iiBhmK *S IIQ|E plnM||K.y ri HHKMlfiKM ^ifHIP^^HI^HBHHSn ■S V #• * ■t ~ . •>v. y. - / i Digitized by the Internet Archive in 2016 https://archive.org/details/catalogueofspeciOOrobi ^n'ence anlr ^rt department of tfte Committee of Comm'l on Ctiuration* CATALOGUE OF THE SPECIAL EXHIBITION OF WORKS OF ART OF THE MEDIEVAL, RENAISSANCE, AND MORE RECENT PERIODS, ON LOAN AT THE SOITH KENSINGTON MUSEUM, June 1862. Edited by J. C. EOBINSON, P.S.A., Memler of iJie Academy of Fine Arts of Florence and of St. Luke at Borne, etc., SUPEBINTENDENT OF THE ART COLLECTIONS OF THE SOUTH KENSINGTON MUSEUM. REVISED EDITION (January 1863). LONDON: PEINTED BY GEOEGE E. EYRE AND WILLIAM SPOTTISWOODE, PRINTERS TO THE QUEEN’s MOST EXCELLENT MAJESTY. FOR HER MAJESTY’S STATIONERY OFFICE. Copy of Minute directing the Formation of the Collection, Special Exhibition op Works op Art on Loan, 1862. At South Kensington, the \9th day of June 1861. By the Right Honourable the Lords of the Committee op Her Majesty’s most Honourable Privy Council on Education. The forthcoming International Exhibition of 1862 being likely to cause a great increase in the number of visitors to the Museum, and as the New Courts, now in course of constraction, will by the time of the opening of the Exhibition be ready to receive collections, it is desirable on that occasion to extend, in a special manner, the system, which has hitherto been so successful, of receiving fine Works of Art on loan. It is therefore the intention of the Department to assemble together in 1862 a special collection of W orks of Art, in categories analogous to those repre- sented in the Art Museum, with the view, more particularly, of bringing together for temporary exhibition the finest known specimens of their several kinds in this country. Without for the present setting forth any definite scheme, objects in the following categories may be specified : — Decorative works in metal of the Mediaeval and more recent periods ; gold and silver plate. Bronzes. Decorative arms and armour. Jewellery. Enamels. Earthenware and Porcelain. Carvings in Ivory and other materials. Deco- rative furniture. Miniatures, &c. Mr. J. C. Robinson, the Superintendent of the Art Collections, is charged with the execution of this Minute. By order of the Committee of Council on Education, Henry Cole, Secretary. [1495—506—6/63.] m\'i CENTER LIBRARY Substance of Minute dated March 1862. Special Exhibition of Works of Art on loan of the Medieval, Eenaissance, and more recent Epochs. The Lords of the Committee of Council on Education have directed the formation, at the South Kensington Museum, of a Collection of Fine Works of Art, of byegone periods, on loan, to be opened in June 1862, and have invited the assistance of noblemen and gentlemen, eminent for their knowledge of art, in promotion of this object, The following have consented to act as a Committee : — Addington, Samuel, Esq. Ashburton, Lord. Atkinson, J. B., Esq. D’Azeglio, His Excellency the Marquis. Barker, Alexander, Esq. Beck, Rev. J. Bentinck, G. C., Esq., M.P. Botfield, Beriah, Esq., M.P. Carpenter, W. H., Esq. Catt, Henry, Esq. Coxe, Rev. H. 0. Curzon, The Honourable R. De LTsle and Dudley, Lord. Dilke, Sir C. Wentworth, Bart. Durlacher, H., Esq. Eastlake, Sir Charles L., P.R.A. Fairholt, F. W., Esq. Farrer, Messrs. Earquhar, Harvie M., Esq. Fisher, R., Esq. Franks, A. W., Esq. Fortnum, C. D. E., Esq. Garrard, Sebastian, Esq. Gladstone, Rt. Hon. W. E. Gregory, W. H., Esq., M.P. Gresley, Sir Thomas, Bart. - Hamilton, His Grace the Duke of. Holmes, R. R., Esq. Hope, A. J. B. Beresford, Esq., M.P. Hope, Henry T., Esq. Hunt, John, Esq. Huth, Louis, Esq. Kane, Sir Robert. Lennox, Lord Henry, M.P. Madden, Sir Frederick. Marryat, Joseph, Esq. Marochetti, The Baron. Maskell, W., Esq. Miller, Samuel Christy, Esq. Morland, G. H., Esq. Murray, John, Esq. Napier, Robert, Esq. Nesbitt, Alexander, Esq. Parry, Gambier, T., Esq. Phillipps, Sir T., Bart. Powis, Earl of. Rock, The Very Rev. Dr. Rothschild, Sir Anthony, Bart. Rothschild, Baron Lionel, M.P. Rothschild, Baron Mayer, M.P. Russell, Rev. J. Fuller. Scharf, G., Esq. Scott, Sir F. E., Bart. Seymour, H. Danby, Esq., M.P. Seymour, Alfred, Esq. Shaw, Henry, Esq. Sneyd,.Rev. Walter. Sykes, Christopher, Esq. Talbot de Malahide, Lord, Taylor, Rev. Montague. Taylor, Tom, Esq. Tite, W., E.sq., M.P. Waring, J. B., Esq. Waterton, E., Esq. Watson, C. Knight, Esq, Webb, John, Esq. Westwood, J. 0., Esq. Woodward, B. B., Esq. Whitehead, T. M., Esq. Wyatt, M. Digby, Esq. The practical carrying out of the exhibition is intrusted to Mr, J. C. Robin- son.* Objects in the following classes will be received ; 1. Sculpture. Works in marble and terra-cotta of the Mediseval and Renaissance periods, and of the 17th and 18th centuries. * Mr. R. H. S. Smith, A.M., F.S.A., Assistant Keeper of the Art Collections, was appointed Secretary to the Committee, a 2 IV 2. Cahvings ia -wood, ivory, lithographic stone, &c. 3. Bronzes. Statuettes and decorative objects. Italian portrait-medallions and bronze relievo plaques. 4. Decorative Furniture. Mediaeval and cinque-cento carved furniture. Marqueterie, inlaid and carved ebony furniture of the ICth and 17tb centuries. “ Boule ” and Florentine “ pietra-dura ” furniture. Works of the artist cabinet- makers of the 18th century, Eiesner, doutiere, David, Chippendale. Ormolu mounted furniture, inlaid with Sevres porcelain, Wedgwood-ware plaques and medallions, Japan lac, &c. Ornamental caskets or coffrets of various epochs and materials. 5. Decorative Metal-work in general. Locks, keys, handles, caskets, &c. Damascene-work, Arabic or Saracenic damascened vessels, works of the Milanese and Venetian cinque-cento artists. Embossed pewter vessels of Briot and others. 6. Goldsmith.s’ Work. Decorative plate of the Mediaeval, Eenaissance, 17th and 18th century periods. Mounted nautilus shells, cocoa-nuts, ostrich eggs, &c. Old English plate. Mounted earthenware jugs, &c., of tlie Elizabethan period. Objects of ecclesiastical goldsmith’s work, chalices, reliquaries, monstrances, &c. 7. — Jewellery, Lapidaries’ Work, etc. Personal ornaments ; brooches, pendants, bracelets, finger rings. Jewellery of ancient Irish origin. Vases, &c. in rock crystal, onyx, and other precious materials, mounted in gold and enamels. Snulf-boxes, etuis, miniature cases, chatelaines, seals, and similar objects of 17th and 18th century “ bijouterie.” 8. — Cameos and Engraved Gems of the Medieval and Cinque-cento periods. 9. — Nielli and impressions from ancient niello engravings. Objects and utensils decorated with niello-work. 10. — Decorative Clocks and Watches. 11. — Decorative Arms, Armour, and Accoutrements. 12. — Implements and Utensils op Ornajiental Cutlery'. 13. — Mosaics. 14. — Pottery. Hispano-Moresco lustred earthenwares. Italian Majolica wai-es. Persian enamelled pottery. Faience of //ewrif/eior. Faience of Bernard Palissy. German enamelled stonewares. Dutch and Flemish stonewares. Wedgwood wares and other decorative earthenwares of English origin. Decorative porcelain of various European manufactories, especially of Sevres and Chelsea. 15. — Glass. Mediieval enamelled glass vessels of Oriental origin “Sara- cenic,” or Arabian, and Persian. Venetian enamelled glass vessels of the 15th and 16th centuries. German and Flemish, or Dutch enamelled glasses, 16th and I7th centuries. Glass wares in general — Venetian, Bohemian, Dutch, Old French, &c. Painted or stained window glass. 16. — Enamels.— Cloisonne enamels of the Byzantine or other early Schools. Champleve enamels, German or Khenish Byzantine, and of the School of IJmoges. Mediaeval translucent enamels on gold and silver. Italian quattro- cento' painted enamels. Venetian enamelled wares. Painted enamels of the school of Limoges. Miniatures and other enamels of the 17th and 18th centuries ; works of Petitot, Bordier, Dinglinger, and others. 17. — Objects in Ancient Lac-Work, Varnish Painting, etc. 18. — Musical Instruments remarkable as objects of artistic decoration. 19 — Textile F.ybrics in general. Articles of costume, lace, &c. 20. — Bookp.indings : objects in stamped or incised leather. 21. — Portrait Miniature.s, especially by English masters of the 16th, 17th, and 18th centuries. V 22. — Illuminated Manoscbipts and separate illuminated miniatures, detached pages, initial letters, &c., especially illuminated manuscripts of Anglo-Saxon, ancient Irish, and medimval English schools. 23. — Original Designs, drawings and models for works of decorative art. (1.) As the intention is less the formation of a very extensive collection than that of an extremely select and systematic one, it is obvious that the reception of unnecessary or duplicate specimens must be avoided, and that on the other hand the most careful consideration should be exercised in the selection of the real and acknowledged treasures of art alone desired on this occasion. These desiderata, however, can only be attained by the kind co-operation and acquiescence of the possessors of valuable works in the practieal methods devised for carrying the exhibition into effect. It is therefore hoped that the possessors of fine works of art, who may be disposed to lend them for the gratification and instruction of the public, will kindly consent to allow such works to be selected from their collections as may be specially asked for, in accordance with methodic lists, which it is intended to complete, if possible, before any specimens are actually removed. (2.) All expenses attending the removal of objects to the Museum and their return at the close of the exhibition will be defrayed. (3.) In every case, where necessary or practicable, objects will be packed and removed in charge of the proper responsible officers of the Department, and returned in the same manner. (4.) The exhibition will be kept open from June to October, and it is hoped that lenders will be disposed to leave their contributions on view during that time. It is not, however, intended to depart from the original rule of the Museum in reference to objects received on loan, namely, that contributors, if desirous, may reclaim their loans at any moment. VI LIST OF CONTRIBUTORS. Hee Most Geaciotis Majesty The Queen. Abercoin, Mai’quis of. Academy, Royal Irish. Acton, Mrs. Stackhouse. Addington, Samirel, Esq. Aileshury, Marquess of Amherst, Earl. Anderdon, J. L., Esq. Andrew’s, St., University of. Angerstein, William,Esq. , M.P. Antiquaries, Royal So- ciety of Arundell of W ardour. Lord. Ashburton, Lord. Ashmolean Museum, Ox- ford. Ashurst, J. H. Esq. Attenborough, Geo., Esq. Attenborough, R., Esq. D’Aumale, S.A.R. leDuc. Austen, R. G., Esq. D’Azeglio, Marquis. Bacon, Rev. T. Baschet, Mons. A. Bagot, Hon. and Rev. Hervey C. Bagot, Miss. Bagshawe,W. H. Greaves, Esq. Baily, Charles, Esq. Baily, J. Walker, Esq. Baker, T. Barwick L., Esq. Bale, C. S., Esq. Bankes, H. S. Nugent, Esq. Baring, Francis, Esq . Baring, Hon. Miss. Baring, Thomas, Esq., M.P. Barker, Alexander, Esq. Bateman, Lord. Bath, Mayor and Corpo- ration of Beck, Rev. James. Bedford, Mrs. G. Sale. Beevor, Sir Thomas, Bart. Bentinck, Miss. Berney, Rev. Thomas. Bessborough, Earl of. Bishop, Dr. Blaauw, W. H., Esq. Black, Charles Ch., Esq. Blount, Sir Edward, Bart. Blount, M. H., Esq. Boger, Rev. Edmund. Bohn, H. G., Esq. Bock, Dr. Franz. Boone, J., Esq. Botfleld, Beriah, Esq., M.P. Bowdon, H., Esq. Bowyer, C., Esq. Boxall, W., Esq., R.A. Boyle, Charles, Esq. Brackstone, R. II., Esq. Brady, Miss M. G. Braikenridge, Rev. G. W. Brett, J. W., Esq. Briggs, Dr. Bristol, Marquess of Bristol, Corporation of Brock, Mrs. Brown, Right Rev. Bi- shop. Brownlow, Earl. Bruce, R., of Kennet. Buccleuch, Duke of Burrell, Sir Percy, Bart. Bush, R., Esq. Butler, Paul, Esq. Butler, Rt. Rev. Bishop. Buxton, Sir Robert, Bart. Cambridge, H.R.H. the Duke of Cambridge, Mayor and Corporation of. Cambridge University: Clare College. Christ’s College. Corpus Christi College. Pembroke College. St. John’s College. Campbell, Sir H. Ilume, Bart. Canning, Mrs. Gordon. Carlisle, Mayor and Cor- poration. Carruthers, C. B., Esq. Castellani, Ales., Signor. Catt, II. , Esq. Cawdor, Earl of Chambers, Mrs. Chapman, G., Esq. Charlton, Dr. Chesterfield, Earl of Chesterfield, Countess of. Clifden, Viscount. Clifford, Right Rev. the Hon. Bishop. Clifford, Lord. Columba, St., College of Compton, Rev. Lord Al- wyne. Cookson, J., Esq. Coope, O. E., Esq. Cosier, W., Esq. Coutts, Miss Burdett. Cowper, Earl. Cowper, Countess. Cowper, Lady A. Craig, J. Gibson, Esq. Crealock, Col. Crease, Mrs. Crewe, Lord. Croker, Rev. J. M. Crompton, the Misses. Cumming, Colonel. Curzon, Hon. R. Cuthbert’s, St., College, Ushaw. Darner, S. Dawson, Esq. Davey, J., Esq. Davidson, D. M., Esq. Davis, F., Esq. Dawson, Captain Pudsey. De Grey and Ripon, Earl. Delamere, Lord. De la Feld, Count. De L’Isle and Dudley, Lord. Dent, J. C., Esq. Derby, Earl of Des Voeux, Lady Sophia. Devonshire, Duke of. Dexter, J. P., Esq. Dilke, Sir C. Wentworth, Bart. Doncaster, Mayor and Corporation of. Douglas,W.,Esq., R.S.A. Doyle, P. W., Esq. D’Oyley, Miss. Drake, W. R., Esq. Drewett, R. D., Esq. Dublin, University of. Dugdale, W. S., Esq. Durham, Corporation of Durlacher, H., Esq. Dyke, Sir Percy vail Hart, Bart. Dymoke, Hon. Sir H. Eastlake, Lady. Eden, Hon. Miss. Edmonstone, Miss. Edmund’s, St., CoU.Ware. Edwardes, J. Dyer, Esq. Edwards, Sir H., Bart., M.P. Egerton,Wilbraham, Esq. Egerton, Sir Philip de Malpas Grey, Bart. Elgin, Earl of. Ellman, H., Esq. Elton, Sir A. H., Bart. Elton, Sir E. Marwood, Bart. Elwes, Eobt., Esq. Exeter, Bishop of. Eyre, Very Eev. Monsig- nor. Falcke, D., Esq. Ealcke, I., Esq. Ealkener, E., Esq. Eanshawe, J. G., Esq. Earquhar, Harvie M., Esq. Earrer, Messrs. Eawcett, Eev. J. T. C. Eountaine, Andrew, Esq. Eavard de Langlade, La Baronne. Eellows, Lady. Eield, George, Esq. Field, Eev. W. Eigg, W., Esq. Eisher, E., Esq. EitzHai'dinge, Lord. Flower, John W. Foley, Lord. Eolkstone, Viscount. Ford, Gilbert, Esq. Ford, J., Esq. Ford, Mrs. Eonnan, W. H., Esq. Forster, W., Esq. Fortnum, C. D. E., Esq. Foundling Hospital. Fowke, Capt. E. E. Franks, A. W., Esq. Frazer, Sir W., Bart. Freeman, S. P., Esq. Frere, E. Temple, Esq., M.D. Fry, Francis, Esq. Fullarton, A. G., Esq. Gage, Sir T. Eokewood, Bart. Gardner, J. Dunn, Esq. Garrard, Messrs. Geary, Lady. vii Geere, D. D., Esq. Gladstone, Eight Hon. W. E., M.P. Glasgow, University of. Glynne, Sir Stephen, Bt. Godfrey, J. E. Eace, Esq. Goding, C., Esq. Goding, W,, Esq. Goff, Eobert, Esq. Gore, Hon. Charles. Gordon, H., Esq. Gosford, Earl of. Gower, G. Leveson, Esq. Granville, Earl. Gregory’s, St., Norwich, Chiu’chwardens of. Grenville, E. Neville, Esq. Gresley, Sir Thos., Bart. Guthrie, Colonel. Hailstone, E. Esq. Haines, George, Esq. Halsted, C. T., Esq. Hamilton, Duke of. Hardwieke, P. C., Esq., E.A. Hargreaves, Francis, Esq. Harris, J. D., Esq. Hart, Eev. G. A. F. Hawkins, Hey wood. Esq. Hawkins, Miss. Hawkins, M. Ehode, Esq Hay, Sir Adam, Bart. Head, G. H., Esq. Hedon, Mayor and Cor- poration of. Henderson, John, Esq. Henniker, Lord, M.P. Hereford, the Dean of. Herries, Lady. Herries, Lord. Hinxman, Mrs. Hippisley, Sir John, Bt. Hodgkinson, F. O., Esq. Hodgkinson, Sampson, Esq. Holburne, Sir T, W., Bart. Holford, E. S., M.P. Hollond, Mrs. Eobert. Hollond, E., Esq. Holman, Mrs. Home, Earl of. Hope, A. ,7. B. Beres- ford. Esq. Hope, Mrs. F. W. Hope, H. T., Esq. Howard, Lord E. C., Fitzalan, M.P. Howard, P. H., Esq. Howard, Mrs. P. H. Hugo, Eev. Thos. Hulton, Mrs. John, Humble Michael, Esq. Hunt and Eoskell,Messrs. Hunt, Very Eev. Canon. Hunter, E. (of Hunter). Hurst, E. IL, Esq. Huth, Louis, Esq. Ilchester, Mayor and Corporation of. Isham, Sir C., Bart. Jaffray, A. W., Esq. James, J,, Esq. Jepson, Eev. George. Jenvey, Miss. Jones, H., Esq. Joseph, A., Esq. Kelk, .John, Esq. King, W. P., Esq. King’s Lynn, Corpora- tion of Kildare, Marquess of. Kilduff, Et. Eev. Bishop. Kinnaird, Lord. Law, Markham, Esq. Lawrence, E. H., Esq. I.awsou, Sir W., Bart. Layard, A.H.,Esq., M.P. Lechmere, Sir E., Bart. Leicester, Eev. F. Levett, Miss. Leyland, Capt. JJnton, John, Esq. Litchfield, the Dean and Chapter of Littledale, Mrs. Jjocker, F., Esq. JjOndesborough, Lord. London, Companies of the City of: Barber Surgeons’. Brewers’. Broderers’. Carpenters’. Clothworkers’. Coopei's’. Fishmongers’. Goldsmiths’. Grocers’. Haberdashers’. Ironmongers’. Innholders’. Leather Sellei’s'. Mercers’. Merchant Taylo^^ Painter Stainers’. Plasterers’. Salters’. Skinners’. Vintner’s. W ax-chandlers’. Londonderry, the Mar- quess of. Lumsden, J., Esq. vm MacLeod of MacLeod. McKay, W., Esq, Macmanus, H., Esq. ISIagniac, H., Esq. Maidstone, Mayor and Corporation of. Maidstone Museum. Malcolm, General. Manchester, Duke of. Matj oribanks, D. C., Esq., M.P. Marjoribanks, Mrs. D. C. Marryat, Joseph. Martin, Studley, Esq. Maskell, W., Esq. Mellish, Mrs. Meynell, G., Esq. Mildmay, Ed. St. John, Esq. Mildmay, Mrs. W. St. John. Mills, Charles, Esq. Mills, Edward, Esq. Mills, J., Esq. Milnes, E. Monckton, Esq., M.P. Mitford,W. T. Esq., M.P. Moore, Edmund E., Esq. Morgan, C. Octavius, Esq., M.P. Morland, G. H., Esq. Morpeth, Corporation of. Morritt,Wm., Esq., M.P. Mostyn, Sir Pyers, Bart. Munster, H., Esq. Murray, C. Scott, Esq. Murray, the Hon. Mrs. Scott. Napier, E., Esq. Naylor, E. C., Esq. Neave, Sheffield, Esq. Nelson, Park, Esq. Nesbitt, A., Esq. Nevill, Lady Dorothy. Nightingale, J. C., Esq. Noble, John, Esq. Noiman, Eev. J. C. North, the Baroness. Northumberland,Duke of. Northey, Miss. Norwich, Corporation of. Oscott, St. Mary’s Col- lege. Oswald, Alex., Esq. Owen, Hugh, Esq. Oxford, Mayor and Cor- poration of. Oxford University : All Souls’ College. Bodleian Library. Corpus Christi College. Exeter College. Oxford Univ. — cont. Jesus College. New College. Oriel College. Queen’s College. Palliser, Mrs. Palmerston, Viscount, M.P. Parker, J. Oxley, Esq. Parry, T. Gambler, Esq. Paul, Mrs. Paul’s, St., Dean and Chapter of. Payne, A . E., Esq. Pechell, Lady Brooke. Perry, Sir Erskine. Philips, Mark, Esq. Phillipps, Sir T., Bart. Phillips, Lisle, Esq. Poole, E. Stanley, Esq. Portland, Duke of. Potts, George, Esq., M.P. Powell, G. E. Esq. Powis, Earl of. Prendergast, Captain. Pretty, E., Esq. Prideaux, Walter, Esq. Pritchett, E. T., Esq. Eadcliffe, Lady. Eainey, John, Esq. Earn, Stephen, Esq. Eeynolds, C. W., Esq. Ehodes, Eev. Gregory. Eichmond, Duke of. Eingrose, Eev. J. Eippon, G., Esq. Eobinson, J. C., Esq. Eochester, Dean of. Eock, the Very Eev. Dr. Eolls, J. E. W., Esq. Eoss, Lady Mary. Eothschild, Baron Al- phonse de. Eothschild, Sir Anthony, Bart. Eothschild, Baron Gus- tave de. Eothschild, Baron James de. Eothschild, Baron Lionel de, M.P. Eothschild, Baron Mayer de, M.P. Eothschild, Baroness Mayer de. Eothschild, L. M., Esq. Eoyal Institution. Eussell, Eev. J. Puller. Eussell, Eev. Dr. Eutland, Duke of. Eutter, E., Esq. Eyan, Eev. W. Salisbury, Marquess of. Sambrooke, T. G., Esq. Sanford, Ed. A., Esq. Sanford, W. Ayshlbrd, Esq. Sass, H. W., Esq. ' Scotland, National Gal- lery of. Scott, J. E. Hope, Esq. Sebright, Sir T., Bart. Seymour, Alfred, Esq. Seymour, H. Danby, Esq. M.P. Sissmore, H. E., Esq. Slade, Pelix, Esq. Slee, Eobt., Esq. Smith, Captain E. Smith, George E., Esq. Smith, Martin T., Esq., M.P. Smith, Miss Alicia. Smith, Miss. Smith, E. H. S., Esq. Sneyd, Eev. Walter. Solly, S. Eeynolds, Esq. Sotheby, Charles, Esq. Spiers, Mr. Alderman. Spencer, the Earl. Stamford and Warring- ton, Earl of. Stanhope, H. Scudamore, Esq. Stanhope, the Earl. Steeple Aston, Church- wardens of. Stephens, Mrs. Lyne. Stewart, W., Esq. Stewart, J. M., Esq. Stirling, WtUiam, Esq., of Keir, M.P. Stoneyhm’st College. Stopford, W. B., Esq. Stourton, Lady. Strangford, Viscount. Stuart deEothsay, Lady. Stuart, William, Esq. Talbot de Malahide,Lord. Taunton, Lord. Taylor, Eev. Montague. Teleki, La Comtesse Harley. Temple, Mrs. Thackery, Miss. Thompson, P., Esq. Throckmorton, Sir Ko- bert, Bt. Tickell, Eev. Geo. Tite, W., Esq., M.P. Toovey, J., Esq. Townsend, Lieut. John. Trevelyan, Sir W. C., Bart. IX Trinity College, Dublin. Turner, Mrs. Turner, R. S.,Esq. Tyndale, J. W. Warre, Esq. Vane, H. Morgan, Esq. Vaughan, Henry, Esq. Verney, Sir H., Bart. Waldegrave, Frances, Countess of. W alker, Robt., Esq. Walrond, J. W., Esq. Walsingham, Sir E. Walton, J. Todd, Esq. Warwick Museum. Waterhouse, Messrs. Waterton, Charles, Esq. Waterton, Edmund, Esq. Watherston, J. H., Esq. Way, Albert, Esq. Webb, John, Esq. Weld, E., Esq. Wellesley, Rev. Dr. Wells Cathedral, Princi- pal and Vicars Choral of. Wells, Dean and Chapter of Wells, W., Esq. AVestminster, Marquis of Whatman, James C.,Esq. White, Ed., Esq. Whitehead, R, R., Esq. AA’^hitehead, T. M., Esq. Wickham, Rev. Hill. Wild, Miss Elizabeth. Wigram, H. Loftus, Esq. Williams, E., Esq. Williamson, Rev. E. R. Wilkinson, Norman, Esq. Willoughby de Eresby, Lord and Lady. Winchester, Dean of „ College. Winn, Charles, Esq. Wiseman, H.E.Cardinal. Wyatt, M. Digby, Esq. Wynn, Sir Watkin Wil- liams, Bart., M.P. Wynne, W. AV. E., Esq., M.P. York, Corporation of Zetland, Countess of Zouche, Baroness de la. XI CONTENTS PAGE Notice - -- -- -- - xiii Introduction to the earlier Editions - - - - xv Sect. 1 . Sculptures in Marble, Terra-cotta, &c. - - - - i 2 . Carvings in Ivory -------3 3. Art Bronzes - -- -- -.07 4. Furniture - -- -- --35 5. Objects of ancient L’ish and Anglo-Saxon art - - - 41 6 . Various Works of Mediaeval Art, Ecclesiastical Utensils, &c. - 52 6 a. Early Enamelled Metal Work of Limoges, and other Fabrics - 68 7. “ Henri Deux” Ware ------ §8 8 . Bernard Palis.sy Ware - - - - - -110 9. Sevres Porcelain - - - - - - -114 10 . Limoges Painted Enamels - - - - - 139 11 . Portrait Miniatures - - - - - - 183 12 . Ecclesiastical Vestments, Tissues, and Embroideries - - 249 13. Decorative Plate belonging to the Universities of Oxford and Cambridge ------- 268 14. Persian Ware ------- 284 1 5. Porcelain and other Pottery of various Manufactories - - 300 16. English Porcelain, Stonewares, &c. of various Manufactories - 309 17. Snuff-boxes, Bijouterie, &c., principally of the I7th and 18th Cen- turies -------- 326 18. Decorative Arms and Armom’ ----- 353 19. Miscellaneous Enamels ------ 373 20 . Glass - - - - - - - -381 21. Majolica Wares ------- 399 22 . Decorative Plate, &c., contributed by the various Companies of the City of London - . . - _ 444 23. Plate and other Objects contributed by various Corporate Bodies - 456 24. Plate of English Manufacture - - - - - 471 25. Decorative Plate, chiefly of the 16th and I7th centuries, of various Foreign Origin - - - - - - - 501 26. Damascened Work - - - - - -541 27. Locks, Keys, and other Objects ill Wrought Iron - - - 551 28. Antique and other Engraved Gems - - _ - 555 29. Addenda and Miscellaneous Objects - - 572 XU Sect. PAGE 30. Illuminations and Illuminated Manuscripts - - 581 31. Bookbindings - . - - - . 595 32. Rings - - - - - - - - 618 33. Miscellaneous Rings <533 34. Jewellery, Personal Ornaments, and Gems .... 333 35. Clocks and Watches - - - - - - 651 36. Vases and other Objects in Rock Crystal, Sardonyx, &c. - - 663 37. Historical Relics - - - - - - - 674 38. Miscellaneous Objects ------ 684 39. Addenda, Part 2- - - - - - - 706 40. Do., Various ------- 726 General Index ------- 739 NOTICE. The following Catalogue was originally brought out in five parts, which appeared at intervals, as the materials for them could be procured. The order in which the sections occur, therefore, depended rather on their relative completeness at the early period of the collection of the objects, and on the convenience of the writers who have aided the Editor in his task, than on any plan of arrangement which he could have laid down for his guidance. Several sections have been supplemented by addenda, consisting chiefly of objects, the late arrival of which prevented their insertion in the regular order ; others not easy to class, will be found under the head of “ Mis- cellaneous.” A general index of names of lenders and objects is now appended. Considering the hurried manner in which every section of the work was necessarily produced, it is certain that numerous errors, doubtless some regretable ones, must have occurred. The preparation, however, of a really adequate descriptive catalogue of such a vast Collection would have been the work of years, rather than of a few months ; and the fact that each writer zealously did his best to complete liis task at the earliest possible moment, in order that the descriptions might be available to the public, whilst as yet the objects themselves remained on view, must be accepted as the best apology for shortcomings. XIV As will be seen from the lists herein, the number of contributors to the Collection was about five hundred, and the actual number of specimens contributed may be computed at upwards of nine thousand, whilst the number of visitors to the Exhibition, from June to November inclusive, was nearly nine hundred thousand. INTRODUCTION (TO THE EARLIER EDITIONS). The difficulties attending the assembling;' together, from all parts of the Kingdom, of the diversified objects composing the present col lection, rendered the preparation of a Catalogue, in time for the opening of the Exhibition, quite impracticable. It was found to be impossible to obtain sufficiently precise information respecting the objects about to be contributed, to enable detailed preliminary lists to be prepared, wliilst the postponement of transmission of a great proportion of the specimens, until the latest moment, rendered the worlc of arranging the collection for exhibition, of itself sufficiently onerous. The necessity for a catalogue, however, was evident, and the present instalments are an attempt to supply the want, at all events, as speedily as circumstances would allow. The names of the writers of the several sections precede the same. It is intended to issue further parts with as little delay as possible, rather than to await the completion of the entire work. The Editor takes this opportunity of gratefully acknow- ledging the invaluable aid and assistance rendered by the members of the Committee, in respect to the work of obtaining loans, many gentlemen having, indeed, taken charge of, and conveyed from considerable distances, objects of gTeat delicacy and value. A complete list of the Committee precedes this notice. The active co-operation of his colleague, Mr. R. H. S. Smith, and of the Rev. James Beck, in like manner calls for special recognition. XVI The liberality and public spirit of the owners of the treasures now brought together need no comment ; applica- tions for loans were, almost without exception, responded to with the utmost readiness, and, indeed, the only diffi- culty was to restrict the contributions, offered on all hands, within the limits of the space to be filled. CATALOGUE. Section 1. SCULPTURES IN MARBLE, TERRA COTTA, &c. By J. C. Robinson. No. 1. Colos.sal bust in terra cotta, of Lorenzo de Medici, “ II Magnifico.” Contemporary 15th century Florentine sculpture. Height, 2 ft. 1 in. Lord Taunton. No. 2. Colossal bust of King Charles II., in statuary p marble. Contemporary sculpture, signed “ Honore Belle, fecit.” Height, 4 ft. 3 in. H. Durlachee, Esq., Bond Street. No. 3. Vase, sculptured in white marble, the drum en- circled by a frieze of amorini in high relief French, period of Louis XIV. (Signed “ Nicolaus Coustou, fe. 169.9.”) Cou.stou was born at Lyons, and died in Paris in 1733. Height, 4 ft. in. H. Durlacher, Esq., Bond Street. No. 4. Profile portrait of a female, basso relievo in marble. Florentine sculpture, period or school of Donatello. Height, 18in. ; v.fidth, 13^ in. Henry Vaughan, Esq. No. 5. A Pieta, or group of the Virgin, supporting the body of our Saviour ; sculptured in alto-relievo, in Nero- antico, highly polished. Italian sculpture of the first half of the 17th centuiy. Length, 14^ in. ; height, 10 in. W. Stuart, Esq. No. G. Statue or group in the round, in terra cotta, the drapery and accessories enamelled ; a female with two chil- dren, an irnpei’.sonation of Chai-ity. “Della Robbia ware in all probability a woiL of Luca Della Robbia himself ; circa 1 460. Height, 3 ft. Henry Danby Seymour, Esq., M.P. No. 7. Bas-relief in marble ; the Centaur Nessus carry- ing off Dejanira. Italo-Flemish, 17th centuiy sculpture. Height, 14 in. ; width, lOi in. Mrs. Palliser. No. 8. Life-sized bust of a laughing girl, in teiua cotta ; painted in oil, in imitation of the life. German sculpture, circa 1560. Pleight, 13 in. Her Majesty the Queen (Buckingham Palace Coll.). No. 9. Group of a Satyr and a Bacchante ; highly-finished model in the round, in terra-cotta, by Clodion. French, period of Louis XVI. Height, 21 in. George Field, Esq. No. 10. Companion group to the preceding. Height, 21 in. George Field, Esq. 9 Section 1.— Sculptures in Nos. 11 & 12. Pail* of long friezes ; Tritons and Sea Nymphs ; relievi in terra cotta, By Clodion. Length, 5 ft. ; height, 13 in. George Field, Esq. Nos. 13 & 14. Terra-cotta models of “La Notte ” and a male recumbent figure, reduced from the marble statue.s on the Medici tombs. Ascribed to Michael Angelo, doubtless 16th century Florentine sculpture. Length, 17 in. Earl Spencer (from Althorp). Nos. 15 & 16. Two half-length statues of Angels, in marble, of “ small ” life size. Italian quattro-cento sculpture ; said to have been brought from a destroyed tomb or altar-piece, formerly in the Duomo of Perugia. H. S. Nugent Bankes, Esq. Nos. 17 & 18. Wax models of the statues of Lorenzo and Giuliano de Medici, from the Florence tombs. 16th cen- tury Florentine sculpture, ascribed to Michael Angelo. Height 2 ft. 2 in. SiR Hugh Hume Campbell, Bart. No. 19. ¥/ax model of the statue of the Virgin and Child, from the Medici Chapel in San Lorenzo. 16th century Florentine sculpture, ascribed to Michael Angelo. Height, 2 ft. 2 in. Sir H. H. Campbell, Bart. No. 20. Life-sized head in marble, said to be a portrait of Henry VII. Ascribed to Pietro Torregiano. Contemporary sculpture. From the Strawberry Hill collection. The Duke of Northumberland. No. 21. Circular relievo in “gesso duro the Virgin ami Child with Angels. Ascribed to Lorenzo Ghiberti ; Floren- tine sculpture. This relievo is inscribed at the back “ for- mate 17 Gennaro 1428,” accompanied with an illegible signature. It is evidently a contemporary “ sur-moulage ” from an original relievo by a great Florentine sculptor, and the signature is that of the moulder. Diameter, 16 in. C. D. E. Fortnum, Esq. No. 22. Torso of a statue of Venus in green serpentine. Antique Greek or Roman work. Height, 2 ft. 10 in. The Hon. Board of Trustees, Nat. Gallery of Scotland. No. 23. Head or mask in terra cotta. A small life-sized poVtrait of Marie de Medici. Ascribed to Van Dyck. Height, 91 in. Rev. H. Wellesley, D.D. No. 24 & 25. Tvm piers or pilasters sculptured in marble, Avith renaissance arabesques, in Avhich the Tudor emblems of the rose, portcullis, &c. are conspicuous. Delicate and highly finished sculpture by an Italian artist. Length, 2 ft. 7 in. The Ashmolean Museum, Oxford. No. 26. Profile relievo bust, in marble, of the young St. John. Ascribed to Donatello. From Strawberry Hill (pre- Marble, Terra-cotta, k , c . S sentecl to Horace Walpole by Sir Horace Mann). Height, 1 ft. 9 in. Sir C. Wentworth 1)ilke, Bart. No. 27. Allegorical figure of Victory trampling on a slave. Model in terra-cotta of the marble statue at Florence. As- cribed to Giovanni Bologna. Heiglit, 10|- in. Isaac Falcke, Esq. No. 28 & 29. Two relievo carvings in wood. Subjects, the Adoration of the Magi, and the Holy Family, with St. Eli- zabeth and St. John. I7th century work. Height, 12 in. ; width, Hi in. The Bishop of Exeter. Nos. 30 & 31. Two life-sized terra-cotta busts, originally painted in imitation of the life, of Philippe le Beau, Didce of Burgundy, and his wife, Jeanne la Folle (father and mother of the Emperor Charles V.), obviously modelled from the life. Ascribed to Quentyn Matsys. (From the d’Huy- vetter collection, Ghent.) Philippe, born 1478, died 1506 ; Jeanne, born 1482, died 1555. Their marriage took place in 1496. J. C. Bobinson, Esq. No. 32. Life-size marble bust of Augustus (?) or an un- Ivnown Homan personage of the Augustan period. Antique Roman work. J. C. Robinson, Esq. No. 33. Recumbent male figure, in terra-cotta, from th.e Medici tomb, after Michael Angelo. Length, 2 ft. 9 in. W. Angerstein, Esq., M.P. No. 34. A male figure in a crouching position, holding an amphora. Study in terra cotta, probably for a marble or bronze statue for a fountain. Italian cinque-cento sculpture. Height, if erect, 3 ft. W. Angerstein, Esq., M.P. No. 35. Head of Jupiter Serapis, in green basalt. Antique Roman work. From the Strawberry Hill collection. Height, including pedestal, 74 in. The Duke of Hamilton, Section 2, CAEVINGS IN IVOEY By A. W. Franks, Esq., M.A., of the Department of An- tiquities, British Museum, and Director of the Society of Antiquai'ies. Collection of Carvings in Ivory lent by John Webb, Esq. Carvings anterior to the 13fA Century. No. 36. Mutilated bas-relief, representing three figures and part of another ; probably from a sacrificial procession or ceremony : 3rd century. Height, 6 in. A 2 4 Section 2. — CaTvVings in Ivory. Collection lent by John Webb, continued. No. 37. One leaf of the Dqytychoii Meleretense, repre- senting a female liolding an acerm with incense, and standing Ijefore an altar ; behind the altar is a child liolding a bowl of fruit and a two-handled vase or cantharas ; above is inscribed symmachorvm. This and the other leaf of the diptych were formerly attached to a reliquary at Moutiers, in France, and published in Gori, “Thesaurus Diptychorum,” i. p. 207. The Symmachi Avere a family of consular rank, the most noted of Avhom were L. Aurelius Symmachus, who flourished about the middle of the Ith century, and his son Q. Aurelius Symmachus, consul in A.D. 391, and a distinguished writer. Ilf in. by 4| in. No. 38. Diptych of Rufinus Gennadius Probus Orestes, consul of the East under .Justinian, A.D. 530. On each leaf the consul is represented seated in the cuimle chair, and holding the Mappa Circensis ; above are medallions, with busts of Justinian and Theodora. Engraved in Gori, “ Thesaurus Diptychorum," vol. i. pi. xvii. and xviii. (From the Settale collection at Milan and the Soltykoff collection, 381.) Each leaf, 13^ in. by 4| in. No. 39. Book cover, composed of five panels, united by modern metal bands ; in the centre the Virgin and Child ; on one side Isaiah standing ; on the other Melchisedech ; above is a medallion with a bust of the Saviour, supported by Angels ; below, scenes from the Nativity. It is identical in style and size with a cover in the Vatican from the Lorch Codex (Gori, tom. iii. p. 25), Avhich contains the Gospels of St. Luke and St. John ; this was probably the cover of the other two Gospels. 8th century. (Levens collection, Cologne, and Soltykoff collection, 9.) 1.5 in. by 11 in. No. 40. Bas-relief of irregular form, on which is seen an Apostle standing. Italo-Byzantine school, 9th centuiy. Height, 4^ in. No. 41. Tablet representing the Crucifixion, surrounded with emblematical devices ; below, the Earth and the Sea personified. The ivory has been studded all over with golden nails, of which a few remain. Carlovingian work, 9 th century. 8| in. by 4| in. No. 42. Tablet representing the Crucifixion, with emble- matical figures, such as the Church and Synagogue, Earth and Water, &c. Carlovingian work, 9th century. (Soltykoff collection, 11.) 9 in. by 4^ in. No. 43. Tablet with the Crucifixion, the Visit to the Tomb, and allegorical scenes ; it is carved on the back of the upper part of a leaf of a Roman consular diptych, the projecting portions of Avhich have been planed doAvn. Carlovingian work, 10th century. Gi in. by 4 in. For Section 2. — Carvincis in Ivory. O Collection lent by Jolin Webb, Esq. — contlnacd. description of ivories such as the three last, see “ Melanges ArclMolog'iques,” vol. ii. p. 39. No. Id. Diminutive tablet representing the Visit of tlie Maries to the Tomb. Carlovingian work, 9th centmy. 3g in. by in. No. 45. Pair of tablets from book covers : the Transfiiru- ration and the Ascension. On the back are remains of earlier sculpture, representing the Last Judgment, and a series of interlaced ornaments. 10th century. 5 in. by 3^- in. No. 46. Pair of tablets, the Transfiguration and the Mi- racle of curing the Blind Man; German, lOtli century. (Soltykoff collection, 15, 16.) 3|^in. by 2|-in. No. 47- Tablet in two compartments ; the Entry into Jerusalem and the Last Supper. German, lOtli century ; on the reverse, rude carving of the Baptism and Ascension, mutilated. (Soltykoff collection, 14.) 5| in. by 3^- in. No. 48. Tablet in two compartments in high relief; Adoration of tlie Magi and Presentation in the Temple. German, 10th century. 7 in. by 4§ in. No. 49. Tablet of very rude work ; the Presentation in the Temple. 5^ in. by 3^ in. No. 50. Tablet carved in high relief, the Annunciation and the Nativit^c German work, 10th century. 4 in. by 2| in. No. 51. Tablet representing the Crucifixion. German, 11th century. (Soltykoff collection, 13.) 7j in. by 44 in. No. 52. Another tablet, similar subject to the last. 10th century. 5j in. by 4 in. No. 53. Mutilated tablet representing Christ in Glory, treading on the Lion and Dragon. French, 12th centurv. Height, 4f in. No. 54. Tablet of irregular form, on which is represented the Adoration of the Magi ; below is an ornamental band, with a chase of Avild animals. German, 11th century, (Soltykoff collection, 17.) Height, 14 in. ; greatest width. 6i ill- No. 55. Tablet, stained purple, representing the Nativity. Curious architectural work. German, 12th centuiy. (From the Mertens Schaffhausen collection). 7^ in. by 8^ in. No. 56. Companion tablet to the last, also stained purple ; the Adoration of the Magi. (From the same collection.) 7f in. by 8;^ in. No. 57. Central portion of a tablet of similar work to the two last, representing the Ascension ; below is seen the prophet Habakkuk. It closely resembles an ivory described in the Catalogue of Casts published by the Arundel Society, Class 10. Height, 6gin. by 4jin. 6 Section 2.— Carvings in Ivory. Collection lent by John Webb, Esq. — continued. No. 58. Four tablets, with the Evangelists in high relief, seated, writing their gospels ; above are their respective symbols. German, 12th centiuy. 3§ in. by in. No. 69. Four diminutive tablets, also representing the Evangelists seated. 12th century. Each 1 in. square. No. 60. Twelve small panels, representing scenes from the life of Christ, now mounted in two frames of wood. German, 12th centurjc Each panel 2 in. by If in. No. 61. Panel with a figure of St. Paul preaching ; on the margin is an inscription. 12th century. 4 in. by 2| in. No. 62. Panel representing a King in bed and another riding. 12th century. 4j in. by 2 in. Byzantine Carvings. No. 63. Panel, on which is a circle enclosing the Eagle of St. John ; fine and delicate border. 8th century. 5 in. by in. No. 64. Bas-relief, on which are seen St. Peter and St. Paul seated ; between them is a winged figure, above which is inscribed FIOAIC PCOMH. 9th century. 5^ in. by 3| in. No. 65. Centre of triptych, in three ranges. In the upper one the Death of the Virgin ; in the two lower Eight Saints, Avith their names inscribed in Greek. 12th century. 104 in. by 5^ in. No. 66. Leaf of devotional tablets, in throe ranges, con- taining six scenes from the Life of Christ. 12th century. 10 in. ly 5 in. No. 67. Seated figure of Christ in Ioav relief 13th cen- tury. Height, 4-g- in. No. 68. Another, similar. Height, 3 in. Devotional Tablets of IZtli, l^th, aiul 15th Centuries. No. 69. Panel, in vdiich is a deeply recessed arch or canopy over a figure of an Episcopal Saint, at Avhose feet a man and a woman are kneeling, probably the Donatori. Late 13th century. 4| in. by 2^ in. No. 70. Panel, of similar workmanship to the last, with the Virgin and Child seated under a canopy of elegant tracery. Late 13th century. 3j in. by 2 in. No. 71. Centre of a triptych, Avith a pointed top ; in the loAA='er part the Nativity and the Adoration of the Magi ; above, the Descent from the Cross ; and at the top the Last Judgment. 13th century. 4 in. by 2-§- in. No. 72. Pair of tablets, subjects in three ranges; the History of the Passion ; over the subjects are very elaborate canopies. Painted and partly gilt. End of 13th century. (From the Treasury of the Catliedral of Soissons.) 12f in. by 9J- in. Section 2. — Carvings in Ivory. I Collection lent by John Webb, Esq. — continued. No. 73. Triptych composed of two stages ; in the upper one is the Crucifixion ; in the lower one the Virgin and Child, with two Angels holding candles. These representa- tions are under projecting arcades in full relief, and are enclosed by four shutters, on which are carved in low relief subjects from the Life of Christ. 14th century. (Debruge collection, 149 ; and Soltykoff collection, 237.) Height, 15 .^ in. No. 74 . Pair of tablets in three ranges, with scenes from tlie History of the Passion. Fine work. 14th century. Each leaf 10 in. by 4f. No. 75. Pair of tablets in two ranges, with seven scenes, under canopies, from the Life of Christ and tlie Virgin. 14th century. Each leaf 6| in. by 4|- in. No. 76. Pair of tablets in three ranges, containing twelve scenes from the Hi.stoiy of the Passion, with elaborate canopies and slender shafts. 14th century. Eachleaf lOf in. by 4| in. No. 77 . Pair of tablets in high relief ; on one side the Virgin and Child, with two Angels censing, and another holding a crown over her head ; on the other the Cruci- fixion ; Angels in the spandrils. Fine work. 14th century. (Soltykoff collection, 244.) Each leaf Of in. by 4<^ in. No. 78. Pair of tablets, similar subjects to the last. 14th cent. (Soltykoff collection, 254.) Each leaf 6f in. by 4J in. No. 79. Pair of tablets, same design as the last, with Angels in the spandrils. 14th century. Each leaf 6 in. by 4 in. No. 80. Pair of tablets similar to the last, in the spandrils are masks in quatrefoils. 14th century. Each leaf 5^- in. by 2| in. No. 81. Pair of tablets, each leaf divided into two quatre- foiled panels ; four subjects from the Life of Christ. Early 1 4th century. Each leaf 4| in. by 2| in. No. 82. Pair of tablets, with the Adoration of the Magi and the Crucifixion. Late 14th century. Each leaf 4| in. by 3| in. No. 83. Folding tablets of four leaves, in each of which a scene from the Childhood of Christ ; partly painted and gilt. 14th century. (Debruge collection, 160 ; and Sol ty- koff collection, 239.) Each leaf 3 in. by 2^ in. No. 84. Triptych, with the Virgin and Child; above an angel holding a crown ; on the wings angels with candles. 1 4tli century. Height, Sin. No. 85. Leaf of tablets with pointed top, the Nativity 14th century. 4;^ in. by 2 in; 8 Section 2. — Carvings in Ivory. Collection lent by Jolm Webb, continaed. No. 86. Leaf of tablets in three ranges, with scenes from the Passion of Christ, divided from each other by a mould- ing Avith roses. Early llth century. 6j in. by 3-^ in. No. 87. Central portion of a triptych with pointed top, in two divisions ; above the Crucifixion, beloAV the Virgin and Child, Avith Angels holding a croAvn and candles. Early J.-lth century. Height 10| in. No. 88. Leaf of tablets of pierced Avork, Avith four scenes from the Life of Christ. French Avork. Late 14th century. 44 in. by 3 in. No. 89. Tript3mh representing the Coronation of the Virgin ; in the background a Concert of Angels ; on the Avings the Annunciation, St. Michael, St. George, and two other Saints. A remarkable specimen of Italian AVork, probably Venetian. Late 14th century. Height, 10| in. ; Avidth, 6|- in. No. 90. Bas-relief of pierced Avork, which has formed a portion of a devotional tablet ; a lozenge enclosing a figure of the Creator ; in the angles the Evangelistic Symbols. Late 1 4th centuiy. 4 in. by 3 in. No. 91. Small arched tablet, the Virgin and Child between St. John Baptist and St. Catherine. Late 14th century. Height, 3 in. No. 92. Group, from a panel in pierced Avork, representing a female kneeling to a figure of the Virgin and Child, standing and attended by St. John Baptist and a Sainted Abbot, Avho is holding a crown. Height, 2^- in. No. 93. Panel of pierced work, Avith figures of our Lord betAveen St. Peter and St. Paul, standing under very rich canopies ; aboA^e are the Annunciation, the Adoration of the Magi, and the Presentation in the Temple. The sides of the canopies are composed of a series of small niches con- taining figures Avith musical instruments and Apostles. Fine work. Date circa 1400. 5^ in. by 4^ in. No. 94. Crescent shaped carving from a panel in pierced Avork ; the Virgin and Child seated between St. John the Evangelist and St. Catherine. Height, 2 in. Carvings of the Renaissance Period. No. 95. A bas-relief, representing St. Sebastian, carved in ivory and set on a Avooden background, Avith marqueterie border. Fine Italian work ; end of 15th century. 11| in. by 7 in. No. 96. A bas-relief representing St. Paul and five other Apo, sties. Italian; 1 6 tli century. 4jin. by5{in. Skction 2.— Carvings in Ivory. 9 Collection lent by Jolm Webb, Esq. — continued. SUdudtes and Groups. No. 97. Figure of the Virgin seated, the Infant Saviour standing in her lap, and holding an apple. Fine work ; llth centmy. Height, 5| in. No. 98. Another similar, tlie Virgin holding a book, the Child a fruit. Early 14th century. Height, 4| in. No. 99. The Virgin and Child seated and holding fruit ; at her feet a dragon. End of 1 3th century. Height, 4| in. No. 100. Tlie Virgin and Child seated on a panelled throne. Fine work ; 14th century. (From the Hertz col- lection.) Height, 5 1 in. No. 101. The Vh’gin seated and holding the Cliild, who is playing with a bird. 14th centuiy. Height, 8 in. No. 102. The Virgin seated sideways and holding theChild, who is standing on her lap, and has a bird and fruit. Height, 8^ in. No. 103. The Virgin seated, with the Chiid standing on her lap and holding a bird. The former has a metal crown. Height, 8| in. No. 104. The Virgin seated and suckling the Child. Height, 4 1 in. No. 105. The Virgin standing and holding in her arms the Child, who has a fruit in one hand, and is blessing with the other. Remains of painting on the dresses and a metal crown on the Virgin’s head. 14th centmy. Height, 11 in. No. 106. The Virgin and Child standing on a pedestal ; the crowns of both are lost. Late 14th century. Height, 9f in. No. 107. Upper part of a figure of Christ from a Crucifix. Very fine work; 14th century. Height, 6 in. No. 108. Group of three Apostles (?) seated, one holding a cup, another a book. Date circa 1400. Height, 4^ in. No. 109. Statuette of a Saint, the arms wanting. Fine work ; end of 15th century. Height, 6 in. No. 110. Statuette of St. Peter. 16th century. Height, 6 in. No. 111. Companion figur.e of St. Paul. 16th century. Height, 6 in. Crosiers and other Objects of Religious Use. 1^0. 112. Head of a tau or T-shaped staff, carved in walrus tu.sk, ornamented with lozenge compartments, con- taining the signs of the zodiac ; on the under part are two arches, one containing a figure with a crosier and book, the other a figure holding a tau. 12th century. Engraved in “ Melanges Archcologiques,” vol. iv. p. 181. (Sol tjkoff col- lection, 208.) Length, 5 in. 10 Section 2.— Carvings in Ivory. Collection lent by John AVebb, Esq. — continued. No. 113. Head of a tan, formed of two snakes ben din" back, and set with jewels ; on each side is an arch containing a figure. Length, in. No. 114). Crosier head, about which are scattered various figures, composing together a representation of the Nativity. German work, 12th century. Length, in. No. 116. Crosier head, the volute of which issues from the head of a dragon, and encloses a figure of the Virgin and Child standing between two Angels holding caudles. (From the Soltykoff collection.) French woi'k, 1-lth century. Length, 7^ in. No. 116. Crosier head, the volute supported by a half figure of an Angel, and enclosing on one side the Crucifixion, on the other the Virgin standing between two Angels bearing candles. 14th century. Length, Gj; in. No. 117. Crosier head, the volute supported by an Angel, and enclosing the Crucifixion, and the Virgin and Child attended by Angels. 14th century. Length, Gf in. No. 118. Small box, on which is represented a subject from ecclesiastical history. 12th century. Height, 2| in. No. 119. Pax, on which is a representation of our Lord in the Tomb ; below is inscribed uiHfitt under a crown. No. 120. Pax, with St. Michael and the Dragon. French work, circa 1480. (Soltykoff collection, 181.) Height, 4| in. No. 121. Posary composed of an ornament, two large and ten small beads ; on each of the beads are carved three heads, representing various orders of men ; on one of the large beads are supposed to be portraits of Pope Adrian VI., Henry VIII., and Charles V. IGth century. (Debruge collection, 172; Fould collection, 1850.) Entire length, 14J- in. No. 122. “Memento mori,'” composed of a skull, a male head, and a female head conjoined ; attributed to Alessandro Algardi. Coffers and CctsJcds. No. 123. Kemarkable oblong box or casket, covered with small plates of ivory ; the top and sides are ornamented with oblong panels, oiclosing subjects from classical mytjis, surrounded witli bands of rosettes. The panel on the top represents Europa and the Bull, and the Feast of the Centaur and Lapiths. On the front may be noticed Pegasus at the Fountain of Hippocrene, and Briseis led away from Achilles. On the back, cupids with panthers, stags, &c., and Diana and Endymion (?). At one end is Bacchus in his car, on the other a boy riding on a sea-monster. These are all executed Section 2. — Carvings in Ivory. 11 Collection lent by John Webb, Esq. — continued. in a very spirited and peculiar manner. Proljably of Byzantine workmanship. This casket was obtained in 1861 from the Treasury of the Cathedral ofVeroli, near Rome. Length, 15| in. ; width, 6 in. ; height, in. No. 121. Oblong panel from a casket such as that de- scribed above. Two subjects, in eavch of which is a warrior seated on a throne, and receiving, in one case, two figures bringing gifts, in the other two soldiers. 2| in. by lOJ in. No. 125. Small panel from a similar casket ; a man with spear, supported by a youth. No. 126. Three oblong panels from a casket, with subjects from the life of Clirist. 11th century. No. 127. Cylindrical box, A^dth a conical top, ornamented with eagles, &c., all of pierced Avork ; round the edge are Arabic inscriptions, which have been translated — “ A favour of God to the servant of God, al Hakem al Mostanser Billah, Commander of the FaithfuL" This Avas an Omayyade Kaliph of Spain, reigning ad Cordova, 961-976 ; doubtless a contemporaiy AAmrk. Height, -3 in. ; diameter, 4 in. No. 128. Oblong casket, carved Avith subjects from romances ; on the top the Siege of the Castle of Love ; Avarriors are attacking it with showers of roses thrown from military machines ; on the sides are scenes from the Lai d’Aristote, the Fontaine de Jouvence, the Lady and the Unicorn, Tristan, and Sir Lancelot. The same subjects occur on a smaller casket in the British Museum, published in the “Journal of the .British Archmological Association,” vol. v. p. 266. 14th century. Length, 9§ in. ; height, 4^ in. No. 129. Oblong casket, ornamented with love scenes, players on musical instruments, &c. The mountings are of gilt metal, vfith glass pastes. 14th century. (Soltykoff collection, 338.) Length, 5 in. ; height, 2^ in. No. 130. Oblong casket, ornamented on the top with figures of St. John the Baptist, St. Agnes, another saint and St. Catherine ; on the sides is represented the legend of St. Margaret. 14th century. (Debruge collection, 1,492 ; Soltykoff collection, 340.) Length, 4 in. ; height, 2^ in. No. 131. Panel of pierced work, and part of another, from the same casket, representing ladies and gentlemen seated under rich canopies. 14th century. 5 in. by 24 in. No. 132. Two panels from a small casket, on Avhich are represented, under an arcade, loAm scenes. 14th century. Height, 24 in. Mirrors and Combs. No. 133. Circular mirror, with dragons at the corners ; sub- jects in two ranges ; love scenes. Circa 1 300. Width, 5 in. 12 Section 2.— Carvings in Ivoiiv. Collection lent by John Webb, Esq. — continued. No. 131. Another, similar, with more elaborate cano]iy work; love scenes. 11th century. (Soltykoff collection, 351.) Width, 5-^- in. No. 135. Another; a lover and his mistress ridiirn out hawking. 11th cent. (Soltykoff collection, 356.) Width, 1 in. No. 136. Another; two lovers ridino- out coursin£r. 11th century. Diameter, 1| in. No. 137. Another; two lovers at the foot of a tree, in which Cupid is seated. 11th century. Width, 3^ in. No. 138. Another ; a lady crowning her lover with a garland, while a groom holds their horses. Width, 1^- in. No. ] 39. Another ; a lady and gentleman playing at chess within a tent. 11th century. Width, 1;^ in. No. 110. A smaller mirror, same subject as the last. 11th centuiy. Diameter, 2| in. No. 111. Another, representing a tournament under the walls of a castle, in which are ladies armed with roses, lltli century. (Soltykoff collection, 355.) Width, 4§ in. No. 112. A gentleman and lady seated on the ground ; ho is training his hawk and she her dog. French work ; 15th century. Diameter, 2§ in. No. 113. Mirror frame, with a pieta of peculiar treatment. End of 15th century. Diameter, in. No. 111. A comb, with a band of figures on each side, partly painted and gilt ; love scenes. Italian work, 11th centuiy. (Soltykoff collection, 368.) Length, 6 in. No. 115. Another, of similar work and date ; single figures and trees. (Soltykoff collection, 366.) Length, 6g in. No. 146. Comb, similar to the last ; Siege of the Castle of Love. Italian work of the 14th century. (Debruge collec- tion, 1516, and Soltykoff collection, 365.) Length, 5§ in. No. 147. Comb, i-epresenting the Fountain of Youth, partly painted and gilt. Italian, 15th century. Length, 6 in. No. 148. Comb, in very low relief, morris dancers. French work, 15th century. Length, 5| in. No. 149. Comb, with arabesque ornaments of pierced work, a bust, dolphins, and scrolls. Italian, 16th century. Weajwns, Implements, &c. No. 1 50. A knife or dagger, with ivory handle and sheath ; it is surmounted by a lion, and the sheath is ornamented with monsteis, &c. Italian work, 14th cent. Length, 14 J in. No. 151. Handle of a knife or dagger, composed of four grotesque figures and two masks. French, 14th century Length 5^- in. Section 2.— Carvings in Ivory. 13 Collection lent by John Webb, Esq. — continued. No. 152. Eest to be used by the scribe in writing, upper part prnamented with two lions. 13th century. (Soltykoff collection, 383.) Length, 10| in. No. 153. Eest, upper part composed of a group represent- ing the mistress of Alexander riding on Aiastotle, from the Lai d’Aristote. French ; early 14th centuiy. Length, in. No. 154. Leaf from writing tablets, lovers riding. 14th century. 3| in. by 2^ in. No. 155. Chess-piece, a king seated on a throne, and holding his sword sheathed. No. 156. Termination of a belt or girdle, on which is represented the Annunciation in high relief under a canopy. 15th century. No. 157. Another termination of a girdle, the Adoration of the Magi ; similar work to the last. A FRAMED Case of Ivory Carvings, lent by J. W. Brett, Esq., and containing the following Objects : — No. 158. Panel carved in low relief, the Virgin and Cliild seated, the former holding a lily brancli. North Italian work. 14th century. No. 159. Leaf of a pair of devotional tablets, the Cru- cifixion. End of loth century. No. 160. Leaf of devotional tablets, the Crucifixion and the Adoration of the Magi. 14th century. No. 161. Lower part of the door of a triptych ; an Angel censing, and the two Marys from the Entombment. 14th century. No. 162. Leaf of devotional tablets ; Virgin and Cliild between Angels (imperfect). 14th century. No. 163. Pair of small panels, representing two Saints. German work, about 1480. No. 164. Two carvings in openwork. No. 165. “Memento mori,"' being the upper part of a rosary, representing a skull and a bust of a lady (in two pieces). 16th century. No. 166. Mirror case of fine workman, ship ; a riding party. Early 14th century. No. 167. Mirror case ; a lady crowning her lover. 14th century. No. 168. Pointed panel, on which are represented two groups of figures kneeling to a winged figure. Italian, end of 1 4th century. 14 Section 2. — Caevinos in Ivory. Case of Ivory Carvings lent by J. W. Brett, Esq. — cont. No. 1G9. Coml) carved in openwork, and ornamented witli tliree medallions enclosing portraits. No, 170. A comb, with subjects from Scripture liistoiy. No. 171. An oval medallion with a classical subject, stained black. Carvings ivith Religious Subjects. No. 172. Tablet representing the Ascension, peculiarly treated ; border of metal filigree work. Carlovingian style ; 9th century. Tablet 5f in. by 4 in. H. G. Bohn, Esq. No. 173. Tablet, in the centre of which is a cii’clc enclosino- a figure of Christ seated ; in the angles are the symbols of the four Evangelists. 10th century. G|- in. by .3| in. C. Bowyee, Esq. No. 174. Mutilated tablet, with sacred subjects. Byzan- tine style. Height, 8 in. W. DoOglas, Esq. No. 175. Five panels carved in walrus tusk, representing the Flagellation, the Crucifixion, Clirist in Glory, and the twelve Apostles seated ; perhaps the ornaments of a portable altar. North German work, 12th century. Height, 2 in. Key. W. Sneyd. No. 176. Triptych, with subjects in three stages ; in the lowest stage is a representation of the Virgin and Child, to whom a bishop is kneeling, probably the personage for whom the work was executed; on one side are the Magi, on the other the Presentation in the Temple ; on the next stage is the Crucifixion, with representations of the Church and Synagogue at the ends ; on the uppermost stage is the Last Judgment ; among the figures of the blessed may be noticed a bishop. These subjects are all very delicately executed in detached groups, under elegant Gothic canopies. Early 14th century. (Soltykoff collec- tion, 236.) Height, 7f in. ; width, 8i in. G. H. Morland, Esq. No. 177. Tri]itych of similar workmanshiji to the last ; in two stages ; above, the Crucifixion, with figures of the Church and Synagogue; below, the Virgin and Child, attended by Angels and two female Saints. Early 14th cen- tury. Height, 5 in. ; width, 4^ in. Edmund Waterton, Esq. No. 178. Shrbie or polyptych enclo.sing a statue of the Virgin and Child in nearly full relief ; the doors are double on each side, and on them are carved four subjects from the life of Christ. Date circa 1300. Height, 6f in. H. Magniac, Esq. No. 179. Shrine or polyptych enclosing a figure of the Virgin and Child ; it has two shutters on each side, with Section 2 . — Caevings in Ivory. 15 subjects from the early life of Christ. Early 14th century. Height, 8 in. The Duke of Hamilton. No. 180. Centre of a triptych, with pointed top, repre- senting the Death and Coronation of the Virgin. French work, early 14th century ; engraved in “ Art Treasures at Manchester,” edited by J. B. Waring, Sculpture, p. 25. 91 in. by 4| in. H. Bowdon, Esq. No. 181. Pair of devotional tablets of delicate workman- ship, representing the V irgin and Child attended by Angels, and the Crucifixion. Early 14th century. Each leaf 2-j% in. by ItA- Edward Charlton, Esq., M.D. No .182. Triptych, with subjects in two ranges ; above, the Ci’ucifixion ; belov/, the Virgin and Child, with the Adora- tion of the Magi and the Presentation in the Temple. 14th century. Height, 7^ in. Stoneyhurst College. No. 183. Pair of devotional tablets; subjects, the Nativity, the Presentation in the Temple, the Annunciation, tlie Salutation, and the Offering of the Magi. Circa 1300. (Pugin collection.) Each leaf 7| in. by 4^ in. Rev. J. Fuller Russell. No. 184. Pair of devotional tablets; the Virgin and Child, and the Crucifixion. 14th century. Each leaf 5J in. by 3;| in. HoN. R. CURZON, JuN. No. 185. Pair of devotional tablets ; four scenes from the Passion of our Lord, in high relief. 14th century. Heiglit, 8^ in. ; Avidth, 10 in. Stoneyhurst College. No. 186. Pair of devotional tablets ; the Nativity, Adora- tion of the Mfigi, Crucifixion, and Entombment. 14th century. Each leaf 8| in. by 4|- in. Stoneyhurst College. No. 1 87. Leaf of devotional tablets ; the Flagellation, and the Crucifixion ; on the back is scratched a merchant’s mark. 14th century. Height, 5 in. Stoneyhurst College. No. 188. Leaf of devotional tablets ; the Crucifixion. 14th cent. 2| in. by 2 in. Edward Charlton, Esq., M.D. No. 189. Leaf of devotional tablets ; the Crucifixion. 14tli century. 5| in. by 3|- in. Stoneyhurst College. No. 190. Leaf of devotional tablets ; the Nativity. 14th century. 4| in. by 3^ in. Edward Charlton, Esq., M.D. No. 191. Leaf of devotional tablets ; the Crucifixion. 14th century. 3 in. by 2^ in. Rev. J. Fuller Rdssell. No. 192. Leaf of devotional tablets ; the Annunciation and the Adoration of the Magi. 14th century. 5 in. by 3 in. The Ashmolean Museum, Oxford. No. 193. Leaf of devotional tablets, in two ranges ; the Crucifixion and the Descent from the Cross ; the subjects divided by a moulding with roses. 14th century. 7^ iu. by 3J in. The Ashmolean Museltm, Oxford. 16 Section 2. — Carvings in Ivory. No. 194. Leaf of devotional tablets ; the Virgin and Child attended by two Angels. 14th century. 4g in. by 2-^ in. His Eminence Cardinal Wiseman. No. 195. Pair of devotional tablets, with eiglit scenes from the life of Christ, under canopies. Late 14th century. Height, 6| in. ; width, 9f in. Lord Londesborougit. No. 196. Pair of pierced tablets, on each of which are six subjects from the life of Christ, under rich canopies, and divided into two vertical ranges by niches with figures of apostles. One of these tablets is engraved in Waring’s “Art Treasures at Manchester,” Sculpture, pi. 5. Date circa 1 400. (Debruge collection, 155.) Each 8 in. by 5gin. George Field, Esq. No. 197. Four pierced tablets, containing sixteen subjects from the life of Christ, surmounted by Gothic canopies with elaborate tracery ; in the spandrils are angels playing on musical instruments. Date circa 1400. (Debruge col- lection, 159.) Each 5|in. by 4f in. George Field, Esq. No. 198. Pierced tablets, containing eight other sul jects from the life of Christ, exactly similar in every respect to those last described, and no doubt forming part of the same set. Robert Goff, Esq. No. 199. Pierced panel, representing St. Catherine seated between St. Peter and St. Paul ; above rich canopy work. Late 14th century. 5 in. by 3| in. Very Rev. Dr. Rock. No. 200. Small oval panel, on which is scidptured Clirist seated on a throne. Byzantine work. Height, 2^ in. J. C. Nightingale, Esq. No. 201. Polyptych or shrine, with a statue of the Virgin and Cliild standing under a canopj’’ ornamented with tra- cery ; the doors are covered with fleurs-de-lis ; on the pedestal is inscribed salve regina niserecordie (sic). Flemish work, late 1 5th century. Height, 1 ft. 8 in. Alexander Barker, Esq. No. 202. Tript3’ch, carved out of narrow pieces of bone, and set in marqueterie borders. In the centre the Virgin and Child between St. Leonard and another saint. On the wings St. John the Evangelist and St. Lawrence. North Italian work, 15th century. Height, 11 in. The Bodleian Library, Oxford. No. 203. Triptych representing the Agony in the Garden. 3^ in. by 54 in. Style of the 16th century. Lord Londesborough. Statuettes and Groups. No. 204. Statuette of the Virgin and Child seated on a tlu'oue, on the sides of which are carved figures of ladies ; Section 2. — Carving?? in Ivory. 17 remains of coloured ornament on the dress. This figure belonged formerly to the nunnery at Syon, near Brentford, and^is probably of English workmanship, end of the ISth century. Engraved in “Archaeological Journal,’’ vol. xvii. Height, 9|^in. J. Hope Scott, Esq. No. 205. Group in high relief, representing the Virgin and the female disciples. From a representation of the Crucifixion. 14th century. Height, 4f in. Rev. J. Fuller Russell. Crosiers and Pyxes. No. 206. Crosier head of rich workmanship ; on one side is a representation of the Virgin and Child, seated, and attended with angels ; below are diminutive figures of the three kings ; on the other side is our Lord, seated in judg- ment beween two angels bearing emblems of the passion ; at his feet are human figures issuing from their tombs. The upper part of the crook is pierced and composed of very elegant running scrolls of foliage ; on the knop are the twelve apostles arranged under six canopies, with two niches in each. English work, 1 4th century. Engraved in Scott’s “Antiquarian Gleanings,” pi. xiii., and Wariug’s “ Art Ti-easures at Manchester,” Sculpture, p. 22. Height, lOJin. Philip H. Howard, Esq., of Corby. No. 207. An entire crosier of ivory, with a carved head of the 14th century, representing the Coronation of the Virgin. Length, 5 ft. 6 in. A. J. B. Beresford Hope, Esq. No. 208. Crosier head, terminating in a dragon’s head, and enclosing the Agnus Dei ; 14th century. At a later period a series of crockets, a crucifix, and a small figure have been added in silver ; Italian, 13th century. Engraved in “Art Treasures at Manchester,” Sculpture, p. 18. Height, 6 in. The Ashmolean Museum, Oxford. No. 209. Cylindrical box or pyx, around which are seven figures in relief, representing apparently one of the miracles of our Lord, who is represented beardless, as usual in early art. 6th or 7th century. Height, 3| in. ; diameter, 4^ in. Rev. Walter Sneyd. No. 210. Cylindrical box, intended perhaps to contain sacramental wafers before consecration. On the sides are eight compartments, under canopies, with scenes from the early life of our Lord. 14th century. Height, 3 1 in. ; dia- meter, 4 in. Lord Clifford. No. 211. “ Memento mori,” or pendant ornament from a rosary ; on one side is represented a skull, with the inscrip- tion, COGITA MORI ; on the other a male portrait. 16th century. Height, 2 in. H. G. Bohn, Esq. B 18 Section 2. — Carvings in Ivory. Horns. 1^0.212. The “Clepliane horn.” This horn belonged originally to the Scottish Clan Clephane ; round the body are chariot races and combats of men and animals ; perhaps Carlovingian work in imitation of Byzantine. 9th century. See Sir Walter Scott’s “Border Antiquities.” Length, 1 ft. 10 in. Marquis of Nort ham pton. No. 213. Olifant or hunting horn ornamented with circular medallions enclosing figures of animals. Byzan- tine, 11th or 12th century. Length, 21 in. H. MagniaC, Esq. No. 214. Hunting horn mounted in silver-gilt ; round the upper part is carved the legend of St. Eustace ; the small end terminates in a female head. The mountings are . . ® ornamented with monsters of various kinds, and with shields of arms, being those of Bohemia, Bavaria, and Austria, twice repeated. 14th centuiy. Length, 14>^ in. Lord Londesborough. No. 215. The “ Bruce horn,” or tenure-horn of Savernake Forest ; a plain polygonal horn of ivory mounted in silver gilt and enamelled ; the two upper bands are decorated with quadrangular panels enclosing figures of animals, with a ground in translucent enamel representing landscapes ; roimd the mouth is an arcade with birds ; the other two bands are more recent. The belt is studded with enamelled plates, with the arms of the Earls of Moray, probably those of Thomas FitzBandolf, nephew to Robert Bruce, and regent of Scotland, who died in 1331. See “ Archseologia,” vol. iii. pi. vi., and “ Art Treasures at Manchester,” Vitreous Art, pp. 27, 28. Length, 2 ft. 2 in. The Marquis of Ailesbury. No. 216. The Tutbury horn, or tenure-horn of the honor of Tutbury in Staffordshire. It is a plain horn, with a belt of black silk and silver mountings ; at a junction in the belt is a silver shield with the arms of France and England quarterly, differenced by a label ermine, and impaling Ferrers, Earl of Derby. See “ Archseologia,” vol. iii. p. 1, and “ Archaeological Journal,” vol. xiii. p. 175. Early 15th centuiy. Length, 1 foot. W. H. Greaves Bagshawe, Esq. No. 217. Ivory horn, with a hunting scene round the upper part, and the small end terminating in a human head ; round the centre a band of shields. Stated to have been found in the Thames. 14th century. Length, 1 ft. 10^ in. Lord Londesborough. No. 218. Olifant or hunting horn, with very small figures of men and animals, supposed to be a badge of cornage tenure. Length, 1 ft. 8 in. R. Bush, Esq. Section 2. — Carvings in Ivory. 19 Caskets No. 219. A casket composed of ivory panels set in wood ; tlie top rises in the centre and terminates in an oblong panel in high relief with warriors fighting ; round on the sloping portion of the top is a frieze of fighting figures, and on the sides are ten panels, each containing a warrior in low relief set in borders with rosettes. Byzantine work. Height, 9 in. ; length, 9|- in. Egbert Goff, Esq. No. 220. Oblong casket with flat top, on which is repre- sented a tournament ; round the sides are scenes from the popular romances of Sir Lancelot, Sir Tristan, Pyramus and Thisbe, and the Lai d’Aristote. Early 14th centmy. Waring’s “Art Treasures at Manchester,” Sculpture, pi. iv. Height, 3| in. ; length, 9^ in. Mrs. W. St. John Mildmay. No. 221. Oblong casket on which is carved the legend of St. Eustace. Its hinges and ornaments are of silver gilt, enamelled with the royal arms of England, viz., France and England quarterly. From the collection of Cardinal York. Date about 1340. Length, 7 in. ; width, 4;^ in. ; height, 3 in. Hollingworth Magniac, Esq. No. 222. Oblong casket ; on the top are carved six saints under canopies, St. Agnes, St. Peter, St. Paul, St. John Baptist, St. Stephen, and St. Catherine ; on the sides are scenes fi-om legends of saints. The mounts and lock are of silver enamelled with monsters of various kinds. 14th century. Length, 3f in. ; width, 2^ in. ; height, 1-g in. W. H. Forman, Esq. No. 223. Oblong casket, the top ornamented with scenes from various romances. Early 14th century. Length, 9| in. ; width, 5| in. ; height, 4 in. Key. Dr. Wellesley. No. 224. Casket composed of narrow pieces of carved bone set in marqueterie of wood and ivory ; round the sides are love scenes. Length, 13 J in. ; height, 10|- in. Italian work, early 15th century. W. H. Forman, Esq. Mirror Cases and Combs. No. 225. Circular mirror case with monsters at the corners ; a gentleman and lady playing at chess under a tent. En- graved in the Transactions of the Archmological Institute at Chichester, p. 80. Early 14th century. Width, 4J in. Hon. E. Curzon, jun. No. 226. Circular mirror case of the same subject and date as the last. Width, in. Lord Londesborough. No. 227. Circular mirror case, with two pairs of lovers. 14th century. Diameter, 3| in. Lord Londesborough. B 2 20 Section 2. — Carvings in Ivory. No. 228. Circular mirror case ; the Betrayal of the Castle of Love. Date circa 1420. EngTavecl in “ Miscellanea Graphica/’ pi. xviii. 2. Width, 4^ in. (From the Bernal collection,) Lord Londesborough. No. 229. Circular mirror case ; two lovers riding. Late 14th century. Width, 3 in. Lord Londesborough. No. 230. Comb, with subjects from the Passion of Christ. Length, 5| in. liORD Londesborough. No. 231. Comb ; subjects, the Fountain of Youth and a boar hunt. “ Miscellanea Graphica,” pi. xx. 1. French work, about 1480. Length, 6^ in. Lord Londesborough. No. 232. Comb, ornamented with bridal scenes, attended by musicians. French work, about 1500. “Miscellanea Graphica,” pi. xx. 2. Length, 5| in. Lord Londesborough. No. 233. Comb, with representations of hunting and hawking. Early 1 6th century. Length, 6| in. Lord Londesborough. No. 234. Com.b, with a bathing scene and a lady attended by minstrels. 15th century. 6 in. by 5^ in. Charles Baily, Esq. No. 235. Comb minutely carved, representing on one side the Massacre of the Innocents, on the other the adoration of the Magi. 16th century. 5fin. by4|in. Messrs. Farrer. Various Objects of Domestic Use. No. 236. Dagger handle, surmounted by a crouching lion ; on the sides are carved a figure on horseback shooting with bow and arrow, and a figure riding on a lion ; Italian, 14th century. Length 4^ in. H. Magniac, Esq. No. 237. Eleven chessmen carved in walrus tusk, being two kings, three queens, three bishops, two warders (castles), and one knight, part of a large hoard of similar objects discovered in 1831 at Uig, Isle of Lewis, Hebrides. See “ Archceologia,” vol. xxiv. p. 212 ; Wilson’s “ Prehistoric Annals of Scotland,” p. 567 ; and “ Miscellanea Graphica,” pi. viii. ; the remainder are in the British Museum. 12th century. Lord Londesborough. No. 238. Chess piece representing two knights on horse- back. Early 1 3th century. Engraved in “ Archgeological Journal,” vol. iii. p. 243. Height, 3 in. The Ashmolean Museum, Oxford. No. 239. Chess piece representing a bishop, the head broken off ; in front of him is a harper, an ecclesiastic reading, and a figure holding a scroU ; the seat is elaborately orna- mented with scrolls and sitting figures. “ Miscellanea Graphica,” pi, xxviiii. 13th century. Height, 2| in. Lord Londesborough. Section 2. — Carvings in Ivory. 21 No. 240. Two draughtsmen carved in walrus tusk, the subject on both being St. Martin dividing his cloak with a beggar, whose divine character is indicated by the action of blessing. 12th century. Diam. 2| and 2J in. The Ashmolean Museum, Oxford. No. 241. Set of writing tablets, composed of six plates of ivory prepared on each side to hold wax ; the outsides are carved with four sacred subjects ; viz., the Nativity, Adoration of the Magi, Crucifixion, and Entombment. 14th century. 4 in. bj^ 2^ in. Hon. R. Curzon, jun. No. 242. Outer leaf of a similar set of writing tablets ; the Nativity and the Adoration of the Magi. 1.4th century. 4;^ in. by 2§ in. Edmund Waterton, Esq. No. 243. Outer leaf of a set of writing tablets ; death of the Virgin. 14th century. 4| in. by 2f in. Edward Charlton, Esq., M.D. No. 244. Main de Justice, ov sceptre, inscribed lvdovicvs REX PRANCORVM, and attributed to Louis XII., King of France. Engraved in “ Miscellanea Graphica,’" pi. iv. fig. 1 . (Debruge collection, 167.) Length, 2 ft. 6 in. Lord Londesborough. No. 245. “ Memento mori,'’ composed of a skeleton and a naked female figure back to back, and standing within a })alisade, in which are a fool, a man drawing a sword, and four animals. Early 16th century. Height, 11 in. Lord Londesborough. Ivories of the IQth, 11th, and ISth centuries. By J. C. Robinson. No. 246. Folding spoon and fork combined in one ; the top ornamented with a figure of the Virgin and Child ; in the bowl is represented the Flagellation, above which is the Agnus Dei. The bowl fits on to the prongs of the fork. Date about 1600. Length, in. J. Dunn Gardner, Esq. No. 247. A powder horn covered with minute and ela- borate representations of the chase. By a German ivory sculptor of the school of Augsburg ; circa 1650-60. (Ap- parently by the same excellent artist as the dish and ewer belonging to A. J. B. Beresford Hope, Esq. See No. 273.) S. Addington, Esq. No. 248. Group representing the Pieta ; reduced copy in ivory from the marble group by Michel Angelo, in St. Peter’s, Rome. 17th century. Height, 9 in. Lord Arundell of Wardour. No. 249. Group representing the Pieta, on ornamental pedestal. Italian 17th century sculpture. Height, 15 in. Robert Goff, Esq. 22 Section 2. — Caevings in Ivoey. No. 2.50. Group of a Centaur carrying off a female ; after Giovanni di Bologna. Height, 18 in. D. C. Maejoeibanks, Esq., M.P. No. 251. The carrying off of a Sabine woman. Italian 16th century ivory. Height, 16 in. Kobeet Goff, Esq. No. 252. St. Sebastian tied to a tree ; a highly finished statuette of unusual size ; at the base of the tree stands an infant angel. By an Italo-Flemish ivory sculptor, 'working in the style of Algardi ; circa 1650. Height, 17 in. Geoege Field, Esq. No. 253. Virgin and Child. Italian 17th century sculpture of the school of Bernini. Height, 12 in. Robeet Goff, Esq. No. 254. Statuette of a nude figure seated on a rock. Italian work. Height, 18 in. J. W. Beett, Esq. No. 255. Group representing the Massacre of the Inno- cents. Italian 16th or 17th centiiry. Height, 19 in. A. Joseph, Esq. No. 256. Statuette of a boy, probably an infant St. John the Baptist. Italian, 17th century. Height, 7 in. ; on orna- mental pedestal. J. W. Beett, Esq. No. 257. Four emblematical figures of the Seasons ; highly finished Italian ivories of the school of Bernini. Height, 9^ in. Geoege Field, Esq. No. 258. Group representing a Centaur and a Lapith fighting ; a fine Flemish carving, probably originally placed on the cover of a tankard. 17th century. Height, 4| in. Baeon Lionel de Rothschild, M.P. No. 259. Statuette of the Ecce Homo, a very highly finished, and probably original work by an Italian (Floren- tine ?) sculptor of the period of Baccio Bandinelli or Bar- tolommeo Ammanati ; circa 1550. Height, 15 in. Robeet Goff, Esq. No. 260. Statue of the Virgin, .standing erect in an attitude of grief, probably from a group of the Rood or Crucifixion. Flemish sculpture of the school of Rubens or Vandyck. 17th century. Height, 13f in. Geoege Field, Esq. No. 261. Three statuettes of Muses ; very highly finished Italo-Flemish works; circa 1700. Height of each, 5 in. Loed Aeundell of Waedoue. No. 262. Statuette of the Virgin standing on a crescent ; a highly finished work of the school and period of Rubens. Height, 10| in. G. H. Moeland, Esq. No. 263. Statuette of Jonah ; a reduced copy in ivory from the marble statue in tlie Chigi Chapel in Sta. Maria del Popolo in Rome, which is ascribed to Raffaelle. Height, 7 in. The Eael of Heeby. Section 2. — Caevings in Ivory. 23 No. 264. Statuette of Venus, with Cupid, Italian l7tli century work. Height, 10^ in. Baron Lionel de Kothschild, M.P. No. 265. Companion figure of Paris holding the apple in his hand. Height, 10^ in. Baron Lionel de Kothschild, M.P. No. 266. Group of two amorini, who are holding up a third in their arms ; in all probability an original work from the hand of Francois du Quesnoy, called “11 Fiammingo.'"' First half of the 17th century. Height, 8 in. John James, Esq. No. 267. Bas-relief; a female figure issuing from a gate- way, meeting a king, behind whom is seen a cavalcade of warriors ; the figures are richly habited in the old German costumes of the period of the ivory. Circa 1610? Width, 6^ in. ; height, 5^ in. Messes. Faerer. No. 268. Alto-relievo ; three Cupids supporting the papal tiara, cross-keys and other insignia, a highly finished and most spirited carving by Fran9ois du Quesnoy, called “ 11 Fiammingo.” Height, 7§ in. ; width, 4|- in. Robert Napier, Esq. No. 269. Picture in engraved and inlaid ivory, mounted in an architectural frame- work of ebony ; subject of the picture, the Adoration of the Kings. At the bottom of the frame is the signature of the artist, as follows: — “Ant. Spano . Tropien . regni . Neap. Incisor,” an artist of Cala- bria who died in the service of the King of Spain in 1615. Circa 1600. Height, 1 ft. 10 in. ; width, 1 ft. 2 in. Robert Slee, Esq. No. 270. Ewer, of a flattened oval form, with handle, cover, and spout, all of ivory ; on the body of the vase is an allegorical subject relating to a nymph of Diana ; on the cover are bas-reliefs of children, with the attributes of the Seasons ; the whole is surmounted by the figure of a woman bushing the cries of an infant. (Debruge collection, 192.) ' Flemish work, circa 1660. Height, 16 in. Baron Lionel de Rothschild, M.P, No. 271. A tall covered cup, entirely in ivory, the body ornamented with a frieze of Bacchanalian figures in full relief ; the cover surrounded with a circle or garland of fruit and flowers upheld by Cupids ; at the summit a small statuette of the infant Bacchus, the stem formed by a vine stock with leaves and clusters of grapes ; amorini in full relief on the base. Flemish 17th century work. (From the Bernal collection.) Height, 19| in. Robert Goff, Esq. No. 272. A cup, with cover, turned on the lathe, the bowl, base, and cover enriched with raised oviform bulbs. Gex-man 17th centmy work. Height, 17 in. C. Winn, Esq. 24 Section 2. — Carvings in Ivory. No. 273. Ovai dish, in ivory, most elaborately and minutely carved in many compartments with hunting subjects ; also the ewer to stand upon it, in stag’s horn, mounted and inlaid with ivory, minutely carved in the saine style as the dish ; apparently the work of an eminent artist of the school of Augsburg. Signed AM . VC 1673, and also, in another place, 1671. Length of dish, 22^ in. ; width, 16 in. Height of ewer, 11| in. (See also the powder-flask. No. 247, belonging to S. Addington, Esq., which is appa- rently by the same hand.) A. J. B. Beresford Hope, Esq. No. 274. Pair of salt-cellars, each supported by three flgures of boys accompanied by various animals ; highly flnished Flemish ivories, in the style of FranQois de Quesnoy. Engraved in Delamotte’s “ Choice Examples of Art Work- manship,” and in “ Art Treasures at Manchester,” Sculpture, pi. xii. Height, 64 in. George Field, Esq. No. 275. Tankard, mounted in silver- gilt ; Bacchanahan subjects. F'ine Italo-Flemish carving ; on the ewer a statuette of Cupid holding a shield. 17th century. Height, 84 in. Engraved in Delamotte’s “ Choice Examples of Art Workmanship.” Height, 94 in. Baron Lionel de Kothschild, M.P. No. 276. Tankard, mounted m silver-gilt; Battle of Centaurs and Lapithte. Flemish, 17th century. Height, 10 in. Baron Lionel de Kothschild, M.P. No. 277. Tankard, mounted in silver-gilt, carved with a grotesque subject of nymphs, &c. ; on the cover a group of a male and female figure. 17th century. Height, 94 in. Baron Lionel de Rothschild, M.P. No. 278. Tankard, mounted in silver-gilt ; the ivory drum carved in alto-relievo, with a frieze of Tritons and sea- nymphs ; on the cover a group of Cupid with a swan ; the silver-gilt mounts are inlaid with oval plaques, containing minute arabesques in translucent enamel on silver. Flemish, 17th century. Height, 15 in. Viscount Strangford. No. 279. Tankard, mounted in silver-gilt, the drum richly carved with a mythological subject, the Marriage of Jupiter and Juno, &c. : on the cover, which is in ivory, a beautiful frieze of amorini, &c. An exquisitely finished Flemish tankard, circa 1650. Extreme height, II4 m. Robert Napier, Esq. No. 280. Tankard, carved with a Bacchanalian procession of children. Flemish, 17th century. Height, 7 in. The Earl of Gosford. No. 281. Tankard in ivory, richly mounted in silver ; subject of the carving, a Bacchanalian procession ; the silver base and cover are of old English work of the last century, Section 2. — Carvings in Ivory. 25 surmounted by the crest of Horace Walpole. (From the Strawberry Hill collection.) Height, 12 in. The Earl of Derby. No. 282. Tankard; the drum finely carved with a frieze of allegorical figures ; silver-gilt mounts and cover. A fine Flemish work, circa 1660. Height, 11^ in. G. H. Morland, Esq. No. 283. Tankard, ornamented with a frieze of sea- nymphs and tritons. Flemish, circa 1650. Height, 6 in. Isaac Falcke, Esq. No. 284. Pair of cylindrical carvings, mounted in silvei'- gilt, as campaniform vases ; subjects respectively a Dance of Dryads and Neptune in his Car, attended by Tritons, &c. Fine Italian l7th century carvings ; the mounts English l7th century work. Height, 10 in. One engraved in “ Art Treasures at Manchester,” Sculpture, pL xi. James Lumsden, Esq. No. 285. Cylindrical ivory carving, mounted on a pedestal ; a Bacchanalian revel ; an exquisitely finished composition, in part adapted from the antique. Probabl}' the work of Lucas Faidherbe, of Antwerp, scholar of Eubens. Height of the ivory drum, 5 in. ; diameter of ditto, 5^ in. The Duke of Hamilton. No. 286. Another similar pedestal ; Bacchanalian pro- cession of children. I7th century Flemish work. Height, 5 in. ; diameter, 5^ in. The Duke of Hamilton. No. 287. Cup or beaker, ornamented with hunting scenes. 17th century. Height, 5^ in. R. E. Whitehead, Esq. No, 288. Tankard, carved with a Bacchanalian subject ; mounted in silver-gilt. Flemish, l7th century. Fleiglit, 7 in. W. FI. Forman, Esq. Nos. 289 & 290. Two frames or pictures containing a series of twelve bas-relief heads of sibyls carved in ivory, enclosed within arcades or sunk compartments, decorated with orna- mental mouldings, rosettes, &c., in coloured woods. The ivories probably of Itahan 16th or 17th century work ; the wood frames of a later period (2nd half of 18th cen- tury ?) Size of each picture, 14^ in. by 14;^ in. Right Hon. W. E. Gladstone, M.P. No. 291. Alto-relievo; a procession of amorini, by or after Francois du Quesnoy, called “ II Fiammingo.” I7th century. Height, 8| in. ; width, 1 2f in. R. Goff, Esq. No. 292. Alto-relievo on a background of ebony ; com- position of nymphs and cupids, tv/o cupids are rocking a third to sleep in a cradle. By an excellent Meniish ivory sculptor of the period of Rubens. Height, 9 in. ; width, 13^ in. R. Goff, Esq. 26 Section 2. — Carvings in Ivory. No. 293. Alto-relievo on a background of ebony ; a bacclianaban composition of children ; the infant Silenus with a panther, &c. Style and period of Fiammingo. Height, 4^ in. ; width, 14^ in. R. Goff, Esq. No. 294. The Deposition from the Cross, a highly finished Italian work of the end of the 17th century. Height, 10 in. ; width, 6 in. George Field, Esq. No. 295. StaUiette of St. Sebastian. Itahan, 17th cen- tury. Height, 5|- in. R. GoFF, Esq. No. 296. Alto-relievo, the Judgment of Paris. Italo- Flemish work, l7th century. Height, 5j in. ; width, 9^ in. R. Goff, Esq, No. 297. Circular medallion, very minutely carved in relief with an elaborate mythological composition, the margin surrounded by a wreath of leaves. Italian work, first half of 17th century. Diameter, 6| in. R. Goff, Esq. No. 298. Two carvings in high relief mounted as a diptych ; the subjects respectively, the Deposition from the Cross, and a Pieta. Highly wrought Italian carvings of the 17th century. Height, 7 in. ; width, 3 ^ in. Messrs. Farrer. No. 299. Series of four oblong rehevi of bacchanalian subjects. Highly finished Italo-Flemish carvings in the style of Fiammingo. Height, 3§ in. ; width, 5 ^ in. Isaac Falcke, Esq. No. 300. Bas-relief, Andromeda. A highly finished Italian carving, 17th century. Height, 4^ in. ; width, 7| in. C. B. Carruthers, Esq. No. 301. Alto-relievo, St. Sebastian, attended by two infant angels. An elaborate work by a German (?) artist ; date first half of 1 7th century. Height, 4J in. ; width, 2| in. C. B. Carruthers, Esq. No. 302. Relievo, the Ecce Homo.” Flemish, 17th century. Height, 3| in. ; width, 2| in. Stoneyhuest College. No. 303. Rehevo, the Virgin and Child. Flemish, 17th century. Height, 5 in. ; width, 4i in. Stoneyhuest College. No. 304. Two circular medallions ; subjects. Lot and his Daughters, and Hagar and Ishmael. Italian, 17th century. Diameter, 4f in. C. Winn, Esq. No. 305. Cjdindrical salt cellar in carved ivory, the sides ])ierced and ornamented with two figures of amorini holding- shields, and two female draped figures standing as carya- tides. Flemish l7th century work. Height 5|- in. W. H. Forman, Esq. Section 3. — Art Bronzes. 27 No. 306. Two recumbent nude female figures supported on a pediment of ebony. Italian l7th century work. Length of figures, 6 in. Rev. Montague Taylor. Nos. 307 & 308. Two statuettes; the Virgin and St. John, from a crucifix. Height, 8^ in. Edmund Waterton, Esq. No. 309. Oval relievo portrait of a Dutch lady in the costume of circa 1660. A. highly finished and life-like work. Diameter, 3J in. and 3 in. SiR C. W. Dilke, Bart. No. 310. Statuette of St. John the Baptist. Spanish or Gothic work, 17th century. Height, 7 in. Dr. E. Charlton. No. 311. Small statuette of St. Joseph. Spanish ? I7th century work. Height, 4 in. Dr. E. Charlton. No. 312. Alto-relievo busts, conjoined at the waist, of two female crowned figures, holding an orb, sceptre, &c. Period uncertain. Height, 4f in. Philip H. Howard, Esq., of Corby. Section 3. ART BRONZES. By J. C. Robinson. No. 4.50. Life-sized bronze bust, or half-length figure, of Philip II., in a richly ornamented cuirass, on the enriched base or plinth is inscribed in raised letters, “ Plii. Rex AngL, etc.” Italo-Flemish or German work, by a contemporary sculptor. Height, 3 ft. Her Majesty the Queen (Windsor Castle Coll.) No. 451. Similar life-sized bust (also in an elaborately , ,A embossed and engraved cuirass) of the Duke of Alva ; in- scribed on the base, “Fer Dux Albae.” Companion to the preceding bust, and by the same hand. Height, 3 ft. Her Majesty the Queen (from Windsor Castle). No. 452. Colossal bronze bust of Plotina; the drapery in oriental alabaster. A grand Florentine bronze of the 16th century, after the antique. Height 3 ft. 3^ in. National Gallery of Scotland. No. 453. Bronze group of Samson slaying a Philistine ; inscribed on the base, “ Adrianus Fries Hagiensis Batvvs f 1612.” This fine bronze, the work of Adrian Fries, is an imitation, on a reduced scale, with many variations, from the marble group by his master, Giovanni Bologna, mentioned in Vasari’s notice of the latter artist. (This marble, upwards 28 Section 3— Aet Beonzes. of 7 feet liigli, is also in this country, being the property of Sir William Worsley, Bart., at Hovingham Hall, near York.) Height, 2 ft. 6 in. The Hon. the Tkustees, Nat. Gallery of Scotland. No. 454. Apollo and Daphne, a reduced, copy of the celebrated marble group by Bernini. Obviously a work of the period, and in all probability executed under Bernini’s own superintendence. The marble, now in the Villa Borghese, was executed in Bernini’s 18th year (1617). Height, 2 ft. 10 in. Henky Danby Seymouk, Esq., M.P. No. 455. Life-sized bust of Henry VII., ascribed to Pietro Torregiano. This bronze is apparently a contemporary re- })roduction by Torregiano of the bust of the statue from the tomb in Henry VII.’s Chapel at Westminster. Height, 284 in. Heney" Catt, Esq. No. 456. Bi’onze ewer, adorned in relief with masks, garlands, and other motives of Italian cinque-cento orna- mentation. Italian work, circa 1500-20. Similar in style to the engraved design for similar objects of Agostino Veneziano. Height, 14 in. The Duke of Buccleuch. No. 457. Small life-sized bust of a child, or infant St. John (“•' Giovannino ”), a Florentine quattro-cento bronze of the school or manner of Donatello, probably moulded or reproduced from an original in marble. Height, 17 in. W. Angeestein, Esq., M.P. No. 458. Bronze equestrian figure, a reduced copy from the celebrated colossal statue of “ Gattamelata ” at Padua the work of Donatello. This bronze (15 in. high) is apparently a work of the period of the original. Heney Danby Seymouk, Esq. No. 459. Group of Sampson slaying a Philistine, a Florentine bronze of the manner and period of II Tribolo, or Bartolommeo Ammanati. Height, 19 in. The Eakl Spencee. No. 460. Bronze knocker, forming a decorative composi- tion of cornucopias and terminal figures, the latter jointly upholding a pedestal, on which (in the centre of the composition) stands an elegantly draped female figure ; in the lower joortion is an eagle perched on a severed human head. Italian, Florentine (?) work, circa 1530. Height, 14 in., width, in. Geokge Field, Esq. No. 461. Bronze knocker, ornamented with two terminal figures embracing each other, amorini, &c. Italian, circa 1560. Height 12J in., Avidth, 9 in. Eobt. S. Holeokd, Esq., M.P. No. 462. Statuette of Venus in the nude, holding a twisted Avreath in her hands ; an antique Greek or Roman bronze. Found near Mogla, in Asia Minor, the site of the Section — Art Bronzeh. 29 ancient Stratonice in Caria, aiid sold on tlie spot to Edward O’Halley, Esq., of Bloomsbury Square, who brought it to England, and from whom it was purchased by Mr. B. Hertz, at the sale of whose collection it was bought by tlie present possessor. Height, I S-g- in. (34 centimetres). C. D. E. Foetnum, Esq. No. 463. Mask of a marine deity (Scy 11a ? ) surrounded or composed, in a decorative sense, with dolphins, &c. Portions are plated or damascened with silver, and the eye- balls are formed by rubies. Originally an appliqud orna- ment to a bronze vase. Grpeco-Roman work found at Pompeii. Diameter, 3^ in. Rev. Montague Taylor. No. 464. Bronze statuette of Venus, with Cupid standing erect, near to her, on the same (antique) bronze pedestal. Antique Roman work, with a brilliant green patina. Height, 8 in. Rev. Montague Taylor. No. 465. Venus, with Cupid standing near on a sqiiare pedestal ; an antique Roman bronze. She holds a golden patera in her hand, and her wrists and ankles are bound I'ound with bracelets of gold fila- gree work ; two small pearls are pendant from the ears. These ornaments and the pear] ear-drops are the original embellishments of the period. Pleight, 6 in. J. Gibson Craig, Esq. No. 466. Miniature bust, in bronze, of Augustus. Height 4 in. Antique Roman work. From the Strawberry Hill collection The Duke of Hamilton. No. 467. Statuette of St. John the Baptist. A highly finished Italian quattro-cento bronze by an unknown master. Height, IQi in. C. D. E. Fortnum, Esq. No. 468. Statuette of a seated Satyr playing on the Pan’s pipes, holding a globular vase on his knee with the right hand, the vase probably intended to serve as an ink- stand. This admirable bronze of the last years of the 15 th or beginning of the. 16th century is believed to be the work of Andrea Ricci of Padua. Height of figures, if erect, about 13 in. C. D. E. Fortnum, Esq. No. 469. Venus, semi-draped, standing in an attitude as though holding in her hand the apple of Paris. A quattro- cento or early cinque-cento bronze in the manner of Francia. Height, 104 in. C. D. E. Fortnum, Esq. N o. 47 0. Recumbent female figure (Latona ? ) with two children, one of whom she is suckling. An exquisite Italian cinque-cento bronze. Ascribed to Giovanni della Porta. The group 10 in. long. C. D. E. Fortnum, Esq. No. 471. Venus, a standing figure, partly draped, and as if drying herself after the bath. By or after Giovauni di Bologna. Height, 134 in. C. D. E. Fortnum, Esq. 30 Section 3. — Aet Bronzes. No. 472. Group after tlie antique. A Centaur ■with Cupid riding on his back ; the Centaur in bronze, the Cupid in silver, mounted on a pedestal of varied marbles, richly ornamented with ormulu, and inlaid ■with cornehans and other hard stones. On the pedestal is inscribed “ Giovanni Bologna fece il Centauro, Giovanni Dughe fece I’Amore.” Height of Centaur, 16|- in. C. D. E. Eortnum, Esq. No. 473. Bas-relief in bronze. Ariadne in a car drawn by two panthers, crowned by a genius, and preceded by two Satyrs. This relievo is an ancient reproduction of one of the panels of the bronze pedestal or altar in the museum of the tJffizi, Florence. Conjecturally ascribed to Desiderio da Settignano. Length, 15 in.; height, 12 ^ in. C. D. E. Eortnum, Esq. No. 474. Circular bronze relievo. A figure praying, sur- rounded by fiames, in a chariot drawn by two horses, probably Elijah in the fiery chariot. North Italian work, circa 1490 ? Originally an insertion into the centre of a marble panel. Diameter, 9^ in. C. D. E. Fortnibi, Esq. No. 475. Bronze inkstand, the lower portion formed by three Sphynxes ; on the cover is a group of statuettes. Pan with his hands bound behind him, Venus, and Cupid. A fine Itahan cinque-cento work from the Bernal and Uzielh collections. Height, 14 in, C. D, E. Eortnum, Esq. No. 476. Triangular sweetn>eat stand, or salt-cellar, in gilt bronze and silver ; the lower part or stand formed by three sea-horses ; the bowl formed by pecten shells in silver, surmoimted by a gilt statuette of Neptune. Italian, circa 1560 ? Height, 14^ in. C. D. E. Eortnum, Esq. No. 477. Bronze salt-cellar. A kneeling nude figure, or caryatide, supporting on his shoulders a chama shell. Italian, cinque-cento work. Height, in. C. D. E. Eortnum, Esq. No. 478. A child or dwarf holding a cornucopia, and seated on an ornamental pedestal. A spirited Itahan bronze of the first half of the 16th century. Perhaps designed for an inkstand. Height, 6J in. C. D. E. Eortnum, Esq. No. 479. Bronze inkstand. A warrior seated on a gro- tesque sea monster, probably intended to represent Orlando dragging the monster from the deep. From Ariosto. Height, 5 1 in. Florentine bronze, circa 1580. C. D. E. Eortnum, Esq. No. 480. The Flora of the Capitol. Height, 10|^ in. No. 481. The Farnese Flora. Height, 13|- in. No. 482. The Antinous. Reduced copies from the antique, highly finished bronzes by Giovanni Zoffbli, of Section 3. — Art Bronzes. 31 Florence. Date, second half of the 18th century. All the three hear the usual signature of this artist. Height of each, 13|- inches. C. D. E. Fortnum, Esq. No. 483. The centaur Nessus carrying off Dejanira. A highly finished and most beautiful repetition of the group by Giovanni da Bologna, probably from the hand of the artist himself. Height, 17 in. The Duke of Hamilton. No. 484. TheKape of the Sabines. Keduction in bronze of the well-known group by Giovanni da Bologna, under the Loggi dei Lanzi, Florence. A contemporary work, pro- bably from the “botega'” of the artist. Height, 23-|- in. National Gallery of Scotland. No. 485. Mercury. A reduced copy of the statue by Giovanni Bologna. Cinque-cento reproduction. Height, 22^ in. National Gallery of Scotland. No. 48G. Victory kneeling on a slave. Keduced from the colossal marble by Giovanni da Bologna. Contempo- rary bronze. Height, 12|- in. National Gallery of Scotland. No. 487. A goat. Italian cinque-cento period. Height, 7 in. National Gallery of Scotland. No. 488. Circular bronze relievo. Neptune in his car drawn by sea horses, accompanied by a Triton and a sea nymph. Italian, circa 1520 (?). Diameter, 8j in. G. H. Morland, Esq. No. 489. Bronze candlestick. The stem a statuette of Venus holding up a vase or basket, which forms the nozzle. The wide base richly ornamented in relief with amorini, arabesques, &c. An exquisite Italian work of the first half of the 16th century. Height, 8^ in. Kobt. Napier, Esq. No. 490. Crucifix. A highly finished Italian bronze of the school and period of Giovanni da Bologna. Height, 8 in. Sir Hugh Hume Campbell, Bart. No. 491. Venus. A statuette. Early cinque cento period. Height, 10 in. J. W. Brett, Esq. No. 492. David. Statuette in bronze on a reduced scale of the marble statue by Michael Angelo. Height, 8 in. Isaac Falcke, Esq. No. 493. Oviform bronze vase, ornamented with masks, festoons of fruit, sphynxes, &c. Florentine work, circa 1570. Height, 13^ in. Lord Willoughby de Eresby. Nos. 494 & 494a. “ Night and Day.” Two recumbent figures from the Medici tombs. Highly finished bronzes, on a reduced scale, from the marble statues by Michael Angelo. Day, 11 in. by 23 in. by 8 in. ; Night, 13 in. by 24 in. by 10 in. National Gallery of Scotland. 32 Section 3. — Art Bronzes. No. 495. Pair of pricket candelabra, richly ornamented with strapwork ornaments, masks, &c. Italian, circa 1570. Height, 13 in. George Field, Esq. No. 496. Portrait bust of an emperor, probably intended for Trajan. A beautiful quattro-cento or early cinque-cento bronze in the manner of Ricci. Height in. G. H. Morland, Esq. No. 497. Bronze inkstand. A statuette of a warrior in antique costume, kneeling on a helmet, and resting one hand on a shield. The cavity for the ink is in the pedestal or ground on which the figure stands. Italian, circa 1550. Height, 9 in. S. Addington, Esq. No. 49S. Miniature bronze portrait bust of an ecclesiastic, executed in a verj^ delicate and highly finished style. Italian, circa 1 600. Height 5| in. R. S. Holeord, Esq. No. 499. Small life size profile portrait, in bas-relief, of Plenri II. of France, wearing a rich cuirass, bronze, appliqud on a background of gilded wood. Contemporary French work. 12 in. by 9^ in J. W. Brett, Esq. No. 500. Hercules. A statuette ; one foot resting on a lion’s head. The figure stands on a triangular pedestal decorated with sphynxes, &c. Florentine early 16th coitury work. Height, 16 in. Lady Sophia des Voeux. No. 501. Laocoon. A Florentine, cinque-cento reduction from the antique marble group. Height, 13 in. J. W. Brett, Esq. No. 502. Female standing figiu’e, supporting a hemi- spherical vase on her head, in gilt bronze, the drapery chased and engraved with an arabesque pattern. Italian work, circa 1550. Probably used as a perfume burner. Height, 11 in. G. H. Morland, Esq. No. 503. Bronze inkstand, the cover surmounted by a statuette of Cupid. Italian cinque -cento work. Height, 1 0 in. The Duke of Buccleuch. Nos. 504 & 505. Vase or bowl-shaped tazza and hexagonal pedestal, richly decorated with arabesque ornaments in bas- relief Italian, ch’ca 1490. Height of pedestal, 3^ in. ; diameter, 10 in. ; height of bowl, 8 in., diameter, 10 in. G. H. Morland, Esq. No. 506. Statuette of the infant Hercules strangling a serpent. Italian, cinque-cento work. Height, 9 in. Rev. Montague Taylor. Nos. 507 & 508. Pair of gilt bronze ewers, formed as grotesqixe horned monsters with gaping mouths. Italian cinque cento period. Height, 8;^ in. JoHN Noble, Esq. No, 509. Bell-shaped vase, surrounded by a frieze of classical figures. Reduced copy in bi'onze of an antique Section 3. — Akt Bronzes, 83 marble vase of large dimensions, in the Villa Borghese ; the work of Giovanni Zoffoli of Florence. 18th century. Height, 1 5i in. Signed by the artist. National Gallery of Scotland. No. 510. Vase, companion to the preceding, also from an original in the Villa Borghese. By Zoffoli ; signed by the artist. Height, 13|^ in. National Gallery of Scotland. No. 511. Companion bronze vase, with slender scroll handles, reduced from an antique original in the Villa Borghese. Signed by Zoffoli. Height, 12^ in. National Gallery of Scotland. No. 512. Bronze statuette ; a figure with outstretched arms, the lower extremities those of a sea-monster. Height, 9 in. Rev. Montague Taylor. No. 513. Bronze statue, small life-size, of a seated child, or amorino, holding a bird cage, inscribed on the box “ Pigalle fecit, 1783.” Jean Baptiste Pigalle was born at Paris, 1721, and died 1784. Height, 20 in. Her Majesty the Queen (Windsor Castle Coll.) No. 514. Bronze statue, companion to the preceding, of a seated child with a bird in one hand and an apple in the other. Inscribed on the base “Pigalle £, 1784.” Height, 18 in. Her Majesty the Queen (Windsor Castle Coll.). No. 515. Bronze statuette of Jupiter holding a thunder- bolt and a wand or sceptre ; antique Roman work. Height, 7i in. Rev. Montague Taylor. Nos. 516 & 517. Pair of large ewer-shaped vases, sur- rounded by Tritons, sea-nymphs, &c. Italian, circa 1690? Height, 2 ft. 8 in. Earl Cowper. Nos. 518 & 519. Pair of candlesticks, with wide circular bases, and baluster-shaped stems, richly adorned with in- terlaced arabesque work, masks, &c. chiselled in relief Italian, circa 1500-30. Height, 9 in. G. H. Morland, Esq. No. 520. Miniature antique bronze statuette of Harpo- crates ? covered with a beautiful light green patina. Height, 2 1 in. Rev. Montague Taylor. No. 521. Small bronze tap, formed by a ram’s head, the handle a half figure of a satyr ; a spirited Italian cinque- cento work. 2 in. by 3f in. Rev. Montague Taylor. No. 522. Grotesque bronze lamp, composition of a winged sphynx with a bearded human head, &c. Italian early cinque-cento work. 8 in. by 7^ in. by 3^ in. S. Addington, Esq. No. 523. Grotesque Florentine lamp, in the style of an antique “ gryllus composition of a large grotesque mask, c " V fv 34 Section 3. — Aet Bronzes. a dolphin, a swan, &c., the neck of the latter forming the handle. Early cinqne-cento work. 4|- in. hy 7^ in. by 4 in. Lady Sophia des Voeux. No. 524. Florentine bronze statuette of an athlete, re- duction from the antique. Height, 12 in. Rev. Montague Taylor. No. 525. Bronze casket or inkstand, ornamented with relievo subjects of nymphs and centaurs. Florentine quatti-o- cento period. 4^ in. by 9f in. by 5f in. G. H. Morland, Esq. No. 526. Venus, an Italian Florentine bronze, in the manner of Francia. Height, 11^ in. Lady Sophia des Voeux. No. 527. Statuette of a horse, by Le Sueur. I7th cen- tury. Height, 6 in. Lady Fellows. No. 528. Bas-relief, the Nativity. 17th century. 7 in. by 5^ in. C. Wynn, Esq. Nos. 529 & 530. Pair of Venetian engraved brass candle- sticks. Cinque-cento period. Height 7 in. C. D. E. Fortnum, Esq. No. 531. Venetian engraved cinque-cento candlestick. Height, 6 ^ in. Edmund Waterton, Esq. Nos. 532 & 533. Pair of Venetian candlesticks, elaborately engraved with battle subjects and foliated ornaments in the style of Orazio Forezza. Cinque-cento work. Height, 9 in. G. H. Morland, Esq. No. 534. Hercules and Cacus, a reproduction on a reduced scale of the group by Canova. Height, 16i in. J. W. Brett, Esq. No. 535. Ewer, decorated with foliage and amorini in relief. Height, 2 ft. 2 in. Mrs. Turner. Nos. 536 to 547. Collection of 12 bronze statuettes, chiefly of Florentine 16 th and l7th century origin. Lady Sophia des Voeux. Nos. 548 to 554. Collection of 7 bronze statuettes of Italian origin. J. W. Brett, Esq. Nos. 556 to 671. Collection of 76 relievo “plaques,” por- trait medallions, &c. in bronze ; chiefly of Italian origin, of the 15th and 16th centuries. Amongst them may be spe- cially noted Nos. 556 and 557, two oblong “plaques,” with semi-circular ends, from, the Baron de Monville’s collection, containing subjects from the labours of Hercules. No. 558, a square plaque, subject, Silenus on an ass, prostrate on the ground, surrounded by a troop of bacchantes, ascribed to Pollajuolo. No. 559, Hercules and Antmus. Nos. 560 and 561, two examples of a plaque, ascribed to Sandro Botticelli ; subject, the Virgin standing on a raised throne or platform, surrounded by angels. No. 562, a Section 4. — Furnituee. 35 large square gilt plaque, or relievo picture, of German ■work, circa 1600-20 ; subject, the Virgin and Child sur- rounded by boy angels. Medals of Cosmo de Medici, ascribed to Donatello (564). Nicolo Sanuto, by Speran- dio (565). Cardinal Francesco Gonzaga, by the same (566). Guarini di Verona, by Matteo di Fastis (567) ; and Louis XII. and Anne of Brittany, by the Goldsmiths. Saint Priest of Lyons (568). Sir Thomas Gresley, Bart. Nos. 672 to 701. Collection of 30 Italian 15th and 16th century bronze “plaques'’ and medals, of which may be noticed No. 672, a circular sword pomel “plaque,” a Me- dusa’s head, with two amorini. No. 673, the Resurrection, of North Italian work; No. 674, St. Sebastian ; Nos. 675 and 676, two plaques, half figures of Silenus and a nymph respectively, reproduced from the patera or mirror cover of the Casa Martelli, ascribed to Donatello ; No. 677, a Cru- cifixion ; No. 678, Holy Family (from the DeMonville col- lection) ; No, 679, Christ in the Sepulchre (also from the De Monville collection) ; No. 680,a Medal of Erasmus, dated 1519, ascribed to Quentin Matsys. C. D. E. Fortnum, Esq. Nos. 702 to 709. Eight Italian cinque-cento medallions, of which may be specified No. 702, a bronze portrait medal, inscribed “ lo Fran Martini o Mediol Medicus.” WiLBRAHAM EgERTON, EsQ., M.P. No. 710. Silver medallion of the Emperor Rudolph II. The Rev. Montague Taylor. No. 711. Steel matrix of the Great Seal of the Common- wealth, inscribed “ The scale of the Parliament of the Commonwealth of England.” Diameter, 2^ in. W. B. Stopford, Esq. Section 4, FURNITURE. By J. C._Robinson. No. 801. Throhe ot stall chair in walnut wood, richly carved with strap work ornamentation. Caryatides, &c. Venetian 'work, circa 1550 ; brought from the monastery of San Giorgio, Venice. Height, 7 ft. 3 in. ; width, 3 ft. 8 in. Henry Vaughan, Esq. No. 802. Large ebony cabinet, elaborately carved with scriptural subjects in bas-relief, rich scroll ornaments, statuettes, in full relief, &c. Date first half of l7th century. Height, 7 ft. 3 in. ; width, 6 ft. 3 in, R. S. Holford, Esq. M.P. No. 803. Ebony cabinet, the front inlaid v/ith twenty- one small paintings in oil by eminent Dutch masters c 2 36 Section 4. — Furniture. (Berghem, Paul Brill, Polemberg, and Bonaventura Peters). Two small highly finished landscapes, with cattle and pas- toral figures, by Berghem, are conspicuous in the lower part. I7th century work. An heir-loom in the Sydney family. Cabinet, height, 3 ft. 3 in ; width, 4 ft. 4 in ; with stand, height, 6 ft. 3 in. ; width, 5 ft. Lord de LTsle and Dudley (from Penshurst). No. 804. Cabinet in iron, embossed and richly dama- scened with arabesques, &c., in gold. Milanese work ; circa 1540-50. Height, 3 ft. 4 in; width, 3 ft. 6 in. The Duke of Hamilton. No. 805. Dwarf cabinet or “commode,” old French work, decorated mth arabesques, and figures painted in oil on a gold ground. Circa 1 680. Height, 3 ft. 2 in. ; width, 6 ft. 10 in. Martin T. Smith, Esq., M.P. No. 806. Coffer, old Japan marquetry of mother-of-pearl on a carved and gilded wood stand. 17 th century, called “ the Medici cofier.” Height 4 ft. ; width, 5 ft. 3 in. The Marquis of Westminster. No. 807. Table supported by a life-sized crouching figure of a negro boy in gilt wood. Venetian, l7th century work. Height, 3ft.2in. ; width, 4ft. The Rev. Montague Taylor. No. 808. Cabinet in black “boule,” in three compart- ments, with highly finished ormolu mounts, probably one of the finest works of Charles Andrd Boule, period of Louis XIV. Circa 1690-1700. (Boule was born 1642, died 1732.) Height, 3 ft. 9 in. ; width, 4 ft. 4' in. The Duke of Buccleuch. No. 809. Oblong cabinet on feet, in black boule ; in the centre of the front is inserted a large bronze plaque, with a relievo of children at play, doubtless a fine original work of Charles Andre Boule. Height, 4 ft. 8 in. ; width, 4 ft. 6 in. Her Majesty the Queen (Windsor Castle Coll.) No. 810. Library table, with etagere and drawers on the top, surmounted by an elaborately ornamented clock. Old black boule, richly mounted in ormolu and decorated with plaques of painted enamel. Circa 1700. Height, 4 ft. ; width, 5 ft. 3 in. ; with clock, height, 6 ft. 6 in. The Duke of Buccleuch. No. 811. “ Kneehole ” table. Old red boule, with drawers on the top, mounted with ormolu and silver. This piece bears the arms of the family De Gondi, and was in all probability made for a descendant of the celebrated Car- dinal de Retz. Circa 1700. Height, 3 ft. 2 in. ; width, 2 ft. 8 in. Her Majesty the Queen (Windsor Castle Coll.) No. 812. A kneehole table of similar design and period to the previous piece. Height, 3 ft. 4 in. ; width, 2 ft. 11 in. Captain Leyland. Section 4. — Furniture. 87 No. 813. Old black boule cabinet, in four compartments. In the centre of each panel are figures in relief, in ormolu, respectively of the Four Seasons. Circa 1700. Height, 5 ft. ; width, 4 ft. 4 in. ' Earl Granville. Nos. 814 & 815. Pair of tripod-shaped “ encoignures ” in old black boule. Circa 1700 ; probably designed for occasional use, to be placed at the ends of a library table. Height, 2 ft. 3 in. ; width, 1 ft. 8 in. George Field, Esq. No. 816. Coffer and stand, old black boule, richly mounted in ormolu ; an original highly wrought work of Charles Andrd Boule. Circa 1700. Height, 4 ft. 1 in. ; width, 2 ft. 3 in. His Royal Highness the Duke of Cambridge. No. 817. Coffer and stand, companion to the previous speci- men. Height, 4 ft. ; width, 2 ft. 3 in. The DukeofBuccleuch. No. 818. Oblong box or coffret, old black boule. Height, 5 in. ; length, 1 3 in. George Field, Esq. No. 819. Clock and bracket, in black boule, decorated with an allegorical figure of Time ; at the summit an hour glass flanked by wings and other emblems. An original work of Boule. Height, 3 ft. ; width, 1 ft. 2 in. George Field, Esq. No. 820. Bellows in old boule. Length, 1 ft. 8. in. ; width, 8 in. Mrs. Littledale. No. 821. A pair of elaborately carved and gilded wood “ gueridons,” the stems formed by terminal figures of amorini. French work of the period of Louis XIV. Height, 3 ft. 3 in. ; width, 1 ft. 4 in. D. M. Davidson, Esq. Nos. 822 & 823. Two carved and gilded chairs. French, period of Louis XV. Height, 3 ft. 4 in. ; Avidth, 2 ft. The Earl of Chesterfield. Nos. 824. Commode in marqueterie, mounted in ormolu. French ; period of Louis XV. A beautiful and highly finished work of Riesener (?). Height, 3 ft. ; width, 5 ft. Harvie Farquhar, Esq. No. 825. Cabinet or secretaire in marqueterie, mounted in ormolu, the panel in the upper part contains an oval medallion in ormolu ; subject, a trophy or group of doves, a quiver of arrows, garland of flowers, &c. ; the lower panels, in marqueterie, are ornamented Avith elegant arabesques, wreaths of natural flowers, &c. ; the signature of the artist, “ Riesener fe., 1790,” is visible in the right hand lower corner. Height, 4 ft. 9 in. ; width, 3 ft. 6 in. The Duke of Hamilton. No. 826. Small square ^taghre or writing table “ en suite ” with the previous piece ; the top inlaid with a trophy of books, natural flowers, a bow and arrows, quiver, &c., elaborately mounted in ormolu, with hanging festoons of flowers, &c. Height, 2 ft. 6 in. ; width, 2 ft. These specimens, with a third “ en suite,” now at Hamilton Palace, were executed for Queen Marie An- 88 Section 4.— Fukniture. toinette ; tlie marqueterie, as indicated by the signature on tile cabinet, is the work of the celebrated “db^niste” Riesener, whilst the ormolu mounts are believed to be by the equally famous “ ciseleur Goutidre. In both specialities is displayed the utmost perfection of design and execution at the culminating period of French decorative art, and in all probability the suite of furniture, as a whole, is the most important and beautiful work of its kind produced in the age of Louis XVI. The Duke of Hamilton. No. 827. Circular fronted secretaire in marqueterie, richly mounted in ormolu ; at each end is a beautiful branched candelabrum in gilt metal, and at the summit a pierced gallery. The marqueterie decoration consists of elaborate trophies of natural flowers, books, and various emblems ; both marqueterie and chasing are of the utmost possible excellence. This chef d’oeuvre of French cabinetwork is doubtless the work of Eiesener, but of an earlier date than the preceding specimens. Height, 3 ft. 10 in.; width, 4 ft. 3 in. Her Majesty the Queen (Buckingham Palace Coll.) Nos. 828 & 829. Pair of encoignures in marqueterie and ormolu, surmounted by Griotte marble slabs, very beauti- ful specimens of the work of Riesener (?), executed probably towards the end of Louis XV. or beginning of Louis XVI. ’s reign. Height, 8 ft. 2 in. ; width, 3 ft. 3 in. Her Majesty the Queen (Windsor Castle Coll.) Nos. 830 & 831. Pair of small pier tables, with drawers, inlaid with plaques of Sevres porcelain with green margins, and painted with bouquets of flowers. Period of Louis XVI. Height, 2 ft. 9 in. ; width, 2 ft. 3 in. Earl Spencer (from Spencer House). No. 832. Pier table inlaid with medallion plaques in Sevres porcelain, painted with pastoral subjects. Height, 2 ft. 6 in. ; width, 2 ft. 7 in. Her Majesty the Queen (Windsor Castle Coll.) No. 833. Coffer cabinet, decorated with three large square plaques of Sevres porcelain, admirably painted with pastoral subjects, and with a plaque at each end painted with birds. Height, 1 ft. 4s in. ; width, 2 ft. Her Majesty the Queen (Windsor Castle Coll.) No. 834. Table surmounted by an etagere cabinet, inlaid with plaques of Sevres porcelain, bordered in turquoise and painted with bouquets of flowers. Period of Louis XVI. Height, 4 ft. 6 in. ; width, 2 ft. 10 in. J. Kelk, Esq. No. 835. Cabinet mounted in ormolu and inlaid with four large oval plaques of Sevres porcelain, with gTeen margins. The two large panels in front exquisitely painted with “corbeilles” of flowers. Probably one of the most perfect and brilliant specimens of old Sevres inlaid fur- Section 4. — Fueniture. 39 niture ever executed. Height, 3 ft. 11 in. ; width, 2 ft. 8 in. Charles Mills, Esq. No. 836. Cabinet, mounted in ormolu and inlaid with five large plaques of Sevres porcelain, (three vertical quadran- gular plaques in front, beautifully painted with large bou- quets of flowers ; two oval plaques (at the ends) painted with trophies ;) borders grounded in light green, powdered with white and gold spots. This beautiful piece is of the finest style of the Louis XYI. period. Height, 4 ft. 1 in. ; width, 2 ft. 8 in. Alexander Barker, Esq. No. 837. Small square “ dtagere” or work-table in green lac or “ vernis,” mounted in ormolu, the top formed bj?' an oblong tray in Sevres porcelain, a second tray inserted at a lower level. The principal tray at the summit is beautifully painted with a garden scene, with two ladies in the costume of the period of Louis XV. ; the lower tray painted with the interior of a room, in which is seen a ladies work-table and various appliances. This piece is said to have been made for one of the directors of the manu- factory of Sevres (M. Boileauor M. Parent ?) the two figures on the tray being intended as portraits of his wife and daughter. Height, 2 ft. 3 in. ; width, 1 ft. 2 in. Charles Mills, Esq. No. 838. Ebony cofier cabinet, elaborately mounted with openwork silver ornaments ; the interior decorated with highly finished pictures of scriptural subjects in oil. Flemish, circa 1620. Height, 1 ft. 9 in. ; width, 13 in. The Baroness Mayer de Kothschild. No. 839. Bracket clock in red “ vernis ” lac, painted with bouquets of natui-al flowers, and mounted in ormolu. French, period of Louis XV. Height, 2 ft. 6 in. ; width, 12 in. Lord Willoughby de Eeesby. No. 840. Circular dtagbre work-stand in ormolu, mounted with two large circular plaques of Sevres porcelain, painted with rich bouquets of flowers. Height, 2 ft. 6 in. ; diameter of plaque, 1 ft. 2 in. Lord Foley. No. 841. Circular etagere work-table, mounted at the top with a large circular plaque of Sevres 2 Dorcelain, painted with a “ corbeille ” of flowers, and bordered with turquoise. Presented by Queen Marie Antoinette to Lady Auckland, at the period of Lord Auckland’s embassy in France. Height, 2 ft. 7 in. ; width, 1 ft. 2^ in. The Hon. Miss Eden. No. 842. Square pillar music-table, the tojr formed by a large plaque of Sfevres porcelain, painted with a trophy of musical instruments, within a border of turquoise and gold. Also }3resented by Marie Antoinette to Lady Auckland. Height, 2 ft. 7 in. ; width, 1 ft. 4 in. The Hon. Miss Eden. No. 843. Cabinet in mahogany, richly mounted in ormolu, supported on eight legs formed as quivers of arrows ; at the 40 Section 4. — Fuenituee. summit an elaborate composition in ormolu, of scroll work, amorini, &c., flanking a shield of arms. This magnificent cabinet, a masterpiece of the celebrated French eheniste and ciseleur Goutiere, was executed either for the Comte de Provence (afterwards Louis XVIII.), or the Comte d’ Artois (Charles X.), circa 1770-80. Height, 8 ft. ; width, 4 ft. 9 in. Heb Majesty the Queen (Windsor Castle Coll.) No. 844. Coffer cabinet with fall front, in old Spanish or Italian marqueterie ; the drawers inside lined with plaques of iron, richly damascened in gold, with arabesque ornamen- tation. 16th century. Height, 1 ft. 4 in. ; length, 1 ft. 9 in. Messes. Faekee. No. 845. Coffer cabinet in ebony, ornamented with relievo plaques of arabesque ornament in perforated gilt bronze. Italian, circa 1570. Height, 1 ft. 6 in. ; length, I ft. 11 in. The Rev. Montague Taylor. No. 846. Coffer, richly mounted in perforated work of blued steel and ormolu. Circa 1600. Height, 9 in. ; length, 1 ft. 6 in. The Duke of Hamilton. No. 847. Small coffer in ebony and ormolu, and decorated with “ pietra dura " work in relief Florentine 17th or 18th century work. Height, 10 in. ; length, 1 ft. 3 in. The Hon. Mrs. Scott Murray. No. 848. A casket of old Japan lac, inlaid with mother-of-pearl, circular topped. Height, 12 in. ; length, 18 in. It belonged to Margaret, Duchess of Norfolk, daughter and heir of Thomas, Lord Audley of Waldew. She was the second wife of Thomas Howard, 4th Duke of Norfolk (be- headed by order of Henry VIII., 1572), who had by her two sons, Thomas, Earl of Suftblk, and “ Belted Will Howard,” ancestor of the Earl of Carlisle and of the Howards of Corby. The date of her marriage has not been ascertanied. This coffer doubtless contained some of the most precious portions of her trousseau. Philip H. Howard, Esq., of Corby. No. 848*. Small ebony cabinet ; the exterior plain, the inside of the lid and front of tlie doors and drawers inlaid with plaques of silver engraved with arabesques, &c., four having allegorical figures of “ Justitia,” “ Caritas,” “ Espes,” “ Fides,” two others have subjects from the liistory of Joseph. Flemish work of the latter part of the 1 6th century. Height, 15 in. ; width, 19^ in. Rev. Thos. Bacon. Nos. 849 & 850. Pair of groups in gilt bronze and ormolu, on black boule pedestals ; two of a set of four allegorical compositions typical of the arts and sciences. Probably by Charles Andre Boule, circa 1700. Height, 2 ft. 1 in, ; width, II in. Her Majesty the Queen (Windsor Castle Coll.) Section 5. OBJECTS OF ANCIENT IRISH AND ANGLO-SAXON ART. By R. H. S. Smith, A.M., F.S.A., Assistant Keeper of the Art Collections. No. 851. Gold ornament, believed to be the ancient Celtic “ mind,’" or head-ornament. Formed of a thin semi-lunar plate of gold with raised ribs. The intervals filled with embossed fillets and rope ornament. Disks, composed of two thin plates of gold, 3^ in. diameter, embossed with lines of ornament, terminate the object at each side. Found 1836, in CO. Tipperary. Ancient Celtic work. Size, 10^ in. wide ; 5 in. across the opening ; 3^ in. deep at top ; 3 in. at each extremity ; weight, 4 oz. 6 dwts. 2 gr. The Royal Irish Academy (Cat. No. 17).* No. 852. Gold ornament, a “ mind,” of similar form, with five raised ribs and rope ornament between ; portions of the inside terminal disks remain ; and one of the anterior disks is perfect but detached. Ancient Celtic work. Size, 10| in. by 10;^ in. ; 4| in. across the opening; 4| in. deep at top ; 2^ in. at the ends ; weight, 7 ozs. 8 dwts. 1 gr. The Royal Irish Academy (Cat. No. 20). No. 853. Gold disk of a similar ornament, embossed with concentric lines and circles, with a sharp conical projection in the centre of each. Diameter, 5 in. Trinity College, Dublin. No. 854. Gorget, probably a mortuary ornament, formed of a thin semi-lunar plate of gold, the ends thickened and bent, the upper surface stamped along its edges with a pat- tern of zigzags in lines. Ancient Celtic work. Total diameter, 8-jV iii- ; greatest width of gold plate, 2-pV in- ; measure in the clear within, 5 in. Found at Ardrah, co. Donegal. Engraved in Archseologia, vol. xxx., p. 137, pi. xii. Lord Londesborough. No. 855. Circular torque, or breast ornament of gold, the largest known ; formed of four fianges of metal united along their inner edges and then twisted ; the ends solid, recurved so as to form hooks ; one of these prolonged for lO^ in. in length into a projecting bar. Found (1810) at Tara, co. Westmeath. Length, 5 ft. 7 iu. ; weight, 27 oz. 7 dwts. 20 gr. The Royal Irish Academy (Cat. No. 192). * The writer begs to acknowledge his obligations to the valuable Catalogue of the Antiquities in the Museum of the Royal Irish Aeademy by W. E. Wilde, V.r.R.I.A., and to refer to it for interesting details respecting the objects briefly described here. 42 Section 5. — Ancient Ieish No. 856. Circular gold torque, of similar character, the solid ends forming hooks of equal length. Found at Tipper, near Naas, co. Kildare. Length, 4 ft. 7 in. The Makquess of Kildare. No. 857. Circular gold torque, of similar character ; a piece seems to have been cut off from one of the recurved ends. Length, 4 ft. 4| in. Sir W. W. Wynn, Bart., M.P. No. 858. Circular gold torque, formed of a single twisted wire, loosely bent or folded into a triple cord, with solid smooth recurved ends forming the usual hooks. Length, 1 5 in. Found near Romsey, Hants. Viscount Palmerston, M.P. No. 859. Circular gold torque, of a single twist, witli the ordinary terminal hooks. Ancient Celtic work. Found near Scarborough. Length of plain hook, 2 in. Length, 3 ft. 2yv ill- ; depth, i in. Lord Londesborough. No. 860. Gold torque, penannular, hammered up into a hollow, swollen form, small sohd button-shaped ends. An- cient Celtic (?) work. Length, lOf in.; width over the curve, iHs in-; diameter of button-shaped ends, -^in. ; weight, 4 oz. 3 dwts. Found at Ballykilty, co. Cork. Lord Londesborough. No. 861. Gold armlet, penannular, with funnel-shaped ends. Ancient Celtic (?) work. Length, 6| in. ; circum., in.; diam. of cup ends, ug- in. Lord Londesborough. No. 862. Gold armlet, penannular, the ends somewhat thickened, with small punctures, perhaps letters, near one of them. Found near Aspatria, Cumberland. Ancient Celtic (?) work. Weight, 5|- oz. ; diameter, 2| in. Engraved in Archseologia H^liana, vol. ii., p. 268. W, Forster, Esq. No. 863. Gold armlet, formed of four wires of gold twisted together and tapering to the fastening, which is a flattened loop closing over the recurved end of the armlet. Anglo- Roman work. Length, 8| in. ; greatest circum., | in. Signor A. Castellani. No. 864. Gold fibula (so-called “ring money”), formed of a central arched handle with expanded circular cup- shaped ends ; the inside margin of the cups decorated with three raised lines. Ancient Celtic (?) work. Length, 5^ in. ; height, 2 ^ in. ; diam. of each cup, 2^ in. ; weight, 4 oz. 11 dwts. 2 grs. The Royal Irish Academy (Cat. No. 121). No. 865. Gold fibula, of similar character, the largest known ; the arched handle is attached to the cup-shaped disks near the inner margin of the latter. Length, 11 in.; height placed on the disks, 3f in. ; diam. of cups, 5 in, ; depth of cups. If in. ; greatest circum. of handle, 4f in ; weight, 16 oz. 17 dwts. 4 grs. The Royal Irish Academy (Cat. No. 122). No. 866. Gold fibula, of similar character, but with the AND Anglo-Saxon Art. 43 terminal disks flat and thin ; the connecting arched handle is deeply striated longitudinally. Upon the upper face of one of the disks is a small gold loop, to which a chain or pin might have been attached. Length, 6 in. ; diam. of disks, 2f in . ; weight, 4 oz. 15 dwts. 19 grs. The Royal Irish Academy (Cat. No. 123). No. 867. Fibula, of similar character, with flat disks. The curved back longitudinally and deeply striated, with cross strim at the ends. Found at Bally money, Ireland. Diameter of flat ends, | in. ; over the arched handle, 1| in. ; circumference, 1^ in. Lord Londesborough. No. 868. Fibula, in white bronze, covered with a re- markable bright green patina ; somewhat lyre-shaped ; the centre portion strengthened by pieces riveted beneath ; a small fragment of amber, which probably formed a central boss, remains; the acus is wanting. Found in Ireland; probably work of the 4th or 5th century. Length, in. College of St. Columba, near Dublin. No. 869. Portion of bronze ornament, heart-shaped, formed of a double volute, enamelled, and inlaid with vitreous mosaics ; with three sockets for bosses, one retaining a portion of blue glass. The back rudely lined with inter- laced ornament, in which occurs the emblem of the fish. Ancient Celtic, 10th or 11th century work, perhaps a por- tion of ornament from a shrine ; figured in the article on “Vitreous Art,'’ by A. W. Franks, M.A., in Waring’s “Art Treasures of the United Kingdom.” Diameter, 3 in. College of St. Columba. No. 870. Hollow circular bronze ornament, the top carved probably to receive champlevd enamel. The pattern is the ordinary triple ornament in the centre, and a seiies of large and small circles round it. Found in a rath in Ireland, 1834. Ancient Celtic 11th or 12th century work. Diameter, 2| in. ; depth, in. College of St. Columba. No. 871. Bronze brooch, penannular ; the expanded ends enamelled and inlaid with vitreous mosaic. Celtic, 10th or 11th century work. Diameter, 2f in.; length of pin, 7 in. Trinity College, Dublin. No. 872. Bronze brooch, penannular; the expanded ends contain portions of vitreous mosaic and enamel. Found (1829) in a tumulus at Lagore, co. Meath. Ancient Celtic work. Diameter, | in. Lord Talbot de Malahide. No. 873. Bronze perforated ornament, enamelled in red and yellow, and inlaid with vitreous mosaic. Found in a tumulus, within which a chambered wooden structure was discovered, in 1829, at Lagore, co. Meath. Ancient Celtic work. 2| in. by 1 in. Engraved in Arch. Journal, vi., p. 105. Lord Talbot de Malahide. 44 Section 5. — Ancient Irish No. 874. The “Tara” brooch; white bronze, annular, the expanded portion occupying- nearly half the diameter ; the depressed parts overlaid with plaques of gold, to which is soldered gold interlaced filigree of great delicacy and elegance. Bosses and lines of brown amber and small por- tions of glass and lapis lazuli (?) are set in the projecting parts. To one side is attached a piece of silver chain similar in design to that made at Trichinopoli; the wedge-shaped head of the pin is similarly ornamented with filigree, &c. Irish work of the 12th century. Diameter, 4 in. ; length of pin, 9 in. Messrs. Waterhouse, Dublin. No. 875. Silver parcel-gilt brooch, annular, fiat beneath ; about one-third of the diameter occupied by the ornament of the expanded portion, consisting of interlaced grotesque animals and monsters’ heads supporting projecting bosses, the centres of which are filled with gold filigree. The head of the pin is ornamented with a similar boss. Irish 12th century work. Diameter, 4f in. ; present length of pin (imperfect), 7^ in. The Koyal Irish Academy. No. 876. Silver brooch, annular, fiat beneath, broadly expanded for about half its diameter, and stamped with a diamond pattern ; gilt, and enriched with gold filigree, and with four bosses of brown amber. The head of the pin is also broadly expanded, and similarly worked, and set with three bosses of amber ; one of these broken ofi". The pin- head and expansion of the brooch are filled up with lead. Irish, 12th (?) century work. Diameter, 4^ in. ; length of pin, 9f in. The Royal Irish Academy. No. 877. Silver brooch, penannular ; the ends broadly expanded and covered with interlaced ornament of birds’ heads, &c. ; eight bosses of silver riveted on. Irish work. Found near Virginia, co. Cavan. Diameter, 4|- in. ; length of pin, 7J in. The Royal Irish Academy. No. 878. Silver brooch, penannular, of similar form, inlaid with gold fibgree, enamelled and set with bosses of amber, some of which remain, and with small pieces of garnet. The brooch is broken, and the pin detached and injured. Irish work, about the 12th century. Diameter, 3| in. ; length of pin, 5i in. The Royal Irish Academy. No. 879. Silver brooch, called the “Kilkenny brooch,” annular, partly gilt ; the expanded portion iiolaid with silver-gilt filigree, and ornamented with two bosses of glass inlaid with silver ; the square head of the pin is similarly ornamented. Irish, about 12th century. Diameter, 5i in. ; length of remaining portion of pin, 5^ in. The Royal Irish Academy. No. 880. Silver brooch, penannular, with “ arbutus berry ” ends and pin-head of the same pattern. The small circles AND Anglo-Saxon Art. 45 beneath the berry ornaments filled with engraved ornament. Diameter, 4 in. ; length of pin, 10^ in. The Royal Irish Academy (Cat. No. 38). No. 881. Silver brooch, penannular ; the ends and head of pin finished with the “ arbutus berry ” pattern ; interlaced ornament on the top of the pin. Diameter, 4f in. ; length of pin, 10 in. The Royal Irish Academy (No. 40). No. 882. Silver brooch, penannular ; the ends and head of pin finished with the “ arbutus berry ” pattern, and engraved with various ornaments. Diameter, 5| in. ; length of pin, 13| in. Trinity College, Dublin. No. 883. Brooch of gilt bronze, penannular, the whole surface covered with interlaced ornament, stamped and chiseled ; with nine sockets for bosses of brown amber, portions of which remain ; the somewhat wedge-shaped head of the moveable pin is inlaid with blue glass and two bosses of amber. The back, not gilt, is ornamented with two bosses of dark blue glass and two depressions filled with interlaced ornament, and gilt. Celtic work, found in Ireland. Diameter, 4| in. ; length of pin, 9^ in. Lord Londesborough. No. 884. Silver brooch, ring-formed, with moveable pin ; two quadrangular depressions on the fiatted portion, and a similar depression on the head of the pin. Ancient Celtic work. Found near Tralee. Diameter, 2^ in. ; length of pin, 5|in. ; weight, 1 oz. ISdwts. Lord Londesborough. No. 885. Silver brooch, penannular, with edging of rope pattern and six silver bosses and holes, where six others have been riveted on. Diameter, 4f in. ; length, 7 1 in. Lord Londesborough. No. 886. Bronze brooch, with moveable pin, called the “ Conyngham ” brooch, penannular ; the ends wrought and chiseled, and inlaid with portions of vitreous mosaic, of the same character as that in Nos. 872-3, and having the effect of being set in enamel. Diameter, 1| in. ; length, 3| in. Lord Londesborough. No. 888. Brass brooch, with ring-formed disk and move- able pin ; the expanded portion of the disk deeply engraved with interlaced patterns, set with two small bosses of brown amber. Called the “ Moate brooch.” Diameter of head, 10|in. ; length of pin, 4Jin. Lord Londesborough. No. 889. Silver brooch, penannular, with moveable pin ; the broadly expanded disk-ends ornamented with inter- laced pattern, and with six silver bosses riveted on ; head of pin entwined with silver wire. 12th century work. 46 Section 5. — Ancient Irish Found near Tralee. Diameter, 3^ in. by 3| in. ; length of pin, 6| in. Lord Londesborough. No. 890. Silver brooch, penannular, with moveable head of a pin ; “ Arbutus berry ” ends riveted on. 12th century. Diameter, 5f in. ; depth of end, 1 1 in. Lord Londesborough. No. 891. Silver brooch, ornamented with six bosses of brown amber. Found at Waterford. Weight, 4oz. 6grs. Lord Londesborough. No. 892. Bronze fibula, formed of a central arched band of metal, with expanded ends, overlaid with thin bronze of a somewhat different alloy : the plaques covering the ex- panded ends are riveted on and hammered up into a very peculiar scroll ornament ; the covering metal of the central arch is soldered on and repoussd in an interlaced braided pattern. The back is minutely punctm-ed round the edges and shows traces of silvering. The pin and its fastening loop are complete. This remarkable fibula may probably be of very early date ; it certainly seems of Irish Celtic work. Length, Sin. ; width of the ends, Ig in.; width of the arch, ^ in. The Eoyal Irish Academy. No. 893. Fibula of antique form with spring fastening, of white metal gilt ; the projection of the arched portion enamelled with a cross in green and portions of blue and yellow enamel. Length, 2f ; width, 1 in. Bev. W. Sneyd. No. 894. Bronze bodkin (?), the head expanded and en- graved with ornaments. Ancient Irish work. Length, 11 in. College of St. Columba. No. 895. Pastoral staflf, called that of St. Melis ; of yew, overlaid with bronze riveted on ; the surface covered with interlaced ornament in repousse. Bands and rows of studs, two of which, of coral and of glass respectively, remain, seem to have ornamented the head and other parts of the stafi* ; the figure of a bishop in a niche edged with silver occupies the end of the crook. Irish, 12th century work ; portions of the ornament may be older. Length, 3 ft. 0.1 in. The Right Rev. Bishop Kilduff. No. 896. Pastoral staff, “ the Clonmacnoise crosier,” of wood overlaid with bronze ; the cmwed head inlaid with silver, and nielloed in an interlaced pattern ; surmounted bj a row of grotesque animals, carved in bronze, joined together ; a portion of these only remains ; the end of the crook has the figure of a bishop treading on a dragon ; a pro- jecting band of ornament below the head is formed of grotesque monsters with feet and tails interlaced, as is frequent in ancient Irish work, and set with studs of blue glass ; a projecting band of ornament, inlaid with silver AND Anglo-Saxon Art. 47 and nielloed, snrronnds the centre, and another hand, with inserted plaques of interlaced ornaments, and with sockets for studs of glass (?), surrounds the staff above the spike at its base, Irish 12th century work. Length, 3 ft. 2 in. The Eoyal Irish Academy. No. 897. Pastoral staff, supposed to have been used by St. Oarthag, first Bishop of Lismore ; of wood overlaid with bronze, the head partly gilt and set with bosses of glass or vitreous mosaic, and surmounted by a lacertine open-work ornament, terminating in a monster’s head, with blue glass eyes. A projection of ornament surrounds the centre ; the lower portion of the staff nielloed and inlaid with silver, as is also the ornament finishing. It appears, from inscriptions on it, to have been made for Nial Mac Mic Aeducain, Bishop of Lismore, who died 1112-1113. Irish work. Length, 3 ft. 9^ in. En- graved in Archseologia xxxii., p. 360, pi. xvii. The Duke of Devonshire. No. 898. Reliquary of St, Lachteen, in form of a hand and forearm, of yew (?), covered with bronze gilt and inlaid with silver in interlaced patterns, nielloed and enriched with silver filigree ; small bosses of blue glass are set round the base, and inscriptions in Irish are engraved and nielloed on narrow silver slips along the arm. Ancient Irish work, probably 12th century. Engraved in the Yetusta Monu- menta, vol. vi., pi. xix. ; vide also Arch. Journal, vol. x., p. 241. Length, 15 in.; circumference at base, 9 in. A. Fountaine, Esq. No. 899. Shrine of St. Manchan, or St. Monaghan ; a coffer of yew, the sides sloping together from the base upwards to a steep roof-like ridge ; mounted in gilt brass or bronze ; standing on four legs, from three of these project strong brass rings, 3 in. diameter, through which staves to carry the shrine might have been passed ; the fourth ring is wanting. On each of the sloping wooden sides is riveted a bronze ornament in form of a Greek cross, 19^ in. by 18L in., with hollow hemispherical bosses at the ends of the limbs, 3f in. diameter, engraved with interlaced patterns ; a similar large boss in the centre of each cross seems to have been ornamented with silver-gilt repousse plaques, one of which, showing a leaf ornament, remains. Beneath the limbs of one of the sides of the crosses are riveted 10 bronze Bgures of saints, gradually diminishing in size from 6| in. to 5 in. The angles are bound with brass, supported by grotesque animals’ heads, with eyes formed of dark enamel or glass, four of which, and fragments of others, remain. Along the base of the shrine the interspaces are filled with oblong pieces of enamel, 1^ in. long by | in. ; deep yellow 48 Section 5. — Ancient Irish and red in angular patterns ; four pieces of similar enamel ornament the limbs of each of the crosses. The wood of the cotfer is now uncovered over all the remaining surface of each side. The triangular ends are filled with brass plaques, chiseled with interlaced lacertine patterns in rehef ; framed in an edging 1 in. -wide of engraved brass. This very remarkable monument of ancient Irish art appears to belong to the same period, and perhaps to the same workshop as the “ Cross of Cong ” now in the Museum of the Royal Irish Academy, and of which full-sized coloured drawings are exhibited near the shrine ; it was in all probability made in the beginning of the 12th century. The Right Rev. Bishop Kilduff. No. 900. Shrine of the Gospels of St. Molasch. An oblong case of bronze, bound with silver, overlaid with open-work riveted on white metal silvered. The interstices of the open-work at the back filled with thin copper plates en- graved with interlaced ornament. The front has the emblems of the Evangelists with the name engTaved beside each figure. Portions of gold fihgree, and interlaced orna- ment with sockets for jewels occupy some of the remaining compartments of the open-work ; one ruby remains in the setting. The lid is wanting, but the bronze enamelled hinge re- mains with sockets one of which retains a portion of blue glass ; an inscription in Irish characters is engraved on one side of the shrine. 5f in. by in. ; depth, 3-| in. The Royal Irish Academy. No. 901. Shrine of the Psalter of St. Columba. Of wood mounted in silver and bronze ; with bronze rings and chain for suspension attached. The front is overlaid with silver plaques with figures of saints in repoussd, and is set with “ cabochon ” crystals and glass beads ; most of these are modern restorations, and the whole has been much altered and restored at various times. Portions are Irish 13th or 14th century work. Size, 10 in. by 9 in. ; depth, 2^ in. The College of St. Columba, County Dublin. No. 902. The “Dunvegan cup,” a cup or “mether” of yew, square above and rounded from the centre downwards, covered with silver mounts, gilt and nielloed, decorated with repousse and filigree work, standing on four rudely formed representations of human legs, covered with silver, the shoes nielloed ; round the mouth is a rim of silver 2 in. deep, on the outside of which is engraved an inscription in black lettei', which has been read as follows by Mr. Eugene Curry : — “ Katherina ingen in Neill (O’Neill’s daughter) uxor Johannis Meguighir (Mac Guire) principis de Firmanac AND Anglo-Saxon Art. 49 (Fermanagh) me fiei’i fecit, anno Domini 1493. Ocnli om- nium in te spectant (sperent) Domine, et tu das escam illorum in tempere opportuno.” This latter part is the 1 5th verse of the 144th Psalm. This date refers doubtless to the mounting, as the 'wooden enclosed cup may be probably much older. Within the silver rim, on each side, is the sacred monogram I.H.S. Irish work. This cup has been in the possession of the MacLeod family from so early a period that no record of its acquisition exists. Height, lOiin. ; breadth at mouth, 4|in. ; at broadest part, 5^ in. MacLeod of MacLeod. No. 903. Drinking horn, called the horn of “Rory More” (Sir Roderick MacLeod, who was knighted by King James I.) a horn mounted with a rim of silver 2 in. deep, engraved with interlaced patterns, and with circles filled up by grotesque monsters ; apparently of old Irish work of the 9th or 10th century. Length, 25in. ; greatest circum- ference, 12 in. MacLeod of MacLeod. Metal Work of the Anglo-Saxon P&riocl. No. 904. Circular brooch of bronze overlaid with silver at the back, and with gold in front, enriched with gold filigree and thin pieces of garnet (?) on a gold diapered ground ; the patterns disposed in two concentric circles united by portions of ornament radiating from the inner circle so as to form a star ; the centre is a raised boss, with a socket noAV empty, probably for enamel : four small pieces of green enamel (?) and some thin portions of crystal (?) remain. Anglo-Saxon work. Found in the Isle of Thanet with a bronze vessel and some other objects. Diameter, 2| in. The Earl Amherst. No. 905. Circular brooch of silver or bronze overlaid with silver ; the front ornamented with repoussd pattern, nielloed and set with triply arranged pieces of garnet (?) laid over a finely diapered foil ; the boss in the middle is composed of a round white agate (?) with garnet (?) set in its centre. Anglo-Saxon work. Found at Chatham. Diameter, If in. The Ashmolean Museum. No. 906. Cii’cular brooch of similar character, also with a triple plan in its ornament, overlaid with very delicate filigree of gold, and set with thin pieces of garnet (?) on a diapered foil. The centre is filled with white and dark green (?) cloisonnd (?) enamel. Anglo-Saxon work. Diameter, 1| in. The Ashmolean Museum. No. 907. Circular brooch of bronze overlaid with silver at the back ; the front has been most elaborately ornamented with gold filigree and garnets (?) ; the pattern is formed by a circle of ornament round a central boss, united by the D 50 Section 5. — Ancient Irish limbs of a Greek cross to another circle of ornament at the circumference. The interstices occupied by plates of gold enriched with entwined filigree, and with bosses that appear to have been set with freshwater pearls or pearl matrix, the surface of whicii has decayed, the body remaining, but con- siderably altered in texture ; the remainder of the brooch is covered with a diaper forming sockets for small pieces of garnet (?) the edge is grooved and gilt. Found at Milton, near Abingdon. Anglo-Saxon work. Diam., 3 in. Engraved in Archseol. Jour, iv., 253, The Ashmolean Museum. No. 908. Circular brooch of bronze silvered ; the face nielloed and gilt, and ornamented with interlaced jiattern in repousse, set with four pieces of garnet (?) over foil ; and witli four sockets for white enamel, portions of which I'emain ; the centre ornament is wanting. Anglo-Saxon work. Diameter, 2 in. The Ashmolean Museum. No. 909. Gold ornament, composed of three twisted wires of gold spread and looped at each end, with two plain wires between, the whole bound together towards either end with a gold wire twisted over them ; found at Kudding Park, Wetherby, Yorkshire. Anglo-Saxon period. Leugth, in. Lady Redcliffe. No. 910, Circular bronze brooch, tinned, with a central engraved circle and perforation, surrounded by five similar- circles and perforations, to which ornament has probabl}^ been attached. The acus is wanting, but the socket for it remains. Found at Brighthampton, near Witney, in a gi-ave. Diameter, If in. The Ashmolean Museum. No. 911. Similar bronze fibula, found at the same time and place, together with an amber bead, a portion of a steel blade (?), and some other small bronze objects. Dia- meter, If in. Vide Archmologia, vol. xxxvii., p. 391, and xxxviii., p. 84. The Ashmolean Museum. No. 912. Bronze gilt fibula, of the shape called cruciform ; the upper part consists of a quadrangular expanded plate of metal united by a ribbed arch. If m. diameter, to a some- what cruciform expanded portion, edged and lined witli a pattern of circular marks made by a punch, the interspaces filled with a rude interlaced ornament deeply chased, ap- parently with some attempt to represent human faces. The acus or pin, usually of iron with which these fibulae were fastened, is wanting. Early Anglo-Saxon period. Found near Catterick Bridge (the Roman Gataractonium), York- shire. Greatest width, 2f in. ; length, 6f in. Engraved in the York vol. of Archaeol. Institute, p. 40. Sir W. Lawson, Bart. No. 913. Bronze gilt fibula, of similar character ; the ornament is composed chiefly of grotesque heads, those at AND Anglo-Saxon Art. 51 the angles being in relief; the cruciform portion partly pierced with open-work pattern ; the acus wanting. Early Saxon period. Found at Brighthampton, near Witney, in a grave. Length, 5-^ in. ; greatest width, 2| in. The Ashmolean Museum. , No. 914. Bronze gilt fibula,* of similar form ; with chased foliated ornament in bold relief and heads of monsters ; narrow lozenge- shaped depressions towards the angles, and a small circular socket near the centre, liave been filled with a coarse vitreous substance, a rare peculiarity. Found in a gravel-field, Coton End, near Warwick. Length, 5^ in. ; greatest width, 2| in. Warwick Museum. No. 915. Crystal of quartz, flattened, somewhat pen- tagonal, perforated in the centre, the girdle or circumference shaped into ten triangular facets, the angles now much worn. This crystal, which resembles a smaller one in the Musemn of the Society of Antiquaries, might have been conjectured to have formed a portion of the decoration of a cross, shrine, or other object of ecclesiastical use ; but it was found in association with the Anglo-Saxon fibula above described ; it may therefore have been worn as an amulet suspended from the acus of the fibula, as appears occasionally to have been the case with similar objects. (Vide Mr. Way’s paper. Arch. Journal, above referred to.) Diameter, 2| in. ; thick- ness, 1 in. Warwick Museuim. No. 916. Circular bowl, of thin reddish-yellow bronze, hammered up, with a circular elevation or boss in the base, and a flat fold of metal with a deep groove round the edge, probably to hold a metal band or other means of suspension ; the surface overlaid with appliqud ornaments made of thin plates of bronze, tinned or silvered, arranged in four divi- sions, each separated by a narrow band, and finished by a circular ornament, to which are attached on each side an axe-shaped piece. The intervals are occupied by rude representations of deer, of cocks fighting, of other birds, and of fishes (?). The surfaces of all these applied ornaments have been grooved in narrow lines with various patterns, some interlaced, apparently to receive enamel, a few traces of which, of an orange-red colour, seem to remain. The four circular plates of ornament exhibit the triple character of pattern frequent on early Celtic work. Beneath the bowl, in the circular hollow produced by the hammering up of the boss before alluded to, have been pieces of similar applied and engraved ornament, two of which remain. This fibula and the crystal have been figured and described in an interesting paper by Mr. Albert Way, in the Archajological Journal, vol. ix. p. 179. The fibula is also engraved in Akerman’s “ Pagan Saxondom.” D 2 52 Section 6. — Vaeious Woeks of Probably early Anglo-Saxon work. Found near Lulling- stone Castle, Kent. Diameter, 9f in. ; depth, 5 in. EngTaved in Arclueologia Cantiana, vol. iii., pi. 1. SiE Peecyvall Haet Dyke, Baet. Fo 7' Addenda to Ancient Irish and Anglo-Saxo'n Ari, vide pp. 684 and 710. Section 6. VAEIOUS WOEKS OF MEDI.fflVAL AET, ECCLESIASTICAL UTENSILS, &c. By J. C. Robinson. No. 9S0. Head of a crosier in gilt metal. French or Flemish work, 15th century. Height, in. ; width, 6 in. Tlie knop or head is octagonal in ,shaj)e, each £ice en- riched with a sunk niche surmounted with a crocheted ogee canopy, and containing a statuette of a saint. The crook or volute, which rises above, has boldly chiseled crockets projecting from the outer margin ; the extremit}’ ramifies into two branches, each of which terminates in elegant re-curved foliage. Hollingwoeth Magniac, Esq. No. 981. Turi’et-shaped chrismatory in silver-gilt. Ger- man Gothic work, circa 1340. Height, 7^ in. A slender octagonal turret, adorned with buttresses, pinnacles, and canopy work, and surmounted by a low conical spire, supported on a short moulded stem, which expands again to a wide base, are the main features of tin’s beautiful little utensil. It is strictly architectural in de- sign, and might literally serve as a model for a stone turret or projecting “ tourelle.” The sacramental oils, three in number, were generally kept in small separate phials, placed within a silver vessel in three divisions. Several of these chrismatories are ex- tant ; they usually form a cluster of three simulated turrets. {See the specimen No. 1,009 from the collection of the Rev. Walter Sneyd.) The use of the present flask, however, most likely was to contain one of the phials, perhaps tliat of the “ oleum infirm orum,” for extreme unction, especially when carried out for use by the priest. It was purchased in Paris at the sale of M. Prdaux, January 1850, and is engraved in “ Choice Examples of Art Workmanship, &c.’" London, Cundall & Co., 1851. Hollingwoeth Magniac, Esq. No. 982. Reliquary in the form of a sandalled foot, in silver parcel gilt, set with jewels, &c. Swiss work, dated 1470. Length, 9jf in. ; height, 5^ in. The foot is in silver, well and minutely modelled in Medieval Aet, Ecclesiastical Utensils, «fec. 53 beaten work, the toes most beautifully executed in the naturalistic style of Martin Schongauer, or the artists of the Van Eyck school; the sandal forms a covering for the greater part of the foot, leaving the toes only exposed ; it is diapered all over with small gilded applied rosettes in relief, and bound round by several straps, set with large jewels and glass pastes. In front, on the instep, is a raised circular medallion, containing a pane of glass, intended for the inspection of the relic, formerly contained within ; and above it is a large rosette in high relief of elegant foliage in gold, set with pearls. On each side of the ankle also, the sandal is decorated with a large circular applied medal- lion, formed by a beautiful translucent cloisonnd enamel of green, red, and white tints, and gold filets, arranged in a floriated pattern, surrounded by zones of filagree work, and thickly set with seed pearls. Around the top, where the ankle is cut, the margin is surrounded by a band of jewels, crested with a raised open-work crown of straw- berry leaves ; this encloses a circular medallion carving, in mother of pearl (placed horizontally on the summit), representing the Presentation in the Temple. Access to the interior of the foot is obtained in the sole of the sandal by a hinged door, which is ornamented on both sides by inscriptions, varied with scroll ornaments, engraved cr chiselled in low relief, in large church text characters. On the exterior the inscription is as follows : — ■ “ In • tegmen • pes • de • innocentibus * Sanctus • Columbanus • dedit ; ’’ and inside, “ Osvaldus • fecit • hoc • opus • de • voluntate • Dei • 1470 • iar.” This celebrated reliquary was formerly in the treasury of the Cathedral of Basle, and was obtained at the sale of the church property in 1834. As indicated by the inscriptions, it was made to contain a foot of one of the Innocents, given to the Church by St. Columbanus, and was the work of one Oswald, probably a goldsmith of the city of Basle. It is engraved in Shaw's “ Decorative Arts of the Middle Ages,” &c. Hollingwoeth Magniac, Esq. No. 983. Silver “chasse”or shrine reliquary. German Gothic work, circa 1480. Length, 9 in. ; width, 4f in. In shape oblong, surmounted by a ridged roof or cover ; at each ansde is a semi-detached diagonal buttress, tei’ini- nating in a tall crocheted pinnacle. The ridge and each angle of the roof are enriched with open-work strawberry-leaf cresting. The sides of the “chasse” are filled in with canopied niches containing small statuettes of the Apostles, the vir- gin, and our Saviour in high relief. The sloping sides of the roof are engraved with Gothic foliated scrolls, enclosing em- 54 Section 6.— Vamous Wokks of blems of the Evangelists, in the admirable style of Martin Schon or Israel Van Mecken. Hollingworth Magniac, Esq. No. 984. Silver-gilt sacramental chalice. German, dated 1575. Height, 9-|in. This beautiful chalice is unusually large and massive ; the base, stem, knop, and lower part of the bowl are all formed by interlaced vine brunches and foliage, witli clus- ters of grapes, executed in the most spirited and truthful style. Underneath the base is the following inscription ; “ Im -1575 • iar • ich ■ Ursula • Frau ■ V. Pruskaw • geborne • “ Lobkowicz * auf • Altenburg • disen • Kelch • zum • ehr • “ Gottes • und • meyner • gedechtnus • machen • lassen.” In the year 1575, 1, dame Ursula von Pruskaw (born von Lob- kowicz), of Altenburg, caused this cup to be made to the honour of God and my own memory.) The family names here mentioned, and the locality Altenburg, point to South Germany, probably Bohemia or Austria, as the district in which this chalice was produced. (From the Soltikoff col- lection.) Hollingworth Magniac, Esq. No. 985. Chalice, Siennese work; circa 1420. Height, 7-^in. The foot, knop, aud lower part Of the bowl are richly decorated with applied translucent enamels on silver ; around the stem is inscribed the maker’s signature, as follows : “ Andrea Petruci de Senis me fece.” Hollingworth Magniac, Esq. No. 986. Chalice, Siennese work. Date first half of 15th century. Height, in. A beautiful Italian chalice, richly decorated in the same mannei' as the preceding specimen, with applique translucent enamels. From the Soltikoff collection. G. H. Morland, Esq. No. 987. Silver-gilt chalice, French work, second half of 15th century. The foot is embossed with undulating- rays, and powdered with fleurs-de-lis ; on one side a small plaque, with the Crucifixion in translucent enamel, is in- serted. Height, 74 in. W. Maskell, Esq. No. 988. Large silver-gilt chalice, the knop, stem, and base richly decorated with Gothic panel work, chased foli- age, &c. ; on the wide foot is engraved an elegant label scroll, with an inscription in the old Flemish language. Circa 1480. Height, 8| in. J. Toovey, Esq. No. 9 8 9. Large silver-gilt i-eli quary, forming a m ost elaborate Gothic shrine or tabernacle, now enclosing in the centre a small statuette of the Virgin within an oval nimbus, adored by four angels. This important piece of ecclesiastical gold- smith’s work is doulitless either of Spanish or Portuguese origin, and is a characteristic specimen of the florid exu- berant style of Gothic ornamentation prevalent in those Mediaeval Art, Ecclesiastical Utensils, &c. 56 countries in the later years of the 15 th and beginning of the 16th centuries. Height, 13 in. ; width, 7 in. Henry T. Hope, Esq. No. 990. A large monstrance in silver-gilt, of the most elaborate design, displaying an intricate composition of shrine or canopy work, profusely enriched with small but- tresses, pinnacles, statuettes, &c. This magnificent piece is of the same style as the preceding specimen, though per- haps of rather more recent period (1500-20 ?). It is of Por- tuguese origin, having belonged to the Catliedral of Braga. Height, 2 ft. 3 in. S.A.R. le Due d'Aumale. No. 991. Silver monstrance, on tall stem, surmounted by elaborate open canopy work, and enriched with delicately chiselled statuettes of saints, angels, &c. The character- istic Gothic motives of the upper part of this piece denote a Swiss or German origin (Strasburg or Basle). The foot and stem are of somewhat more recent date (middle of the 16tli century) than the body of the monstrance, which is of the second half of the 15th century. Height, 1 ft. 10 in. Messrs. Earrer. No. 992. Octagonal monstrance or custode, in silver gilt, enriched with buttresses, pinnacles, canopy work, &c., and surmounted by a lofty crocketed spire. Elernislj, circa 1470. Height, 2 ft. The Hon. Robert Curzon, jun. No. 993. Octagonal silver-gilt pys box or custode, the side panels chased or engraved with “ Gothic” scroll foliage. Surmounting the flat cover, which is also finely chased with foliage, is a beautiful knob or finial formed by a cluster of berries or acorns. The very original design and the masterly execution of this most beautiful box denote it to be a work of the purest German Gothic art of the middle or second half of the 15th century. Height, in. ; diam., 3 ^ in. The Hon. Robert Curzon, jim. No. 994. Cruet or “burette” with cover in rock crystal and silver-gilt, enriched with translucent enamel ; pro- bably of French workmanshiji, and apparently of not later date than circa 1340-50. The silver mounts are of the most pure and beautiful Gothic taste, and are adapted to the forms of the Iwdy and hinged cover of the crystal vase with singular ingenuity and success. (From the Soltikoff collection.) Height, 8f in. Henry Durlacher, Esq. No. 995. Ewer, with curved handle and spout, the latter terminating in the head of a diagon, from which two tubes are issuing ; round the upper part of the stem, and on the summit of the cover are placed open crowns of strawbeny leaf or crest ornaments. A tasteful 56 Section 6. -—Various Works of specimen of Gothic design of the first half of the 1 5th centmy, of Flemish or German origin. (From the Soltikoff collection.) Height, 11| in. T. M. Whitehead, Esq. Nos. 996 & 997. Pair of small silver parcel gilt altar cruets or “ burettes on the lids are respectively the letters A and V, in raised Gothic characters. Gothic plate of the second half of the 1 5th century. (From the Soltikoff collection.) Height of each, 5:^ in, W. Maskell, Esq. No. 998. An Italian chalice in silver-gilt, the bowl and foot ornamented with appliqud placpies of painted enamel on silvei’. The enamels on this specimen, executed mainly in white, heightened with gold pencilling on a translucent blue ground, are of a style probably peculiar to an individual artist, of Florence or Sienna, or to a few goldsmith enamellers, his fol- lowers. Circa 1450-80. G. H. Morland, Esq. No. 999. Italian silver-gilt chalice of large size, orna- mented with fobated ornaments “ en repousse,” on the foot an inscription with the date 1419, the letters of which are filled in with enamel. Height, 9| in. Messrs. FIunt and Roskell. No. 1,000. Italian silver-gilt chalice, ornamented with enamels. Date, first half of 15th century. Height, 8 in. Messrs. Hunt and Roskell. No. 1,001, Silver-gilt chalice. German or Flemish work, 15th century. Height, 6 in. Messrs. Hunt and Roskell. No. 1,002. Small silver-gilt chalice. French or Flemish, circa 1490. Height, 7 in. Messrs. Hunt and Roskell. No. 1,00.3. “ Ciborium ” or “ custode,” in gilt metal ; the box or body globular or pear-shaped, supported on a tall stem with knop, enriched with foliage in repousse. Italian, 15th century. Height, 9 in. Hon. Robert Curzon, jun. No. 1,004. Reliquary (“ chef ”) in the form of the head of a saint. Repousse work in gilt copper. 15th century work. lieight, 7j in. A. J. B. Beresford Hope, Esq. No. 1,005. Chalice in gilt metal, the foot engraved with palmette ornament. Italian quattro-cento period, Floren- tine or Siennese work. Height, 7^ in. A. J. B. Beresford Hope, Esq. No. 1,006. Spii'e-shaped monstrance or reliquary in silver gilt. Flemish or German work, circa 1400-50. Height, 16 J in. The receptacle or body is formed by a cylindrical tube of rock crystal elevated on a tall octagonal stem, and sur- mounted by a crocketed spire, the crowning pinnacle of which serves as the pedestal to a small statuette of a saint. Hollingworth Magniac, Esq. MEDi^iVAL Art, Ecclesiastical Utensils, &c. 57 No. 1,007. Large hexagonal spire shaped tabernacle or pyx, in silver, pai’cel gilt, richly decorated with canopy work, statuettes of the apostles, and a group of the Cruci- fixion. This piece is of two or more periods and styles. The upper portion (in part) Flemish, circa 1490, and the stem and foot of Italian loth century work, enriched with an applied shield bearing the arms of the Medici family. The adaptation was probably effected in the last century. Engraved in “ Clioice Examples of Art Workmanship, &c.,'’ and in other publications. Fleight, 1 ft. 10 in. Hollingworth Magniac, Esq. No. 1,008. Processional cross of wood covered with plates of brass or “ latten,” with rudely embossed ornaments ; a crucifix in relief cast and chiselled in brass attached to the front side. Old English work, second half of the 15 th century. Height, 23 in. ; width, 15 in. The Dean of Rochester. No. 1,009. Chrismatory or vessel for the conservation of the consecrated oils, in three divisions, in gilt metal ; tliree cylindrical boxes or tubes clustered round a central stem and elevated on a stem or stalk, with a knop in the centre, form the general features of the utensil. The summits of the cylinder and also of a lantern in the centre, which rises above them, are crowned by conical spires ; the group thus resembles a small castle or cluster of towers. The sides of the receptacles are ornamented with elegant scroll filagree work, soldered on in the usual stjde of the 13th century. The piece is, moreover, ornamented with vertical bands of jewel work. Around the margin of the foot is a Latin inscription. Date, second half of the 13th centmy. This Avell-known and beautiful utensil has been several times described and engraved. Height, 9| in. Rev. Walter Sneyh. Nos. 1,010 & 1,011. Two plaques in gilt bronze, elabo- rately chiselled in low relief or engraved ; probably origin all}^ the centre plaques of a book cover. One of them contains a representation of the Crucifixion, the other a standing- figure of a saint, probably St. Paul ; the subjects are enclosed within cusped Gothic arches, in the spandrils of which are angels with thuribles ; the background spaces behind the figures are filled in with trees or branches of natural foliage in the manner of a diaper. These vei-y unusual and highly interesting pieces may possibly be of English workmanship; their date is about 1320. Height, 8| in. ; Avidth, 5^ in. Rev. Walter Sneyd. No. 1,012. Bronze candlestick in the form of a grotescpie dragon, with a human figure on its back striking it with a 58 Section 6.— Vakious Works of lance, the tail of the animal terminating in interlaced scroll foliage. German work, 12th century. Height, 4^ in. Key. Walter Sneyd. No. 1,013. Processional cross in bronze or latten, enriched with large oval cahochons of rock crystal. The figure of our Saviour, in full relief, is represented with a crown on his head. This remarkable work may possibly he of Irish origin of the 12th century. Height, 14^ in. ; width, 9| in. Key. Wai.ter Sneyd. No. 1,014. Large processional cross. Covered with embossed silver plates of scroll foliage and plaques of cham- pleve enamel representing our Saviour seated on a throne, and the emblems of the four Evangelists, &c. A fine example of French work, circa 1360. Height, 2 ft. 10 in. ; width, 1 ft. 51 in. The Very Rev. Dr Rock. No. 1,015. Spire-shaped monstrance or “cihorium in cop- per gilt, enriched with ohampleve enamels. Italian v/ork, first half of 15th cent. Height, 16| in. Rev. Walter Sneyd. No. 1,016. Silver-gilt monstrance or reliquary supported on a tall stem, and surmounted with an open-work spire camopy. German-Gothic, circa 1480. From the Treasury of Basle. Height, 21 in. Lady Fellows. No. 1,017. Small silver monstrance or reliquary on stem, surmounted by a crocheted spire. Spanish work (?), 16th century. Height, 11 in. Lady Fellows. No. 1,018. Reliquary in silver gilt. This beautiful piece of ecclesiastical goldsmith’s work was proha,hly intended to contain three separate relics, the principal one of which was a portion of the true cross, hut this, the principal relic, and also the receptacle which contained it, have perished, so that the monument is imfortunately incomplete. In its present state it consists of a vertical central stem rising from a wide hexa- foil-shaped base, adorned with scroll foliage of exquisite design and execution, and medallion plaques of translucent enamel ; higher up is an hexagonal knop, ornamented with Gothic tracery panelling ; from this knop spring- two lateral branches, clothed with leaves and berries, now somewhat mutilated ; these branches, which are turned upwards, are sm-mounted at their summits with small cylindrical receptacles of rock crystal, surrounded by battle- ments and dome-shaped covers in silver-gilt. Tlie central stalk is prolonged to a higher level, and is surmounted by a double cross, in front of which, in the centre of the piece, was originally placed the receptacle which held the principal relic, now removed. The date of this }>iece, which is probably of Frencli origin, is circa 1370. Fleight, 15^ in. The Hon. R. Quezon, jun. Mediaeval Akt, Ecclesiastical Utensils, &c. 59 No. 1,019. Silver-gilt reliciuary, made to contain a piece of the wood of the true cross, which still remains in its ])lace. The stem of this reliquary is eni’ichcd with tlie most beautiful and elaborate Gothic tabernacle work, in two heights, ornamented with translucent blue enamel in tlie ground spaces of the panels, &c. On the summit is placed a double cross, i.e., a cross with two separate transverse arms, one above the other ; the relic is inserted herein. This cross is surmounted by a kind of open canopy, in the form of a pointed arch, crocheted on its outer margin. To all appearance this upper portion is of somewhat more recent date than the stem (end of the loth century); whilst the beautiful stem, on the contrary, is probably of the early part of the same century. Height, 11| in. The Hon. K. Curzon, jun. No. 1,020. Ciborium, or pyx, in gilt metal, ornamented with plaques of niello work and enamelled glass pastes. Italian v.^ork, 13th or 14th century (?). Height, 9J in. This very unusual and remarkable specimen has a very marked Byzantine aspect, and were it not for inscriptions in the Latin language, the writer would have deemed it the ^York of a mediseval Greek artist. On a circular stalk or stem with knop is carved a receptacle or box, formed of two similar halves, united by a hinge ; the shape of each of these portions is that of an hexagonal truncated cone, in each side of which, and also in the circular foot, are set or applied lozenge-shaped plaques, alternately of niello work on silver, and glass pastes, the latter respectively of crimson and dark blue tints. The designs represented in all these plaques are half figures of the apostles, our Saviour (twice repeated), and other saints, accompanied with their names. These representations on the plaques of glass are executed in enamels and gold pencilling, in a very remarkable and unusual manner, evidently vitrified or “ burnt in.” Tlie process cannot be described at greater length here ; it may suffice to say that it seems suggestive of an origin of great antiquity, probably even of classical times. Height, The Hon. R. Curzon, jun. No. 1,021. Silver-gilt reliquary, a cylindrical receptacle iii crystal, surmounted by a small statuette of St. Peter, is supported on a tall stem, with a rich canopied knop in the centre ; on the wide base are two shields with blazon in translucent enamel. Italian work, circa 1450 (?). Height, lOf in. Martin T. Smith, Esq., M P. No. 1,022. Badge of a guild or confraternity (or morse lor a cope ?). Flemish or German Gothic work, circa 1480. This object, in the form of a circular medallion in parcel gilt 60 Section 6. — Various Works of silver, hanging from a chain and ornamental hook, is euriched, vdthin a raised border of wreaths and Gothic , foliage, with three figures of saints under elaborate Gothic canopies, all in full relief ; in centre, the principal figure, on a larger scale than the others, is St. Michael and the Dragon ; at the sides, the Saints Cosmo and Damiano. Flemish work, circa 1490. Diameter, 5 in. No. 1,023. Reliquary, in silver-gilt, on tall stem, sur- mounted by a spire, enriched with brilliants and glass pastes, added at a more recent period. On the base is a shield of arms of the princely family of Croy. Flemish work, cu'ca 1480 (?). Height, 9 in. The Hon. R. Curzon, jun. No. 1,024. Reliquaiy or monstrance ; the body or recep- tacle of quadrangular shape, supported on a tall stalk with knop, surmounted by a crocheted spire, and flanked by pinnacles. Flemish or German Gothic, first half of*15tli century. Height, 144 in. The Hon. R. Curzon, jun. No. 1,025. Pax, in gilt bronze. Under an ogee-shaped canopy, upheld by side buttresses, crowned with pinnacles, is a small crucifix in relief, detached on a backgi-ound of blue enamel, pov/dered with fleurs-de-lis in gold. French work, circa 1490. Height, 4 in. ; width, 2| in. Stoneyhurst College. No. 1,026. Small silver-gilt reliquary of cylindrical shape, surmounted by a conical spire ; the receptacle is a tube of I’ock crystal. Mounted, with base and cap in silver-gilt ; at tlie summit is a small crucifix ; the base is ornamented with tasteful foliated ornaments. Gothic mouldings, &c. Date, first half of i 5th century. Height, 5 in. The Hon. R. Curzon, jun. No. 1,027. Silver-gilt reliquary, in the shape of a finger, supported on a beautiful circular moulded Gothic base, with three projecting feet ; openings in the side of the finger allow the relic (a phalange of a finger) to be seen. Inscribed in finely-formed church-text characters round the base — “ Os . DIGITUS . S . Theodore” German work. Second half of 15th century. Height, 4 in. The Hon. R. Curzon, jun. N 0 . 1028. “ Chasse ” or shrine reliquary, in gilt metal, in the shape of a church, surmounted in the centre of the roof with a “ fleche ” or spire. French Gothic, circa 1290. This beautiful reliquary is of regular architectural design, and v/ill be recognized as similar in style to the small emblema- tical churches often held in the hands of statues of founders of ecclesiastical buildings. Length, 15 in. ; height, 7 in. ; width, 5 in. The Hon. R. Curzon, jun. No. 1,029. Ciborium, in the form of a cylindrical box, mounted on a tall stem, and surmounted by a low conical MEDiiEVAL Art, Ecclesiastical Utensils, &c. 61 spire cover ; the cylindrical receptacle is enriched with a frieze of niello plaques in compartments. Italian 15th century work. Height, 12 in. G. H. Morland, Esq. No. 1,030. Head of a crosier, in gilt metal and silver. The crook springs from a large hexagonal knop, ornamented with ogee canopies, buttresses, pinnacles, &c., with seated fie’ures of saints in silver in each division. The crook is o enriched with silver crockets, and has a statuette of the Virgin and Child, also in silver, in the centre, beneath which is a dragon ; the shank or socket beneath the knop is diapered with fleurs-de-lis. French work, second half of the 15th century. Height, 11 in. A. J. B. Beresford Hope, Esq. No. 1,031. Head of a crosier in gilt metal. The knop of this crosier is wanting ; the crook, which is adorned with rich crockets on its outer margin, has in the centre a standing figure of the Virgin and Child, flanked by two angels ; the crook is also upheld beneath by an elegant figure of an angel; the sides are inlaid with a running scroll pattern in champlevd enamel. It is probably a work of the school of Limoges, circa 1350. Height, 10 in. D. Falcke, Esq. No. 1,032. Small silver-gilt pax, engraved with a repre- sentation of the Crucifixion ; the framg or margin decorated with enamelled rosettes. French, circa 1470. Height, 2-|- in. ; width, 2 in. W. Maskell, Esq. No. 1,033. Coffret, in gilt metal, richly adorned with applique ornaments in silver gilt, and with cabochon jewels. French work, circa 1350 (?). Length, 7^ in. ; height, 7 in. ; width, 4 in. Messrs. Farrer. No. 1,034. Three figures of knights or warriors, with kite-shaped shields, in brass or latten, probably a portion of the decoration of a casket, or perhaps the group of three Roman soldiers from a composition of the Resurrection 12th centuiy work. Height, 3-|- in. ; width, 3 in. Lord Londesborough. Nos. 1,035 & 1,086. Two statuettes, of the Virgin and St. John respectively, standing upon curved crooks or volutes, similar to the crook of a crosier, decorated with foliated work ; in bronze, richly gilt. These fragments are probably portions of an altar cross or rood of ela- borate design, being the two statuettes which flank the figure of our Saviour, the volutes having originally sprung from the central stem or upright of the cross ; they are apparently of German work, of the school of Cologne (?), of the 12th century. Height of each fragment, 4| in. The Hon. Robert Curzon, jun. G2 Section 6.— Various Works of No. 1,037. Squcare plaque or picture in alto-relievo, in silver repoussd work. The Crucifixion, an elaborate com- position of numerous figures. The cross of our Saviour is flanked by those of the two thieves ; on the left is a group of the Virgin swooning, surrounded by sorrowing disciples, and on the right a crowd of Roman soldiers on horseback, and other bystanders ; the soldiers are clad in rich decorated armoiu’. This remarkable specimen of silver work is exe- cuted in repouss^, in the very highest relief. It is pro- bably the v/ork of a north Italian goldsmith towards tlie year 1500. Height, 12 in. ; width, 10 in. S.A.R. LE Due d’Aumale. No. 1,037*. Triptych, carved in boxwood. Circa, 13-10. This remarkable triptych, brought from Ingleby Manor, the seat of the Foulis family, in Yorkshire, now belonging to Lord and Lady De LTsle, is undoubtedly English work, in all probability done by a Yorkshireman, perhaps the able artist who designed the beautiful so-called Percy shrine in Beverley Minster, such is the very strong likeness between the rich crocheting and the full large foliage in the bunchy finials of both sculptures. In the middle piece is the chief subject, the Crucifixion, with the usual medi- eval accompaniments of the four animals, one at each end of the cross, all symbolic of our Lord as well as of the four Evangelists, and seen in vision fii-st by the prophet Ezekiel (chap, i.), and afterwards by St. John (Rev. iv.). On the right of our Lord stands His mother ; on the left, the beloved disciple. Upon the left folding leaf is figured St. John Baptist pointing with one hand to the “ Agnus Dei,” which he holds in the other. On the right leaf is shown St. John of Beverley, clad as a monk, but holding- in his left hand a crozier of a bishop (for he was Archbishop of York), and uplifting his right hand as in supplication to the crucified Saviour. From the fact of the two Saints John being figured on the leaves or folding parts we may presume that this devotional triptych was done for some one who bore that name, or for some lady called Joan. The ground all over this piece is admirably wrought in very beautiful and varied diapering of flowers and leaf-bearing branches. Moreover, from the very strong likeness be- tween the St. John of Beverley here and the one yet standing at Peterborough Cathedral, figured by Flaxman, pi. 40, in his “ Lectures on Sculpture,” there is every reason to think that the latter was copied in the former. (Notice by the Very Rev. Dr. Rock.) Lord De lTsle and Dudley. No. 1,038. Coffret, in incised leather, bound with orna- mental iron clamps, &c. The decorated pattern of the leather Medieval Art, Ecclesiastical Utensils, fee. 63 work consists of bands of rich foliated ornament, in wliicli are various devices or “impresi,” shields of arms, &c., of the Medici family, for some members of whom, circa 1470, this box was doubtless executed. Length, 14 in. ; width, 9 in. ; height, 6 in. Philip Hardavick, Esq., RA. No. 1,039. Coffer, in carved wood, decorated with geometrical tracery panelling, and richly mounted with clamps, lock, &c. in gilt bronze. On the summit are four circular medallions and four semicircular ones, in cham- plevd enamel, all bearing azure, a fess between six etoiles of five points, or. The carved woodAvork of this beautiful Gothic coffer was originally gilded ; its date is apparently about 1370, and it is probably of French origin. 9 in. square by 5 in. high. SAMPSON Hodgkinson, Esq. No. 1,040. Statuette of a saint or apostle, in carved boxAvood. 15th century work, Flemish or German. Height, 9 in. Rev. G. W. Braikenridge. No. 1,041. Casket, in incised leather, bound with orna- mental iron clamps. 15th century. 8 in. by 5 ^ in. by 4J- in. J. W. Brett, Esq. No. 1,042. Small triptych or miniature “ retable ” altar- piece, with folding doors or “volets,” in boxwood, carved in the most minute and elaborate manner, with scriptural subjects, in the highest relief The subjects are the Nativity, the Annunciation, the Presentation in the Temple, and the Adoration of the Magi. The compositions, which are crowded with minute figures and accessories, are pictures in relief, most probably imitated from old Flemish paintings. The present compositions recall the rich compositions of Mabuse. Flemish work, circa 1500. Height, 9 in. ; Avidth, across the opened doors, 8 in. Messrs. Farrer. No. 1,043. Triptych, minutely carved in boxwood, with its ancient stamped and incised leather case. This beautifid and most extraordinary work is of the same school, and perhaps even by the same hand, as the work previously described. In addition to the carvings of the interior of the “ retable,” which is in two heights or divisions, the out- sides of the doors are also elaborately carved in lower relief ; the principal subject is the Crucifixion. The Resur- rection, the Betrayal, the angelic salutation of the Virgin, and other scenes may also be noted. The elaborate archi- tectural base of the monument rests on statuettes, being emblems of the Evangelists in full relief The beautiful stamped leather case in which the object is preserved, and which was made for it, is ornamented with the stem of jesse and the richest scroll foliage. These exquisite works, executed in a style of more than Chinese minuteness, belong Section 6. — Various Works of G4 to the same school .and period as the boxwood rosary beads, next to be described. Height, 7f in. ; width acros.s the doors, 5 in. Lord Edward Eitzalan Howard. No. 1,044. Kosary composed of 11 beads, suspended from a cross and ring most elaborately and minutely carved in boxwood, five scriptural and legendary subjects, with explanatory scrolls, are carved in relief on the 10 smaller beads. The large final bead has 24 carved medallion, s, .and contains within, elaborate representations in full relief of the crovrning of the Virgin and the Sacrifice of the Mass. This rosary is said to have belonged to Cardinal Wolsey, and then to King Henry VIII. Length, 23 in. ; diameter of Large bead, 2^ in. The Duke of Devonshire. No. 1,045. Eosary of 11 beads suspended from a ci’oss and ring, carved in a similarly elaborate and minute style to the preceding specimen. The final bead contadns witliin repre- sentations of the Eesurrection and the Eemission of Sins. This rosary was brought from Spain by Col. Macgregor ; the property of Miss Helen Macgregoi’. Length, 22 in. ; diameter of ball, 2 in. Digby Wyatt, Esq. No. 1,046. Eosary bead, minutely carved in boxwood in a similar style to the preceding specimens. Diameter, 2 inches. This beautiful specimen is hinged in the centre, forming two hemispheres, one of which is carved imside with the Crucifixion, the other with a Pieta, or group of the Virgin of sorrows, surrounded by five smaller medallions, containing representations of events of the Passion of our Saviour. The exterior is carved with open work Gothic tracery, and the bead is beautifully mounted with a ring for suspension, .and foliated rosettes of silver. The figure subjects, which are in full relief, are of microscopic dimensions. Flemish work, circa 1500. George Field, Esq. No. 1,047. Carved boxwood casket, with lock, &c., in silver-gilt. German or Swiss work. Date, fii’st half of the 15th century. Length, 5 ^ in.; width, 3 ^ in. ; breadth, 2^ in. This little coffret, evidently a love gift, is of oblong shape, ornamented with eight small panels, containing carv- ings, consisting of figures in elegant 15th century costumes and animals, on a back ground of Gothic foliage, which is perforated, disclosing an under lining of silk, red and green, in the alternate compartments. The subjects, which are of .an amatoTy and emblematical character, are accompanied by label scrolls with inscriptions in black letter in relief, apparently the first letters of words only, probably trans- posed so as to form puzzles or conundrums in connexion with the subjects. Hollingworth Magniac, Esq. Medieval Art, Ecclesiastical Utensils, &c. G5 No. 1,048. Small carved boxwood cofTret, of similar style and period, also with silver lock and hinges. Length, 3-|- in. ; width, 2|-in. ; breadth, 2 in. This beautiful little coftret, probably made as a case for a single jewel, presented as a love gift, is to all appearance liy the same hand as the previous specimen. The panels, however, are only five in number, each occupying one of tlie faces of the box. The subjects ai-e also figures and animals, accompanied by inscribed scrolls, and are doubtless in like manner intended as conundrums or emblematic de- vices of an amatory character. Hollingworth Magniac, Esq. No. 1,049. Carving in boxwood within a tabernacle, ascribed to Albert Durer. The Pieta, or Virgin sorrowing over the body of our Saviour ; an exquisitely spirited and masterly work of circa 1520. 5^ in. by 3^ in. Egbert Napier, Esq. No. 1,050. Painted triptych. This most beautiful and highly interesting work is a miniature retable or picture in three divisions, formed by the centre and two hinged doors ; it contains, within the most delicate and beautiful architectural framework, painted so as to simulate stonework, a series of groups and single figures of saints in vivid colours, and in the centre two compositions, respectively of Christ in the sepulchre at- tended by angels with the implements of the passion, and our Saviour and the Virgin seated on a throne. The figures are painted in the most masterly style, with all the finish and minuteness of missal painting, and are apparently executed in oil in a style which has much affinity witli that of John Van Eyck. This very unusual work is doubtless by a great artist of tbe school of Cologne, working in the earliest years of the 15th century. Height, 1 ft. 1| in. ; width, opened out, 2 ft. If in. A. J. B. Beresford PIope, Esq. No. 1,051. Picture in oil on panel. By John Van Eyck. The Virgin and Child standing in an elaborate shx’ine of Gothic architecture, within which, and forming a back- ground to the group, is a curtain with a canopy of rich brocade. This well-known and most authentic work of the master is in the most perfect preservation. Height, 22 in. ; width, llj in A. J. B. Beresford Hope, Esq. No. 1,052. A lady’s girdle or baldric of crimson and gold brocade velvet, with rosettes of goldsmith’s work, enriched with enamel. The buckle and tongue, or pendant of silver gilt, chased with foliage in relief, and inlaid with niello-plaques and with armorial bearings, the escutcheon on the pendant .E 6G Section 6. — Various Works of being that of the family Malatesta of Rimini and Cesena. Circa 1450-70. Length, 5 ft. Octavius Morgan, Esq., M.P. No. 1,052 a. The pen-case of King Henry VI., in stamped leather. Amongst other ornaments stamped on the surface in gold, a crowned rose is conspicuous. See, for a more detailed description. No. 7,754, p. 674. Length, 9 in. The Hon. Robt. Curzon, jun. No. 1,052&. Badge in the form of an eagle, parrot, or popinjay, in .silver-gilt ; crowned, and suspended by a chain. On a smaller badge, pendent from the band, is the in- scription “ Willem Van Hoorn, 1592,” probably the name of the winner of this badge in an archery or arquebuss contest. The bird is carefully cliiselled and is of unusual ■size. 7in. long. Flemish work. TheHon. RoBT. CuRZON, jun. No. 1,053. Small casket, in silver filagree work, witli gilt lock, hinges, handles, &c. German work. Circa 1 520. 2f in. by 2| in. by 1^ in. The Hon. Robt. Curzon, jun. No. 1,054. Globular cup or “ mazer,” in silver-gilt, on low stem, with a curved handle projecting from the side. Gei-man work, 15th century. Height, 5 in. ; diametei’, 5 in. The Duke of Hamilton. No. 1,055. Large silver-gilt cup on a cylindrical stem; both the bowl of the cup and the cover are repousse with globular bosses or bulbs ; round the margin is a moulded string surmounted by a low battlement, and the margin of the foot is in like manner surrounded by a string of quatrefoil ornament. The summit of the cover is sur- mounted by a small statuette of a warrior, with a lance and shield ; this figure is of more recent date than the cup itself, which is of German or Flemish Gothic work of the 15th century. This fine piece of mediaeval plate is an early specimen of the well-known bulbed or clustered cups afterwards so much in vogue. German goldsmith’s work. Height, 16|- in. ; diameter, 7 in. The Hon. Robt. Curzon, jun. No. 1,056. Silver parcel gilt beaker with cover, standing on three feet, to which are attached enamelled shields of arms. The body of the cup is ornamented vfith bands or flutes alternating with a knotted stick or reed, arranged in an oblique or spiral manner. Round the margin is a perforated strawberry-leaf crest, and the ogee dome-shaped cover is surmounted by a small figure of St. Sebastian tied to a tree. In tlie middle of the lid is a circular medallion heaving a lion rampant azure on a field of translucent blue enamel. German Gothic work, circa 1480. Height, 12-| in. The Duke of Hamilton. Mediaeval Art, Ecclesiastical Utensils, &c. 67 No. 1,057. Gothic beaker and cover, in silver parcel gilt of somewhat similar style and period to the preceding speci- men. The centre of the cylindrical beaker is surrounded by a rich band of foliage in full relief, and so likewise is the margin; the summit of the cover terminates in an elaborate foliated finial,on which stands a statuette of a king holding an enamelled shield of arms. German, 15th century. Height, 14i in. G. H. Morland, Esq. No. 1,058 & 1,059. Pair of tazze or dishes on low stems, embossed with oviform flutes or bulbs alternately concave and convex ; in the centre of each piece is a circular medallion with a blank shield and the date 1521 in raised flgures. Very original and effective specimens of old Gennan plate, Diameter, 9 in. ; height, 3^ in. The Hon. E. Curzon, jun. No. 1,060. Large double-bulbed cup on tall stem ; the two halves exactly similar, forming two separate cups, the mouth of one of which fits into the other. The upper part of the stem of each cup is surrounded by a beautiful open- work crown of Gothic foliage ; the margin also surrounded by a reed or torus moulding wreathed with foliage. Auwsburff work, circa 1490. Under the foot of one of the cups is engraven the following inscriptions, recording the names of the original owners of the piece. First, in cha- racters apparently coeval with the work, “ Lienhart Tucher.” In the centre, on a circular medallion engi-aved with coupled shields of arms, the initials S. T. & C. H., with the date 1657. Another inscription round the margin connects it with the celebrated family Imhoff of Augsburg, to a member of whom it was probably conveyed b}'- marriage from the family of the original owner's ; it is as follows : “ Hans Paul Tucher, 1704. Maria Magdalena Imhoff. Height of the two cups conjoined, 1 5 in. G. H. Morland, Esq. No. 1,061. Double cup of nearly the same design as the previous specimen, but of miniature dimensions ; the mar- gins and stems also surrounded by elegant crowns of Gothic foliage. Augsburg work, circa 1490. Height 4| in. The Duke of Hamilton. No. 1,062. Cylindrical pyx box, for the conservation of the host, in ivory, mounted in gilt metal. French or German “ Gothic” work, 15th century. Diameter, 3| in. ; height, 81 in. The lower rim of the box and the margin of the hinged cover are formed by gilt mouldings, those of the cover surmounted by a low battlement ; three winged angels in metal, in kneeling positions, form the feet or suppoi-ts of the box ; whilst in the centre of the lid is placed a small E 2 68 Section 6a. —Early Enamelled Metal Work statuette of Christ, with a banner in his hand, rising from the sepulchre. The drum or body of the box is a plain cylinder of turned ivory. Hollingworth Magniac, Esq. No. ] ,063. Rock crystal cup and cover, mounted in silver- gilt. German or Swiss work, 15 th century. Height, 6 in. ; diameter of cup, 3^ in. This beautiful cup is in form similar to the well-known covered mazer bowls of turned wood ; the crj^stal bowl is of globular shape, cut polygonally into flat vertical stripes or facets, and has a small handle projecting at right angles on one side, cut from the mass of the crystal. The cover, hemi- spherical, and cut like the bowl, is also of ciystal. The cover handle and foot are beautifully mounted in silver-gilt, in a very pure and simple Gothic taste. On the top of the cover is a disk-shaped knop in silver-gilt, inlaid with a medallion in translucent enamel of two shields with blazon, and a motto of uncertain signification. This medallion has doubt- less replaced the original one at the period indicated by an inscription engraved underneath the foot, which says “ Re- novatum anno 1618.” Hollingworth Magniac, Esq. No. 1,064. Sceptre or baton of office, in rock crystal, mounted in silver-gilt, enamelled, and set with pearls ; circa 1500—40. Entire length, 10 in. This remarkable and unique object consists of an octagonal shaft or rod of rock crystal, slightly tapering towards the upper extremity, capped at each end with an elegant transi- tional Gothic mounting, surrounded b}^ strings of pearls, and enriched with translucent enamels. It may possibly be of English origin. From Strawberry Hill. “From Lady Elizabeth Germaine’s collection, and presented to Horace Walpole by his niece. Lady Temple.” Hollingworth Magniac, Esq. Section VIa. EARLY ENAMELLED METAL WORK OF LIMOGES AND OTHER FABRICS. By Augustus W. Franks, M.A., Dir. S.A. The term “enamelling,” in its widest signification, is applied to the art of ornamenting any substance with a vitreous material, to the surface of which it is made to adhere by lieat ; so that not only metal, but also stone, earthenware, and even glass itself, may be said to be enamelled. It is, however, more usual to restrict the term OF Limoges, and other Fabrics. G9 of “ an enamel ” to metal work ornamented in this manner ; the one requisite being that the vitreous decoration shall have been fixed in its place by fusion. There are several ways of disposing the enamel. It may have beerr sunk into cavities, as in the encrusted pi’ocesses ; it may have been fioated over an engraved bas-relief, the details of which are revealed through its transparent body, a mode of decoration peculiaidy suitable to silver, and which has been termed translucid on relief, or by the French, emaux de basse taille ; or it may entirely conceal the metal surface, as in painted enamels. Moreover, in encrusted enamels, the cavities to receive the enamel may be either hollowed out in the metal, constituting what is termed in French cJiam'pleve enamel, or a taille d’epargne, or they may be cells composed of a kind of filigree of narrow bands of metal, which keep the colours separate, and with their edges form the outlines of the designs. This latter process is known as cloisonne enamel, and is peculiarly suitable to gold, though occasionally applied to copper. The Egyptian.s, though great admirers of brilliant colour- ing and permanent decoration, do not seem to have been acquainted with the art of enamelling on metal, though they practised a process nearly allied, being that of cementing into gold cells small pieces of precious stones or glass pastes carefully shaped. The sockets were prepared as if for cloisonne enamel, but the coloured portions were cemented into their places and not fused. Some very remarkable specimens of this work from the tomb of an early Egyptian queen Avere exhibited in the Egyptian depai-tment at the International Exhibition. The Greeks unquestionably employed enamel to enrich their beautiful jewellery, though to a very limited extent. A specimen of their skill may be seen in a necklace exhibited by Signor Castellani, and the same process seems to have been carried on in Nubia about the Christian era. It is not till the reign of Severus that we find any direct mention of enamelhng in any classical author. An oft-quoted passage in Philostratus informs us that the barbarians who live £v either in or near the ocean — had a way of ornamenting horse-trappings by means of vitrified coloui's. Such horse trappings have been found in Britain, and the same colours and peculiar patterns may be discerned in Irish works of a later date. {See Section 5, Nos. 869-873.) Under the Roman dominion the art of enamelling seems to have been practised both in Gaul and Britain. The ornaments often show a decided influence of Celtic taste, and from the comparative rarity of such enamels in Italy, 70 Section 6a. — Eakly Enamelled Metal Wokk the manufactures were probably carried on only in the colonies. These enamels are all executed by the champleve process in copper. Under the Byzantine emperors the woi’king in cloisonne enamel on gold seems to have been much practised. A fine specimen is exhibited by Mr. Beresford Hope (No. 1,069). The principal monument of this kind of work is the famous Fcda cl’oro at Venice, which is supposed to have been made at Constantinople, brought to Venice in 1105, and added to and enlai'ged in 1209 and 134<5. Cloisonne enamels are rare and seldom to be met Avith out of church treasuries. Occasionally specimens were made without backgrounds, so as to be d jour or transparent ; a cup of this work is ex- hibited by Mrs. Paul, and described in Section 19, No. 4,800. In the 12th century two important centres of working in enamel seem to have been in existence, one at Limoges in the Avest of France, the other in the neighboiu-hood of the Rhine. Both employed the champleve process in copper. There has been lately much discussion as to which of these manufactures was the earliest. Some difficulty is caused liy the archaism frequently to be noticed in German works of the period, and from the absence of inscriptions Avith dates. It is, however, unquestionable that Abbd Sugei-, Avhen building the Abbey of St. Denis, brought workmen from Lorraine to make an enamelled cross, which they com- pleted between 1143 and 1147. At that time Lorraine Avas a more extensive district than at present, and its confines Avere at no gTeat distance from the Rhine. The German enamels may be distinguished from the French by the greater variety of colours employed, by the tints being brought into stronger contrast, and by the greater erudition displayed in the subjects and inscriptions. They are constantly covered with inscriptions describing the subjects, and have often borders Avith small cloisonne patterns. A portable altar in the treasury at HanoAmr bears the inscription Eilbertus Goloniensis me fecit In the same treasury is iireserved a cruciform reliquary, with a dome resembling in size and form the shrine from the Soltykoff' collection in the South Kensington Museum, though less rich in decoration. These two reliquaries are among the most undoubted and characteristic specimens of the German school. The earliest ennmel which can AA’ith any probability 1:»e referred to the Limoges school is the sepulchral memorial of Geolfrey Plantagenet, who died in 1151 ; it was formerly in tlie cathedral of Le Mans, and is noAv preserved in the museum of that city. OF Limoges, and other Fabrics. 71 The earlier Limoges enamels seem to have had ena- melled figures with faces white or flesh-coloured, and a plain gilt metal background. These are followed by some- what similar figures less varied in colour, and with gilt metal grounds engraved all over with very elegant stiff foliage. Next we find gilt metal figures, sometimes worked in very low relief, so as to be sunk below the general surface, with blue enamelled ground, through Avhich are scattered small circles enclosing variously coloured quatre- foils or flowers. The date of this style seems to be fixed by the shrine of St. Calminius at Mausac, which there is reason to believe was made at the commencement of the 1 3th century. A fourth and still later variety has metal figures, frequently in relief, with a dull blue enamelled ground, through which is a running pattern of metal scrolls, terminating in a bunch of variously-coloured foliage ; such is the decoration of the tomb of John of France, son of St. Louis, which is dated 1247. Still later the enamels have gilt figures or ornaments on dull grounds, generally blue. The great vogue of Limoges enamels seems to have been in the 13th century ; at that time the opus Lemovitic'um, or work of Limoges, must have been well known in all parts of Europe, and it occurs frequently in inventories of the period. During the next century, however, the manu- factory seems to have deteriorated, and the production of enamels seems to have almost ceased. This may perhaps be accounted for by the very common-place character of some of the later productions, by the change of fashion, and by the greater use of the precious metals and ivory both for religious and domestic purposes in the 14th century. The goldsmiths of Florence and Sienna seem to have made use of chariipleve enamel during the 14th and 15th cen- turies, though to a limited extent. A few of the monu- mental brasses in England are specimens of cliampleve enamelling, being in reality made of copper, gilt and enamelled, thougli the generality of them are of brass inlaid with mastic. The process which the Italian enamellers carried to the greatest perfection was that of translueid enamel on relief, of which the .principal monument is the great shrine at Orvieto, made in 1338. A fine sjAecimen of their skill is the morse (No. 1,0G5) exhibited by Mr. Magniac. In France similar enamels were produced at quite as early a period, and it is not improbable that it was practised by gold- smiths all over Europe. The mountings of the Bruce horn 72 Section 6a. — Early Enamelled Metal Work (No. 215) are executed by this process, and were probably made in Scotland. Painted enamels form the subject of a subsequent section, and will be noticed more fully hereafter. No 1,065. Morse or brooch for a cope of translucent enamel on silver, in a setting or framework of gilt bronze. Florentine or Siennese work, circa 1420. Diameter, 5| in. The framework of this beautiful object consists of a circle or medallion in the centre, around which are arranged six semicircles or lunettes, the angles again being filled in witli triangular points ; the design thus formed is a species of rosette in 13 compartments, enriched, in addition, with six facet-cut jewels in raised settings. The subject in the prin- cipal medallion is the birth or nativity of St. J ohn the Baptist. The maro-inal limettes contain halfrfio-nres of saints ; and the small angular plaques have each a portion of an in- scription, which, in its entirety, reads — “ Nativitas Beati loHis Batista."' Engraved in Shaw’s “ Decorative Aids of the Middle Ages.” H. Magniac, Esq. No. 1,066. Morse or brooch to a cope. The framework consists of a circular plate of silver gilt, within wliich is a panel or compartment formed by a quatrefoil combined with a square ; in the centre of the quatrefoil is a raised circular medallion, containing a half figure of our Saviour in the act of benediction, in translucent enamel. Four smaller medal- lions, containing the emblems of the Evangelists, also in translucent enamel, occupy the lobes of the quatrefoil, other spaces of the design being set with lozenge-shaped jewels. Engraved in Shaw’s “ Decorative Arts of the Middle Ages.” Italian work, first half of 15th century. Diameter, 4| in. H. Magniac, Esq. No. 1,067. Triptych of silver, ornamented inside and out with devotional subjects in translucent enamel, in many conq^artments ; an exquisitely beautiful specimen of gold- smith’s enamelling, of the same variety as the preceding examples. French work, circa 1350-80. Height, 3 in. ; width, with doors opened, in. Sir Thomas Rokewood Gage, Bart. No. 1,068. Tablet in silver, with a representation of the Last Supper in translucent enamel. The figures are chiefly represented in silver, and have a blue ground. . Italian work, 14th century. 3^ in. square. G. H. Morland, Esq. No. 1,069. Pectoral cross, of gold, encrusted with “cloisonnt;” enamel. On the front is represented the Sa- viour on the Cross, clothed in a long tunic of various colours, accompanied by figures of the Viigin and St. John. OF Limoges, and other Fabrics. 73 On the back, a full-length figure of the Blessed Virgin, above whom are St. John Baptist, St. Paul, St. Peter, and St. Andrew, with their names in Greek. Constan- tinople work, 10th or 11th century. This highly importer t and well-known specimen came from the Debruge-Dumesnil collection (No. G61), and is engraved in the “ Archieological Journal,” vol. viii., and also in the “ Manchester Art Treasures,” Vitreous Art, pi. 6. Height, 3| in. ; width, 2j; in. A. J. B. Beresford Hope, Esq. No. 1,070. A chasse or reliquary, with ridged top. On the upper part of the front is Christ in glory, accompanied by six apostles under arches ; on tlie lower part the Cruci- fixion and four figui’es of apostles ; at one end is a figure of a saint, at the other has been a door, now lost ; the back is ornamented with quatrefoils. All these decorations are executed in colours, on a gilt ground diapered with engraved scrolls ; the heads of most of the figures are of metal, in high relief. Limoges work, end of 12th century. Height, 10 in. ; widtli, 4^ in. ; length, 12 in. Hon. Robert Curzon, jun. No. l,07l. A chasse or reliquary, with ridged top. On the upper part of the front are circles enclosing an Agnus Dei and two half angels ; on the lower part Christ standing in a pointed aureole, and two apostles under arches ; at each end is an apostle under an arch. The figures have enamelled draperies, and pTojecting heads of gilt metal ; the background is of gilt metal, ornamented with engraved scrolls ; the back is decorated with quatrefoils. Limoges work, end of 12tli century. Height, 6^ in. ; width, 2d in. ; length, 6 in. H. T. Hope, Esq. No. 1,072. Another chasse of similar form. On the upper part of the front are half figures of Christ and four ajDostles ; on the lower part the Adoration of the Magi ; at the ends, half figures of apostles ; the figures have enamelled dresses ; the heads are represented in gilt metal, with enamelled outlines ; the back has on it monsters and ornaments in gilt metal, on a blue ground. Limoges work, end of 12th century. Height, 7| in. ; length, 10^ in. T. Gambier Parry, Esq. No. 1,073. Panel from a chasse, with three arches, under which are half lengths of Christ and two apostles ; they have enamelled faces and dresses, and a gilt metal background with engraved scrolls. Limoges work, end of 12th century. 7f in. by 2f in. Hon. R. Curzon, jun. No. 1,074. A chasse or reliquary, with elegant crest- work along the top. On the upper part of the front, Christ in glory and two apo.stles under arches ; below is the Cruci- fixion and two saints under arches. The figures are in very 74 Section Oa.— Eaely Enamelled Metal Work low I’elief, with faces in full relief, and have a dark blue ground with scrolls. At the ends and back are saints under arches ; these figures are represented in gilt metal on blue and green gTounds, and with gilt scrolls and transverse orna- mental bands. Limoges work, early 13th century. Height, 7^ in. ; length, 7f in. G. H. Morland, Esq. No. 1,075. A chasse or reliquary. On the lower jiart of the ti'ont is represented the Martyrdom of St. Thomas of Canter- bury ; on the upper part is the entombment of the saint ; at each end an apostle. The figures are executed in very low relief, cut out of the metal, v/ith heads fixed on sepa- rately in higher relief. The background is enamelled dark blue, with rosettes of various colours ; the back is decorated with quatrefoils. This shrine was obtained by Sir William Hamilton, K.B., at Naples. Limoges work, early IStli century. Length, 8yV in. ; height, 6 in. ; width, SyL- in- The Royal Society of Antiquaries, No. 1,076. A chasse or reliquary, representing likewise the Martyrdom of St. Thomas of Canterbury ; on the lower part the murder ; on the upper part the entombment of the saint. This is very similar in style and decoration to the last. Limoges work, early 13th century. Engraved in Duncomb’s “ History of Herefoi’d,” vol. i. p. 549 ; Strutt’s ‘ Manners, &c. in England,” vol. i. pi. 25. Gough’s “Sejml- chral Monuments,” vol. ii. Introduction, pi. x. Height, 8 in. ; length, 7f in. The Dean of Hereford. No. 1,077. A diminutive shrine, also representing the Martyrdom of St. Thomas of Canterbury ; in the lower part the murder ; above is the interment. The figures are in gilt metal, with blue enamelled background. This little shrine was found near Tarporley, in Cheshire. Limoges work, 13th century. Height, 4| in. ; length, 5 in. Sir Philip de M. Grey Egerton, Bart. No. 1,078. A small shrine, similar to the last, and like- wise representing the Martyrdom of St. Thoiuas of Canter- bury ; below is the murder ; above, the entombment ; at the ends saints under arches. The figures are in gilt metal, with heads in relief ; the ground blue, interspersed with rosettes of various colours. Limoges work, 13th century. Height, 5 in. ; length, 7 in. Robert Napier, Esq. No. 1,079. Chasse or reliquary, with a pierced crest-work along tlie top, and crystal knobs. On the upper part of the Iront is represented the Martyrdom of St. Valerie, a saint closely connected with St. Martial, the patron of Limoges ; below are five standing figures; the figures are all of giit metal in relief, and rest on a l>lue enamelled ground, through which are running scrolls of metal, terminating in flowers. OF Limoges, and other Fabrics. 75 Limoges work, latter part of the 1 3th century. Engraved “ Art Treasures at Manchester,” Vitreous, pi. 8. Height, 13f in. ; length, ISf in. H. Magniac, Esq. No. 1,080. Large chasse of copper-gilt and enamelled. On the front are six quatrefoil-shai >ed plates, of enamelled metal, to which are fixed figures of gilt metal in relief; on the three upper medallions, Christ in judgment, and two figures holding candles ; on the three lower, a crucifix (the figure lost), the Virgin, and St. .John ; on the hack are half angels, in gilt metal in relief, on a background of blue enamel with running scrolls ; at each end, two apostles under arches. Limoges work, 13th century. Height, 9^ in. ; length, 15^ in. A. J. B. Beresford Hope, Esq. No. 1,081. Chasse or reliquary, with pierced crest, and surmounted by a cross. All the sides are ornamented with circular medallions enclosing half figures of angels ; those in fi-ont are in high relief, the others fiat ; the enamelled grounds are principally dull blue with gilt scrolls. Limoges work, end of 13th century. Height, 10 in. ; length, 14 in. H. T. Hope, Esq. No. 1,082. A chasse or reliquary, ornamented on all sides with circles enclosing half figures of angels in gilt metal on enamelled grounds. Limoges work, end of 13th century. Height, 6| in. ; length, 9-| in. Hon. Robert Curzon, jun. No. 1,083. Panel with pointed top, from the end of a large shrine. On it is fixed a figure of a saint of gilt metal in high relief ; the background is ornamented with an enamelled diaper of quatrefoils and panels enclosing lions ])assant, fieurs-de-lis, and gryphons. Limoges work, 14th centmy. (Fould collection.) Height, Ilf in. G. H. Morland, Esq. No. 1,084. Similar panel, probably from the same chasse. The figure of the saint is of gilt metal in high relief, and rests on an enamelled ground diapered vritli quatrefoils enclosing four-leaved ornaments. Height, Ilf in. G. H, Morland, Esq. No. 1,085. Panel with semicircular top, on which is fixed the figure of St. Philip seated, of gilt metal in high relief ; the background is ornamented with dark blue enamel and scrolls of gilt metal teminating in enamelled flowers. Near the saint’s head is inscribed “ s. philipp’.” Height, 111 in.; width, 5|- in. G. H. Morland, Esq. No. 1,086. Pointed panel, apparently the end of a reli- quary. In the centre is an enamelled plate, probably of GermaJi work, representing St. Matthew Avriting, and in- scribed “ s’ MATHEVS ; ” around is a broad band of filigree 76 Section 6a. — Early Enamelled Metal Work work, with crystals and gems ; at the top a large crystal, and at the bottom a diapered plate of enamel. Height, 1 2 in. ; width, 5^ in. H. T. Hope, Esq. No. 1,087. Pointed oval plate, representing Christ seated in glory ; the face is executed in gilt metal, with red enamelled outlines ; the dress in variously coloured enamel ; the background is of jdain gilt metal. Probably German work, 13th century. Height, 8^ in. A. J. B. Beresford Hope, Esq. No. 1,088, Oblong reliquary, in the form of a casket, of singularly rude workmanship. On the flat cover is the Agnus Dei between the symbols of the four Evangelists ; on the front and back a series of arches containino- the figures of the twelve apostles ; at one end is the Cruci- fixion, at the other Christ in glory. The grounds of these subjects are in dark blue enamel, the faces are in gilt metal, and the columns and dresses in various colours; the rims are studded with large globular gilt nails or bosses. Pro- bably German work, 12th century. Length, 9 in. ; height, in. ; width, 5^ in. (Debruge collection, 662 ; Soltykoff collection, 134.) George Attenborough, Esq. No. 1,089. Triptych of gilt metal. In the centre is a double cross, with crystals for relics, supported by two angels in high relief ; below is a tablet of enamel work representing the Maries at the Tomb ; on the leaves are six square enamelled plaques, each containing busts of two apostles, with their names inscribed ; in tlie upper angles are two angels. The figures are in colours, with gilt faces on a gold background. German work, 12th century. (Soltykoff collection, 26.) Height, 13 in. ; width, 15^ in. G. H. Morland, Esq. No. 1,090. Crucifix, on which is a figure of Christ with a crown, in a long robe, enamelled blue. The hands, face, and feet are gilt. The cross is enamelled dark blue, with rosettes of various colours. Limoges work, early 13th century. Height, 11 in. HoN. B. CuRZON, jun. No. 1,091. Crucifix, supported by a circular base resting on three feet. The figure is in metal in low relief ; the front of the cross enamelled blue, with rosettes of various colours ; on the back are engraved an Agnus Dei and scrolls. Limoges work, 13th century. Height, 10^ in. Eev. Walter Sneyd. No. 1,092. Crucifix, with figures of Cljristand four saints in gilt metal in relief ; the cross enamelled blue, with rosettes of other colours ; on the bade are enamelled ])lates I'epresenting Christ in glory and angels. Limoges work, 13th century. The enamelled portions have been OF Limoges, and other Fabrics. 77 affixed at some subsequent date to a cross of larger dimen- sions and later form, so as to make a processional cross. The enamel is 16 in. high. lioN. Robert Curzon, jun. No. 1,093. Figure of Christ, of gilt metal, from a crucifix. He is represented crowned, and v/ith an enamelled dress. Limoges work, 13th century. Height, 10 in. Rev. Walter Sneyd. No. 1,091. Figure of tlie Virgin, of copper-gilt and jev/elled, seated on a throne, the back and sides of which are enamelled. On the back is the Annunciation ; on tlie sides are figures of St. Peter and St. Paul ; the figures are of gilt metal on a blue ground, with rosettes in colour. Limoges work, 13th century. Height, lOt] in. Hon. Robert Curzon, jun. No. 1,095. Head of the staff of a ruler of the choir, or of a crosier, in gilt metal, with a knop of rock crystal. Limoges work, circa 1280. Height, 12^ in. ; width across the volutes, 6|- in. It consists of a vertical shaft or stem, similar in general aspect to that of many crosiers of the Limoges school, except that it branches into two volutes, diverging in opposite directions from the stem, Avhich is prolonged ver- tically betwjxt them, and is surmounted by a small statuette of St. Michael slaying the dragon. In one of the volutes is a kneeling figure of a female saint holding her decapi- tated head in her hands, and supported by an angel, Avho appears to be issuing from the clouds ; and in the other, a bishop standing in front of an altar, on which is a chalice covered with its corporal. These figures represent the Resuscitation of St. Valerie by St. Martial, both local saints of Limoges. The knop, placed in the same position as in ordinary crosiers, is in rock crystal ; and the stem and volutes are ornamented with scrolls in filigree wirework, soldered on to the ground, and also with numerous small crystal cabochons. The outer margins of the volutes are crocketed, and the ends terminate in scroll foliage ; the socket part of the stem beneath the knop is ornamented with three lizards or dragons. Hollingworth Magniac, Esq. This curious monument was formerly in the collection of M. Dugud of Paris, at whose sale in 1851 it was acquired by the present possessor. It has been repeatedly engraved, and has been the subject of much archaeological research and discussion ; accounts and engravings of it will be found, in “Revue Archdologique,” t. 4, p. 816; Shaw’s “ Decorative Arts, &c. of the Middle Ages Cahier and Martin’s “Mdlanges d’Arehdologie,” vol. 4, p. 233 ; and 78 Section 6a. — Early Enamelled Metal Work “ Notice of the Magniac Collection, &c.,” by J. C. Robinson (1861). It may still admit of doubt whether this most interesting object was the head of the staff of a chanter or ruler of the choir, or of a double crosier, i.e., a crosier with two volutes. In any case, no other specimen of the same kind is known. No. 1,095*. A crosier head of copper, once gilt, the crook is ornamented with engraved scrolls of foliage and termi- nates ui a bud ; the knop is ornamented with dragons in relief, with blue glass eyes. *The ferrule for the staff is engraved with scrolls, and ornamented with figures of saints; one is lost, the remaining two are elongated and have enamelled dresses. Found in Ireland. Limoges work, J 3th century. Length, 12^ in. Right Rev. Bishop Kildufe. Another crosier head of Limoges work, resembling No. 1,097*', was found at Cashel, in a tomb said to be that of St. Cormac, King and Bishop of Munster, see Petrie’s “ Round Towers, p.” 310. No. 1,096. A crosier head of Limoges enamel, very ele- gant in design; the crook terminates in a v>^ide-spreading leaf of shaded colours. The Ivnop is ornamented with mon.sters and scrolls of pierced work, the stem with dra- gons, &c. on a blue ground. This ci'osier was found in a tomb in tbe Abbey of Foigny, in France, considered to be that of Barthdlemy de Vir, Bishop of Laon, who died in 1181. Its workmanship, however, belongs to the 13th century ; it is engraved in Shaw’s “ Decorative Arts of the Middle Ages ;” “ Mdlanges d’Archdologie,” vol. iv. p. 221 ; and in “ Choice Examples of Decorative Art.” Length, 1 1 in. Hollingworth Magniac, Esq. No. 1,097. A crosier head of enamelled copper. In the volute is a figure of St. Michael piercing the dragon. The decorations are chiefly in blue enamel; on the knop are dragons in relief Limoges work, 13th century. Length, 13 in. A. J. B. Beresford Hope, Esq. No. 1,097*. A crosier head of copper, gilt and enamelled ; the crook terminates in a dragon’s head, with glass eyes, and is ornamented with scales of blue enamel ; it encloses a figure of St. Michael killing the dragon, the latter is orna- mented with turquoise coloured studs ; the knop is of pierced work, representing ch'agons in relief ; the ferrule is ornamented with a running pattern of gilt metal on a blue ground, and four dragons in relief, placed diagonally. Found in Wells Cathedral. The Dean and Chapter of Wells. OF LimoCtES, and other Fabrics. 7.0 No. 1,098. A crosier head of enamelled copper. Within the volute is a representation of the Annunciation ; on the knop are pointed ovals charged with armorial bearings. I'he stem and crook are ornamented with small pastes. Limoges work, 13th centuiy. Length, 13 in. Rev. Vf alter Sneyd. No. 1,099. Crook, from a crosier head of enamelled copper, terminating in a dragon’s head ; it is ornamented with enamelled scale work. Limoges work, early 13th cen- tury. Length, 6 in. A. J. B. Beresford Hope, Esq. No. 1,100. A censer of enamelled copper, ornamented with scrolls of gilt metal, with leaves and flowers of shaded enamel on a blue ground ; on the cover are three monsters in relief Limoges work, 13th century. Height, 6 in. From tlie Soltykoff collection. G. H. Morland, Esq. No. 1,101. Very remarkable ci^orium, or covered bowl, of copper-gilt and enamelled, said to have originally be- longed to Malmesbury Abbey ; both the bowl and covei’ .are ornamented with subjects in medallions formed by very elegant sci’oll work of foliage The six subjects on the cover .are from the Life .and Passion of Christ ; while the six subjects on the bowl represent the antitypes of those scenes from the Old Testament history. The figures are principally in gilt metal, with a background of blue or green enamel. On the scroll work are engraved Latin verses describing the subjects. On the cover we find : — 1. Nativity. — Virgo Maria fuit que Dominum genuit. 2. Presentation in the Temple. — Ojf ertur magnus mmc a q^opulis Deus agnus. 3. Baptism of Christ. — Baptizat miles regem, nova gratia legem. 4. Christ bearing the cross. — Sic alapis cesus pia vic- tima ducitur Jhesiis. 5. Crucifixion. — Ut vivas mecum felix, homo, dor mi o tecum. G. Resurrection. — Surgit de tumulo petra Chrislus quern petra texit. The corresponding subjects on the bowl are as follows : — 1. Aaron’s rod blossoming. — Virgo ducem fert, virga nucem, natura stupescit. 2. Sacrifice of Abel. — Agnus Abel munus agnum prius optulit unus. 3. Circumcision of Isaac. — Precessit lavacrum sacra circumcisio sacruru. 4. Isaac bearing wood. — Ligna puer gestat crucis itnde tipum manifestat. 80 Section Ga. — Eakly Enamelled Metal Work 5. Brazen serpent. — Serpens serpentes, Christus necat ignipoteiites. 6. Samson breaking out of Gaza. — Samson de Gaza conclusus ah Itostihus exit. The colours are remarkably vivid and varied. The top is surmounted by an enamelled knop, with four pi’ojecting leaves. Witliin are medallions representing Christ in glory and the Agnus Dei. The lower part of a similar bowl is preserved at Warwick Castle, and is engraved in Shaw’s “ Decorative Arts of the Middle Ages,’’ and in “Art Trea- sures at Manchester,” Vitreous Art, ]). 22. Probably German work, 12th century. Diameter, 6;^ in. ; height, 7 in. Kev. G. W. Braikenridge. No. 1,101*. Ciborium of copper gilt, similar in form and workmanship to the last ; the cover has likewise six me- dallions, with subjects from the history of our Lord, formed by scrolls of foliage in gilt metal with stiff shaded enamel leaves ; the backgrounds of the medallions are blue, the ground of the whole green ; the bowl has six similar medal- lions with subjects from the Old Testament, antitypes of the others ; the medallions have a green ground, the ground of tlie rest being blue ; the figures in both cases have faces in gilt metal and dresses partly in gilt metal partly in shaded enamel; the flesh of the bodies are occasionally represented in a ]iale lilac enamel, especially in the figures of our Lord ; the scrolls or stems forming the compart- ments are inscribed with Leonine verses indicating the subjects. Within the cover is a circular medallion with a half length of our Lord, issuing from clouds, on a blue ground. He is blessing witli one hand, and with the otlier holds a patriarchal cross ; within the bowl is a similar medallion with the Agnus Dei, from whose heart blood is flowing into a cup. The cover is surmounted by an enamelled knop in the form of a flattened sphere, with enamelled bands and leaves on a gold ground ; below it are four projecting leaves. The subjects on the cover are as follows : — 1. Baptism. — Batizat miles regem, nova gratia legem. 2. Christ bearing the Cross. — Sic alapis cesus pia ducitur hosiia Ihesus. 3. Crucifixion. — In cruce mactatur, peril anguis, ovis renovaiur. 4. Resurrection. — Surgit de tumido petra Christus qaem petra texit. 5. Harrowing of Hell. — Mors hominem stravit, Deus hanc ligat hunc relevavit. G. Ascension. — Quo caput aseendo mea membra venite sequendo. OF Limoges, and other FALiRics. 81 On the bowl we find the corresponding subjects : — 1. Circumcision of Isaac. — Precessit lavaci'um sacra circiimcisio sacrum. 2. Isaac bearing the wood. — Ligna puer gestctt crucis unde tipum manifestat. 3. Sacrifice of Isaac. — Temptans temptatus, Isaac ariesque paratus. 4. Samson breaking out of G&za.-- Samson dc Gaza conclusus ah hostibus exit. 5. David rescuing a lamb from a bear. — Ursus ovem ledit, Davit iuvat, hunc quoque cedit. 6. Elijah carried up to Heaven. — Igneus Ueliam currus levat ad theoriam. The colours are very varied and remarkably brilliant ; the lower part of the bowl has unfortunately been much injured by violence. This very fine object is of the same date as the last, viz., the latter part of the 12th century, and probably of German workmanship ; it is engraved and described in the “ Catalogue of the Museum of the Archaeological Institute at Edinburgh,” p. 122, where the following account is given of its history : — “ The ciborium has been traditionally regarded as having- belonged to Malcolm Canmore, Eing of Scotland, 105G- 10.92, and it is stated to have been presented by Mary Queen of Scots to her faithful adherent. Sir James Balfour of Burleigh, from whom it has descended to the present possessor by the marriage of Alexander Bruce of Kennet, in 171 4, with Mary Balfour, daughter of Robert, fourth Lord Burleigh, and ultimately heiress of her bi-other Robert, fifth Lord. Mr. Joseph Robertson, who has care- fully investigated the Royal Inventories of the period, has sought in vain for any trace of this remarkable object among the possessions of the crown. It may, however, possibly have been described in the “ Inventair of the Queene Regentis Movablis,'’ received by Servay de Conde, valet of chamber to the Queen, in 1562, under the item of enamelled objects, “ane lawer with a cowp and cover of copper ennamaillit.” (See “ Inventories of Royal Ward- robes,” &c., p. 158. Edited by T. Thomson, Edinburgh, 1815.) Diameter, 7 in. ; height, 7J in. R. Bruce, Esq,, of Kennet. No. 1,102. Quadrangular box or pyx of copper -gilt and enamelled. The centre of the cover rises gradually to a ball ; at the angles are four smaller balls. The whole is decorated with very elegant scrolls of gilt metal, termi- nating in richly coloured flowers and leaves, on a blue F 82 Section 6a.— Early Enamelled Metal Work gTOimcl. Height, 8| in. ; width, 3 in. From the Soltykoff collection. G. H. MorlanD, Esq. Ho. 1,103. Cylindrical pyx, with conical top of copper-gilt and enamelled, ornamented with medallions of white enamel, enclosing the monogram I H S. The ground is blue, with gilt scrolls. Limoges, 13th century. Height, 3| in. Sir E. Throckmorton, Bart. No. 1,104. Similar pyx to the last, with interlacing arches on blue gTound. Limoges work, 13th century. Height, 3f in. William Maskell, Esq. No. 1,105. Cylindi’ical pyx of copper-gilt and enamelled ; the top slightly domed and ornamented Avith monsters in medallions. Around the body is a series of arches enclosing figures of saints ; inside at the bottom is a representation of Christ in glory, with the symbols of the four Evangelists ; Avithin the cover a lion and wolf, holding in their moutlis liuman figures, which they are carrying off before a figure of Christ. All the ornaments are in gilt metal on plain enamel grounds. Italian work, 14th century. Height, 4 1 in. From the Soltykoff collection. G. H. Morland, Esq. No. 1,106. A cylindrical pyx of copper-gilt and enamelled, very similar to the last, but with a battlemented edge. On the top are butterflies and monsters; round the body 12 saints under arches ; inside at the bottom are monsters in quatrefoils, and Avithin the cover a head and monstrous birds. Italian work, 14th century. Height, 4 in. From the Soltykoff collection. G. H. Morland, Esq. No. 1,107. A cup of copper enamelled, resembling a chalice in form. On the bowl are half figures of our Lord and three angels ; on the foot four half figures of angels. The figures are entirely represented in enamel, the faces being in pink enamel, the dresses in various brilliant colours. This cup was discovei-ed in 1840 in a grave on the site of the nunnery of Kusper in Sussex. Engraved in Sussex Archaeological Collections,” vol. ix. p. 303. 12th century. Height, 5^ in. E. H. Hurst, Esq. No. 1,108. A morse of copper-gilt and enamelled, of an eight-foil form. On the central band is a figure of the Virgin and Child ; at the sides angels holding candles ; in the angles the symbols of the four Evangelists. The colours are principally red, blue, and white ; the figures and orna- ments being in gilt metal. At some subsequent period a Avooden back has been added, so as to make a pax. En- graved in Dr. Eock’s “Church of our Fathers.” 14th century. Diameter, 4 fin. The Very Eev. Dr. Eock. Nos. 1,109 & 1,110. Pair of candlesticks of copper-gilt and enamelled ; they have triangular bases, on each side of OF Limoges, and other Fabrics. 8:3 whicli is Ji medallion, enclosing a man with shield and club, supported on each side by a lion. These figures are in metal on a blue ground with white spots ; on the knops are monstrous birds. These candlesticks have originally had prickets, which have been removed and nozzles substi- tuted at a later date. Limoges work, 1.3th century. Height, 8| in. Rev. G. W. Braikenridge, No. 1,111. Book cover, in the centre of which is an enamelled tablet representing the raising of the Brazen Serpent. A German enamel of the 12th century (engraved in “Art Treasures at Manchester,” Vitreous Art, pi. 0). This is surrounded by an elaborate border of foliage in silver, with pastes and gems inserted at intervals. In the border are six small enamelled panels, four of them with various patterns in cloisonne enamel of the same date and workmanship as the central jilaque ; the two others, as well as the rest of the ornamental woidc, is of the 14th century. GJ in. by 8f in. Felix Slade, Esq. No. 1,112. Book cover of gilt metal, with a raised border. In tlie centre is the crucifix between figures of the Virgin and St. John; above are two angels ; these figures are all in relief and enamelled. The raised border is com- posed of enamel plaques and crystals cut in cabochon. Limoges work, 13th century. 12^ in. by 7^ in. Rev. Walter Sneyd. No. 1,113. Manuscript in an ancient binding. In the centre is an enamelled plaque of Limoges work, with a crucifix between the Virgin and St. J ohn ; above are two angels ; below, a figure issuing from a tomb. The figures are of gilt metal on a blue ground with rosettes of colour ; the borders are of repoussd work ; at the corners the symbols of the Evangelists in high relief. The central plaque 9 in. by 4 in. S.A.R. le Dug d'Aumale. No. 1,114. A quadrangular tablet of copper-gilt and enamelled, on which is represented Sampson carrying off the gates of Gaza. The face is represented in engraved gilt metal ; the dress in very rich colours. German work, 12th century. 4^ in. by 4^ in. Octavius Morgan, Esq., M.P. Nos. 1,115, 1,116, & 1,117. Three quadrangular tablets of copper-gilt and enamelled ; on one of them, Sampson (or perhaps Hercules) slaying the lion ; on another, Alexander in his car drawn by gryphons ; on the third, a man riding a dromedary. These plates are executed in the same style as the last, and are also German work, 12th century. The two first of them are engraved in “ Art Treasures at Man- chester,” Vitreous Art, pi. G. Each 4 in. square. J. E. W. Rolls, Esq. F 2 84 Section 6a. — Earla" Enamelled Metal Work No. 1,118. A quadrangular tablet, representing the Vision, of Ezekiel (ch. ix. 4.) ; above is inscribed mors . DEVi- TATVR . per . T. {tciu) DVM. ERONTE . NOTATVR . (Soltikoff' collection, 156.) German work, 13th century. 5| in. by 4 in. Robert Napier, Esq. No. 1,119. One of a pair of basins for washing hands, of copper, enamelled. This specimen, having a spout, was in- tended to be used as an ewer, while the other basin would be employed to receive the water. In the centre is a me- dallion with a man playing on a fiddle to a woman who is dancing with castanets ; around are six other medallions, enclosing figures Avith shields ; between the medallions are scrolls on a blue ground. Limoges, 13th century. (Solti- koff collection, 120.) Diameter, 9 ^ in. Robert Napier, Esq. No. 1,120. A similar basin with a spout ; in the centre a large medallion representing a knight riding with a shield ; around are eight medallions enclosing the shields of Bur- gundy, Dreux duke of Brittany, Courtenay, and another coat, all twice repeated ; the background is ornamented Avith scrolls on a green ground. Limoges Avork, 13th century. Diameter, 9 in. Edmund Waterton, Esq. No. 1,121. A similar basin with spout, ornamented with shields of arms. Diameter, 8i in. Rev. Walter Sneyd. No. 1,122. A casket of copper gilt and enamelled ; the top and sides are covered with a diaper composed of armorial bearings in lozenges, the arms being England, Angoulesme, Valence Earl of Pembroke, Dreux Didce of Brittany, Brabant, and Lacy, besides a coat that occurs only once, and is probably an accidental variation of Brabant. The con- nexion betAveen these coats may be shoAvn as follows : — Isabella of Angouleme, widow of King John and mother of Henry III., married Hugh Comte de la Marche, by whom, with other issue, she had William de V alence Earl of Pem- broke, who died in 1296, leaving an only surviving son, Aylmer de Valence, who died without issue in 1323. Beatrice, daughter of Henry III. and granddaughter of Isabella of Angouleme, married John Duke of Brittany, avIjo died in 1305 ; Margaret, daughter of EdAvard I., and great granddaughter of Isabella of Angouleme, married in 1290, John Duke of Brabant, who died in 1312; Avhile Henry de Lacy, last Earl of Lincoln of that family, who died Avith- out issue male in 1312 was connected with Joan de Mon- chensi, Avife of William de Valence. It thus appears probable that the casket was made for a connecting link oi all these families, William de Valence or his son Aylmer ; OF Limoges and other Fabrics. ' (S5 iind its execution may be referred to the years between 1290 and 1305. It may, moreover, have been made l)y the enamellers who constructed the tomb of William de Valence still preserved in Westminster Abbey. It is en- graved in “ Shaw’s Ancient Furniture.” Length, 7 in.; width, 5^ in. ; height, S| in. George Chapman, Esq. Various Objects of Ecclesiastical Use. By The Very Rev. Dr. Rock. No. 1,123. Super-altar, or portable altar. This important piece of ancient church furniture, one of the finest examjdes now extant of an article of great rarity, mice belonged to the celebrated Cardinal Bessarion, who liequeathed it to the Abbey of Avellana, in Gubbio ; and by the abbot of that house it was sold, when the Frencli occu- pied Italy, to the late Count Cicognara, who has engraved it in his “ Meniorie della Calcografia,” and it is also given by Violet-le-Duc, and particularly noticed by Texier in his “ Dictionnaue d’Orfevrerie,” p. 205, as well as by Didron in his “ Annales Archeologiques,” t. xii. p. 114. The stone slab, which is of Oriental jasper, is let into a solid piece of oak ; both are cased in silver, having three out of the four original silver feet still attached to the under sheathing, which is one whole plate of the same metal, rather thick. The broad border is most elaborately orna- mented with scrolls, some cut with a graving tool, others not only engraved, l)ut filled in with beautifully designed and well executed nielli. At the four corners are figured the Elements, symbolized as youthful virgins, each wearing a diadem : Fire, holds two flaming torches ; Water, with her body half out of a flowing stream, is pouring that fluid from one vase into another ; Earth carries baskets of fruit and flowers ; and Air has a cloud floating within her riglit hand, on her left is perched an eagle. In the middle of the north border stands the “ Agnus Dei.” To the right is seen St. Gabriel holding a long sceptre ; on the left St. Mi- chael having in his muffled hand a mund or ball topped by a doubled-transomed cross. In the centre of the soutli border, a dove nimbed, the emblem of the Holy Ghost, stands upon an altar. {See “ The Church of our Fathers,” vol. i. ]x 259.) Italian 12th century work. 2^ in. by 12^- in. by in. The Very Rev. Dr. Rock. No. 1,124. A .silver-gilt chalice, the work of Master Bartholomew of Atri, in the Neapolitan States, and sup- posed to have been one of the numerous chalices belonging 86 Section 6a.— Early Enamelled Metal Work to Pope Boniface VIII., 1291-1303. The broad part of the foot is beautifully wrought with vine leaves, and around the stem is the follov/ing inscription in niello : — “Antonins' “ Sabini ■ blotaris ■ Fecit • Me ■ Fieri * A • Magistro ■ Bar- “ toloineo • Ser-Pauli • De • Atri.’’ Italian, 14th century. Height, 6^ in. The Very Key. Dr. Rock. No. 1,125. A copper - gilt thurible, ornamented with statuettes and open-work scroll foliage. 12th century work. The symbolical figures represent the three Hebrew martyrs, Shadrach, Meshach, and Abednego (otherwise as they are here called, “Ananias, Azarias, and Misael,'' spoken of by Daniel, c. iii.) ; they are here shown not in, but as it were on the burning furnace ; uppermost sits the angel, below him are seated the youthful Hebrews, and under them bii'ds, beasts, and llower-bearing branches. This thurilile was brought from a church at Pavia. It is engraved in the “ Manchester Art Treasures,” &c. Height, 5^ in. The Very Rev. Dr. Rock. Various Objects of Mediceval Art. By J. 0. Robinson. No. 1,126. Spoon, probably for ecclesiastical use, in silver- gilt, with stem in rock crystal. Circa 1500, English work (?). Length, 8;^ in. The shaft is formed by an octagonal rod of rock crystal, the end terminated by a capping in silver -gilt, with pro- jecting architectural mouldings and a conical roof, finished by an elegant chiselled Gothic finial. At the lower extremity of the crystal shaft is another capjoing of the same design, on which is perched a grotesque figure of a dragon holding the bowl of the spoon in its mouth, its long tail extending downwards on to the crystal shaft. Hollingworth Magniao, Esq. No. 1,127. A fool’s bauble or baton in carved wood. This object consists of a natural stick or branch of boxwood, elaborately carved with foliated ornaments, grotesque figures, and masks ; at the upper part is seen a prelate’s hat, from whence it may be inferred that this interesting relic belonged to the jester of a high ecclesiastical dignitary. It is probably of Italian work, circa 1500. Length, 2 ft. 34 in. Lord Londesborough. No. 1,128. Golden seal or bulla of a German emperor. 1 5 th cen t ury . Messrs. Farrer. No. 1,129 & 1,130. A huge ewer, with handle and spout, and its accompanying plateau, in silver-gilt ; both pieces OF Limoges, and other Fabrics. 87 most elaborately embossed in repoussd, in very high relief. Savoyard work, circa 1500 (?). These very important specimens of goldsmith’s work, from the singular complexity of design, the immense labour bestowed upon them, and their original and unusual style, merit a careful examination and description. The general configuration of the pieces is of not unusual inediEeval type ; the ewer or “burette ” has a globular or pear-shaped body, mounted on a rather tall stalk or stem, with wide-spreading base ; it is surmounted by a semicircular cover, on one side of which is a large raised clip surmounting the hinge, and connected with a bold curved handle, opposite to which, on the other side of the piece, is the tubular curved spout. The plateau has in the centre a semicircular umbilicus, on which stands the ewer, and has a wide rim or border. The ewer is divided into seven alternating transverse zones or friezes, five of which are filled with the most elabo- rate and multifarious figure subjects in high relief ; and two others, including the stalk or stein, with rich clustered Gothic foliage. V arious mouldings, all elaborately ornamented, separate these friezes. The handle and spout are formed by winged terminal figures of satyrs, dragons, and human figures on a smaller scale, intertwined and grouped v/itli the richest Gothic foliage in a manner too complex for descrip- tion. The cover is surmounted by a finial formed by a thistle head or flower. The principal band round the centre of the ewer contains on one side an equestrian battle subject, apparently of Turks and Christians, and on the other, a cavalcade of knights and ladies. Above this is a frieze of cavaliers and ladies promenading in a wood or garden ; the neck is surrounded by a band of minstrels playing various instruments. The base is embossed with a bold composi- tion of tritons and sea nymphs, probably copied from an Italian bronze relievo, of the school or period of Andrea Mantegna. The cover, in like manner, has a frieze of gentlemen and ladies iu inediEeval costume, and naked amorini. The plateau on the outer margin is decorated with a continuous frieze of battle subjects, also David and Goliath, and Judith slaying Holofernes. Round the um- bilicus is a procession of equestrian figures issuing from a city, whilst the cavetto or hollow of the dish is filled in with another most elaborate frieze containing many subjects, probably illustrations of some mediaeval romance. The two pieces together are enriched with several hundred figures and horses. A most singnlar and perhaps semi-barbarous admixture of styles is perceptible in these remarkable works. The 88 Section 7.— “Henki Deux” Ware. foliated ornaments have a marked Swiss or German Gothic bias, of the latter end of the 15 th century. The costumes and many of the details show an equally evident French influence, whilst in numerous other motives the Italian renaissance style predominates, portions, such as the clip at the hinge, being literally copied from well-known Italian som’ces. These diversities of style may perhaps be explained by the fact of the Savoyard origin of the pieces, for it is evident that so poor a country as Savoy would scarcely either originate or support a national style of art. A similar instance may be adduced in the case of Rosslyn Chapel, in Scotland, to the ornamentation of which that of the present pieces has a wonderfidly close analogy, the prevailing motives of the art of neighbouring and richer countries having evidently, in both instances, exercised dominating and conflicting influ- ences on the native craftsmen. This ewer and basin were brought from a castle in a mountainous district of Savoy, belonging to an ancient family of that country, from whom they were inherited by the present proprietor. The writer would flx their date about A.D. 1 500. Height of ewer, 17^ in, ; diameter of plateau, 19-| in. Ills Excellency the Marquis dAzeglio, Italian Minister. Section 7. “ HEHEI DEUX ” WARE. By J. C. Robinson. Preliminary Notice. The pottery known as “Faience de Henri Deux,” or of “ Diane de Poitiers,” or “ Henid Deux ware,” is a very remarkable and original variety of earthenware, produced somewhere in France during the later years of Francis the First’s reign and the reign of Henri Deux. Although for 20 or 30 years past it has excited the keenest interest and curiosity amongst amateurs and collectors, and in con- sequence the pecuniary value of the specimens has attained to a fabulous latio, very far indeed, beyond that of any Section 7. — “Henri Deux” Ware. 89 other variety of decorative pottery, nothing is known with certainty respecting either the producer or the place of its origin. With the exception of certain indications of the ownership of some of the pieces, evidenced by armorial bearings and initials, everything respecting this ware is still shrouded in mystery. Its great pecuniary value has arisen from several causes, but especially from its intrinsic artistic merit, for it cannot be denied that the style of design is singularly original and beautiful. Whilst displaying great variety in their forms and decorative details, the pieces are all conceived in the same characteristic general style, which though strongly and unmistakeably national, and even typical of a well-known and brilliant epoch, is also in the highest degree both personal and local ; in fact, there can be little doubt that as in the case of the Palissy ware, this famous pottery was the work or invention of one in- dividual artist, whose labours were evidently anterior to those of the famous “ artiste en terre.” This ware is, moreover, scarcely less remarkable from a technical point of view. Its fabrication displa,ys novelties of a singularly interesting nature, every circumstance, indeed, denotes that the producer was an original genius — one of those representative men, who arise only at rare intervals in the province of art, as, indeed, in any other sphere. The rarity of the Henri Deux ware at the present day has, doubtless, had a great share in inducing its extraordinar}^ pecuniary value ; and yet, when it is considered that upward.s of 50 of these fragile pots have come down to us, through the chances and changes of three centuries, all apparently from the hand of the artist himself,* their number even is sur- prising, and is, at least, an evidence that the producer must have been a most industrious worker. To all appearance the art died with its author, or was continued only for a bidef period after his time, the inherent difficulties attending the production of the ware being probably too great to allow of any remunerative result to the mere industrialists of the day, even had they been capable of continuing the complex and difficult technical processes of the master. Lastly, somewhat of historical or romantic interest attaches to it from the fact that, like the Shvres porcelain of tlie age of Louis XV. and XVI., it was apparently the poterie de luxe” of the brilliant courts of Francis I. and * It may be doubted whether three or four of the specimens are not imita- tions of the manufacture by a contemporary or follower of the original producer ; these exceptions, however, supposing them to be so, only seem to substantiate the main fact, that the ware is substantially the invention or speciality of an individual artist. 90 Section 7.—“ Henri Deux” Ware. Henri Deux, as evidenced by the cipliers, armorial bearings, &c., which occur on so many specimens. The theories respecting the origin of this ware have hitherto, for the most part, been of a rather crude and unsatisfactory kind ; one, which has been often repeated, in spite of its obvious want of verisimilitude, and which, at the same time, in the most gratuitous way, transferred from a Frenchman to an Italian the glory of having produced this pottery, was, that it was the work of Girolamo della Robbia, who settled in France during the first half of the 16th century. This supposition was entertained by the occurrence of the letter G in tlie diapered pattern on one of the specimens now exhibited (the Magniac ewer. No. 1,200), supposed to lie the initial of the Florentine artist. This theory, however, scarcely de- serves notice ; the pottery itself has no analogy with any of the products of the Della Robbia fiunily ; it has a distinct non-Italian character, and, on the contrary, a most charac- teristic and typical French Renaissance one, of itself quite sufficient to decide the point of the nationality of the artist. The principal writers who have noticed the Henry Deux ware are as follows : — First in date is Willemin (1839) or rather M. Andrd Pettier, of Rouen, the author of the text to Willemin’s book (“ Monuments inedits pour servir a THistoire des Arts Paris, 1839, tome 2, p. 65 ; description de la planche 289), He supposed it to be fabricated by Florentine artists working in France, and states that M. Dusommerard (pere) recognized a mark of Beauvais on one of the pieces ;* a fact of importance adduced by this writer, who indeed has anticipated nearly all that was to be said on the subject, is, that of the four-and-twenty pieces or thereabouts, then known, about one-half came originally from Touraine, and notably from the town of Thouars. It is unfortunate that more precise indications on this point were not adduced. This fact, however, has been quoted and adopted by all subsequent writers, and is probably sub- stantially correct. 2nd. M. Brongniart (1844) (“ Traite des Arts Cerami- ques”). Brongniart’s notice is chiefly important for its account of the teclmical process of fabrication (unfortu- irately somewhat obscure and confused) ; he also says that tlie majority of the thiviy-seven pieces came from the soutli- * M. rottier was unable to verify tliis mark; in all probability it was that on the “ Esponlart ” plateau, now in the South Kensington Museum ; see No. 1,21 8. No other maker’s mark or signature occurs on any of the known specimens. Unfortunately this mark does not seem susceptible of any definite interpreta- tion; most assuredly it would be an entirely gratuitous supposition to connect it in any way with the ancient potteries of Beauvais. Section 7. — “ Henri Heux ” Ware. !J1 west of France, from Saumur, Tours, and notably from Thouars, except two or three which had been brought from Italy and Spain. 3rd. M. Jules Labarte (1847), “Catalogue raisonne du Cabinet Debruge-Dumenil ; Introduction, Ar-t C^ramique,” p. 305. M. Labarte notices the analogy which this pottery ofters to the chiselled and damascened goldsmith’s work of the same epoch, and states that the greater number of tlie pieces came from Touraine and La Vendee. 4th. (1846 or 1847), in the journal “ L" Alliance des Arts,” M. Thore (the possessor of a tazza in Henri Deux ware, afterwards ceded to the Louvre,) ascribes the fabrication to Ascanio, pupil of Benvenuto Cellini ; but without even a shadow of authority. 5th. (1847), M. Henri Delange, in a brochure entitled “ Girolamo della Bobbia,” &c., &c., endeavoured to prove that this celebrated Florentine artist was the author of the Henri Deux ware ; his only evidence was the occurrence of the initial “ G ” on the “ Odiot ” ewer (now Mr. Magniac’s, No. 1,200 in this collection). M. Delange appears, even at present disposed to adhere to this opinion as a probable supposition. 6th. (1855), M. de Laborde, in a note in the work entitled “ Le Chateau de Boulogne,” shows the want of vei’isimilitude of M. Delange’s theory, and states the far more probable inference, that the initials are those of the first possessors of the pieces, and have no reference to the artist. 7th. (1857), Mr. Marryatt (“History of Pottery and Porcelain) ” gives an excellent resume of the facts and opinions previously established, and describes various pieces in English collections. 8th. (1860J, M. Tainturier, “ Notice sur les Faiences du 16me siecle dites de Henri Deux,"’ adds little if any- thing to our knowledge of the subject, and on the contrary, revives the entirely gratuitous and untenable theory of M. Thord, which ascribes the authorship to Ascanio. M. Tainturier, though it is not evident on what authority, adds, the town of La Fleche to the list of places where pieces have been found. 9th. (J an. 1860), Le Comte Clement de Kis, of the Museum of the Louvre, in an article in the “ Gazette des Beaux Arts,” states, with much probability, that the original place of pro- duction may be placed betwixt Touns, Saumur, and Thouars, and .says, moreover, that in all, ten or twelve pieces liave come directly from Tours. M. de Bis believes that the ware is the production of one individual artist, originally a goldsmith or jeweller ; he likewise notices, with great 92 Section 7. — Henki Deux ” Ware. justice, the resemblance in style, which exists betwixt the interlaced ornaments of the Henri Deux ware and the ornaments of the bookbindings of Grolier and Maioli. loth. (1860-61), “Notice of the Magniac Collection, by the writer,* contained, for the first time, a detailed list of all the pieces known to exist, amounting to 54, with the names of tlie possessors. Finally (1861-2), came the important illustrated work of the Messrs. Delange, containing chromolithographic en- gravings of all the known specimens.f M. Henri Delange, in the text to this work, reprints, in extenso, all the notices by previous writers, and gives an appendix of his own, which however adds but little to our previous stock of knowledge. He endeavours to establish three epochs or classes of the ware ; and, as has been already noticed, still seems to adhere to his original hypothesis, ascribing the authorship to Girolamo della Kobbia. The Messrs. Delange have at all events rendered a most important service iii practi- cally l^riuging the various pieces together for comparison, by the means of these illustrations. Tiae very remarkable and original process of manufacture ' of the Henri Deux jiottery is not easily described ; for its complete understanding a certain acquaintance with the “ technique ” of the potters’ art in general, is essential. Neither in the body of the ware, glaze, nor enamel colours is there anything mysterious, and the actual method of building up or constructing the pieces, though complex and very ingenioiis, is obvious to the practical potter, and can be imitated step by step most exactly. Two principal processes have been followed ; first, the modelling of portions in relief, which were made separately, generally in moulds, afterwards carefully modelled up by hand, and finally stuck on or “ applique ” to the body of the piece, before it was fired, and the flat ornamentation, consisting of inter- laced scroll work, rosettes, initial letters, &c. (in which is the greatest novelty). This, instead of being painted on the surface of the piece in enamel colours, as in ordinary wares, is encrusted or inlaid, like niello work or “ damasquinerie ” on metals, the coloured Inlays being of the same substance as the body of the ware, namely ordinary clay, but of diffe- rent colours. In most of tlie pieces will be noticed in addi- tion to the brown, dark reddish, or yellov/ish inlays, trans- London, Cundall, Downes, & Co., 168, New Bond Street, p. 73. f Recueil dc toiites les Pieces connues jusqu’ii co jour de la Faience Frauyaise dite de Henri Deux, &c., par MM. Henri ct Carle Delange. Paris, Q/rai Voltaire, No. 5. Section 7.— “ Henri Deux ” Ware. 93 parent enamel tints of purple^ green, blue, and yellow ; these are used very sparingly and floated into the glaze, which covers the entire surface of the pieces ; this glaze is very thin, transparent, and of a slight greenish-yellow tint, being probably an ordinary “ lead glaze,” whilst the body or “pate” of the ware is a simple creamy- white pipeclay, very light, yet compact, and harder than the usual red oi‘ buff clays of the common French faience. The inlaid details, of which there is a great variety of patterns of rosettes, knotted frets, guilloches, foliated ara- besques, initial letters, &c., nearly always arranged in re- peating series as strings, ornamental bands, enriched mould ■ ings, diapered grounds, «fec., have been produced by mecha- nical means, viz. by metal punches or matrixes, many of which, (perhaps indeed the greater part,) appear to have been bookbinders’ tools or type-metal ornaments used in printed books. With these instruments the patterns were stamped into the clay,* forming cavities or “intaglio” patterns, afterwards filled in with the coloured clays. There are no duplicate pieces of the Henri Deux ware. Although the ewers, candlesticks, tazze, salt-cellars, &c., have a sufficiently close general resemblance to each other, they all vary widely in their outward forms and details ; each specimen, indeed, seems to have been virtually unique of its kind. The same inlaid patterns or stamps, and also many of the details in relief, it is true, re-occur over and over again in numbers of specimens, but on comparing the pieces with the corresponding or similar ones, the actual facts of design will be found to be entirely different. With respect to the date of the ware, there can be little doubt that its fabrication took place mainly during the course of the reign of Henri II. (1547-1559). Not only is the style of the pieces precisely that of the prevalent and most beautiful French Renaissance of that period, but the period is confirmed by the fact, that a considerable propoi’- tion of the specimens seems to have been actually made for this king, inasmuch as his well-known monogram, the H, * It is important to observe, however, that these stamps were not applied directly to the surfaces of the piece by hand, or one by one, as it were ; on the contrary the pattern, by their means, was first stamped in the hollow surfaces of terra-cotta or plaster moulds, from which entire portions of the encrusted details were produced at once, by the process called by potters “ pressing.” These portions, forming thin “ plaques ” or bands of clay, curved to correspond exactly with the shape of the portion of the piece to which they were to be applied, were then encrusted bodily or applied to the surfaces of the vessel in process of being built up. It is unfortunately almost impossible, without diagrams or models, to explain more clearly the ingenious process here shadowed out. 04 Section 7.—“ Henki Deux ” Ware. the ambigTioii.s double D (or H interlaced with two C’s), commonly supposed to be the monogram of Henri and liis mistress Diane de Poitiers, but in reality that of the king and liis queen Catherine de Medicis, the interlaced C’s or crescents, &c. are found on so many of the pieces. On one only (Mr. George Field’s salt-cellar, in this collec- tion) occurs the salamander, the device of Francis I., wliilst there are no indications referable to the reigns of the suc- cessors of Henri Deux (Frau 9 ois II. and Charles IX.) or to any later period. It may be fairly presumed, then, that the fabrication commenced towards the end of the reign of Francis I., and most probably ceased, probably by the deatli of the artist, during that of Henri II. If then, we allow at the outside, twenty years (1540-60) as the duration of the manufacture, we are pretty sure to have embraced the entire period, which, hmvever, was most likely much shorter. The armorial bearings, found on several of the pieces, are those of royal or noble French personages of the period stated ; the arms, however, do not throw much light on the subject in any other respect. The writer believes, that with the exception of two or three specimens, all are from the hand of the original artist, the exceptional pieces are also apparently by one person, and as they are very similar in style, showing the same inlaid patterns, produced from the original matrixes, but are in every respect ruder and inferior, both in design and execution, he would infer, that they were the work of an immediate successor or imitator, perhaps a relative or pupil, whose labours had but little duration, and from their marked inferiority, no success. The original artist-potter, then, the inventor of this ware, was apparently in much the same position as Bernard Palissy, whose labours occupied a somewhat later period, and who (Palissy) may or may not have been acquainted with the productions of his predecessor.* * The probability is that Palissy did not see any specimen of Henri Deux ■ware, till his O'wn fabrication had been brought to a successful issue. It is not unimportant to remark, that there was no novelty whatever, in either the clay body, glaze, or enamel colours of either of these artist-potters, all of which had been kno'wn and in use for centuries before, both in Italy and, perhaps also in Germany. Palissy at all events, however, was unaware of this fact, and con- suraedyears of time, and took an infinity of trouble to re-discover for himself, what the humblest potter of Paenza or Urbino could have taught him in a single day. In technical respects, indeed, the French potters were hut the merest tjTos by comparison with their Italian brethren, whose processes and results, exhi- bited in the endless varieties of their enamelled earthenwares, are at this day unrivalled and unapproached. The real and great merit of both the potter of “ Henri Deux ’’and Bernard Palissy, is the admirable taste and originality in design of their famous wares. Section 7. — “Henri Deux” Ware. 95 That the Henri Deux ware, then, was mainly the speciality or invention of an individual artist-potter may perhaps he taken for granted, and that the artist was a Frenchman, and not an Italian, is the winter’s strong opinion ; he also adheres to the belief that he was originally a goldsmith or worker in metal. The combination of ornamentation in relief and incrustation, taken in connexion with the peculiar lightness of the forms and the fragility of the pieces, suggests, indeed, the idea, that the damascened metal ewers and can- dlesticks of the early cinque-cento period were the real prototypes of these exquisite specimens of pottery. Finally, it may be observed as regards the actiuxl process of inlaying or encrusting clay of one or more colours into a common ground or recipient of another colour, though it was an entirely novel one as applied to the curved surfaces of earthen vessels, it had long been carried out in France and England, in a ruder manner, in the flat encaustic tiles of the Middle Ages. The following is a list of all the pieces of Henri Deux ware, now (July 1862), known to be extant. In England. 1. Large ewer or aiguiere ; Hollingworth Magniac, Esq. 2. Ewer or aiguiere ; 3. Similar ewer or aiguiere ; 4. Candlestick ; 5. “ Hanap,” or funnel-shaped ewer ; 6. Tazza or cup ; 7. Cover of a tazza ; 8 & 9. Bouquetiere or flower holder (in two portions) ; Sir Anthony de KoTHSCHn.D, Bart. 10. Candlestick; 11. “ Biberon ” or ewer ; 1 2. Mortar or large salt-cellar ; Andrew Fountains, Esq. 13. Globular “ biberon ” ; 1 4. Triangular salt-cellar ; Baron Lionel de Rothschild, M.P. 15. Tazza ; 16. Salt-cellar; The Duke op Hamilton. 96 Section 7. — “ Henri Deux ” Ware. 17. 18. 19 . 20 . 21 . 22 . 23. 24. 25. 20 . 27. 28. 29. 30. 31. 32. 33. 34. Salt-cellar. R Napier, Esq. Salt-cellar. George Field, Esq- Salt-cellai-. S. Addington, Esq- Salver. South Kensington Museum. Oval tazza with cover. John Webb, Esq. The lower portion of a large aiguiere ; Small aiguiere ; Aiguiere. Tazza. — Henry T. Hope, Esq. Martin T. Smith, Esq., M.P. H. Durlacher, Esq. Salt-cellar ; Tazza ; In France, Museum of the Louvre. Salt-cellar ; Salt-cellar ; Tazza with cover ; Tazza ; “ Biberon ; ” Sauvageot Collection, now in the Museum OF THE Louvre. Tazza ; Cover of a tazza , Ceramic Museum at ShvRES. 85. 36. 37. 38. Tazza with cover. Candlestick. Candlestick ; Hanap ; Museum of the Hotel de Cluny. M. Norzy. The Baron Gustave de Rothschild. 39. J ng or “ canette ” ; 40. Salt-cellar; 41. Small aiguiere. The Baron Alphonse de Rothschild. 42. Tazza. The Baron James de Rothschild. 43. Salt-cellar. Madame d’Yvon. 44. Tazza with cover. M. Hutteau d’Origny, 45. “ Bihei’on.” Collection of the late Count Gorgier DE PORTALES. 46. “ Gourde de chasse,” or pilgrim’s bottle ; 47. Tazza ; 48. Cover of a tazza ; 49. Cover of a tazza. 50. Salt-cellar. The Duke D’Uzks. M. Benjamin Delessert. The Count de Tussau. Section 7.-—“ Henri Deux ” Ware. 97 51 & 52. Two pieces in private hands at Tours. 53. “Biberon;” 51. Salt-cellar; — In a private collection in France. In Russia. 55. “ Biberon.” — Prince Galitzin. No. 1,200. Ewer or aiguibre. The body of the piece is oviform ; all the plane surfaces are covered with incrusted interlaced ornament of several different designs ; the pattern on the lower part of the body containing the letter “ G ” repeated in the centre of numerous small compartments, formed by the interlaced diaper ; on the widest or most salient part of the body four beautifully modelled Medusa masks, in high relief, are attached or applied. The foot or base forms a series of elaborate mouldings, further enriched by applied strapwork scrolls in relief, pecten shells, cherubs’ heads, &c. The neck of the ewer, likewise richly diapered with enciusted ornamentation, is divided into two portions by a bead or torus moulding in the centre, the portions above and below this moulding respec- tively, campaniform in shape, each of the bells being turned in opposite directions. The spout or mouth of the vase is shaped as a large pecten shell, underneath which, in front, another grotesque female mask is attached to the neck of the vase ; the handle is formed by a syren with her head downwards, and fore quarters resting on the body of the vase, whilst the extremities are formed by two serpents, which form the elegantly curved grip of the handle ; the involuted extremities, where they join on to the large pecten shell at the mouth of the piece, terminate in two serpents’ heads modelled with great spirit. This celebrated and exquisitely beautiful piece is in every respect unquestionably the finest and most important specimen of Henri Deux ware now extant ; it was purchased at the sale of M. Odiot, a silversmith and well known collec- tor, of Paris, about the year 1 842,* and is beautifully engraved in Shaw’s “ Decorative Arts of the Middle Ages.” See also description and photographs in “ Notice, &c. of the Magniac Collection,” London, 1861 (by the writer). The design is entirely unique, and the piece is also the largest known specimen of the ware, its extreme height to the top of the handle being 14^ in., and the greatest * The price paid for this piece at the Odiot sale was 2,000 francs or SO/. ; in all probability it would now realize at least 2,000/. sterling. G 98 Section 7.—“ Henei Deux ” Waee. diameter of tlie oviform body 5| in. It may be observed that the letter “ G ” in the diaper on the body of the piece, which has been adduced by M. Delange as indicating the artist’s name, “ Girolamo ” (Della Robbia), is, with more likelihood, the initial of the original proprietor of the ewer or personage for whom it was expressly executed ; no armorial bearings or other insignia are found upon it. Hollingwoeti-i Magniac, Esq. No. 1,201. Oviform ewer or aiguik’e. Tliis splendid specimen and the very similar one next to be described are of a different character to the “ Magniac ” ewer ; they are probably of a somewhat more recent period, and may perhaps be referred to the latter years of the artist’s labours. The graceful simplicity of form and comparative sobriety of ornamentation of the former specimen are replaced in these pieces by an exuberant richness and intricacy, which render it in vain to attempt any detailed descriptions ; the engravings in M. Delange’s publication, however, which may always be referred to, render minute description com- paratively unnecessary. The body of the ewer, the neck, and scroll or shell-shaped mouth of the piece, are all covered witli the most tasteful and intricate interlaced arabesques, of a great variety of patterns, alternating in zones, separated by skilfully contrasted and delicately v/rought torus mouldings. Four ma,sks in relief are affixed at the middle of the body of ev/er, from which hang festoons of drapery, also in relief, and enamelled in blue and green tints. The inlaid ornamentation is of two colours, viz., the dark brown and dark red orburnt sienna tint, alternating in the different zones. The handle is more massive than that of the Magniac ewer; the upper part forms a female figure, bending forward over the mouth of the ewer, and. resting with outstretched arms on the margin, the lower extremity forms a square terminal pedestal curved to the requirements of the handle. The piece altogether, has a marked architectural character of the richest French Renais- sance design, distinguished nevertheless by a striking origi- nality of conception. This ewer was purchased at the Strawberry Hill sale (1812) for 19k 9s,, (12th day, lot 37), described as “A fine ewer with handle of curious old Faenza ware, from a design by Giulio Romano, extremely rare and curious.” M. Delange values the companion ewer at 30,000 francs (],200k) ; the present specimen is of equal value, but would probably realize if brought to the hammer at this time a much greater sum. Extreme height, 13|- in. ; diameter at the widest part, in. SiE Anthony de Rothschild, Baet. Section 7. — “ Henri Deux ” Ware. 99 No. 1 ,202. Ewer or aigui^re of very similar design. Though, in its main features, so nearly con’espondent to the preceding- piece, as to appear at first glance almost a duplicate, the details are entirely different, it is also rather larger, and perhaps somewhat more florid and elaborate. Doubtless, the two were executed nearly at the same time. It was obtained at the sale of the De Monville collection. A beautiful coloured engraving of it is given in Willemin’s “Monuments inddits,” &c., where it serves as • the text for the earliest and most sagacious notice of the Henri Deux ware by M. Andrd Pottier, of Eouen. On neither of these pieces are there any monograms, initials, or armorial bearings indicative of their original ownership ; very probably, however, the plateau or salver, Avhich originally accompanied each piece, contained a coat of arms on the raised centre or umbilicus (see the South Ken- sington salver, No. 1,218, the only one now extant). It may be observed, that whilst in the Italian majolica wai-es, the ewers have perished, though the plateaux have come down to us in great numbers, the reverse is, the case in the Henri Deux ware ; the difference may probably be accounted for by the fact, that the Italian majolica ewers and salvers being current articles of use, the ewers were as a natural consequence of their shape and conformation much more liable be broken than the plateaux, whilst the Henri Deux firience, on the contrary, having a purely ornamental desti- nation from the first, and the ewers and “ shaped pieces ” being more adapted for the decoration of mantle shelves, cre- dences, &c., than the salvers, the former were carefully preserved as ornaments, whilst the latter, being less cared for, were finally abandoned to purposes of utility, and consequently soon came to an end. In support of this view it may be noticed, that the Kensington salver has, at some time or other, evidently suffered the rough usage of daily wear and tear, whilst as a rule the shaped pieces, consider- ing their delicacy and fragility, are wonderfully well pre- served. Extreme height, 14 in. ; width, 5 in. Sir Anthony de Kothschild, Bart. No. 1,203. Candlestick. The admirable candlesticks in the Henri Deux Faience, are perhaps the most interesting and original types of the ware. From their complexity and elaborate profusion of detail it is almost impossible to give an adequate idea of them by mere description. The present specimen and the “Fountaine” candlestick. No. 1,208, to which it has as close a resemblance, as the two ewers previously cited have to each other, are of equal excellence both in design and execution, and are decidedly superior 100 Section 7 . — “ Henri Deux ” Ware. to the two candlesticks now in France. The general shape is that of a tall stalk or stem, rising from a wide and flat circular base in many stages, gradually tapering from tlie base to the summit ; the forms of each division are admirably varied and contrasted with each other, and are separated or enriched with beautiful mouldiugs, grouped together with the refined skill and taste of a practised architect. The mouldings, bands, or fascias, the swelling knops or bosses and vasedike forms, which follow each other in rich profusion, yet with such judicious ordon- nance of design, are all enriched with the most beautiful inlaid patterns, foliated arabesques, interlaced fret work, guilloches, chain patterns, rosettes, &c. succeeding each other with endless variety. In the present specimen, the lowest stage above the base is flanked by three boldly modelled masks in high relief, serving as brackets to support small pedestals, on each of which stands a statuette of a naked amorino in full relief, holding a shield, on one of ’which is the double D or H and double C of Henri Deux, on another the arms of France, and on the third those of Clei-mont impaling Vivonne.* The diapered fret work pattern in the second stage also, has the initial H, in the centre of each of the interlaced compartments. The other ornaments in relief consist of pecten shells, pendent garlands of leaves, lions’ heads, projecting consoles or brackets, circular raised bosses, small pilasters, &c. The colour of the incrustation is dark brown and various portions of the work are sparingly picked out with transparent enamels of the usual simple tints. The modelling of the forms in relief is very sharp and highly finished, and it is on the whole somewhat superior in execution to the two ewers last described, evi- dently pointing to a somewhat earlier origin ; in all pro- bability it was made about the same period as the Magniac ewer. It was acquired at the sale of M. Preaux. Engraved in the “ Manchester Art Treasures,” section of Ceramic Art, pi. 9. Height, Ilf in. Sir Anthony de Rothschild, Bart. Ho. 1,201. Funnel-shaped “hanap,” with spout and handle. Considered on the whole, this is perhaps the most beautiful of all the minor pieces ; its period appears to be that of the candlestick just described, the “ Magniac ” ewer, &c. The shape is characteristic of the French Renaissance, hanaps in brass and silver of this same type being very commonly met with. Its general form is that of an inverted cone. * These arms are those of Diaoe or Jeanne de Vivonne, wife of Claude de Clermont, Baron de Dampierre, born l.'iLS, died 1.583. Section 7. — “ Henri Deux ” Ware. 101 supported on a low moulded foot ; the handle is formed by a boldly modelled figure of a satyr in full relief, his out- stretched arms clasping the circumference of the lip or margin, his feet resting on a projecting mask. The spout on the opposite side is a large figure of a lizard, also in full relief, with a gaping mouth, through which the fluid was poured ; on the breast of this animal is attached a lozenge- shaped escutcheon, the armorial bearings on which have been unfortunately purposely defaced. The body of the piece is surrounded by two transverse belts or friezes of the most beautiful arabesque scroll work, inlaid in red or bufl^, and numerous filets and strings of minute ornamen- tation, the latter in dai-k brown inlay. The lizard spout is glazed with green enamel. Engraved in the “ Manchester Art Treasures,” pi. 9. Height, 7^ in. Sir Anthony de Rothschild, Bart. No. 1,205. Tazza, without cover. The boAvl forms a flattened hemisphere, mounted on a cylindrical stem, which is posed on a dome-shaped foot ; round the upper part of the stem is a string of masks in relief; the underside of the bowl is enriched with the usual interlaced arabesques, inlaid in coloured clays ; and in the centre of the inside is a shield encircled with the collar of the order of St. Michel, and surmounted with a royal crown, and bearing the three inter- laced C’s or crescents of Diane de Poitiers or Catherine de Medicis.* Height, 5 in. ; diameter of bowl, 5 ^ in. Sir Anthony de Rothschild, Bart. No. 1,206. Cover of a tazza, forming a flattened hemi- sphere or dome. The margin surroimded by a twisted torus or cable moulding in relief; the summit is surmounted by a spire or flnial composed of a cluster of decorative mouldings. The inlaid ornamentation consists of numerous concentric zones of arabesques, guilloche ornament, wreaths, &c., the inlay being of the red tint. Round the base of the finial is a string of small eagles, inlaid in red, probably the eagle (“ Alerions ”) of tlie Montmorency arms, for which family the tazza was probably made. (M. Delange has Whether or not the interlaced crescents or letter C’s, which, at all events, we know to have been a favourite badge of the king Henri Deux, were adopted by him out of compliment to his celebrated mistress Diane de Poitiers, created Duchess de Valentinois, it is certain that as C’s they were construed as the initials of Henri’s queen, Catherine de Medicis. Tliat there was a curious “ double entendre ” implied in this device and the other celebrated mono- gram, the double or interlaced D’s, which may also be read as an H and two C’s, is very probable. M. de Laborde, in one of his works, states as a recognized fact that they were intended as monograms of Henri and Catherine de Medicis, and the fact that they occur in the fajade of the Louvre, leaves no doubt on this point. 102 Section 7.— “ Henei Deux’' Waee. omitted this detail in his plate of this specimen.) Diameter, 7 in. No. 1,207. “ Bouquetiere ” or flower-holder. This piece in its present state forms a tall columnar structure, having somewhat the appearance of a candela- brum. It is in two separate portions, joined together in the centre of the pillar ; the lower half consists of a flattened spherical body, carried on an elaborate octagonal stem, in two heights or divisions ; the upper half or cover of the globe or sphere is pierced with a great number of circular holes, evidently intended for the insertion of flower stalks. The upper portion is similar to the pillar of a candlestick, of the same size and general design as No. 1,203 and the “ F ountaine ” candlestick, next to be described, differing as usual from both in minor decorative details, but scarcely more so than one of those pieces does from the other. The inlaid ornamentation of the lower part of this piece is less rich and elaborate than that of the upper portion. Entire height, 17f in.* (Sir Anthony de Kothschild, Bart. No. 1,208. Candlestick. This magnificent piece has a veiy close resemblance to the “ Bothschild ” candlestick (No. 1,203), and except that the scale of colour of the in- laid ornamentation is somewhat different', — the red inlay predominating in the present piece, whilst in the former the dark brown prevails, — and that this specimen is in every respect of rather larger dimensions, the two might at first glance pass for a pair ; it is most likely, indeed, that they were made almost at the same period. In quality of execu- tion and general technique, the two pieces are equal, both being of the most higldy finished and perfect method of the artist. The general aspect of the “ Fountaine ” candlestick is the more lightsome and brilliant, and it is somewhat more effective from its greater size ; whilst on the other hand, the modelling of the relievo ornaments in the “Bothschild” piece is rather sharper and more highly finished, perhaps in appearance only, the glaze on the “ Fountaine ” candle- stick being thicker, and having in consequence filled up the cavities of the relievi in a rather greater degree ; it would, however, be difficult to decide on the whole which is the finer specimen. There is a gneat diversity betwixt the two pieces in respect to the inlaid ornamenta- * There can indeed be little doubt that this specimen is composed of two separate piece, s ; the lower one (the “ bouquetiere ”) being complete, with the exception only of the crowning knob, whilst the other portion is the upper part of a candlestick the foot and nozzle of which have perished. The possessor, it should be stated, has long been aware of this fact. Section 7.-““ Henri Deux ” Ware. 103 tion, though the general character of both this and the architectural forms and modelled ornaments, is quite the same in both. The three amorini, which flank the second stage of the piece, hold shields as before, on two of which are the ciphers of Henri Deux, and on the third the arms of France, three fleurs-de-lys, on a shield surmounted by a crown. On the raised umbilicus or centre of the foot, rendered visible by oval openings, cut in the lov/est stage of the stem, is moreover a large shield of arms, sur- rounded by the cordon of the Order of St. Michel, apparently ensigned by a ducal coronet, the charge is a cross betwixt sixteen eagles, the arms of the celebrated constable Anne de Montmorenci, for whom the piece was doubtless made. An additional evidence of this ownership is seen in the fact, that the knotted diaper on the lov'est ridge of the stem, contains the letter A, repeated in the middle of each of the spaces of the pattern. Height, 12| in. Andrew Fountaine, Esq. No. 1,209. “ Biberon ” or water-pot. This most beautiful piece is certainly one of the finest extant. Its general shape is oviform or pear shaped ; the spherical or widest portion being uppermost. More correctly speaking, the body is divided into two portions, the lower and smaller one, sup- ported on a moulded foot, being in shape like a small cam- paniform vase or bell, crowned v/ith an elegant group of mouldings ; on this rests the larger half of the body, which forms a somewhat flattened sphere, round the centre of which is a projecting torus or twisted cable moulding ; a short moulded neck surmounts thi.s, and the mouth is closed in with a flat cover, forming two semicircular valves, hinged on a central transverse bar or pin. A short tubular spout, richly moulded, projects at an obtuse angle from the upper portion, underneath, or at the base of which, is a mask in relief surrounded with strap work or cartouche ornament. A circular bucket or suspension handle, in three divisions, of most elegant design, spans the piece. The inlaid ornamenta- tion, with which the surface of the vase is entirely covered, consists of the richest interlaced band or scroll work, rosettes, strings of guilloche ornament, &c., in the same brilliant reddish colour as that of the candlestick ; a curved band or fascia, on the neck or margin of the piece, has a I'ow of ciphers, being the letters A M, elegantly arranged as a deco- rative monogram. Although there are no armorial bearings, tliere can be little doubt that the monogram is that of the Constable Anne de Montmorency. Extreme heiglit to top of handle, 9^ in. ; diameter at widest part, 5 in. Andrew Fountain e, Esq. 104 Section 7.—“ Henri Deux ” Ware. No. 1,210. Mortar or large salt-cellar, tei'med by M. De- laiige a Mortier a cire.” This piece is entirely different to any of the others, being a unique model. It consists of a cir- cular cup or tazza, supported on a wide cybndricalstem or foot, and flanked by four large square pilasters, attached to the body of the piece at the margin and base only. Two large masks, with scroll or cartouche work, project on two sides, forming handles, and four cherub, heads are afSxed near the margin of the piece, midway betwixt the pilasters. The under side of the cup is ornamented by oblique gadroon work, and a bold frieze of running scroll ornament surrounds the bowl. The usual inlaid arabesques and decorated mouldings encircle the foot. The large square piers or pilasters, which have regular architectonic plinths, bases, and capitals, and are deco- rated with sunk panelling, of a well-known Renaissance type are glazed over with marbled or mottled enamels, of green, blue, and manganese brown tints, somewhat in the manner of the Bernard Palissy ware. Extreme height, 8 in. ; diameter, 5| in. Andrew Fountaine, Esq. The tliree previous pieces have been in the Narford col- lection probably for upwards of a hundred and twenty years, Ijaving been collected, doubtless in France, by the celebrated Sir Andrew Fountaine. When they came into the possession of the present owner, they were found, veiy carefully wrapped up in a blanket, placed within a wicker clothes basket, under a bed in a garret at Narford Hall, doubtless so disposed by the provident care of some housekeeper, who probably retained a traditional impression, tliat they were of greater value than the great mass of the treasures of medi- jeval art in enamels, majolica, Palissy ware, &c., composing that very remarkable collection. A wood engraving of this piece will be found in Marryat’s Pottery, p. 110. No. 1,211. Globular “ biberon ” or water-pot, with bucket handle and spout. Underneath the projecting spout is a relievo figure of a draped angel, holding out a label scroll, and at the junction of the semicircular handle with the pot, on each side, a shield bearing a device of a heart pierced by two arrows. The inlaid ornamentation, in dark brown, consists of concentric zones of varied patterns, amongst which, two belts or friezes are particularly conspicuous, as containing motives found only in this specimen. These consist (in the upper belt) of figures of tritons and mermaids with shields, clubs, and darts or arrows, fighting together ; these figures, repeated in series, are produced by stamps or dies, like all the rest of the ornaments ; the lower band is ornamented with cherubs’ heads and festoons, and both are on a somewhat bolder scale of design than usual. This Section 7. — “ Henki Deux ” Ware. 105 specimen is probably one of the eailiest works of the master ; it is of the same style and period as the “ Dnrlacher ” tazza, No. 1,223, the gourde de chasse, belonging to the Due d’Uzes, and the similar biberon in the Sauvageot (Louvre) collec- tion. All these specimens are referred by M. Delange to his first class or period of the Henri Deux ware. Extreme height to smnmit of handle, 11 1 in. ; diameter, 8 in. The Baron Lionel de Kothschild, M.P. No. 1,212. Triangular salt-cellar. This is one of the richest and most beautifid of the salt-cellars now extant. It forms a triangular pedestal, on the summit of v."hich is placed a low circular vase or receptacle for the salt ; each angle is flanked by a terminal figure in relief, and another on a larger scale, in full relief, is placed in the centre of each side, which is also filled in with a sunk panel, forming an arcade, containing mullions and tracery in the manner of a window ; many other details, especially brackets or con- soles, in full relief, conduce to the rich and intricate general effect of the piece. The surface is also in every part elabo- rately inlaid with minute arabesque ornaments, in the dark brown tint. Various parts are glazed or picked out with blue, purple, and yellow transparent enamels. Height, 6|- in. Baron Lionel de Kothschild, M.P. No. 1,213. Tazza, without cover. A shallow hemisphe- rical bowl, surmounted by a low neck or margin, is sup- ported on a rather massive stem, richly adorned with masks and mouldings in relief, and flanked by three large detached scrolls or consoles, also enriched with masks, pecten shells, &c. The exterior is entirely covered with inlaid orna- ments of the richest and most elaborate character, in the red tint. The inside of the bowl is also inlaid with a beautiful composition of interlaced strapwork, the inter- spaces of which are filled in with delicate arabesques, terminal figures, dolphins, festoons, and branches of foliage. A small medallion in the centre of the composition contains the usual device of the three interlaced crescents of Henri Deux. A most beautiful and tasteful specimen of the best period and technique of the ware. Height, 4 in. ; width, 5 J in. The Duke of Hamilton. No. 1,214. Hexagonal salt-cellar. The salt-cellars of this type are the most numerous of the vaiious jiieces of the ware now extant ; in all six or seven specimens are knoAvn. They appear to have been nearly all produced at about the same time (supposed to be the middle or best period of the artist), but although they have all a strong generic resemblance, there are no duplicates, all differing widely in details. A description of the present piece will give an idea of the 106 Section 7. — “ Henri Deux ” Ware. main features of all. It forms, a raised pedestal, flanked by a small attached three-quarter column at each angle of the hexagon ; in each of the intervening panels is an oblong opening, surrounded by a wide moulded architrave or border, through this opening the hollow interior of the piece is visible, and in the centre, within, is seen, a group, “ in the round,” of three amorini, sitting back to back, with their ai'ins interlaced. The flat band or border, round the side panels, is inlaid with an intricate arabesque pattern, whilst the hollow bowl or cavity for the salt, at the top, is also lichly inlaid with concentric zones of ornament suiTounding a central medaJlion of minute arabesques. The base is surrounded by mouldings, and rests on six small cylindrical pedestal feet, betwixt which, applique in the centre of each panel, and on the band of mouldings a.re bold grotesque masks in relief Height, 4 in. ; width, in. The Duke of Hamilton, No. 1,215. Similar salt-cella.r, rather smaller in size, but of equally tasteful design and delicate execution. The masks in the lower portion are replaced by small classical busts and hanging festoons, whilst the tops of the pedestal feet are surmounted by Lions’ heads ; the bowl at the summit is inlaid with an elegant circular wreath of enamelled green leaves and purple berries, enclosing the interlaced crescents of Henri Deux. From the Soltikoff collection. Height, 3| in. ; diameter, 3^ in. Robert Napier, Esq. No. 1,216. Salt-cellar. This piece is of rather larger size than the two preceding specimens, the octagonal pedes- tal being surmounted by another stage, circular in plan, formed by a group of decorated mouldings, enriched in addition by console masks and pecten shells in relief The most remarkable feature of this specimen is, that the circu- lar bowl is filled in with a large inlaid figure of a sala- mander in flames, very spiritedly drawn ; this device, the well-known cognizance of Francois I., occurs only in this specimen, and forms the only evidence we have of the fabrication of this ware in the reign of Fran 9 ois premier. Height, 5 } in. ; diameter, 3^ in. George Field, Esq. No. 1,21 7. Triangular salt-cellar. This very elegant piece is similar in general style to the salt (No. 1,212), though of smaller dimensions and very different in details. Each angle is flanked by a pilaster with a terminal figure, and each of the three sides is filled in with a circular arch or arcade of regular architectural design, with entablature, architrave, &c., carried on two delicate detached fluted columns. The interior of the arch is filled in with a Gothic window or tracery ])anel, of four lights ; at each angle, near the summit is a boldly projecting rani’s head. The oval bowl, surrounded Section 7.—“ Henri Deux " Ware. 107 by raised mouldings, contains, within, an enamelled wreath, the tisual interlaced crescents of Henri Deux ; and the trian- gular corners outside, are filled in with an interlaced diaper with the initial H repeated in each of the spaces. Height, 5| in. ; width, 3^ in. S. Addington, Esq. No. 1,218. Circular salver or plateau. This is the only piece of its kind of the Henri Deux ware, now extant, and is, in other respects, one of the most interesting specimens ; it was evidently the plateau or stand for an ewer, whicli has perished, or for an oval cup or “ drageoir,” such as the one next to be described. In the centre is a raised umbilicus of long oval shape, surrounded by a margin of cartouche work, leaves and fruit and cherubs" heads in relief ; from this centre proceeds a radiating glory of waved or flaming rays, also in relief, and enamelled blue ; in the centre of the umbilicus is a coat of arms bearing 1st and 4th a cinque foil, 2nd and 3rd barry of six. The rest of the ornamentation, with the exception of three cherubs’ heads in high relief, affixed near the outer margin, consists of zones of inlaid ornamentation of the dark brown tint ; a series of hollow flutes or depressions radiating obliquely, fill the hollow or “ cavetto ” of the salver. At the back of this specimen may be seen the only mark or monogram on any of the pieces, which can with any probability, be ascribed to the author of the ware. It has been lightly scratched in the wet clay under the vitreous glaze, and of course whilst the clay was in a moist state ; it is therefore indubitably a mark or s3''mbol of some kind or other. Unfortunately it is by no means easy to determine the meaning of the mark ; it is, indeed, not easy to say whether the monogram is intended as a cipher or compo- sition of two or three letters, or a merely arbi- trary symbol, perhaps only the latter. This plateau was purchased in 1857, at the sale, in Paris, of the collection of M. Espoulart of Mans, for 140^. ; it is now worth a much greater sum. Diameter, 14| in. South Kensington Museum. No. 1,219. “Drageoir” (small oval cup or tazza with cover). This beautiful piece, in the most perfect state of conservation, is the only one of its type remaining to us, with its cover complete. The body and cover, whicli are nearly similar in shape, form, when together, a flattened oval •spheroid, the two halves separated by a flat band of minute inlaid arabesques in the centre. The foot or stem is dome- shaped and enriched with two projecting scrolls, with masks in relief ; the underside of the body and the outside of the ]08 Section 7. — “Henri Deux” Ware. cover are richly encrusted with the usual interlaced orna- ments, over which are appliqud a series of flat raised ribs, radiating from the centre to the circumference, each con- taining an open cusped panel ; these ribs are enamelled green. On the cover are various masks, &c. in relief, and two small figures of frogs enamelled green, and the summit is crowned by a figure of a lion couchant, on a pedestal, the lion being in buff- coloured or red clay. Both the lid and bowl of this piece are ornamented with encrusted work in the interior, the bowl with an elegant cartouche enclosing the three fleurs-de-lys of France, and the cover with a beau- tiful female profile bust, with an elegant head-dress. This latter design, whicli fills the entire space, was evidently incised by hand, and is drawn in a masterly manner. It is worthy of notice that this and the cover of a tazza in the posses- sion of M. Benjamin Delessert, are the only two pieces on which figure subjects occur in the inlaid process. From the Soltikoff collection. Length, 6 j in. ; width, 3| in. ; extreme height, 6|- in. John Webb, Esq. No. 1,220. Fragment, the lower part of a large ewer or aiguibre. This is the lower half of the oviform body of an ewer, similar in style and period to the Rothschild pieces. It is decorated with the usual interlaced ornaments, and surrounded, in the centre, by four applied masks in relief, from which hang festoons of bunches of fruit strung on a cord. Diam. 5f in. ; height, 4-^ in. Probable height of the piece, if complete, about 13 in. Henry T. Hope, Esq. No. 1,221. Small ewer or aiguiere. Oviform in shape, and very similar in general style and design to the more important Rothschild ewers ; this piece is, however, of less complex design and less perfect execution. The various interlaced ornaments are identical in pattern with those found on so many other pieces of the ware. The present specimen, however, is distinguished in addition by several small applique figures of animals (lizards, a syi’en, &c.), in relief, of a character somewhat different to the ornaments of the earlier specimens. The handle is a restoration. Height, 6 in. Henry T. Hope, Esq. No. 1,222. Small ewer. Though somev/hat larger and more elaborate than the previous piece, this specimen is of similar type, and was doubtless made at or about the same time. The small appliqud figures of animals (lizards, tortoises, snakes, frogs, &c.), enamelled in colours, have a strong resemblance to the similar motives of Bernard Palissy’s ware, and it is difficult Section 7. — “ Henri Deux ” Ware. 109 to resist the belief, that the author of this and the preceding piece was acquainted with the productions of that artist.* The serpent handle of this piece is also a modern restora- tion. Height, 9 in. Martin T. Smith, Esq, M.P. No. 1,223. Tazza, without cover. Of unusually simple and severe, yet most elegant form ; this piece is also less florid in its surface ornamentation than most of the other specimens ; it doubtless should be referred to the earliest period of the labours of the artist. Its form is that of the usual flattened hemispherical bowl, mounted on a cylindrical stem. This piece, which is very thin and light, has no relief ornaments, the decoration consisting of beautifully contrasted zones of inlaid ornament of the usual patterns, in the dark brown inlay. The centre of the bowl has an elegant wreath encircling a patera or rosette. It was recently obtained by M. Delange from a collection at Blois, in Touraine. In the collection of the Due d’Uz^s is the detached cover of a precisely similar cup ; possibly it may be the one which actually belonged to the present specimen. (See engraving in M. Delange’s work.) Height, 4