city fair. A legend is carved round the wrist part of the glove, apparently, vit me r cat mclix hvgo comes cestria, which may have been cut within the last two centuries. A quaint memorandum with this relic states that one Peter Cattaral, clerk of S. Peter’s Church, received 3s. 9d. per annum for fixing this glove up, and taking it down when the fair was over. In 1836, however, the Mayor refused this stipend, and threw the glove at the claimant, who parted with it. It was subsequently sold for two pints of ale in 1836. L. i2|in. 5978 438 . Brank, or scold’s bridle, in iron, with chain for attachment, such as were used in many places in England, during the 17th and 18th centuries, for keeping in order scold- ing and refractory women. The Ven. Archdeacon Hale suggested, and probably with truth, that lunacy being little understood in those times, many violent women were then treated as scolds who would now be regarded as lunatics. An interesting account of these cruel instruments will be found in the Jour. Arch. Inst., vol. xiii., p. 256 ct seq. ; see also The Reliquary , vol. i., p. 65. This brank was given to Mr. Mayer by Dr. Kendrick, of Warrington, and is figured in Trans. His. Soc. Lan. and Ches., vol. ii., pi. 5. Mr. Mayer also possessed formerly a brank used at Newcastle- under- Lyne. Reliquary , vol. i., p. 72. H. 1 i|in. 5992 439. Bust, in ivory, of Lorenzo de Medici. On the back is in- scribed, THIS BUST WAS TURNED IN A LATHE BY EENJ? CHEVERTON OF LONDON, FROM THE ORIGINAL BY MICHAEL ANGELO. PRESENTED BY THE CITY OF FLORENCE TO WILLIAM ROSCOE, THE HISTORIAN OF THE LIFE OF LORENZO DE MEDICI, AND BY HIS SON WILLIAM STANLEY ROSCOE GIVEN TO JOSEPH MAYER, F.S.A., Liverpool. H. (with marble pedes- tal) 7in. 8091 440. Memorial of a great frost in January, 1740. The Ten Com- mandments within an archway, in the Italian renaissance style, printed ON THE ICE ON THE RIVER OF Thames jan r . y 21 1739-40. Under this again is, printed on the river THAMES WHITE HALL- STAIRS JANU- ARY 29 . 1740. MARY DAULING. The frost was so severe in January, 1740, that the people dwelt in tents on the Thames for weeks. (Cham- bers’ Book of Days , vol. i., 109-10.) io£in. x 6fin. 8358 441. Small bag, embroidered with coloured silks mixed with silver wire, the designs — flowers, and robins, and insects. Very beautiful. Eng- lish needlework of the time of Charles I. sin. square. 8323 442. Baby’s cap, embroidered with flowers in coloured silks, and ornaments and tassel in gold wire. 8315 443. Sampler, in English 18th century needlework, with figures of the coronets of royalty and nobility, the Lord’s Prayer, and ten verses of a hymn commencing — MEDALS AND BADGES. 69 “ To Church I’ll go and lam to do Whatever God doth say No God but He that formed me I’ll worship and obay.” At the end is, “ Ann Parfet is my name, and England is my nation, Avington is my dwelling place, and Christ is my salvation. February y e 27 . 1 735' 6 ” 19m. x 17m. 8320 444. Two pairs of gloves, one in white and the other in crimson silk, trimmed with gold lace ; said to have been used by a Pope and Cardinal. Italian, 18th century? 8324-5 445. Race Card, or “ An Exact List of all the Horses, &c., that are entered to run on Crosby Marsh, near Liverpool, on Tuesday the 1st, and Wednesday the 2d, and Thursday the 3d of July, 1777.” John Gartside, Esq., and Gill Slater, Esq., are Stewards. At the top is a view of a race with starting and winning posts, and at the bottom the announcement, — ordinaries, ASSEMBLIES, PLAYS, AND COOKINGS as usual, iofin. x 6|in. xo. 7. 73. 1 Presented by Henry G reen. 446. Cross of the Order of S. Louis, with which Paul Jones, the pirate, was decorated by Louis XVI. 99 447. Miniature portrait, on ivory, of a girl ; and photograph copies of the photographs found on the bodies or among the recovered property from the wreck of the Royal Charter. 19. 12. 65. 1 Presented by the Board of Trade, igth December , 1865. 448. Portion of a door, studded with iron nails, from the tower which formerly stood in the Prison Weint, now part of Water Street, Liverpool. Presented by Mrs. Stonehouse , i8jS. BADGES AND MEDALS CONNECTED WITH THE FRENCH REVOLUTION AND FIRST EMPIRE. In this group of badges and medals there are, (1) Personal Badges, worn by those who found it desirable or necessary to have some private or external demonstration of their political opinions or party. (2) Official Badges, such as were worn by officers in conventional com- mittees and law courts. (3) Commemorative medals of particular events, medals of award, and miscellaneous ornaments from costume or furniture, on which are Royalist or Revolutionary symbols and subjects. The majority of these badges bear Revolutionary symbols, and were no doubt worn by some of those who took active part in that terrible political struggle. 7o MEDALS AND BADGES. That these badges were worn by the Judges and Officers of the Civil Courts is proved from a few plates at the end of the second volume of Francois Bonneville’s Portraits des Personnes Celebres de la Revolution. There, a badge exactly similar to No. 482, is suspended from a tri- colour ribbon round the neck of an officer of the “ Tribunal Civil;” and the “ Juge de Pais,” upon the next plate, wears a similar ribbon, though the badge at the end is different in form. The condition of the government in Paris and other towns in France, during the years 1792—1795, forms an awful and extraordinary chapter in the history of the world. As one party after another rose quickly into power, they found it necessary to annihilate their opponents, and institute an inquisition over every individual inhabitant. It was not sufficient to be neutral, or you were condemned for harbouring sedition. “ Take first, as example, those Comites Revolutionaires for the arrestment of persons sus- pect. Revolutionary Committee, of twelve chosen patriots, sits in every township of France. ... In Paris and all towns, every house-door must have the names of the inmates legibly printed on it, ‘at a height not exceeding five feet from the ground’ ; every citizen must produce his certificatory Carte de Civisme , signed by Section-President ; every man be ready to give account of the faith that is in him.” (Carlyle, vol. iii. , p. 120.) No doubt, at such times as these, it would avert suspicion to be seen wear- ing, in one’s hat or coat, a badge bearing such sentiments as “ The people Sovereign,” “ Live the Republique,” &c. The tricolour ribbon was almost universally worn by the republicans. The revolutionary emblems were mostly revivals of classical symbols of liberty. The red cap (bonnet rouge), was the Phrygian or Roman cap of liberty, * and its combination with the lance or pike is said to date from Roman times. Vide the Symbola Heroica, M. Claudii Paradini, ex officina Plantiniana, 1600. The introduction of the bonnet rouge among the Jacobins is mentioned by MacGregor, Hist. French Rev., vol. ii., pp. 1 1 2-3. “About this period” — [the early part of 1792] — “the red cap (bonnet rouge) was first introduced into the meetings of the Jacobins.f On their first appearance in the streets, the wearers of them became objects of derision. To render them more popular, the bust of Voltaire was brought upon the stage at the French theatre with a red cap on, after the representation of the death of Csesar. Still it was not well received ; and * “ Among the Romans the cap of felt was the emblem of liberty. When a slave obtained his freedom he had his head shaved, and wore, instead of his hair, an undyed pileus. . . . The figure of Liberty on some of the coins of Antoninus Pius, struck A.D. 145, holds this cap in the right hand.” Smith, Dictionary Creek and Roman Antiquities. A cap of liberty appears also on the coins of Brutus. t A secret society, for the discussion and propagation of the most revolutionary opinions. Its members were called Jacobins, because they held their meetings in a Dominican monastery dedicated to S. James. MEDALS AND BADGES. 71 Petion, the mayor, informed of the squabbles and discontent occasioned by this fatal bonnet, and fearing it might render the revolution unpopular, wrote a letter to the Jacobins, pointing out the danger and inutility of this innovation. The club, with Robespierre as president, was assembled when this letter was brought, and the red caps immediately disappeared, not excepting that of the minister Dumourier, who happened to be in the tribune with his bonnet rouge on. The term sans-culottes ( without breeches ) seems also to have been invented about the same time, and was first applied to the new ministry by the royalists.” The red cap of liberty is usually represented perched on the top of a pike or lance, probably a revival of the Hasta centuniviralis, which was set up in the courts of the Roman centumviri as an emblem of authority. (See Rich’s Diet, of Antiquities.'] The Fasces was another revolutionary emblem, being a bundle of rods with an axe frequently inserted, such as were carried before the Roman magis- trates, a symbol of state punishment. The eye surrounded by rays, a symbol which occurs on many of these badges, suggests enlightenment, observation, detection, and supervision. It was borrowed from both Heathen and Christian symbolism; and in the Egyptian collection in the Mayer Museum, may be seen a large number of amulets in shape of the human eye ; so also in early Christian art it is used, together with a triangle sometimes surrounded by glory, indicating the omniscient superintendence of Providence, in conjunction with the dogma of a triune God. The sword, scales, and level are the ordinary symbols of justice and rectitude, and the open book signifies the national laws. The oak is the emblem of peace and security; the laurel of victory; the ship signifies the ark of safety, and the cock is the emblem of vigilance. Some of the inscriptions which accompany the emblems upon these badges are of considerable interest, and recall many of the well-known characters and events of that epoch, but it has been thought advisable to intersperse any suggestions and explanations concerning them amongst the descriptions, rather than to incorporate them into this introduction. A great number of these medals and badges are figured in the third part of the Tresor Numismatique, Paris, 1834, which is entitled “ Monuments de l’Histoire Contemporaine,” and is divided into two volumes — “ Collection des Medailles relatives a la Revolution Frangaise de 1789;” and “ Collection des Medailles de l’Empire Frangaise et de l’Empereur Napoleon.” The letter-press of this work was prepared by M, Ch. Lenormant, and the plates engraved by the process of M. Ach. Collas, under the direction of MM. P. Delaroche and Henriquel Dupont. In his introduction to the above-mentioned work M. Lenormant mentions two other books upon the same subject, the Histoire Metallique de la Revolution Fra?icaise , by A. L. Millin, published in 1806 ; and the Histoire Numismatique de la Revolution Francaise, by M. Hennin, published in 72 MEDALS AND BADGES. 1826. The first of these he describes as incomplete and unsatisfactory, and the second as full of historical research, and a most conscientious work. In his own work, M. Lenormant gives none of the actual coins of that epoch, he professes to publish all the monumens numismatique, mddailles, jetons, cliches, repousses, decorations, trials, from the opening of the Etats- Generaux until the establishment of the Consulate. From this important work the writer has obtained much information, which will be found incorporated into the subsequent descriptions, where the work will be referred to under the abbreviation T. N. ( Tresor Numismatique). The writer has met with a few notices of the sale and use of these emblems during the Revolution. In Dr. Moore's Journal , vol. ii., p. 7, he mentions having seen emblems of freedom hung round a tree of liberty in the market place at Aire, on 8th Oct., 1792. In a work entitled Flower Lore , the tree of liberty is mentioned. “ The black poplar Jopulus nigra), was in Rome considered as peculiarly the tree of the people, a significance which led to its being planted by the Americans, during the war of independence, as a symbol of growing liberty. This custom was imitated by the French, and thus so-called ‘ trees of liberty ’ were set up during the Revolution; first in Paris, by the Jacobins, in 1790, and after- wards in every village in France. In Italy, also, during the Revolution of 1848-9, many ‘trees of liberty’ were set up. The Lombardy poplar was generally the tree chosen, but in some cases the oak took its place. The selected tree was surmounted by a cap of liberty, hung round with circles and triangles, the symbols of unity and equality, and was consecrated by a priest.” p. 78. In Mr. Fennell’s Review of the Proceedings at Paris , p. 351, the following passage occurs: — “ I seldom went into any reputable shop in Paris without making particular endeavours to discover the political opinion of the master. The tradesmen, in general, upon the slightest encouragement, discovered themselves to be aristocrats, and seemed eagerly to catch at the opportunity of sighing in safety over the calamities of their country, a privilege that in public was denied to them. A short time after the 20th of June, the aristocratic party were very strong and bold ; pocket-books, snuff boxes, fans, &c., bearing aristocratic emblems and inscriptions, were publicly and safely exposed to sale. Having in a shop, one day, taken up a fan, on which were the pictures of the royal family, I observed to the master that I supposed fans so ornamented were not much used now ; ‘ Oh, yes,’ replied he, ‘ indeed they are ! Un moment,’ added he, sighing, ‘and it is to be hoped that the originals will be as great as ever ! ’ In another shop, having observed on a snuff-box the picture of the king, and under it his observation to M. Petion, on the 20th of June, ‘ The man that has a pure conscience knows no fear nor regret ! ’ I asked the proprietor if he was not an aristocrat, ‘Yes, sir,’ replied he, MEDALS AND BADGES. 73 ‘ indeed I am, and I think most of us have good reason for being so ! ’ I could mention a hundred other circumstances of a similar nature, were it necessary ; however, when the M a hello is arrived, they suffered no such aristocratic emblems to be exposed to sale.” Other curious French royalist mementoes deserve to be mentioned here, such as a wooden tobacco stop- per, in possession of the Rev. Alfred Gatty, D.D., which gives on the edge, when placed between the light and the eye, a most correct and admirable silhouette profile portrait of Louis XVI. In chapter iv. of Flower Lore, p. 77, a bunch of violets is figured, which contains portraits of Napoleon I., the Empress Maria Louisa, and the young king of Rome. The profiles of these faces can be discovered with attention, by examining the irregular outlines of the flowers and leaves. The violet was a favourite symbol with the Napoleonists after the return of the Emperor Napoleon from Elba, on March 1st, 1815, the month of March being identified with the coming of the violet. The badges and medals in this collection do not form into any consecutive series, and many of them are only indirectly connected with the Revolution, but they are an interesting group of memorials of an important epoch of French history, especially when placed beside the series of Bonaparte miniatures and medals in the Mather collection. It is possible that Englishmen may be surprised at the vast number of these badges and medals, commemorating the smallest as well as the most important events, and decorating the meanest as well as the most dignified offices ; but it must be remembered that a Frenchman values a decoration as a personal recognition from those in authority, and wears it both in private and public life. 449. Medal, in copper, gilt. Obv. Profile bust of Louis XIV., and the legend lvd. xiiii. d.g. fr. et. nav. rex. Rev. Shield with three fleur-de-lis, surmounted by a crown, on either side of which are two sceptres, with the legends vnico vniversvs. Around is the legend + HV1SSIER. ORDINAIRE. DV. ROY. ET. DE. SON, GRAND. CONSEIL. Dia. 2in. 20. 1. 70. 2 450. Medal, in bronze. Obv. A crown, and under it the sun and two oval shields, one with chains upon it, and the other with three fleur-de-lis, also a small crown and L the initial L ; the whole surrounded by the chain and badge of the order of the Holy Ghost. Rev. The sun over two L’s crossed, also three fleur-de-lis and xv. Dia. 2 gin. 20. 1. 70. 1 451. Medal, in brass ; Obv. The arms of the town of Paris ; around, the legend forts de la halle aux bleds de paris. Re v. The legend FIDELITE A LA LOI ET AU ROI, within an oak wreath. T. N., pi. xviii., fig. 5. The “ halle aux bleds ” signifies the corn market. The medal was struck for the Commune of Paris, 74 MEDALS AND BADGES. and engraved by Gatteaux. Dia. 2fin. 20. i. 70. 3 452. Medal, in brass. Obv. An eye surrounded by rays, and below it the numeral 167; around, the legend la publicity est la sauve GARDE DU PEUPLE. BAILLY. M. Rev. The legend la loi et le roi, within an oak wreath. T. N., pi. xiv. fig. 7. M. Lenormant says that these medals were worn by the newsvendors who hawked the public papers. Each newsvendor had a number, and M. Lenormant has figured a No. 167 in the 71 TV. The Municipality of Paris fixed the number of the news- vendors at 300, in December, 1789. The medal was engraved by M. Nicolas Marie Gatteaux. Dia. 2fin. 20. 1. 70. 4 453. Medal, in brass, looped for suspension. Obv. Oval escutcheon with three fleur-de-lis upon it, under a crown, surrounded by the order of the Holy Ghost, and two olive branches. Rev. The legend, loterie ROYALE DE FRANCE. Dia. 2fin. 20. 1. 70. 5 454. Two metal buttons, ena- melled in front, with profile portrait of the Dauphin (?) in black and white. Dia. ifin. 20. x. 70. 6 455. Badge of white satin rib- bon, printed in black, with the arms of France between an olive and palm branch, surmounted by a flag, on which is inscribed, vive la liberte sous l’empire de la loi. At the top of the badge, vive la nation vive la roi ; and at the bottom, vive neker. 3fin. x ifin. 20. 1. 70. 7 456. White satin badge, with design printed upon it. On an oval in the centre is a cross with a crown of thorns hanging on it ; the oval is surmounted by a coronet, and surrounded by a wreath of oak. Above is the legend, union et liberte ; and below, district des theatins. The badge is in a slight glass and paper frame. 3|in. x 2 fin. 20. 1. 70. 8 457. Medal, oval shape, in cop- per gilt (?) looped for suspension. Obv. Profile bust of William V., Prince of Orange (?) between two thin branches. Rev. A bunch of arrows tied up, and the initials, w p 0 v. ifin. x 1 fin. 20. 1. 70. 9 458. Medal, oval shape, in cop- per gilt (?) looped for suspension. Obv. Female figure standing on a pedestal, holding a spear, on which is the republican cap, and support- ing the fasces. On the pedestal, scales and other symbols. Legend, republique fran$aise. In the exergue, amelin. Rev. The legend, action de la loi tribunal d’appel between an olive and oak branch. In the exergue, a. With the ex- ception of the artist’s signature, similar to fig. 4, plate lxxxi. 71 7V. T-fVin. x ifin. 20. 1. 70. 10 459. Medal, oval shape, in cop- per gilt, looped for suspension. Obv. Similar to No. 458, Rev. Simi- lar to No. 458, with exception of legend, which reads, action de la loi tribunal de premiere ins- tance. AVith the exception of the artist’s signature, similar to fig. 7, plate lxxxi. 71 W. i -fVin. x i f in. 20. 1. 70. 1 1 460. Medal, oval shape, in cop- per gilt, looped for suspension. Obv. Similar to No. 458, excepting the name in the exergue, which is maurisset. Rev. ^Similar to No. 459, excepting the initial in the Plate XV r I . < ) 0 I'UK'S'i jt.il x % ' 'ii hh SA LLt * nv corps LLcnm.A'TiF, 518. 490. 462. 454 - 455 - 522. 559 - 5 T2 - 554 - MEDALS AND BADGES. 75 exergue, which is m. With the ex- ception of the artist’s signature, similar to fig. 7, plate lxxxi. 71 N. 1-fVin. x jjin. 20. 1. 70. 12 461. Medal, exactly similar to No. 460, excepting that the name Maurisset is in full on the exergue of the reverse, and the initial M on the obverse. See T.N . , plate lxxxi., fig. 7. iiTi-in. x ijin. 20. 1. 70. 13 462. Medal, similar to No. 461, excepting the legend on the reverse, which is action de la loi tribunal criminel, and in the exergue mau- risset f. See 71 N, plate lxxxi., fig. 6. itVin. x ijin. 20. 1. 70. 14 463. Medal, oval shape, in cop- per gilt, looped for suspension. The obverse and reverse are similar, the legend, respect a la loi, between two oak branches, ain. xi^in. 20. 1. 70. 15 464. Medal, oval shape, in white metal, looped for suspension. Simi- lar to No. 463, with the exception of having the initial m in the exergue on one side. See 7! TV., pi. xxxvi., figs. 1 and 2. The following decree was framed by the National Legislative Assembly, 12th July, 1792 : — “The administrators of the department and the district, the procureurs - general and the procureurs -magisterial, shall carry, in the exercise of their func- tions, a tricolour ribbon over the shoulders, and a medal, inscribed, respect a la loi.” The decree goes on to state that the metal of one class of medals shall be yellow, and of the other class white. [71 A 7 .] 2in. x i|in. 20. 1. 70. 16 465. Medal, oval shape, in white metal, looped for suspension. Obv. Standing female figure, as inNo.458, L2 with part of an indistinct inscription at_ her feet, on, and below, liberty . £galite ; around is, re- publique franchise ; and in the exergue, maurisset. Rev. As in No. 463. See T. N., plate li., fig. 7. 2in. x 1 fin. 20. 1. 70. 17 483. Medal, oval shape, in cop- per gilt, looped for suspension. Obv. A trophy, of sword, republican cap, open book, inscribed secrets loi, two fasces, &c., and the legend, loix, justice, union, force, d’un peuple libre ; in the exergue, m. f. Rev. The legend, actions de la loi, between oak branches ; and in the exergue, maurisset f. See T. N., plate 1., fig. 3. i-i- 6 -in. x ijin. 20. r. 70. 18 467. Medal, circular shape, in copper gilt (?), looped for suspen- sion. Trophy of a Maltese cross, each arm terminating in a fleur-de- lis, and a sceptre surmounted by a right hand, and a sword with repub- lican cap on the point. See 71 TV!, plate iii., fig. 4. Probably worn by the usher of a Knight of Malta. Uia. i-fin. 20. 1. 70. 19 468. Medal, circular shape, in copper gilt (?), looped for suspen- sion. Obverse and reverse the same ; the legend, actions de la loi, between two olive branches. Dia. fin. 20. 1. 70. 20 469. Medal, oval shape, in cop- per gilt, looped for suspension. On either side the legend, action de la loi. ifiin. x ijjin. 20. 1. 70. 2 1 470. Medal, similar to No. 469 . Obv. Trophy, fasces, and open book with loi upon it, between two oak branches. Rei\ Same as No. 469 . ifin. x ijin, 20. 1. 70. 22 76 MEDALS AND BADGES. 471. Badge, in shape of rays emanating around two tablets, in brass (?), looped for suspension . The tablets are coated with white enamel, and painted in gold, droits de l’homme-constitution, with some illegible writing. See T. N., plate xxxv., fig. 4. The National Legislative Assembly framed the following decree on the 12th July, 1792: — “The members of the Legislative Corps shall carry, whilst occupying their seats, or form- ing part of a deputation, or execu- ting a commission, a tricolour ribbon in three wavy bands. This ribbon shall be placed over the shoulders ; the tables of the law shall be attached to the lower end ; the book shall be of metal, gilt, and open. On the left sheet must be the words, — the rights of man, and upon the right sheet the word, — constitution.” There can be no doubt but that this is one of the decorations worn by a member of the Legislative Assembly. — [71 TV.] Dia. 2fin. 20. 1. 70. 23 472. Medal, in bronze. Obv. Figure of Republic hurling a thun- derbolt at insignia of royalty, which she crushes under her foot. Legend, le . x . aoust . mdccxcii. Rev. Le- gend, A la MEMOIRE DU GLORIEUX COMBAT DU PEUPLE FRAN^AIS CONTRE LA TYRANNIE AUX TUILE- RIES. 20. I. 76. 7 Presented by S. A. Thompson Yates. 473. Medal, in copper. Obv. Soldiers swearing allegiance to the Revolutionary Constitution, and the date, 14 July, 1790. Rev. Legend, MONNERON FRERES NEGOCIANS A PARIS . 1792. 20. 1 . 76. 8 Presented by S. A. Thompson Yates. 474. Small badge, in metal, in shape of the republican cap, looped for suspension. H. ifin. 20. 1. 70. 24 475. Medal, oval shape, in cop- per gilt (?), looped for suspension. Obv. Female figure holding spear and cap, and tablet inscribed droit de l’homme art. i., between two oak branches, and the legend, res- pect a la loi : below is the legend, repub. franc. Rev. The legend, respect a la loi, between two oak branches ; below is the legend, repub. franc. See T.N., plate li., fig. 8. 2in. x 1 fin. 20. 1. 70. 25 476 . Badge, in copper gilt (?), looped for suspension, and with pin for fixing to clothing ; cross swords upon red velvet ground. 2|in. x 2in. 20. 1. 70. 26 477 . Badge, similar to No. 476. ifin. x ifin. 20. 1. 70. 27 478 . Badge, similar to No. 476, with fragment of tricolour silk rib- bon for ground, ifin. x if in. 20. 1. 70. 28 479. Badge, similar to No. 476, with enamelled blue background, on which is the cap in red, and the the date, 1793, in gold, iiiin. x ifin. 20. 1. 70. 29 480 Badge, in brass (?), in shape of rays emanating from a circle, on which is inscribed on both sides, respect aux cendres des morts. See T. IV., plate lii., fig. 9. Worn by the Commissaires des Morts, who accompanied the funeral processions to the cemetery. [71 N.~\ Dia. 2fin. 20. 1. 70. 30 481 . Circular badge, of thick paper (?), painted in red, white, and blue, with the sword and cap and flags, and the legend, vive libre. Dia. 3fin. 20. 1. 70. 31 MEDALS AND BADGES. 77 482. Circular badge, in white metal, in shape of a radiated eye on both sides. Dia. i gin. 20. i. 70. 32 483. Badge, in hexagonal shape, in white metal, looped for suspen- sion, with eye in centre, surrounded by oak wreath and surmounted by fasces. See T.N., plate lviii., fig. 2. This decoration and the next were worn by the keepers of the Natural History Museum, and of the Mu- seum of the Louvre. The white metal one was worn in the Natural History Museum, and the gilt one in the Louvre. [T. TV 7 ] 2fin. x ifin. 20. 1. 70. 33 484. Badge, similar to No. 483, in copper gilt. 2fin. x ifin. 20. 1. 70. 34 485. Badge, in red velvet, with inscription, worked in gold thread, CONSTITUTION LIBERTE EGALITE VEILLEZ. 2fin. X 2} ill. 20. I. 70. 35 486. Badge, of tricolour satin ribbon, with embroidered design upon it, a heart surrounded by a crown of thorns, and the legend, 2 b 6d fevillans. 2\ in. x ifin. 20. 1. 70. 36 487. Oval badge, in black ma- terial, embroidered with the legend, la loi et la paix (?), in very rotten and disfigured condition, ifin. x 1 .jin. 20. 1. 70. 37 488. Oval badge, in material of three colours, and embroidered in the centre in gold thread, with trophy of flags, escutcheon, &c., surmounted by a crown. The badge is in a very rotten condition. 4|in. x 4jin. 20. 1. 70. 38 489. Badge, of brass (?), in shape of two laurel branches, enclosing a mural crown (representing the Bas- tille (?), with the republican cap stuck on the central tower, and below, the legend, vivre libre ou mourir. A decoration given to the non-mili- tary conquerors of the Bastille. See T.N, plate iv., fig. 3. Dia. 2m. 20. 1. 70. 39 490. Badge, a strip of tricolour ribbon, with printed design — a tower falling, and below, a ship sailing. At the top, le 14 juillet 1789, and below, vainqueur de la BASTILLE. 2fin. X ifin. 20. I. 70. 40 491. Badge, in brass, looped for suspension, in shape of a mural crown (representing the Bastille), inscribed on the back, recomp!? n e _ e D E _ E A AIME: DE LA SALLE VAINQ? DE LA BASTILLE I79O. W. ifin. 20. I. 70. 41 492. Oval badge, a copper gilt (?) frame, looped for suspension, en- closing a plate of translucent blue enamel (now very much broken), on which is, in gilt, the legend, la loi et la paix, within anoak(?) wreath. The badge is attached to a strip of tricolour ribbon, ifin. x ifin. 20. 1. 70. 42 493. Oval badge, a copper gilt (?) frame, looped for suspension, en- closing two enamel plaques, each with deep blue ground, with the legend, in silver, la loi et la paix, surrounded by a border of trans- lucent red enamel dots. Under the legend, on one side, is the repub- lican cap, surrounded by a wreath, iff-in. x ifin. 20. 1. 70. 43 494 Oval badge, a copper gilt (?) frame, looped for suspension, en- closing two enamel plaques. Obv. Gilt figure of standing female with spear, cap, and fasces, on a deep 7 8 MEDALS AND CADGES. blue enamel ground, and the legend, in gilt, REPUBLIQUE FRANQAISE. Rev. The legend, la loi et la paix, surmounted by five stars, and en- closed by oak branches of green enamel, on a deep blue enamel ground, iJtin. x ifin. 20. I. 70. 44 495. Oval badge, an enamel plaque in a copper gilt (?) frame. In the centre is the legend, la loi et la paix, in gilt letters on deep blue enamel, enclosed in an oak wreath of green enamel. Outside this is a border of pink enamel, with the legend, unit!; indivisibilite de LA REPUBLIQUE LIBERTE, EGALItE, ou la mort. i-rtin. x ifin. 20. I. 70. 45 496. Badge, of blue silk ribbon, embroidered in metallic thread and beads, with legend, la loi et la paix, and a border. On the back of the card is written, in old pen and ink writing, signes distinc- TIS(?) DES JUGES DE PAY PENDT LA REVOLUTION. PROVENANT DE MR. FAUVEL (?) DE PIQUERME JUGE DE PAY A LILLE EN 1 793. 2 Jin. X I Jin. 20. I. 70. 46 497. Badge, of blue silk, em- broidered in white silk, with the legend, la loi et la paix. Two strings of tricolour ribbon are still attached. 5m. x 3m. 20. 1. 70. 47 498. Badge, of brass, looped for suspension, in shape of rays ema- nating from a circle, which is, on both sides, of deep blue enamel, inscribed, with gold letters, la loi et la paix. ifin. x ifin, 20. 1. 70. 48 499. Oval badge, of brass (?), looped for suspension. On either side in the centre is a circle of blue enamel, with the legend, in gilt letters, la i.oi, with wreath round, and rays emanating from it. 2 Jin. x ijin. 20. 1. 70. 49 500. Badge, similar to No. 499, excepting that the legend has a white enamelled oak wreath round it. i-Hin. x 1 Jin. 20. 1. 70. 50 501. Badge, similar to No. 499, excepting that the enamel from one side is missing, and that the legend has a green wreath round it. 2jin. x ifin. 20. 1. 70. 51 502. Badge, similar to No. 499, excepting that the metal is white, and the legend is, respect a la loi, between two green oak branches. 2in. x ijjin. 20. 1. 70. 52 503. Badge, similar to No. 499, excepting the legends, one of which is, respect a la loi, and both have green wreaths round them. 2in. x i-B-in. 20. 1. 70. 53 504. Badge, similar design to No. 499. Legend, la loi et la, and rEpublique franqaise, sur- rounded by green oak wreaths. 2in. x ijjin. 20. 1. 70. 54 505. Badge, similar in design to No. 499. Legends, la loi, and LA LOI la REPUBLIQUE FRANQAISE, surrounded by geeen wreaths. 2in. x i-Bin. 20. 1. 70. 55 506. Oval badge, mounted on blue silk, and framed in circular copper gilt frame. Trophy of sword, branch, three fleur-de-lis, and cap, in silver, gold, and red, and the initials lpr. Around is the legend, in silver, libertE salus urbis fidelitE, on a blue enamelled ground. The oval copper gilt frame has a palm branch on one side and olive branch on the other. 1 -Ain. x ifin. 20. 1. 70. 56 MEDALS AND BADGES. 79 507. Circular badge, of crochet work, worked in pink, grey, white, and green threads. Enclosed in a circular brass frame. Dia. 2^in. 20. X. 70. 57 508. Silver badge, octagonal shape, with design and legends in relief. Seated female figure, with mural crown representing the tower of Marseilles, holding caduceus and trident in right hand, and olive branch, surmounted by republican cap, in the left, which leans upon a shield bearing the arms of Marseilles. Behind her is the rising sun ; at her feet a crocodile, licking her feet, which are placed on bales labelled R. M. — em. By her side are fruits, an anchor, a dog overturning a vase of coins, a barrel branded T e m, a bunch of arrows, and a feather crown. Signed, l. cauvin aine f t . Above is the legend, hommage aux SOUTIENS DE LA LIBERTE NAISSANTE, and below, presente a la munici- PALITE DE MARSEILLE L’AN 1790 par l’ auteur. See T. M, plate xxvi., fig. 7. 3fin. x 2 fin. 20. 1. 70. 58 509. Oval badge, of glazed white pottery, pierced for attaching to clothing, painted in gilding and pink and blue, with a trophy of a heart, sword, spade, and sceptre, surmounted by a wreath, ifin. x ifin. 20. 1. 70. 59 510. Oval badge or ornament, in brass, pierced for suspension, with the figure of a cock on the summit of a rock, with right foot extended, and below, the legend, surveil- lance. See T.N, plate lvii. , fig. 6. Probably worn by some watchman or keeper of a national public building. 2fin. x ifin. 20. x. 70. 60 511. Oval badge, of silver (?), with gilt metal frame, looped for suspension, engraved on one side, ADM E . N DE CARRENDIS GT D’AIX LA chap 1 -? juliers uca (?) ; and on the reverse, republique franqaise, with the republican cap, &c. 2fin. x ifin. 20. 1. 70. 61 512. Circular badge, a copper gilt frame enclosing two circular coloured prints — one of a military drummer-boy, over which is the legend, barra ne a palaise au DIST DE VERSAILLES AGE DE 1 3 ANS ) the other of a seated female figure, with her right foot on a two-headed serpent, and holding the republican cap in her left hand, and supporting the fasces in her right ; below is the legend, liberte. “ Paul-Frangois Barras (1755-X829). The reckless, shipwrecked man : flung ashore on the coast of the Maldives long ago, while sailing and soldiering as Indian fighter : flung ashore since then, as hungry Parisian pleasure-hunter A man of heat and haste ; defective in utterance ; defective, indeed, in anything to utter ; yet not without a certain rapidity of glance, a cer- tain swift, transient courage He is tall, handsome to the eye, ‘ only the complexion a little yellow ’ ; but ‘ with a robe of purple, with a scar- let cloak and plume of tricolour, on occasions of solemnity,’ the man will look well.” — Carlyle’s French Revolution , vol. iii. , p. 43. Dia. 2 fin. 20. 1. 70. 62 513. Circular medal, of brass (?), looped for suspension. Obv. Stand- ing female figure, the Republic, with spear and cap, holding a plumbline, and resting her left hand on a column, which is signed on the base gatteaux. The subject is within a laurel wreath. Rev. The legend, loterie nationale, with helmet So MEDALS AND BADGES. over it, and plumbline below, with the figures B * 144 ; around the legend, rYpublique franchise. See T. N, plate lxv., fig. 1. This was one of the medals worn by the official hawkers, the representatives of the various lottery bureaux, who sold the tickets in the streets, b 144 signifies Bureau No. 144. Dia. 2jin. 20. 1. 70. 63 514. Circular medal, of brass (?), looped for suspension. Obv. The legend, la nation la loi le roi, and three fleurs-de-lis ; and around the legend, l’union fait notre FORCE FORTS DE LA VILLE DE soissons. Rev. The republican cap on a sword, and the legend, muni- cipality DF. SOISSONS LE 24 MARS, L’AN 2 M . E DE LA LIBERTE 1790. N? . . . (Here should be the number of the fort to which the wearer of the medal was attached.) See T. N, plate xviii., fig. 7. The medal was en- graved by Nicholas Marie Gatteaux. Dia. 2-/ 6 -in. 20. 1. 70. 64 515. Badge, in copper gilt, looped for suspension, in shape of a circle with rays coming from it. In the centre is blue enamel, with crossed axes and the initials t r gilt upon it. Dia. 2in. 20. 1. 70. 65 516. Oval badge, in soft white metal, lead (?) Obv. Schooner (?) sailing, with one flag flying and the other falling into the water, and with a figure of Victory, holding two laurel wreaths, standing in the stern. Signed below, fehrman (?). Rev. Between two olive branches, the legend, 40 FIENTELIGE F ARTY G EROFRADE DEN 15 maii 1790. 2in. x i£in. 20. 1. 70. 66 517. Oval badge, in brass, looped for suspension. Obv. In the centre, ARRETE DF.S REPRESENTAN DU PEUPLE 25 BRUM r . e L’AN IIME R . F, and around, commission militaire a feurs. Rev. In the centre, the republican cap on a spear, and streaks of forked lightning; and around, le peuple souvrain ven- geance nationale. See 2 ] M, plate li., fig. i. After the taking of Lyons, a tribunal was instituted, named the Commission de Justice Populaire, to try those who had taken part in the resistance. The tribunal sat at Lyons and at Feurs, then capital of the Department of the Loire. On the 15 th of Novem- ber, 1792, (25 Brumaire, Fan 2,) this tribunal was replaced by another, called the Commission de Justice Militaire, the members of which wore this decoration. [T. M] 2 Jin. x ifin. 20. 1. 70. 67 518. Four buttons, of common metal, with glass fronts, under which are small coloured prints, with sub- jects emblematic of revolutionary principles : — 1. Female figure, with compass, measuring a triangle, on which are the letters c. t. n. ; below is the formula, t = c + n. By her side is a globe, with three fleur-de- lis on it. 2 and 3. An old priest and armed warrior, and between them a labouring man, on whose bent back they are holding a globe, with three fleur-de-lis upon it — sym- bolic of the supposed political im- positions, by the clergy and nobility, upon the lower orders. 4. Justice in the sky amongst clouds, on which are written the names ludov xvi. and necker ; and below, the armed warrior and priest and labourer, as in the last, all three supporting the globe. See 71 A T ., plate v., where are figured some medals bearing devices similar to some of these buttons. The device on button No. 1 symbolises, in a geometric MEDALS AND BADGES. 8l figure, the equality of the three orders of the state, the clergy, no- bility, and the tiers-6tat or people. This is indicated by the initials, t = c + n, viz., the people are equal to the clergy plus the nobility. Two of the other buttons represent France supported on the back of a peasant, with the noble and priest standing by ; and on the fourth button, all three seem equally con- cerned in supporting the country. Dia. of each i|in. 20. 1. 70. 68 519 . Badge, in shape of a repub- lican cap, looped for suspension, and mounted on one side with glass set round with coloured pastes. Below the glass, on a blue ground, is a white wax profile bust of Marat. H. ifin. 20. 1. 70. 69 520 . Chain, of white metal, the links composed alternately of broad banded rings and round flat rings. Upon the broad rings are devices, the republican cap, and portraits of Marat and Le Pelletier. 20.1.70.70 521 . Badge, a frame enclosing two coloured prints ; on one are two busts, one of Marat and the other of Pelletier ; on the other, a seated female figure, with spear and cap, and laurel wreath and plumbline. 2 Jin. x 2|in. 20. 1. 70. 71 522 . Badge, a frame enclosing two prints ; on one four heads, Marat, Le Pelletier (?), Barras (?), and (?) ; on the other is a small boy, with watering can, water- ing a growing lily. ifin. x ifin. 20. 1. 70. 72 523 . Finger or scarf ring, of silver (?), with small gilt plate in front, with two heads of Marat and Le Pelletier, and stars over them upon it in relief. 20. 1. 70. 73 M 524 . The same, the portraits hav- ing broken away from it. Also, the legend, le pelletie martir de la LIBERTE MARAT MARTIR DE LA LIBERTE. 20. I. 70. 74 525 . The same, with three heads upon the gilt plate, and a star over each — Marat, Le Pelletier, and Chalier. See T. N., plate xlix., figs. 2 and 5, where heads similar to these are engraved. These heads are so clearly figured and named upon fig. 2, in the plate referred to, that there can be no doubt of their identity. The writer ventures to think, however, that M. Lenormant has described No. 5 inaccurately in the letter-press, in stating that the heads of Barras and Viola are there, it being evident that the heads of Marat and Le Pelletier are repeated. 20. 1. 70. 75 526 . Circular badge, in copper gilt (?), looped for suspension. An open upright book amongst rocks, with the initials p.m.c.v. and an owl perched on the top. On the back are some indistinct scratches, part of an inscription, juix(?) Dia. 1 Jin. 20. 1. 70. 76 527 . Small circular tricolour badge. Dia. fin. 20. 1. 70. 77 528 . Lozenge-shaped decoration, of copper gilt, looped for suspension. Obv. A swoid and crown, and the legend, ignorant ne datos ne QUISQUAM SERVIAT ENSES. R.CV. Broken chains and padlock, and the legend around, la liberte con- QUISE LE 14 JUILLET 1 789. See T. N, plate vii., fig. u. This medal-decoration was only officially struck for the officers and soldiers of the French Guard, and to the staff officers of the National Guard 82 MEDALS AND BADGES. of Paris who were found at the siege of the Bastile. [T. Ni] i?in. x iin. 20. i. 70. 78 529. Brass chain, with two oval badges attached : on one side of each is a bell, and on the other (in one case) the republican cap and the legend, barnabites 1791; and in the other case, simply the legend and date. See T. N., plate xxxii., figs. 2 and 11. About the year 1790, a number of mints were started, for making money out of the bells of the various suppressed churches and convents of Paris. The principal of these mints, which is found mentioned in a report to the National Assembly, dated 21 September, 1791, was in the ancient Church of the Barnabites, in front of the Palais de Justice, and this badge was used by those employed at the mint to gain admission into the workshops. [T. A 7 ”.] Each badge i&in. x iin. 20. 1. 70. 79 530. Brass and steel watch key, with republican emblems on the handle ; the cock and radiated eye within a triangle, and scales and sword and sceptre. L. ijjin. 20. 1. 70. 80 531. Watch key, in copper and steel. On the handle are republican symbols, the spear, cap, and fasces, and the legend, republique fran- chise ; and on the other side, a tree and the initials l b t e. L. ifin. 20. 1. 70. 81 532. Circular medal or badge, in copper gilt (?), looped for suspen- sion. Obv. A shrine (?) with triple crown, and curtains at side. Legend around, dei . auxilio . excussit . AQUILAM . LEO. ReV. BARBARA . CAMMAERT . PAUVER CLARISSA . EX- PULSA . 3.IUNII. I784..RESTAURATA. 27 . bris . 1790. Dia. i^in. 20. I. 70. 82 533. Circular medal or badge. in copper, looped for suspension. Obv. The fasces between a laurel wreath and branch, over a tablet. Rev. The legend (around) la nation la loi et le roi. See T. N, plate xlii., fig. 14. In the plate referred to there is a head of Louis XVI. in the centre of the reverse of this medal. The head has evidently been erased from this specimen, for traces of the outline are still to be seen on the surface of the scratched metal. Dia. i|in. 20. 1. 70. 83 534. Badge, in shape of a twisted hunting horn, looped for suspension, with small tablet in centre, with a man and a stag on one side, and the legend, 2 . hub... ppn ; and on the reverse, a key and (?) and the initials s.h. Dia. i£in. 20. 1. 70. 84 535. Medal, formed of two thin plates of iron, bound with a copper rim. Obv. View in a street, with a column in the foreground; around is the legend, sur les ruines du despotismes est eleve la liberty ; and in the exergue, a la gloire de LA NATION FRANCHISE L’AN 3 DE LA liberte. Rev. The legend, legis- LATEURS N’OUBLIEZ JAMAIS LE SER- MENT QUE VOUS PRONONCATES DE MAINTENIR DE TOUT VOTRE POUVOIR LA CONSTITUTION LE I E . R OCTOBRE 1791. CETTE EPOQUE VOUS EST REITEREE PAR PALLOY PATRIOTE. Palloy is described as a “ French medallist,” in Phillips’ Dictionary of Biographical Reference. See T. N., plate xxxiv., fig. 3. This medal refers to a project to place a column upon the site of the Bastile, and was presented to the members of the MEDALS AND BADGES. Legislative Assembly by M. P. — F. Palloy, the nth October, 1792. M. Palloy at the same time an- nounced that the demolition of the Bastile, with which he had been charged, was entirely completed. The legend on the reverse recalls the oath taken by the Members of the Assembly at their installation. [71 AVI] Dia. i-rg-in. 20. 1. 70. 85 536. Oval medal or badge, in white metal (silver ?), looped for suspension. The front and back of this medal have been made sepa- rately and joined ; they are now separate. Obv. The legend, tresor DE LA VILLE SAUVE ET CONSERVE le 5 octobre 1789, between two oak branches. Rev. A shield with fleur-de-lis and ship, surmounted by republican cap on spear, between two oak branches ; above is the legend, mairie de paris, and below, dupre f. See T.N., plate xii., fig. 3. On the 5th of October, 1789, an attempt was made to rob the muni- cipal treasure chest of Paris, two packets of money were actually stolen, and both recovered ; one by an official, and the other through an unknown source. The commune issued an inscribed ribbon, to recom- pense those opposed to the pillage ; and from that ribbon this medal was no doubt struck. [71 TV.] i|in. x ijin. 20. 1. 70. 86 537. Circular medal, in copper gilt, looped for suspension. Obv. An altar with fire on it, and plumb-line attached to front, surrounded by a group of artistic implements; around, the legend, loge chapitrale des arts et de l’amitie ; and in the exergue, 5819 coquardon . ch. k. s. Rev. Cross, with superscription, rose, and two swords, within a serpent with its tail in its mouth ; around is the M2 83 legend, union . zele . r£gularit£ . o. de paris. Dia. ifin. 20. 1. 70. 87 538. Badge, in brass, looped for suspension. Obv. The legend, rudely engraved, vive louis 17 ROY DE FRANCE 9 TOR 1794- Rev. A fleur-de-lis, and legend, rudely scratched, louis 17 roy des Francois. See T. TV., plate liv., fig. 7. This decoration appears to have been carried by some Venddan during the wars of 1793-4. The date 9 T? R (Thermidor), engraved as the other inscriptions, was probably added after the fall of Robespierre and the revolutionary government, which raised the hopes of the royalists. [71 TV] Dia. 1 Ain. 20. 1. 70. 88 539. Circular medal, in bronze (?) with silver rim, looped for suspen- sion. Obv. Shield with cross in centre, and legend around, treue und ehre. “ Fidelity and honour.” Rev. The legend, august mdccxcii, between two laurel branches. Round the silver rim, henry Joseph guil- lot von luzerne. This medal was evidently an award to a survivor of the defence of the Palace of the Tuilleries by the Swiss guards, 10th August, 1792. Dia. i^in. 20. 1. 70. 89 540. Badge and chain, in copper gilt (?). On one side of the badge is the legend, huissier du gouver- nement, and over it folding drapery, and below, two olive branches ; and on the reverse are a laurel and oak wreath entwined. See 71 TV, plate lxxxi., fig. 10. Dia. 2yVin. 20. 1. 70. 90 541. Badge, in brass, looped for suspension, similar to No. 540 , with the legend written, huissier du 8 4 MEDALS AND BADGES. gouvernemenT See T. N., plate Ixxxi., fig. ii. Dia. ziVin. 20. i. 70. 91 542. Badge and chain, in white metal. On one side of the badge, husier delle finanse; and on the reverse, the initials G. N. in mono- gram. Dia. 2$m. 20. 1. 70. 92 543. Circular badge, in copper gilt (?), looped for suspension. On one side, between laurel branches, the legend, administration gene- rale. The other side is quite plain. Dia. 1 Jin. 20. 1. 70. 93 544. Circular badge, in brass, looped for suspension. A spear, surmounted by the republican cap, and with triangle and radiated eye and two oak branches ; over it the legend, surveillant aux demoli- tions, and below, No. 39. No reverse. See T. IV., plate 1., fig. 2. By the orders of the National Con- vention, the chateau de Pierre-Scise, in the neighbourhood of Lyons, called the Bastille Lyonnaise, and other buildings in Lyons, were de- molished, and as many as 20,000 workmen took part in the demo- litions ; these men were divided into brigades, the superintendents of which wore badges similar to the one here described. [T.Ni] Dia. 2-Afin. 20. 1. 70. 94 545. Circular badge, in brass, looped for suspension. Obv. The legend, N? 26 inspecteur general de l’illumination publique de la VILLE DANVERS. ReV. ETABLIE EN L’ANG SOUS LA PREFECTURE DU C N - DHERBOU VILLE LUX IN TENEBRIS lucet. Dia. 2$in. 20.1.70.95 546. Circular badge, in brass, looped for suspension. Obv. The republican cap radiated ; above, the legend, service du conseil des 500, and below, on a tablet, herisson. Rev. Winged caduceus, with two serpents, and around, the legend, TOUT HOMME UTILE EST RESPECT- ABLE. See T. N, plate lvi., figs. 2 and 3. The legislative body was divided into the Council of Ancients and the Council of the Five Hun- dred, in October, 1795. This badge was carried by the servants in the meeting hall of the Council of the Five Hundred. \T. JV. \ Herisson is probably the name of the servant. Dia. 2|in. 20. 1. 70. 96 547. Oval badge, in copper gilt (?), looped for suspension. Obv. Stand- ing female figure of the Republic, with spear and cap, and shield ; around, the legend, commission de SURVEILLANCE DES SEQUESTRES. Rev. The fasces, spear, axe, and cap, between oak branches ; and over them the legend, a commune affranchie, and below, LIBERTE egalitiL See T. N, plate 1., fig. 1. Some of the measures taken by the National Convention against the town of Lyons have been mentioned under No. 544 ; and besides the Committees of Demolition, there were others of Sequestration and Denunciation. This medal was worn by the agents of the Com- mittee of Sequestration. [T. iVi] 2in. x itVin. 20. 1. 70. 97 548. Circular badge, of brass, looped for suspension. Obv. An axe and (?) crossed, and around, the legend, sapeurs pompiers de la ville de dole. Rev. The legend, honneur union celerite. Dia. ijin. 20. 1. 70. 98 549. Oval medal, in lead (?), looped for suspension. Obv. Winged genius, with flame on his head, rest- ing on a column and reading from a MEDALS AND BADGES. 85 book, which is inscribed de la gloire. On the ground before him is a globe, and behind a book, signed on the ground, chavanne f. : around is the legend, la patrie ENCOURAGE EX RECOMP! e LES talens. Rev. The legend, prix d’£mulation, between oak and laurel branches. See T. N., plate liv., fig. 4. This medal was en- graved by Jean-Marie Chavanne Pere, and appears to have been used about 1794 at the distribution of prizes in the schools at Lyons. [T. -A 7 !] ifin. x i-^in. 20. x. 70. 99 550. Oval badge, in copper gilt, looped for suspension. In front, in open work with red material behind it, is a trophy of the fasces, axe, cap, and swords, and the legend, re- publi franc, and below, veterans, with olive and oak branches around. See T. N ., plate lxiv., fig. 8. 2in. x iJiin. 20. 1. 70. 100 551. Oval badge, brass mounted, looped for suspension. Obv. Dark blue enamel ground, with radiated eye, and below it the traces of an erased fleur-de-lis ; around is the legend, surveillant du palais des anciens, and oak branches in trans- lucent green enamel. Rev. An erased fleur-de-lis, and below it the legend, fran^aise, surrounded by oak branches, as on the obverse, aj^in. x ijin. 20. 1. 70. iox 552. Oval badge, mounted in copper gilt (?), looped for suspen- sion. In front, on a ground of dark blue enamel, is, in gilt, the cap, and stars, and a tree, and the legend, POSTE AUX LETTRES COURIER DE LA RliPUBLIQUE FRANCHISE SCRETE C^leritL 2 1 5 §-in. x xfin. 20. 1. 70. 102 553. Oval badge, mounted in copper gilt, looped for suspension. In front, on a ground of dark blue enamel, is, in gilt, the legend, suret^ ET CELERITE COURRIER DE LA malle ; between two oak branches, with green translucent leaves. 2-i a g -in. x iiiin. 20. 1. 70. 103 554 . Oval badge, mounted in brass, looped for suspension. Both sides are alike. The legend, huissier DE LA SALLE DU CORPS LEGISLATIF, in gilt, on a dark blue enamel ground, between oak branches with green translucent leaves. 2- 1 s g -m- x ijfin. 20. 1. 70. 104 555 . Oval badge, in copper gilt, in shape of rays emanating from an enamelled central circle, with outer rim round the rays, looped for sus- pension. Obv. In gilt, on deep blue translucent enamel, commisaire or- donnateur, between oak branches with translucent green leaves. Rev. In gilt, on similar enamel, la loi, within a green laurel wreath, ijin. x ifin. 21. 1. 70. 105 556 . Oval badge, similar to No. 555. Obv. COMMIS R ? DES GUERRES, within a laurel wreath. Rev. la loi, within laurel wreath. 2^in. x ifin. 20. 1. 70. 106 557 . Oval badge, similar to No. 555- Obv. ACCUSATEUR MILITAIRE, between oak branches. Rev. la loi, between oak branches. 2- 1 i s -in. x ij£in. 20. x. 70. 107 558 . Oval badge, similar to No. 555. Obv. JUGE DE COMMERCE, between oak branches. Rev. la loi, between oak branches. 2-^gin. x iJiin. 20. 1. 70. 108 559 . Oval badge, exactly similar to No. 558, excepting that the le- gend, la loi, is within a laurel wreath. 2- r Vin. x ij^in. 20. 1. 70. 109 86 MEDALS AND BADGES. 560. Oval badge, similar to No. 555. Obv. agent national, be- tween oak branches. Rev. la loi, within an oak wreath. 2^ 6 -in. x i^in. 20. 1. 70. no 561. Oval badge, exactly similar to No. 560, excepting that the legend, la loi, is between oak branches, and the obverse legend is spelt agent nationale. 2^in. x ifin. 20. 1. 70. in 562. Oval badge, similar to No. 555. Obv. COMMISSAIRE DU POUVOIR JxkcuTiF, between two branches. Rev. la loi, with laurel wreath. 2|in. x 2in. 20. 1. 70. 112 563. Badge, similar to No. 555, but without an outer rim round the rays. Obv. officier de police militaire, with an oak wreath. Rev. la loi, within a laurel wreath. i-H-in. x ii- 8 -m. 20. 1. 70. 113 564. Badge, similar to No. 563. Obv. COMMISSAIRE DU DIRECTOIRE executif, between oak branches. Rev. respect a la loi, between oak branches. ifin. x ifin. 20. 1. 70. 114 565. Badge, octagonal shape, in copper gilt, looped for suspension. Obv. The legend, tribunal de cassation. (Appeal.) Rei\ action de la loi. See T. M, plate lxxx., fig. 10. This decoration was worn by the ushers attached to the Tri- bunal. if-fin. x i|in. 20.1.70.115 566. Heart-shaped badge, in white metal, perforated for fixing on to costume, engraved on one side with the legend, le i h ? consul DU C EN CH LES LEROY G D1ER A CHEVAL de la garde des consuls, between laurel branches. 3^in. x 3m. 20. 1. 70. 1 16 567. Circular badge, in copper gilt, looped for suspension. Obv. nicot payeur des equipages du p? consul. Rev. service inte- RIEUR DU PREMIER CONSUL. See T. N., plate lxxv., figs. 3 and 4. Dia. 1 fin. 20. 1. 70. 117 568. Circular badge, in brass, looped for suspension. Obv. con- suls de la rep. fr., between oak branches. Rev. service de l’in- t£rieur du palais, between laurel branches. See T. N, plate lxxv., fig. 12. Dia. ifin. 20. 1. 70. 118 569. Oval badge, in brass, looped for suspension. Obv. Profile bust of Cambaceres, and the legend, J. J. REGIS CAMBACERks 2? CONSUL DE LA Rkp^y 15 FRAN? E NE A MONT- PELLIER. Rev. Female figure of the Republic standing, holding fasces with axe, and spear and cap. ifin. x ivg-in. 20. i. 70. 1 19 570. Octagonal brass badge, in- scribed on one side, maison du troisieme consul. See T. N, plate lxxv., fig. 5. Dia. ifin. 20. 1. 70. 120 571. Circular metal badge, looped for suspension. Obv. Trophy of the eagle, crown, sceptre, robe, and order of the legion of honour, and the legend, empire franqais mau- RISSET. Rev. TRIBUNAL DE PRE- MIERE instance, and in the centre, between oak and laurel branch, action de la loi. Dia. i^in. 20. 1. 70. 121 572. Circular metal badge, simi- lar to No. 571. Dia. ifin. 20. 1. 70. 122 573. Circular metal badge, looped for suspension. Obv. The armorial insignia of the French empire. Rev. usciere, “Usher.” Dia. ifin. 20. 1. 70. 123 MEDALS AND BADGES. 87 574. Circular metal badge, looped for suspension. On one side, .in copper (?), a trophy of scales, sword, and palm branch, and below, the word polizia, “ Police.” Dia. 2in. 20. 1. 70. 124 575. Circular metal badge, looped for suspension. Obv. Armorial in- signia of the French empire, and the legend, regno d’italia. Rev. The legend, commesso di polizia, “ Commissioners of Police.” Dia. i^in. 20. 1. 70. 125 576. Circular metal badge, looped for suspension. On one side, the legend, republica italiana uni- versita nazionale. Dia. i^in. 20. 1. 70. 126 577. Circular metal badge, looped for suspension. Obv. The armorial insignia of French empire. Rev. USCIERE DEL MINISTRO DEL TESORO, “ Usher of the Minister of the Trea- sury.” Dia. ifin. 20. 1. 70. 127 578. Circular metal badge, looped for suspension. Obv. Armorial in- signia of the French empire. Rev. usciere del senato, “Usher of the Senate.” Dia. ifin. 20. 1. 70. 128 579. Circular metal badge, looped for suspension. On one side, the armorial insignia of the French empire, and the legend, ministro segretario di stato, “ Minister of the Secretary of State.” Dia. ifin. 20. 1. 70. 129 580. Circular badge, of copper, looped for suspension. On one side, the legend, macchina idraulica MINISTERO DELLA GUERRA, “ F[y- draulic Machines of the Minister of War.” Dia. 2-A-in. 20 1. 70. 130 581. Circular metal badge, looped for suspension. Obv. The armorial insignia of the French empire. Rev. USCIERE DEL MINISTRO DELLA guerra, “ Usher of the Minister of War.” Dia. ifin. 20. 1. 70. 131 582. Circular badge, in copper, looped for suspension. On one side, in the centre, a crown, and around, porta-lettere del circondario, “ Letter carrier of the environs.” Dia. i|in. 20. 1. 70. 132 583. Circular badge, in copper, looped for suspension. Obv. The armorial insignia of the French empire. Rev. usciere del minis- TERO DEGLI AFFARI ESTERI, “Usher of the Minister of Foreign Affairs.” Dia. 1 fin. 20. 1. 70. 133 584. Circular badge, in copper, looped for suspension. Obv. The armorial insignia of the French empire. Rev. usciere del minis- tro delle finanze, “ Usher of the Minister of Finance.” Dia. ifin. 20. 1. 70. 134 585. Circular badge, in copper, looped for suspension. On one side, usciere della presidenza, “ Usher of the President.” Dia. 1 K in. 20. 1. 70. 135 586. Circular metal badge, looped for suspension. Obv. An eye in a triangle, surrounded by rays, and below it, 1812, and a Russian legend. Rev. A Russian legend. Dia. i£in. 20. 1. 70. 136 587. Military badge, from a uni- form, in white metal and brass. The initials, M. d. u., and two flags with eagles on them, also two crowned sceptres with eagles on them, sur- rounded by two laurel branches. 2$in. x 2|in. 20. 1. 70. 137 588. Military badge, an iron cross, looped for suspension. Obv. FUR DIE JAHRE 1813 UND 1814, 88 MEDALS AND BADGES. (“For the years 18x3 and 1814,”) and an indistinct design in centre. Rev. KONIG UND VATERLAND, (“ King and Fatherland,”) and a lion rampant in centre, ijin. square. 20. 1. 70. 138 589. Military circular bronze medal, looped for suspension. Obv. F. w. below a crown, and preussens TAPFERN KRIEGERN. GOTT WAR MIT UNS IHM SEY DIE EHRE, “ To Prussia’s brave warriors. God was with us to Flim be the honour.” Rez\ A cross radiated, with laurel and oak branches, and the dates 1813, 1814. Round the rim, aus erobertem geschutz, “ From guns taken from the enemy.” Dia. 1 jin. 20. 1. 70. 139 590. Medal, similar to 589, ex- cepting that on the reverse the date is 1814 only. Dia. ijin. 20. 1. 70. 140 591. Octagonal badge, in copper, pierced for suspension. Obv. A cross and oak wreath, and on the CrOSS, EUROPAE LIBERTATE ASSERTA mdcccxiii. . mdcccxiv. Rev. The same design, with grati princeps ET PATRIA FRANC. IMP. AUG. I jin. x iiVin. 20. 1. 70. 141 592. Circular badge, in copper gilt, looped for suspension. Obv. The shield of France surmounted by a crown, and surrounded by painting and musical instruments ; around, the legend, intendance DES MENUS-PLAISIRS DU ROI 1 814. Rev. Three fleur-de-lis, and service DES c£r£mONIES . N. TIOLIER GRAV. D. MEN.-PLAIS. DU roi. Dia. i Jin. 20. I. 70. 142 593. Circular silver medal, looped for suspension. Obv. Winged figure of Victory carrying sword and wreath, and around, Berlin von DEN FRANZOSEN BEFREIT, “ Berlin delivered from the French.” Rev. A lancer riding, and durch tscher- NISCHEF D 4 MA 5 RZ 1813. “By Tschernischef.” Dia. jin. 20. 1. 70. 143 594 . Medal, similar to No. 593. Obv. Figure of Victory, and gott SEGNETE DIE VEREINIGTEN HEERE, “ God blest the united armies.” Rev. bei bautzen. “ By (the battle of) Bautzen,” 19-21 mai 1813. Dia. jin. 20. 1. 70. 144 595 . Medal, similar to No. 593, Obv. Similar to No. 594. Rev. bei HAYNAU DURCH BLUCHER D. 26 MAI 1813. “By Flaynau through Blii- cher.” Dia. jin. 20. 1. 70. 145 596 . Medal, similar to No. 593. Obv. Similar to No. 594. Rev. bei LUCKAU DURCH BULOW D. 4 JUNI 1813. “By Luckau through Billow.” Dia. jin. 20. 1, 70. 146 597 . Medal, similar to No. 593. Obv. Similar to No. 594. Rev. bei GROSSBEEREN DURCH DEN KRON- PRINZEN VON SCHWEDEN D. 22-23 aug. 1813. “By Grossbeeren through the Crown Prince of Swe- den.” Dia. jin. 20. 1. 70. 147 598 . Medal, similar to No. 593. Obv. Similar to No. 594. Rev. bei DENNEWITZ D. 6 SEPT. 1813. “By Dennewitz.” Dia. jin. 20.1.70.148 599 . Medal, similar to No. 593. Obv. Similar to No. 594. Rev. bei ROSLAU DURCH SANDELS D. 29 SEPT. 1813. “By Roslau through San- dels.” Dia. jin. 20. 1. 70. 149 600 . Medal, similar to No. 593. Obv. Similar to No. 594. Rev. bei HOCHHEIM DURCH SCHWARZENBERG d. 9 nov. 1813. “By Hockheim through Schwarzenberg.” Dia. jin. 20. 1. 70. 150 MEDALS AND BADGES. 89 601. Medal, similar to No. 593. Obv. Similar to No. 594. Rev. ero- BERUNG VON DRESDEN D. II NOV. 1813. “The taking of Dresden.” Dia. fin. 20. 1. 70. 15 1 602. Medal, similar to No. 593. Obv. Similar to No. 594. Rev. ein- ZUG DES SOUV-FURSTEN DER VERE- INIGTEN NIEDERLANDE IN AMSTER- DAM D. 2 dec. 1813. “Entrance of the Sovereign Prince of the United Netherlands into Amster- dam.” Dia. fin. 20. 1. 70. 152 603. Medal, similar to No. 593. Obv. Similar to No. 594. Rev. be- FREIUNG VON LUBECK D. 5 DEC. 1813. “The deliverance of Liibeck.” Dia. fin. 20. 1. 70. 153 604. Medal, similar to No. 593. Obv. Similar to No. 594. Rev. ein- ZUG DES HERZOGS VON BRAUNSCH- WEIG IN SEINE BEFREITE RESIDENZ D. 23 dec. 1813. “ Entrance of the Duke of Brunswick into his delivered capital.” Dia. fin. 20. 1. 70. 154 605. Medal, similar to No. 593. Obv. Similar to No. 594. Rev. DURCH DEVAUX WURDE NEUFSCHA- TEL BESETZT D. 23 DECEMR. 1813. “Neuchatel occupied through De- vaux, 23 Dec. 1813.” Dia. fin. 20. 1. 70. 155 606. Medal, similar to No. 593. Obv. Similar to No. 594. Rev. ero- RERUNG VON DANZIG DURCH D. HERZOG ALEXANDER V. WURTEM- BERG D. 2 JAN. 1814. “The taking of Dantzig by the Duke Alexander of Wurtemberg. Dia. fin. 20. 1. 70. 156 607. Medal, similar to No. 593. Obv. Similar to No. 594. Rev. tor- GAU EROBERT DURCH TAUENZIEN D. 10 jan. 1814. “Torgau taken by Tauenzien.” Dia. fin. 20. 1. 70. 157 608. Medal, similar to No. 593 . Obv. Similar to No. 594 . Rev. ero- BERUNG VON WITTENBERG DURCH STURM VON TAUENZIEN NACHT V. 12-13 Jan. 1814. “ The taking of Wittenberg by assault by Tauenzien during the night.” Dia. fin. 20. 1. 70. 158 609. Medal, similar to No. 593. Obv. Similar to No. 594. Rev. bei LANGRES DURCH SCHWARZENBERG d. 17 jan. 1814. “By Langres through Schwarzenberg.” Dia. fin. 20. 1. 70. 159 610. Medal, similar to No. 593. Obv. DIE HOHE KAISERIN SEI HIER BEGRUSST BERLIN D. 22 JAN. 1814. “ The high Empress greeted here- with.” Rev. ELISABETH DES GROSSEN ALEXANDER EDLE TUGENDHAFTE gattin. “ Elizabeth the great Alex- ander’s noble virtuous consort.” Dia. fin. 20. 1. 70. 160 611. Medal, similar to No. 593. Obv. Similar to No. 594. Rev. in DER SCHLACHT BEI LA ROTHIERE DURCH BLUCHER D. I FEB. 1814. “ In the Battle at La Rothiere through Bliicher.” Dia. fin. 20. 1. 70. 161 612. Medal, similar to No. 593 . Obv. Similar to No. 594. Rev. bei BRIENNE AN DER AUBE D. I U 2 FEB. 1814. “By Brienne on the Aube.” Dia. fin. 20. 1. 70. 162 613. Medal, similar to No. 593 . Obv. Similar to No. 594. Rev. bei ORTHES AM GAVE DE PAU DURCH WELLINGTON D. 2 7 FEB. 1814. “At Orthes on the Gave de Pau, by Wel- lington.” Dia. fin. 20. 1. 70. 163 614. Medal, similar to No. 593. Obv. Similar to No. 594. Rev. bei BAR SUR AUBE DURCH SCHWARZEN- BERG d. 27 feb. 1814. “At Bar N 9 o MEDALS AND BADGES. sur Aube through Schwarzenberg.” Dia. fin. 20. 1. 70. 164 615. Medal, similar to No. 593. Obv. Similar to No. 594. Rev. bei DER EROBERUNG VON LA FERE DURCH THUMEN D. 28 FEB. 1814. “At the taking of La Fere through Thurnen.” Dia. fin. 20.1.70.165 616. Medal, similar to No. 593 . Obv. Similar to No. 594 . Rev. bei ATHIS DURCH DEN PRINZ-WILHELM V. PREUSSEN D. 9 MjERZ 1814. “At Athis through the Prince William of Prussia.” Dia. fin. 20. 1. 70. 166 617. Medal, similar to No. 593. Obv. Similar to No. 594. Rev. bei LAON DURCH BLUCHER D. 9 U JO MjERZ 1814. “At Laon through Blucher.” Dia. fin. 20. 1. 70. 167 618. Medal, similar to No. 593. Obv. Similar to No. 594. Rev. bei ST. GEORGE UND LIMONEST DURCH DEN ERBPRINZEN ZU HESSEN HOM- BURG D. 18 MARZ 1814. “At St. George and Limonest through the Hereditary Prince of Hessen Hom- burg.” Dia. fin. 20. 1. 70. 168 619. Medal, similar to No. 593 . Obv. Similar to No. 594. Rev. bei MONTMARTRE DURCH SCHWARZEN- BERG d. 30 MAiRZ 1814. “At Mont- martre through Schwarzenberg.” Dia. fin. 20. 1. 70. 169 620. Medal, similar to No. 593 , but oval in shape. Obv. Same as No. 594 . Rev. des kaisers v. russ- LAND UND DES KON. V. PREUSSEN SIEGREICHER EINZUG IN PARIS D. 31 m^erz 1814. “The Emperor of Russia’s and the King of Prussia’s triumphal entry into Paris.” fin. x hfin. 20. 1. 70. 170 621. Medal, similar to No. 593. Obv. Same as No. 594. Rev. wesel BEFREIET UND UBERGEBEN AN DEN PRINZEN VON HESSEN HOMBURG D. 10 mai 1814. “Wesel delivered and handed over to the Prince of Hessen Homburg.” Dia. fin. 20. 1. 70. 171 622. Medal, similar to No. 593. Obv. Same as No. 504. Rev. erfurt BEFREIET UND DIE CITADELLEN UBERGEBEN AN DOBSCHUTZ D. 1 6 mai 1814. “ Urfurt delivered and the citadels handed over to Dob- schiitz.” Dia. fin. 20. 1. 70. 173 623. Medal, same as No. 593 . Obv. Same as No. 594. Rev. das BEFREIETE MAGDEBURG UBERGEBEN AN TAUENZIEN D. 23 MAI 1814. “ The delivered Magdeburg given over to Tauenzien.” Dia. fin. 20. 1. 70. 173 624. Medal, same as No. 593. Obv. same as No. 594. Rev. und SCHENKTE EUROPA RUHE UND GLUCK DURCH DEN PARISER FRIEDEN D. 30 mai 1814. “And gave to Eu- rope rest and happiness by the peace of Paris.” Dia. fin. 20. 1. 70. 174 625. Medal, same as No. 593 . Obv. Front of an arch of triumph. Rev. DURCH HOHEN S1EG DAS SIEGESBILD ZURUCK BERLIN D. 7 juli 1814. “ Through great victo- ries the statue of Conquest restored, Berlin. Dia. fin. 20. 1. 70. 175 626. Oval badge, in iron, coloured black (?), looped for suspension. Obv. F. w. under a crown, and the legend, in German, “ For faithful duty during the war. God was with us, to Him be the honour.” Rev. A cross, with rays coming from it, and the date, 1815. ijin. x iin. 20. 1. 70. 176 627. Circular badge, in copper gilt, looped for suspension. Obv. Plate XVIII. 636. 630. 631. 633 - 634- 638. 635 MEDALS AND BADGES. 9 1 Profile head of Louis XVIII. Signed on the neck andrieu f. Around, LVDOVICVS XVIII. REX CHRISTIAN- issimvs. Rev. Two oak branches, surmounted by a crown, and over them, vive le roi ; in the centre, CHAMBRE DES DEPUTES M? TOUR- nemine huissier. Signed below, de rdym .... Dia. i&in. 20. I. 70. 177 628. Circular badge, in copper gilt, looped for suspension. Obv. Profile head of Charles X., and around, Charles x roi de France et de nav. Signed below, de . . . . f. Rev. In an oak wreath, CHAMBRE DES D^PUTiiS HUISSIER DE LA CHAMBRE DES DEPUTES, 1 829. Signed on the rim, “ Dore .” Dia. ifin. 20. 1. 70. 178. 629. White Metal Badge, in shape of a siphon, with a fleur-de-lis suspended from it. A society of Royalists, in the city of Arles, assembled every night, during the early part of the revolution, at the house of a man named Giffon. This name was ultimately corrupted into Chiffon, which, in the patois of Arles, signifies a siphon. In the Tresor Numismatique, plate xxxi., figure 9, is a medal with this figure of a siphon upon it, and the legend, chiffonne d’ arles. The society was dissolved by a decree of the Legislative Assembly, [in 1792. T.N. H. iin. 20. 1. 70. 179 MEDALLIONS IN WEDGWOOD WARE, ILLUSTRATING THE FRENCH REVOLUTION PERIOD. 630. Medallion, in blue and white jasper ware of Wedgwood, N 2 for setting into a box lid, with por- trait of Bailly, Mayor of Paris, upon it. Identified from T. N, pi. ix., figs. 1 and 2. Dia. 2fin. 631. Medallion, in blue and white jasper ware of Wedgwood, for setting into a box lid, with full face portrait of Necker upon it, and fleur de lis border round the edge. Identified from T. N, pi. x., fig. 1. Dia. 2§in. 632. Ditto, with profile portrait of Necker. Identified from a print in the British Museum, No. 1863. 10. 17. 101. Dia. 2fin. 633. Medallion, in blue and white jasper ware of Wedgwood, for setting into a box lid, with por- trait of Louis XVI., surrounded by a border of fleur de lis. Dia. 2 Jin. 634. Medallion, in blue and white jasper ware of Wedgwood, for setting into a box lid, with portrait of General La Fayette. See T. N, pi. vi., fig. 3. Dia. 2|in. 635. Medallion, in blue and white jasper ware of Wedgwood, with portrait of the Duke of Orleans, identified from a mould at Etruria. Dia. 2jin. 636. Medallion, in blue and white jasper ware of Wedgwood, for setting into a box lid, with view of the Bastille being demolished, and LE DESPOTISME ABATTU 1 789. Dia. 2fin. 637. Medallion, in blue and white jasper ware of AVedgwood, for mounting into a box lid, with figure of a woman as the Republic standing under an archway, and the legend, en qvam saepe optastis, liber- tas. Dia. 2§in. 638. Medallion, in blue and white jasper ware of AA'edgwood, for 92 RELICS OF THE BONAPARTE FAMILY : MATHER COLLECTION. mounting into a box lid, with group of female figures representing Peace and Plenty standing upon an altar, over which the Republic and the Monarchy are joining hands. Also the date 1789, and a fleur de lis border around. Dia. 2 fin. 639. Medallion, with subject nearly similar to the last ; on the altar is fidei pvbl. Dia. 2fin. 640, Circular copper plaque, for mounting into a snuff-box lid, an electrotype or cast from an ori- ginal, with figure of “ Le Soldat Laboureur ” upon it, represented standing near a ruined building, be- side a grave, dressed half as soldier, half labourer. Signed, “ Morel. F” This subject is from Horace Vernet’s picture of the disbanded French soldier standing disconsolate by a rusty plough. Dia. 2fin. in 641. Facsimiles of assignats, and group of original assignats, the paper money of the Revolution period. THE MATHER COLLECTION OF MINIATURES AND MEDALS RELATING TO THE BONAPARTE FAMILY. This collection was bequeathed to the town of Liverpool, by the late John Mather, Esq., of Mount Pleasant, Liverpool. It consists of Minia- ture Portraits, Personal Relics, etc., of the family and connections of the First Napoleon; together with a series of Bronze Medals, illustrating some of the principal events in his life, between the years 1796 and 1815. The collection is catalogued under the three separate heads of Minia- ture Portraits, Miscellaneous Objects, and Medals. A pedigree of the principal members of the Bonaparte family is given at the end. For the information respecting the Miniatures, etc., the compiler is indebted to Joseph Mayer, Esq., F.S.A., who edited a catalogue of them in 1855:* for that respecting the Medals, to Captain J. C. Laskey’s descriptive catalogue, of a series almost identical with this, published in 1818. A catalogue of this collection was published by the Corporation in 1874, but is now out of print. * A Catalogue of the Drawings, Miniatures, Cameos, and other objects of Art, illustrative of the Bonaparte family and the principal persons connected with the Republic and Empire of France, now in the collection of John Mather, Esq., of Mount Pleasant, Liverpool ; arranged and illustrated by a short history of that eventful period, by Joseph Mayer, F.S.A., F.R.A.S., etc. Exhibited in the Town Hall, at a Soiree given by James Aspinall Tobin, Esq., Mayor, in honour of the victories gained by the allied armies of England, France, and Sardinia, in the Crimea. Liverpool : Printed by David Marples, Lord Street, mdccclv. Plate XIX. 042. 658. 643. 646. RELICS OF THE BONAPARTE FAMILY : MATHER COLLECTION. 93 MINIATURE PORTRAITS. 642. Charles Bonaparte, native of Corsica, the father of Napoleon. 1746-1785. On ivory. Formerly in the collection of the late Emperor Napoleon III. Dia. 2jin. 4. 9. 73. 1 643. Letitia, wife of Charles Bonaparte, nee Letitia Ramolino, mother of Napoleon, afterwards styled “Madame Mere.” 1750- 1836. On Ivory. Signed, “ Dun .” 2fin. x 2in. 4. 9. 73. 2 644 . Joseph Bonaparte, eldest brother of Napoleon, made King of the Two Sicilies in 1805, of Naples alone, 1806, of Spain, 1808. 1768- 1844. On ivory, ifin. x ifin. 4 - 9 - 73 - 3 645 . Joseph Bonaparte, as King of Spain. On ivory. Painted by Morghen. (?) Dia. 3fin. 4. 9. 73. 4 646 . Napoleon Bonaparte, in the costume of a military student, when at Brienne. He married Josephine Beauharnais, 1796, was crowned Emperor of the French, 1804, crowned King of Italy, 1805, was divorced from Josephine, 1809, married Maria Louisa of Austria, 1810; he abdicated, and was banished to the Island of Elba, 1814, appeared again in France, 1815, and in the same year was defeated at the Battle of Waterloo, and banished to the Island of St. Helena for life ; he died there 1821. 1769-1821. On ivory. Dia. 2fin. 4 - 9 - 73 - 5 647. Napoleon, as an officer of Artillery. An enamel, set in the lid of a tortoiseshell snuff box. 4. 9. 73. 6 648. Marie-Josephine-Rose Tas- cher de la Pagerie, in the costume she wore at her native place, Mar- tinique. She married first Viscount Alexis Beauharnais, and by him had two children, Eugene and Hortense. After his death she married, 1796, General Bonaparte ; and on his being made Emperor, was crowned Empress of the French, in 1804. She was divorced from Napoleon in 1809. 1763-1814. On ivory. Signed, ‘ ‘ Hollier, d'apres Robert Lefevre .” 3fin. x 3fin. 4. 9. 73. 7 649. Eugene Beauharnais, son of Josephine, as Viceroy of Italy (1805). He was afterwards Prince of Eichstadt and Duke of Leuchten- berg. 1781 - 1824. On ivory. Signed, “ Gigola .” ifin. x ifin. 4. 9. 73. 8 650. Eugene Beauharnais, as Duke of Leuchtenberg. On ivory. Signed, “ Isabey." 2|in. x 2fin. 4 - 9 - 73 - 9 651. Hortense Beauharnais, daughter of Josephine. She married Louis Bonaparte, King of Holland, and was the mother of the late Emperor Napoleon III. 1783-1837. On card, in water colour. Signed, “ Felicia Variety 1822.” 5fin. x 3,’ in. 4. 9. 73. 10 652. Josephine, before her ele- vation to the Empire. On ivory. 2 Jin. x 1 fin. 4. 9. 73. xi 653. Josephine, as Empress. On ivory. Signed 11 Saint." ifin. x ifin. 4. 9. 73. 12 654. Josephine, as Empress. On ivory, ifin. x ifin. 4. 9. 73. 13 655. Josephine, as Empress. Enamel, set in a small brooch, fin. x fin. 4. 9. 73. 14 656. Napoleon. Enamel, set in a ring, fin x Jin. 4.9.73.15 94 RELICS OF THE BONAPARTE FAMILY : MATHER COLLECTION. 657. Josephine, as Empress. Enamel on porcelain. Signed, “ Sophie Lienard said to be after an original picture by Isabey. On the back of the enamel is written : — JOSEPHINE N^E A LA MARTINIQUE LE 24 JUIN 1763 MORTE A LA MAL- maison, le 24 mai 1814; and below this a signature, lapagerie (?) bonaparte. All the letters are burnt in. 5gin. x 4jin. 4. 9. 73. 16 658. Josephine, in 1813. On ivory. Signed indistinctly with monogram (1. p. ?), and dated 18x3; set into a tortoiseshell snuff box lid, and surrounded by her hair. Josephine left this box to Madame Ney ; inside the lid is inscribed, MORT A MALMAISON LE 29 MAI, 1814, DANS SA 50 me - ANNlDE. 1 Jin. x 1 fin. 4.9.73.17 659. Napoleon, in imperial robes. On ivory. Signed, “ Isabey." 2jin. x ijin. 4. 9. 73. 18 660 Napoleon, in imperial robes. Enamel on copper. A written note on this enamel says, from col- lection OF CARDINAL FIESCH. 2in. x ijin. 4. 9. 73. 19 661. Francis I., of Austria ; father-in-law of Napoleon, 1768- 1835. On ivory. i£in. x i-Jin. 4. 9. 73. 20 662. Maria Louisa, daughter of Francis I. of Austria. She married the Emperor Napoleon in 1810. 1791-1847. On ivory. Signed, “/• Isabey .” 3|in. x 2fin. 4. 9. 73. 21 663. Maria Louisa, as Arch- duchess of Austria. On ivory. Signed, “Augustin.” Dia. 2fin. 4. 9. 73. 22 664. Napoleon, in imperial robes. Enamel on porcelain. Signed, “ M me ■ Brochart” ; and on the back, napoleon. 6in. x 4fin. 4. 9. 73. 23 665. Napoleon Francis Charles Joseph, King of Rome ; only son of Napoleon and Maria Louisa. He was subsequently made Duke of Reichstadt ; and, on the accession of Napoleon III., was decreed to be styled Napoleon II., although he never came to the throne. 1811- 1832. Enamel on copper. Painted by “ Constantine.” (?) i jin. x ijin. 4. 9. 73. 24 666. The same. On ivory. By Isabey. (?) ifin. x ijin. 4 - 9 - 73 - 25 667. The same, as Duke of Reich- stadt. Enamel on porcelain. Signed, “ S ie - Lienard.” On the back is written, Charles napoleon duc de REICHSTADT n£ A PARIS LE 2 I MARS l8ll MORT A SCHOENBRUNN LE 2 2 juillet 1832. 5|in. x 4fin. 4. 9. 73. 26 668. Napoleon, said to have been painted when at Elba. On ivory. Signed, “Isabey.” 2^in. x ijin. 4. 9. 73. 27 669. The same. On ivory. Signed with initials “PL” (?) in monogram, and “1815.” 3Jin. x 2jin. 4. 9. 73. 28 670. Lucien Bonaparte, brother of Napoleon ; Prince of Canino. 1775-1840. On ivory. Said to have been painted by Isabey. 2jin. x 2|in. 4. 9. 73. 29 671. Letitia, daughter of Lucien Bonaparte. She married Sir Thomas Wyse, M.P. Born 1804. On ivory. Signed, “ Herman , 1832.” 5 Jin. x 4 fin. 4 - 9 - 73 - 3 ° 672. Jerome Bonaparte, youngest brother of Napoleon ; King of 662. Plate XX. RELICS OF THE BONAPARTE FAMILY : MATHER COLLECTION. 95 Westphalia. 1784-1860. On ivory. 2|in. x ifin. 4. 9. 73. 31 673. The same, as King of West- phalia. On ivory, said to have been painted by Isabey. 2$in, x 2in. 4 - 9 - 73 - 3 2 674. Frederica Catherine, Prin- cess of Wiirtemberg, wife of Jerome Bonaparte. 1783-1833. Enamel, set in a tortoiseshell snuff-box. 1 sin. x 1 fin. 4. 9. 73. 33 675. Pauline, second sister of Napoleon. Married first, General Leclerc, who died in 1802 ; after- wards, Prince Camille Borghese, 1780-1825. On card, in water- colours. Signed very indistinctly. 5^in. x 4jin. 4.9.73.34 676. Caroline, youngest sister of Napoleon. Wife of Joachim Murat. King of Naples. 1782-1839. On card, in water-colour. 5 Jin. x 4m. 4 - 9 - 73 - 35 677. Joachim Murat, as Grand Admiral of France, afterwards King of Naples. 1767 (?)-i8i5. On ivory, said to have been painted by Isabey. i£in. x i£in. 4. 9. 73. 36 678. The same. 2|in. x 2^in. 4 - 9 - 73 - 37 679. Caroline, wife of Joachim Murat. On ivory. Signed, “ Au- gustin , 1808.” Set in a tortoiseshell snuff-box. ifin. x ifin. 4. 9. 73.38 680. The same, as Queen of Naples. Enamel, on porcelain. Signed, “ M me Brochart." On the back is written, Caroline c NE murat, NEE A AJACCIO LE 26 MARS 1 782. 6in. x 4fin. 49-73-39 681. Joachim Murat, said to be in the costume he wore at the time of his execution at Pizzio, in Ca- labria, 1805. Enamel, on porcelain. Signed, “ M' ne Brochart Le Gotti On the back is written, j murat n£ A la bastide fortuniere le 25 MARS 1767 MORT A PIZZO LE 13 8 BRE 1815. 6in. x 4fin. 4. 9. 73. 40 682. Miniature portrait of a lady, seated. Name unknown. On ivory. Signed, “J. Isabey , 1804.” Dia. 2fin. 4. 9. 73. 41 MISCELLANEOUS OBJECTS. 683. Profile laureated head of Napoleon, in cameo, on an onyx. 1 J in. x 1 fin. 4. 9. 73. 42 684. Portraits of Napoleon and Maria Louisa, vis-a-vis , as Roman emperor and empress ; in cameo, on an onyx. 2 in. x iAin. 4 - 9 - 73 - 43 685. Snuff-box, made of variously- coloured and beautifully chased gold, with a sardonyx set in the lid, carved in cameo, with por- traits of Napoleon, Maria Louisa, and the young King of Rome, and signed “ Moretli.” The box is orna- mented with lapis lazuli, small dia- monds and other precious stones ; it was given by Napoleon and Maria Louisa to Marshal Ney, Prince of the Moskwa, at the same time that the ring (No. 686) was given to Madame Ney. 4. 9. 73. 44 686. Ring, set with a sardonyx, bearing a cameo portrait of Napo- leon, with laureated head and classical costume. The cameo is ornamented with small diamonds. This ring was given by Napoleon and Maria Louisa to Madame Ney, Princess of the Moskwa. 4. 9. 73. 45 687. Brass ornament, represent- ing the Imperial Eagle standing on the thunder-bolt of Jupiter, taken g 6 RELICS OF THE BONAPARTE FAMILY: MATHER COLLECTION. from one of the chairs in the Im- perial Palace of the Tuilleries. 3*in. x 3 § in. 4. 9. 73. 46 688 . Military badge ; on one side a head of Murat, and the legend, Gioacchino re di napoli; and on the reverse, onore e fe- delta. 4. 9. 73. 47 689. Suite of ornaments, tiara, earrings, necklace, brooch, ring, bracelets, and waist buckle, of gold, enamelled black and white, and set with a fine set of onyxes, carved in cameo with various subjects from Roman history. Said to be the work of Girometti of Rome. 4. 9. 73. 48 690. Figure of Napoleon, similar to the celebrated statue of him by Canova, very beautifully cut in cameo on a sardonyx. Signed, “ Pistrucci ,” and set in a tortoise- shell snuff-box. Said to have been executed by the order of George IV. 1 Jin. x 1 ^in. 4.9.73.49 691. Gold seal, with miniature military accoutrements round the handle, set with a carnelian, on which is cut, in intaglio, the initial n and the imperial eagle. The lower part of the seal opens, showing a small recess. Said to have been the private seal of Napoleon. 4 - 9 - 73 - 5 ° 692. Gold breast-pin, containing a lock of Napoleon’s hair, given by him to Sir C. Duggins. Inscribed on the back, the hair of napoleon 1 V and sacred to his memory OCTOBER 1816.” 4. 9. 73. 51 693. Enamelled brooch, contain- ing a lock of Napoleon’s hair, given to B. H. Ross, Captain of H.M.S. Northumberland, by Napoleon him- self at St. Helena. 4. 9. 73. 52 694. Four allegorical drawings, by Lafitte, emblematic of the Union of France and Austria, in the per- sons of Napoleon and Maria Louisa. 4 - 9 - 73 - 53-6 695. Marble bust of Napoleon. 4 - 9 - 73 - 57 MEDALS. It has not been thought necessary to give a minute description of the following series of Bonaparte Medals, as most of them are already described in the Tresor Nimismatique, among the “ Medailles de la Revolution Fran^aise and the student will there find a most accurate and full account of these and many other pieces. In this catalogue are given the event or subject which the medal commemorates, a few words of de- scription, its date, and a reference to the plate in the volume of the T. N. where it is engraved and described. If it is not given in the T. N., it is fully described here. The metal in each case is bronze, unless otherwise specified. 696. Battle of Montenotte, 1796 . Obv. Bust of General Bonaparte in uniform. Rev. Victory hovering over a section of the globe ; on a hill to the left the redoubt of Mon- telesimo. T. N, pi. lx., fig. 2. 4 - 9 - 73 - 58 697. Battle of Millesimo, 1796 . Obv. Hercules destroying the Hydra. Rev. Legend, le peuple franqais a l’armee d’italie. LOI DU 6. FLOREAL AN 4 ME DE LA REP. T. N. t pi. lx., fig. 3. 4. 9. 73. 59 RELICS OF THE BONAPARTE F 698. Battle of Castiglione, 1796. Obv. A warrior engaged with two combatants. Rev. A laurel wreath with two trumpets crossed, and the legend, a l’arm£e d’italie. T. N., pi. lxi., fig. 3. 4. 9. 73. 60 699. Capitulation of Mantua, 1797. Obv. Head of the poet Virgil. Rev. A mural crown with a swan beneath it. The emblem of Virgil. [The inhabitants of the ancient patrimony of the poet Virgil were, by Napoleon’s orders, indem- nified for losses sustained in the Mantuan war.] T. A 7 "., pi. lxiii., fig- i- 4 - 9 - 73 - 61 700. Surrender of Mantua, 1797 . Obv. Female figure with turreted crown, representing the city of Mantua, giving the keys of a city to an armed warrior. Rev. A laurel wreath and a thunder-bolt under- neath. T. N., pi. lxiii., fig. 2. 4. 9. 73. 62 701. Passage of the Tagliamento, and taking of Trieste, 1797 . Obv. The River God of the Taglia- mento expressing his grief at the defeat of the Austrian army. Rev. A laurel wreath, and inside it the legend, a l’arm£e d’italie. T. N., pi. lxiii., fig. 3. 4. 9. 73. 63. 702. Treaty of Campo Formio, 1797. Obv. Bust of General Bona- parte. Rev. General Bonaparte on horseback, attended by allegorical figures. In the exergue, paix SIGNI2E l’an 6. rep. fr. T. JV., pi. lxv., fig. 9. 4. 9. 73. 64 703. Conquest of Lower Egypt, 1798. Obv. Allegorical figure of the River Nile. Rev. View of the Pyramids. T. N., pi. lxviii., fig. 6. 4 - 9 - 73 - 6S 704. Conquest of Egypt, 1798 . Obv. Bust of General Bonaparte, o 'AMILY : MATHER COLLECTION. 97 crowned with a wreath of lotus flowers. Rev. General Bonaparte represented as drawn in an ancient Egyptian triumphal chariot, with two richly caparisoned camels. T.N., pi. lxviii., fig. 11. 4. 9. 73. 66 705. Conquest of Upper Egypt, 1798. Obv. Profile head of an ancient Egyptian king, and legend, CONQUF.TE DE LA HAUTE EGYPTE an vii. Signed, galle f. Rev. A crocodile chained to a palm tree. Signed, galle and denon direxit. T. N., pi. lxxiii., fig. i. 4. 9. 73. 67 706. Return to Frejus, 1799 . Obv. Two frigates in full sail, and legend in exergue, arrivee a fre- jus; xvii. vendT an viii. Rev. Figure of the Roman God Bonus Eventus, and legend, bonus even- tus. T. N pi. lxxiii., fig. 10. 4. 9. 73. 68 707. Passage of Mounts. Bernard and the Battle of Marengo. Obv. Victory driving two horses dragging a piece of artillery over a rugged mountain, and legend, l’armIse francaise passe le ST Bernard XXVIII. FLOREAL AN VIII. MDCCC. Rev. Eleven keys suspended from a ring (alluding to the fortresses taken at that time), and the legend, bat- AILLE DE MARENGO XXV PRAIRIAL an viii. mdccc. T. TV, pi. lxxvi., fig. 9. 4. 9. 73. 69 708. Battle of Marengo, 1800 . Obv. Profile bust of General Bona- parte as First Consul. Rev. Legend, LE PREMIER CONSUL COMMANDANT L’ARMEE DE RESERVE EN PERSONNE: ENFANS RAPELLEZ-VOUS QUE MON HABITUDE EST DE COUCHER SUR LE CHAMP DE BATAILLE. T. /V., pi. lxxvii., fig. i. 4. 9. 73. 70 709. Death of General Desaix, 1800. Obv. Bust of General Desaix. 98 RELICS OF THE BONAPARTE F Rev. Legend, le general desaix EST BLESSE A MORT : ALLEZ DIRE AU PREMIER CONSUL QUE j’EMPORTE LE REGRET DE N’AVOIR PAS FAIT ASSEZ POUR V1VRE DANS LA POSTERITE. T.N., pi. lxxvii., fig. 6. 4. 9. 73. 71 710. Battle of Marengo, 1800. Obv. Head of General Bonaparte as First Consul. Rev. Hercules raising from the ground a female figure, symbolising Italy. This medal was designed by Appiani, a Milanese painter, and struck at Milan. T.N . , pi. lxxvii., fig. 5. 4. 9. 73. 72 711. Laying of the first stone of the National Column in the Place de la Concorde, at Paris, 1800. Obv. Bust of General Bonaparte as First Consul. Rev. Legend, le PEUPLE FRANQAIS A SES DEFENSEURS, &c. T. N, pi. lxxviii., fig. 6. 4 - 9 - 73 - 73 712. Laying the Foundation Stone of the Q,uai Desaix, 1800. Obv. Legend, republique fran- QA1SE PREMIER CONSUL BONAPARTE DEUX eme CONS l CAMBACERES TROIS me cons l lebrun. Rev. Legend, 25 MESSIDOR AN VIII. DE LA REPUBLIQUE FRANQAISE. PARIS, FONDATION DU QUAI DESAIX — A LA MEMOIRE DU GENERAL TUE A MARINGO. T.N., pi. lxxviii., fig. 8. 4. 9. 73. 74 713. Erection of a National Column in the Place Vendome, 1800. Obv. Profile busts of the three Consuls, united. Rev. Le- gend, GUERRE DE LA LIBERT^ LE DliPARTEMENT DE I.A SEINE A SES braves, etc. T. N., pi. lxxviii., fig- 9 - 4 - 9 - 73 - 75 714. Honours paid to the body of Marshal Turenne, 1800. Obv. Bust of Marshal Turenne, in armour. Rev. Legend, translation du CORPS DE TURENNE AU TEMPLE DE AMILY : MATHER COLLECTION. MARS PAR LES ORDRES DU PRE- MIER CONSUL BONAPARTE, ETC. T.N, pi. lxix., fig. 6. 4. 9. 73. 76 715. The Escape of the First Consul from Death by the Infernal Machine, 1800. Obv. Bust of the First Consul in uniform. Rev. Le- gend, LES CITOYENS VOLENT EN FOULE VERS LUI. AMIS CE N’EST PAS A MOI QU’lL FAUT VENIR : QU’ON AILLE QU’ON AILLE AU SECOURS DES MALHEUREUX QUE LA MACHINE IN- FERNALE A PU FRAPPER. On the evening of the 24th December, 1800, as Bonaparte was on his way to the Opera house in Paris, an insurrec- tionist, named Saint-Regent, ignited a cask filled with powder and grape shot, in the street Saint-Nicaise, by the explosion of which eight persons were killed and many injured. For- tunately for the First Consul, his carriage was detained a sufficient time to prevent his passing through this street at the expected moment. Saint-Regent and an accomplice were executed. T. N, pi. lxxx., fig. 2. 4. 9. 73. 77 716. Peace of Luneville, i8or. Obv. Bust of the First Consul. Rev. A section of the globe. Le- gend, BONHEUR AU CONTINENT. PAIX DE LUNEVILLE AN IX. l8oi. T.N., pi. lxxxii., fig. 3. 4. 9. 73. 78 717. Peace of Luneville, 1801. Obv. Bust of the First Consul. Rev. Figure of Peace, holding a cornucopia and laurel branch. T. N, pi. lxxxii., fig. 4. 4. 9. 73. 79 718. Peace of Amiens, 1802. Obv. Head of Bonaparte as First Consul. Rev. Figure of Justice hovering over the globe, holding an olive branch in one hand and a pair of scales in the other. T. N., pi. lxxxix., fig. 10. 4. 9. 73. 80 99 RELICS OF THE BONAPARTE FAMILY : MATHER COLLECTION, 719. Peace of Amiens, 1802. Obv. Laureated profile head of Bonaparte as First Consul. Rev. Bonaparte, as Mars, presenting an olive branch to a recumbent female figure representing England. T./V., pi. lxxxix., fig. 6. 4. 9. 73. 81 729. Re-establishment of public worship, 1802. Obv, Head of Bonaparte. Rev. Two allegorical figures surrounded by religious and other emblems. T. IV., pi. xc., fig. 6. 4. 9. 73. 82 721. Re-establishment of public instruction, 1802. Obv. Head of Bonaparte. Rev. A youthful male figure in a toga, sitting studying from a book. T. TV, pi. 90, fig. 7. 4 - 9 - 73 - 83 722. Establishment of a school of Pharmacy, 1 803. Obv. The serpent of TEsculapius entwined round a chemical retort. Rev. A wreath of medicinal herbs. T. TV, pi. xciv., fig. 4 - 4- 9- 7 3- 8 4 723. Conquest of Hanover, 1803. Obv. The English leopard tearing up the treaty of Amiens. Rev. Victory mounted on a horse at full speed. T. TV, pi. xciv., fig. 7. 4 - 9 - 73 - 85 724. Good fortune of Bonaparte, 1803. Obv. Head of Bonaparte. Rev. Fortune seated in a boat, hold- ing the rudder and sail. Legend A LA FORTUNE CONSERVATRICe’ T.N., pi. xcv., fig. 6. 4. 9. 73. 8' 725. Negociations with England, 1803. (Two medals.) Obv. Head of a warrior, with classical helmet. Legend, arme pour la paix. Rev. A stork, with an olive branch on one side and thunder-bolt on the other. T.N., pi. xcv., fig. 8. 4.9.73.87-8 726. Bonaparte’s encouragement of the Fine Arts, 1803. Obv. Head of Bonaparte. Rev. The statue of the Venus de Medici. This medal was presented to Bonaparte by Denon, the Director of the General Museum of the Arts, on the occa- sion of his visit to that establish- ment. T. TV, pi. xcv., fig. 9. 4. 9. 73. 89 MEDALS OF THE FRENCH EMPIRE, 1804 — T5. 727. Institution of the Order of the Legion of Honour, 1804. Obv. Laureated head of the Emperor Napoleon. Rev. The cross of the order. The order of the Legion of Honour was instituted in 1802, but the inauguration of this institution, and the first solemn distribution of decorations, occurred in July, 1804. T. TV, pi. i., fig. 5. 4.9.73.90 728. The camp at Boulogne, 1804. Obv. Napoleon seated on a curule chair distributing the insignia of the Legion of Plonour to his soldiers. Rev. Apian of the position of the army on this occasion, with numbers referring to the explanation of the plan given in the exergue. T.N, pi. i., fig. 14. 4.9.73.91 729. Construction of 2,000 ships, 1804. Obv. Laureated head of Na- poleon. Rev. Hercules binding the English leopard. 71 TV., pi. ii., fig. 7. 4. 9. 73. 92 730. Promulgation of the Code Napoleon, 1804. Obv. Figure of Napoleon in classical costume. Rev. Figure of Minerva. 71 TV., pi. ii., fi g- 9 - 4 ' 9 - 73 - 93 731. Coronation of Napoleon, 1804. Obv. Laureated head of Napoleon. Rev. Figure of Napo- leon, in imperial robes, standing on IOO RELICS OF THE BONAPARTE FAMILY: MATHER COLLECTION. a shield, supported by two male figures. T. N., pi. iii., fig. i. 4. 9. 73. 94 732. The same, rather smaller. T. IV., pi. iii., fig. 2. 4. 9. 73. 95 733. The same, rather smaller. T. N., pi. iii., fig. 3. 4- 9 - 73 - 9 6 734. The same, (two copies,) very much smaller. T. IV., pi. iii., fig. 4. 4. 9. 73. 97-8 738. Pope Pius VII. at the Coro- nation of Napoleon, 1804. Obv. Bust of Pope Pius VII. Rev. The Cathedral Church of Notre Dame. T. IV., pi. iii., fig. 14. 4.9.73.99 737. Coronation Fete, 1804. Obv. Laureated head of Napoleon. Rev. Napoleon seated on a curule chair ; a female figure, representing the city of Paris, with mural crown, before him. Legend, tutela prajsens. T. N, pi. iv., fig. 8. 4. 9. 73. 100 738. Coronation Fete, 1804. Obv. Heads of Napoleon and Josephine. Rev. The Imperial Eagle crowned with a laurel wreath. T. IV., pi. iv., fig. 9. 4. 9. 73. IOT 739. Distribution of eagle stan- dards in the Champ de Mars, 1804. Obv. Laureated head of Napoleon. Rei>. Napoleon distributing the eagle standards to his soldiers. T. N, pi. iv., fig. 7. 4. 9. 73. 102 740. Establishment of a Vac- cination Society, 1804 . Obv. Laureated head of Napoleon. Rev. Figure of vEsculapius protecting Venus. T. IV., pi. v., fig. 4. 4- 9- 73- 1C3 741. Museum of Napoleon. Obv. Laureated head of Napoleon. Rev. View of the Salle du Laocoon in the Louvre museum. T. IV., pi. v., fig. 5. 4. 9. 73. 104 742. Museum of Napoleon. Obv. Laureated head of Napoleon. Rev. View of the Salle de L’Apollon, in the Louvre museum. These two medals were struck in 1804, and commemorate the formation of the museum of the Louvre, which was opened to the public in 1800, and was filled with statuary and various works of art, captured by Napoleon during his Italian campaign in 1797. In 1815, the Allied Powers, who met in Paris, removed many of the most precious pieces. T. IV., pi. v., fig. 6r 4 - 9 - 73 - i °5 743. Re-establishment of the medal mint, 1804 . Obv. Two female figures standing by a coining press. Rev. A laurel wreath. T.N., pi. vi., fig. 7. 4. 9. 73. 106 744. Pope Pius VII. visits the medal mint, 1805. Obv. Bust of Pope Pius VII. Rev. Legend, under a baldachino, en janvier mdcccv. ss. pie vii. a .visite la monnaie des medailles. T. N, pi. vii., fig. 1. 4. 9. 73. 107 745. Coronation of Napoleon, as King of Italy, at Milan, 1805 . Obv. Laureated head of Napoleon. Rev. The iron crown of Lombardy. T. N, pi. vii., fig. 5. 4. 9. 73. 108 746. The Ligurian Republic united to France, 1805 . Obv. Laureated head of Napoleon. Rez\ Napoleon, in classical costume, re- ceiving a female figure, representing the Ligurian Republic. T. IV., pi. vii., fig. 9. 4. 9. 73. 109 747. Tomb erected to the memory of General Desaix, 1805 . Obv. Laureated head of Napoleon. Rev. The tomb erected to General Desaix. Legend, napoleon aux manes de desaix. T. N., pi. viii., fig. 3. 4. 9. 73. 110 RELICS OF THE BONAPARTE FAMILY : MATHER COLLECTION. IOl 748. The same. Obv. Laureated head of Napoleon. Rev. Legend, LE XXV. PRAIRIAL AN XIII. XIV. JUIN, MDCCCV. NAPOLEON POSE LA 1 ERE PIERRE DU TOMBEAU DE DESAIX AU MONT ST. BERNARD. T. N, pi. viii., fig. 4. 4. 9. 73. Ill 749. Establishment of the School of Mines in the Department of Mont Blanc, 1805. Obv. Laureated head of Napoleon. Rev. Mont Blanc represented as a seated giant, imi- tated from a statue of theAppenines, attributed to Michael Angelo. T.N, pi. viii., fig. 9. 4. 9. 73. 1 12 750. Breaking up of the camp at Boulogne, 1805. Obv. Laureated head of Napoleon. Rev. Grand chair of state, the eagle of France, and the sceptre of royalty. &c. T. N, pi. viii., fig. 13. 4. 9. 73. 1 13 751. Napoleon addressing his soldiers on the wooden bridge of the Lech, 1805. ’ Obv. Laureated head of Napoleon. Rev. Napoleon addressinghis soldiers on the wooden bridge. T. N., pi. viii., fig. 15. 4. 9. 73. 1 14 752. Capitulation of Ulm and Memmingen, 1805. Obv. Laure- ated head of Napoleon. Rev. Napoleon, in classical costume, driving in a chariot, being crowned by victory, who flies to meet him. Two figures with mural crowns, representing Ulm and Memmingen, kneel under the horses. T. N., pi. viii., fig. 16. 4. 9. 73. 1 15 753. Ee-taking of French colours at Innsbruck, 1805. Obv. Laure- ated head of Napoleon. Rev. Napoleon in classical costume, with a figure of victory in one hand and a standard in the other. T. N., pi. ix., fig. 6. 4. 9. 73. 1 16 754. Taking of Vienna and Pres- burg, 1805. Obv. Laureated head of Napoleon. Rev. Napoleon as Hercules, with two female figures, representing Vienna and Presburg, offering the keys of cities to him. T. N, pi. ix., fig. 7. 4. 9. 73. 117 755. Battle of Austerlitz, 1805 . Obv. Laureated head of Napoleon. Rev. Winged thunderbolt, the centre of which represents the sceptre of state. T. N., pi. ix., fig. 9. 4. 9. 73. 1 18 756. The same. Obv. Laureated head of Napoleon. Rev. Laureated heads of Alexander I. and Francis I. T. N., pi. ix., fig. 10. 4.9.73.1x9 757. Interview between Fran- cis I. and Napoleon, after the battle of Austerlitz, 1805 . Obv. Laureated head of Napoleon. Rev. Napoleon, in classical costume, re- ceiving Francis, who stands in a suppliant attitude. T. N., pi. x., fig. 1. 4. 9. 73. 120 758. Conquest of Germany, 1805 . Obv. Napoleon at Schoenbrun, re- ceiving a deputation from Paris. Legend, pannonia subacta. Rev. Fame sounding a trumpet amid the emblems of war. T. JY., pi. x., fig. 2. 4. 9. 73. 121 759. Peace of Presburg, 1805 . Obv. Laureated head of Napoleon. Rev. View of the temple of Janus. T.N, pi. x., fig. 4. 4. 9. 73. 122 760. Conquest of Venice, 1805. Obv. Laureated head of Napoleon. Rev. The Rialto bridge at Venice. T.N, pi. x., fig. 7. 4.9.73.123 761. Public thanksgiving after the peace of Presburg, 1805 . Obv. Laureated head of Napoleon. Rev. View of the Cathedral Church of 102 RELICS OF THE BONAPARTE FAMILY : MATHER COLLECTION. S. Stephen at Vienna, where the thanksgiving was held. T.N, pi. x., fig. 8. 4.9.73.124 762. Establishment of schools of medicine, 1805. Obv. Laureated head of Napoleon. Rev. Figures of AEsculapius and Telesphorus. T. N, pi. xi., fig. 5. 4. 9. 73. 125 763. Column erected in the Place Vendome, to commemorate the campaign of 1805. Obv. Lau- reated head of Napoleon. Rev. View of the column in the Place Vendome. T. N, pi. xi., fig. 13. 4. 9. 73. 126 764. Conquest of Istria, Obv. Laureated head of Napoleon. Rev. Facade of the temple of Augustus at Pola. T.N., pi. xiii., fig. 1. 4. 9. 73. 127 765. Conquest of Dalmatia. Obv. Laureated head of Napoleon. Rei'. View of the temple of Jupiter at Spalatro. T. N, pi. xiii., fig. 2. 4. 9. 73. 128 766. Conquest of Naples. Obv. Laureated head of Napoleon. Rev. Victory crowning with laurel a rnino- taur, imitated from a Greek coin. T. N, pi. xiii., fig. 5. 4.9.73.129 767. Marriage of the Prince of Baden with Stephanie Napoleon, 1806. Obv. Laureated head of Napoleon. Rev. Figures of Ste- phanie Napoleon and the Prince of Baden. T. JV., pi. xiii., fig. 12. 4- 9- 73- i3° 768. Confederation of the Rhine, 1806. Obv. Laureated head of Na- poleon. Rev. Group of fourteen German princes swearing fidelity over a fasces surmounted by the imperial eagle. T. N., pi. xiv., fig. 4. 4- 9- 73- J 3 T 769. Battle of Jena, 1806. Obv. Laureated head of Napoleon. Rev. Napoleon, as Jupiter seated on his eagle, hurling thunderbolts at old and young below. T. N, pi. xiv., % 7- 4- 9- 73- *3 2 770. Battle of Jena, 1806. Obv. Laureated head of Napoleon. Rev. Napoleon on horseback, armed with a thunderbolt, rides over prostrate warriors. T. N, pi. xiv., fig. 8. 4- 9- 73- i33 771. Entry into Berlin, 1806 . Obv. Laureated head of Napoleon. Rev. View of the gate of Brande- burg. T. N, pi. xiv., fig. 14. 4- 9- 73- x 34 772. Capitulation of four Ger- man fortresses during the war, 1806. Obv. Laureated head of Na- poleon. Rev. Four female figures, representing the four fortresses ; a key has dropped from the hand of each. Above is Napoleon, riding on an eagle. T.N., pi. xiv., fig. 15. 4- 9- 73- i35 773. Occupation cf Hamburg, 1806. Obv. Laureated head of Na- poleon. Rev. Allegorical figure of the town of Hamburg, with mural crown, seated on the side of an antique ship, holding a cornucopia of fruits and flowers in her hand. T. N, pi. xiv., fig. 16. 4. 9. 73. 136 774. Alliance with Saxony, 1806 . Obv. Profile heads of Napoleon and Charlemagne. Rev. Profile heads of Wittekind and Frederick Augus- tus of Saxony. T. N., pl.xv., fig. 1. 4- 9- 73- i37 775. Sovereignties given by Na- poleon. Obv. Laureated head of Napoleon. Rev. The chair of state, in front of which is a table with several crowns on it. There are two RELICS OF THE BONAPARTE FAMILY: MATHER COLLECTION. IO3 or three on the ground. T. N, pi. xv., fig. 2. 4. 9. 73. 138 776. Erection of an Arch of Triumph, 1806. Obv. Laureated head of Napoleon, Rev. View of the Arch of Triumph in the Place Carrousel. T. IV., pi. xvi., fig. 10. 4 - 9 - 73 - i 39 777. The French Eagle on the Vistula, 1807. Obv. Laureated head of Napoleon. Rev. The nymph of the Vistula reclining by flowing water ; beyond is planted the Eagle Standard of France. T.N., pi. xix., fig. 1. 4. 9. 73. 140 778. Battle of Eylau, 1807 . Obv. Laureated head of Napoleon. Rev. Napoleon, as Diomede, seated on a pile of arms, holding a figure of Victory in his hand. Legend, vic- toria MANENTI. T. N, pi. xix., fig. 6 . 4- 9 - 73 - 141 779. Napoleon at Osterode, 1807. Obv. Laureated head of Napoleon. Rev. Head of Fabius. T. IV., pi. xix., fig. 8. 4. 9. 73. 142 780. Battle of Friedland, 1807. Obv. Laureated head of Napoleon. Rei\ Napoleon as Mars ; stands sheathing his sword : the ground is covered with dead and wounded. 2. IV., pi. xix., fig. 9. 4. 9. 73. 143 781. Battles of Maringo and Friedland, 1807. Obv. Laureated head of Napoleon. Rev. Winged female writing on a shield. Legend, XIV. JUIN MARINGO FRIEDLAND. These battles were both fought on June 14. T. N., pi. xix., fig. 10. 4. 9. 73. 144 782. Occupation of three Capi- tals, 1807. Obv. Laureated head of Napoleon. Rrv. Three female figures with mural crowns. Legend, BERLIN. VARSOVIE. KOENIGSBERG. T. N., pi. xix., fig. 1 1. 4. 9. 73. 145 783. Conquest of Silesia, 1807 . Obv. Laureated head of Napoleon. Rev. Winged female figure writing on a shield with the point of a sword, attended by another female figure holding an olive branch. T. IV., pi. xix., fig. 12. 4. 9. 73. 146 784. Peace of Tilsit, 1807. Obv. Heads in profile of Napoleon, Alex- ander I., and William III. Rev. River God of the Niernen holding a small temple up in his right hand. Legend, niemen. T. IV., pi. xx., fig. 1. 4. 9. 73. 147 785. Deliverance of Dantzig, 1807. Obv. Laureated head of Na- poleon. Rev. Napoleon receiving symbolic figure of Dantzig, and placing a mural crown on her head. T. N, pi. xxi., fig. 1. 4. 9. 73. 148 786. Grand Duchy of Warsaw founded, 1807. Obv. Laureated head of Napoleon. Rev. A chair of state on which lies a crown : there is a sword on one side and a sceptre on the other. Legend, I’RISCA DECORA RESTITUTA. TN.., pi. xxi., fig. 2. 4. 9. 73. 149 787. Kingdom of Westphalia founded, 1807. Obv. Laureated head of Napoleon. Rev. Napoleon represented as Alexander, after the antique statue of Alexander and Bucephalus. Legend, injf.cit tan- dem FRENA VAGANTI. T. N, pi. xxi., fig. 7. 4. 9. 73. 150 788. Marriage of Jerome Bona- parte, King of Westphalia, 1807 . Obv. Laureated head of Napoleon. Rev. Hymen weaving a wreath of roses. T. N, pi. xxi., fig. 9. 4 - 9 - 73 - H 1 104 RELICS OF THE BONAPARTE FAMILY: MATHER COLLECTION. 789. The victorious eagle of France, 1807. Obv. Laureated head of Napoleon. Rev. The eagle standing on a fulminating sceptre, being crowned with a laurel wreath by Victory. T. N, pi. xxii., fig. 5. 4' 9- 73- 152 790. Annexation of the Depart- ment of the Simplon, 1807. Obv. Laureated head of Napoleon. Rev. Colossal figure emblematic of a mountain god. T. N, pi. xxiii., fig. 12. 4. 9. 73. 153 791. Route by Nice to Rome, 1807. Obv. Laureated head of Napoleon. Rev. The Goddess Fortuna seated on a rocky shore, her right hand resting on a distant mountain peak. T. N., pi. xxiii., fig. 16. 4. 9. 73. 154 792. Union of Etruria to France, 1807. Obv. Laureated head of Napoleon. Rev.. Napoleon, in clas- sical costume, receiving under his protection a figure symbolising Etruria, who offers various emblems of ancient science and art. T. N., pi. xxv., fig. 6. 4. 9. 73. 155 793. Battle of Sommo Sierra, 1808. Obv. Laureated head of Napoleon. Rev. Napoleon in a chariot driving over a prostrate fig- ure symbolising the Inquisition, who attempts to stop his passage between the pillars of Hercules. T. N., pi. xxvii., fig. 10. 4. 9. 73. 156 794. Entry into Madrid, 1808. Obv. Laureated head of Napoleon. Rev. View of the gate of Alcala, at Madrid. T. N., pi. xxvii., fig. 11. 4- 9- 73- i57 795. Visit of Princess Pauline to the medal mint. Obv. Head of the Princess, with Greek legend. Rev. The Three Graces. T. N., pi. xxviii., fig. 1. 4. 9. 73. 198 796. Visit of Princess Caroline to the medal mint. Obv. Head of the Princess, with Greek legend. Rev. Victory crowning a Minotaur. T. N., pi. xxviii., fig. 3. 4.9.73.196 797. Visit of the Queen Hortense to the medal mint. Obv. Head of the Queen, with Greek legend. Rev. Legend, s. m. la reine hortense VISITE LA MONNAIE DES MEDAILLES. T.N., pi. xxviii., fig. 6. 4.9.73.197 798. The Princess Elisa, sister of Napoleon. Obv. Profile head of the Princess, similar to head on fig. 7, pi. xxviii., T. N. Rev. Plain. 4. 9. 73. 205 799. Treaty of Presburg broken by the Austrians, 1809. Obv. Na- poleon in classical costume standing between two piles of arms. Rev. View of the Temple of Janus, the doorway broken open. T. N., pi. xxxi., fig. 8. 4. 9. 73. 158 800. Departure from Paris, entry into Vienna, 1809. Obv. View of the gate of St. Martin, Paris. Rev. View of the gate of Carinthia, Vienna. T. N., pi. xxxi., fig. 11. 4- 9- 73- iS9 801. Union of the States of Rome with the French Empire, 1809. Obv. Laureated head of Napoleon. Rev. Allegorical figure of the river Tiber. T. N, pi. xxxii., fig. 1. 4, 9. 73. 160 802. Union of Rome with the French Empire, 1809. Obv. Lau- reated head of Napoleon. Rev. Heads in profile of Rome and Paris. T.N., pi. xxxii., fig. 2. 4. 9. 73. 161 803. Battle of Raab, 1809. Obv. Laureated head of Napoleon. Rev. The river god of the Raab reclining on his urn— behind him the French Eagle standard. Legend, les aigles RELICS OF THE BONAPARTE FAMILY: MATHER COLLECTION. FRAN^AISES AU DELA DU RAAB, mdcccix. T. N, pi. xxxii., fig. 7. 4. 9. 73. 162 804. Crossing the Danube, and Battle of Essling. 1809. Obv. The river god of the Danube breaking up a bridge of boats. Rev. French troops passing over a wooden bridge. T. N, pi. xxxii., fig. 1 2. 4. 9. 73. 163 805. Battle of Wagram, 1809. Obv. Laureated head of Napoleon. Rev. Hercules, holding Victory in one arm, strikes a fallen giant with the other. T. N, pi. xxxii., fig. 13. 4. 9. 73. 164 806. Cutting and opening of the Canal at Ourcq, 1810. Obv. Lau- reated head of Napoleon. Rev. Figure representing the city of Paris, seated, holding a cornucopia of fruits and flowers, and having water poured on to her by two figures represent- ing the Seine and Ourcq. T. N, pi. xxxiii., fig. 3. 4. 9. 73. 165 807. English attack upon Ant- werp— Napoleon at Sehoenbrunn, 1809. Obv. Figure of Jupiter. Le- gend, jupitor stator. Rev. Fe- male figure with mural crown. T.A T ., pi. xxxiii., fig, 4. 4. 9. 73. 166 808. Peace of Vienna, 1809. Obv. Laureated head of Napoleon. Rev. Napoleon holding an olive branch in one hand, and an inverted torch in the other, which he applies to a heap of guns and ammunition. T.N, pl.xxxiv., fig. 1. 4.9.73,167 809. Conquest of Illyrian States, 1809. Obv. Laureated head of Na- poleon. Rev. A cow suckling a calf ; — a design taken from the ancient coinage of Illyria. T. N, pi. xxxiv., fig. 2. 4. 9. 73. 168 810. Visit of the King of Saxony to the medal mint, 1809. Obv. p io 5 Bust of Frederick Augustus, King of Saxony. Rev. Legend on field, giving the date of visit, &c. T. N, pi. xxxiv., fig. 6. 4. 9. 73. 169 811. Visit of the King and Queen of Bavaria to the medal mint, 1S10. Obv. Heads in profile of the King and Queen of Bavaria. Rev. Legend on field, giving date of their visit, &c. T. N, pi. xxxviii., fig. 1. 4. 9. 73. 170 812. Marriage of Napoleon and Maria Louisa, 1810-. Obv. Heads in profile of Napoleon and Maria Louisa. Rev. Napoleon, in Roman costume, conducting Maria Louisa to the hymeneal altar. T. N, pi. xxxix., fig. 2. 4. 9. 73. 1 71 813. The same. A smaller size. T.N, pi. xxxix., fig. 4. 4. 9. 73. 172 814. The same. A smaller size. T.N, pi. xxxix., fig. 5. 4 - 9 - 73 - 1 1 3 815. The same. A smaller size, T.N, pi. xxxix., fig. 6. 4. 9. 73. 174 816. Marriage of Napoleon and Maria Louisa. Obv. Heads in profile of Napoleon and Maria Louisa. Rev. Cupid bearing away the thunderbolt of Jupiter. T.N, pi. xxxix., fig. 8 as to the Rev., and fig. 6 as the Obv. 4. 9. 73. 175 817. Visit of the Grand Duke of Wurtzberg to the medal mint, 1810 . Obv. Head in profile of the Grand Duke. Rev. Legend on field, giving date of the visit, &c. T. JR., pi. xl., fig. 5. 4. 9. 73. 176 818. To the memory of the Duke de Montebello, 1810. Obv. Lau- reated head of Napoleon. Rev. A long legend on the field, recording the circumstances of the Duke’s death at the battle of Essling. T.N, pi. xl., fig. 7. 4.9.73.177 Io6 RELICS OF THE BONAPARTE FAMILY: MATHER COLLECTION. 819. Statue to General Desaix, 1810. Obv. Laureated head of Na- poleon. Rev. Figure of Desaix with drawn sword, surrounded by em- blems of the campaign in Egypt. T. N, pi. xl., fig. 8. 4.9.73.178 820. Establishment of an Orphan- age for the children of those who received the Legion of Honour, t8io. Obv. Laureated head of Na- poleon. Rev. A young girl seated by a tomb, with a book on her lap and work-basket by her side. T.N., pi. xlv., fig. 8. 4.9.73.179 821. Birth of the King of Rome, 1811. Obv. Profile heads of Na- poleon and Maria Louisa. Rev. Profile head of the infant king, Napoleon Francis Joseph Charles. T. N, pi. xlix., fig. 3. 4.9.73.180 822. The same, in gold. 4. 9. 73. 181 823. The same, in bronze, a smaller size. T. A 7 !, pi. xlix., fig. 6. 4 - 9 - 73 - 183 824. Birth of the King of Rome, 1811. Obv. Profile head of the infant king. Rev. Maria Louisa, as a Roman matron, holding her infant child in her arms. T. N., pi. xlix., fig. 5. 4. 9. 73. 182 825. Baptism of the King of Rome, 1811. Obi). Figure of Na- poleon with the infant king in his hands, whom he is about to immerse in a font. Rev. The names of forty- nine cities on small turrets ; in the centre the legend, a l’empereur LES BONNES VILLES DE L’EMPIRE. T.N, pi. 1 ., fig. 13. 4.9.73.184 826. The Princess Elisa, 1811 . Obv. Plead of Princess Elisa, sister of Napoleon. Rev. View of a monument,- — round which the le- gend, AUGUSTS — CONDITRICI. T.N, pi. Hi., fig. 7. 4. 9. 7 3. 185 827. Taking of Wilna, 1812 . Obv. Laureated head of Napoleon. Rev. Napoleon taking a sword and shield from two warriors. T. N, pi. liii., fig. 3. 4.9.73.186 828. The French Eagle upon the Borysthenes, 1812. Obv. Lau- reated head of Napoleon. Rev. The river god of the Borysthenes sitting on a rock, and behind him the French Eagle Standard. T. N, pi. liii., fig. 5. 4. 9. 73. 187 829. Battle of the Moskowa, 1812. Obv. Laureated head of Na- poleon. Rev. French cavalry in pursuit of flying Russian infantry. T. N., pi. liii., fig. 6. 4. 9. 73. 188 830. Entrance into Moscow, 1812 . Obv. Laureated head of Napoleon. Rev. View of the city of Moscow. T. N, pi. liii., fig. 8. 4. 9. 73. 189 831. The French Eagle upon the Volga, 1812. Obv. Laureated head of Napoleon. Rev. River god of the Volga affrighted at the Eagle Standard of France planted close to him. T. N . , pi. liii., fig. 11. 4. 9. 73. 190 832. Retreat of the Army from Russia, 1812. Obv. Laureated head of Napoleon. Rev. A warrior flying, pursued by Boreas. T. N, pi. liv., fig. 1. 4. 9. 73. 191 833. French school of the Fine Arts in Rome, re-established and helped by Napoleon in 1803. Obv. Figure of Napoleon, in imperial robes, seated and holding a laurel wreath. Rev. Group of emblems of the fine arts. T.N, pi. liv., fig. 7. 4. 9. 73. 192 834. Battle of Lutzen, 1813 . Obv. Profile bust of Napoleon in uniform. Rei\ A Cossack and Prussian officer in rapid flight. In RELICS OF THE BONAPARTE FAMILY : MATHER COLLECTION. 107 the distance is the French army. T. N, pi. lvii., fig. 9 . 4. 9. 73. 193 835. Battle of Wurtchen, 1813 . Obv. Profile bust of Napoleon in uniform. Rev. Trophy of arms, surmounted by a figure of Victory. T.N . , pi. lvii., fig. 10. 4. 9. 73. 194 836. Visit of Maria Louisa to the medal mint, 1813. Obv. Head of Maria Louisa. Rev. A press for coining. T. A 7 "., pi. lviii., fig. 1. 4 - 9 - 73 - T 95 837. Monument on Mont Cenis, 1813. Obv. Laureated head of Na- poleon. Rev. View of Mont Cenis with the monument on the top of it, and legend, in the exergue, — en TROIS MOIS LA FRANCE ET L’lTALIE ARMENT CENT MILLE HOMMES POUR LA DEFENSE DE L’EMPIRE. T. N, pi. lviii., fig. 9. 4.9.73.199 838. The good fortune of Feb- ruary, 1814. Obv. Laureated head of Napoleon. Rev. The French Eagle with a star above its head. T. JV., pi. lx., fig. 7. 4.9.73.200 839. Visit of Alexander I. of Russia to Paris, 1814. Obv. Lau- reated head of Alexander. Rev. Female winged figure writing on a book the legend, sejour d’alex i. a paris. 4. 9. 73. 201 840. Visit of William III. of Prussia to the medal mint, 1814. Obv. Bust of the King in uniform. Rev. Legend, giving date of visit, &c. 4. 9. 73. 202 841. Visit of the Emperor of Austria to the medal mint, 1814. Obv. Head of the Emperor. Rev. Legend, giving date of the visit, &c. 4. 9. 73. 203 842. Return of the Emperor from Elba, 1815. Obv. Napoleon being greeted by a soldier and pea- sant. Rev. The Eagle of France flying across from an island to the main land. T. N., pi. lxiv., fig. 3. 4. 9. 73. 204 843. Translation of the remains of Napoleon from the island of S. Helena to Paris, 1840. Obv. Profile laureated head of Napoleon as Emperor. Rev. View of the ship “ Belle Poule ” leaving S. Helena. Legend, ses vceux sont exaucf^s IL REPOSE DANS SA PATRIE. TRANS- LATION AUX INVALIDES 1840. 20. I. 76. 9 Presented by S. A. Thompson Yates. MISCELLANEOUS OBJECTS RELATING to THE BONAPARTE FAMILY. 844. Medallion, in bronze or brass, with heads in relief of the royal family of Spain, Charles IV. and his queen Louisa MariaTheresa, and their six children. Charles IV. ceded his rights as sovereign of Spain to Napoleon I., who after- wards placed his brother Joseph on that throne. Evidently enlarged from a medal, see T. N. 1808, pi. xxv., fig. 5. Dia. 6£in. 108 845. Miniature gold medal, with head of Napoleon, and legend, na- poleon empereur, on obverse, and figure of the Eagle on reverse. 13. 11. 74. 1 846. Snuff-box, in wood, with profile head of Napoleon on the lid. Dia. 3^in. 195 ioS RELICS OF THE BONAPARTE FAMILY. 847. Lid of a toilet box, mounted with a mirror on either side, said to have belonged to the Empress Jose- phine. 43 2 7 848. Enamel, on copper, for top of a box, with printed and coloured view of Bonaparte on Elba. Pro- bably made at Bilston, near Bir- mingham. Dia. i Jin. 212 819. Medal, in copper gilt. Obv. Profile bust of Napoleon. Signed on the shoulder Hancock ; around, the legend, inscribed to napoleon BONAPARTE BY D. ECCLESTON . LAN- CASTER. Rev. Legend, he gave to France liberty to the world PEACE MDCCCII. 25. 8. 8 1 . 9 Presented by Arthur Greer. 850. Chair, said to have been used by Napoleon at Saint Helena. 8796 851. Bust of the Empress Maria Louisa, in bronze, inscribed, marie LOUISE IMPERATRICE. H. I3Jin. 8253 T. 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