[ Privately Printed. CATALOGUE OF THE garious Bljorks of ggrt FORMING THE COLLECTION OF MATTHEW UZIELLI, Esck OF HANOVER LODGE, REGENT'S PARK, LONDON. By J. C. ROBINSON, F.S.A. MEMBER OF THE ACADEMY OF FINE ARTS OF FLORENCE , SUPERINTENDENT OF THE ART COLLECTIONS OF THE SOUTH KENSINGTON MUSEUM. LONDON: L' HINTED BY JOSEPH CLAYTON, 17, BOUVERIE STREET, FLEET STREET i860. PREFACE. HE numerous additions made to the Collection, whilft this Catalogue has been in courfe of preparation, have rendered it impoffible to arrange the work as fyftematically as could be wiflied: the feveral fections confequently follow each other without any particular method of clarification.* In gathering together the very varied objects herein defcribed, the owner has been guided by a general tafte for art, the indul- gence of which appeared to him preferable to the confining his acquifitions within ftri&ly-defined limits. This plan, befides affording the wideft and mod fruitful field for his refearches, feemed alfo likely, in its refults, to be more agreeable to friends and vifitors, for whofe enjoyment, not lefs than for the owner's own pleafurable occupation, this Collection has been formed. * Owing to this caufe, and to other unavoidable circumltances, the engravings of gems are not arranged' in numerical fequence on the plates, neither has it been noflible to make adequate reference to them in the text. CONTENTS. Section L Page. E NET IAN and German Glafs Wares. Nos. i to 64 (a) . 1 11. Antique Greek and Roman Glal's Wares. Nos. 63 to 97 . 18 III. Majolica Wares. Nos. 120 to 149 . . . . 28 IV. Perfian Enamelled Pottery. Nos. 150 and 151..... 44 V. Palifly Ware and German Enamelled Stoneware. Nos. 152 and 153. . 46 VI. Enamels (on Metal). Nos. 180 to 239 49 VII. Antique and other Engraved Gems. Nos. 250 to 813 (a) . . k 69 VIII. Portrait Medallions. 350 (b) to 370 (b) . . . ..... 189 IX. Antique Jewellery. Nos. 400 to 425 . . 197 X. Medieval and Cinque-cento Jewellery. Nos. 460 to 476 . . . 205 v^lti xi. Antique Greek Painted Vafes. Nos. 530 to 559 .... 212 vi CONTENTS. Section XII. Page. Art Bronzes. Nos. 600 to 618 . . . ... 226 XIII. Mifcellaneous Objects in Precious Materials — Goldfmiths' Work and Decorative Metal Works in general. Nos. 651 to 693. . . . 234 XIV. Mifcellaneous Objects — Sculptures in Wood, Ivory, Stone, and other Materials. Nos. 70010712 248 XV. Porcelain Wares. Nos. 740 to 760 253 XVI. Pictures and Drawings by Ancient Mafters. Nos. 801 to 822 . . . . 260 XVII. Pictures by Modern Artifts. Nos. 851 to 890 268 XVI11. Miniatures. Nos. 950 to 1008 279 XIX. Water-Colour Drawings by Modern Mafters. Nos. 1001 (a) to 1023 . 297 XX. Illuminated Manufcripts. Nos. 1024 and 1025 . 303 XXI. Modern Sculpture. No. 1026 304 I. VENETIAN AND GERMAN GLASS WARES, N the Middle Ages and down to the feven- teenth or eighteenth century even, Venice was the great centre of the Glafs Manu- facture — -the workshops of the neighbouring ifland or fuburb of Murano fupplying all Europe; and, notwithstanding the extreme fragility of the material, a great number of pieces of this manufacture have been handed down intact to the prefent time. Thefe are generally of the more elaborate or coftly kind, greater care having naturally been always taken of the more important than of the lefs valuable fpecimens. From the intrinfic beauty of the Venetian Glafs Wares, the extreme variety in delign, and the diverfity of technical procelfes difplayed in them, they have become favourite objects of refearch to modern ConnoiiTeurs, and remarkable fpecimens, in confe- quence, frequently command high prices. Venetian Glafs is generally of extreme thinnefs, being nearly always blown, and very rarely cut on the wheel. Apparently, there are few pieces extant of an earlier date than the latter years of the fifteenth century : the art, however, was in full exercife in Venice long before that time. Gilding and decoration in enamel colours are very frequent B 2 I. — VENETIAN AND GERMAN in the early quattro-cento pieces. The laticinio, or filagree varieties, Vitro de trina, EsV., to all appearance, were the product of the fixteenth century, and the majority of the fpecimens in Collections probably belong to the fecond half of that century ; it is, however, very difficult to determine the exact age of Venetian Glafs Wares, pofitive data being very feldom obtainable. The following are the principal varieties : — Firft. " Laticinio" or filagree glafs, of which there is a great diverfity of patterns, is characterized by coloured threads (generally opaque milk white, hence the word " laticinio"), included in the mafs of tranfparent glafs, which, by various methods of manipulation, are twitted or woven into regular fpiral or reticulated patterns, producing in fome fpecimens, a kind of network of delicate lines fpread over the piece (" Vitro de trina" or lacework glafs). This latter term, however, is generally applied to fpecimens in which the white threads are crofled at an angle, forming lozenge- fhaped compartments, each of which fometimes contains a fmall air-bubble. " Millefiore" glafs difplays an infinity of eccentric patterns — ftars, circles, &c. — produced by mingling fmall cylindrical pieces of various coloured filagree glafs, cut from thin rods, with the melted mafs from which the veflels are blown. " Scbmelze, and " Schmelze-Avanturine" The former of thefe varieties is a femi-opaque glafs of a rich variegated brown, green, or bluifh colour, which, when feen by tranfmitted light, takes a deep blood-red tint. Patches or globules of gold, fome- times feen on the furface of this kind of glafs, conftitute the ' 1 Schmehe-Avanturine" The Avanturine is obtained by mingling metallic filings or levigated leaf gold with the melted glafs, in the mafs of which it is feen fufpended in the fhape of brilliant particles. Frofted or crackle glafs is another characteriftic variety. In Germany, in the fixteenth and feventeenth centuries, enamel GLASS WARES. 3 painting on glafs wares was much pra&ifed. The large cylindrical drinking velTels are the moft chara&eriftic pieces : they are deco- rated with a great variety of defigns, armorial bearings and infcriptions. Cutting and engraving were firft prominently pra&ifed in Germany (Bohemia), not much earlier than the latter part of the feventeenth century, coincident with the increafed purity and beauty of the material, which had gradually been made to rival the brilliancy of cryftal, and naturally fuggefted facet cutting for its moft effe&ual difplay. B 2 CATALOGUE. I. — VENETIAN AND GERMAN GLASS WARES. No. i. HALICE-SHAPED GOBLET, the ftem in blue glafs, ribbed or fluted, the lower part of the bowl enriched with waved flames or pointed rays, alternately in blue enamel and gold; the margin, £sff., furrounded by gilt zones, picked out with pearls or jewels, in white, red, and blue enamels. This piece was probably intended as a wedding gift. Date— circa 1 500. Height, y\ in. (Rouffel Collection.) No. 2. IMILAR CHALICE -SHAPED ENAMELLED GOBLET, blue ribbed ftem, the bowl enriched with diamond-fhaped compartments, formed by raifed canes, which are filled in with rofettes in green, red, white, blue and yellow enamels ; the margin furrounded by a wreath of green foliage, broken by four rofettes ; the lip gilded and ftudded with raifed pearls in enamel. Height, 6^ in. Date — end of the fifteenth century. GLASS WARES. 5 No. 3. ^^pWER OF GLOBOSE FORM, the lip compreffed to c£ |p^|J form the fpout ; plain recurved handle, the body of the ^ piece painted with an enamelled fliield of Arms within a wreath, decorated with gilding and jewel- work, ribbons, &c. ; at the fides are painted four winged cherubs in enamel. The neck of the piece is furrounded with a zone of imbricated ornament in gold, enriched with enamelled jewels. Quattro-cento period. Height, 8 in. Nos. 4 and 5. , JAIR OF TAZZE, nearly identical in defign. The under fides enriched with raifed oblique, radiating gadroons, the outer margins furrounded by deep bands of gilded fcale work and pearls in enamel, and in the centre of each is a fliield bearing the Arms of Pope Leo X., furmounted by the papal tiara and crofs keys. Circa 15 10. Diam., 9 \ in. ; height, 3 in. No. 6. ARGE FLASK, OR PILGRIM'S BOTTLE, enriched ^ on each fide with an enamelled fliield of Arms, fur- 5? mounted by a prelate's or cardinal's hat, within a wreath of gilded foliage, Eff c. ; the neck and margin of the piece fur- rounded by fimilar wide gilded wreaths. The Arms are thofe of the Pucci family. Circa 1530. Height, 14^ in. No. 7. WER OR "BURETTE," the body globular; tall, ftraight neck, the lip furrounded with a raifed creft or crown of projecting Vandyked points ; elegant curved 6 I.— VENETIAN AND GERMAN handle, and long fpout. This beautiful piece is entirely covered with vertical columns of laticinio work, alternately of plain white and interlaced filagree ftripes. Its fhape refembles that of the " burettes " in metal, fo much ufed in the fourteenth and fif- teenth centuries. Height, n in. Date — probably firft half of the fixteenth century. No. 8. VIFORM EWER, with comprefled trefoil lip and raifed handle, the lower extremity of the latter terminating in a moulded mafk. The piece is entirely covered with vertical columns of laticinio work of an open reticulated pattern. The columns or canes are in juxta-pofition ; fo that the entire furface is filled in. The fhape, derived from the Antique, is very elegant, and is identical with that of the Venetian engraved brafs rofe-water ewers, of circa 1540. Entire height, 10 in. Nos. 9, 10, and 1 1. HREE FUNNEL-SHAPED GLASSES, OR GOBLETS on tall flems, varioufly ornamented with bulbs, balls, bofles, &c. Thefe pieces are grotefques, perhaps intended to hold flowers, but more likely merely " tours de force " of glafs-blowing ; they illuflrate the inexhauftible fancy of the Venetian artifts in glafs, and their great manual fkill. Heights, refpe&ively, 10 in., io\ in., and 11 in. Seventeenth century. No. 12. ALL GOBLET, OR "HANAP," with cover, in plain blown glafs of black or fmoky tint. The bowl funnel- fliaped. Tall balufter ftem. The fimple elegance of GLASS WARES. f this piece is very noteworthy, all the forms being well contrafted and of great purity. Seventeenth century. Height, 1 5 in. No. 13. UNNEL- SHAPED GLASS, on tall, elaborately wrought ftem ; pale, fmoke-tinted glafs. The lower part of the bowl ornamented with raifed ribs and fmall knobs or boffes. The ftem is enriched with a rofette or ftar, contained within an open ring formed by a fpiral cane, the outer margin fringed with radiating points. Seventeenth century. Height, 13J in. No. 14. ARGE WINE-GLASS OR GOBLET on tall ftem, the bowl plain. The ftem forming a heart-fliaped com- partment of involuted cord, the outer margin of which is enriched with wing-mounts. The cord of the ftem enclofes threads or filets of red, blue, and yellow glafs. Seventeenth century. Height, 11^ in. No. 15. ARGE WINE-GLASS, of very fimilar defign— the corded ftem enclofmg red and white filets ; the wing- mounts in blue glafs. Seventeenth century. Height, 10J in. No. 16. EEP FUNNEL-SHAPED GOBLET, OR WINE- GLASS, on low ftem. The bowl enriched with oblique fpiral lines of laticinio. The ftem or knob moulded with lion's head, malks, and garlands of pendent pearls 8 I. — VENETIAN AND GERMAN in relief. The colour of the glafs, black or " enfume." Six- teenth century. Height, 1 1 1 in. No. 17. ^^p INE-GLASS of fimilar form — the bowl furrounded with l^fe fpiral bands of laticlnio. The knob in the ftem, enamel gilded. Sixteenth century. Height, 9 in. No. 18. CYLINDRICAL BEAKER, enriched with vertical co- lumns of laticinio, alternately plain and filled in with HIS filagree work. In the centre of the glafs are attached four grotefque maiks in relief, heightened with gold, and four fmaller projecting bolles, each with a fmall bead of turquoife glafs in the centre. Sixteenth century. Height, y\ in. No. 19. ^^p^^OBLET in u Vitro de trina "—the bowl fluted or hexa- ffflk^^ foil ihaped, the under part formed by four fuperpofed Scfe^i flattened bulbs. A circular 4)ofs or knob on the ftem. The " laticinio" filets form lozenge-fliaped compartments, and the oval air-bubbles lie under the points of interferon of the threads. An exquifite fpecimen of Vitro de trina, of great tech- nical intereft. Height, 7! in. No. 20. UP, OR GOBLET— the bowl of an elegant calyx or H6 bell fhape — Vitro de trina, of the fame pattern as the previous piece. Sixteenth or feventeenth century. Height, 5-f in. ; diam., 5§ in. GLASS WARES. 9 No. 2 1. IDE FUNNEL-SHAPED GLASS, on tall balufter item, which is decorated with delicate, lateral, winged, or " cock's-comb " mounts, in blue and white glafs. Seventeenth century. Height, 7 in. No. 22. |Mf UNNEL-SHAPED WINE-GLASS— the lower part cSj?M expanding into a fpherical bulb, with handles attached to the bowl. Low moulded ftem in blue glafs. Seventeenth century. Height, 6^ in. No. 23. FUNNEL-SHAPED WINE-GLASS— the ftem open-work, formed by a twifted cord of colourlefs glafs, with an involuted wing-fcroll ornament, in blue glafs, attached to it at right angles. A fpecimen of elegant and unufual defign. Sixteenth or feventeenth century. No. 24. |ff INE-GLASS, on balufter-fhaped and fpiral moulded ftem, with lateral "cock's-comb" mounts in plain glafs. The bowl beautifully moulded or involuted near the lip. Six- teenth or feventeenth century. Height, 7 in. No. 25. OBLET, OR TAZZA, on moulded balufter ftem— the bowl plain, the ftem enriched with lion's-head mafks in relief, cartouches, gadroon ornaments, £sf c. ; the glafs black or fmoke-tinted. Sixteenth century. Height, 6 in. ; width of bowl, 6 in. IO I. — VENETIAN AND GERMAN No. 26. ;JEXAFOIL, OR FLUTED GOBLET— the bowl fur- rounded in the lower part with a horizontal band of laticinio work ; moulded and gilded balufter item, enriched with griffins' heads and firings of pendent pearls ; fmoke-tinted glafs. Sixteenth century. Height, 4^ in. ; width acrofs bowl, 4^ in. No. 27. MALL BELL-SHAPED GLASS on low ftem, with 'M blue handles or wing-mounts affixed to the bowl. Six- teenth or feventeenth century. Height, 5 in. No. 28. JSp ELL-SHAPED GOBLET, on ribbed, bulbed, or balufter MlslaJ ftem, the bowl of dark purple, and the foot in white or colourlefs glafs. Sixteenth century. Height, 6 in. No. 29. fVAL RIBBED GOBLET, OR WINE GLASS, on tall twifted ftem. Yellowifh enfume glafs. A fpecimen of elegant and unufual defign. Sixteenth or feventeenth century. Height, 6\ in. No. 30. [IHaZZA, the bowl ribbed, and refembling in fliape the ex- panded calyx of a flower; plain balufter-fhaped ftem. Fifteenth century. Height, $\ in. ; diam., 5I in. GLASS WARES. No. 31. .OTTLE, OR FLOWER VASE, the lower part form- ing a flattened or deprefled bulb, the neck or bowl above, ribbed and bell-fhaped. The material of this glafs, of great rarity, refembles the Schmelze-Avanturine. The ground, however, is a rich opaque yellow glafs, mottled or marbled with deep crimfon brown, plentifully interfperfed with gold Avanturine. The intention has been to imitate tortoife-fliell. Seventeenth or eighteenth century. Height, 5§ in. No. 32. ^jASE, OR BOTTLE, in dark blue glafs, the lower part of the elongated bulbous body diamond or bulb- moulded ; the neck expands again into a funnel fhape, the lip cut and Vandyked ; the recurved handles are affixed near the neck in white glafs ; the foot alfo is in white or colourlefs tranfparent glafs. A rare and remarkable piece. Height, 8^ in. No. 33. |||pUNNEL-SHAPED WINE-GLASS, on beaded and iSlij fpiral-ribbed balufter ftem, with tranfverfe wing mounts in white and blue glafs. Seventeenth century. Height, 7§ in. No. 34. ELL-SHAPED GOBLET, on raifed balufter ftem, the lower part of the bowl furrounded by a tranfverfe raifed filet, and by raifed gadroons and projecting points, or knobs. The ftem enriched with lion's-head malks, firings of pendent pearls, &c. Sixteenth century. Height, 7 in. 12 I. — VENETIAN AND GERMAN No. 35. |c^^$VIALL BOTTLE, the body forming a flattened bulb, 1^5$ with a raifed tranfverfe bead or moulding furrounding it. The body is in frofted or crackled glafs. Slender neck in plain glafs, compreffed lip, and two tranfverfe handles. Sixteenth century. Height, 4 in. ; width, 4 in. No. 36. f AZZA GOBLET on low ftem, the bowl richly orna- mented with radiating or vertical canes of laticinio, dif- pofed in a waved or undulating manner by alternate broad white flripes and interlaced filagree work. A rare and beautiful fpecimen, both as refpe&s defign and manipulative fkill. Sixteenth or feventeenth century. Height, 4 in. ; width, 7 in. No. 37. fijS OTTLE with cup-fhaped cover and winged handles — Vitro de trina. Seventeenth century. Height, 5§ in. No. 38. I OTTLE of the fame fhape, ornamented with vertical columns of minute filagree laticinio work. Seventeenth century. Height, 6| in. No. 39. OTzass OTTLE OF SIMILAR DESIGN. The centre of the bulb of the bottle and the cover are each furrounded with a band of interlaced work in blue glafs, in relief, GLASS WARES. J 3 betwixt raifed beaded filets ; wing handles, in blue and white glafs, and etched floral ornaments in the u jlacon" part. Height, S% % No. 40. lOTTLE OR FLOWER-HOLDER, the neck bent obliquely ; margin edged with blue glafs ; lateral wing handles in blue. Seventeenth century. Height, 6^ in. No, 4ie EMON, with two leaves and a flower attached, in Venetian glafs of the natural colours. Seventeenth or eighteenth century. Entire length, 6 in. Nos. 42, 43, and 44. ilpHREE ORNAMENTAL BALLS, OR GLOBES, of fc© Schmelze-Avanturine glafs, on raifed Hems of the fame. Probably eighteenth century work. Height of each, 9 in. ; diam., in. No. 45. :CE CUP AND STAND, in opaque black glafs, richly fes&j 1 mottled with gold Avanturine. Eighteenth century. Height, 3§ in. No. 46. - 8 LOBULAR BOTTLE, with tall, twilled neck, enriched #S9t with raifed filets, vertical and tranfverfe, in blue glafs. Sixteenth or feventeenth century. Height, 8*- in. I. — VENETIAN AND GERMAN No. 47. |||||OBLET, OR WINE-GLASS, in " Vitro de trina ;" WlSSl the ftem mended in gilt bronze at an ancient period. Sixteenth century. Height, 7§ in. No. 48. AZZA on balufter ftem, the centre of the bowl enriched with laticinio work, and with two tranfverfe bands of the 0 fame, midway betwixt the centre and the margin. The ftem has minute vertical filets of laticinio. Sixteenth century. Height, 5 in. ; diam. of bowl, 6 in* No. 49. AZZA on low ftem, the margin of the bowl turned over fo as to caufe it to affume a quadrangular shape Columns of open fpiral laticinio work radiating from centre to margin of the bowl. Height, 5 in. No. 50. ||||mall diamond-moulded jug, or wMk " CRUCHE" in blue glafs. Seventeenth or eighteenth century. Height, 4 in. No. 51. 5i in - • |6i -Vita* - "Lmm ^^m^m v^®>^Mm qUARE FLASK, OR JAR. Incifed Majolica ware. " Majolica SgraffiatoT Circa 1500. Richly deco- rated with fcroll foliage, animals, Armorial bearings, Ssfr., and with fcrolls bearing the motto, u Procul ejie profaniT The locality of manufacture of this chara&eriflic variety of pottery is unknown, and the technical procelfes of fabrication are entirely different to thofe of the ordinary Majolica wares. The ground or body of the ware is of red or brown clay ; whilfl ftill unfired, a thin coating of white clay is fpread over the furface, and the defign is then fcratched or engraved, with a fleel inflrument, through this fuperficial layer, down to the brown clay beneath. The piece is then fired, and a tranfparent vitreous glaze, which revives or deepens the colour of the clays, is afterwards added, HI._MAJOLICA WARES. 39 and fufed by pafling the piece a fecond time through the furnace, tranfparent coloured enamels being floated into the glaze at this operation. Height, 8 in. ; width, 4 in. No. 139. ARGE CIRCULAR PLATEAU. Deruta ware. Circa 1500-20. Diam., 15^ in. This very original piece is decorated with a fubjecl: of the Annunciation, within an interior of Italian quattro-cento architecture. This is again enclofed within an architectonic framework, combined with beautiful fcroll ornament, covering the reft of the furface. The colour {hows a predominance of rich tranfparent orange, relieved by deep blue. The flat furface tints, or grounds, are alternately white, blue, and orange — the white being made to tell with increafed brilliancy by being "pique" or diapered with ftars and points in white enamel. Reverfe, yellow enamel. No. 140. ARGE PLATEAU. Faenza, or Deruta ware. Circa 1490. Diam., 14J in. In the centre, a buft portrait of a warrior in armour. Border painted in compartments divided by radiating lines, the compartments filled in with peacocks'-feather pattern, and fcroll foliage, on rich orange ground. Diftinguifhed by extreme depth and brilliancy of the blue and orange pigments. Reverfe, decorated in orange and blue. A rare and remarkable early fpecimen. No. 14. 1. EEP TAZZA, OR BOWL PLATE. Faenza ware. Circa- 1500-20. Diam., 10 J in. In centre, conjoined hands on a deep blue ground, furrounded 4o III.—MAJOLICA WARES. by radiating gadroons, grounded alternately deep blue and rich golden yellow. This is in turn encircled by a band of orange. The border is grounded light blue, and pencilled with a delicate palmette pattern in white, touched with orange and green. Re- verfe decoration in blue and orange, and with a well-known manufacturer's mark, confuting of a barred circle. In depth, intenfity of colour, and perfection of glaze, this piece cannot be furpaffed. No. 142. LATEAU, with raifed medallion centre. Faenza ware. Circa 1500-20. The medallion painted with a female profile portrait, and a fcroll, infcribed " Pulifena ; " this is furrounded by zones of foliated ornament, on a vivid orange ground. The narrow margin of the plate alfo decorated with a fimilar zone. Reverfe covered with decoration in blue and orange, and, in centre, the monogram of the artift — an " M " — with a tranfverfe interfering bar, or " paraphe." This piece is a beautiful fpecimen of an early mafler, many of whofe works are extant. Diam., 12^ in. No. 143. VIFORM EWER. Majolica of Savona. Seventeenth century. Height, 10 in. ; diam. 4^ in. Pale bluifh white enamel glaze, rudely painted with flowers, &c, in blue. Underneath the foot, a manufacturer's mark, confuting of a mield of arms painted in blue. The beautiful form of this piece is worthy of the beft epoch of the Majolica, and was evidently originally defigned at an earlier period. The coloured glaze and decoration referable thofe of the contemporary fabrique of Nevers. III.— MAJOLICA WARES. 4i No. 144. EEP BOWL-SHAPED PLATE. Gubbio ware, by Maeftro Giorgio. Circa 1520-30. Decoration in relief of oblique gadroons. In the centre, the facred monogram, "I.H.S.," alfo in relief, and furrounded with rays, copioufly enriched with gold and ruby luftres. Reverfe, con- centric lines in gold luilre. Unfigned. Purchafed at La Fratta, near Gubbio, in April, 1859. No. 145. MALL CUP, OR BOWL-SHAPED PLATE. Faenza ware. Circa 15 10. The centre painted with a Handing figure of St. Sebaftian, tied to a tree. Border of exquifite arabefques, on brilliant orange ground, and with filets or firings of pearls. Exterior, decorated with scale pattern in orange and blue. This beautiful piece is one of the moft perfect fpecimens known of the mailer of the fignature il I. P." Purchafed in Florence, April, 1859. No. 146. ARGE CISTERN, with fcroll handles. Diam., 16 |© in. ; height, 9 in. Shape polygonal (of twelve fides), (landing on a plinth or pedeftal of grotefque malks in relief. The margin encircled by a boldly modelled egg- and-tongue moulding. The decoration of this rare and important piece is in blue, and a warm olive grifaille tint. The bottom of the cittern is painted with a fpirited mythological compofition of four figures, within a landfcape apparently after Giulio Romano. The fides, within, are decorated with a beautiful fret or arabefque diaper, in grifaille and white, on blue ground ; and the 42 III.— MAJOLICA WARES. exterior is alfo diapered with blue and white. The entire afpe& of the piece is very original, and unlike any fpecimen hitherto obferved. It is, probably, to be referred to the manufa&ure of Viterbo. Circa 1540. Purchafed in Florence, 1859. No. 146 (a). IRCULAR PLATEAU, with raifed medallion centre (ftand for the ewer). Diam., 16 in. Majolica of Urbino (or Pefaro?). Circa 1540-50. This beau- tiful fpecimen is of the fineft period, and technique of the Majolica manufacture. It is painted " Sopra bianco " — i.e., on a ground of white enamel, with zones of fpirited grotefques, in the ftyle of Giovanni da Udine. The umbilicus, or medallion in the centre, filled in with a compofition of St. John, the Evangelifl, writing his gospel, executed in blue canaieu, and encircled with elegant decorated mouldings. The reverfe is ornamented in the fame way, with grotefques. Purchafed in Florence, 1859. No. 147. III^MALL BOWL-SHAPED TWO-HANDLED llllp VASE, OR SALT-CELLAR. Majolica of Urbino. Circa 1560. Painted with grotefques (" Sopra bianco "). The interior grounded blue. Purchafed in Rome, in May, 1859. No. 148. ARGE SQUARE PAINTED PLAQUE,, with moulded border. Height, 1 in.; width, 15J in. 'nt^ r m Majolica of uncertain fabrique. Signed on the reverfe with a "C." or " G.," and date, 1571. Subject, the angel faluting III._MAJOLICA WARES. 43 the Virgin. In the upper part, the Almighty, in clouds, with the Holy Spirit, as a dove. Vigoroufly painted, in the manner of the Zuccaro family. Purchafed in Florence, 1859. No. 149. ARGE BOWL-SHAPED PLATE. Diam., i6| in. Subject, a combat of two knights on horfeback, in full armour, with three Turks, armed with fcymitars and bows and arrows. A remarkable fpecimen of uncertain manu- facture of circa 1500-20. IV. PERSIAN ENAMELLED POTTERY. ("FAIENCE DE PERSE:') HE fpecimens of this beautiful pottery, which ? during the lafh few years, have efpecially attracted the attention of Collectors, are all apparently found in Italy, mingled with the Majolica wares, and in the various iflands of the Mediterranean. They appear to have been imported into Italy in the fame manner as the Hifpano-Morefco wares ;* and the date of, their production, from many indica- tions, may be afcribed mainly to the fecond half of the fix- teenth century. This ware is diflinct from the Majolica, and is, in fact, more nearly allied to porcelain. There is great fimila- rity in the defigns, which are of characteriftic Oriental types, principally floral and geometrical patterns — the Perfian tulip, and a variety of pink or carnation, with long ferrated leaves, being of conftant occurrence. The enamel colours are, generally fpeaking, of moft brilliant tints, and fome, efpecially, a bright orange red, and a greenifh tranfparent turquoife colour, of great beauty, are peculiar to this ware alone. The glaze is likewife of the moil luftrous and beautiful quality. * It has been recently afTerted that Lindus, in the ifland of Rhodes, was the principal centre of manufacture of this pottery. This afTertion, however, awaits further corroboration. V 3 CATALOGUE. IV. — PERSIAN ENAMELLED WARE. No. 150. ^ARGE JUG, OR EWER, with handle. Ancient y Perfian enamelled faience. White ground, painted teflft? with conventionalized rofes or carnations, and Perfian tulips outlined in black and filled in with blue, green, and orange enamels. Height, nf in. No. 151. gg^^ARGE BOWL, of the fame ware ; painted, infide £ an d °ut, m ornamental compartments, alternately fslfe^ grounded white and dark blue, and with rofes and tulips, arabefque ornaments, in turquoife, and two tints of green and dark purple. This is one of the large]! fpecimens of this beautiful ware known to exifl. Height 11 in.; diam. V. "PALISSY WARE." HE pottery known as "Palmy Ware," is effentially the product of one individual artift. The life and labours of Bernard Paliffy are well known, and his romantic hiflory has even become a favourite literary theme. He was born about the year 1509, and died a prifoner in the Baftille, in Paris about the year 1589. He was originally brought up as a glafs painter. About 1538, after many wanderings and defultory labours, he fettled in the town of Saintes, and fliortly afterwards, whilft brooding over vague fchemes of invention, chance threw in his way an enamelled earthenware cup, of fome foreign manufa&ure, the endeavour to imitate which at once decided his vocation as a ceramic artift. A deeply interefting, and, indeed, dramatic account of his trials and labours henceforth, is given in his own effay, entitled "The Artift in Earth." PalhTy was poor, and years of unaided experiments brought him to extreme diftrefs. At laft, how- ever, fuccefs followed his unceafing efforts, and he gradually perfected for himfelf a fpecies of pottery of an entirely novel and original defcription. His wares may be arranged in three general divifions : Firft, his fo-called " ruftic pieces " — the fpecimens decorated with reptiles, {hells, plants, Ssfc, in relief ; fecondly, V.— PALISSY WARE. 47 thofe with relievi of figure fubjects ; and, thirdly, pieces decorated with purely ornamental motives. The firft is, in all probability, the primitive variety, and, from its quaintnefs and originality, will always, perhaps, attract the greateft (hare of attention ; but the conventionally decorated fpecimens are thofe on which his claims as an artift muft mainly reft. The fpecimens of PalhTy ware now met with, it fhould be obferved, are not all from the hand of the mafter — inferior reproductions of his wares having been manufactured long after his death by his defcendants and imitators. Very recently alfo, imitations have been produced in great numbers, both in France and England ; and it is now often not an eafy matter to decide on the genuinenefs of fpecimens purporting to be Palifly wares. CATALOGUE. V.— PALISSY WARE AND GERMAN ENAMELLED STONEWARE. No. 152. VAL PLATEAU. In the centre is a funk pool, grounded with fplafhed enamels of green, blue, and mulberry brown tints ; from this, a double row of radiating flutes, or fmkings, tend towards the margin, connected by bands, or firings, of Guilloche work. The inner range of flutes is grounded white ; the outer, mulberry ; and the Guilloche work, blue. The lip, or margin, of the piece is cut into Van- dykes. A fine and rare fpecimen of the moft tafteful variety of Palifly's pottery. Length, 18^ in. ; height, 9I in. No. 153. YLINDRICAL CRUCHE, with pewter cover. Ger- man enamelled ftoneware. Circa 1 590. This ele- gant piece is of the variety called u Franconian" or Nuremberg, ware. The ground is a light, cool drab grey, and the ornamentation confifls of fquare cartouche compartments, with Amorini, animals, and large malks, in relief ; picked out in red green, white, black, and brown enamel tints and gold. In the cartouche, in front, is a monogram, or houfe-mark, compofed of an " H S," with a crofs, or vertical bar. Height, 7 in. • diam., 4 l in. VI. ENAMELS (ON METAL). Y the term Enamel is underftood a vitreous fubflance, capable of being applied, in various ways, to the furfaces of metals, and, when melted by heat, of covering them with a glaiTy coating or crufl. There is no effen- tial difference betwixt enamels on metal and the glazes and enamel colours applied to pottery. Enamelling on Pottery or Terra Cotta we know to have been pra&ifed in remote antiquity, both by the ancient Egyptians, the AiTyrians, and the Greeks. It is frill, however, a difputed point, whether thefe nations were acquainted with the application of fufible enamels to metals. In the cafe of the Greeks, it is probable that they pra&ifed the art, to a certain extent, in goldfmiths' work ; but the procefs does not feem to have had any great vogue ; whilfl there is no direct evidence that the Romans were acquainted with the procefs. Neverthelefs, enamelling is believed to have been known, during the period of the Roman domination, to certain barbarous nations, or tribes, of tranfalpine Gaul (France, the Rhine pro- vinces, and England) ? and probably from the beginning of the third century, when we have the firfl authentic notice of its exiflence, it never ceafed to be practifed in thofe countries ; until E VI.— ENAMELS. at laft, in the Middle Ages, it attained to its greateft development in France. On the other hand, there is every reafon to believe, that the flender and dubious thread of this art was handed down from the ancient Greeks to the artifts of the Byzantine Empire, and that from thence, always preferving certain evidences of its original parentage, it fpread, in the Middle Ages, into Italy and the Weft. In the Eaft, again (China, India, and, perhaps, Perfia), enamelling, judging from all appearances, is a procefs of very ancient date. The varieties of procefles in enamelling are very numerous, but may all be brought under three main heads, viz. : — i st. Cloifonne, 2nd. Champleve, 3rd. Painted enamels. The firfl of thefe varieties (cloifonne enamels), fo ftyled from the French word, " cloifon" a partition, is chara&erifed by a method of executing the forms, or details, of a defign with narrow filets, or bands, of metal, generally gold or filver, which are bent into the required form, and foldered down to a plate of metal, thus projecting from the furface, and forming, as it were, parti- tion walls betwixt the various fpaces of the patterns, Thefe fpaces are then filled in with the enamels — the filets, or cloifons, ferving to keep each tint diftincl: and feparate — -whilfl the thin lines of metal formed by the thickness, or edge, of the filet, form the outline of the compofition. Of this variety are the early Greek, and many mediaeval Byzantine, Italian, and Oriental fpecimens. The Champleve enamels are differently executed, although the refult is very fimilar. Inflead of forming the defign by foldering filets of metal on the ground, a thicker plate of metal is taken, and the fpaces, or cavities, required to receive the enamels are hollowed out of the mafs— the filets, or outlines, of the defign VL— ENAMELS. being left (landing, as in a wood-cut. The ancient " Gallo- Roman," early Limoges enamels, and many Italian, modern, and Chinefe varieties, are of this kind. Finally, the Painted enamels are analogous to paintings on any other material, except that the defigns are executed in verifiable colours, on a prepared ground of enamel. In Europe, the latter variety had its origin, probably, not earlier than the fifteenth century. CATALOGUE. VI. — ENAMELS. No. 1 80. |^?^|QUARE PLAQUE. Centre piece of a triptych. Subject, The Entombment. Early Limoges enamel. Sillllllii Circa 1500. Enamel u fur paillon" heightened with gold. This fplendid plaque is one of the fined fpecimens extant of the earlieft painted Limoges enamels, and is probably the work of Nardon Penicaud. The figures have a peculiar individualized character — fhort in proportion, and homely in type, but of the utmofl brilliancy in colour, and perfect execution. Reverfe, dark violet enamel. Height, io| in. ; width, 9! in. No. 181. RCHED, OR CIRCULAR-TOPPED PLAQUE, in its original gilt bronze frame, enriched with knot ornaments, let into an outer leather frame, ftamped with fleurs-de-lys, forming a complete " pax" Enamel on "pail- Ion" heightened with gold. Circa 1480-1500. An early fpeci- men of the Limoges painted enamels, executed like the previous piece. The fubject — Chrifl in the houfe of Simon the Pharifee, the woman anointing his feet with the box of ointment. Entire fize of the pax, 7^ by 6|. VI.— ENAMELS. 53 No. 182. ||g^MALL CIRCULAR-TOPPED PLAQUE. Same §P§&i^ period as the preceding piece. Chrift on the knee of ^bt^S. the Virgin, with St. John and Mary Magdalene. School of Nardon Penicaud. Reverfe, tranfparent violet enamel. Height, 3§ in. ; width, 3 in. No. 183. ARCHED, OR CIRCULAR-TOPPED TRIPTYCH. Complete; early Limoges enamel. Circa 1500-20. The centre compartment has the fubjecl: of the Nati- vity — the Virgin, kneeling, adores the infant Saviour ; Jofeph, with a lantern, (lands near, whilft Ihepherds are feen kneeling, and looking through a doorway. The " volet" or door on the left, has a prophet, or one of the magi, kneeling, and two figures behind him, with a fantaftic background of architecture — the Virgin and Child appearing above in the Iky. The other volet has two richly-drelfed female figures in an attitude of adoration — probably fybils foretelling the birth of Chrift. The plaques are mounted in the original painted wood frame. Height of centre plaque, 9§ in. ; width, 7 in. Entire width of triptych, opened, including frame, 20 in. This fpecimen, important from its fize and genuine ftate, is of the period of the early Penicauds, but coarfer in execution than the known productions of the older members of that family. No. 184. y^^^ LA QUE, reprefenting an angel Handing on clouds. §fe The figure, painted in grifaille, is on a deep crimfon ^jZ brown or black enamel ground ; the clouds are wafhed with tranfparent enamel purple ; the nefh (lightly tinted in colour, 54 VI.— ENAMELS. the hair light brown, and the wings pink, purple, green, warm light brown, and blue. The hem of the drapery is flightly touched with gold. The defign of this figure is eflentially Italian, and has fomething of the fculpturefque character of the matters anterior to RafFaelle. Height, 9^ in; width, 7 in. Reverfe, reddifli brown tranfparent enamel. Limoges enamel. Circa 1530-40. No. 185. LAQUE, " en fuite" with the preceding. An angel tzft feated on clouds, with back turned towards the t fpe&ator, and pointing upward with one hand. Black, or purple-brown ground. The drapery warned with a light, tranfparent, warm, hair-brown tint ; the wings coloured pink, purple, and blue. This piece, like the preceding one, is clearly of Italian defign. No. 186. LA QUE , by the fame hand as the preceding ; tinted in the fame manner. Subject, St. Chriftopher carrying the infant Saviour over the fhream. Infcribed, " S. Chriftqfle." In every refpect fimilar in ftyle and technique to the preceding piece. Height, 9 in. ; width, 7 in. It is probable that thefe three pieces are early works of P. Courtois. They are un- figned, but have many points of refemblance to the known works of that matter. The colouring, efpecially in the predominance of cold violet purple tints, is identical. They were mofl likely painted before 1550. No. 187. IgQUARE PLAQUE. Sinon captured, and brought into Troy. Figures in grifaille. Landfcape tinted with cold green ; the fky, blue. Very delicately VI.— EMAMELS. 55 painted, and, from the manner of execution, and peculiar fombre grey tint, moft likely of the early time of P. Courtois. Reverfe, colourlefs enamel. 6 in. fquare. Circa 1550. km No. 188. f^LAQUE. Defcent from the Crofs, in "grifaille" flightly tinted and heightened with gold. By Pierre Courtois. Circa 1550-60. This beautiful plaque may be taken as a perfect fpecimen or the matter. The fome- what cold, yet harmonious and tranfparent colour, gives an air of folemnity, quite in harmony with the fubjecl. The compofition difplays an acquaintance with the great Italian fcholars of M. Angelo, fomewhat influenced, in addition, by the fchool of Fon- tainebleau, and may poflibly be original. This piece is of very finifhed execution. The frame, in ebony, is of the feventeenth century. Height, 6 in. ; width, 4§ in. No. 189. ARGE OVAL DISH, OR PLATEAU. Grifaille enamel, flightly tinted with colour, and enriched with elaborate arabefque gilding. By Pierre Courtois. The fubjecl:, which fills the entire centre of the difli, reprefents Noah and his family, and the animals, ifluing from the Ark, copied from a print by a Marc Antonio," after Raflfaelle. This is furrounded by a double border of arabefque ornament. On the reverfe of the piece, is painted a cartouche of maflive flrap-work, with bold malks, &c. In the centre, Noah facrificing. The piece is figned, * P. Curteys," and has, in addition, the mono- gram of Marc Antonio. On the front of the piece is alfo painted a ftiield of arms, within a circular wreath. Length, 19 in. ; width, 14 in. 56 VI.— ENAMELS. No. I go. ( ^^^BLONG PLAQUE. The Trojans dragging the horfe into the city. Grifaille. The flefh {lightly ISSfe?^ tinted. A compofition of much energy, highly finilhed. Probably by P. Courtois. Circa 1550-60. Length, y\ in. ; width, 4 J in. This plaque probably formed part of a coffret. No. 191. ^pBLONG PLAQUE. Grifaille, touched with gold. The IJSiS nefli flightly tinted. Photon, driving the car of Phcebus. Length, 6 in. ; width, 3! in. Plaque from a coffret. No. 192. LAQUE, apparently of fimilar deftination. Phaeton thrown out of his car. Not figned, but moft likely by P. Remond. Plaque from a coffret. Reverfe, reddifh brown tranfparent enamel. No. 193. ^ItMP "^ATE, * n Z r \f ai ^ e ' Subject, The Temptation : Adam %. ^^fi gi ym g Eve the forbidden fruit. Underneath is feUfeii^ written, " Genefe iii." Beautiful border of cartouche fcrolls and maiks. On the reverfe, is a medallion, in which is in- fcribed, P. Corteys, furrounded by maffive cartouche work, pen- dant wreaths, lions' heads, and fatyrs' malks in colours. Rich border of arabefques, in gold. Black, or purple brown ground. A fuperb and moll brilliant plate, from the Bernal Colle&ion. Diam., 8^ in. Circa 1550-60. VL— ENAMELS. 57 No. 194. MALLER PLATE. The ornamentation of fimilar pattern to the preceding. In centre, a fubjecl: of a lover and his miflrefs. By P. Courteys. Reverfe, cartouche ornaments and maiks. Margin of rich arabefque gild- ing. Diam., in. ✓ Nos. 195 to 200 inclufive. |^^ERIES OF SIX SMALL PLATES. Grifaille. The flelh tinted. The work of P. Courteys. Sub- je£t, allegorical reprefentations of the months (April to September), copied rrom engravings by Etienne de l'Aulne, interfperfed with beautiful arabefque gold pencilled ornaments, animals, birds, &c. The reverfes decorated with interlaced flrap- work, alternating with arabefques, animals, fmall cameos, &c, in gold. Each piece has the initials, "P. C," in gold, on the reverfe. A mofl beautiful and perfect feries. No. 201. |^ OZENGE-SHAPED PLAQUE. An ideal female liSl head in colours. Infcribed, " Helene." Length, 7§ in. ; width, 6 1 in. An early work of Leonard Limofm, intended as an infertion into fome article of furniture. No. 202, llMILAR PLAQUE. Head. Infcribed, " Pantafile." Ii^^l Same fize. By Leonard Limofm. No. 203. QUARE PLAQUE. Three-quarter figure of a richly iSffi drelfed female, within a circular wreath. Enamel, in 58 VI.— ENAMELS. tranfparent colours, richly gilded. On a riband fcroll is infcribed, u Sybila Cumana." By Leonard Limofin. Circa 1540. No. 204. gglMILAR PLAQUE. Infcribed, " Sybile Europa." ♦ No. 205. IMILAR PLAQUE. Infcribed, " Sybila richeaT Thefe plaques are fome of the moft charming fpecimens of the early time of Leonard Limofin. They are moft brilliant and harmonious in colour, and, although mannered in drawing, are full of graceful elegance of ftyle. No. 206. ^^^^LAQUE. The Item of Jeffk The Patriarchs are re- prefented each with a fceptre in his hand, and a fcroll infcribed with his name. In the upper part of the plaque, the tree terminates in a lily, on which, within an oval nimbus, furrounded by a wreath, ftands the Virgin, with the Child in her arms. Enamel, in colours, richly gilt. In the light, clean, brilliant ftyle of colour of Leonard Limofin (by whom it was, doubtlefs, painted). Height, 9^ in. ; width, 7 in. No. 207. LAQUE. Same feries. The death of the Virgin. Circa 1550? Same fize. In the upper part of the compofition is the Virgin kneeling, and being crowned by God the Father, and the Saviour, the Holy Ghoft, as a dove, defcending. Alfo by Leonard Limofin. VI.— ENAMELS. 59 No. 207 (a). LAQUE. Same feries. The Annunciation. In the upper part, the Almighty defcending, furrounded by cherubim. Signed with the initials of Leonard. Height, 9^ in. ; width, 7 in. No. 207 (b). W^^^ ; LAQUE. Same feries. The Virgin feated at the N ^W^i ^ oot °^ t ^ le ^ ro ^ s ' w * tn tne ^ eac ^ Chrift on her !§Sp^ knees, accompanied by St. John and Mary Magdalene. Six fwords are pointed to the Virgin's bofom, and above, on a label fcroll, is infcribed, " Tua ipjius anima pertranfibit gladius ." Height, 9J. ; width, 7 in. No. 208. JVAL PLAQUE. Nude figure of Diana, with a bow and arrow. She is reprefented as drawing an arrow from a quiver over her moulder. A flag ftands by her fide ; in the background, a forefl, with a flag hunt. Under- neath is infcribed, " Silvarum Ciutrix Cqftiffima ; " and, in an oval cartouche beneath, u Virgo Diana eft." On a fquare ftone in the foreground, the monogram L. L. (Leonard Limofin), and date, 1573, m bold characters. The figure, which is of great elegance, and powerfully drawn, is evidently from a defign by one of the Italian artifts of the Fontainebleau fchool. 1 1 in. by8 in. No. 209. M LAQUE, with the corners cut on 7 . Tranflucent enamel, in colours, on' "paillon" richly heightened with gold. VSSf In a corner is the fignature, J. L. (Jean Limofin). 6o VI.— ENAMELS. Circa 1570-80. A characteriftic piece of this rare matter. Sub- ject, the Laft Supper. Height, io| in. ; width, 7§ in. No. 210. ^M^AZZA, on low item. By Jean Courtois. Circa Ms 1570-80. In the interior of the bowl is painted &Sd>fefec the fubjecl: of the Ifraelites crofimg the Red Sea. Grifaille, {lightly heightened with gold, the flefh tinted. The exterior of the piece is decorated with fine cartouche flrap- work, terminal figures, mafks, Sifr., and rich arabefque gilding. The foot painted with arabefques, chimera, &c. The initials, I. C, are painted on the exterior. A highly finifhed and mag- nificent piece. Diam., 10 in. ; height, 4^ in. Purchafed from the Bernal Collection. No. 211. PEDESTAL SALT-CELLAR, on balufter-fhaped flem. The flefh of the figures tinted. Enamel, by Jean SP«i£ Courtois (figned "I. C"). Circa 1570. The bowl is painted with a profile head, and the exterior with grotefque tritons, Amorini, &c. The centre knob, or bofs, is decorated with terminal figures and fefloons of fruit, and the foot is care- fully painted with Amorini, baiting a bear, and with a fhield of arms. (From Mr. Utterfon's Collection.) Height, 5^ in. No. 212. IRCULAR PEDESTAL SALT-CELLAR. Enamel in colours, on u paillon" by Jean Courtois. In the bowl is a fmall claflical profile head. The exterior is decorated with Amorini and grotefques ; the foot painted with a frieze of nymphs and fatyrs, equefirian figures, with land- VI.— ENAMELS. 61 fcape background. Underneath the foot, the initials, M I. C." Height, 4^ in. No. 2 13. QUARE PLAQUE. Subjeft from the " iEneid." Enamel in tranflucid colours, richly heightened with gold. The compofition, although in the flyle of the French illuminators of circa 1500-20, is, nevertheless, appa- rently the work of Pierre Remond, and is probably not earlier in date than about 1540. The feries of which this plaque formed a part, feems to have been often repeated. In the South Ken- fmgton Mufeum, the Britifh Mufeum, and the Collection of H. Magniac, Efq., are various fpecimens belonging to this fet. Height, 9 in. ; width, 7 J in. No. 2 14. ^AZZA, on low ftem. By Pierre Remond. Grifaille, $ the flefh tinted ; the bowl painted with the Adoration S of the Shepherds. A fine compofition, of the fchool of Fontainebleau, with a margin of gilded arabefques. Reverfe, cartouche fcrolls, a wide wreath of fruit and niafks, and gilded arabefque ornaments. The reverfe of this piece is Angularly fine. The foot is painted with pendent garlands of fruit, cherubs' heads, and with two oval cartouches, in one of which are the initials, "P. R.," and, in the other, the date, " 1573." ^ n tne bowl, the initials, U P. R.," are repeated. Diam., iol in.; height, 4 in. No. 215. ^^~||hAZZA, on tall ftem. By Pierre Remond. Enamel in 0 grifaille ; the < flefh tinted. The bowl is painted with fe^ Abraham offering up Ifaac. The reverfe decorated 62 VI.— ENAMELS. with ftrap-work ornaments, cherubs' heads, rich gilding, and border of egg-and-tongue moulding. The knob in the ftem painted with cameo medallions. On the flem is a fubjecl: of fhepherds with their flocks. Diam., 7 in. ; height, 5I in. On the foot is alfo painted a fhield of arms, with blazon, in proper colours. Circa 1560-70. This, and the preceding fpecimen, are of the higheft beauty and perfection of finifti, of the grifaille enamels of Limoges. No. 216. LATE, in grifaille; the flefh tinted. The centre painted with nymphs bathing within a bath-room; probably a fubjecl: from the hiftory of Pfyche. At the bottom, the fubjecl: is numbered, u VII. ; " border of fcroll arabefque, with Amorini, cornucopias, &c. Reverfe, cartouche fcrolls, cherubs' heads, arabefque gilding, and border of fcroll- work. By Pierre Remond. Initialed in front, "P. R." Diam., 9 \ in. No. 217. LATE, " en juite" with the preceding. Venus in the fea, furrounded by nymphs, tritons, &c. Infcribed, " Venus— X VI." Same reverfe as preceding. No. 218. ^^^.QtJARE PLAQUE. Enamel, in brilliant colours, on paillon. Chrifl's Agony in the Garden. Richly ^m&Sl heightened with gold. In the foreground, the in- fcription, "Vigilate et orate" and the initial "S" three times repeated. A magnificent fpecimen, of powerful and brilliant colour. Painted by a female artift, Sufanne de Court. Circa 1570. 9 J, in. by 7% in. VI.— ENAMELS. 63 No. 2 1 9. f ACK OF AN OVAL MIRROR. Enamel on Aw." Subject, " Europa." Surrounded by a wide border of gilded arabefques. Either by Sufanne de Court, or J. Limofin. Circa 1570. 3^ in. by 2 J in. No. 220. ACK OF A MIRROR CASE. Compofition re- fembling the flyle of E. de l'Aulne. Subject, Bellona, with a lance and (hield, (landing on fir ap -work orna- ment, under a canopy ; the field filled in with arabefques. Enamel on paillon. By Sufanne de Court, or Jean Limofin. Height, 3 J in. ; width, 2| in. Circa 1570. No, 22 1 qUARE PLAQUE, in colour. St. Cecilia, with relief ornamentation in the four corners. By J. Laudin. Circa 1 690. A fine fpecimen of this mailer. Bernal Collection. No. 222, JjWO-HANDLED *'* enamel. In centre, CUP, OR TAZZA. Grifaille Hercules, with the difhafF of Omphale. The fides, interior and exterior, filled in with foliated work in grifaille* The ground enriched with gold diaper. By Laudin. Circa 1690. Diam., ^ in. ; height, i| in. No, 223. IRCULAR PLAQUE, flightly convex, painted on both fides with brilliant colours. On the convex fur- face, Cephalus and Aurora, infcribed, u V Aurore et 64 VI.— ENAMELS. Cephale ; " and the oppofite fide, NarchTus, looking at himfelf in a trough, or fountain, and infcribed u Narciffe." By Laudin, or Nouaillier. Circa 1690. Bernal Colle&ion. Diam., 5I in. No. 224. gftAZZA AND COVER, in grifklte, heightened with gold. The interior of the bowl painted with a ban- 3 quet fcene, within a compartment. After M. Antonio. Surrounded by a gilded border of enriched wave fcroll ornament. The exterior decorated with acanthus leaves. The ftem has a circular bulb, or knob, painted with tritons and fea nymphs. The foot decorated with acanthus leaves. The cover is emboffed with convex oval medallions, painted, within and without, with clafiical cameo heads. This piece is unfigned, and is of uncertain author- fhip. Date, about 1560. Height, 7 J in. ; diam., 8 in. No. 225. SSI^^LATE — one of a feries of the twelve Csefars. Maroon flm^ g roun d I tinted grifaille. Head of Vitellius. In- $Ss2f fcribed, u A .Vitellius .German .imp .P .R.trT Border of gilded arabefque cameos, &c. Reverfe, gilded arabefque orna- ment. By Leonard Limofm. Diam., 7^ in. No. 226. EXAGONAL SALT-CELLAR. Enamel, in colours, touched with gold. The upper and lower furface, or bowl, painted, with medallion of Paris and Helen, furrounded with border of rofes and green leaves. Infcribed, " Paris Juis, Ardi Valean" and " La belle Elene fuis Ardia." Round the fides, nude figures of "Lucrefe" Ledaf, u Orfeus" Fortune, Paris, and a nude male figure drawing Cupid in a car. VI— ENAMELS. 65 By an anonymous enameller, working in the ftyle of Leonard Limofm. No. 227. QUARE CASKET, in which are inferted fix enamel plaques by J. Laudin, four on the fides, and two on the lid. Thofe on the fides are en fuite, painted in grifaille, after Goltfms, and reprefent refpe&ively, " Faith, Charity, Juftice, and Fortitude." The two plaques on the lid contain half-length figures of St. Jerome and the Magdalene, in colours. The borders of the coffer are fet with a feries of fixty-four cameos, in foft ftone of two layers, reprefenting the kings of France. Thefe are probably of the early part of the laft century ; the calket itfelf is modern. Length of cafket, 1 1 1 in. ; width, 10 in. ; height, 13 in. No. 228. f ASKET, containing three Limoges enamel plaques — the metal mountings are of modern French work. The plaque in front reprefent s a child led by a guardian angel : painted in colours by J. Laudin. At the fides are two plaques, en fuite, in grifaille, of the period and manner of J. Cour- tois. Circa 1560. They reprefent refpe&ively, David killing Goliath; and Sufannah and the Elders. Height, 8^ in.; diam., 5^ in. No. 229. VAL PLAQUE. Enamel, in colours, and on " paillon" Sufannah and the Elders. Attributed to P. Courtois. Circa 1570. Height, \o\ in.; width, 8 in. F 66 VI.— ENAMELS. Nos. 230 and 230 (a). UP AND SAUCER. By J. Laudin. Ornamented with half-length figures of heroic women, after Vignon, within oval medallions, in colours ; the fpandrils, or border fpaces, filled in wit;h fcroll-work, in' relief, in white. On the faucer is painted, "Antiope;" on the cup, "Judith" and "Zenobie." The cup is ornamented, in addition, with three fmaller medallions containing claflical heads. Circa 1700. No. 23 1. ^££g%VAL PLAQUE, in colours and gold. A fwine-herd tending his flock ; near him a woman, fleeping ; and, ® in the background, a cottage, or farm-houfe, with a woman carding flax. Above, is the fign Sagittarius. One of the feries of the Months, after Etienne de l'Aulne. By P. Remond. Circa 1570. Length, y\ in. ; width, 6^ in. No. 232. VAL PLAQUE, in colours. By Leonard Limofin. Jofeph and Potiphar's Wife. Height, 8 in. ; width, No. 33 Enamel, in colours. ^EXAGONAL SALT-CELLAR. One of the fides is filled* in with a ftiield of arms, ill M within a green wreath. The others contain half- length female figures in claflical coftumes, and aged men — probably intended as prophets and fybils. Above the head of each figure is a label fcroll ; thefe labels are infcribed with various obfcurely- worded Latin fentences. At the top, in the hollow for the fait, VI.— ENAMELS. 67 is a bearded claflical buft, and the flat border round it is filled in with a beautiful wreath of green leaves, ornamented with a blue rofette at each angle of the hexagon. The under fide has a fimilar wreath, and in the centre, the fun, as a human face, furrounded with rays. This piece is an exquifite fpecimen of an anonymous mafter. It is in perfect prefervation, and of mod highly-finiftied execution. Circa 1550. Height, 2§ in. ; diam., 3 in. No. 234. IRCULAR PEDESTAL SALT-CELLAR. Gri- faille enamel; the flefh of the figures flightly tinted. The work of Pierre Remond. On the foot, or bafe, is reprefented the Creation of Eve, and the Temptation ; in the bowl, at the top of the fait, a claflical helmeted head, furrounded by a border of cartouche ornament. A moft finiflied and beautiful fpecimen of the mafter ; in perfect prefervation. Height, 3 in. ; diam. at bafe, 4A in. No. 235 *ggft«*AZZA AND COVER, on low ftem. Grifaille enamel, on dark maroon purple ground. On the §33 exterior, the under fide of the bowl is decorated with four medallion profile heads — two male and two female — con- tained within interlaced quatrefoil panels, infcribed refpe&ively " Veneus" u Excus" u Davit" " ArbanieT The cover, on the outfide, is painted with a frieze, or proceflion, of claflical draped female figures, and a car drawn by two horfes, in which is feated a god and goddefs. In the interior, the hollow of the bowl is filled in with the fubjecl: of St. John the Baptift preaching in the wildernefs ; and the interior of the cover has four profile por- traits — alternately male and female — within oval compartments, 68 VI. — ENAMELS. incribed refpe&ively, " Odenes" u Piramus" u Poxlifene" and " Berfebee." This piece is of unufual type, and the work of an early unknown mafter. Circa 1530-40. Height, 6| in.; diam., 8| in. Nos. 236 to 239. ERIES OF FOUR UPRIGHT PLAQUES, repre- fenting refpe&ively full-length (landing figures of St. Auguftin, St. Gregory, St. Ambrofe, and St. Martin, clad in full pontificals. Painted in vivid colours and gold. Thefe fplendid enamels are probably works of the early and fined time of Pierre Courtois. Circa 1540 ? The painting is executed with lingular care and firmnefs, and nothing can furpafs the depth and luftre of the colours ; in this refpecl:, they are fully equal to thofe of the "fecond" Penicaud. The gilding, likewife, is touched with great fpirit. The figures are of fomewhat fhort proportions, but are, neverthelefs, of dignified ftyle. They are, probably, from the defigns of one of the beft French matters of the old fchool. Height of each plaque, 8| in. ; width, 6| in. VII. ANTIQUE AND OTHER ENGRAVED GEMS. HE Ancients were paflionately fond of engraved gems, and the higheft art is to be found embodied in thefe antique relics. Almoft every variety of precious (tone was employed by the gem-cutter as a vehicle for his art : engravings being not unfrequently executed on the ruby, or the fapphire even. Engraved gems, as works of art, were, in fhort, much more efteemed by the Ancients than mere jewels, which depend for their intrinfic value on their colour and luftre only. Intaglios — i.e., ftones in which the defign is cut in, or hollowed out — are generally of fmaller fize than cameos, in which the work is raifed, or fculptured, in relief. The former were mod frequently fet in rings, and ufed as feals ; the latter, as brooches, fibulae, &c. It is well known that the Ancients had a paffion for rings, which, at certain periods, and with fome indivi- duals, amounted to mania. The fingers of fome Roman dandies were often literally covered with them, and enormous fums were given for fingle ftones engraved by great artifts. Dactyliotheca, — fyftematic collections of engraved gems, were, from an early period, formed by princes and private connouTeurs, and were, likewife, often the chief ornaments of the treafuries of the temples, which in antiquity, like the more recent ecclefiaftical treafuries of 7 o VII. — ANTIQUE AND OTHER the Middle Ages, correfponded, in reality, to the public mufeums of the prefent day. Gems, from their nature, are almoft in- deftrudtible, except by actual violence. The fea has fwallowed up myriads ; fire has blanched and mattered no fmall proportion ; many thoufands are treafured up in modern collections ; and the foil which covers the regions of ancient civilization, doubtlefs, (till holds concealed pricelefs treafures of ancient glyptic art. Every day the ploughftiare of the peafant, or the autumnal rains, lay bare fome long-loft gem, which may once have graced the finger of a Csefar ; which may bear the imprefs of the lofty genius of a Pyrgoteles, or a Diofcorides ; or afiift the fcholar by throwing light on fome forgotten ufage of antiquity. Antique gems have value and intereft from the following points of view : — Firft, from their intrinfic excellence and beauty as works of art ; fecondly, in refpect to learning, as monuments of ancient civilization; and, thirdly, as interefting relics of venerable antiquity. The art difplayed in them is equal to that manifefted in ancient fculpture : it has never fince been equalled, and can never be furpafied. After many ages of neglect, in the fifteenth and fixteenth centuries, with the revival of art, antique gems became again highly prized. Dactyliotheca were again formed, and a voluminous literature, treating of this branch of the arts of antiquity, fprang up, and, thenceforward to our own days, gems have been univerfally fought after, and appreciated by connohTeurs. Ancient gems are fometimes found very much worn, and defaced by long ufe ; whilft, on the other hand, they are fometimes in as perfect a ftate as when they left the engraver's hands, and, as the latter condition is of not uncommon occurrence, modern imitations are the more eafily effected. The copying, or forging, of antique gems has, indeed, been practifed, efpecially in Italy, for the laft three hundred years, to fuch an extent, that it is probable the fpurious copies now extant outnumber the original antiques ; fo ENGRAVED GEMS. 71 that, in no clafs of works of art, is greater caution, or more long- continued experience, in judging of the authenticity of fpecimens, requifite, than in this. The following are fome general rules, which may affift in judging of the genuinenefs (i.e., the antiquity) of an engraved gem. Firft, the ancient gem engraver feldom beftowed his tone and talent on an inferior (tone ; fo that, although coarfe and inferior engravings are fometimes found on ftones of fine quality, on the other hand, the highly -finifhed engraving is rarely, if ever, feen on a bad ftone ; the work and the ftone, in fhort, were generally of correfponding quality. Secondly, as (in intaglios) the Ancients were accuftomed to examine them by tranfmitted light : homo- genous and femi-tranfparent ftones were, as a rule, preferred to cloudy and mottled ones, efpecially for delicate works. The back of the ftone was, in all cafes, carefully levelled and highly polifhed, and, as a rule, the engraving itfelf is nearly always highly polifhed : a degree of finifh, which, on account of the great extra labour it involves, is feldom beftowed on modern works. Any fuppofed antique intaglio of highly -finifhed work, if not polifhed in the "incavo" or hollows, of the defign, fhould be looked on with great fufpicion, and is, moft probably, a forgery. In cameos, the field, or ground, of the work is generally highly polifhed, whilft the flefh, or nude figure, is often left mat ; the drapery and acceflbries are often, however, polifhed. The field, or ground, feldom fhows much margin beyond the fubjecl:, and, when the defign is finall in proportion to the extent of polifhed background, it is, as a general rule, an indication of recent origin. If there is any fignature or infcription on the ftone, it fhould be in relief or cameo, like the reft of the defign ; infcribed characters are fcarcely ever incifed, or cut in, on ancient cameos. It is important to obferve the material, or peculiar ftone, employed in cameos, certain varieties of ftones being almoft a fufficient guarantee of the antiquity of a work, whilft others are as equally 7 2 VII. — ANTIQUE AND OTHER indicative of a modern origin ; experience only can, however, inform the obferver on this point ; but, after all, the ftudy and obfervance of the art difplayed in the work itfelf is the furefl guide. The connoifleur, imbued with a true feeling for art, will fpeedily be able to diftinguifh, as by a kind of intuition, the true from the falfe ; whilfl many material indications in the flyles and methods of execution of a work, to be acquired only by minute obfervation, come in aid of his judgment. The cornelian, or fard, and the many varieties of the onyx, were the favourite ftones employed in antiquity. After them, the chalcidony, amethyft, jacynth, aqua marina, red jafper, and heliotrope, are the moft frequent. The names of many eminent antique gem fculptors have come down to us, and many gems are ftill extant figned by their authors. Thefe, however, are very rarely found, and, as it has been a common practice, for centuries, to affix the names of ancient artifts to modern works, or to cut them on inferior antique gems, great caution mould be mown in accepting any figned gem. Generally fpeaking, Etrufcan infcribed gems bear the names of the mythical, or poetical, perfons or events reprefented ; Greek gems, the fignature of the artift ; and Roman gems, the name of the poffeffor. It was a conftant cuftom with the Ancients to bury or burn the dead, with their rings and ornaments ; and great numbers of antique ftones are found, which have been pafTed through the fire on the funeral pile. Thefe have generally been brought to light in fepulchral urns, in which they were pioufly depofited along with the afhes of the dead. As regards the fubjefts reprefented, they are almofl infi- nitely varied. Purely hiftorical reprefentations, however, fhould be excepted ; fuch fubjecl:s, for inflance, as Curtius leaping into the Gulf, Mutius Scaevola, or the Death of Caefar, may ENGRAVED GEMS. 73 always be fafely referred to the cinque-cento, or more recent periods. The age of a gem, and its origin — whether Greek, Etrufcan, Roman ; Afiatic or European — can fometimes be inferred from the ftyle of art difplayed and the fubjecl: reprefented, and invefti- gations with this view are often in the higheft degree in- ftru&ive. The ftudy of gems, in fact, is a work worthy of the poffeffor of the highefl erudition and the pureft tafte. Befides the gems themfelves, the Ancients were acquainted with the art of making cafts in imitation of them in glafs — called " antique partes." In this refpecl, their Ikill as far exceeded the fimilar work of modern times, as their engravers themfelves tranfcended modern artifts. Every variety of ftone was imitated in glafs pafte, with an accuracy which is often quite deceptive; whilft the engraving itfelf was reproduced with the utmoft fharpnefs and perfection. Cameos, as well as intaglios, were reproduced in glafs, and the former were often afterwards worked over on the wheel by hand. Antique paffes, when finely preferved, are as valuable as gems themfelves ; they are, however, generally much defaced and corroded, and, when well preferved, it is frequently difficult to decide upon their authenticity, from their great refemblance to fimilar modern caffs. Engraving on hard ftones is executed by fmall fteel tools, of various ftiapes and fizes, which are made to revolve with great rapidity by means of a wheel or lathe — the ftone, faftened down to a fliort flick, or handle, with wax, being held againft the tool. The tool itfelf, however, could make no impreffion on the ftone, were it not affifted by fome harder material. The point is, therefore, kept moiftened with oil, mixed with diamond dull: or fine emery powder, the hard particles of the latter really cutting into the gem. The minor details of the engraving are fometimes executed, or finiftied, by fcratching, or engraving, by hand, with a fine-pointed diamond. CATALOGUE. VII. — ANTIQUE AND OTHER ENGRAVED GEMS. No. 250. CARABEUS, in green jafper, with its original gold wire loop or feal handle, engraved with a lion devour- ing a flag, within a ftriated border, which furrounds the margin of the ftone. The intaglio is of a flat or lhallow cha- racter, fo as to yield an impreffion in low relief ; and the engraving, as well as the fcarabeus or beetle itfelf, is of exquifitely finifhed workmanmip. The group is artiftically arranged to fill the field of the gem, and is of very archaic, though energetic and fpirited defign. The border, confuting of two parallel lines encircling the field, and filled in with fmall diagonal flrokes, is of frequent occurrence in early Greek and Etrufcan gems, and is, indeed, a fpecial mark of early date. This gem was found, with many others, at Tharros, in the ifland of Sardinia, and is an im- portant monument of a very remote era and a peculiar people. Many of the fcarabs and other remains — now widely difperfed, and known to the learned as peculiar to this locality — were engraved with Egyptian hieroglyphics ; whilft, at the fame time, they difplay an evident admixture of Phoenician art. It is fup- pofed that the necropolis, where this gem was found, was * ENGRAVED GEMS. 75 that of an early Greco-Phoenician colony, fettled in Sardinia as far back as the fifth or fixth century before Chrift. io/i6ths by 8/i6ths. (See engraving.) No. 251. NTAGLIO, in green jafper. Hercules kneeling, hold- ing a bow in one hand, and, with the other, brandifhing his club above his head. Behind him, in the field, is an object apparently intended for a bird — ftriated border — in its ancient gold fetting as a ring. This gem, of archaic defign and execution, is of early Greek or Greco-Etrufcan work; dating probably as far back as 500 or 600 B.C. The fetting, though antique, is probably much more recent, and may be Roman. It is probable that the fubjec~t of the intaglio reprefents Hercules killing the Stymphalian birds. 9/i6ths by 7/i6ths. No. 252. I MALL INTAGLIO, on brown fard. Probably cut from a fcarabeus. Hermes or Mercury — a Handing, nude, male figure in profile, with one hand raifed, the other hold- ing a caduceus. Etrufcan work. 8/i6ths by 6/i6ths. No. 253. .NTAGLIO on ftriped fardonyx. A bearded male figure, in a {looping pofition, holds in one hand a human arm, and appears in the act of taking up a difjointed A fingle line furrounds the field. Early Greek work. This is the myth or legend of Prometheus, who is here repre- fented as bringing together the fcattered limbs of a man, which he had moulded in clay previoufly to giving it life. io/i6ths by 7/1 6ths. (See engraving.) 7 6 VII. — ANTIQUE AND OTHER No. 254. |||^pCARABEUS, in Syrian garnet. This gem (which, as ^^^^ a fcarabeus, is of unufual fize and material), is of uncer- ^^ZzM tain origin and fubjecl:. The engraving reprefents two male figures, both in action, but apparently not in concert. On the right, a nude figure, Hercules, with a club over his Ihoulder, is in a walking or retreating attitude. On the oppofite fide, an- other figure, holding a lance, and wearing a crown of rays, appears in the act of advancing ; betwixt the two figures, are engraved on the field of the gem, a ftar and a crefcent, or the fun and moon. The gem is furrounded by the ufual ftriped border. The ftyle of engraving is coarfe and heavy, but the drawing is tolerably correct, and apparently indicates a much more recent period than the fcarabeus and border would oftenfibly denote. It is probable that the engraving is a work of the Roman period executed on an Etrufcan fcarabeus, which has been rubbed down, to admit a new engraving : the perforation of the ftone, which is very near the furface, lends ftrength to this fuppofition. 1 3/1 6ths by io/i6ths. No. 255. ^tFf NTAGLIO > in brown ftri P ed fard of oblon g ftape; ^i? ftriped border round the margin. In the centre, a column, with a trophy of arms. On the right, a warrior ftanding with a lance and a buckler. On the oppo- fite fide, a warrior (looping, and apparently taking the cover from a large vafe. The fubjecl: reprefents Menelaus and Aga- memnon drawing lots, which are thrown into an urn, to deter- mine which of the two fhould fight with Hector. This intereft- ing intaglio is of early Italo-Greek or Etrufcan work. i4/i6ths by 9/i6ths. Plate 4. VII. Antique and other Engraved Gems. ENGRAVED GEMS. 77 No. 256. gAMEO, in two layers, in burnt onyx. Two figures navigating a boat or {hip. At the ftern is feated an §5. aged man, the head having fome refemblance to Socrates. He is managing the fail. At the prow is a failor wearing a conical cap, apparently alfo occupied in the navigation of the veflel. It is unfortunate that this gem has been blanched by fire, having in all probability been burnt on the finger of the original poffeffor. It is of exquifitely truthful and fpirited, though very flightly-finilhed, workmanftiip — the relief being very flat. It is undoubtedly of pure Greek work, and, as a cameo, is an object of great rarity. The fubjecl: is probably fome mytho- logical reprefentation, the fignification of which is not very obvious. 1 i/i6ths by io/i6ths. (See engraving.) No. 257. ^AMEO in two layers — light red fardonyx The upper layer, flefh coloured, femi-opaque with tranfparent fpots. A panther couchant — underneath is the infcription MNEMON (i.e., " Remember") — the margin of the ftone bevelled and furrounded with a raifed filet. This gem, though of flight execution, is touched with great fpirit, and the manner in which the peculiarities of the ftone are made account of is very intereft- ing. It will be remarked, on looking at the gem by tranfmitted light, that the natural marks in the upper layer > of the ftone reprefent the panther's fpots. The Ancients were extremely ingenious in thus appropriately adapting their materials to the required fubjecl: : ftones of fymbolical or fuggeftive colours being conftantly adopted for certain reprefentations. i3/i6ths by 10/ioths. 78 VII. — ANTIQUE AND OTHER No. 258. AMEO of long, oval (hape, in pale fardonyx of two layers. A Greek infcription, encircled by a raifed filet. Margin of the ftone bevelled — v NIKH20 " Nikefos MENEETPATOT Son of Meneftratos nEPrAMENH the Pergamenian " — moft likely the name of the original poffeflbr of the ring. It is not improbable that thefe infcribed camei were fet in funeral rings and burned with the pofteflbr, thus ferving as a permanent record of the defunct allies. 1 in. by 9/i6ths. No. 259. AMEO. Onyx of two layers. Greek infcription within a raifed filet. Margin of the ftone bevelled— ETTT iriANI No. 260. cST|NTAGLIO of long oval {hape, in dark brown flriped fard. A draped nymph or Greek lady in a walking attitude. The figure, feen in front, is as it were, in the acl: of walking out of the field of the ftone. This fine intaglio is of the higheft period of Greek art. Although of expeditious workmanfhip, the figure is characterized by a grandeur of defign refembling in every refpect the works of the era of Phidias. i4/i6ths by 6/i6ths. ENGRAVED GEMS. 79 No. 261. ^NTAGLIO in golden brown fard. Achilles, wounded in the heel by the arrow of Paris, is crouching down and endeavouring to withdraw the miffile. On his left arm he bears a circular ihield, the umbo of which is formed by a Gorgon's head. This gem, executed in the period of pure Greek art, is an excellent fpecimen of a defign very often reprefented on engraved ftones. The figure is fkilfully compofed, and engraved with great mattery in a large and facile ftyle. n/i6ths by 8/i6ths. No. 262. INTAGLIO in Oriental onyx of three layers. Hercules mooting the Stymphalian birds. The engraving, of minute but grand character, occupies only a fmall part of the centre of the ftone, which is of exquifite beauty. The upper layer, in which the engraving is executed, is of fine tranf- parent hair brown. This is furrounded by a zone of bluifh white of perfect regularity, and the under layer or ground is of beau- tiful deep brown tint. Fine Greek work. 1 i/i6ths by 9/i6ths. No. 263. NTAGLIO on golden fard. The Greeks defcending from the Trojan horfe. Early Greek work. The horfe is reprefented within the walls of Troy, on which, or above, are feen temples, towers, Sffr. The Greeks are emerging from a fquare door in the horfe's fide, and defcending by means of a ladder. One of their number is opening the gate of the city, whilft a figure on the fummit of a tower of the wall, probably Caflandra, appears in the acl: of giving the alarm. The horfe is drawn and executed with great 8o VII. — ANTIQUE AND OTHER delicacy, in an extremely low ftyle of incavo, peculiar to many early Greek gems, and is of archaic defign. A fragmented gem of very fimilar defign is figured in Winckelmann's " Monu- menti inediti" pi. 140. No. 264. NTAGLIO in Syrian garnet. Gorgon malk, or head of Medufa. The ftone cut " en cabochon." The malk three-quarter face — deeply cut ; the back of the ftone hollowed out to admit of the engraving being well feen by tranfmitted light. Although executed with the utmoft expe- dition as an object of commerce, this fmall intaglio is as grand in character as would have been a coloflal buft. The art difplayed in this work of trivial perfonal decoration is in fact the fame in quality as that of the great fculptures of Phidias and Praxiteles. 9/i6ths by 7/i6ths. No. 265. NTAGLIO, " en cabochon." Carbuncle or Syrian garnet. Eros or Cupid. Winged profile buft. Greek work. This gem, of fine character and good workman- fhip, is of well-known type. Cupid is here reprefented as a youth of thirteen or fourteen years old. The frequent occurrence of fine gems on Syrian garnet or carbuncle evidently denotes that this ftone had a higher value in antiquity than it now poffeffes. The ancient garnets are moftly very inferior ftones, clouded and full of flaws — whilft at the fame time they are nearly always hollowed out at the back to allow of the engraving being well feen by tranfmitted light. The carbuncles now ufed in modern jewellery are generally much freer from thefe defects, and are doubtlefs obtained from a different locality. It is worthy of note that the ancient garnets are almoft invariably cut " en cabochon" ENGRAVED GEMS. 81 which of late years alfo has been the exclufive mode of difplaying this beautiful ftone. i i/i6ths by i i/i6ths. No. 266. NTAGLIO on amethyft. Full-faced Silenus malk. Greek or Greco-Roman work. A beautiful gem. 8/i6ths by 7/i6ths. No. 267. )AMEO — onyx of two layers. Ideal head : Achilles or Alexander. This fmall work is probably of the Ptole- maic period. The head is executed with a degree of delicacy unufual in a material of fo little value — the ftone in this inftance being a very ordinary one. g/i6ths by 8/i6ths. No. 268. AMEO — Oriental onyx of two layers. Two malks reflectively of Bacchus and Silenus crowned with vine leaves, placed fide by fide in the long oval field of the gem. Executed in low relief. Greco-Roman work. 1 in. by 9/i6ths. No. 269. I AMEO — pale fard. A ram's head executed in high relief. The head, which occupies nearly the entire field of the flone, is of unufual dimenfions, and indeed in this refpect quite enters the domain of fculpture. It affords a ftriking example of the great talent of the ancient artifts in their reprefentation of animals. 1 i/i6th by § in. No. 270. AMEO — Oriental' onyx of two layers. A feated faun carelhng a goat — furrounded by a raifed filet. This beau- 82 VII. — ANTIQUE AND OTHER tiful gem recalls many competitions painted on the walls of Pompeii : it is probably of fimilar Greco-Roman origin. No. 271. r^g^NTAGLIO, u en cabochon? Dark golden fard. A %K nude female figure, feen in front, holding in one hand MS$£*M a bird with a worm or ferpent in its beak. This gem, though of fmall dimenfions, is executed with wonderful delicacy and finifh, in a low flat ftyle peculiar to antique glyptic art, and of mofl difficult execution. The engraving is highly polifhed, and all the details, notably the extremities are touched with a truth and firmnefs, which feem little lefs than miraculous, when the extreme minutenefs of thefe details is taken into account. It is probable that this exquifite figure reprefents fome famous antique ftatue. It is undoubtedly the work of a Greek artift, probably of the Auguftan period. The figure is Venus and the bird, mofl likely a fparrow — her well-known emblem. No. 272. ^TgjNTAGLIO. Oriental onyx of three layers — " en :abochon" A minute male figure, with a voluminous ^ mantle, carries a vafe or amphora in his arms. A well- finifhed work. Greco-Roman period. 9/i6ths by 7/i6ths. No. 273. SAMEO — onyx of three layers. Head of the young Hercules clad in the lion's fkin. Of coarfe yet very effective work. The ground layer of the' flone is of flate grey of great thicknefs, and left rough at the back : the head of brilliant opaque white cacholong, which aflumes a vivid orange red in the lion's fkin. The profile of the head is deeply ENGRAVED GEMS. 83 under cut ; fo as to detach itfelf in the mod ftriking and effective manner from the ground by calling a deep lhadow. Everything denotes that this cameo was intended as an infertion into fome object of utility, and was not intended as a perfonal ornament. 1^ in. by i4/i6ths. No. 274. ^NTAGLIO in light fard. Three female portrait heads. This fmgular gem is executed on a flat ftone of irregular fhape, apparently left as it was fawn from the pebble. The heads are arranged without any regard to fymmetry — one, of larger proportions than the other two, has a wreath of corn round the head and a pendant veil, and fomewhat refembles the buff of Li via in the character of Ceres. The two other heads, apparently of girls, are regardent and placed at right angles to the previous one. This Angular arrangement and the irregularity of the ftone, give the gem the appearance of a trial or work executed for practice. From the irregularity of the ftone and its fize, it can never have been fet. The ftyle of the work is rude yet characterftically antique (Roman work.) 1 in. by | in. No. 275. ?£ NTAGLIO in red fard. The god Pan holding an ear of corn in his hand. Roman work. n/i6ths by 8/i6ths. No. 276. NTAGLIO in aqua marina. A female figure in a walking attitude, clad in a mantle and carrying in her arms a fmall animal. An exquifite work of the Au- guftan period. The ftone, which is a mod beautiful one, is of unufual fhape, oblong with the corners rounded, and is facet cut o 2 8 4 VII.— ANTIQUE AND OTHER round the margin. The figure probably reprefents Diana returning from the chafe — the lithe and flender proportions of the goddefs of the chafe being clearly recognifable, although the entire defign is of very unufual type. § in. by | in. No. 277. NTAGLIO on nicolo. Venus drinking from a patera — near her, on the ground, is a vafe with a palm branch. Roman work. 7/i6ths by 6/i6ths. No. 278. NTAGLIO in aqua marina. Head of Auguftus ? wearing a crown of rays — of fine work. The maftive gold enamelled fetting is a beautiful fpecimen of Italian cinque-cento defign. The gem is probably of Afiatic-Greek origin, the crown of rays generally appearing on the Greek colonial coins of this emperor. n/i6ths by 9/i6ths. No. 279. NTAGLIO on red porphyry. A female imperial por- trait head wearing a veil or tiara — probably Livia. Roman work. This gem offers a rare inftance of the employ- ment of porphyry in the glyptic art. 1 i/i6ths by o/i6ths. No. 280. MALL CAMEO. Oriental onyx of three layers. A Capricorn of minute dimenfions furrounded by a raifed filet — the margin of the ftone widely bevelled. The Capricorn was adopted by Auguftus as his device or emblem, and was thereupon univerfally afte&ed by his numerous adherents. 1 ENGRAVED GEMS. 85 This gem is in all probability one of thefe ancient badges of partizanfhip. 8/i6ths by 7/i6ths. No. 281. NTAGLIO, on Oriental onyx of three layers. A comic a&or in a walking attitude, wearing a malk and holding a pedum or flafF in one hand. Roman work. § in. by 1 0/1 6ths. No. 282. INUTE INTAGLIO in red fard. A panther holding a thyrfus. Roman work, executed with great dexterity. This fubjecl: is a well-known dionyfiac fymbol or emblem of Bacchus. 4/i6ths by 3/i6ths. No. 283. NTAGLIO — pale fard, with a white band or ftripe acrofs the field. Conjoined portrait bufts of an emperor and emprefs, probably Claudius and Agrippina. Roman work. I in. by 1 i/i6ths. No. 284. HH NTAGLIO on deep golden fard. An imperial, laureated lllllj buff — apparently Claudius. Roman work. No. 285. NTAGLIO on fapphire. Imperial bufl portrait — Hadrian. The margin of the ftone and the reverfe elaborately facet cut. It is worthy of notice that facet cutting, which is of rare occurrence in antique gems, is generally confined to the aqua marina and the fapphire. In this example, 86 VII.— ANTIQUE AND OTHER contrary to the general cuftom, the engraving is very imperfectly polifhed. This is owing to the extreme hardnefs of the ftone. The head, which is well finifhed and mafterly in ftyle, muft have neceftitated great labour, and it is rare to find engravings on fap- phire carried to this degree of finifh. | in. by 6/i6ths. No. 286. NTAGLIO on aqua marina. Imperial buft portrait — Domitian? Spirited and beautiful Roman work. The gold fetting, enriched with black enamel, is an exquifite fpecimen of Italian cinque-cento art. 7/i6ths by 6/i6ths. No. 287. NTAGLIO on red fard, or cornelian. A portrait head, refembling the buft of Cicero. Roman work of good ftyle and period. | in. by 6/i6ths. No. 288. NTAGLIO, on Syrian garnet. Roman portrait head. This piece has confiderable refemblance to the preceding, and is probably an idealized portrait of Cicero. 9/i6ths .by 7/i6ths. No. 289. NTAGLIO in aqua marina. Buft of Harpocrates. Roman work. io/i6ths by 8/i6ths. No. 290. NTAGLIO, on cornelian. Head of Socrates. Roman work. 9/i6ths by 8/i6ths. ENGRAVED GEMS. 87 No. 291. jNTAGLIO on nicolo. A grotefque compofition of a human malk, a ram's head, a vulture or eagle, and an eagle devouring a ferpent. Compofitions of this nature, judging from the number and variety which have come down to us, mufh have been very popular with the Ancients. They are nearly always of the Roman period, and mould probably be regarded as enigmas or charades expreffing certain qualities pof- feffed or afFe&ed by the owner of the gem. They are varioufly termed in conventional nomenclature "chimera" u grylli" or u capricciT No. 292. NTAGLIO on red fard. Two Amorini in a boat, one rowing, the other fiming with a rod and line. A filh is fufpended at the prow of the boat. Early ? Roman ? work. 8/i6ths by 7/i6ths. No. 293. NTAGLIO in bloodftone. A dolphin or other marine animal. This gem is in its original antique bronze fetting. It is probably an early Chriftian reprefenta- tion ; the ftyle of the intaglio agreeing exactly with works of that period. The fifh, the dolphin in particular, was a well-known device of the early Chriftians, and is frequently found on en- graved ftones. io/i6ths by 8/i6ths. No. 294. CT AGONAL INTAGLIO on brown fard. Late Roman work. A chimera with a lion's head furrounded with rays. The lower part terminating in a ferpent or 88 VII. — ANTIQUE AND OTHER the body of a reptile furrounded with zodaical and other myftical figns. Above the head of the chimera are feveral obfcure Greek letters. This gem is the work of the Gnoftics, a feci: of heretics, who feceded from the early Chriftian church. Gems of this defcription were ufed as talifmans. i3/i6ths by 7/i6ths. No. 295. NTAGLIO on lapis-lazuli, in its original antique gold ring fetting. A Triton — the lower extremities formed by two fifties' tails ; holding in one hand a trident — in the other a peacock. Above his head is the fun or a ftar; beneath him, a crefcent or half moon. Like the preceding gem, probably of Gnoftic origin. 8/i6ths by 6/i6ths. No. 296. AMEO, in Oriental onyx of three layers. A veftal or mourner, clad in a dark mantle, is feated before a flaming tripod, and with one hand offers a libation with a patera and in the other holds a wreath. Near the tripod is a cippus with an urn. This mod beautiful cameo is figned, in minute Greek characters, PErA. The work, though conceived and executed entirely in the ftyle of the antique, is in all pro- bability the work of fome talented Italian artift of the laft century. i| in. by fin. No. 297. AMEO in jafp — onyx of two layers. Dancing faun with a lion's ikin and thyrfus. A fpirited work in the ftyle of the antique, probably of the laft century. 1^ in. by ENGRAVED GEMS. 89 No. 298. NTAGLIO on cornelian. An athlete anointing himfelf. Signed, AlOSinnfltE. A moft beautiful laft-century Italian engraving in the ftyle of the antique. i5/i6ths by 1 1/1 6ths. No. 299. ^NTAGLIO in cornelian. Chiron and Achilles. Signed, TPT4>ONOE EnOIEI— i.e., " The work of Tryphon." An Italian work of the beginning of the prefent century, in imitation of the antique. From the Poniatowfki Collection. 1 1 in. by £. No. 300. fNTAGLIO on cornelian. The Virgin and Child. In- fcribed with monograms in Greek, fignifying Marep deov, "Mother of God," and with the word XAIPE, or " Hail ! " Byzantine or mediaeval Greek work of uncertain date. i2/i6ths by io/i6ths. No. 301. NTAGLIO on Oriental onyx of three layers. In the centre of the ftone is a full-faced buft portrait of the youthful Auguftus ; on the left, Julius Csefar with the lituus or augur's rod ; and on the right, Marcus Agrippa with a vafe. Thefe are furrounded by a beautiful wide border of oak leaves and acorns, in which over the head of Auguftus is his fymbol the Capricorn, a globe, and horn of plenty. This rare and moft important gem is of fine work, and executed in a moft exquifite and precious onyx, the beautifully contrafting colours of 9° VII.— ANTIQUE AND OTHER which greatly add to the value and intereft of the work. This gem was evidently cut immediately after AugufiW attainment of power. i£ in. by i3/i6ths. (See engraving.) No. 302. v NTAGLIO on red fard. Othryades, who has funk upon the ground, writing the news of victory on his fhield with his own blood. Greek or early Roman work. This extraordinary compofition, offering almoft every technical difficulty of which the glyptic art is capable, was fre- quently repeated by the Ancients. The extreme depth of fome parts of the engraving is efpecially remarkable. n/i6ths by 7/1 6ths. No. 303. NTAGLIO on red fard. An aged faun is examining the wounded foot of a younger one. In the centre of the compofition is a column fupporting a vafe, and on either fide are two vines, the branches of which encircle the field of the gem. The exprefiion of the heads of the two figures is very admirable — the pain of the younger one, and the ferio-comic exprefiion of the elder being moil truthfully rendered. Roman work. i2/i6ths by 9/i6ths. (See engraving.) No. 304. NTAGLIO on ftriped brown fard. A galloping centaur with a bow and arrow. The fign Sagittarius. Early Roman work. 8/i6ths by 6/i6ths. ENGRAVED GEMS. 9 1 No. 305. MALL INTAGLIO on red fard. A fcorpion, two fifties, and two crabs — the figns, Scorpio, Cancer, and Pifces. Roman work of finiftied execution. y/i6ths by 6/i6ths. No. 306. NTAGLIO on red onyx of three layers, " en cabochon" IslSll Cybele in her car drawn by two elephants. Roman work. io/i6ths by 9/i6ths. No. 307. NTAGLIO on jacynth. Conjoined bulls of a bearded philofopher and a bacchante. Highly-finiftied Roman work. io/i6ths by 9/i6ths. No. 308. NTAGLIO on red fard. Head of Vefpafian. On one fide is an ear of corn, and underneath, the name " Vefp." Contemporaneous Roman work. n/i6ths by 9/i6ths. No. 309. j| MALL CAMEO in fardonyx of three layers. Winged buft of Cupid or Eros. Greek work. The expreffron of the head in this charming little gem is exquifitely true. io/i6ths by 6/i6ths. No. 3 10. AMEO AND INTAGLIO CONJOINED— mottled light red fard. This fmgular gem is probably a buckle or fibula complete in itfelf. The intaglio part confifts • 9 2 VII.— ANTIQUE AND OTHER of a large oval ftone flightly convex on the furface, engraved with a tree, from the branches of which two mafks are fufpended ; leaning againft the trunk of the tree is a pedum. At the back is attached a large tragic maik in full relief wrought in the mafs of the ftone and forming as it were a handle, which would enable the gem to be conveniently ufed as a feal. The mafk is hollowed out, and the eyes and mouth are pierced. It is not unlikely that the large aperture of the fhell-fhaped mouth of the maik was perforated in order to allow of a firing palling through, by which the wearer's mantle may have been faflened. The lower part of the field of the intaglio part is wanting. Roman work. Height of the' gem when complete, 1 1 in. ; width, i4/i6ths ; depth, from back to front, | in. No. 3 1 1. BLONG UPRIGHT PLAQUE in rock cryflal— en- graved in intaglio. The work of Valerio Vicentino. The fubjecT: of this engraving is uncertain. A draped and bearded figure probably a priefl or augur, is hTuing from a claflical portico, and prefenting an apple or other fruit to a figure in Roman military coflume, who is kneeling and receiving the fruit in a patera. Behind him are three other figures in Roman armour witneffmg the ceremony. Background of clalfical architecture. On a frieze is infcribed, in bold characters, " Valerius Vi — i 7 ." There can be little doubt but that this plaque was originally the panel of a calket, fuch as the famous ones defcribed by Vafari in his life of this artifl. Height, 3^ in. ; width, 2^ in. No. 312. NTAGLIO on red cornelian. Ideal laureated head, probably Apollo. The flight and hafly execution of this gem is redeemed by the exquifite beauty of the ENGRAVED GEMS. 93 type. The profile has fomething of an individualized character, and is full of elegance. Nothing can exceed the purity of outline and fkilful management of relief fhown in the features. The lips, nofe, and ear, though evidently executed with the utmofl hafle, reveal the practifed hand of a great matter, and the hair and wreath are merely indicated by coarfe rapid ftrokes of the tool. On the whole, the beauty difplayed in this trivial work is a remarkable evidence of the high flatus of ancient Greek Art. n/i6ths by 8/i6ths. No. 313. NTAGLIO on a beautiful parti-coloured fard. A nude figure with a lyre, &c, refembling an " Apollo Cytha- redus." Early Greek work. The figure, of youthful and fomewhat lengthy proportions, is feen in profile, and is (land- ing on tiptoe ; in one hand he holds a lyre, and in the other the pleclrum or finall flick with which the cords of the lyre were flruck. So far this gem agrees with an ufual Greek type of Apollo Cytharedus. From the waifl of the figure, however, a feries of fingular objects is fufpended, which would be rather the accompaniments of a dancer or mountebank than an Apollo : thefe are fix elongated appendages, apparently bladders, or intef- tines, tied up at the extremities ; they are evidently attached to a belt paffing round the waifl of the figure, and hang, three in front and three behind, reaching down almofl to the knee. It is probable that thefe appendages were a mufical contrivance, the inteflines being partly filled with fmall pebbles, which would caufe a rattling found with every movement of the figure. Height, n/i6ths; width, 5/i6ths. (See engraving.) 94 VII. — ANTIQUE AND OTHER No. 3 14. NTAGLIO on pale brown fard. A large fly or cicala, feen from the underfide or belly. Fine Roman work. io/i6ths by 9/i6ths. No. 315. NTAGLIO on nicolo. A (hepherd tending his flock. On the right, an aged, bearded man (lands leaning on his flaff or crook. Two ftieep lying down in the fore- ground, and behind them a third, browfmg. Roman work. 8/1 6ths by 7/1 6ths. No. 3 1 6. NTAGLIO — antique green opaque glafs pafte. Victory driving a biga. In the front of the field of the gem is placed an altar or modius. Minute and fpirited Roman work. 7/i6ths by 5/i6ths. No. 317. NTAGLIO on red fard. Grotefque compofition of three conjoined heads of animals — viz., of a bull, a ram with two ears of corn in its mouth, and a hare. Deeply-cut, early Roman work. 7/i6ths by 6/i6ths. No. 318. INUTE INTAGLIO. Buft of Jupiter Serapis, wearing on his head the modius or corn meafure. Oriental onyx, the margin of the ftone widely fplayed or bevelled. Roman work. 5/i6ths by 4/i 6ths. r ENGRAVED CxEMS. 95 No. 319. NTAGLIO on brown fard. Head of a youth wearing a chain or necklace. This gem evidently belongs to the clafs of Roman portrait intagli. There is no clue to the perfon- age reprefented. 6/i6ths by 4/i6ths. No. 320. NTAGLIO on red fard. Roman bufl portrait. Perfon- age unknown. This characteriflic head is probably of the Auguftan period; it has confiderable refemblance to that of Julius Caefar, but the emblems which ufually accom- pany the portraits of Caefar are wanting, and the refemblance is on the whole too uncertain to warrant a decided attribution. o/i6ths by 6/i6ths. No. 321. NTAGLIO on red fard. Daedalus fabricating wings for Icarus. Daedalus, reprefented as an aged man, is feated on a circular ftool or cippus, with a table before him, fupporting a large wing, which he is manipulating with a tool. Behind the figure, in the field of the gem, are the initials " C. A." (probably thofe of the original owner). This fubjecl: has been noted as a favourite glyptic reprefentation ; it is, however, a rare and inter efting one. The gem is mofl probably of early Roman work. 5/i6ths by 4/i6ths. No. 322. MALL CABOCHON INTAGLIO on plafma. In the centre of the ftone is a (landing figure of a Mufe, lean- ing on a column or cippus. In one hand {he holds a 96 VII. — ANTIQUE AND OTHER malk, and in the other a wand or fpear, with which (lie touches or points to a buckler on the ground, near her feet. Behind her, Cupid, or a winged genius, holds up an olive branch, and in front ftands a nude male figure, holding a cornucopia in one hand and in the other a patera, with which he appears to be offering a libation to the Mufe. Roman work. 5/i6ths by 4/i6ths. No. 323. NTAGLIO on pale fard — the ftone fquare, with the corners rounded. A female profile mafk of tragic or heroic character. Greek or Greco-Roman. Of expeditious but very artiftic work. 5/i6ths by 4/i6ths. No. 324. jlAMEO in precious fardonyx of three layers. The Virgin and Child feated under a rich "gothic" canopy. Highly finifhed work, probably German or Flemilh. Circa 1490. This fplendid cameo is one of the few fpecimens extant of mediasval glyptic art. It was formerly fet on the fummit of the cover of the jewelled cup, No. 656 in this Collection, where it had been for at leaft two hundred years ; originally, however, it was moft likely fet as a pendent jewel. The ftone is the fined antique fardonyx, and probably originally had a Greek or Roman engraving, which was effaced to admit of the prefent reprefentation. 1 1 in. by 1 . (See engraving.) No. 325. SMALL ONYX CAMEO of two layers. Roman work. S? Head of the young Hercules ; the nofe fractured. ENGRAVED GEMS. 97 No. 326. gpNT AGLIO on cornelian. Head of Omphale, clad in the llpjli nebris or lion's ikin of Hercules. A beautiful gem, of fine Greco-Roman work, of the Auguftan period. 1 in. by 1 i/i6ths. No. 327. ;|EAD OF APOLLO, crowned with a myrtle wreath. Intaglio on a deep, brown red fard. This exquifite little gem is of the very higheft ftyle of Greek glyptic art. It is undoubtedly by one of the great antique artifts. The execution is finiftied to the utmoft point of elaboration, and yet with a freedom and decifion of manipulation, which is little lefs than miraculous. The ftone is of great beauty and rarity. | in. by § in. No. 328. )ABOCHON INTAGLIO on fine dark brown fard. A (landing draped figure leaning againft a column, hold- ing up two ears of corn in one hand, and one in the other hand hanging downwards. Doubtlefs the Goddefs or Genius of Abundance. Fine Roman work. | in. by 5/i6ths. No. 329. vNTAGLIO on dark hair-brown fard. Upright oblong s> or fquare, with the corners rounded. Early Greek or Etrufcan work of unufual delicacy. Hercules feated on a rock, his head leaning on his hand, the other hand refting on his club. In front, three circular objects with a ribbon or filet hanging from them, or elfe the (talk or branch of a tree. Around the head of the figure, following the fhape of the ftone, is an infcription of fix letters in ancient Greek or Etrufcan cha- racters, the import of which is not certain. It is pofiible that the three circular objects to the right may reprefent the golden apples H 98 VII.— ANTIQUE AND OTHER of the Hefperides, in which cafe, the fubjecl: of the gem would be Hercules repofing after he had fucceeded in obtaining the coveted fruit. The ftone is furrounded by the ufual early ftriated border. | in. by 7/i6ths. No. 330. INUTE INTAGLIO on red fard. A draped female figure feated on an ear of corn. This truly wonderful little gem muft have been engraved almoft entirely with the point of the diamond ; the figure, though not more than one- eighth of an inch high, is exquifitely finiihed and full of beauty. Gems of this extreme minutenefs are of great rarity, and were evidently " tours de force" of the glyptic art Roman period. $/32nds by \ in. No. 331. AMEO in very high relief. Buft of a female holding a tragic mafk in her hand. Probably the Mufe Thalia. Roman work. Fine fardonyx of two layers. ^ in. by J in. No. 332. AMEO in low relief. A half draped nymph feated on a rock. Perhaps a fragment of a larger compofition, reduced to an oval fhape in recent times. Sardonyx of two ftrata. 9/i6ths by 6/i6ths. No -333- NTAGLIO. Nude walking figure of Omphale, carrying the club of Hercules — the lion's ikin thrown over her moulders. Fine Roman work on red fard. f in. by | in. No. 334. NTAGLIO. Head of JEfculapius. A fplendid Greco- Roman gem. Red fard. f in. by f in. ENGRAVED GEMS. 99 SgNTAGLIO. WvM ftriped fard. No - 335- The Three Graces, f in. by f in. Roman work on No. 336. NTAGLIO. "Gryllus" compofed of a full-faced portrait head of a young man, to which two other heads in profile, apparently of philofophers, are conjoined ; over the head of the young man are the head and wing of an eagle, and beneath his neck, forming the buft, are a lion's and a ram's head conjoined. In the field of the gem is a lyre, the club of Hercules, and a trident, round which a ferpent is twined. Roman work. Splendid brown fard. 1 in. by f in. No. 337. NTAGLIO. Portrait head, fomewhat refembling Maecenas. A fine Roman portrait gem. Unfortunately the ftone (originally a red fard ?) has been fpoilt by the action of fire. |J in. by | in. No. 338. NTAGLIO. Vulcan feated on a chair, with a hammer in his hand ; before him a pillar trophy of arms. Roman work, on a beautiful cornelian. J in. by § in. No. 339. * NTAGLIO. Head of Priam. Onyx or chalcidony. Fine Roman work. 1^ in. by | in. h 2 VII.— ANTIQUE AND OTHER No. 340. AMEO. Head of Minerva, wearing a helmet with a high ^(g/M^ plume or creft. Splendid fardonyx of two layers. This lM§li^ magnificent gem was found in Sicily ; it is of the pureft Greek work. The upper or cacholong layer of the ftone has unfor- tunately {lightly fuffered from fire. Height, i-9/x6ths; width, 1 1 in. (See engraving.) No* 341. SpAMEO. Head or buft of Ariadne. Over the fhoulder is thrown the fldn of a faun, and the hair is bound with a filet of ivy. Sardonyx of three layers. Although compofed in the fpirit of the antique, this cameo is moft likely an Italian work of the feventeenth or eighteenth century. Height, 1 1 in. ; width, i| in. No. 342. 'I AMEO. A bearded male head, wearing a hood and a wreath of olive leaves. Onyx of two layers. Roman Height, i-3/i6ths; width, | in. No. 343. IjAMEO. Laureated head of Auguftus. A fragment. ' (The upper part of the ftone only, containing the head ; the lower part with the neck and buft broken away.) Coarle white onyx of two ftrata. A contemporary work of very ftriking character; the workmanfhip precife and mafterly but flight, the cameo having probably never been entirely terminated. When complete, this cameo muft have meafured nearly 3 inches ENGRAVED GEMS. 101 high by 2 inches wide. Somewhat more than half of the ftone only remains. Purchafed in Rome in 1859. No. 344. ^ AMEO. Bacchus, a {landing nude figure, embracing a draped Ariadne. This group is compofed fomewhat in the ftyle of the Cupid and Pfyche of the Capitol. Roman work. Onyx of two layers — the lower one colourlefs and tranfparent. Height, if in. ; width, 1 i/i6th. No. 345. |pAMEO. A nude figure of a nymph or bacchante in an elegant walking attitude, holding in the left hand a bunch of grapes ; the head upturned, flanked on each fide by a large lily or other flower growing erecl: on a fhort ftem, and nearly equal in height to the figure. Onyx of two layers — the ground black and opaque, the upper layer brownilh white and femi-tranfparent. Roman work. Height, 1^ in. ; width, 1 in. (See engraving.) No. 346. jAMEO. Bull: portrait of a Roman youth. Splendid fardonyx of two layers— the lower one fine tranfparent brown fard, the upper one of pure white cacholong. The head, entirely worked in the white ftratum, is in very high relief. Found in Sicily. Height, i| in. ; width, 1 in. (See engraving.) No. 347. ARGE CIRCULAR CAMEO. A lion's head in high relief, the margin of the ftone furrounded by a raifed border of egg-and-tongue moulding. This important io2 VII. -ANTIQUE AND OTHER cameo is carved in the moft precious Oriental fardonyx of three ftrata, and is 3| inches in diameter. It is of bold and ftriking Roman work, and was probably a bofs or ornament of a horfe trapping. Purchafed in Rome in 1859. No. 348. RAND CAMEO. Heftor reproving Paris. Com- pofition of five figures in high relief. Antique onyx of two ftrata — the lower one of tranfparent chalcidony. Length, 4 J in. ; height, 2| in. Both the material and the ftyle of art difplayed in this important cameo are apparently antique (of the Roman Imperial period). The fubje6t, it is true, has feldom or never been found in ancient glyptic art, and is therefore oftenfibly fuggeftive of a recent origin. The internal evidence of the work itfelf is, however, entitled to more weight than this {ingle facl: of the rarity of the fubjecl: portrayed. The cameo, in any cafe a work of very great value, is faid to have been found in Sicily. Acquired in Genoa, in 1859, from the reprefentatives of a Neapolitan prince then an exile. (See en- graving.) No. 349. RAGMENT OF A LARGE CAMEO OR BAS RELIEF in onyx. A horfe's head in high relief; near it a bundle of lienors' rods, the {hafts of two fpears, &c. Roman work. This remarkable fragment is apparently a portion of a fquare tablet relievo, which, judging from the proportions of the horfe, cannot have been lefs than a foot fquare, and may have been much larger. The compofition of which it formed part was apparently a procefiion or triumph of an emperor or conful ; from the arrangement of the bridle the ENGRAVED GEMS. horfe would appear to have had a rider rather than to have been yoked to a chariot. The fragment is of irregular triangular fliape, its largeft dimenfions being 3J in. by 3J in., and, mea- fured diagonally, 4 J in. The material, of one ftrata only, has been fubje&ed to the action of fire, and has alfo apparently lain in the ground in contact with fome bronze object, which has com - municated a green (lain to the (tone. No. 350. AMEO. Buft portrait of the Monk Savonarola. Contemporary Florentine work, identical in defign, and probably by the fame hand as the well known intaglio in the Collection of the Uffizj. As a cameo of moft beautiful workmanmip and fine material, it is a work of greater importance than the gem alluded to. Purchafed in Florence in 1859. Oriental fard, pommele of two bluifli white layers. Height, 1 1 in. ; width, i| in (See engraving.) No. 351. ffgUST in full relief ("ronde boffe") of Cupid or the infant sMIaf Bacchus, in femi-tranfparent bluifh chalcidony. (From the Hertz Collection.) Height, 3! in. No. 352. lUST OF THE EMPRESS JULIA. The margin of the ftone furrounded by a raifed filet. An exquifite and moft highly-finifhed contemporary Roman cameo. Sardonyx of three layers. (Hertz Collection.) Height, 1 - 1/1 6th • width, I in. 104 VII. -ANTIQUE AND OTHER No - 353- NTAGLIO. Buft of Ariadne. A fplendid engraving on Oriental onyx of two layers. This beautiful gem has unfortunately been expofed to the a&ion of fire. Purchafed in Rome in 1859. Height, i| in. ; width, i£ in. No. 354. DRAPED FEMALE FIGURE carrying a bowl or patera. Perhaps the veftal virgin, Tuccia, carrying water from the Tiber in a fieve. Onyx of two layers. Height, ^ in. ; width, I in. No - 355- WO REGARDANT COMIC MASKS OF FAUNS OR SATYRS. Cameo, in onyx of two layers. Length, 1 in. j height, 9/i6ths. No. 356. ULL FACED BUST OF CUPID. An exquifite Roman work. Cameo, onyx of two layers. Height, 9/i6ths ; width, | in. No. 357. EAD OF THE YOUNG TIBERIUS. An admirable contemporary Roman work. Cameo in fardonyx of two layers. Purchafed in Rome, 1859. Height, f in. ; width, | in. ENGRAVED GEMS. No. 358. S^^IANA LUCIFER A in a walking attitude, elaborately flllli draped, with torches in her hands ; the lower part of the {tone wanting. Cameo, onyx of two layers. Roman work. Height, 1 in. ; width, | in. No. 359. EAD OF A NYMPH OR ARIADNE? Greek work in low relief, the lower part of the (lone wanting. Cameo in fardonyx of two layers, found in Sicily. Height, J in. ; width, J in. No. 360. ~ EAD OF ANTINOUS. Cameo. Onyx chalcidony of two layers. Roman work. Height, 1 in. ; width, i3/i6ths. No. 361. YOUNG BULLOCK. Cameo. Oriental onyx pommele of two ftrata, the lower one femi-opaque white, the upper one, in which the animal is fculptured, of a warm tranfparent yellow brown colour. Roman work. Length, I in. ; height, g in. No. 362. ENTAUR carrying a young fir-tree over his moulder, and holding in the other hand a cup or cantharos, which he is lifting to his lips. Cameo. Oriental fardonyx pommele of two ftrata, the lower one tranfparent and colourlefs, the upper one opaque pure white cacholong. Roman. Length, i3/i6ths; height, n/i6ths. io6 VII. — ANTIQUE AND OTHER No. 363. ULL-FACED COMIC MASK. The head bald, the mouth fhell-fhaped. Cameo. Sardonyx of two ftrata. Roman. Height, § in. ; width, ± in. No. 364. *|AUN SEATED. Near him a tree, on which is fuf- pended a Pan's pipe. Cameo, fardonyx of two layers. Roman work. The figure beautifully drawn and modelled, and vigoroufly executed in mezzo-relievo. Length, J in. ; height, § in. No. 365. UPID SEATED— his foot caught in a trap. Cameo, pale or light-coloured onyx of two layers. Roman work. Length, f in. ; height, ^ in. No. 366. |W| INUTE CAMEO - A ram ' s head - Oriental fardonyx B&3l of three ftrata. Roman work. Length 5/i6ths; height, I in. No. 367. BALD-HEADED AND BEARDED COMIC MASK. Cameo, pale onyx of two layers. Height, § in. ; width, 3/i6ths. Roman work. No. 368. AMEO. A raven or other bird perched in the branches of a tree, a fwan {landing beneath. Cameo. Oriental fardonyx of two ftrata. Length, f in. ; height, | in. ENGRAVED GEMS. 107 No. 369. ERCULES DRAGGING FORTH CERBERUS 1 FROM THE MOUTH OF A ROCKY CAVE. Pale onyx of two ftrata. Cameo. Roman work. Length, I in. ; height, g in. No. 370. ^fAMEO. On the left of the ftone is a butterfly hovering over the mouth of a two-handled crater or cantharos; on the right, a comic ftiell-fhaped malk, pofed on a Pan's pipe, which ferves as a pedeftal. Betwixt thefe emblems are two flutes, crofted at an acute angle. Roman work. Pale onyx of two ftrata. Length, n/i6ths; height, 9/1 6ths. No. 371. |||| UPID STANDING, holding a large bearded comic maik, An exquifitely fpirited work on a fmall fcale. Cameo in pale onyx. Height, | in. ; width, 5/i6ths. No. 372. fliil UPID, his hands raifed towards a butterfly. The lower 88Jb part of the ftone wanting. Cameo. Roman work. Sardonyx of two layers. Height, 9/i6ths; width, | in. No. 373 K3£ I HE fame fubjec*t as the preceding, the lower part of the i ftone alfo wanting. Cameo. Roman work. Sardonyx of two layers. Height, 5/i6ths; width, 7/i6ths. io 8 VII. — ANTIQUE AND OTHER No. 374. g|MALL CAMEO. A quail. The ground of the ftone is white cacholong. The upper, layer in which the bird is fculptured is reddifti, mottled with white and black, the accidental markings of the ftone being made available to Emu- late the plumage of the bird. Roman work. Diam., § in. No. 375. SYREN, in a walking attitude, playing on the lyre. Cameo in onyx, the lower ftratum white or flefti- coloured cacholong; the upper one orange red, and flefh colour. The human head and body of the fyren are fkilfully fculptured in the flefh-coloured portion of the ftone, whilft the wings, legs, and the lyre are in the orange-red tint. Roman work. Height, fin. ; width, 7/i6ths. No. 376. I!® WO QUAILS OR PARTRIDGES AND A TREE. Cameo, onyx of two layers, the lower one opaque white cacholong ; the upper, in which the birds are executed, dark hair brown. Roman. Height, 5/1 6ths ; width, § in. • No - 377- ASE OR BASKET OF FRUIT. Cameo, pale far- donyx of two layers. Height, 7/i6ths ; width, 7/i6ths. No. 378. AN or a fatyr, in a walking attitude, holding a ftaff or thyrfus. Cameo, pale fardonyx of two layers. Roman work. Height, 9/i6ths ; width, | in. ENGRAVED GEMS. No. 379. |ffi|lNUTE CAMEO. A tragic malic in profile, nicolo. eJli Height, I in. ; width, 3/i6ths. No. 380. 'INUTE CAMEO. Grotefque or caricature head of a bearded, bald-pated man. Onyx of three ftrata, the ground white cacholong ; the fecond layer brilliant orange red ; the upper ftrata greyiih or flefh-coloured. The hair and beard ikilfully wrought in the grey upper layer. Roman. Height, | in. , width, 3/i6ths. No. 381. 1NUTE CAMEO. Cupid feated playing on a lyre. Cornelian of two ftrata, the upper one, in which the figure is fculptured, in very low relief, produced by fuperficially burning the ftone, fo as to give a thin layer of opaque white, in imitation of cacholong. Roman work. Width, § in. ; height, J in. No. 382. ^^^ROFILE HEAD OR BUST OF THE YOUNG ^% HERCULES, the fhoulder bound round with the 1 'jl nebris or lion s fkin. A highly finifhed Roman cameo, in beautiful Oriental onyx of three ftrata. Height, 9/i6ths; width, I in. No. 383. §p|| ROFILE BUST PORTRAIT OF A YOUNG MAN. Roman work of the Auguftan period. Cameo in I IO VII. — ANTIQUE AND OTHER fine Oriental fardonyx of two layers. Height, f in.; width, No. 384. ROFILE HEAD OF AN UNKNOWN ROMAN LADY, probably an emprefs. A beautiful Roman portrait cameo, pale onyx of two layers. Height, | in. ; width, -| in. (See engraving.) No. 385. ROFILE PORTRAIT OF A ROMAN LADY. A fine Roman portrait cameo, pale onyx of two ftrata. Height, £ in. ; width, -| in. (See engraving.) No. 386. ROFILE PORTRAIT OF A ROMAN LADY. Cameo in fardonyx of two layers. Height, f in. ; width, -| in. (See engraving.) No. 387. AUREATED HEAD OF AN EMPEROR. Cameo. Splendid Oriental onyx of three layers, the lower part of the ftone wanting. Height, £ in. ; width, n/i6ths. No. 388. INUTE CAMEO, a hippopotamus attacking a crocodile. Onyx of two layers, the lower one tranfparent, the upper one dark greyifh brown, fimulating the colour of the animals. A moft truthful and remarkable work. Length, I in. ; height, J in. (See engraving.) ENGRAVED GEMS. m No. 389. % ULL-FACED LAUREATED BUST, in full relief, of i a bearded man, apparently an heroic perfonage. Cameo in chalcidony, the nofe fractured. A Roman work of the Au- guftan? period. Height 1 in.; width, n/i6ths. No. 390. UST PORTRAIT OF A YOUNG ROMAN, fome- what refembling the portrait of Virgil. A highly finiftied cameo in pale onyx of two ftrata. Height, ^ in. ; width, 9/i6ths. No. 391. |^SaRSYAS bound to a tree. Onyx of two ftrata. A IM^k beautiful Italian cinque-cento work in the ftyle of the antique. Height, 1 in. ; width, § in. No. 392. I WO AMORINI, one playing the lyre, the other with an inverted torch. The compofition is furrounded with a fingular raifed border following the fhape of the ftone. Cameo, pale onyx or chalcidony of two ftrata. Height, | in. ; width, 9/1 6ths. (See engraving.) No. 393. OMPOSITION OF THREE FIGURES. In the centre a warrior, armed with fword and fhield, has funk down on his knees, as if wounded, whilft two other warriors are fuftaining him, and apparently exhorting him to make I 12 VII. — ANTIQUE AND OTHER an effort to raife himfelf again. Cameo. Roman work in fard- onyx of two layers. Length, f in. ; height, f in. No. 394. INUTE INTAGLIO. Buft of a philofopher, fcratched or engraved in outline on a cornelian, the furface of which has been blanched by fire. Roman work. Height, 5/i6ths; width, 3/i6ths. No. 395. AMEO. A Greek infcription, as follows : — nAAAAAI " Palladius ETTTXI profper METAEIE POKAIHE with Hieroclea. Nicolo, in a filver fetting of the Italian cinque- cento period. Length, § in. ; height, -§ in. No. 396. ^^^AMEO. A maflive olive wreath tied with a ribbon. tSSilk Within it, clafped hands, a firing of pearls and the in- fcription OMONOAO — i.e n u Concord." A circular onyx of two layers. Diam., 1 in. No. 397. ®LASPED HANDS, with the infcription OMONOAO— " Concord" — above. Onyx of two layers. No. 398. AMEO. A two-handled bulbed-fhaped urn or vafe. Oriental onyx of two flrata (brilliant black and bluifh white cacholong), in its original antique gold locket ENGRAVED GEMS. fetting. The margin furrounded by a twifted cable filet in gold wire. Height, i in. ; width, f in No. 399- AMEO. A ftar-fhaped rofette. Red fard, the furface or upper layer blanched artificially. Roman. Length, i in. ; height, § in. I No. 400 (a). iRAGMENT OF A COMPOSITION. A nude vj female reclining on a couch is apparently converting- s' with a warrior whofe legs and a portion of his Ihield only remain. Fragment of a large cameo in pale onyx of two layers. Roman work. When complete this cameo mufl have been upwards of two inches long. Length of the fragment, 1 1 in. ; height, | in. No. 401 (a). fplff EAD OF HADRIAN. Intaglio, red lard. Height, IBS I in. ; width, | in. No. 402 (a). IB ROMAN PORTRAIT HEAD, probably Maecenas. 1 Intaglio in red fard. Height, J in. ; width, | in. No. 403 (a). m NT AGLIO on a circular difc of beautiful fafciated fard- mm ISHly onyx. A nereid riding on a dolphin. Diam., | in 1 "'" A{ on w M ni 'Vi ir 1 nnmff on •;> nninmn s 11 vim I 114 VII. — ANTIQUE AND OTHER No. 404 (a). SSYRIAN CYLINDER, engraved with various figures and three zones of cuneiform. A fplendid fpecimen in ftriped fardonyx, defcribed in the Hertz catalogue as " A man {landing adoring a deity, who holds a fword; be- tween them two men holding vafes and bafkets, and three lines of curfive Babylonian cuneiform ; the name of the pofTeffor and addrefs to the deity." Length, i| in. ; diam., 9/i6ths. No. 405 (a). EAD OF AUGUSTUS? Cameo. Sardonyx of two ftrata. Height, 1^ in.; width, i5/i6ths. From Lord Northwick's Collection. No. 406 (a). UST OF VENUS OR AMPHITRITE ? The breaft and flioulders elegantly draped ; in the field of the gem a wand, round which is coiled a final 1 dol- phin. Cameo. Sardonyx of three ftrata. Height, n/i6ths; width, -§ in (From Lord Northwick's Collection.) No. 407 (a). ULL-FACED LAUREATED BUST OF AN EMPEROR in high relief, probably Auguftus ; the neck and lower part of the gem wanting. Cameo. Onyx of two layers. Size of the fragment, height, § in. ; width, I in. From the Northwick Collection. No. 408 (a). l|§jj ROMAN PORTRAIT HEAD OF A MAN, executed in high relief, the features having fome refem- ENGRAVED GEMS. blance to a negro's. Cameo in onyx or nicolo. Height, § in. ; width, | in. From Lord Northwick's Collection. (See engraving.) No. 409 (a). CONSUL OR EMPEROR, feated on a rock, being crowned by Victory. At his feet fits a female in an attitude of grief, typical of a conquered province, and behind her Hands a trophy of arms. Roman work. Cameo, pale onyx of two flrata. Length, if in.; height, | in. From Lord Northwick's Collection. No. 410 (a). |I EATED FAUN. Oriental onyx of four flrata. Intaglio m Height I in.; width, | in. From Lord Northwick's Collection. No. 41 1 (a). NTAGLIO. Hector reproving Paris in the prefence of Helen. Oriental onyx of two layers, the lower one femi-tranfparent, the upper one dark hair brown. This fine intaglio, although in a material which, from its beauty and rarity, mould be decidedly clafTed as antique, is neverthelefs to all appearance a modern Italian work of the laft century. Length, 3! in. ; height, 2% in. From Lord Northwick's Collection. No. 412 (a). ARS AND VENUS AND A SATYR playing the Pan's pipes. An Italian feventeenth century work. Cameo, onyx of two layers. Height, | in. ; width, f in. 1 2 1 1 6 VII — ANTIQUE AND OTHER No. 413 (a). 9^pUPID SEATED ON A COUCH, holding a large ilSIS: comic mafk, underneath it a pedum. Cameo, onyx of two layers. Roman work. Length, | in. ; height, ^ in. No. 414 (a). |^|INUTE CAMEO. Victory driving a biga. Oriental A ^fey onyx of two layers, or nicolo. Moft fpirited work. (From the Hertz Collection.) Length, g in.; height, | in. No. 415 (a). MAN SACRIFICING A RAM AT AN ALTAR, ^f§Nck at w h* cn ft an( is a woman, with a mafk: in her hand, f^lSS^S brewing barleycorns into the flames ; behind her Silenus playing on the double flute. Cameo. Sardonyx of brown and white ftrata. Width, 7/i6ths ; height, 5/i6ths. (Hertz Collection.) No. 416 (a). IIP HE DRUNKEN SILENUS LEANING ON A l&i YOUTHFUL FAUN, whofe neck he clafps with one arm ; beneath is a flute. A fplendid Roman cameo. Sardonyx of two ftrata. Height, in, ; width, § in. Flertz Collection. (See engraving.) No. 417 (a). »EAD OF HERCULES. A fplendid gem on fine g^l> jacynth. Intaglio. From the Hertz Collection. Height, 1 1 in. ; width, J in. I ENGRAVED GEMS. No. 4 1 8 (a). ^^fgp^NTAGLIO. Head of Vulcan wearing the pileus ; |8? ^ behind it, in the field, a hammer. Infcribed, EOAONOS l^fefS ("Solonos"). Nicolo. From the Hertz Collection. Height, | in. ; width, n/i6ths. There can be little doubt but that this fine gem is actually from the hand of the celebrated antique gem-engraver whofe name is affixed to it. No. 419 (a). WM EAD OF DOMITIA. A fine engraving on nicolo. ifS Intaglio. Hertz Collection. Height, | in. ; width, § in. No. 420 (a). AMEO. Head of an Egyptian queen or goddefs. Oriental onyx of two layers, the lower one white cacholong — the upper one, in which the head is exe- cuted, dark brown. A beautiful Greco-Roman work. From the Hertz Collection; defcribed in the catalogue as a u Head of Cleopatra." Height, £ in. ; width, ^ in. No. 42 1 (a). PjH NTAGLIO. Standing figure of a Perfian king holding a flower in one hand. Splendid Oriental onyx of three layers. Height, if in. ; width, | in. No. 422 (a): |g|UPID SEATED, having the head of a bull, iinging to the lyre ; behind him a club, on which Pfyche, in the VII. — ANTIQUE AND OTHER form of a butterfly, is retting. Intaglio in ftriped fardonyx. Roman work. Height, 7/i6ths; width, 5/i6ths. No. 423 (a). AMEO. "Eros" (Cupid) winged at the heels, carries in his right hand the thunderbolt of Jupiter : in his left the cornucopia of Pluto; on his head is the modius furrounded by the rays of Helios. A Pantheiftical reprefentation. On the reverfe of the ftone is engraved in intaglio Dionyfos (Bacchus) with the fceptre in his right hand, and an apple in his left, perhaps in allufion to the pomegranate of Proferpine. A mod beautiful highly-finiftied Roman gem. Sardonyx of brown and white ftrata. Height, -| in.; width, | in. (See engraving.) No 424 (a). jNTAGLIO, in its origina 1 antique Roman gold fetting, which, befides the engraved gem, is enriched with two fmall cabochon garnets. The ftone is a remarkable ftriped or fafciated cornelian. The engraving reprefents various emblems ; in the centre is a fignet-ring, within the hoop of which is a rabbit, above it a figure drawing a quadriga. On the left is a head or buft wearing a helmet ; on the right a circular difc or patera, at the bottom a graffhopper, and alfo the initials " C. N." Roman work. No. 425 (a). AMEO in nicolo. A Greek infcription, fet in an antique gold ring. The infcription is — ETTXI " Profper ETXEBI Eufebius." ENGRAVED GEMS. 119 No. 426 (a). AMEO. A fragment of a large and interefting com- petition. The piece, probably about half of the ftone, contains three figures and part of a fourth. The fubject reprefented is the Phrygians binding the fleeping Bacchus. A highly-finifhed Roman work in high relief, in pale onyx of two ftrata. Size of the fragment: height, i~3/i6ths; width, | in. (See engraving.) No. 427 (a). IHeAD AND NECK OF AN ASS, with a bell tied iSlll round its neck, an ear of corn in its mouth. Intaglio, red fard. Length, § in. ; height, 5/i6ths. No. 428 (a). EAD OF AN EAGLE. Intaglio on fine banded fard. The (lone circular, and " en cabochon" Diam., 7/i6ths. No. 429 (a). ||||lOMEDES AND ULYSSES mangling the body of (IfeS Dolon. A fine early Greek or Etrufcan intaglio in red fard, with a ftriated border. Height, § in. ; width, 7/i6ths. No. 430 (a). ARRIOR kneeling on one knee (feen in front, the legs forefliortened). He has a fliield on the right arm, and holds a ftone, which he feems to have picked up from the ground, in the other hand. In the field of the gem is a curious mark or monogram. Greek work. Intaglio, on pale brownifli yellow fard. Height, f in. ; width, 9/i6ths. I 20 VII. — ANTIQUE AND OTHER No. 43 1 (a). LYSSES AND HIS DOG. In the field of the gem '3 two palm branches. Intaglio on beautiful red fard. Greek or early Roman work. Height, § in. ; width, 5/i6ths. No. 432 (a). g|RAPED FEMALE FIGURE, holding a ftaff or % fceptre, feated on a car. On her lap is a nude male figure, feated or reclining. Probably Ceres and Trip- tolemus. In front a draped female yoked to the car. Cameo. Roman work. Pale onyx of two layers. Height, -| in. ; width, 9/i6ths. It No - 433 ( a > AMEO. Fragment, the upper part of a female laureated head of grand character (broken acrofs underneath the mouth). Sardonyx of three ftrata. Greek work. Size of cameo when complete about i| in. by i| in. No. 434 (a). ||§f RAGMENT OF A HEAD OR BUST OF LIVIA, HSi fulhfaced, in high relief. Cameo in plafma. Fine contemporary work — the ftone hollowed at the back. Size when complete about 1^ in. by 1 J in. No - 435 ( a > ®6§ AMEO, fragment. A female idealized head, the lower part of the ftone broken away. Greek work. Onyx of two ftrata. Size of ftone when complete, height, 1^ in.; width, I in. ENGRAVED GEMS. I 2 I No. 43 6 (a). |l RAGMENT. A male bearded head, the front part or face only, and part of the neck. Roman work. A portion of a cameo probably about 2^ in. high, by if in. wide, when complete. No. 437 (a). |^^{ AMEO. Fragment of a head of the young Bacchus. Onyx of black and white flrata. Height when complete, 1 1 in. ; width, J in. No. 438 (a). IRAGMENT OF A HIGHLY-FINISHED MALE ROMAN PORTRAIT HEAD. The margin of the ©Jj§feo flone furrounded by a raifed border or wreath of olive leaves. At the back of the (lone is a fketch of another head. Cameo, in fine Oriental onyx of feveral flrata. Size when com- plete : height, 1 J in. ; width, 1 in. No. 439 (a), RAGMENT. A cow ruckling a calf. Cameo, in onyx ^§§5 of two flrata. Length when complete, 1 in. ; height, fin- No. 440 (a). fragment. A lion in a walking attitude. ^ Oriental onyx of two flrata — the ground bluifh opaque K white cacholong ; the upper layer, in which the animal is executed, brilliant orange red. When complete — length, 1 in. ; height, I in. i22 VII. — ANTIQUE AND OTHER No. 441 (a). lllll A ^EO, fragment. A lion in a walking attitude. The $S§Ss- margin of the ftone furrounded by a raifed filet or border. Pale onyx of two layers. Length when complete, i| in. ; height, § in. No. 442 (a). RAGMENT. The hind part of a lion. Splendid Oriental onyx of white and black ftrata. This cameo, when complete, muft have meafured nearly 4 in. long by 3 high. No. 443 (a). ORSO OF A BACCHANTE, lightly draped. Onyx of two layers. Fragment of a cameo of about 1 J in. high by 1 1 in. wide. No. 444 (a). ORTION (the aegis with the Medufa's head) of a grand cameo buft of Minerva. Splendid Oriental onyx of three (?) layers. This cameo when complete probably meafured 2 1 in, or 3 in, high, by 2 in. or 2^ in. wide. No. 445 (a). tMALL FRAGMENT OF A LARGE IMPERIAL PORTRAIT CAMEO— (a portion of the hair, with jjjjjffi?. laurel wreath, and two points of a rayed crown or diadem). Onyx of two ftrata. This cameo when intact muft have been 5 or 6 in. high, and proportionately wide. ENGRAVED GEMS. 123 No. 446 (a). AMEO, fragment of a buft of Minerva (the ftioulders, over which are thrown the aegis, and part of the neck only). A fragment of a fuperb cameo, in fine Oriental onyx of three or four ftrata. When complete, it muft have been about 1 § in. high by i|- in. wide. No. 447 (a). |||| ROUCHING VENUS. Cameo fragment in pale onyx of two ftrata. When complete, about 1 in. long by | in. high. (About one- third of the ftone only remains.) No. 448 (a). ENUS ? OR PSYCHE ? in a crouching attitude. Near her an Amorino leaning on a torch. A portion of an- other Amorino with uplifted hands, and a branch of a tree. Cameo fragment in pale onyx of two layers. The ftone, which is nearly fquare, would meafure when complete about 1^ in. long by \\ in. high. No. 449 (a). AMEO, fragment. (About one-third only of the ftone.) A female femi-draped figure feated on a rock. A portion of a compofition of two or more figures. Length when complete about i\ in. ; height, | in. Pale onyx of two ftrata. No. 450 (a). AMEO, fragment. (About half of the ftone.) A man on horfeback. Pale onyx. Size when complete about 1 \ in. long by 1 in. high. VII. — ANTIQUE AND OTHER No. 45 i (a). $ppg^AMEO, fragment. (About one-fourth of the (lone.) Q\vW^ A winged Eros holding a bowl full of grapes, the hand 7%*>%!*k and knee of a bacchante, and the tail of a horfe or centaur. A portion of a beautiful compofition. The ftone has been calcined and {nattered by fire. When complete the gem muff have been nearly circular, and about in. diam. Onyx of three ftrata. No. 45 2 (a), SgpELMET, AND OTHER PORTIONS OF A MM TROPHY? A fmall triangular fragment of a large cameo in onyx of two flrata. No - 453 ( a > |f||§| AMEO, fragment. (About one-third of the ftone.) An Amorino beating cymbals, and the hand of a bacchante holding a thyrfus. Onyx of two layers. Size of the gem when intaft about 1 in. long by § in. high. No. 454 (a). 85pp§qj^ AMEO, fragment. (About one-third of the ftone.) ^(\^^ ^ ^ eatec ^ m ^i c wearing a leathern veft or ikin thrown over his fhoulders. Onyx of two layers in high relief, and of the moft exquifite and highly-finifhed work. Size when complete, about | in. wide by J in. high. No. 455 (a), MM ARIS SEATED, near him Eros hovering in the air. A fs&M portion of a compofition of feveral figures. Cameo ENGRAVED GEMS. 125 fragment. Onyx of two layers. About i\ in. high by 1^ in. wide, when complete. No. 456 (a). [AMEO, fragment. (About one third of the ftone.) The upper half of a (landing draped female figure hold- ing in her hand a ftieathed fword, or the lower part of a fceptre. Onyx of two layers. Size when intact, about 2 J in. high by i| in. wide. No. 457 (a). g.WO AMORINI grafping or holding up the club of Hercules, or apparently wreftling for it. Behind §2? them the trunk of a tree, and on the ground near, the two feet of a Hercules ; the figure itfelf, which was almoft entirely detached from the ground of the cameo, having periflied. A fragment of a magnificent cameo in onyx of two layers, almoft iii full relief. Size when complete about ij- in. high by in. wide. . No. 458 (a). Head, or full -faced malk of a fatyr. (About half of the ftone.) This interefting fragment is executed in the fo-called " Egyptian " ftyle, the work in relief being entirely funk down beneath the plane field of the gem as in the Egyptian baf-relief fculptures. Onyx of two ftrata. Size when complete, ^ in. high by ^ in. wide. No. 459 (a). jgS^jEMALE DRAPED FIGURE, holding out a cloth or |g!||J mantle, in which are two Amorini ; the head and upper 5fe part, and the lower extremities of the figure wanting. VIL— ANTIQUE AND OTHER Exquifite Greek work in fplendid Oriental fardonyx of three ftrata. A fragment of a cameo, probably, when intact, upwards of 2 in. high by about i \ wide. No. 460 (a). NTAGLIO in banded fardonyx, probably fawn from a fcarabeus. A {landing male figure in long robes, with a fpear in his hand, {landing by a goat. Etrufcan work. Height, I in. ; width, § in. No. 461 (a). NTAGLIO, fragment, in red fard. A fwan. Length, § in. ; height, § in. No. 462 (a). RAGMENT OF A LARGE INTAGLIO on red fard. A portion of a compofition of feveral figures, The upper part of a faun hounding on a panther ; the hand of a bacchante, and a piece of flying drapery; alfo a vine, tree growing erect. When intac"l, this gem mud have been upwards of 1 in. long by about i| in. high. No. 463 (a). f||§IRCULAR FLATTENED BEAD OR DISC in cornelian. Round the margin is fculptured in cameo relief a vine fcroll, a hare running, and a frog fitting under a branch of a tree. Diam., 1 in. ; thicknefs, § in. No. 464 (a). AMEO, fragment. A portion of a grand compofition. (About one-third only of the flone.) A draped female and a nude male figure, the latter holding the reins ENGRAVED GEMS. 127 of a chariot, in which both are ftanding. Splendid Oriental fardonyx of three ftrata. This gem was probably fra&ured whilft in progrefs of execution, the figures being little more than fketched out in a fpirited and mafterly manner. The (lone, like fo many fine Oriental onyxes, is perforated through its entire length. . The fize when complete was probably about 2 J in. long by about i| in high. No. 465 (a). AMEO. Antique glafs pafte of green and white ftrata. Cupid feated on a couch, holding up a comic malk — near him a pedum. The fame compofition, and probably moulded from the gem No. 413 (a) in this Collection. Length, f in. ; height, | in. No. 466 (a). AMEO. Antique glafs pafte of brown and white ftrata. Venus victrix? ftanding, her back turned towards the fpe&ator. Cupid near her, holding up a helmet. Height, | in. ; width, I in. No. 467 (a). AMEO. Antique pafte of blue and white ftrata. A female reclining on a couch, on which a nude male figure is feated, playing the double flute. Near them Cupid, dancing. Length, 1 in. ; height, | in. No. 468 (a). ^[^^^AMEO. Antique pafte, in imitation of brown fard. MP^S^ Hermaphroditus feated, near him two Erotes, one play- c-%>^ ing the lyre, the other holding up a fan or heart-fhaped 128 VII.— ANTIQUE AND OTHER leaf. The lower part of the ftone broken away. Length, when complete, i| in. ; height, i in. No. 469 (a). AMEO, fragment. Antique glafs pafte, of black and white ftrata. Head of Ariadne. Size when complete, about i|- in. high by 1 in. wide, No. 470 (a). AMEO. Antique glafs pafte of green and white ftrata. Two (landing nude female figures, one of them pouring water from a vafe into a bowl-ftiaped bath or crater, the other drying herfelf with a towel after the bath. Height, H in. ; width, 9/i6ths. No. 47 1 (a). AMEO. Antique glafs pafte of three layers, in imita- tion of fine Oriental onyx of dark brown and bluifti- white flrata. A helmeted head of Minerva. This remarkable pafte cameo, unfortunately confiderably fractured, is a moft deceptive imitation of a fine onyx, and was apparently executed on the wheel, like a real ftone cameo. Height, if in. ; width, 1 J in. No. 472 (a). |pj|||AMEQ, Antique light-blue opaque glafs pafte. Head IclS of a nymph, crowned with a chaplet of rofes. Height, 1 1 in. ; width, if in. No. 473 (a). |||P|AME'0, fragment. Antique glafs pafte of black and $sR^ white ftrata. The upper half of a draped female figure. ENGRAVED GEMS. 129 of fine Greek defign, apparently in a flying attitude. Size when complete, if in. by 1 in. No. 474 (a). AMEO, fragment. An Egyptian female head. Glafs pafte of brown and white ftrata. A fragment of a Roman cameo vafe, probably of the age of Hadrian. No. 475 (a |||§| NTAGLIO. Blue antique glafs pafte. Venus Vitrix writing on a fhield. Height, 1 J in. ; width, ^ in. No. 476 (a). * NTAGLIO. Light green antique glafs pafte. Full-faced buft of a female. An idealized perfonage, probably Ceres. Height, | in. ; width, | in. No. 477 (a). ||§|gfj NTAGLIO. Antique pafte in imitation of brown fard. A veiled head of Ceres. Fine Greek work. Diam. No. 478 (a). $5 AMEO. Antique blue glafs pafte. Full-faced head of Medufa. An ornament for horfe trappings. Diam., m. No. 479 (a). NTAGLIO. Antique glafs pafte — an imitation of nicolo, A laureated female idealized head. width, Height, I in. ; 111. VII. — ANTIQUE AND OTHER No. 480 (a). NTAGLIO, fragment. Antique blue glafs pafte. A dying warrior leaning on his fhield. A compofition of the pureft Greek period. Unfortunately much eroded and frac tured. Height, ij in. ; width, | in. No. 481 (a). J NTAGLIO. Antique glafs pafte, in imitation of brown fard. A Greek amphora, with the infcription, AAMIEftN. Diam., | in. No. 482 (a). |lf||J NTAGLIO on a fcarabeus-ihaped ftone. A roaring lion, furrounded by a minute ftriated border. Early Greek work. Chalcidony or fapphirine. Length, | in. ; height, 9/i6ths.* (See engraviyg.) No. 483 (a). I NTAGLIO on a fcarabeus. A charioteer driving a biga ; §s« within a ftriated border. Early Etrufcan. Cornelian. Length, J in. ; height, § in. No. 484 (a). |f NTAGLIO on a fcarabeus. A fow ftanding with a litter under her. Etrufcan. Length, | in. ; height, | in. * The gems defcribed from No. 482 (a) to No. 812 (a) inclufive, were pur- chafed at the fale of the "Hertz Collection,' ' in 1859. The prefent defcrip- tions are bafed on thofe of Dr. W. Koner, of Berlin, and of ProferTor Edward Gerhard, given in the " Hertz Catalogue." ENGRAVED GEMS. No. 485 (a). |fj| E AD OF CYBELE. Intaglio in red jafper. Roman 1 work. Height, | in. ; width, f in. No. 486 (a). |Sg UPITER SEATED ON A THRONE, with a glory of W§M pointed rays round his head, holding a fceptre and patera in his hands ; at his feet an eagle. Intaglio on fard. Height, 7/i6ths; width, § in. No. 487 (a). t^rrgSUPITER WIELDING A THUNDERBOLT. In front of him an eagle, the outfpread wings of which conceal the lower part of the figure of the god. The eagle grafps a wreath and a palm branch in his claws. Intaglio in fard. Width, 9/16 in. ; height, 7/16 in. No. 488 (a). |||P^ ANYMEDE, holding in his hand two fpears, carried off iSfefe by the eagle. Intaglio, fard, | in. high ; A in. wide. No. 489 (a). EDA STANDING, embracing the fwan. Green antique 4s§y?3 pafte, with violet and white ftripes. Intaglio. Height, n/i6ths; width, 7/i6ths. No. 490 (a). ||||| ANYMEDE, feated on the ground, holds a patera on his $IPft knee, from which the eagle of Jupiter is drinking. Cameo, fardonyx of three ftrata. A circular gem, | in. diam. K 2 132 VII. — ANTIQUE AND OTHER No. 491 (a). |EAD OF NEPTUNE. Cameo, violet antique pafte. Width, I in. ; height, 9/1 6ths. No. 492 (a). DOLPHIN, with a raifed border round the margin of the ftone. Cameo, onyx of four ftrata. Width, § in. height, I in. No. 493 (a). HIPPOCAMPUS, OR SEA HORSE. Cameo, onyx ! of two ftrata. Width, n/i6ths; height, 1 in. No. 494 (aj. INERVA, armed with a helmet and a fhield, leading a facrificial bull. Cameo, Oriental onyx of two ftrata. Width, ^ in. ; height, | in. No. 495 (a). iNTAGLIO on a fcarabeus. A combat betwixt a lion and an Arimafp. In the very ancient Greek ftyle ; o*f fimilar work and origin to the fcarabei recently found at Tharros in the ifland of Sardinia. (From Dr. Nott's Collection. Reproduced in the u Impronte di Monumenti Gem" Cent. 1, No. 14.) Green jafper. Width, fin.; height, § in. (See engraving.) No. 496 (a).. I NTAGLIO on a fcarabeus. A (landing warrior with a lance decorated with tenia, and leaning his right hand 011 a fhield. Black jafper. Height, ii/i6ths; width f in. i ENGRAVED GEMS. No. 497 (a). NTAGLIO on a fcarabeus. A naked warrior, bending forward, in the aft of drawing his fword from its fheath. Fine Etrufcan work, with a ftriated border. Cornelian. Height, \ in. ; width, | in, (See engraving.) No. 498 (a). \g NTAGLIO on a fcarabeus. A kneeling warrior, with a fhield and lance. Etrufcan work. Cornelian. Height, \ in. ; width, § in. No. 499 (a). NTAGLIO on a fcarabeus. A kneeling warrior pro- tecting his body with a fhield, and holding in his other hand a leaf-fhaped fword. Etrufcan work. Cornelian. Length, 7/i6ths; height, 7/i6ths. No. 500 (a). fl |1 NTAGLIO on a fcarabeus. A dying warrior armed with a fhield, dropping on his knees. Fine Etrufcan work on a ftriped onyx. Height, \ in. ; width § in. (See engraving.) No. 501 (a). pf| LUTO SEATED ON A THRONE, with the modius on his head, and the fceptre in his hand ; at his fide flands Cerberus. There is the obfcure circumfcription EPMHEIPN. Intaglio, red jafper. Height, | in. ; width, § in. (See engraving.) No. 502 (a). ERES SEATED ON A THRONE, holding a patera and a cornucopia. Intaglio, plafma. Height, 9/1 6tlis ; width, I in. 134 VII — ANTIQUE AND OTHER No. 503 (a). CEANUS, with the claws of a lobfter on his head, is feated on the back of a crab. He holds in one hand a trident and in the other an oar. A beautiful Roman gem. (Reproduced in the u Impronte" &fr., of the Roman Archaeological Inftitute. Cent. 5, No. 69.) Very dark brown fard. Height, § in. ; width, 1 in. (See engraving.) No. 504 (a). EAD OF NEPTUNE. Onyx of brown and white ftrata. Height, fin.; width, Cj/i6ths. No. 505 (a). ON JOINED HEADS OF NEPTUNE AND THE BEARDLESS BACCHUS, accompanied by their refpe£tive fymbols a trident and a thyrfus ; above is an eagle, and beneath are a ftar and a fea-crab, with the infcription AIH. Intaglio fard. Height, 9/i6ths; width, 7/i6ths in. No. 506 (a). EPTUNE STANDING, with his left foot on the prow IK of a veffel, and holding a trident. Intaglio — brown antique pafte. Height, \ in. ; width, 7/161I1S. No. 507 (a). EPTUNE STANDING, with his left foot on the prow m^B~ of a velfel. Intaglio — yellow antique pafte. Height, I in. ; width, | in. ENGRAVED GEMS. l 35 No. 508 (a). ipS MPHYTRITE, borne through the waves by a fea-horfe. A fplendid gem, on a magnificent hyacinth-coloured fard, but unfortunately broken, and a portion wanting. Intaglio. Width, 1 in. ; height, | in. (See engraving.) No. 509 (a). MPHYTRITE, in flowing garments, holding a dolphin in her right hand and a trident in her left, is feated on a fea-goat. Intaglio, fard, flightly blanched by fire. Height, 9/i6ths ; width, | in. (See engraving.) No. 5 1 o (a). MPHYTRITE, feated on a fea-horfe, holding a fhield in fctSi her right hand ; in the field of the gem are the letters " T. E." Intaglio, fard. Width, ± in. ; height, f in. No. 5 I I (a). EPTUNE, offering a flower to Amymone, who is feated on a rock. Intaglio, fard. Height, ^ in. ; width, § in. (See engraving.) No. 512 (a). CAPRICORN, with the infcription " C. TALONI." Intaglio, cornelian. Width, § in. ; height, 5/i6ths. No. 513 (a). I WINGED FULL-FACED HEAD OF MEDUSA, 12m§ encircled by two dolphins, carrying two wheat-ears 136 VII. — ANTIQUE AND OTHER laid crofs-wife and a ftar ; mod delicately wrought in low relief. Cameo, onyx of three ftrata. Height, ^ in. ; width, ^ in. No. 514 (a). ^fflENUS, feated on a rock, holding the peplos, which is S§§S5 falling from her moulders. Gameo, fardonyx of two ftrata. Height, § in. ; width, ^ in. * No - 5 l 5 ( a > |||||ENUS SEATED, chaftifing Cupid, who ftands on her SPSS knee. Cameo — violet antique pafte. Height, 9/i6ths ; width, 7/i6ths. No. 5 1 6 (a). WO KNEELING WARRIORS, apparently wounded. S3 Cameo, fardonyx of three ftrata. Width, n/i6ths; height, I in. No. 5 1 7 (a). UPID, feated on the ground, holding the ferpents of the caduceus in his hand. Cameo. Antique pafte of violet and white ftrata. Height, ^ in. ; width, \ in. No, 518 (a). UPID STANDING, bound to a pillar. Cameo, fardonyx of brown and white ftrata. Height, 9/i6ths; width, 7/1 6ths. No. 519(a). WO CUPIDS, in a (hip with fpread fail. Cameo. Fine fardonyx of three ftrata. Width, | in. ; height, f in. ENGRAVED GEMS. 137 No. 520 (a). UPID holding a butterfly in his right hand, mournfully drooping it over a flame of fire. Cameo, fardonyx of brown and white ftrata. Diam., ^ in. No. 5 2 1 (a). NTAGLIO on a fcarabeus. The luftration of an Ephebus. From Dr. Nott's Collection. (See " hnpronte di Monumenti Gem'' Cent. 1, No. 37.) Cornelian. Height, 1 in. ; width, 7/i6ths. No. 522 (a). ULL-FACED HEAD OF MEDUSA. A circular light green antique glafs pafte. Cameo. Originally an ornament to a horfe trapping. Diam. 2^ in. No - 5 2 3 ( a > NTAGLIO on a fcarabeus. Neptune {landing, holding in one hand a dolphin, and in the other brandiftiing a trident. A very early Greek work in green jafper, fimilar to the fcarabei of Tharros. Height, 9/1 6ths ; width, | in. (See en- graving.) No. 524(a). NTAGLIO on a fcarabeus. A kneeling fatyr drinking from a cylix. Highly-finilhed Etrufcan, or early Greek work, on an Oriental onyx of three ftrata. Height, | in. ; width, § in. VII. —ANTIQUE AND OTHER No. 525 (a). |?|| NTAGLIO on a fcarabeus. A faun with a lyre in his hand, breaking with his foot an amphora, which ftands behind him. Etrufcan work. Cornelian. Height, \ in. ; width, ■§ in. (See engraving.) No. 526 (a). f^llNERVA HASTENING TO THE COMBAT, iM&S carrying a lance and a fhield. Intaglio. Yellow antique pafte. Height, 7/i6ths; width, 5/i6ths. No. 527 (a). INERVA, completely armed, haftening to the combat. & Intaglio — redjafper. Height, 7/x6ths; width, 5/i6ths. No. 528 (a). W^glNERVA STANDING, with the helmet and lance ; I holds a double flute in her outflretched hand. A mag- nificent Roman gem on a beautiful cabochon hyacinth. In the field is the infcription, TEVKTOV — apparently the figna- ture of the artift. Intaglio. Height, | in. ; width, | in. _ No. 529 (a). "HE YOUTHFUL MARS, feated on a rock, with his fword retting againft his knee ; looking upwards. The lower part of the ftone fractured. Intaglio — cornelian. Height, l\ in. ; width, | in. ENGRAVED GEMS. *39 No. 530(a). SIZARS GRADIVUS, before a burning altar, carrying a iMSi lance and a trophy on his ftioulders. Intaglio — fard. Height, ^ in. ; width, | in. No. 531(a). ARS GRADIVUS, with the lance and trophy. Intaglio. Splendid Oriental onyx of three ftrata. Height, | in. ; width, I in. No. 532 (a). H| ARS FIGHTING WITH A GIANT, who is lying on the ground, and near whom is a ferpent. Intaglio — black antique pafte. Height, cj/i6ths; width, 7/i6ths. N °- 533 ( a > HE THREE GRACES. Antique glafs pafte cameo of green and white ftrata. Height, in. ; width, 1 in. No - 534 (a> |||||POLLO, with the lyre, (landing in front of Marfyas, who is feated on a rock, and with his flute is about to commence the combat with the god. Cameo. Sardonyx of two ftrata. Height, f in. ; width, f in. No - 535 ( a > MUSE, {training the ftrings of a lyre ; behind her, on an altar, is a fmall ftatue in flowing garments. The lower part of the ftone fractured. Cameo. Sardonyx of two ftrata. Height, f in. ; width, f in. VII. — ANTIQUE AND OTHER No. 536 (a). ERCURY, as the god of herds, with the purfe and caduceus ; before him four rams. Cameo. Burnt onyx of two ftrata. Diam., | in. No - 537 ( a > :HE YOUTHFUL BACCHUS, riding on a panther. Beneath is the infcription or fignature, "TAVOCO." 58B A moil exquifitely wrought cameo, on a very minute fcale. The margin of the ftone furrounded by a raifed border. Onyx of black and white ftrata. Width, f in. ; height, 5/i6ths. No. 538 (a). HALF FIGURE OF ARIADNE, holding a bunch of grapes. Sardonyx — cameo of two ftrata. Height, 1 i/i6ths ; width, § in. No - 539 ( a > EAD OF A FAUN. Cameo — fardonyx of two layers. Height, f in. ; width, | in. No. 540 (a). NTAGLIO on a fcarabeus. Cadmus?, holding in his hand a ferpent ; at his feet an amphora. Greek work. Garnet. Height, 7/i6ths; width, 5/i6ths. No. 541 (a). NTAGLIO on a fcarabeus. Capaneus erecting a ladder in order to ftorm Thebes. (Early Greek.) Cornelian. Height, 7/i6ths; width, fin. (See engraving.) ENGRAVED GEMS. 141 No. 542 (a). NTAGLIO on a fcarabeus. Hercules, with uplifted club, leading Cerberus. (See "Impronte di Monumenti Gem" EsV., Cent. 1, No. 17.) Cornelian. Height, o,/i6ths ; width, 7/1 6ths. No - 543 ( a > NTAGLIO, fawn from a fcarabeus. Hercules kneeling on one knee, bending his bow ({hooting the Stympha- lian birds) ; on the ground at his fide lies his club. Sard- onyx. Blanched by fire. Height, f in. ; width, § in. No. 544 (a). NTAGLIO on a fcarabeus. Hercules, with the club in his hand, kneeling on the back of the Msenalian hind. Striped onyx. Height, | in. ; width, f in. No- 545 ( a )- NTAGLIO on a fcarabeus. Hercules crowned by a winged genius. Cornelian. Height, 9/1 6ths ; width, ^ in. (See engraving.) No. 546 (a). NTAGLIO on a fcarabeus. Diomedes throwing the ftone at JEneas. (See u Impronte di Monumenti Gem" yV., Cent. 5, No. 39.) Cornelian. Height, 9/i6ths; width, 1- in. (See engraving.) No - 547 00- NTAGLIO, fawn from a fcarabeus. A hero (landing^ holding with both hands a human head over a ftiield, which is placed on the ground near him — perhaps 142 VII.— ANTIQUE AND OTHER Tydeus with the head of Menalippus. In the field of the gem is an illegible infcription in Etrufcan characters. Cornelian. Height, §■ in. ; width, | in. No. 548 (a). p@ NTAGLIO on a fcarabeus. Diomedes dealing the Sjy§l Palladium. In front of him is the flatue of Venus. The crefcent moon and ftar above him are allufive to the no&urnal undertaking. Striped onyx. Height, n/i6ths; width, ^ in. No. 549 (a). PP NTAGLIO 011 a fcarabeus. Achilles falling on the an ground, wounded in the heel by an arrow. Striped onyx. Width, 7/i6ths ; height, \ in. No. 550 (a). UPID bending his bow. Intaglio — fard. Height, 7/161I1S ; W£u? width, § in. No. 55 1 (a). UPID, carrying a thunderbolt in his uplifted right hand ^Slfe and a club in his left. Intaglio — violet ruby. Height, i in. ; width, 5/161I1S. No. 552 (a). i|j§|^ UPID, carrying a game cock in his arms. Intaglio — £p|t/ cornelian. Height, § in.; width, 7/i6ths. (See en- graving.) ENGRAVED GEMS. No - 553 ( a > UPID kneeling, with the palm of vi&ory in his hand, is fetting a cock, which he holds on his knee, to fight againft another cock. Intaglio — Oriental onyx of two ftrata. Width, 9/i6ths; height, 7/i6ths. No. 554(a). |SgWO CUPIDS, one of whom carries a palm of victory, vf$ks& exciting two cocks to fight. Intaglio — red jafper. Width, | in. ; height, § in. No - 555 ( a > W US UPID in a car, drawn by two fwans. Intaglio — dark $111/ fard. Width, 7/i6ths; height, 5/i6ths. No. 556(a). UPID, riding on a fantaftic animal. The head that of a horfe, its cheft is formed by a bearded man's head, and its body by a ram's head with a caduceus in its mouth. Beneath is another Cupid, riding on a dolphin, and guiding an animal exactly like the one above. Intaglio — red jafper. Height, § in. ; width, 7/i6ths. No - 557 (a). NTAGLIO, in its original antique gold fetting as a ring. Cupid, with a whip in his hand, riding on a dolphin. Red jafper. Width, 5/i6ths; height, 3/i6ths. i 44 VII. — ANTIQUE AND OTHER No. 558 (a). ACCHANTE, with a bunch of grapes and wheat-ears in her hands, riding on a goat. On the reverfe of the ftone, a head of Auguftus. Probably a work of the cinque-cento period. Cameo — fine onyx of two layers. Height, £ in. ; width, 9/i6ths. No - 559 ( a )- ICTORY advancing, with a palm in one hand and a wreath in the other. Cameo. No. 560 (a). EAD OF MEDUSA. A fine engraving on black jafper. Intaglio. Height, i3/i6ths ; width, 9/i6ths. No. 561 (a). NTAGLIO on a fcarabeus. A giant, whofe lower extremities are formed by two ferpents, carrying a block of ftone on his fhoulder. (See " Impronte di Monu- menti Gem," Cent. 5, No. 1.) Cornelian. Height, ^ in. ; width, I in. No. 562 (a). , f||ii NTAGLIO fawn from a fcarabeus. A feated fphynx. iSSilli Cornelian of deeply-cut early Greek work. Length, I in. ; height, |- in. (See engraving.) No. 563(a). AMEO, fragment. Victory, with mighty wings, borne by the four horfes of a quadriga, of which (he holds the reins. Behind her an outftretched arm. Above is an ENGRAVED GEMS. J 45 eagle flying, with a wreath in its beak. Burnt onyx of two ftrata. Height, | in. ; width, | in. Size when complete about 2 in. long by i| wide. No. 564 (a). ERCULES ftrangling the Nemean lion. Cameo, tBIl executed in a very ancient ftyle. Onyx of white and black ftrata. Height, | in. ; width, 1 i/i6ths. (See engraving.) No. 565 (a). NTAGLIO. Head of Ifis or Canopus on a fine 0 Oriental onyx of three ftrata, in a beautiful Italian cinque-cento enamelled gold fetting as a thumb ring. Height, I in. ; width, f in. No. 566 (a). |f|||§ft ARPOCRATES, carrying a cornucopia, and leaning with lillll his right arm on a cippus ; at his fide fits a dog, raifmg one of his fore-paws, as if to interrupt the meditations of the god. Intaglio — black jafper. Height, § in. ; width, -| in. No. 567 (a). NTAGLIO. Eros (Cupid) ftriking a dog with a pedum, '^MssA whilft another Eros holds it by the tail Sard, Width, 7/i6ths; height, |- in. No. 568 (a). jj^^UPID carefling a hound, which ftands before him. liyti Intaglio- — fard. Width, n/i6ths; height, 9/i6ths. (See engraving.) 1 4 6 VII.— ANTIQUE AND OTHER No. 569 (a). gfcg&UPID teaching a lion to beg. Intaglio — dark brown ^ISife. fard. Width, § in. ; height, | in. No. 570 (a). TJPID, with a palm of victory in his left hand, holding up a hare by the tail with his right, at which a hound is fpringing. Intaglio — redjafper. Height, -| in. ; width, 7/1 6ths. No. 571(a). |f|||$UPID, feated on a rock, fifhing, carries on his arm a balket, wherein to place the fifb. Intaglio — -fard. Height, § in. ; width, 5/i6ths. No. 572 (a). HREE EROTES (CUPIDS) feated in a boat with a mail and fail ; the firfl plays on the fyrinx, the fecond on the double flute, and the third on the lyre. Intaglio — -white and red parti-coloured fard. Width, \ in. ; height, 7/i6ths. No - 573 ( a > WO EROTES in a boat with a maft and fail ; the one rowing, the other fulling. Intaglio — fard. Height, 5/i6ths ; width, § in. No. 574(a). WO EROTES feated in a boat with a maft ; the one hoifts a fail, while the other cafts a net. On a rock is feated a third Eros fiftiing. Intaglio— fard. Width, | in. ; height, J- in. ENGRAVED GEMS. 147 No. 575 (a> 5UPID, with a torch in his hand, leaning on the lower rim of an urn or amphora, which contains a palm of victory ; oppofite to him, a fkeleton is bending over the rim of the velfel. (From Dr. Nott's Collection. See " Impronte di Monument! Gem" Es*V., Cent. 2, No. 58.) Onyx. Height, I in.; width, 7/i6ths. (See engraving.) No. 576 (a). ION carrying a winged genius, who holds a wreath in his right hand, and with his left arm encircles the neck of the beaft Intaglio — fard. Width, f in.; height, 9/i6ths. (See engraving.) No. 577 (a). ROS AND ANTEROS erecting a trophy. Intaglio— fard. Height, 7/i6ths; width, § in. No. 578 (a). fill UST OF PSYCHE, with a veil on the back of her head, and her hand grafping a butterfly. Intaglio — fine Oriental onyx of two ftrata. Height, § in. ; width, 7/i6ths. No. 579 (a). " NTAGLIO. Helios borne through the clouds on a quad- riga. On the bevelled edge of the ftone are the twelve figns of the zodiac. Cornelian. Width, § in. ; height, 1 i/i6ths. i. 2 i 4 8 VII. — ANTIQUE AND OTHER No. 580 (a). S| AMEO. Head of Marcus Agrippa — the back part of the head broken away. Onyx of two ftrata. Height, i in. ; width, J in. No. 581 (a). |pP ORTRAIT HEAD, three-quarter face, in nearly full relief. ySb*. Cameo — white onyx. Height, if in. ; width, | in. No. 582 (a). ';S|UST OF AGRIPPINA THE YOUNGER. Cameo, in itlllf fplendid Oriental onyx of four ftrata. Height, i-9/i6ths ; width, i~3/i6ths. No. 583 (a). Sfflff AIJ?-LENGTH FIGURE OF AN EMPRESS, with a SSI veil on the back of her head and a cornucopia in her hand. A magnificent cameo in fplendid Oriental onyx of three ftrata. Height, i| in. \ width, \\ in. (See engraving.) No. 584 (a). I POLLO, clad with the Mamys, carrying the lyre on his 1 left arm ; at his fide a lighted tripod placed on a cippus. Intaglio — cornelian with a white layer. Height, 1 in. ; width, in. No. 585 (a). I RAGMENT. A Scythian, who, by order of Apollo, is on the point of flaying Marfyas. Intaglio — fard. Height, 7/i6ths ; width, § in. ENGRAVED GEMS. 149 No. 586 (a). |p|| MUSE, feated on a four-legged ftool or couch, with a lyre r $MM in her hand. Intaglio — cornelian. Height, § in. ; width, § in, No. 587 (a). MUSE, feated in front of a maik of Pan, which is placed on an Ithyphallic column. Intaglio — fmoke-coloured chalcidony. Height, | in. ; width, g in. No. 588(a). iWt< T7T -0^1x^17X117 r~„4.„A — k«u;,,,. malic in Intaglio — fplendid hyacinthine fard. A frag- !||p ELPOMENE, ieated on a rock, holding a tragic Akfeej her hand. Intaglio — fplendid hyacinthine fard. ment completed in gold. Height, 1 in. ; width, | in No. 589 (a). ( Sp^ERPSICHORE, leaning againlt a pillar, (training the iSSRi firings of her lyre. Intaglio — plalina. Height, 1 5/1 6ths ; width, ii/i6ths. No. 590 (a). BEARDED PROFILE HEAD. Cameo— antique M pafte, in imitation of fine Oriental fardonyx of three ftrata. Worked on the wheel. Height, n/i6ths ; width, § in. No. 591 (a). AMEO. Bull of a man with a coat of mail, on which is §S8B the head of Medufa; furrounded by a raifed border. i 5 o VII. — ANTIQUE AND OTHER Oriental onyx of two ftrata. Italian, feventeenth or eighteenth century work. Height, i in. ; width, ^ in. No. 592 (a). §|g5 UPID, holding a bow and arrow in his left hand, and in his right a butterfly. Intaglio — fard. Height, J- in. ; width, 5/i6ths. No - 593 ( a > FOOT, covered with a winged fandal ; alfo a caduceus. Intaglio — fard. Width, 7/i6ths ; height, | in. No. 594(a). IMiYGIEIA. Intaglio on fard. Height, J in.; width, WM fin. No. 595 (a). ASK OF THE BEARDED BACCHUS crowned with ivy. Intaglio — fard. Height, 9/i6ths; width, | in. No. 596 (a). v. ULL-FACED MASK OF THE BEARDED BAC- Intaglio — nicolo. Height, i3/i6ths ; width, 9/i6ths. No. 597 (a). I HE BEARDED BACCHUS, in flowing garments, hold- ing the cantharos in his right hand, and the thyrfus in his left. Intaglio — chalcidony. Height, § in. ;' width, | in. ENGRAVED GEMS. No. 598 (a). I EAD OF THE YOUTHFUL BACCHUS, crowned Illll with grapes ; front face, on a beautiful lozenge-map ed emerald — facet cut at the back. Intaglio. Diam., § in. No. 599 (a). HE THREE NYMPHS OF NYSA, ftanding in front 35 of the infant Bacchus, who is feated on the ground. Intaglio — flriped fardonyx. Height, | in. ; width, ^ in. (See engraving.) No. 600 (a). ^s^EUCOTHEA, holding a drinking veffel in her hand, out j| °^ wn ^ cn tne m f ant Bacchus, who is feated on a rock, beneath a tree, is drinking ; beneath the tree is a priapus herme. Intaglio — fard. Height, 7/1 6ths ; width, 5/1 6ths. (See engraving.) No. 601 (a Jffi! ACCHUS, his left arm leaning on a cippus, holding an 'WM osnoc/joe in his uplifted right hand, and a bunch of grapes, at which a fquirrel is jumping, in his left. Intaglio — cornelian. Height, 9/i6ths; width, | in. No. 602 (a). If HE DRUNKEN BACCHUS, holding the thyrfus in his £M right hand, and a cantharos in his left. Intagli< nicolo. Height, 1 in. ; width, f in. *5 2 VII. — ANTIQUE AND OTHER No. 603 (a). ||EAD OF ARIADNE ; front face. Intaglio— black 1 jafper in its original gold fetting as a ring. Height, 5/1 6ths ; width, \ in. No. 604 (a). SILENUS MASK. Intaglio— fard. Height, 9 /i6ths width, I in* No. 605 (a). |c ILENUS feated, feen in front, holding in his hand two flicks ; near him on the ground a double flute. Intaglio. Onyx of two ftrata. Height, | in. ; width, 7/i6ths. No. 606 (a). U ILENUS, feated, crowned with ivy, holding in one hand . a thyrfus, and with the other railing a patera to his lips. Intaglio — fard. Height, g/i 6ths ; width, J in. No. 607 (a). SI RUNKEN SILENUS, with the thyrfus on his moulder, (Ife^ riding on an afs, which is led by a faun, who alfo carries a thyrfus. A moil exquifite minute intaglio on a fine flriped fardonyx, Width, 9/i6ths; height, j/i6ths. No. 608 (a). BACCHANTE, with a thryfus, facriiicing at a low burn- ing altar. In front of her ftands Silenus, holding in his ENGRAVED GEMS. 153 uplifted hands a cant bar os and grapes. Intaglio — light fard. Width, I in.; height, y/i6ths. No. 609 (a). ||* N front of a burning altar, ornamented with wreaths, ^ {lands an athlete, facrificing from a patera ; on the ground behind him is an cenochoe. Cameo — fardonyx of two flrata. Height, I in. ; width, n/i6ths. No. 610 (a). OUR THEATRICAL MASKS, arranged in pairs, be- twixt which is the name ETPIHIAHE. Cameo — onyx of two layers. Height, i-3/'i6ths; width, n/i6ths. No. 6 1 1 (a). ED COMIC I) green antique pafle. Height, -| in. ; width, 7/i6ths. |i§ BALD-HEADED COMIC MASK. Cameo— light No. 6 I 2 (a). BEARDED SILENUS MASK. The margin of the iS^H (lone furrounded by a raifed border. Cameo — fardonyx of two flrata. Height, 9/1 6ths ; width, § in. No. 6x3 (a). M fRUNKEN SILENUS, riding on a goat, at which a dog is barking. Intaglio — blue antique pafle. Width, 7/i6ths ; height, f in. No. 614 (a). I §|| EARDED FAUN, feated on a hide, which is fpread on S3^t the ground, holding two poppies in his hand. Intaglio- brown and red fpotted jafper. A circular gem. Diam., 9/i6ths, 1 54 VII. — ANTIQUE AND OTHER No. 615 (a). _ WO FAUNS, holding and beating another bearded faun. (See " bnpronte di Monwnenti Gem" Cent. 6, No. 9.) Intaglio — ftriped fardonyx. Height, | in. ; width, f in. No. 6 1 6 (a). Iggg AUN STANDING, with crofted legs, his ftioulder clad with the nebris, holding a pedum in his right hand and a drinking veflel in his left. Intaglio — violet antique pafte. Height, i3/i6ths; width, | in. No. 617 (a). AUN, with a thyrfus, (landing bent forwards, and ftretch- ing out the fingers of the right hand as if to play the game of mora. Intaglio— ftriped onyx. Height, 9/i6ths; width, 7/i6ths. No. 618 (a). 1AUN, clothed in a fkin, pouring wine from an anochoe into a patera, which he holds in his left hand. Intaglio fard. Height, n/i6ths; width, | in. No. 619 (a). I AUN, with a wine-lkin on his fhoulder, pouring out its I contents into an amphora which ftands in front of him. Intaglio — fard. Height, | in. ; width, \ in. No. 620 (a). i^S! AUN, (landing with two flicks in his hands. A ftriated border round the margin of the ftone. Intaglio — ftriped onyx. Height, f in. ; width, | in. ENGRAVED GEMS. '55 No. 621 (a). EAD OF PAN in profile. Intaglio— fard. Height, in. ; width, A in. No. 622 (a). ASK OF PAN, crowned with ivy. Deeply cut on a red jafper. Intaglio. Height, § in. ; width, | in. No. 623 (a). ?9 AN (feen front face), his back covered with a hide, feated IKS on a rock, and playing on the fyrinx. Intaglio — flriped onyx. Height, 7/i6ths; width, fin. No. 624 (a). itjfjlf AN {landing, carrying the pedum. Intaglio on amethyft. Height, J- in. ; width, 5/i6ths. No. 625 (a). WOMAN facrificing at a burning altar, in front of a priapus herme, which flands on a column; behind is Silenus playing on the flute. The margin furrounded by a ftriated border. Intaglio — cornelian. Width, \ in. ; height, 7/i6ths. No. 626 (a). ICHLY-ORNAMENTED HELMET, furmounted by a lofty plume. A fragment. Cameo — fardonyx of three layers. Height, 1 in. ; width, 1 \ in. VII.— ANTIQUE AND OTHER No. 627 (a). fllli RAZING BUCK — the lower part of the ftone wanting. 'tiWm Cameo— fardonyx of three ftrata. Width, i3/i6ths; height, 7/i6ths. No. 628 (a). ||g BRIDLED HORSE. Cameo— nicolo— in its original antique Roman gold-ring fetting. Width, \ in. ; height, 7/i6ths. No. 629 (a). J^AMEO. A grazing horfe. Sardonyx of three layers. Width, i'5/l6ths; height, | in. No. 630 (a). DOG lying down — feen from above. Executed in very fi£tSI high relief in a fine fardonyx of three layers. Width, 5 ; in. ; height, 7/i6ths. No. 631 (a). OG lying down — feen from above. Cameo in fine red S!lM§ fard on a flratum of white chalcidony. Width, \\ in. ; height, f in. No. 632 (a). '"WAN STANDING. Pale onyx of two layers. S^IM Cameo. Height, | in.; width, 5/i6ths. No. 633 (a). WO MICE drawing a biga, on which is a cock, holding the reins. Cameo — nicolo. Blanched by fire. Width, 7/i6ths; height, 5/i6ths. ENGRAVED GEMS. *57 No. 634 (a). Slip ICTORY, (landing on the globe, with a palm in one hand ^lli^y and a wreath in the other. Intaglio — onyx of brown and white ftrata. Height, i3/i6ths; width, fin. No. 635 (a). ICTORY, with a wreath and a palm, Handing on the prow of a fliip, at the extremity of which is the globe. On the {hip is a band with the infcription in Latin characters, " Div. ivl. jF!" Intaglio — fard. Height, § in. ; width, \ in. No. 636 (a). g OMAN EMPEROR ON HORSEBACK ; before him ffitll marches Victory, with a palm ; he is followed by a Roman foldier, bearing a legionary flandard or eagle. Intaglio — ftriped onyx. Width, n/i6ths; height, | in. No. 637 (a). ICTORY, with the palm in her hand and her foot upon S3 the globe, holding a circular fhield over a fmall female figure, which fits on the ground ; on the other fide an eagle. Intaglio — cornelian. Height, o,/i6ths; width, 7/i6ths. No. 638 (a). M ICTORY, in the armour of Minerva, (landing on a globe, 38 and holding an owl in her flretched-forth right hand. Intaglio — fard. Height, § in. ; width, \ in I5 8 VII. — ANTIQUE AND OTHER No. 639 (a). ONUS EVENTUS, with the fcales and palm, (landing; his left arm fupported on a pillar. Before him is a dog ; there is alfo the circumfcription, L . D . VIRILI. (From Dr. Nott's Collection. Compare " Impronte di Monwnenti Gem" Cent. 2, No. 38.) Intaglio — fard. Height, 9/i6ths; width, 7/i6ths. No. 640 (a). ^Mjk TRIQUETRA, formed by a Gorgon's head and three S!fSl human legs — the head ornamented with three wheat-ears. This fmgular device is an emblem of Sicily. Intaglio — fard. Height, -| in. ; width, 7/i6ths. No. 641 (a). ROMETHEUS CHAINED; before him the vulture. Intaglio — yellow fard. A circular gem. Diam., | in. No. 642 (a). PIMETHEUS, fitting, opening the box of Pandora. SI Intaglio — yellow antique parte. Height, | in. ; width, No. 643 (a). lEAD OF THE YOUNG HERCULES. Intaglio— I cornelian. Reftored in gold. Height, 7/i6ths; width, No. 644 (a). I E AD OF THE YOUNG HERCULES. Fragment, fill (From Dr. Nott's Collection. See " Impronte di Monu- I in. ENGRAVED GEMS. *59 menti Gem" Cent, i, No. 67.) Intaglio. Height, 9/1 6ths ; width, § in. No. 645 (a). gf^|pQDE FEMALE FIGURE (landing in front of a cippus \ IPi ^ ° r ^ ounta * n co ^ umn ' on w ^^ cn me l eans w * tn ^ er right hand; with her left die is bathing her right foot, which refts upon a rock. The lower portion of this compofition is wanting. The margin of the ftone furrounded with a raifed border. White onyx of two ftrata. Cameo. Height, 1 in. ; width, § in. No. 646 (a). AMEO. Byzantine Greek work, of uncertain period. ^i§£ The Angelic Salutation, with the ufual infcription in Greek characters. Splendid onyx of three ftrata. Height, i~5/i6ths; width, 1 in. No. 647 (a). ||1 1|! NTAGLIO. Venus Anadyomene, borne by two dolphins ; there is the infcription. NICOMC. A beautiful gem, of the cinque-cento period. Golden fard. Height, 1 in. ; width, fin- No. 648 (a). Illlp HALIA, feated on a rock, with a comic mafic. Modern t^Efe' work. Intaglio — fplendid onyx of three ftrata. Height, f in. ; width, | in. No. 649 (a). NE OF THE NYMPHS OF NYSA, carrying the infant Bacchus. Modern work on an antique Itone. I 60 VII. — ANTIQUE AND OTHER Intaglio on a fplendid onyx of three ftrata. Height, i5/i6ths; width, n/i6ths. No. 650 (a). I HE DRUNKEN SILENUS, bending forwards, and S§ leaning on the youthful Bacchus. Modern work. Intaglio. Striped fardonyx. Height, i3/x6ths; width, J in. No. 65 1 (a). HE YOUNG HERCULES STRANGLING THE 5$ SERPENTS. He is feated on a pedeftal, in front of which is a large bowl garlanded with ivy. Intaglio — fard. Height, 7/i6ths; width, | in. No.. 65 2 (a). ERCULES, clad in his lion's fkin, with the club on his S I ihoulders, pacing about in a ft ?^ISKo§ ftone is furrounded with a ftri; ftriated or granulated border, and has probably been fawn from a fcarabeus. Intaglio — corne- lian. Height, 9/i6ths ; width, 4 in. No. 653 (a). |W ERCULES SHOOTING THE STYMPHALIAN fiBI! BIRDS. The ftone is furrounded with a ftriated border. Intaglio — golden fard. Width, 1 1 j\ 6ths ; height, -| in. No. 654 (a). _ I? ERCULES, clad in the nebris, holding the club in his left §MSk hand, and the Herculean fcyphus in his right ; infcribed with the name of the artift, AAM^N. Intaglio — cornelian. Height, I in. ; width, o/i6ths. ENGRAVED GEMS. 161 No. 655 (a). pHANATOS, reprefented as old and bearded, and with (SSI great wings, Handing behind the finking Hercules. In- taglio — ftriped onyx. Height, 1 in ; width, § in. No. 656 (a). gELLEROPHON RIDING PEGASUS, in combat with the Chimera, at whom the dog Mera is barking. In- taglio — cornelian. Height, ^ in. ; width, 9/i6ths. No. 657 (a). Ipjp ELLEROPHON RIDING PEGASUS, in combat with WM§ the Chimera. The edge is granulated. Intaglio — ftriped onyx. Height, n/i6ths; width, | in. No. 658 (a). MlpHE CHIMERA. Intaglio— chalcidony. Width, f in.; height, 9/i6ths. No. 659 (a). Ifls ADMUS AT THE DRAGON-GUARDED SPRING. ISStl Intaglio— brown fard. Width, ^ in. ; height, |- in. No. 660 (a). Iffl FITTING SPHYNX, with a double body— feen from IcSSI the front. Intaglio — cornelian. Width, | in. ; height, § in. No. 661 (a). 5g^INGED FEMALE SPHYNX, the upper - part of her Wt^m k 0( ty an d a ™ s of human form, feated on the ground l£.W*¥i before a jewel calket, from which fhe has taken a M 1 62 VII. — ANTIQUE AND OTHER firing of pearls ; on the other fide is a vafe. Intaglio- cornelian. Height, | in. width, H in. (See engraving.) No. 662 (a). TEOCLES AND POLYNICES, the fons of (Edipus, W&S- armed with fwords and fhields, expiring on the ground. Intaglio — blue antique pafte. Width, 7/i6ths; height, 5/i6ths. No. 663 (a). rJ^ASON, {landing before a column, round which is coiled a Colchian dragon, and on the top of which fits the magic bird Tyn, which Jafon had received from Medea ; at the foot of the pillar is the ram of Phryxus. Intagli fard. Height, | in. ; width, f in. No. 664 (a). WSM RPHEUS, feated on a rock, playing the lyre. Intaglio on §|B garnet. Height, 7/i6ths; width, f in. No. 665 (a). ^l^jHESEUS, his right arm retting on a rock, contemplating a fword which he holds in his left hand ; near him • Ho a. club. (See " Impronte di Monumenti Gem" Cent. 1, No. 69.) Intaglio — cornelian. Height, § in. ; width, J in. (See engraving.) No. 666 (a). jjpj YCURGUS, King of the Edonians, hewing down with his |H! axe the vine of Dionyfus. Ancient Greek work, with a ftriated border. Intaglio — brown and white banded fardonyx. Height, i3/i6ths; width, 7/i6ths. (See engraving.) ENGRAVED GEMS. 163 No. 667 (a). MBlS ELEUS, inclined backwards, wringing out his wet hair over fM& a bafm; with the infcription, I1EAE. Early Greek work, with a flriated border. Intaglio — ftriped onyx. Height, n/i6ths; width, | in. (See engraving.) No. 668 (a). RGOS, ftanding in an inclined poflure, with one foot on ISSi the fhem of his (hip. With a ftriated border. Intaglio — cornelian. Height, | in. ; width, J in. (See engraving.) No. 669 (a). llllpHE CITY OF TROY, with Achilles dragging the corpfe ^SMll of He&or round the town. Intaglio — amethyft. Width, n/i6ths; height, \ in. No. 670 (a). Ipjpp HETIS PLUNGING THE YOUNG ACHILLES, whom (he is holding by the heel, into the waters of Styx. Intaglio on garnet. Height, 9/16 ths ; width, 7/16 ths. No. 671 (a). W5LYSSES AND DIOMEDES FLEEING, after having ftolen the Palladium. Beneath is the fignature of the artift, SUSOKAE. An exquifite intaglio on hyacinth-coloured fard. PofTibly a modern Italian work. No. 672 (a). RIAM AT THE FEET OF ACHILLES, of whom he is fupplicating the corpfe of He6tor, whilft Brifeis com M 2 i6 4 < VII. — ANTIQUE AND OTHER paffionately raifes him up. Near the group is a column. In- taglio—cornelian. Width, i in. ; height, | in. No. 673 (a). git CHILLES KNEELING ON THE GROUND, extract- MSM ing the arrow from his heel. Intaglio. No. 674 (a). ECTOR SPRINGING ABOARD THE GREEK IS| SHIPS. (From Dr. Nott's Collection. See " Impronte di Moniunenti Gem" Cent. 1, No. 82.) Intaglio — cornelian. Height, 7/i6ths; width, |- in. No. 675 (a). ELMETED HEAD OF AJAX, with the fignature of IBI the artift, APISTOM. A fplendid Greek intaglio on jacynth. Height, 9/i6ths; width, \ in. No. 676 (a). l^f lOMEDES KNEELING ON THE CORPSE OF THE SLAIN DOLON, whofe fevered head he holds in his hand. Surrounded by a ftriated border. Striped onyx. In- taglio. Height, I in. ; width, ^ in. (See engraving.) No. 677 (a). iPw IOMEDES, carrying the Palladium in one hand, and in SfiMS the other the torch which lights him in his nocturnal expedition. Intaglio — fard. Height, 7/1 6ths ; width, | in. No. 678 (a). pllj BEARDED WARRIOR, probably Odyffeus, with the head of Medufa on his breaft-plate, kneeling on the ENGRAVED GEMS. ground, holding his Ihield before him. Intaglio— cornelian. Height, f in. ; width, | in. (See engraving.) No. 679 (a). BUST OF ODYSSEUS, covered with the pileus— with lilt the fignature of the artift, KPOMOT. Splendid dark brown fard. Intaglio. Height, § in. ; width, 9/i6ths. No. 680 (a). CYLLA DRAGGING A COMPANION OF ODYS- SEUS DOWN INTO THE WAVES ; above her head (he fwings a rudder, in order to annihilate her A magnificent intaglio ; the lower part reltored in gold. (From Dr. Nott's Collection. See " Impronte di Monumenti Gem" Cent. 1, No. 93.) Intaglio — cornelian. Height, | in. ; width, I in. (See engraving.) victim. No. 681 (a). t E AD OF LAOCOON. Intaglio in red jafper. ft -§ in. ; width, 9/i6ths. Height, No. 682 (a). S| THRYADES, who has funk upon the ground, writing the EAD OF MEDUSA. Antique cameo pafte of three KB$ ftrata. Height, £ in. ; width, n/i6ths. No. 706 (a). AMEO. A female figure pouring water from a vafe. A |l§|li j fragment. Antique glafs pafte of two ftrata. Height, I in. ; width, § in. lyo VII. — ANTIQUE AND OTHER No. 707 (a). tip OUR HORSES {landing as if yoked to a car— probably $ a fragment of a larger compofition. Early Greek or Etrufcan. Intaglio — chalcidony. Height, | in. ; width, | in. No. 708 (a). CHARIOTEER driving ten horfes abreaft through an gaSI open gate. Intaglio — red jafper. Width, -| in. ; height, i in. No. 709 (a). &gg[ NAKED WARRIOR, leaning on his lance. Early ifS&S Greek or Etrufcan work. Intaglio — ftriped fard. Height, 9/ 1 6ths ; width, 7/ 1 6ths . No. 7 1 o (a). ||1§ BARBARIAN? WARRIOR on horfeback, armed with i§£A®> a fhield. The horfe is apparently wounded with a lance, and is finking under the weight of his rider. Intaglio — cornelian. Width, I in. ; height, 9/i6ths. No. 7 1 1 (a). (^Mpfj BEA RDED HEAD, with a helmet formed like a ram's HIP OR GALLEY, with the prow in the form of a WSm cock ; above it a butterfly. Intaglio — blue antique pafte. Width, 7/i6ths; height, 5/i6ths. ENGRAVED GEMS. 171 No. 7 1 3 (a). fpjf HILOSOPHER Handing before a pillar or cippus, on the fJISSS fummit of which are three balls ; he is reading from a roll which he holds in his hands. Intaglio — flriped fard. Height, I in. ; width, 9/1 6ths. No. 714 (a). y!pp HILOSOPHER feated before a bearded herme, reading from a fcroll. Intaglio — fard. Height, 7/1 6 ths ; width, 5/i6ths. No. 715 (a). Kill HILOSOPHER feated in a chair, reading from a fcroll ; before him (lands a ikeleton, brandifhing a dagger. .A lyre refts againfl the chair. Intaglio — flriped fard. Height, ^ in. ; width, J in. No. 7 1 6 (a). HILOSOPHER feated— before him ftands a human lkele- §§i?fi ton, which he grafps by the arm. Intaglio — flriped fard. Height, 9/i6ths; width, 7/i6ths. No. 717 (a). PHILOSOPHER feated, reading from a fcroll ; before him ftands a ikeleton, by its fide a butterfly hovering over a rock. Intaglio— fard. Width, | in. ; height, 5/i6ths. No. 718 (a). ^® BEARDED ARTIST, feated on the ground, and work- ing at a vafe, which ftands before him. Intaglio — onyx of two ftrata. Width, | in. ; height, f in. 172 VII. —ANTIQUE AND OTHER No. 7 1 9 (a). N ARTIST SEATED, with a hammer in his hand, working at an amphora ; before him a facellum. Sur- rounded by a ftriated border. Intaglio — cornelian. Width, o/i6ths; height, 7/i6ths. No. 720 (a). ^gWTAGLIO. Violet antique glafs pafte. Engraved on the wheel like a gem, and apparently left unfinilhed. Two comic bald-headed malks, and a female malk ; a few ftrokes and a blank fpace indicate that a fourth malic was commenced but not finilhed by the artift. Between the malks is the infcription, " EL NA." Height, i3/i6ths; width, \ in. No. 721 (a). |||||$ TREE, from which four malks are fufpended ; at the &(wM foot of it refts a pedum, on the other fide a fyrinx. Intaglio — green antique pafte. Height, n/i6ths; width, 9/1 6ths. No. 722 (a). AMEO. Regardant bufts of Auguftus and Livia, in very £§i§@ high relief, in beautiful blue chalcidony or fapphirine. One of the moft important works of Piftrucci. Width, 3 in. ; height, %\ in. No. 723 (a). ' §|| FULL-FACED GORGON MASK. Intaglio— violet antique pafte. Height, cj/i6ths; width, f in. No. 724 (a). FEMALE TRAGIC MASK. Intaglio— lapis lazuli. 1 Height, 7/i6ths; width, 5/i6ths. ENGRAVED GEMS. l 73 No. 725 (a). fl^NTAGLIO, in its original maffive antique gold fetting as a ring. A malk with a pedum before it. Nicolo. Height, 5/i6ths; width, \ in. No. 726 (a). ^RYLLUS, or combination of three malks, furrounded * by a flar, a lituus, a half moon, a globe or ball, and a thyrfus. Intaglio — red jafper. Height, \ in. ; width, \ in. No. 727 (a). |pl COMIC BALD-HEADED MASK; a flute and a 8858a fyrinx. Intaglio— red jafper. Height, § in. ; width, 7/1 6ths. No. 728 (a). ||||OMIC BALD-HEADED MASK. Intaglio — fard. Diam., 7/i6ths. No. 729 (a). g§l GROTESQUE MASK ; the crown of the head crefted i£s® with a cock's comb. Intaglio — black jafper. Height, 7/i6ths ; width, J- in. No. 730 (a). OMIC BEARDED MASK, with a pedum and the initials fiSlls " L. N." Intaglio— fard. Height, \ in. ; width, f in. No. 73 1 (a OMIC BEARDED MASK, with a gaping mell-maped mouth. Intaglio — fard. Height, 7/i6ths ; width, 5/i6ths. 1 174 VII. -ANTIQUE AND OTHER No. 732 (a). RAGMENT. A comic maik. Intaglio— nicolo. 43S No - 733 ( a > TRAGIC MASK, with the infcription, AIOAHPOC. A fplcndid gem on a fine dark brown fard. Intaglio. Diam. , 9/ 1 6ths . (See engraving.) No - 734 (a). OMIC FULL-FACED MASK, behind which appears bk^it a female tragic malk. Intaglio— fard. Width, | in. ; height, J- in. No - 735 ( a > f^f|f| RTLLUS, or combination of a female buft with a bearded ?> s MiPt male comic mafk. Intaglio — fard. Height, o/i6ths; width, I in. No. 736 (a). IP® FEMALE DRAPED FIGURE, feated before a bearded maik, which is placed on a column or cippus ; infcribed with the artift's name, MTKftNQC. A mod beautiful intaglio, on a fplendid dark ruby-coloured fard. Diam., | in. No. 737 (a). |||§ OMIC ACTOR, with a pedum. Intaglio— fard. Height, 7/i6ths ; width, 5/i6ths. No. 738 (a). ^ WO ACTORS {landing oppofite each other • between ?f) them on the ground is a child. Probably a fcene from a play. Intaglio— fard. Height, \ in. ; width, 7/16 t]is. ENGRAVED GEMS. '75 No. 739 (a). I N ACTOR, leaning on a pedum ; on each fide in the ^ field of the gem, is a ftar. Intaglio — nicolo. Height, § in. ; width, | in. No. 740 (a). |||^pN ACTOR, wearing a comic malic, with the pedum in SSSS his hand, (landing by a pillar, on which is a comic malic. (From Dr. Nott's Collection.) Intaglio — fine fard. Height, n/i6ths; width, \ in. No. 741 (a). ^^ffi ASE, out of which a tree is growing, and on the brim of which two doves are perched. Intaglio — Oriental onyx of three layers. Height, -| in. ; width, | in. No. 742 (a). COMBINATION OF EMBLEMS. In the centre of the field of the gem is a fignet-ring, within which '^m^l is a Handing figure of Victory. Above the ring is a cornucopia, formed by a bearded human head and a ram's head, on which fits a bird; alfo a corn-ear and a ferpent. At the fides of the ring are a dolphin with a trident, a half moon, a caduceus, a thunderbolt, and a patera with facrificial cakes ?. Underneath the ring is the infcription, " M. VARRI. CXF. ; " underneath are a thyrfus and a club. Intaglio — cornelian. Height, -§ in. ; width, 9/i6ths. No. 743 (a). EARDED, OLD MAN, perhaps Silenus, playing the lyre before an cedicula, which Hands on a rock, and before which an altar is burning ; behind the old man is a faun VII. - ANTIQUE AND OTHER playing the double flute. Intaglio — fard. Width, | in.; height, J- in. (See engraving.) . 1**'.^ ffl- 744 (a).^^^^/' v ': :' I^^P^IOURE feated at a four-legged table, on which are slisk (apparently) pieces of money. On the table (lands a box or cabinet, with two opened doors. Intaglio — cornelian. Width, | in. j height, f in. (See engraving.) No. 745 (a). NUDE FEMALE FIGURE, holding a ring, and pointing with her hand to a butterfly hovering over a fnail which crawls on a low altar. Intaglio— green antique pafte. Height, 9/i6ths; width, 7/'i6ths. No. 746 (a). |f TANDING NUDE MALE FIGURE, holding a thyrfus in one hand and drawing a mantle over his fhoulders with the other. Intaglio — cornelian. Height, § in. ; width, I in. No. 747 (a). "~ If TANDING MALE FIGURE, probably Adonis, holding SlSSyt both his arms over his head ; befide him, Cupid Handing on a pillar, holding up a mirror to him. Intaglio — nicolo. Height, 9/i6ths; width, 7/i6ths. No. 748 (a). fig| RTLLUS— compofition of two male bufls, each crowned SflSsr with the modius ; the fore part of a lion, its head fur- rounded by rays ; and a horned maik of Pan. A flriated border round the edge. Sard. Height, | in. ; width, 7/i6ths. ENGRAVED GEMS 177 No. 749 (a). WM WO VICTORIES, flanking a mountain, and holding a Ifellf wreath over its fummit. Underneath is the infcription, "POMIMOY." Red jafper. Intaglio. Width, 7/i6ths; height, J- in. No. 750 (a). LION, WALKING. Intaglio on brown fard. Width, Wm i in. ; height, f in. Intaglio. Width, No. 75 1 (a). fpi LION. Onyx of three layers. §3® i in.; height, 7/i6ths. No. 752(a). '§JM CROUCHING LION. Intaglio on amethyft, in its original antique gold ring fetting. Width, § in. ; height, fin. No. 753(a). ||||| LION in the aft of fpringing. Intaglio— fard. Width, i§S§ ^ in. ; height, 7/1 6ths. No - 754 00- ION, feen forefhortened, {landing on the carcafe of a bull. M&$£i Intaglio — ruby antique pafle. Height, 9/i6ths; width, 7/1 6ths. No. 755 (a). |||§ AMP ANT LION, rearing itfelf up againft a trophy of arms. Intaglio — nicolo. Height, -§ in* ; width, | in. N i 7 8 VII. — ANTIQUE AND OTHER No. 756 (a). g&lEMALE PANTHER, her head turned backwards. §3£ Intaglio — jacynth. Width, 5/i6ths; height, § in. No. 757 (a). N ELEPHANT. Intaglio— red jafper. Height, f in. ; (MM width, 7/i6ths. No. 758(a), WOLF, STANDING AT BAY. Height, 5/i6ths; width, j in. Intaglio — fard. No. 759 (a). ffgfOUCHANT OR SLEEPING WOLF, with the initials, 9/i6ths. F. C. T." Intaglio — fard. Height, J in. ; width, No. 760 (a). |i||QAR, STANDING. Intaglio— violet antique parte. §&§|L Height, § in. ; width, | in. No. 761 (a). |f|f| BOAR IN ITS LAIR. Intaglio— ford. 5/i6ths; width, § in. Height, No. 762 (a). : STANDING SOW. Early Greek? work. Intaglio - brown fard. Height, y/i6ths; width, o/i6ths. ENGRAVED GEMS. 179 No. 763 (a). |$1§§1 RTLLUS, or compofition of a bull's, a goat's, a ram's, and a flag's head ; near the bull's head is a wheat-ear. In- taglio — fard. Height, 7/i6ths; width, 9/i6ths. No. 764 (a). r ^ AM'S HEAD. A deeply-cut gem, treated in a very iiSKSi grand ftyle. (See " Impronte di Monumenti Gem" Cent. 2, No. 96.) Intaglio on fard. Height, | in. ; width, fin. No. 765 (a). BULL, STANDING. Intaglio — cornelian onyx of two layers. Height, ^ in. ; width, | in. No. 766 (a). 1111 COW, WALKING. Intaglio— onyx of three layers. Height, & in. ; width, £ in. No. 767 (a). f^l§$ BULL tearing up the ground in front of a rock, on lC$Q§ which is placed a mrine, or aedicula ; in the background a tree. Intaglio — cornelian. Diam., ^ in. No. 768 (a). lfll OW ' WITH A SUCKING CALF; within a ftriated border. Intaglio — ftriped onyx. Height, 3 in. ; width, I in- N 2 i8o • VII. — ANTIQUE AND OTHER No. 769 (a). ORTRAIT OF CHRISTINA, Queen of Sweden. Con- Si temporary feventeenth century work. Cameo — garnet. Height, n/i6ths; width, | in. No. 770 (a). ip| ORTRAIT OF A MAN WITH A LARGE BEARD, OSS and wearing a furred robe and a flat cap — faid to be Pietro Aretino. A beautiful Italian cinque-cento cameo. Onyx of two layers. Height, f in. ; width, -§ in. No. 771 (a). I FEMALE PORTRAIT HEAD ^probably a Roman emprefs. An Italian cinque-cento cameo, in imitation of the antique. Onyx of three flrata. Height, | in. ; width, No- 77 1 (b). SlgN IDEALIZED FEMALE HEAD. Eighteenth cen- tury work?. Cameo in Oriental onyx of two layers. Height, J in. ; width, -§ in. No. 772 (a). |§g N IDEALIZED FEMALE HEAD, crowned with an kfSSl oak wreath. Cameo in onyx of four flrata. Height, I in. ; width, J in. No. 773 (a). EAD OF APOLLO. Cameo of recent ? work. Chalci- dony. Height, if in. ; width, 1 J in. ENGRAVED GEMS. 181 No. 774 (a). COW, WITH A SUCKING CALF. Intaglio— fard. Width, n/i6ths; height, f in. No. 775 (a). WOLF-DOG, Handing in an animated attitude. Intaglio — nicolo. Height, § in. ; width, g in. No. 776 (a). I GREYHOUND SEIZING A HARE. Intaglio— fard. Hf§i Width, § in. ; height, | in. No. 777 (a). J HARE PURSUED BY A DOG, whilft an eagle IS^S perched on a rock is alfo about to pounce on it. In- taglio — fard. Width, | in. ; height, f in. No. 778 (a). SQUIRREL. Intaglio— fard. Diam., £ in. No. 779 (a). f||iN EAGLE'S HEAD. Intaglio— onyx of three ftrata. ®SM Width, l in.; height, 3/i6ths. No. 780 (a). ARROT HOLDING A BASKET IN ITS BEAK Wml Intaglio— fard. Width, | in.; height, 7/i6ths. 1 82 VII. -ANTIQUE AND OTHER No. 781 (a). IffilARROT ON A BRANCH OF LAUREL. In-' isSlm. taglio — onyx of three ftrata. Width, | in. ; height, No. 782 (a). WO PARROTS YOKED TO A CAR, which is driven by a fmaller bird. Nicolo. Intaglio. Height, 3 ; in. ; width, y/i6ths. No. 783 (a). |||| RAVEN PECKING AT A WHEAT-EAR ; in the $EfS§ background is a column, and above, in the field of the gem, a caduceus. Intaglio — fard. Width, -| in. ; height, \ in. No. 784 (a). ItgloCK FIGHTING WITH A SERPENT. Intaglio— greenifh grey antique glafs pafte. Height, ^ in. ; width, 3 ; in. No. 785 (a). COCK, with outftretched wings, purfuing a lizard. In- taglio — fard. Height, 5/i6ths; width, ^ in. No. 786 (a). COCK, (landing in front of a mirror, is about to fight IsfSl with his reflected image. Intaglio — red jafper. Width, 1 in. ; height, | in. ENGRAVED GEMS. ^3 No. 787 (a). §|§f|OCK, holding a palm branch. Intaglio — fard. Height, I in. ; width, J in. No. 788 (a). FROG. Very deeply engraved. Intaglio — on red fISSi jafper. Height, y/i6ths; width, fin. No. 789 (a). f§|| WO GRASSHOPPERS FIGHTING— one armed with Bi a fword and fhield, the other with the net and trident of a reiiarius. Intaglio — fard. Diam., § in. (See engraving.) No. 790 (a). O C U S T on an acanthus leaf. Intaglio — fard. fS^Wi Diam., | in. No. 791 (a). Uj^sS^OCUST holding a fifhing-rod, from which a line, with S a fifli attached, is fufpended. Acrofs its moulders is a ^fts pole or yoke, at one end of which hangs a hare, and at the other a bird. Intaglio on plafma. Height, 7/1 6ths ; width, m. No. 792 (a). ^^^ RTLLUS — a ram's head, the under part formed by a ffiSSSs bearded man's face. Intaglio — fard. Diam., 1 in. No. 793 (a). #p|=p^HIMERA OR FANTASTIC BIRD-LIKE ANIMAL. The neck and head are thofe of a horfe ; the body is formed by a male and female maik. It is 184 VII. — ANTIQUE AND OTHER (landing on a dolphin, and on the left, in the field of the gem, is a thyrfus. Intaglio — red jafper. Height, 9/i6ths; width, 7/i6ths. No. 794 (a). 5ANTASTICAL BIRD-LIKE ANIMAL, the upper portion of its body formed by a dolphin's tail, the lower part by a bearded man's face and a ram's head ; behind is a cornucopia with flowers and fruit. Intaglio — fard. Height, | in. ; width, § in. No. 795 (a). i^lANTASTICAL BIRD, with the head of a horfe, the body formed by a bearded man's head, and a ram's head with a bunch of grapes in its mouth ; it carries a trophy. In- taglio — fard. Height, | in. ; width, § in. No. 796 (a). fjjifp ANT ASTIC AL BIRD, bearing on its moulders a cornu- copia, from which ifliie a Capricorn and a bee ; in one of its feet or paws it holds two wheat-ears. Intaglio — fard. Width, 9/i6ths; height, § in. No. 797 (a). ROTESQUE MONSTER OR SEA-HORSE, its tail formed by a ferpent, its body by a ram's head, with a human malk on its bread ; beneath is a dolphin with two human faces. Intaglio — fard. Width, | in. ; height, 7/i6ths No. 798 (a). | AUTILUS OR SNAIL SHELL, from which an elephant is iffuing ; in the field are the initials, " C. F." Intaglio fard. Width, 7/i6ths; height, 5/i6ths. ENGRAVED GEMS. i*5 No. 799 (a). pffiS IGM Y FIGHTING WITH A CRANE. Intagl life fard. Height, 7/1 6ths ; width, | in. No. 800 (a). ^fP| AMEO, with a Greek infcription — OT<£IAO ("I love not MH nAANO left I go aftray ; NOO AE ET but I obferve well, KAI TEAa. and I laugh.") Onyx. Length, | in. ; height, | in. No. 801 (a). fl^NSCRIBED CAMEO— if if lesM ETTTXI (" Good luck to you ! ") Nicolo. Length, | in. ; height, J in. No. 802 (a). NTAGLIO, with the infcription— $SM^ XEPETI (" Be greeted.") Chalcidony. Length, | in. ; height, § in. No. 803 (a). AMEO. Clafped hands, with the infcription- OMONOIA (" Concord ! ") Onyx of two layers. Length, § in. ; height, | in. i86 VII.— ANTIQUE AND OTHER No. 804 (a). AMEO. A female hand, wearing a bracelet roiind the wrift, holding a human ear with the thumb and the firft finger. In the field is the infcription — MNHMONETE (" Remember.") Onyx of two layers. Length, | in. ; height, § in. No. 805 (a). , AMEO, with a Greek infcription — ET$AMEI . TO . AI0HP . . KAI . TA . STAO . IIONTOS . STATU. AAHP (" Praifed be heaven and earth," &c.) Onyx of two layers. Length, i| in. ; height, f in. No. 806 (a). (MSt? AMEO, with an infcription — VENI NOLO (« Come." " I will not.") Sardonyx of two ftrata. Length, J in. ; height, 3/i6ths. No. 807 (a). Illll NTAGLIO. Latin infcription— AMA ME AMABO TE (" Love me ; I will love thee.") Cornelian, with the furface artificially blanched by fire. Length, f in. ; height, J in. ENGRAVED GEMS. 187 No. 808 (a), IIPI AMEO. Latin infcription— - WBfc FABIANA VIVAS (" Be greeted Fabiana.") Sardonyx of two ftrata. Length, | in. ; height, 3/i6ths. No. 809 (a). AMEO. Latin infcription — mMf ANNYAPR (" Annya Procula OCVLACS cum fuis.") Cornelian onyx. Length, J in. ; height, 3/i6ths. No. 810 (a). ^AMEO. Latin infcription — SOROR (" Sifter^) Cornelian onyx. Length, | in. ; height, 3/i6ths. No. 811 (a). |^ACET-CUT SARD, the furface blanched by fire, and Mlsi cut into chequers. Set as a ring. No. 812(a). AMEO. Buft of Alexander de Medicis, the head in plafma, laid down on a background of gold ; the drapery alfo chifelled in gold. A beautiful contemporaneous work. Height, 1 1 in. ; width, 1 in. i88 ENGRAVED GEMS. No. 813 (a). YLINDER, in haematite. Aflyrian or Perfian work. A continuous frieze of figures, {landing erect on a band or belt of a fpecies of u Guilloche " ornamentation. Length, I in. ; diam., 1 in. VIII. V PORTRAIT MEDALLIONS. ^j^^p Ipp^p HERE are few works of mediaeval art more \ really valuable than the Italian portrait medal- lions of the fifteenth and fixteenth centuries ; they are for the moft part the work of artifts of the higheft talent — painters, fculptors, or goldfmiths. Befides being intrinfically moft beautiful, they alfo, like their antique prototypes, the medals of clalhcal antiquity, tranfmit to us the moft authentic portraits of the great men of the age in which they were produced. The antique medals were invariably ftruck from a die or matrix, and are confequently always of comparatively fmall dimenfions ; but in the Middle Ages the art of ftamping coins was even lefs underftood than in antiquity, and the procefs was confined to the fmall and rudely-fafhioned coinage generally in ufe. To produce medals of the large fize affected by the early Italian artifts, an entirely different method was of neceifity had recourfe to ; the renaiffance medals were confequently always caft in a mould by the procefs called u a la cire perdue" and the impreftions in bronze thus obtained were retouched, and often elaborately chafed by the artifts themfelves. From about 1440 till the end of the century was the great age of this art, which developed itfelf mainly in the northern Italian i 9 o VIII. — PORTRAIT MEDALLIONS. cities — Verona, Milan, Venice, Mantua, &c. Of the artifts who devoted themfelves to this branch, Vittore Pifanello, a celebrated painter of Verona, is entitled to the higheft rank. After him may be named, Sperandio of Mantua, Matteo de Partis and Pomedello of Verona, Giovanni Boldu of Venice, and the painter Francia of Bologna. Original examples of thefe beautiful medal- lions have now become extremely rare, and muft be diftinguifhed from the numerous modern callings or u furmoalages" which have at various times been made from them. CATALOGUE. VIII. -PORTRAIT MEDALLIONS. No. 350 (b). TALIAN BRONZE MEDALLION. Diam., 4 | in Federigo di Montefeltro, Duke of Urbino. Obverfe, buft in armour, the margin of the medallion encircled with the garter and motto, " Hony .foyt .qy .mal.y .pence" Re- verfe, a group of Amorini upholding a fliield, on which is a fpread eagle, flanked by two cornucopias, (landing on a globe, and fupporting a fliield. Acrofs the field the infcription, u Fe. Dux" Circa 1450. No 351 (b). RONZE MEDALLION. Diam., 3^ in. Ifotta da Rimini, wife or miftrefs of Sigifmond Malatefta. Buft to the right, with the legend, " D Afottae .Ariminenfi. Reverfe, an elephant, and the date, 1446. Probably by Matteo de Paftis. Circa 1450. No. 352(b). "RONZE MEDALLION. Diam., 5$ in. Filippo Maria Vifconti, Duke of Milan. Buft to the right, wearing a cap or beretta, infcribed, " Philippus . 1 92 VIII.— PORTRAIT MEDALLIONS. Maria . A ngl us . dux . Mediolani . etcetera . Papie . Angler ie .que. comes . ac .Genue .dominus." Reverfe, two knights on horfeback, armed at all points, and an efquire, alfo on horfeback. Infcribed, " Opus . Pifani . Pictoris." The work of Vittore Pifanello. Circa i45°- No -353 ( b > |gg|g|RONZE MEDALLION. Diam., 4 in. Hercules ta&m Marefcotti, of Bologna. Buft, to the right, in armour, wearing a cap or beretta. Reverfe, Atlas bearing the globe on his moulders, {landing with one foot on a boat in the fea, and the other on the land. In the field of the medal the initials " S. B." Probably by Sperandio of Mantua. Girca 1450. mm No - 354 (b> TALIAN SUA TTRO-CENTO LEADEN MEDAL- LION. Diam., 4 in. Marino Caraccioli, Marfhal in the army of Ferdinand, King of Naples. Bull: to the left, in armour, wearing a beretta or conical cap. Infcribed, " Marinus . Karazolus . Neapolitanus . Ferdinand . regis . exercitus . maref callus y Reverfe, a man in Roman armour, with a marfhal's baton, feated on the back of a lion. Infcribed, " Opus . fperandei^ The work of Sperandio of Mantua. No - 355 ( b > RONZE MEDALLION. Diam., 2 in. Borfo, Mar- quis of Efte. Buft, in very high relief ; with the legend, " Dominus . Borfius . March no .EJi [ en/is." Re- verfe, a fingular device of a funflower, with a cockatrice or bafi- liik in the centre. Round the margin the fignature of the artift, " Amad . Mediolan . arfex .fecit " — i. e., " The work of the gold- fmith Amadeus of Milan." VIII. — PORTRAIT MEDALLIONS. No. 356 (b). RONZE MEDALLION. Diam., 3 | in. Lionel Mar- quis d'Efte. Buft to the left, infcribed, " Leonellus Marchio Eftenfis." Reverfe, a cat? blindfolded (a fcarf tied round the eyes, with the two ends flying in the wind), feated on a cuftiion. Infcribed, u J$ua vides ne vide." In the field the fignature of the artift Nicholaus, a F." Circa 1450. No. 35 7 (b). ""RONZE MEDALLION. Diam., 2J in. Lionel Marquis d'Efte. Buft to the left, infcribed, " Leonellus Marchio EJiensis" Reverfe, two naked men feated on the ground; betwixt them a maft, with a fail inflated with the wind. Infcribed, " Opus Pifani picloris" The work of Pifanello. No. 358(b). : v& , RONZE MEDALLION. Diam., 2± in. Pope Pius II. (iEneas Silvhis). Buft to the left, infcribed, u Enaeas Pius Senenfis Papa fecundus." Reverfe, a pelican in her piety, with the legend, " Be f anguine natos, ale futhec cordis pavi." N °- 359 (b> |p| RONZE MEDALLION. Diam., if in. Scipio Buzakreni, of Padua. Buft to the right, infcribed, " Sipio . Buzakrenus .Pat" Reverfe, a claflical (landing figure and legend, "Nec.do" Circa 1500. ; No. 360 (b). 1|P RONZE MEDAL. Diam., ij in. Count Baldwin del JiSIM Monte. Buft to the left, infcribed, u Balduinus de o VIII.— PORTRAIT MEDALLIONS. Monte comes y Reverfe, a horfeman overcoming another. In- fcribed, ' ' Magis . vicl .fed . tibi. ' ' Circa 1520. No. 361(b). |^RONZE MEDALLION. Diam., 2§ in. Ulyfles 3M& Mufotti, Doctor of Laws. Buft to the left, infcribed, u Ulixes . Mufotus .id . Ant .filius." Reverfe, books, implements of writing, and philofophical inftruments. Circa 1500. No. 362 (b). g RONZE MEDALLION. Diam., 2* in. Pope I Julius II. Buft to the right, infcribed, " Julius .Ligur . Papa.Secundus. 1506." Reverfe, a paftor and his flock, with the legend, u Pedo . Servatas . ques . ad. requiem . ago." No. 363(b). < - RONZE MEDALLION, without reverfe. Diam., 2| in. m Buft portrait of a lady to the right, infcribed, " Hieronima Sacrata." 1 555. No. 364 (b). RONZE MEDALLION. Diam., 2'f in. Francefco Sangallo, fculptor and architect. Buft portrait to the left, infcribed, " Francefco da Sangallo, fcultore et archi- tetto Fioren. 1550." Reverfe, a terminal figure carefling a dog. A garland of flowers encircling the field, with the motto, " Durabo." No. 365(b). I^EADEN MEDALLION, without reverfe. Diam., Md§§ 2 1 in. Leonora Gonzaga, Duchefs of Mantua. Buft to the left, infcribed, " Leonora Ducheffa Mantua." VIII.— PORTRAIT MEDALLIONS. 195 ■|; No. 366(b). RONZE MEDALLION, without reverfe. Diam., 1 1 in. Head of Hercules. No. 367 (b). EAD MEDALLION. Diam., 3 in. Without reverfe. Buft to the left of Bilibald Pirkheymer, the friend of Albert Durer. In the field the monogram of A. Durer, and date, 15 14. No. 368 (b). ; RONZE MEDALLION. Diam., 2± in. Lavinia Fontana. Head to the left, infcribed, " Lavinia Font ana Zaphia Pictrix, 161 1," and with the fignature of the medallift, " Ant. Cafoni." Reverfe, a female, with dif- hevelled hair, feated painting at an eafel, with the legend, u Perte Jlato goiofo mimantene." No. 369 (b). EDALLION OR CIRCULAR PORTRAIT RELIEVO, carved in boxwood, enclofed within its original turned wood box or cafe. Profile portrait of u Ulric Ehinger" infcribed around the margin, " Ulric . Ehinger . com . cons . et . aulicus . ces . nit if , M. Z) . 3 . 3 . " An admirable por- trait medallion of the fchool of Albert Durer. Probably exe- cuted at Nuremberg. No. 370 (b). SERIES OF TWELVE GOLD COINS AND TWELVE SILVER DENARII OF THE CJESARS, as follows : — o 2 VIII.— PORTRAIT MEDALLIONS. Julius C. — Gold. — Rev., Pontifical Inftruments. Of the Hirtia family. Silver. — Rev., Minerva — Mettia family. Augustus. — Gold. — Rev., " Imp. X." — bull butting. Silver: — Rev., " Augujlus " — bull ftanding. Tiberius. — Gold. — Rev., Rome feated. Silver. — Same type. Caligula. — Gold. Silver. — Ob., Head of Caligula ; rev., Head of Auguftus. Claudius. — Gold. — Rev., " Pact Augujla" Nemefis. Silver. — Rev., fame type. Nero. — Gold. — Rev., " Pont. Max." — foldier ftanding. Silver. — Rev., Jupiter feated. Galba. — Gold. — Rev., " Satus Gen. humani." Silver.— Rev. t " S. P. Q. R" in a wreath. Otho. — Gold. — Rev., " Securitas." Silver. — Same type. Vitellius. — Gold. Silver.— Rev., « S. P. Q. R." in a wreath. Vespasian. — Gold. — Rev., Victory on the c'tfla rnyjlica. Silver. — Rev., " Cos. V." — two trees. Titus. — Gold. — Rev., " Pontif. Maxim." — Fortune. Silver.- — Rev., Elephant. Domitian. — Gold. — Rev., Minerva. Silver. — Same type. IX ANTIQUE JEWELLERY. NTIQUE perfonal ornaments in the precious metals are found almoft exclufively in tombs — the dead having been frequently interred with the jewels they were in the habit of wearing during their lifetime. It ftiould be remarked, however, that although many antique fpecimens of the goldfmith's art difplay wonderful technical ikill and exquifite tafte in defign, it feems probable that the majority of the fpecimens found in tombs were manufactured at comparatively little coft, expreffly as funereal ornaments — being depofited in lieu of the richer and more valuable jewels worn during life ; and that, therefore, the fpecimens preferved in collec- tions do not adequately reprefent the Jiatus of the jeweller's art in antiquity. Indications fufficient, however, are perceptible in thefe fpecimens to mow, that here, as in almoft every other art, the Ancients attained to a degree of excellence, which the Moderns may have equalled in various ways, but not furpafled. The Etrufcans appear to have been the greateft patrons of the jeweller's art ; the Afiatic Greeks next in degree ; whilft amongfl the Romans, finger or fignet rings, and a few fimple types of ear pendants of female ufe, are almoft the only articles difcovered. CATALOGUE. IX.— ANTIQUE JEWELLERY. No. 400. cord of gold, woven like a piece of modern circular braid, with minute plaited links of gold wire. It is circular, every mem or plait of entire regularity, and fo clofely and compactly woven as almoft to prefent the afpect of a folid mafs ; neverthe- lefs, the chain is perfectly flexible, admitting of being tied into knots. Its diameter is rather more than one-eighth of an inch ; extreme length, 12 in. At each end it is protected by a fheath or focket of gold, terminating in a loop. No. 40 1 . IRCULAR CONVEX BUTTON, of tranfparent blue glafs, ornamented with a fpiral ftripe of opaque white. In the centre, which is perforated, is affixed a fmall raifed bofs or rofette of gold, ornamented with minute granu- lated work, and on the oppofite fide a gold loop (hank is ftill attached, Greek work. Diam., 1 in. IX.— ANTIQUE JEWELLERY. No. 402. pLD FINGER RING. Antique Etrufcan work. In front is attached an oval tablet, on which are executed u en repoufse" regardant figures of a lion in the act of fpringing, and a dragon or hippocampus ; furrounded by a granu- lated border. No. 403. IWS ASSIVE GOLD FINGER OR THUMB RING. $ FWj ? Greek work. It is difficult to defcribe this interefting StfifcS and important fpecimen. It confifls of a deep circlet or band, enriched at the back with a running fcroll of ivy leaves, pierced " a jour;" in front is a fquare tablet containing a crouching tiger or lionefs — the ground likewife perforated. On the fummit of the central panel, which forms, as it were, a pedeftal, is a group of two lions rampant ; their heads in contact, and fore feet reffing on a bell-fhaped vafe, which is placed betwixt them. The originality and ingenuity of the defign of this piece are equalled only by the beauty of execution. The entire work is evidently chifelled out of the folid gold, and the lions are modelled in a vigorous painter-like ffyle, which, not- withstanding the minute fcale, recalls the fpirited chafing of the antique bronzes. Found at Corcyra — now Corfu. No. 404. jMALL INTAGLIO in cornelian, the back rounded as a fcarabeus, engraved with an Egyptian hawk -headed figure ; fet as a fwivel ring with a looped feal handle. Antique Greco-Phcenician work, found at Tharros in the iflan'd of Sardinia. 2oo IX. — ANTIQUE JEWELLERY. No. 405. jNTIQUE EGYPTIAN FINGER RING. Intaglio in the ftyle of a fcarabeus, in green glazed earthenware. The fcarabeus part formed by a couchant goat, the front engraved with hieroglyphics. Gold fwivel fetting of three conjoined bands of flout gold wire, the ends terminating in a beautifully executed reprefentation of the papyrus. The centre wire ending in the expanded flower, and each lateral one in a bud. Beneath the flower, the three bands are bound round with fine gold wire, as if tied by a firing. No. 406. i^£*«3g)INGER RING, fet with an irregular rounded emerald. 5% fpfffj The {tone is fet in a large bofs or globular bulb of thin ll:JSjll ftamped gold, and a minute ring, to which a fragment of gold chain is attached, is appended to the hoop of the ring. Roman work, of very unufual type. Found in Corfu, the ancient Corcyra. No. 407. MALL FINGER RING in maflive gold, fet with a minute intaglio in red fard. The engraving reprefents the fun furrounded with rays and a hedgehog. Thefe devices have much refemblance to modern heraldic crefts. Roman work. No. 408. GOLD EAR PENDANT. Antique Greek work. The upper part formed by a circular ihield-fhaped bofs, from which hangs a drop or pendant formed by fix folid gold balls, foldered together, fomewhat refembling a bunch of IX.— ANTIQUE JEWELLERY. 201 grapes, and ornamented with fmaller knobs. This defign is in moft elegant tafte. No. 409. ^^^)AIR OF EAR PENDANTS in thin ftamped gold. || Etrufcan work. The circular loop is a band of thin tcrfikuJi gold, enriched with filets and two rows of circular knobs or bofles : from this ring hangs the pendant, the upper part forming a wide band or loop decorated with three parallel rows of circular bofles ; beneath this is a canopus vafe, or a fpecies of amphora, crowned by a female head of marked Egyptian type. No. 410. ?g CARABEUS IN CORNELIAN fet as a fwivel ring, WSfy the circlet formed by a flat thin band of gold, the ftone rudely engraved with a dancing fawn, in the chara&eriftic Etrufcan ftyle. No. 411. Jf(|||<: WIVEL RING, the gold wire circlet of an elegant granulated or plaited pattern, the ftone a cameo of a lion couchant in burnt cornelian. Etrufcan work. No. 412. AIR ° F EAR - RINGS OR PENDANTS, in thin g°ld repoufse work — Greek or Etrufcan ; the hoop is fcL&S/ formed by a figure of a winged Cupid. Above the head of each is a rofette fet with a cabochon garnet. (Hertz Colle&ion.) 202 IX — ANTIQUE JEWELLERY. No. 413. [AIR OF GOLD EAR PENDANTS, the upper part a leaf or heart-fhaped plate ornamented with granulated fcrolls, beneath it an hexagonal cylindrical bead in blue glafs, from which again hangs a pointed oval or vafe-fhaped orna- ment, Greek or Etrufcan. (Hertz Collection.) No. 414. ECKLACE formed of true-love knots in gold, and large irregular rubies and emeralds, rounded or "en cabochon" perforated and fining as beads. Length, 11^ in. Greek or Roman work. (Hertz Collection.) No. 415. ||MENDENT ORNAMENT fufpended from a ftiort gold rfej chain. The principal detail is a large cabochon garnet, fet in a frame or " chaton " of gold ornamented with granulated filets ; from this is fufpended a vafe-fiiaped ornament, the body formed by a garnet bead, the vafe, handles, SsV., in gold. (Hertz Collection.) No. 416. ffi ECKLACE, compofed of large circular beads of gold, richly ornamented with varied patterns in minute granu- lated work ; from the centre hang three pendent ornaments. Entire length, 16 in. Greek or Etrufcan. No. 417. ASSIVE GOLD RING fet with an o&agonal Oriental I amethyft, on which is deeply engraved a full-faced buft 3 of a female. The ring itfelf is twilled, or cable-fhaped, IX. — ANTIQUE JEWELLERY. the ftrands increafing in fize towards the chaton or tablet in which the flone is inferted. A very elegant and fimple arrangement, admirably wrought in folid gold — probably late Roman work. No. 418. IIII^OMAN GOLD FINGER RING. This very re- 03 markable ring has a large circular " chaton " or tablet J^SSc^C n/i6ths in diam., the margin of which is furrounded by a beautiful moulded filet. This enclofes a narrow ring or zone of dark fardonyx or glafs pafte, engraved with minute figures of birds and animals, which in turn is bounded on its inner margin by another raifed moulded gold filet. This again encircles a light green glafs parte engraved with a head of Bacchus ; the glafs pafle, however is expofed only in the "incavo" or engraving of the head, the field or ground of the pafte being covered with a leaf or plate of gold, which is cut or perforated to the outline of the head. Purchafed in Rome in 1859, having been found in the neighbourhood in the fame year. No. 419. EARRING - A P lain g olci wire noo P ornamented f^PPt with a four-fided rofette ftrung on, and moving round as a fwivel ; in the centre on one fide is set a minute emerald. Roman ? work. No. 420. I OLD FINGER RING, fet with an onyx cameo of two layers ; reprefenting a quail or partridge. Roman work. No. 42 1. ffpl OLD FINGER RING, fet with a cameo head of a child W^k in garnet ; the circlet and " chaton " formed of beautiful 2o 4 IX. — ANTIQUE JEWELLERY. plaited and granulated filagree work. Greek- faid to have been found at Milo. No. 42 2 o OLD FINGER RING— the hoop granulated or beaded, the tablet or " chat on " forming a fmall fquare or cubical teflera, on the part of which is engraved the Greek monogram of the name of Chrift, the u X. P." An interefting early Chriftian ring, probably of the third or fourth century. No. 423. GOLD FINGER RING, infcribed in deeply engraved characters round the outer margin, " Marci . Marciani . volcafi .tegellii." This very remarkable ring was evi- dently intended as a feal or fignet, the infcription being reverfed, i.e., running from right to left. The form of the characters .and other indications feem to point to the Roman Confular period. No. 424. ^wp^RIANGULAR GOLD BROOCH OR FIBULA, of JjS mod minute and delicate workmanfliip, richly adorned rrSSaS with filagree work, granulated bolfes, wreaths, and fet with three fmall cabochon garnets. An exquifite fpecimen of antique Etrufcan jewellery. No. 425. BRACELET, formed by a flat filet of gold, the two ends Sp3?!pB terminating in involuted ferpents, which tie or loop S§[M^B together, fo as to form the fattening of the bracelet. At each extremity is a ferpent's head, chifelled in a fpirited and life-like ftyle. This elegant and probably unique object is moft likely of Greek origin. X. MEDIEVAL AND CINQUE-CENTO JEWELLERY. HERE can be little doubt but that the jeweller's art attained to its utmoft perfection in the fix- teenth century — the age of Benvenuto Cellini. In abftract beauty of defign, the fineft pro- ductions of the artificers of antiquity may perhaps have tranfcended all that has been fmce produced ; but the technical refources of the goldfmith were then more limited. The art of enamelling on the precious metals, if not entirely unknown to the Greeks and Romans, was at any rate only very imperfectly pradtifed ; and thus one of the chief means of pro- ducing rich decorative effects was wanting. The rich and Ihowy coftumes of both fexes in the Middle Ages and period of the cinque-cento, were more favourable to this art than the more fimple and primitive habits of coftume of the Ancients. Chains, medallions for the hat, pendent orna- ments or jewels, finger rings, pomanders or fcent cafes, brace- lets, buckles, clafps of fword-belts and girdles ; the hilts of daggers, portable reliquaries, pectoral croffes, and a hundred other objects of luxurious adornment, were the delight of the noble and wealthy clafifes in times when perfonal difplay was regulated ftrictly according to the focial rank of individuals ; and 2o6 X.— MEDIEVAL JEWELLERY. accordingly, the higheft artiftic talent was enlifted into the fervice of the goldfmith jeweller. Coftly and elaborate jewels were efleemed as veritable works of art ; and Cellini, in his Life, has left us accounts of his fpecial works in jewellery, from which it is evident that his labours in this direction were deemed by himfelf not inferior in value and repute to the contemporary works in high art of a Bandi- nelli or a Giovanni di Bologna. From the inexhauftible variety of defign and exquifite tafte difplayed in thefe precious works, it is natural that they mould conftitute a favourite category in the domain of vertu, and equally to be expected that fraudulent dealers mould exert their perverfe ingenuity in the production of modern counterfeits. There is confequently now fcarcely any other clafs of works of ornamental art in which it is neceflary to exercife more caution in collecting fpecimens than in that of cinque-cento jewellery. CATALOGUE. X.— MEDIEVAL AND CINQUE-CENTO JEWELLERY. No. 460. SOLD ENAMELLED FINGER RING, let with a % pointed diamond, the circlet enriched with flrap-work ornamentation. Sixteenth century Italian ? work. No. 461. iiSS OLD FINGER RING, fet with a brilliant, the loop enriched with elaborate flrap-work ornament, chifelled in high relief, and picked out with white, black, and green enamel Sixteenth century. No. 462. I OLD FINGER RING, of fimilar flyle, fet with a fmall table diamond, the fetting elaborately chifelled, and en- riched with white and black enamel. Cinque-cento. No. 463. 1NGER RING, fet with a fine emerald, and with fix fmall brilliants, the loop enriched with Guilloche orna- ment in white enamel, filled in with raifed fpots of turquoife. A beautiful ring, of fimple yet very elegant tafle, probably French. Seventeenth century work. 2o8 X. — MEDIEVAL AND CINQUE-CENTO No. 464. > OURNING RING, with a (bull and croft bones in relief: 3 White and black enamel on gold. Seventeenth century. French or Flemifti ? No. 465. INGER RING, fet with a fapphire and two brilliants. The circlet elegantly chafed and enriched with white and black enamel French ? Seventeenth century. No. 466. I INGER RING, fet with a fine garnet, the fetting enriched with black enamel. Sixteenth century work, of fimple yet very elegant pattern. Flemifh ? No. 467. gijASSION RING. A gold hoop ring, fet with a fquare garnet, engraved with an Agnus Dei, and the circlet compofed of fixteen fmall fquare garnets, engraved with various emblems of the paflion. The intaglio parts filled in with white enamel. Italian. Sixteenth or feventeenth century. No. 468. ;VAL PENDENT RELIQUARY in fitter gilt. On each fide is a reprefentation of the crucifixion, chifelled in relief, and the margin is furrounded by a bold border of twifted cable-work, and projecting bofles. Spanifh. Date, fecond half of the fixteenth century. JEWELLERY. 209 No. 469. ENDENT JEWEL in rock cryftal, reprefenting a hippo- campus, or fea-horfe. It is fufpended by three gold chains, and is enriched with imitation harnefs, SsV., in thin gold filagree work. Spanifti ? Sixteenth century. No. 470. gffg^gj ENDENT JEWEL. This beautiful ornament confifts f^O^ °^ a c * rcu ^ ar ^ rame °^ cartouche work, enriched with ^•§§5/ cherubs' heads, highly decorated with opaque and tranfparent enamels. The frame is fet with a plate of rock cryftal. It is fufpended by three chains from a loop formed by an oval fliield of arms, with mantling furrounded by an electoral crown. The arms are thofe of Bavaria. This jewel is moft likely of Augfburg work. Circa 1580. No. 471. J^^^j ENDENT LOCKET JEWEL. A miniature " Calvary." Within an egg-fhaped cafe formed of two fegments of polifhed rock cryftal, with enamelled gold rim or margin, is a reprefentation of " Calvary," or the cruci- fixion of Our Saviour, with the two thieves and numerous fmall figures at the foot of the crofs, all minutely executed in gold in full relief and enamelled. German. Sixteenth century work. No. 472. ENDENT JEWEL, reprefenting an eagle perched on W ffimi a branch, roun( i which is twined a ferpent. The body mm of the bird is formed by a large u perk baroque; " the head, outftretched wings, and feet of the bird, the branch and the ferpent, are in gold, richly decorated with tranfparent enamel, p 2io X.—MEDMVJL AND CINQUE-CENTO in which the beautiful ruby or " fang-de-b&uf" tint is predomi- nant. From the front of the branch projects a rofette fet with a fine ruby, and from the point of each wing, as well as the under-fide of the branch, hang circular pendent pearls. The jewel is fufpended by a fmall chain and loop. Italian cinque-cento work. No. 473. (ENDENT JEWEL. Probably an order of the St. Efprit. A dove with outftretched wings pendent from 53*22 a long gold chain. The body, wings, and tail, are fet with large triangular brilliants, and a glory of brilliants furrounds the head. From the point of each wing, and from the tail, is fufpended a fine pearl ; on the back of the bird, the feathers are beautifully chafed and enamelled. An exquifite fpecimen of French fixteenth century work. No. 474. ^^^p ENDENT JEWEL in enamelled gold. Within J J an ova j f rame or border of rich cartouche work, fet with pearls, is an alto-relievo of Jupiter and Juno embracing, with Cupid feated near them; on the reverfe, a chafing in gold reprefents a horfeman approaching a lady clad in rich veftments. The figures and acceffories of the relievo fubjecl, and likewife the ornamental border, are richly adorned with opaque and tranflucent enamels. Augfburg? work. Circa 1600. A fplendid jewel, in excellent prefervation. No. 475. JhENDENT JEWEL, forming a reliquary. On each * -' Wx\ ^ e * S a ^ ma ^ ova ^ pl a 1 ue °f cr yft a l? apparently painted fcSJSS^ at the back with medallion heads refpe&ively of Our JEWELLERY. 211 Saviour and the Virgin. The border, or body of the jewel is of gold filagree cloifonne work, filled in with tranflucent enamels, and fmall pearls are attached as pendents. Spanifli or Italian work. Circa 1570. No. 476. WjgggiENDENT BADGE OF AN ORDER, in enamelled j|j g°ld. Probably of a Knight of Malta. The jewel is t^y&S* formed from a plate of gold of fcolloped or quatrefoil fhape, in the centre of which is a circular medallion, emboflfed fo as to aflume a convex fhape on one fide and a concave one on the other. The convex fide is ornamented with a white crofs on a blue ground, the border or margin filled in with coloured flowers painted on a ground of white enamel. The concave medallion has a minute painted fubject of St. John the Baptift preaching to his difciples, and pointing to Chrift, who appears in the diftance advancing towards them. The border compartments fimilarly enriched with minute painted flowers. Thefe defigns are executed on an uniform ground of white enamel. Date, fecond half of the feventeenth century, p 2 XI. ANTIQUE GREEK PAINTED VASES. rN refpect of beauty of form, Ancient Greek Pottery is unrivalled. Colour there is none ; and it never feems to have ferioufly occurred to the Ancients, that pottery could be made a vehicle for colour. It is fcarcely too much to fay that every Greek vafe is perfectly adapted to its ufe, and that, notwithstanding the abfence of the adventitious charms of colour, it is as beautiful as that ufe will allow of. The hiflory of Greek art pottery is to be gleaned only from the ware itfelf. The beginnings of the art are loft in the depths of mythic antiquity ; the earlier! works, the vafes often defignated Greco-Phcenician, though generally found in Italy — have a decidedly Afiatic character ; and it is probable that the ancient Greek colonies of Afia were the earlier! feats of ceramic art properly fo-called. All the fpecimens of the red and black Greek painted pottery are found in tombs : it having been the ancient practice to furround the corpfe with vafes containing liba- tions, &c. ; and perhaps in fome cafes to depofit in the tomb as marks of affection or refpect, the finef! fpecimens of the potter's art, which had been the admiration of the individual when alive. Specimens of this pottery, wonderfully fimilar in defign and tech- nical characteriftics, are found alike in Greece proper, at Athens XL— ANTIQUE GREEK VASES. 213 and Corinth, at Vulci and Chiufi in Central Italy, and in Cam- pania in the extreme fouth ; in Sicily, Afia, Africa, and in the Crimea even — everywhere in fhort where Greek civilization at any time penetrated. Moft authorities are agreed in referring the firft beginnings to about a.c. 700, and the final decadence and the difcontinuance of the manufacture to the fecond century before Chrift. This term of about five hundred years, aftigned as the duration of the period of production of the painted wares, is probably fufticiently near the truth, is quite fufficient to account for the extreme per- fection to which this pottery had arrived, and would even feem an inordinate time, when the general uniformity of ftyle difplayed from firft to laft is confidered. Nothing is fimpler or more obvious than the technical forma- tive procefies employed. Nineteen out of every twenty Greek vafes were fimply thrown on the potter's wheel, and, generally fpeaking, there is little difference betwixt the ancient and modern procefies of production. The ancient workmen, however, were gifted with wonderful manual ikill ; throwing on the wheel, and the fubfequent turning of the piece on the lathe, were carried to a pitch of perfection far beyond even the moft laborious and com- mendable efforts of modern potters ; the exquifitely fmooth and poliflied furface of the red clay, indeed, feen on Greek vafes, is due, not to any fuper-added glaze, but to the polifh communicated to the furface on the lathe before the pieces were fired. The decoration of the ware was executed exclufively by two diftinct media : — Firft, a black vitreous enamel or true glaze ; and fecondly, engobes or varioully-tinted clays, applied to the furface in a liquid ftate. The black glaze is painted on the furface of the ware in a liquid ftate like any other pigment, and then vitrified by the heat of the furnace. It is a diftinct and notable cha- racteriftic of the ware. We do not know the fecret of its com- pofition, and confequently it has never been fuccefsfully reproduced. 214 XL— ANTIQUE GREEK VASES. It is a beautiful pigment, in appearance more like a refmous varnifh than a true enamel ; and not the leaft remarkable cha- ra&erftic is its extreme thinnefs : in this refpeft, it exceeds all other coverings applied to pottery, and this quality is one of very high value in an artiftic point of view ; inafmuch as the delicate contours and mouldings of the pieces are abfolutely unchanged by the glaze, which, in almofl every other pottery, alters and vitiates the forms by its thicknefs. CATALOGUE. XI. — ANTIQUE GREEK PAINTED VASES. No. 530. ECYTHUS. Height, 13 in.; diam., 5! in. Black figures on red ground. Early or archaic ftyle. Subject, ^d^n probably the combat of Hercules and Telamon with the Amazons. The figures are painted round the fide or drum of the vafe, and reprefent three warriors fighting with three Amazons. The foremoft warrior is engaged with an Amazon, who is apparently overcome, and is kneeling on one knee ; both are in the aft of hurl- ing their fpears. Behind the firfl warrior is another in the fame attitude, and behind the fallen Amazon are two of her companions, alfo in the aft of hurling their fpears. The principal warrior has a cuirafs and a large oval or Bceotian (hield ; the figure behind him has a helmet and a circular fliield, and is apparently nude. The Amazons have helmets with lofty crefts, cuirafTes, fcanty drapery reaching partly down the thighs, and circular fhields with devices, one of which is a bended leg ; the others of uncer- tain fignification. The faces, arms, and legs of the Amazons are coloured white by an engobe applied on the black glaze, and fome of the devices on the fhields and other details have appa- rently been coloured red, alfo on or over the black glaze ; but the red pigment has difappeared, leaving only a dull mark where it was applied. The neck of the vafe is decorated with zones of 2*6 XL — ANTIQUE GREEK PAINTED ornament of the ufual patterns. The fliape of this piece is in keeping with its early date ; the body of the vafe being much wider than that of the more recent or more chara&eriftic Athenian key thus. The prefent fpecimen is one of the largeft of this clafs of vafes. Its date is probably circa 500 before Chrift. No. 531. ROCHOUS OR JUG, with compreffed trefoil lip. Height, 8 \ in. ; diam., 5 \. Black figures on red ground. Archaic ftyle, circa 500 a.c. The fubjeel: is on the front of the piece, and is included within a fquare com- partment or tablet. The ground of the picture is left in red — the reft of the furface covered with the black glaze. A male figure, nude, with the exception of a drapery round the loins, clafps a draped female figure round the waift ; the latter appears to be ftruggling playfully to free herfelf. The face and arms of the female are coloured white, and the hair of both figures is bound round with a filet in red or crimfon. In the back- ground is the fpreading vine. This fubjeel:, which, in fpite of the archaic ftifthefs, is characterized by great elegance and truth of action, belongs evidently to the clafs of Dionyfiac or Bacchana- lian reprefentations. No. 532. MALL GLOBULAR BOTTLE — " Aryballos," " Early" ftyle — circa 650 to 550 B.C. Pale drab- coloured terra-cotta, painted with a zigzag pattern in black, on the fhoulder of the piece; the reft of the body of the vafe furrounded with narrow, horizontal, parallel lines or zones. Height, 2§ in. ; diam., 2§ in. VASES. 217 No - 533- ALPIS OR THREE-HANDLED WATER VASE. Circa 400 B.C. "Beautiful" Greek ftyle. Figures in red on black ground. On the fhoulder of the vafe, within a compartment, is a Bacchanalian reprefentation, con- fifting of two groups, of two figures each. On the right, a naked faun ftands playing the double flute, and a draped female is dancing ; betwixt them is an altar or cippus. On the left, a draped bacchante, holding a thyrfus in her hand, is advancing towards a faun, who is in a grotefque dancing attitude. A moft beautiful vafe. Height, 11 in. ; diam., 8^ in. No. 534. ^P^WO-HANDLED TAZZA OR CUP— « Cylix." ^ Jl " Fine >" or "perfeft" Greek ftyle. Circa 400 B.C. Nola SSlfes ware. In the centre of the bowl is a medallion or circular compartment furrounded with a border of fret-work, and containing a figure of a beautiful youth clad in a voluminous cloak or mantle ; his head encircled with a wreath, and with long pendent filets or ribbons. He is in a momentary attitude, bend- ing forward in the endeavour to catch a hooked flick, which appears to have fallen from his grafp. No - 535- JG OR EWER— " Olpe." "Perfeft" Greek ftyle. Circa 400 B.C. Red figures on black ground. Found at Nola. Subject, a compofition of three figures, pro- bably a fcene from a tragedy. In the centre, a draped female figure holds out a patera towards another, who, clad in a volumi- nous mantle or mourning robe, and with an expreflion of defer- 218 XI.— ANTIQUE GREEK PAINTED ence, advances towards her. On the other fide, a grave and majeftic male figure, with a wand or ftaff, ftands regarding the other two. On the fide, under the handle, is an elegant com- pofition of palmette ornament. The defign and execution of this vale are, alike, of the higheft merit, and the enamel glaze is of the dark luftrous character for which the Nola wares are fo fpe- cially noted. Height, including handle, 9 in. ; diam., 6 in. No. 536. ^^pINE-JUG- "PROCHOUS." "Perfeft" Greek ftyle. m Nola ware. Circa 400-350 b.c. A beautiful fpecimen of the plain black ware, the enamel glaze being of great per- fection. Height, 7 in. ; width, 5 in. No. 537. (<^W$£ MPHORA. "Perfect" Greek ftyle. Found at Nola. Circa 400 B.C. Red figures on black ground. This iSSllsk beautiful vafe is painted with fubjects on both fides. In front, a draped female figure is prefenting a helmet to a young warrior, who carries a large circular buckler, on which is a device of a ferpent, and a lance with the point downwards. On the oppofite fide is a fingle draped figure of a bald middle-aged man, with a crooked walking ftaff or ftick in his hand. Height, 13I in.; diam., in. No. 538. 1MILAR VASE; alfo from Nola; precifely the fame arrangement of the figures is feen as on the preceding fpecimen. The characters are, however, different. In front, a draped female figure, with large wings (" Nike," or Victory), is haranguing or addrefiing, apparently in an attitude of VASES. 219 expoftulation, a young man clad in a fimple mantle, and who with one hand points down to the ground. On the oppofite fide is a draped youthful figure in a walking attitude, holding a knotted walking ftaff. Height, 13^ in. ; width, 7 in. Thefe fplendid vafes are of the higheft quality both in u tech- nique " and defign, and are in a perfect ftate of prefervation. They were probably fpecially intended as fepulchral amphorae. No. 539. RAND NOLAN AMPHORA, with twitted handles. " Perfect " Greek ftyle. Circa 400 B.C. This fplendid vafe is painted with a fubjecl: on each fide : on the one, a youthful warrior, holding two fpears in his hand, is receiving a libation from a draped female ; behind her, and feparated from the group by a doric column, (lands "Nike" or Victory, with a buckler, on which is a device of a chariot wheel. On the oppo- fite fide, a warrior wearing a helmet with ear or cheek plates, and holding a large ftiield, ftands before a low altar, on the fide of which is reprefented a bull's head, whilft a fire is burning on its fuminit. He holds in his hand a patera over the altar ; whilft a draped female pours a libation into it from an oenochoe. Behind him ftands another draped figure with outftretched hands. Under the handle and round the neck, the vafe is painted with beautiful antejixial fcroll ornaments. The lip is encircled with a bold olive wreath and a painted egg-and-tongue moulding. The figures ftand on a band or zone of meander or key ornament. Height, 22 in. ; width, 11^ in. Thefe fubjects evidently reprefent a warrior about to depart on a journey or expedition, and have probably a fepulchral import, as an allegory of the departure of the foul on its wanderings. 2 2o XL— ANTIQUE GREEK PAINTED No. 540. WER, probably an oil cruet — " Prochous." Fine Nola ware. " Perfect " Greek ftyle. Circa 400 B.C. This beautiful fpecimen, in perfect prefervation, is painted red on back ground, with two female draped figures, one of whom (probably Venus) is prefenting a mirror to the other. Extreme height, 9| in. ; diam., j± in. No. 541. UG OR EWER — " Prochous." An exquifite fpeci- men of the later Greek ftyle. Circa 300 B.C. In the centre of the compofition, Venus, richly attired, feated on a folding ftool, holds in one hand a patera and in the other an object refembling a flower, which appears to be fufpended from a double cord or filet. On the left, Cupid, nude, with fplendid wings, holds in one hand a heart- ftiaped fan with a long handle, and with the other prefents a lily to Venus. On the oppofite fide a nude youthful figure or genius prefents a mirror to the goddefs. The oppofite fide of the vafe, under the handle, is filled with an elaborate compofition of " antiefix" or honeyfuckle orna- ment. The red figures on black ground are copioufly heightened and adorned with white and yellow. On the flioulder and neck of the piece is a zone of egg-and-tongue ornament, and a pattern of inverted rays in white. Height, 13 in. ; diam., 4 in. No. 542. gfp^I.ASK OR BOTTLE, with handle and narrow neck— felllll) " Aryballos." Later Greek period. Circa 300 b.c. IIJe^ In front, Cupid, with magnificent wings, and richly adorned with firings of pearls, is feated on a rock, holding VASES. 221 a heart-fliaped fan. A female draped figure advances towards him, carrying in one hand a patera, apparently full of fruit, and in the other holds a tambourine, with pendent ribbons. Above, in the field, betwixt the figures, a girdle or ceflus is feen fufpended. Height, io| in.; diam., 4^ in. Elaborate antefixial ornamenta- tion under handle. No. 543. pIKjLASK — " Aryballos." Period of the "decadence" Circa irafe 250 B.C. A femi-nude female figure, feated in a chair, sSsSSs? offers a patera to a bacchante, who (lands before her, holding a thyrfus in one hand and a bafket in the other. The femi-nude female, probably Venus, alfo holds a diadem of pearls in her right hand. Wave fcroll and fluted ornament round neck and fhoulder of the piece. Elaborate antefixial ornament under the handle. Height, 9^ in. ; diam., 4^ in. No. 544. I^I^MALL CIRCULAR DISC-SHAPED VESSEL, with ^^^^ loop handle and projecting fpout — "Afcos." In the fefe^! fummit, a concave opening pierced with fmall holes to ferve as a (trainer. Painted with three couchant panthers. Circa 400-300 B.C. This piece may either have been an unguentarium, or veflel for perfumes, an oil pot or lamp feeder, or a lamp itfelf. Diam., 3 J in. No. 545. VIFORM AMPHORA. Period of "decadence." Circa 250 ? B.C. The fubje&s of this vafe have reference to the games. On one fide are three (landing figures : the centre one, a bearded man clad in a rich tunic, his head 22 2 XL— ANTIQUE GREEK PAINTED encircled with a laurel or olive wreath, and holding in one hand the double flutes. He is converting with a nude youthful figure, who holds up a difcus or quoit. On the other fide of the centre figure (lands another nude youth, holding a dumb-bell in one hand, and two fpears in the other. The oppofite fide of the vafe has two femi-nude youths, apparently in converfation, one having a walking-flick or flaff in his hand. Height, 1 6^ in. ; width, 10 in. Bands of fluted and antefix ornament round the neck, and a bold olive wreath enriches the bevelled lip of the vafe. No. 546. WO-HANDLED VASE— " Pelice." " Late " period. Circa 300 B.C. The decoration is executed in white " engobe" colour, applied on the furface of the black glaze, which was painted entirely over the piece. In front, on the fhoulder of the vafe, betwixt horizontal bands of egg-and- tongue ornament and pearls, is a head or buft of Cupid, with out- flretched wings, flanked by tufts of fcroll foliage. The details are executed on the white ground in yellow, warm orange brown, and red. Height, 8f in. ; width, 5J in. No. 547. |||^MALL OVIFORM VASE, without handle— a Alabaf- OMS? tron" or "Cymbe." "Late" period. Circa 250 b.c. $21111^ Ornamentation in white " engobe" colour, on the black glaze, with zones of red, pale blue, and pale yellow. The body of this fimple yet elegant piece is covered with a wide zone of reticulated lozenge pattern, above which is a wave fcroll orna- ment. The neck is enriched with vertical flutings. Height, 6J in. ; width, 3 ± in. VASES. 223 No. 548. SMALL GLOBULAR TWO-HANDLED VASE, with cover — " Thymaterion." " Late " period. Circa 250 B.C. Decoration in white u engobe" on the black glaze. The body of the vafe painted in front with a female head betwixt tufts of fcroll foliage ; above and below it, the vafe is encircled by two zones of egg-and-tongue ornament, and a running fcroll pattern. The cover is enriched with a meander or fret ornament. Height, 4 in. ; width, 3! in. No. 549. JjYRIFORM VASE, without handle— "Cymbe." "Late" period. Circa 250 B.C. Decoration in white " engobe " on the black glaze. The body of the vafe in front painted with a female buft, probably Venus, flanked by elaborate fcroll work ; and with a zone of egg-and-tongue ornament. The neck enriched with vertical fluting. Height, 6^ in. ; width, 3 J in. No. 550. 8||B ASE — "Cymbe." The "pendant" of the preceding piece, and in every refpefl: fimilar. No, 55 1 - ^P^WO-HANDLED CUP OR TAZZA — " Cylix." ig " Late " period. Circa 250 B.C. Decoration in red <&£3 "engobe" painted on the black glaze. On the infide of the bowl is a fwan,, furrounded with a bold wreath or chaplet of olive leaves. The under fide has alfo a bold olive wreath. Height, 2 1 in. ; diam., 7I in. 224 , XL— ANTIQUE GREEK PAINTED No. 552. ELL-SHAPED VASE—" Cantharos "—with knotted or twitted handles ; the lower part enriched with flutings in relief. "Late" period. Circa 250 b.c. Round the neck or fhoulder of the piece is a wreath of ivy leaves painted in yellow " engobeT Height, 6 in. ; width, in. No - 553- IMILAR BELL-SHAPED VASE. Around the neck, a wreath of olive leaves painted in white on the black enamel furface. Height, 6 in. ; width, 6 in. No. 554. gg^MALL EWER OR CRUET— the lower part cylin- ^jy drical or box-fhaped. " Prochous." "Late" period. Decoration in white " engobe" on the black enamel ground. The body of the piece furrounded by a vine wreath. Height, 6^ in. ; width, 3^ in. No - 555- M LMOND-SHAPED CRUET OR " PROCHOUS." Fawn-coloured terra cotta ground. Painted with a bird. Height, in. ; width, 2 J in. No. 556. MALL UNGUENTARIUM — " Cymbe." Decoration 1 in white and yellow on black glaze. Painted with a bird Height, in. ; width, betwixt tufts of foliated ornament, a J in. VASES. 22 No. 557. MALL GLOBULAR BOTTLE— "Aryballos." "Late" period. White decoration on black ground. Round the moulder is a beautiful wave fcroll pattern. Height, 3 \ in. ; width, 2 \ in. No. 558. MALL LECYTHUS. " Perfect " Greek period. Painted with u antefixial" ornament. Black on a red ground. Height, 4 in. ; diam., i| in. No. 559. ROUP OF THREE SMALL VASES, with covers, %W^k united together, and with an upright loop handle in the centre. " Late " period. Painted with u antefixiaV ornament. Extreme height, 5 \ in. ; diam., 6 in. XII. art bronzes:' ITH the Ancients, bronze was efteemed the moft excellent of all vehicles for ornamental fculpture, and from the humbleft utenfil to the greateft coloflal ftatue, it was in conftant ufe. Owing to the great durability of the material, many ancient bronzes have furvived the viciffitudes of time, and, after flumbering for centuries in the ground, have been again brought to light, and feduloufly preferved by collectors. The niperficial oxidation of the metal — induced by long expofure to the atmofphere or by contact with the foil, when, as is frequently the cafe in antique bronzes, it affumes the fhape of a hard, com- pact, cryftalline cruft of very varied tints of green, blue, or red — is highly efteemed, not only as the beft evidence of antiquity, but alfo for its intrinfic beauty : this natural rufting or oxidation is called the patina of the bronze ; it cannot be produced by arti- ficial means, and although fraudulent imitations of fome varieties are frequently made, it is generally very eafy to detect the im- pofition. Such imitations are generally produced by the action of acids on the metal, aided by refmous varnifhes, which are eafily foluble, and are foft or friable in texture. Mediaval or cinque-cento bronzes were at their firft manufac- ture ufually tinted or lacquered with coloured varniflies ; and, XII. — BRONZES. 227 although they have very rarely .acquired the natural or true patina, have ftill by the lapfe of time, inducing gradual chemical changes in the material, aflumed peculiar and very agreeable tones and qualities of furface, which are almoft as difficult to imitate as the antique patina. In the fifteenth, fixteenth, and feventeenth centuries, Florence was efpecially noted for the fabrication of art bronzes ; fo much fo, that " Florentine bronze" has now become a generic term applied to all minor Italian works of the cinque- cento and later periods in that material. Reproductions of antiques, reduced copies from celebrated works, and original compofitions on a fmall fcale, were often executed by the moft celebrated fculptors of the epoch. The Pifani, Donatello, Lorenzo Ghiberti, Verocchio, Baccio Bandinelli, Benvenuto Cellini, and Giovanni Bologna, are a few of the great artifts of whom, it is poflible, we thus poflefs many fmall and unknown works. The immenfe number and variety of minor objects in bronze of this period, often diftin- guifhed by admirable delicacy and fpirit, prove that the production of fuch works had become an important and recognized induftry, analogous to the bronze manufactures of Paris at the prefent day. Cinque-cento bronzes are ufually very light ; being caft hollow by a procefs now feldom ufed, called " a la cire perdue" — that is to fay, they were caft from wax models ; or rather from models, the fuperficial coating of which was in wax, whilft the interior part or core was of fome infufible material, fuch as plafter, a fpecies of terra-cotta or ftucco. After the mould, or matrix in which the bronze was to be caft, was made around the model, the wax was melted away by the application of heat, and a cavity thus left be- twixt the core and the mould, into which the melted metal was poured, taking the place of the wax. The caftings by this ancient procefs were, generally fpeaking, far more perfect than thofe by the modern and more expeditious methods — every touch of the Q 2 228 XII.— BRONZES. modelling tool of the artift on the furface of the foft wax being reproduced in the metal with the utmoft delicacy and precifion — whereas at the prefent day the practice of fand cafting produces only rough cafts, which require retouching and polifhing up with the chafing tool — a procefs feldom or never, on account of the trouble and expenfe, performed by the fculptor or original author of the work, but unfortunately nearly always confided to mere workmen, whofe unintelligent labours too often refult in the entire facrifice of the fpirit and truth of detail of the original work, to the attainment of a laboured and mechanical finim, in which art has no concern. No. 600. Florentine cinque-cento Bronze Inkftand. CATALOGUE. XII.— BRONZES. No. 600. ^|^NKSTAND, " Calamaio" Florentine cinque-cento sSt IN? bronze. On a triangular plinth, fupported on lions' ^l^Ex feet, are three fitting fphynxes with outftretched wings, coupled together; a circular moulded rim or margin refts on their heads and wings, within which is placed a funnel-fhaped glafs for ink. The cover forms a richly-moulded pedeftal, on which ftands a group of ftatuettes reprefenting Pan or a fatyr, feated, with his hands bound behind him ; Venus or a nymph, {landing near, offers him a bafket of fruit ; and Cupid, {landing on the oppofite fide, is in the ac*l of (hooting an arrow This fplendid bronze dates about 1530. (From the Bernal Collection.) Entire height, 14 in. ; height of ftatuettes, 6 J in. (See en- graving.) No. 60 1. SjT~3fr^NKSTAND. Florentine cinque-cento period. A ftatuette of Pan or a fatyr, in " ronde bojfe" is feated 42^KXiX crofs-legged : in one hand he holds a two-handled vafe or inkftand, and in the other a cornucopia intended to hold the pen. This fine bronze is of the firft half of the fixteenth century, and has a fplendid colour or patina. Height of figure, if erect, about 12 in. XII. — BRONZES. No. 602. ]^0§-) ROUP. Florentine bronze. Samfon flaying a Philiftine. ^iptf Date, firft half of fixteenth century. Proportion of figures, about 12 in. high. Nos. 603 and 604. iAIR OF BRONZE VASES. Florentine work. Circa 1700-20. Height, 14^ in. Thefe vafes, though in general ftyle and afpecl: they refemble ana- logous works of the early cinque-cento period, belong, never- thelefs, to the eighteenth century — the details of ornament being decidedly of the Louis XIV. ftyle. They are fplendid examples of highly-finifhed workmanftiip, the chafing being of the utmoft finifh and precifion, whilft the natural colour of the bronze is of a beautiful tender olive-brown tint. (See engraving.) No. 60 5 g&g^VAL FRAME IN BRONZE. Venetian or Florentine Mp^J? work. Circa 1570. Height, 12 in.; width, 9 in. Epfc^S Formerly a frame attached to a benitier, the cup having been fawn away. The defign confifts of bold ftrap- work ornament, picked out in gold, with cherubs, lions' heads, pendent garlands, Ssfr., in high relief ; and the upper part is flanked by , two (landing angels in alto relievo ; at the top is an efcutcheon, with the emblem of a pelican in her piety, and the motto, " Semper ardentiusT (From the Rouflfel Collection.) No. 606. $MALL ANTIQUE BRONZE BUST OF HER- | CULES. Of fine Roman work of the Auguftan period. The patina, unfortunately, is not well developed. Plate 9. No. 603. Florentine Bronze Vafe, circa 1700-20. XII.— BRONZES. probably from the bronze having long lain in a boggy foil, or in the bed of a ftream. The fquare pedeftal is of antique workmanftiip, though it did not originally belong to the butt; it is ornamented with a fret or meander ornament, inlaid in filver. Height, exclufive of pedeftal, 3! in. No. 607. JMALL ANTIQUE BRONZE PORTRAIT BUST. An exquifite miniature work in bronze, in all pro- bability of the Auguftan period, and perhaps a portrait of fome member of the Imperial family. It is elaborated with all the perfe&ion of an antique cameo, and is covered with a beautiful dark olive green patina. Height, exclufive of pedeftal, 3 in. No. 608. UST OF OUR SAVIOUR. A highly-finiftied Floren- tine " cire perdue " bronze of the cinque-cento period. Purchafed in Florence in 1859. m No. 609. TATUETTE OF A SLAVE OR PEASANT, feated, with a mantle bound round him. An Italian cinque-cento fur-moulage of an antique bronze. Purchafed at Genoa, 1859. Height, 6 in. No. 610. RIANGULAR INKSTAND, the cover furmounted by a ftatuette of St. Paul. Florentine bronze of the quattro- cento period. From the Collection of the Marchefe della Gherar- defca, Florence, 1859. XII.— BRONZES. No. 6ll. VAL BRONZE INKSTAND, with cover, the lower part in the fhape of an antique oval bath or ciftern. On the cover, a recumbent nude female figure reading from a book, furrounded with utenfils emblematic of literature and the arts. An elegant Italian cinque-cento bronze. Purchafed in Rome, 1859. No. 612. TATUETTE OF VENUS OR PSYCHE, {landing, the lower part of the figure draped. An Italian quattro- cento bronze; attributed to Giacomo Francia. Purchafed in Florence, 1859. Height, about 9 in. No. 613. ENUS. A {landing ftatuette ; the left arm upraifed, hold- ing one end of a fcarf or mantle, the other end of which is held in the right hand, and is fuppofed to be floating in the wind, forming an arch above the head of the figure. A highly -finifhed Florentine cinque-cento bronze. From the Collection of the Marquis della Gherardefca, Florence, 1859. Entire height about 1 8 in. No. 614. 1||§MALL BUST OF KING CHARLES II. An Eng- ename l on copper, with margin in ormolu. Dutch ? Circa 1660. In the centre of each cover is an oval cartouche: one containing the Virgin and Child and St. John with a lamb, in a landfcape ; the other, the Vifitation of Eliza- beth. Amorini in camaieu flank the cartouches, and the reft of the cover is filled in with elaborate flower and fcroll work. The ground is of white enamel, On the back are allegorical figures of Hope and Charity, within cartouches. (From the Debruge-Dumefnil Collection.) Dimenfions of the cover, opened out : width, 6 in. ; height, 4§ in. No. 663. ENITIER, in rock cryftal, decorated with relievi in enamelled gold, fet with rubies and turquoifes. Italian work. Circa 1570. The cup of the benitier, hollowed out of a block of cryftal, is attached to the bottom of a 23 8 XIII. — MISCELLANEOUS OBJECTS IN large oval plaque or tablet, likewife in cryftal. The margin of this plaque is bordered with heart-fhaped ornaments cut in the mafs, in the centre of each of which is inferted a fine turquoife. The centre of the tablet is occupied by an applique relievo picture in gold, reprefenting the rood or crucifix ; our Saviour on the crofs, with the Virgin and St. John. The draperies of the figures are enriched with the moft vivid tranflucent enamels, and the crofs is fet with a feries of precious table rubies. This fplendid fpecimen of the goldfmith's art is probably of Florentine origin. Height, 12 in. ; width, 6\ in. (See engraving.) No. 664. »|^y^ASE OR FRAME FOR A MINIATURE, in ena- ^(p^f^ melled gold, the front formed by a plaque of rock ^b^dJ cryftal, the back perforated in open work ; the defign is an elaborate interlaced cypher {landing on two palm branches, and furmounted by a ducal coronet ; a plain narrow border furrounds it. The work is in gold, enamelled white, and touched with black. On the band of the coronet, above the cypher, is infcribed, " Ces noms infeparables ; " and on the border the following verfe : " Ce chiffr entrelajfe faicl moins voir de mejlange que ne fait les replis de nos cceurs bien unis, riy fenvie du temps jamais par un efchange ne pourra pas troubler F amour de ma P hilts" French. Circa 1670. The edge or margin is furrounded by a twifted cord, alfo enamelled white and black. 2| by aj. No. 665. ggggggVAL GOLD SNUFF-BOX, the furface arranged in panels of u vernis " in imitation of lapis lazuli ; on the 2 lid is an enamel miniature of Louis XIV., by Petitot, or of his fchool The gold mounts are chafed in the higheft ftyle PRECIOUS MATERIALS. 2 39 of early eighteenth century art ; the ornamentation, in vari- coloured gold, confifts of rococo fcroll and cartouche work, Amorini, bouquets of flowers, garlands, &c. This fplendid box is probably one of the moll fumptuous and tafteful works of its kind ever executed. Length, 3^ in.; width, if in.; depth, 1 1 in. No. 666. pp^BLONG GOLD SNUFF-BOX, inlaid with panels of >^^wl ^ a P* s ^ azun - * n ^ e n< ^ * s an ename l miniature of S^fe^i a lady, by Petitot, the margins of the box fet with feed pearls. A fplendid tabatiere of the Louis XIV. period. Length, 2^ in. ; width, i| in. ; depth, \\ in. No. 667. IRCULAR SNUFF-BOX, of dark fliell, inlaid with parallel Hopes of gold. In the lid, an oval miniature on ivory, of a lady in the coflume of the period of Louis XVI. French. Diam., 2^ in. No. 668. IRCULAR SNUFF-BOX, in light yellow {hell, pique $&§fg with fmall gold ftars. On the lid, a miniature on ivory of a lady. Period of Louis XVI. Diam., 2^ in. No. 669. RE PLAQUE of Avant urine glafs, fet in a narrow margin, and with a loop for fufpenfion. On one is a -painting in oil of St. Therefa ? kneeling ; above, in the clouds, an angel with a dart. Spanifh or Italian fixteenth century work. Height, i\ in. ■; width, 2^ in. XIII. -MISCELLANEOUS OBJECTS IN No. 670. IRCULAR SNUFF-BOX in black (hell, the lid fet with a miniature portrait of a lady. French — -period of Louis XVI. Diam., 3 in. No. 671. OLD SEAL, fet with a garnet, engraved with a ftiield of arms. The mount or handle of the feal is in the form of a Maltefe crofs. Originally enamelled. Italian feven- teenth century work. No. 672. IRCULAR SNUFF-BOX in Drefden porcelain, mounted in gold, the exterior painted with hawking fubje&s ; in the interior of the lid a highly-finiihed miniature of a lady in the character of Flora. Circa 1740. Diam., 2§ in. No. 673. f||||VAL SNUFF-BOX in Drefden porcelain, the exterior igiS© painted with Amorini ; on the under fide of the lid a miniature of a lady reclining on a couch. The mountings in gold richly chafed. No. 674. MALL CASKET, formed of nabs of agate or jafper, mounted in filver gilt. German work. Circa 1560- 1600. Length, 3^ in. ; width, 2§ in. ; height, 2| in. This cafket, like the others of analogous defign in this Collection, PRECIOUS MATERIALS. 241 was doubtlefs intended as a wedding prefent, and it is not unlikely that it may have been intended to contain the ring. The defign is very chafte and fimple, and the workmanftiip of unufual folidity and finim. No. 675. CARVED COCOA-NUT DRINKING CUP, mounted in filver. This quaint piece is mounted as a fpecies of r by ton ; the ft em or handle is formed by a bull's head. The filver margin of the cup and the vertical bands con- necting it with the ftem are engraved with elegant arabefque ornaments. The relievo fubje&s carved on the furface of the nut are three in number — two of them reprefent the hiftory of Lot and his daughters ; and the third, Bacchus with attendant fatyrs. German work. Circa 1 550. No. 676. fiP^! OLD ENAMELLED WATCH. French work. ^(IN^ Circa 1640-50. Diam., 2^ in. The entire exterior ^ofeS^ of the cafe is covered with painted fubje&s. On the circular lid in front is a medallion picture of the Virgin and Child, with St. Elizabeth and Jofeph, after Rubens ; and the corre- fponding miniature on the oppofite fide of the cafe is the Virgin and Child, after Mignard. The margin or circular edge of the watch is painted with a continuous band or frieze, in which the Maflacre of the Innocents, the Flight into Egypt, and the " ripofo" are alfo given. The inner fides of the cafe contain re- fpe&ively portraits of Louis XIII. and of Cardinal Richelieu, painted in the higheft ftyle of miniature art. This magnificent watch is certainly one of the very fineft old French enamelled watches in exiftence, and muft have been made for fome great perfonage R 242 XIII. — MISCELLANEOUS OBJECTS IN of the Court. Although the enamel colours are lefs deep and luftrous than thofe of the fine time of Petitot, the execution and defign of the fubje&s are quite up to the level of this great artifh No. 677. UGSBURG CLOCK, in ormolu. Circa 1570. Entire height, 16^ in. ; width acrofs the bafe, 10^ in. This fplendid fpecimen is of the ufual form — namely, an oblong upright time-piece, with femi-detached angle columns, and wide moulded bafe, refting on four grotefque feet. At the fummit is a cornice, above which are two heights of perforated galleries, the lower one reprefenting an open arcade ; the roof or cover is domical or tfg^-ftiaped, and crowned by an obelifk. 7 The clock has in all eight feparate dials, and is profufely orna- mented with arabefque ornamentation and allegorical figures, chafed or engraved with the burin. No. 678. ENTRE PIECE, SALT-CELLAR, OR " DRA- GEOIR" in gilt bronze and filver. Italian, probably Venetian, work. Circa 1570. Height, 14^ in. On an elaborate triangular bafe of (trap-work ornamentation, dolphins with interlaced tails, fyrens, are pofed three marine horfes, with tails ending in rich foliage ; thefe furround a central flem or column of open work, and on the fummit reft three flielL fhaped bowls in filver, with filver dolphins in the angles ; the fummit of the piece is crowned by a ftatuette of Neptune with his trident. The piece is very richly gilt, and the chafing is in the higheft degree vigorous and artiftic. (See engraving.) Plate i i . No. 678. Salt-cellar in Gilt Bronze and Silver. Italian work, circa 1570. PRECIOUS MATERIALS. *43 No. 679. TAL SNUFF-BOX. The ground, a chequered mofaic or marqueterie, of ftriped or ribbon agate and fardonyx, applique on a ground of tranfparent agate, out of which the box itfelf is hollowed. On the lid is a fmall oval medallion in white Drefden porcelain, exquifitely painted with a bouquet of flowers in colours ; this medallion is furrounded by a gold border inlaid with forget-me-nots, in turquoifes, with leaves of green jafper, and tied with a ribbon of red fard. The margins of the box are bound round with gold filets. An exquifite fpecimen of German lapidaries' work of the fecond half of the eighteenth century. No. 68o, IfllOLD SNUFF-BOX, of "ftiaped" or irregular form, chafed, with rococo architectural ornamentation, A fplendid fpecimen of French gold chafing. Circa 1720. No. 681. LD FRENCH GOLD ENAMELLED WATCH. Circa 1670. The back of the cover painted with the triumph of Galatea, or tritons and a fea-nymph, with Amorini, failing in a car drawn by dolphins. No. 682. 1NUFF-BOX ' in black (hell, with an oval enamelled miniature on gold, let into the lid. Portrait of a lady in coftume of circa 1670, by Petitot. r 2 244 XIII.— MISCELLANEOUS OBJECTS IN No. 683. AGGER AND SHEATH, with a knife and ftylus inferted. The {heath is in gilt bronze, beautifully en- riched with a relievo fubjeft, chafed and perforated a jour, reprefenting a dance of death. On the back of the fheath is the date 1570. A fine fpecimen of a clafs of decora- tive weapons in ufe in Switzerland and Germany in the fixteenth century. Purchafed in Rome in 1859. No. 684. ILVER-GILT DISH OR BOWL, with a medallion in ^ the centre, containing a tranflucent enamel, reprefenting the angelic falutation. The medallion is furrounded a narrow band of vine leaves and grotefque birds, en repouffe ; and the wide border is likewife richly ornamented in relief as a continuous frieze, the motives being wild or favage men, drelfed in Ikins, and armed with clubs, lances, pavoife fliields, Sffr., attacking various real and monflrous animals. Thefe figures are relieved or detached on a diaper or trellis work of vine leaves. This very interefling and rare fpecimen of ancient goldfmith's work, though purchafed in Rome, is of pure northern Gothic defign, and is mod likely of Flemifh or German origin ; it is probably not later in date than the laft quarter of the fourteenth century. Diam., 8| in. (See engraving.) No. 685, gjg^RAGMENT OF AN ANTIQUE FRESCO ^p!^ PAINTING, cut from the wall of a tomb or other ^S£©S2 ancient Roman edifice. A female draped figure- — the right arm extended, the left hand with the forefinger Plate 12. No. 684. Silver Gilt Dilh or Bowl, with centre medallion in tranflucent enamel. Flemifh or German work, circa 1380. PRECIOUS MATERIALS. 245 raifed to the lips. She is habited in a pale green tunic, and yellow robe or ikirt, opened on the thigh, and fattened by a fibula. The figure is detached, on a blue background. This beautiful figure, in almofl perfect prefervation, and retaining much of its original frefhnefs of tint, probably formed part of a fyftem of grotefque decoration of a room, the extremity of a fcroli or volute being vifible near the left foot. The fragment of (lucco itfelf is of irregular mape, as it was broken off from the wall. From the fine ftyle difplayed, it is prefumable that it is of the early Imperial epoch. Purchafed in Rome, 1859. No. 686. »3k^NTiqUE ROMAN MOSAIC, reprefenting a mackarel. $7^7v® Length of the flab, 9 in. ; height, 4 in. This molt iJI^IBS*! truthful and lifelike reprefentation is effected by minute tefferse of coloured glafs paftes ; the background compofed of tefferae on a fomewhat larger fcale, apparently in white marble. It is doubtlefs of the Roman Imperial age. No. 687. §§} IMILAR MOSAIC, reprefenting a red mullet. Length of the flab, 8 in. ; height, 3 1 in. No. 688. pNSTRANCE OR CIB0R1UM for the cuftody of the Hoft, in copper gilt, enriched with champleve enamels. ^5 Italian (probably Florentine) work, circa 1350. The general form of this fplendid fpecimen of mediaeval goldfmith's work is that of an octagonal turret of two (lories, furmounted by a conical fpire, and 'fupported on a tall flem, with a knob in the centre. The entire defign is of an architectural character, the various details being miniature reductions in metal of fimilar ones 246 XIII.— MISCELLANEOUS OBJECTS IN in (tone or marble difplayed in the Italian Gothic churches of the period. Proceeding from the foot or bafe upwards, the latter is enriched with eight quatrefoil-fhaped plaques of champ- leve opaque enamel, rapportes or foldered on to the body of the foot, which is also octagonal in plan. The enamels, which are of highly finifhed workmanfhip and in perfect prefervation, contain grotefque animals, birds, and rofettes ; the defigns or figures are in the gilt metal on blue, red, and green enamel grounds. The metal fpaces of the bafe are engraved with arcaded panels and floriated fcrolls. The knop is like wife fet with eight fmall circular enamel plaques, also containing grotefque animals. The lower ftory of the body of the ciborium is formed by open arcades, furmounted by trefoil cufped arches and triangular canopies with finials and recurved crockets. The piers or fupports of thefe arcades are (lender coupled columns, which fupport fquare open- work piers of three heights of arcades, terminated in battle- mented fquare pinnacles ; the upper ftory, diminifhed in height and diameter, is of fimilar defign to the lower one, the arcades only affuming the form of mullioned windows. Both ftages are crowned with moulded and battlemented parapets. The conical roof or fpire is richly ornamented with an engraved lozenge diaper, and terminates in a Jini a I fupporting a crofs. The glafs or cryftal lining of this beautiful monjlrance is alone wanting; in every other refpect it is perfectly intact, and in a marvellous ftate of prefervation. Purchafed at Prato 1859, in which city or the neighbourhood it had undoubtedly always remained. Entire height, 15^ in. (See engraving.) No. 689. YLINDRICAL BOX, with cover, in bronze, fuf- pended from a ring by chains. An antique Greek or Roman pyxis or toilet-box. The lid, fides, and Plate 13. No. 688. Monjlrance or Ciborium in Gilt Metal, enriched with Champleve enamels. Florentine work, circa 1350 PRECIOUS MATERIALS. 247 bottom are ornamented with elegant turned mouldings, and the arrangement of the fufpending chains, to which the loofe lid and the box itfelf are both attached, is very ingenious. (From the Rogers Colle&ion.) Diam. of box, 3§ in. ; height of ditto, Nos. 690, 691, and 692. HREE OBLONG TESSERAE, in bone or ivory, bearing abbreviated Latin infcriptions, of the antique Roman Tickets of admiilion to confular games, gladiatorial or theatrical entertainments. No. 693. IRCULAR BOWL OR PATERA, in filver. In the centre, in the infide, is a circular medallion containing feven fmall rofettes within circles, executed in high relief, " en repoujfe." The infide of the cup is richly gilt. " Lower empire," Roman work of the third or fourth century ? Found in 1852, at Mortot in the Jura, France. Diam., 5^ in. ; depth, i| in. XIV. MISCELLANEOUS OBJECTS. Sculptures in Wood, Ivory, Stone, and other Materials. CATALOGUE. No. 700. pYLINDRICAL CUP OR CHALICE, with cover, on tall ftem, in carved ivory. The drum or body of the cup furrounded with an elaborate compofition in alto- relievo, of children with goats, and other bacchanalian attributes — in part copied from defigns of Fiammingo. The ftem is formed by a vine ftock, with, in front, fatyrs and Amorini climbing up it. On the cover is a group of two Amorini, with a wine-cup, grapes, Sffr., in full relief. This cup is of modern German origin, probably executed at Drefden, and is a work of confiderable talent. Height, 1 1 in. No. 70 1. lll^TATUETTE, in Caen ftone, of an architect holding the model of a church in his hand. Apparently a beautiful i^^^ii modern work in the ftyle of the fourteenth century, probably a copy from an ancient ftatuette by a talented modern French fculptor. Height, ioJ> in. Plate 14 No. 702. Tankard in Carved Ivory. Dutch or Flemilh work, circa 1670. XIV.— MISCELLANEOUS OBJECTS No. 702. LNKARD in carved ivory, mounted in filver gilt. Dutch orFlemifh. Date about 1670. Height, 5^ in. ; diam. acrofs bafe, 4^ in. The compofition carved in high relief. Around the drum of the tankard is a bacchanalian fcene of recumbent nymphs and fauns, with Amorini ; one of the latter holds up an oval tablet, on which is fculptured in bas-relief, on a minute fcale, the buft portrait of a gentleman in coftume of the period of the work, probably a portrait of the artift himfelf. The filver-gilt mouldings are perfectly plain, but in excellent tafhe, and are coeval with the carving. This beautiful work is by one of the greatefh of the Italo-Flemifh ivory fculptors of the fchool of Francis du Quefnoy, called " II fiammingo." The perfect drawing and modelling of the figure, noticeable efpecially in the extremities, raifes it quite to the level of the high art fculp- ture of its epoch. (See engraving.) No. 703. ^i^^MLASHJE OR TABLET in carved ivory, originally in- ^ ^Wt\ ^ ertec * * nt0 t ^ le covcr °f a ^ 0 °k. German work of the tenth or eleventh century. Height, 5^ in. ; width, 3 1 in. The coftly manufcripts of the early periods of the middle ages were bound in the moft fumptuous manner ; and it was a conftant habit to employ tablets of fculptured ivory for this purpofe. They were ufually let into the centre of the covers 7 and furrounded with a border of filver- gilt filagree work, inter- fperfed with fmall plaques of Cloifonne enamel, glafs pafles, and real gems, antique cameos, &c. The prefent tablet has been, doubtlefs, fo framedl The ufage in general may be traced back to the Roman diptychs, which were two plaques of fculptured ivory, hinged like a book. The fubjecl: here reprefented is 250 XIV.— MISCELLANEOUS OBJECTS. Daniel in the lions' den, a not uncommon reprefentation at this early period, being underftood as a type of Chrift's defcent into Hades. In the prefent inftance, Daniel is feen in the centre, his head furrounded by a nimbus, feated in the midft of feven lions within a fquare fpace or den, above which, in the background, are conventionalized reprefentations of (lately buildings, intended as the king's palace. On the right a figure in long drapery is being let down into the den by a flying angel, who fufpends it by the hair of the head. This figure holds in its lap feveral loaves of bread (the action here reprefented is evidently a curious inter- pretation of Dan. vi. 22, "And God fent his angel and {hut the lions' mouths," &c). On the oppofite fide (lands the King wearing a royal tunic and crown, holding in one hand a fceptre, with the other raifed as if in a(loni(hment ; behind him is an attendant bearing his fword. The compofition is furrounded by a narrow border of leaf moulding. No. 704. ^p^ROUP OF FIVE FIGURES, (tatuettes in full relief, 1^^^^ (landing on a common ground or plinth. Carved in j&S&ki box- wood. German work, circa 1540-50. Length of the plinth, 2 ft. ; height of the figures, 9 in. The fubject of this group is fomewhat obfcure ; apparently, it reprefents a King abdicating his crown in favour of one of his fons to the prejudice of another. The figures are habited in the German coftume of the period of the work, though in fome refpe6ls (lightly idealized in the direction of the antique. It is not impofiible that the fub- ject reprefented is the abdication of the Emperor Diocletian, and may have been fuggefted to the artifl by the recent abdication of the Emperor Charles V. XIV. — MISCELLANEOUS OBJECTS. 25 j No. 705. RAME in carved wood. Flemifh work. Circa 1670- 1700. This admirable work was probably originally a mirror frame. It is now adapted as a cafe for miniatures. No. 706. YLINDRICAL BOX, the fides and cover perforated with a Morefco geometrical pattern. Around the fide of the lid, and near the bottom of the box, are two bands of Arabic infcriptions in relief, the ground fpaces filled in with a black maftic. Arabic or Egyptian, probably made at Cairo in the fifteenth or fixteenth century. Height, 3^ in. ; diam., 4 in. (From the Collection of the Marchefe della Gherardefca, of Florence, 1859.) No. 707. |VAL BOWL OR TAZZA, in variegated marble. Italian work, firfl half of fixteenth century. The margin of the tazza is fringed with a beautiful defign of flrapwork, with involuted ferpents and a Mafcherone carved in full relief, perforated " a jour." Length, 8 in. ; width, 7 1 in. ; height, 3^ in. (From the Marchefe della Gherardelca's Col- lection, Florence, 1859.) No. 708. ARVED IVORY COMB. Ancient Hindoo work, elaborately carved and perforated ; in the centre, within a fquare panel, is a female divinity, feated crofs-legged on a pedeftal, flanked on each fide by an upright panel containing a XIV.— MISCELLANEOUS OBJECTS. bird, alfo (landing on a low plinth or pedeftal. Purchafed in Rome, 1859. 5^ in. by 4 in. No. 709. I MALL LIFE-SIZED BUST IN TERRA COTTA. The youthful St. John. Florentine fculpture of the quattro-cento period. Afcribed to Donatello. No. 710. &^ NTIQUE MARBLE BUST OF TRAJAN. Contem- porary Roman work. Small life fize. Nos. 711 and 712. AIR OF COFFERS, " Caffbne" in cheflnut wood inlaid with marqueterie or mofaic of ivory and coloured woods. Italian fifteenth century work. Purchafed at Genoa, 1859. Length, 4 ft. 1 ^ in. ; width, 1 ft. 8 in. ; depth, 1 ft. 9 in. XV. PORCELAIN WARES. ORCELAIN is a fubftance intermediate betwixt common pottery, or terra-cotta, and glafs : it is femi-tranfparent, and of a brilliant white colour, and the glaze or covering is a tranfparent & colourlefs glafs, thinly fpread over its furface. It is a much more perfect fubftance than any other ceramic pro- duel, and, both in compofition and manipulation, demands greater fcientific fkill. In the words of an eminent French chemift, it is elfentially compofed of two diftinct parts or elements : the one fufible, which gives to it the tranfparency by which it is diftin- guifhed ; and the other infufible, giving it the power to fupport, without foftening or lofmg its fhape, the high temperature necef- fary to transform the fufible element into a glafs. There are two main varieties : the one called the hard body or H Pate dure ; " the other, the foft body or " Pate tendre" The former of thefe is ufually compofed of natural minerals ; the latter, on the con- trary, is an artificial chemical compound. Thefe varieties are hard and foft refpectively, in two fenfes :— firft, in being able to refift a high temperature or the contrary ; and, fecondly, in ad- mitting of being fcratched by the point of a knife, or in refilling it, as the cafe may be. The hard porcelain is of the moft ancient origin. The Chinefe and Japanefe, the German porcelains gene- ^54 XV.— PORCELAIN WARES. rally, and the modern French, are of this variety ; whilft the old French, efpecially the famous old Sevres porcelain, and all the Englifh porcelains, are of the latter kind. The invention of porcelain is unqueftionably due to the Chinefe, and, on the authority of this people themfelves, muft be referred at leaft as far back as the firlt century before Chrift. It was not till comparatively modern times that Europe fol- lowed in the wake of the Chinefe, and for a long time the ambition of European potters was confined to a humble imitation of the Oriental products. Many fpecimens of Chinefe porcelain, however, found their way to the civilized coun- tries of the weft during the Middle Ages even, but it is probable that the Portuguefe, in the early part of the fixteenth century, firft imported it in any quantity. In the fucceeding century, the Dutch made a regular article of traffic of porcelain, and, confequent on its fpeedy general ufe by the wealthier claffes, attempts were made on all hands to manufacture it. It has been recently afcertained that a prince of the Medici dynafty, Duke Francefco L, towards the year 1590, fucceeded in fabricating a fpecies of true porcelain of the foft or artificial variety, at Florence. This was probably the earlieft fuccefsful attempt made in Europe. Several pieces of this fo-called " Medici porcelain " are ftill extant. It was not, however, till towards the clofe of the feven- teenth century, and in particular at St. Cloud, near Paris, that porcelain of the Soft variety was fuccefsfully manufactured in Europe as a commercial product. As refpects the Hard variety, it is certain that its compofition was difcovered at MehTen, near Drefden, by an alchemift named Bottcher, in the fervice of the then Elector of Saxony, betwixt the years 1709 — 1715. CATALOGUE. XV. — PORCELAIN WARES. No. 740. |OUBLE BULB OR GOURD-SHAPED BOTTLE, with long neck. Old Chinefe or Japan porcelain, deep onyx brown glaze. Height, 1 1 in. No. 741. jQUARE TEA CADDY, with cover. Old Englifii (Staffordshire) earthenware. Circa 1720? On each of the fides is a Chinefe figure in low relief, evidently either moulded from an Oriental original or modelled from a drawing. The figures are coloured with manganefe brown, green, and yellow enamels, floated into the glaze in the ufual manner of the fo-called tortoife-fhell ware. Height, 5 in. ; diam. , 2* in. No* 742, Ij^ARGE ECUELLE, with cover and Hand. Old lJii§ Drefden porcelain, painted with " Watteau " converfation fubje&s, EstV. Grounded with gold mfide. A fpecimen of the fined period of the old Drefden manufactory. Circa 1730 ? 256 XV.— PORCELAIN WARES. No. 743. UATREFOIL- SHAPED CUP AND SAUCER, m^M painted with birds in compartments. Old Drefden porcelain. Circa 1 730 ? No. 744. UATREFOIL -SHAPED CUP AND SAUCER, %>W\ grounded pale greenifh blue, decoration of coloured flowers in alternate compartments, with "Watteau" fubje&s on white ground. Circa 1730 ? Old Drefden. No. 745. AIL-SHAPED CUP AND COVER, without faucer. " — Drefden porcelain. . Period of Marcolini. White ground, painted with figure fubje&s — wreaths and fefloons of minute flowers, Esfr., and with a cypher and royal crown in gold ; round one of the vignette fubje&s is the motto, " he cozur pour vous, hes yeux pour tousT No. 746. OFFEE CUP AND SAUCER, old Drefden white porcelain, with flowers in low relief ; the flowers filled \ in with a minute applique mofaic of black lacquer, mother-of-pearl, and gold pique work. A rare and curious inftance of the combination of lacquered work, mofaic, iff c, with porcelain, probably fuggefted by fome Japanefe examples, and by analogous decorative procefles in ufe with the u tabatiere " artifts of the beginning of the eighteenth century. 'XV. — PORCELAIN WARES. 2 57 No. 747. OFFEE CUP AND SAUCER, old Vienna porcelain, grounded infide and out with burniftied gold, with deco- ration of wreaths of flowers and feftoons of green con- volvulus leaves, painted in colours in referved fpaces. A fine and coftly fpecimen of the Vienna fabrique, which is noted for the richnefs and beauty of the gilding. No. 748. (WO-HANDLED CUP AND COVER, with oval faucer-ftand. Old Drefden white porcelain, decorated with garlands of applique flowers in full relief. The interior of the cup grounded with burnilhed gold. A beautiful fpecimen of the old Drefden raifed flower work of early period. Firft half of eighteenth century. No. 749. OFFEE CUP AND SAUCER, AND COVER. White ground, with painted vignette fubje&s of Nymphs and Cupid bathing, Iff c. ; gilding and coloured rofes and forget-me-nots round the borders. A cypher and imperial crown on the cover. Drefden porcelain. No. 750. JP AND SAUCER. Old Sevres pdte tendre porce- lain. Lavender-coloured ground, with referved oval compartments in white, filled in with groups of flowers. Rich gilding. Reverfe : mark of the fabrique, but without date or lignature. s 2 5 8 XV. -PORCELAIN WARES. No. 751. J9 TATUETTE OF A WINGED SYREN, riding on a SIMSM dolphin, and upholding a fcallop (hell — probably intended as a falt-cellar. Porcelain, picked out in colours. Old Capo di Monte ware. Period, middle of the eighteenth century. No. 752. f|f||UP AND SAUCER. Old Capo di Monte porcelain, S^St- decorated with coloured relievi of Tritons and fea-nymphs, and garlands of flowers. Nos. 753 and 754. AIR OF ORIENTAL PORCELAIN BOTTLES— Old Chinefe or Japanefe. White ground, painted with groups of coloured flowers. Mounted in ormolu as ewers. The mounts, French, of the period of Louis XV. Height, 12^ in. No -755- LD CHINESE CRACKLE PORCELAIN BOTTLE. Brownifh crackle; painted with a tree or flowering fhrub in blue, up the flem of which an ape is climbing, and with various fmall figures of animals, birds, infects, &c. Mounted in ormolu (marginal bands and cover only) ; the mounts old French. Circa 1690. This piece is doubtlefs of great anti- quity. Height, 14 in. No. 756. ftB^ARGE WHITE CRACKLE PORCELAIN VASE. % Chinefe. The ground of this vafe is covered with j^i^fet large cracks ; it is, in addition, ornamented with large XV.— PORCELAIN WARES. 2 59 circular medallions of grotefque dragons and foliage work in blue ; and it mould be noticed that the cracks do not extend over thefe medallions. The vafe has two lions' heads, with rings hanging from their mouths, arranged as handles ; thefe, and the lip or margin of the piece, are enamelled in imitation of bronze. Height, exclufive of the carved wood (land, 1 7 in. No. 757. _^^HINESE PORCELAIN VASE, white ground, with SSli arabefque and diaper decoration in blue. An ancient and very elegant fpecimen, with an hexagonal carved rofewood fliand. Height, 10 in. No. 758. ARGE OBLONG PLAQUE. Old blue and white cameo Wedgwood ware. A claiucal fubjecl:, apparently a facrifice to the goddefs Flora. Length, 16 in. ; depth, 6| in/ No. 759. ARGE OBLONG PLAGUE. Old blue and white cameo Wedgwood ware. A frieze of infant fatyrs, in the manner of the Antique. Length, 12^ in. ; depth, 5 in. No. 760. UTTE OF THREE AMPHORA-SHAPED VASES, in Sevres Porcelain, of the time of the Empire. Gros bleu ground, with gilded palmette and other ornament- ation, in the Antique Greek ftyle. The centre vafe contains, in front, a circular medallion, painted with the portrait of Napoleon in his robes of ftate, and wearing a laurel wreath. In the higheft ftyle of nineteenth century French art. Height of each vafe, 16 in. s 2 XVI. PICTURES AND DRAWINGS BY ANCIENT MASTERS. CATALOGUE. No. 801. ilOVANNI BATISTA SALVI, called " Saffo-Ferrato." Head of the Madonna — the hands clafped in adora- tion. She is clad in a blue and red drapery, with a linen veil on her head. Very little is known of this excellent and popular painter. Lanzi ftates that he was born at the cattle of Salfo-Ferrato, near Urbino, in 1*605, anc ^ tnat ^ e died at Rome in 1685, and was a pupil of his father, Tarquinio Salvi, and of Domenichino. 1 9 in. by 15 in. No. 802. |&|g$^ENAlN. Group of fix peafant children or itinerant 3 t!^£§ muficians ; one of them is playing a pipe and another a WfS&^K fmall violin. There were three brothers of the Lenain family : Louis, Antoine, and Matthieu, born, it is fuppofed, at Laon, refpec*tively in 1583, 1585, and 1593. The two firft died about the year 1648. It is fuppofed that Louis and Antoine were conjointly the painters of the ufual ruftic fubje&s XVI. — PICTURES AND DRAWINGS. 261 of which this pi&ure offers an example. Very little is known, however, about thefe eminent artifts. (From the Rogers' Col- lection.) 9^ in. by 7^ in. No. 803. iEAN BAPTISTE PATER. Paftoral or champetre fubjecl:. A young man, drefled in fancy coftume, is prefenting a corbeille of flowers to a lady who is feated on the turf. In the background, a grove of trees, with two ladies and a cavalier. In the foreground, a child with flowers in her lap. Jean Batifte Pater, born at Valenciennes, 1695 — died, 1736 — was one of the molt celebrated pupils of Watteau. His pictures are now fcarcely lefs efteemed than thofe of his matter. (From Mr. Goding's Collection.) 12 in. by io| in. No. 804. jllpOUCHER, Francois, born at Paris, 1704— died, 1768. SSI Drawing in coloured chalks. Head of a young girl. (From Mr. Utterfon's Collection.) 7 J in. by 6\ in. No. 805. :ries of three Italian, fifteenth cen- tury, INITIAL LETTERS, painted on vellum, filled in with miniature paintings. The fubjec"ts repre- fent refpe&ively the Afcenfion of the Virgin, the Nativity, and an uncertain legendary fubjecl:, in which is depicted Chrift on the crofs on an altar, with blood pouring from his wounds into a chalice, and various figures Handing near beholding the miracle. Thefe beautiful initials have been cut from a fine choral book, and are the work of fome eminent artifl of the fchool or immediate period of Pietro Perugino. They are mounted in the fame glazed frame. 262 XVI— PICTURES AND DRAWINGS BY No. 806. IOVANNI-BATISTA TIEPOLO. Venetian fchool. Born, 1697; died, 1770. Finifhed iketch in oil. Un- certain religious or allegorical fubjecl:. Height, 22^ in. ; width, ill i n . No. 807. UARDI, FRANCESCO (OR CANALETTO?). Venetian fchool. Born, 1712; died, 1793. View in Venice. 4 ft. 10 in. by 4 ft. 7 in. (From the Collection of Dr. Veron, of Paris.) No. 808. IOVANNI BATISTA SALVI, called " Saffo-Ferrato." The Crucifixion, with Mary Magdalene embracing the foot of the crofs, and an angel kneeling and pointing towards the crucified Saviour. Intended as an allegory or illus- tration of the doctrine of the atonement. Height, 3 ft. 2 in. ; width, 2 ft. 4 in. No. 809. OS ALB A CARRIER A. Italian fchool. Head of a Mufe or poetefs* Drawing in paftels. This celebrated female artift was born in 1675, and died in 1757. Height, 1 1^ in. ; width, 9^ in. No. 810. OSALBA CARRIERA. Head of a Mufe or poeteis. Drawing in paftels. Companion to the preceding. Height, 11^ in. ; width, 9^ in. ANCIENT MASTERS. No. 8 I I. HARDIN, JEAN BAPTISTE SIMEON. (French fchool.) Died 1779. Drawing in black, red, and white chalk, on light brown tinted paper. Study of the head of a youth in a three-cornered hat ; lower down on the fheet the two hands of the fame figure holding a portfolio. Height, 8 1 in. ; width, 6 in. No. 812. Born at Geneva, ^^jlOTARD JEAN ETIENNE. B< ^ ?^l§ 1 7° 2 ? living in 1776. Highly-finiftied drawing in fzJS&M black and red chalks. Portraits of two ladies in Turkifh coftume, feated on a divan. In 1738, Liotard went to Conftantinople with two Englifh noblemen, and there made the acquaintance of the Earl of Befsborough, then ambafTador to the Porte. He returned with that nobleman to England, where he lived many years ; and, having continued to wear a Turkifh drefs and a long beard, he was known as " The Turk." This beautiful drawing was formerly in Lord Befsborough's Collection. Length, 81 in. ; height, 5§ in. No 813. OFF ANY. Sketch in oil of a young girl in the coftume of the lafl century, holding a palette and brufhes in her hand. A portrait fketch from the life, probably of one of the infant princeffes, daughters of George III. Johan Zoffany was born at Frankfort in 1735, but lived the greater part of his life in England, where he became a member of the Royal Academy. Height, 22 in. ; width, 16^ in. 264 XVI. — PICTURES AND DRAWINGS BY No. 814. g§ NTOINE WATTEAU— born at Valenciennes, 1684; (§EfM died 1 72 1. Finifhed iketch in oil. A fete champetre -compofition of many figures. Height, 15^ in. ; width, 12 in. No. 815. 3 " NTOINE WATTEAU. " Conversion galantc" Com- pofition of feven figures in a landfcape. Height, 14J in. ; width, 18 in. (From the Hon. E. Phipps' Collection.) No. 816. iAVID TENIERS. Born at Antwerp, 16 10; died, 1690. Village fete: a crowd of peafants affembled, feafting before a cabaret, to the mufic of a bagpipe, which a man who (lands on a tub is playing ; to the right, in the diftance, is feen Teniers' chateau, with the artifl, his wife and family, walking in front. (From Lord Northwick's Collection.) Height, 2 ft. ; width, 1 ft. 8| in. No. 817. gp|^ENOBIO DE MACCHIAVELLI. Florentine fchool. Painted circa 1473. u Sacra converfazione." M^Sxk Picture in diftemper on panel. Width, 4 ft. 11 in. ; height, 4 ft. 5 in. Compofition of fix fmall life-fized figures. In the centre is the Virgin feated on a throne, with the infant Saviour {landing in her lap ; in her left hand fhe holds a white rofe. On her right hand flands St. Bernardino of Siena, holding a medallion infcribed with the monogram of Chrift, and another faint, with a book in his hand, but without any other emblem. On the left of the Virgin is a fainted bifhop, with a crofier, the border of his cope embroidered with fleurs-de-lys (probably the ANCIENT MASTERS. 265 Florentine, St. Zenobio), and St. Jerome, in the habit of* a cardinal, with a book and a pen in his hands. In the right hand lower corner is the fignature of the painter, u Cenobii de Mac- chiavelir Nothing is known of Macchiavelli except the bare mention of him in Vafari's Life of Benozzo Gozzoli, from which he would feem to have been Benozzo's principal pupil. This admirable picture is probably unfurpaffed by any eafel or panel picture of Benozzo himfelf now extant. It was originally in the church of Santa Croce, in Foffabonda, without the walls of Pifa, together with another picture by the fame artift, figned and dated 1473, reprefenting the coronation of the Virgin. The latter was taken to Paris at the period of the French occupation of Italy, and is now in the Louvre (No. 245) ; it is, however, far inferior to the prefent work. In the laft Florentine edition of Vafari (Lemonnier, 1848, vol. 4, p. 191, note 2) is a notice of the two pictures, contributed by the Cavaliere Tommafo Puccini. The faints reprefented in the prefent picture are there, however, called "San Ranieri, San Francefco, San Giacomo," u e un altro fanto;" they are, however, evidently fo delignated in error. This picture, after having been long depofited by its previous owner in the Accademia di belle Arti, in Pifa, was purchafed for the prefent pofTeffor in Florence in the fpring of 1859. It is pro- bable that this and the Louvre picture are the only works of the painter now extant, which are recognifable as fuch ; they, how- ever, alone funic e to entitle him to take rank with the greateft malhers of the quattro-cento period. (See engraving, No. 1 . ) No. 818. KS^WRENZO DA CREDI. Born in Florence, 1452; S died about 1536. The Virgin feated under a canopy, fitteS?? with the infant Saviour on her lap ; in the background, a landfcape with water and diflant mountains ; and on the right a church, with conventual buildings attached. Painted in oil 266 XVI. — PICTURES AND DRAWINGS BY on an oval panel. An admirable work of the fined time of the mafter. In perfect prefervation. (From Lord Northwick's Col- lection.) Height, 22I in. ; width, 14 in. No. 819. IERO DELLA FRANCESCA. Born at Borgo San Sepolcro towards the beginning of the fifteenth century ; living at an extreme old age in 1494. Picture in dif- temper on panel. Height, 5 ft. 5 in. ; width, 3 ft. n in. St. John baptizing our Saviour. In the centre are the principal figures, our Saviour and St. John, (landing in a rivulet under the fpreading branches of an acacia. On the left, a group of three (landing angels. On the right, in the middle diflance, a nearly nude figure of a difciple (landing in the water ; whilft in the dif- tance a group of four minor draped figures completes the com- pofition. The landfcape background is a view of the country around Borgo San Sepolcro — the city itfelf appearing, furrounded with gardens and vineyards, at the foot of the olive-covered Appennines. Piero della Francefco has always been reputed one of the luminaries of art. By the teftimony of Vafari and other ancient writers, it is evident that he was regarded in his own time as one of thofe great inventors to whom the revival of art in the fifteenth century was due. Like his fuccefibrs — Leonardo da Vinci, Michael Angelo, and RafFaelle — Piero was an univerfal genius, and, amongft other labours, he acquired efpecial renown for his writings on geometry and perfpe&ive. Very few works of this great artift have defcended to us. His principal labours as a painter were executed in Frefco, and have in mod inftances perhlied. This picture was formerly in the facrifty of the cathe- dral of Borgo San Sepolcro, from whence it was only removed in the fpring of 1859, having been purchafed by the author for its prefent pofieffor, from the Bifliop and Chapter, who were defirous ANCIENT MASTERS. 267 of felling it in order to raife funds for the erection of a new high altar. In its original locality it formed the centre divifion of a large altar-piece in three compartments ; the original fide divifions, however, and the predella, had difappeared, and had been replaced by fimilar portions of another altar-piece, by a later and far inferior hand ; thefe latter, therefore, were not removed. In addition to the prefent picture, which is believed to be the moft important work of the matter extant, the following are probably the only indubitably authentic panel pictures of the matter now known : — 1 . In the Chiefetta dello Spedale, at Borgo San Sepolcro, a panel picture reprefenting the Virgin, as "Noftra donna della Mifere- cordia ; " alfo feveral portions of the pre della of the fame picture, let into the panels of an altar-piece of the feventeenth century. — 2 . In the facrifty of the cathedral of Urbino, a fmall picture repre- fenting the flagellation of Chrift. — 3. A picture in very damaged condition, in the polfeflion of the family Marini Francefchi (defendants of the painter), now refident in Florence, reprefent- ing the Nativity. — 4. In the Accademia at Perugia, a u facra converfaxione" or Virgin with faints. — 5. In the gallery of the Uffizj, Florence, a diptych or picture in two compartments — portraits of Federigo, Duke of Urbino, and his confort, Batifla Sforza. No. 820. fJ^^CHOOL OF FRA FILIPPO LIPPI. "Sacra con- verfazione." The Virgin and Child, with three angels. Half-length figures. A beautiful early diftemper picture, purchafed at Prato in the fpring of 1859, ^ rom tne reprefenta- tives of a family of that city, in whole pofTefTion it had been from time immemorial. Height, 2 ft. 4^ in. ; width, 1 ft. 8 in. -Nos. 821 and 822. IIPP REYF — pair of pictures. Dead game, with landfcape i^PpP backgrounds. Height, 9^ in. ; width, 13 in. XVII. PICTURES BY MODERN ARTISTS. CATALOGUE. No. 851. EORGE MORLAND. Head of a lady in walking coflume of period of George III., in an oval — probably intended as a perfonification of " Morning. 1 ' Height, 11 in. ; width, 9 in. No. 852. EORGE MORLAND. Female head in an oval. Walking coftume, with a muff. " Evening." Height, 11 in. ; width, 9 in. George Morland — born 1 764, died 1804 — was as notorious for his habits of diffipation as cele- brated for his great and verfatile talent as a painter. No. 853. STANFIELD, R.A. Monaco, from the fea. Painted 1854. Length, 13I in. ; height, 8| in. XVII. — MODERN ARTISTS. 269 No. 854. IS STANFIELD, R. A. Landfcape. A mill on the left ; in the foreground, a waggon and horfes croffing a ftream. Length, 12 in.. ; height, 8 in. No. 855. IDNEY COOPER, R.A. A meadow with cows, fheep, and goats. A tree and a ftied on the left. Painted in 1856. Length, 12 in.; height, 8 in. No. 856. fill OLOMON. " The Breton piper." Height, 1 ft. 8 in. ; width, 1 ft. 4«| in. No. 857. VERBOCKHOVEN. Modern Belgian fchool. A cow §? and three fheep in a meadow. n| by 8^. m No.' 85 8. §j§§| VERBOCKHOVEN. An afs and two goats on a common. Length, 7^ in. ; height, 5§ in. No. 859. VERBOCKHOVEN. An ewe and two lambs. Length, 7i in - J height, 5§ in. No. 860. ROYON. (Modern French fchool.) A French peafant 513 woman riding on an afs, with a flock of fheep and two cows croffing a ftream. Width, 3 ft. 6 in. ; height, 2 ft. 6 in. 270 XVII. — PICTURES BY No. 86 1. ROYON. French peafant girl driving three cows before her acrofs a dream. Width, 3 ft. ; height, 1 ft. 2 in. No. 862. ||p|| ISABEY. (Modern French fchool ) Interior of an StS?* 3 artift's fludio, or of the chamber of an antiquary. Width, 4 ft. ; height, 3 ft. No. 863. fENRI LEYS, of Antwerp. Mary of Burgundy giving !t alms to the poor. Commiflioned from the artift by the h prefent pofleffor. " Mary, daughter of Charles the Bold, fucceeded in 1475, by the death of her father at Nancy, to the Duchy of Burgundy, which formed at that time one of the mofl powerful dates in Europe, comprehending Burgundy, pro- perly fo called, as far as Switzerland, Belgium, the Low Coun- tries, French Flanders, Franche-Comte, Picardy, Artois, and the county of Boulogne : a great part, therefore, of France as it is to-day. A ihort time after afcending the throne, me married Duke Maximilian of Auftria. Philip the Handfome, father of the Emperor Charles V., was the offspring of this union. This young princefs, whofe memory is fo endeared to her fubje&s — efpecially to the Flemings — on her accelhon to power in the quality of Countefs of Flanders, took the oath which was ad- miniftered to her, and which contained, among others, the follow- ing claufe : — ' You fwear alfo to revoke and annul all the dues impofed upon the burgeffes of Ghent fmce the year J 450, to pro- tect the widows and orphans, and to do all that a worthy Countefs of Flanders can be expected to perform : and fo may God and all his faints aflift you. — Oath of Mary of Burgundy. — Keroyn MODERN ARTISTS. de Lettenhorn? — Hiftoire de Flandres, p. 219. By the terms widows and orphans, inferted in the formula of the oath, were underftood, above all, thofe women whofe hufbands, or thofe children whofe parents had belonged to the guilds of the cities of Ghent and Bruges, in which Mary of Burgundy alternately refided, and above all to the guilds of 6 -petit s metriers] which were unable to afford fufficient funds for the maintenance of their poor. This denomination alfo included difabled artifans. The artift has treated the fubjecl: in the following manner : — Mary of Burgundy, accompanied by two ladies of honour, one of whom bears a cafket, and followed by an attendant carrying a bafket full of loaves of bread, has quitted her palace in order to perform her works of charity. The day is cold and mifty ; a group of poor perfons, who feem to have had notice of her arrival, are advancing to meet her, or rather appear to await her without the gate of the city of Bruges, then the metropolis of the commerce of the entire world, and which is to be feen in the background. In the middle diftance appears the Duke Maximilian, accompanied by a lady of the court, coming to join the princefs, and in pafmig he alfo beftows an alms upon a child, who holds his hat to him ; behind him, on the bridge, the court fool is feen approaching ; whilft curious fpe&ators may be perceived on the towers and at the windows of the town. As may be feen, the artift has been daunted by no difficulty : he places his fcene in the open air, and his perfonages, as well as the background of the picture, are illu- mined but by the doubtful light of a funlefs day in the month of November. Let us now examine with what talent the great artift has executed his fubjecl:. One is ftruck with the refemblance of this work to thofe of Van Eyck and Memling : but Leys, treating a fubjecl: of the fifteenth century — a period contemporary with thofe two great mafters — could do no otherwife : fuch refemblance entered into the very nature of his fubjecl: — the rich and heavy fluffs of their time muft naturally be difpofed as he 2J1 XVII.— PICTURES BY reprefents them, and it is, befides, one of the finefl qualities of his work, for although the principal group is treated with all the fimplicity and finifh of thofe two great painters, he furpaffes them inconteftably in the force and contraft of his colouring. The mantle worn by Mary of Burgundy is of an intenfe blue ; one of her ladies of honour wears a black boddice ; the other a head- drefs of a brilliant white, a fmall cloak of dark yellow, and a robe of a yellow fo pale as to be almoft white, ornamented with a flowered pattern; befide her ftands the page in the livery of Burgundy, entirely in red. Leys has not only fucceeded in obtaining the mod perfect harmony between colours fo oppofed, but he has alfo had the talent to bring out his principal perfonage, for although {he is furrounded by perfonages in fuch brilliant colours, although before her, and in a pofition nearer the fpe&ator, is a woman wearing a drefs of whitifh grey, and a white head- drefs, and although fhe herfelf wears only fombre colours, the figure of the princefs is the firft which attracts the eye. The principal group, together with the details, is painted with a finifh to which few artifts have attained : they are real miniatures in oil. Although the faces of Mary of Burgundy and Maximilian poflefs the merit of refemblance with known portraits, Leys has imparted to them a fitting expreflion. With what an air of nobility and happinefs Mary performs the beneficent actions required by her oath ; fhe is not beautiful, but everything about her befpeaks fo much gentlenefs and denotes a heart fo good, that (he muft be loved by her fubje&s. The eye refts with fatif- faction on the two charming faces of the ladies of honour follow- ing their miftrefs. The one with black hair and eyes intenfely watches the movements of the princefs, and feems to fliare in them ; whilfl fhe with the golden trefles, which fhe allows to fall upon her fhoulders — their colour being then efteemed a beauty — has an angelic phyfiognomy ; her carriage is full of dignity— fhe feems to be flill advancing, but on the point of arrefling her fteps. MODERN ARTISTS. 2 73 The page in red in the livery of Burgundy is treated with a mailer hand; his attitude is eafy, and he appears accuftomed to the fervice he is performing. The group of poor perfons to the left of the picture is of great beauty : it denotes a profound acquaint- ance with the fufferings and miferies of humanity — each face bears upon it, fo to fpeak, the hiftory of a life — one fees that that kneeling female figure receiving the alms, as well as the one in a white head-drefs, (landing behind her, have once been in affluence ; that they have been plunged into poverty, but by the death of a hufband and by ficknefs. What gradations has not the artift imparted to the exprefiions of the other figures ! the infirm artizans behind the women have faces which we feem to have feen again and again ; whilft the orphans, according to their feveral ages, have their attention fixed upon the fubject which inter efts them in a more or lefs decided manner : the youngeft appears to have knelt down mechanically — he is inattentive, and feems to be looking at the fpectator. It is evident that the orphan kneeling befide the female receiving charity has long- known poverty, — all this is treated with a mafter hand. In the middle diftance, on the right, Duke Maximilian, wearing a blue furred mantle, is alfo giving alms to a child. He is placed and treated fo as not to interfere with the principal group, which the artift makes ftill further prominent by the fuperior finifh he has given to it. The more the eye wanders to the right, the lefs carefully are the details made out, as compared with the prin- cipal figures. The iky, as well as the panorama of the city of Bruges in the background, have a magical effect if one gazes long upon the picture. Shutting out furrounding objects, the illufion is complete, and one might believe one's-felf tranfported to the very fcene four centuries ago. When, in 1855, Leys obtained the medal of honour, it was the opinion of all connoiffeurs that his talent had reached its culminating point, and that he would never furpafs the work he there exhibited. The prefent picture T 274 XVII.— PICTURES BY proved victorioufly the contrary, and fhould be confidered as the mafterpiece of the artift, furpaffing all that he has as yet produced. It is deflined to mark an epoch, and it is not without reafon that all the journals of Belgium which have fpoken of it have uniformly exprelTed regret that it cannot remain in their country." No. 864. f VETTER.— Modern French fchool. Interior, with a ill' 8 cavalier feated, and a girl pouring out a glafs of beer for him. Coftume of circa 1650. 12 J by 10 im No. 865. INNELL. A hill-fide farmyard in the Ifle of Wight, 8 with figures flacking hay. In the foreground a waggon, drawn by oxen. Length, 15 in. ; height, 12 in. No. 866. VERBOCKHOVEN. A white horfe. 7± in. by i 5 I in. No. 867. FRERE. — Modern French fchool The poor feamftrefs. Height, 14^ in. ; width, 12 in. No. 868. jffHf EMSLEY. Interior of a fifherman's cottage : children playing with a crab. Height, 7^ in. ; width, 6 in. MODERN ARTISTS. *75 No. 869. EISSONNIER.— Modern French fchool. (Painted in 1856.) " Le Letteur." A man drelTed in black, in coftume of the laft century, feated in an arm-chair, reading near a lattice window. 8^ in. by 5^ in. (From the Collection of Dr. Veron, of Paris.) No. 870. ECAMPS. — Modern French fchool. " Les Bobemiens" WlkM Interior of a hut or ruined building, with gypfies grouped round a fire, on which a pot is boiling. 9 in. by 6 in. (From the Collection of Dr. Veron.) No. 871. ICHELL. — Modern French fchool. A man in the coftume of the time of Louis XV. playing the violoncello. 6 in. by 4^ in. No. 872. I TANFIELD, R.A. A fea piece. Dutch luggers going $ into Saardam. 3 ft. 7 in. by 2 ft. 5 in. No. 873. IDNEY COOPER, R.A. Canterbury meadows— cattle ISiefe in a ftream. , Painted in 1853. Length, 3 ft.; height, 2 ft. 2 in. T 2 276 XVII. — PICTURES BY No. 874. |fp W. COOKE, R.A. Scheveling Sands at low water. Ifi®^ Length, 3 ft. 2 in. ; height, 2 ft. 2 in. (From the Northwick Collection.) Painted in 1839. ■ No. 874 (a). $ W. COOKE, R.A. Scheveling Sands— a fifhing fmack putting out to fea during a frefh breeze. ! ® Length, 3 ft. 2 in. ; height, 2 ft. 2 in. Companion to the preceding picture. (Alfo from the Northwick Col- lection.) Painted in 1 840. No. 875. ~ UVERGER.— Modern French fchool. " Le Verre d'eaur 13 in. by 9 in. No. 876. DE BLOCK.— Modern Flemifh fchool. " The Letter " WS& ^ — a girl reading a letter near an opened window. Height, 21^ in. ; width, 15 in. No. 877. §1§I©RERE. The Breakfaft— a nurfe or young mother feeding her child. Height, 17^ in. ; width, 14^ in. Painted 1859. No. 878. OODALL. " The Recruit." Length, 8| in. ; width, aSfe^ 5 in. MODERN ARTISTS. No. 879. ^g|EBSTER, R.A. "The Village Patriarch:' u in. by 8- in. . No. 880. 3 UVERGER.' Modern French fchool. " La Chanter 15 i in. by i2± in. No. 881. ^RITH, R.A. The duel fcene betwixt Viola and Sir idSltl Andrew Aguecheek, from Shakefpeare's " Twelfth Night." 1 ji in. by 8^ in. No. 882. jpj|i OOLE, R.A. " Making love in the hay field." Height, CJIIflS 18 in. ; width, 12 in. No. 883. COOPER, R.A. "The Crimea, 1855." A vivan- Sclsl^ diere attending a wounded dragoon. 20 in. by 15 in. No. 884. |||||EYL. St. Hilda— fheep. 18 in. by 13 in. No. 885. |||§| EYL - Cattle piece. 18 in. by 13 in. No. 886. IMS LASS AN.' — Modern French fchool. " La Toilette." tJk-Jml 7 1 in. by 6'1 in. XVII. — MODERN ARTISTS. No. 887. ALLAIT. Modern Belgian fchool. u La priere" 2o| in. by 15J in. No. 888. OLY FAMILY— after Raffaelle. Copy on porcelain. Executed at Munich. 26 in. by 16 in. No. 889. TANFIELD, R.A. The Pic du Midi. A fininied iketch. 10 in. by 7^ in. XVIII. MINIATURES. O R T R A I T painting in miniature came prominently into vogue towards the beginning of the fixteenth century, and the great painter, Hans Holbein, was not only one of the earliefl miniature painters, but to this day is un- doubtedly the greateft. Previous to his time a few fmall portrait miniatures may have been executed in Italy (during the fecond half of the fifteenth century) ; thefe however, were in reality, fmall fquare oil or diftemper pictures on panel — the circular and oval forms of miniatures fo conftantly adhered to fmce, having appa- rently been firft affected in Germany. The Italian bronze por- trait medallions, which were popular, as far back even as circa 1440-50, and which afforded occupation for the talents of fo many of the great quattro -cento painters and fculptors, may in truth be regarded as miniatures in bronze. They were fucceeded (in Germany) by fmall medallion portraits in carved wood, litho- graphic ftone, and wax, generally enclofed in circular turned wood or ivory boxes. Several fuch carvings are extant from the hand of Albert Durer himfelf, and they are generally the work of excellent artifts of his fchool and period. Finally came paintings in diftemper or body colour, on vellum ; thefe were at firft nearly always circular in form, and the admirable miniatures by Holbein 280 XVIII. —MINIATURES. in this Collection (Nos. 950 and 990) may be adduced as examples of this ftage. Thefe miniatures on vellum were at firft enclofed in boxes like the carved medallion portraits already alluded to. The miniature by Hildyard (No. 952 in this Collection) is enclofed in one of thefe boxes. Later in the fixteenth century the oval lhape came into fafhion, and miniatures were ufually painted on fmooth cards — generally pieces of playing cards rubbed down with pumice ftone. They were mounted in filver gilt or ormolu frames, and frequently alfo in coftly enamelled gold fettings as jewels or pendent ornaments. The fortunate fojourn of Holbein in this country (1526-54) was the origin of the celebrated Englifh fchool of miniature painting, which remains to this day even, the firft in Europe. Nicholas Hildyard (born 1547, died 161 9). Holkins (period of Charles I.). The two Olivers: Ifaac (born 1556, died 1617) and Peter (born 1601, died 1660) — Samuel Cooper (born 1609, died 1672) are the greateft Englim miniature painters of the feventeenth century. On the Continent, one pre-eminent name mould not be palled over : this is the celebrated enameller Petitot (born at Geneva 1607, died 1 691); Petitot, moreover, refided long in England. This great artift, working on a more minute fcale than his pre- deceffors, and with a vehicle not more durable in its nature than brilliant and forcible in tint, has left us chefs d'ceuvre of art in his particular province. His exquifite works are indeed the triumphs of enamel painting on metals. Petitot mould be clafTed with the French fchool, and his ftyle may be taken as the moft pro- minent type of continental miniature painting. CATALOGUE. XVIII. — MINIATURES. No. 950. OLBEIN. Large circular miniature on vellum, in body colours. Diam., 3! in. Portrait of a gentleman of apparently about forty-five years of age, clad in a nnTet or " murrey "-coloured filk veft, over which he wears a black filk doublet and a cloak or coat of the fame murrey-coloured filk, lined with fable fur, and with wide lleeves enriched with gold loops or tags. On his head is a flat cap of black velvet, ornamented with jewelled medallions. He grafps a gold-hilted fword with the left hand. He is of a corpulent habit, with long golden or red hair, cut ftraight acrofs the forehead, and although apparently of a fomewhat phlegmatic temperament, has a phyfiognomy indicative of confiderable capacity and force of character. The figure is a half length, and is detached on a blue background. This miniature is faid to reprefent Sir Thomas Pope, founder of Trinity College, Oxford ; the engraved portrait, however, of this perfon, given in Fabers' u Founders," has but little refemblance to this, and the attribution is therefore by no means certain. As a work of art' this miniature is unfurpaflable ; it is on a level with the fineft works in oil of the great artifl from whofe hand it unqueftionably proceeded. 282 XVIII. — MINIATURES. No. 95 i. OLBEIN (or one of his immediate fcholars). Small ^ circular miniature in oil, in its original moulded ebony frame, formerly fitted with a box cover. Diam., if in. This interefting miniature is unquestionably Holbein's own portrait. He is reprefented clad in black, and wearing a black ikull-cap ; the right hand uplifted, and holding a brum, with which he is evidently fuppofed to be painting. In the left hand he holds what appears to be a fmall metal phial. Blue background. No. 952. ^ICHOLAS HILDYARD. Oval miniature on vellum card, in its original elaborately turned circular ivory box. Height, 2 in. ; width, i| in. Buft portrait of a gentleman in black, wearing a ruff, detached on a background of ultramarine ; infcribed round the margin, u An, dni. 1598 — cetatis fua 50." On the reverfe is painted a tree, on the branches of which a fhield of arms is fufpended, above a glory with a word in Hebrew characters infcribed within it. The following motto is written round the margin, " Tui benediclione florebit." This perfonage isfaid to be Nicholas Har- borne, of Mundham, county of Norfolk, ambaflador from Queen Elizabeth to Turkey. (See Hakluyt's " Voyages " and Blom- field's "Norfolk.") No. 953. ARGE CIRCULAR MINIATURE on vellum, attrb buted to Giulio Clovio, but more probably by an artift : M of the fchool or following of Angelo Bronzino. Por- trait of Bianca Capella. Half length. She is reprefented clad XVIII. — MINIATURES. in a fimple undrefs of white, her blonde hair brufhed back and confined within a filken net. Ultramarine blue background. This celebrated, or rather notorious, lady, was the miftrefs, and afterwards the fecond wife of Francis de Medicis, Grand Duke of Tufcany — fecretly married in 1578, and again publicly in 1579; flie and her hufband both died in 1587. For a refume of her eventful hiftory fee the "Biographie Univerfelle." (From the Poniatowfki Gallery at Florence.) No. 954. iSAAC OLIVER. Oval miniature on card. Portrait |^» of the Queen of Bohemia, daughter of James I. 2^ in. by i;| in. She wears a rich figured or embroidered drefs (coloured flowers on a white ground), with trimmings of bright green. A wide frill ruff of point lace, with a falling collar beneath it. Her hair is brufhed back in the ufual flyle of the epoch, and ornamented with jewels. A breafl-knot of green filk en fuite with the trimmings of the drefs. She has a black braid round her neck, probably to fufpend a jewel, and an ear-drop with a bow or knot of black braid, complete the coflume. The background is a crimfon curtain. The monogram of Oliver is painted in gold on the background fpace to the left. No. 955. SEipf^SAAC OLIVER. Oval miniature on card. Portrait of Lady Hunfdon, temps James L 2 J in. by if in. She wears a low drefs of black filk or fatin, with fhoulder and breaft-knots of pink ribbon, and trimmed with a wide falling vandyked border of point lace. Wide and very elaborate full ruff. Her hair arranged in the ufual lofty ftructure in parallel curls, and trimmed with bows of pink ribbon. A thin black braid or cord round the neck. Mat ultramarine back- ground, with the monogram of Oliver in gold on the left. 284 XVIII.— MINIATURES. No. 95 ^BW| SAAC OLIVER - Oval miniature on card. 2* in. by <^fS l i * n ' Po^rait of Anne of Denmark, Queen of f James I. She wears a low black drefs, trimmed with point lace, and a large vertical puffed gauze or muflin ruff. The hair brufhed back from the forehead, and arranged in a very formal manner. On the fummit of her hair is an open jewelled diadem, and round her neck a rich necklace of pearls with enamelled gold jewels and pendent ornaments. Mat ultramarine blue background, with the monogram of the artift to the right. No. 957. UffST^ SAAC OLIVER. Oval miniature on card. 2 in. by 1 1 in. Portrait of Sir Philip Sidney. He is dreffed iS in a black cut or flafhed doublet, with a wide falling collar, edged with point lace. His brown hair is brufhed back, and he wears a jewelled ear-drop in one ear. Ultramarine background, with the monogram of Oliver to the right. This famous courtier, poet, and accomplifhed gentleman was born in 1554, and {lain at Zutphen in 1586. No. 958. fg^TgSAAC OLIVER. Oval miniature on card. 2 J in. by in. Portrait of a gentleman about thirty-five years , with dark brown hair and a dark mouitache. He wears a black doublet and a puffed frill ruff. Ultramarine back- ground. A beautiful miniature in Oliver's mofl vigorous manner. No, 959. SAMUEL COOPER, Oval miniature on card. 2 1 in. by if in. Portrait of the Earl of Carnarvon. Circa 1 630-40. A young man of about twenty-four years XVIII.— MINIATURES. 285 of age, with long auburn hair ; falling collar, with wide vandyked border of point lace, and taffels attached. He wears a light green doublet flamed with vertical ftripes of white. The back- ground, a crimfon velvet curtain. No. 960, COOPER. Large oval miniature on card. 4§ in. by 3 J in. Portrait of "John Lord Bellafis, uncle to . ® Lady Talbot, 1646." He is reprefented as about forty-five years old, in armour, and holding a commander's baton in his hand. He is bare-headed, with long brown hair falling on his moulders, and a fear, apparently from a fword-cut, covered with a ftrip of black plaifler, on his forehead over the left eye. This nobleman was a diftinguifhed leader and partifan of Charles I., in the civil war betwixt the King and the Parliament. No. 961. p^|||| COOPER. Oval miniature on card. 2 in. by igin. j^^^S^ Portrait of a young man with long black or dark ^s^, 9 brown hair, clad in a black doublet with white linen fleeves, and a falling collar of point lace. Ultramarine back- ground, with the initials of the artift, S. C, and date, 1653, m gold. No. 962. COOPER. Oval miniature portrait of a lady, 2 in. by 1^ in., faid to be a Countefs of Newcaftle. She ® has long black curled hair, wears a low yellow fatin drefs, and has a necklace of two rows of pearls round her neck. Circa 1640. 286 XVIII. -MINIATURES. No. 963. p| COOPER. Oval miniature on card. 3 in. by 2 h m - Portrait of Henry Jermyn, Lord Dover, z&l® dated 1667. Three-quarter face. He is in armour, and wears an immenfe light brown peruke, a voluminous falling band collar of rich point lace, tied with a black ribbon, and ornamented with bows of pink ribbon and a red fcarf over his armour. Landfcape background. Initials of the artift and date (1667) in the left hand lower corner of the background. No. 964. COOPER. Oval miniature on card. 3 in. by 2| in. ^ The Earl of Chefterfield, in armour, wearing a blue fcarf, falling collar of point lace, and voluminous peruke. Land- fcape background. Initialed by the artift, and dated 1667. No. 965. VAL MINIATURE IN OIL on copper. Mafter unknown. Circa 1630-40. 2 in. by if in. Said to be a Marquis of Newcaftle. Portrait head of a young man of about twenty-eight, with blue eyes and long blonde or golden hair falling down on his moulders, and a fmall mouftache. Black doublet and collar of point lace. No. 966. jg^gggVAL MINIATURE on card. Painter unknown. Ifl^iS 2 1 in. by 1 1 in. Portrait of Mary Claypole, daughter JSglla to Oliver Cromwell. At the back of this interefting miniature, in a hand evidently of the period, are the initials of the mafter, and date 1656, and "Mrs. Mary Claypole, XVIII.— MINIATURES. 287 dr. to O. Cromwell." The lady is reprefented in a plain blue drefs. She has long brown hair, with voluminous fide curls, and the only ornaments are a plain head-band, ear-drops, and necklace of pearls en fuite, and a breaft-knot of narrow black ribbon, with a pendent pearl attached. This lady died in 1658, aged twenty-eight — {he was therefore twenty-fix years old at the time this miniature was painted, doubtlefs from the life. There is a ftrong family likenefs to the Protector; and although the miniature has fuffered confiderably from the white- lead pigment having turned black, and being afterwards fcraped away, the lineaments of the countenance have been in no way affected. Her death at Hampton Court is faid to have haftened that of the Protector himfelf. (Mary Claypole died Auguft 6, 1658, and Oliver Cromwell September 3, in the fame year.) No. 967. pENRY DANCKAERTS. Oval miniature in oil on J copper. 2 in. by 1 1 in. Portrait of King Charles II. % He wears a black doublet, wide falling collar with talfels, and a deep border of Brulfels lace. Black peruke and mouftache. Charles II. was born in 1630, afcended the throne in 1660, and died in 1685. Judging from the apparent age of the King as reprefented in the miniature, it muft have been painted about A.D. 1670. No. 968. ||||! MALL CIRCULAR MINIATURE in its original filver WSzh cafe. Matter unknown. Spanifh. Diam., | in. Bull portrait of a young girl, probably an Infanta of Spain. Circa 1630. 288 XVIII.— MINIATURES. No. 969. VAL CASE OR LOCKET, enamel on gold. On one fide, Anne of Auftria, in a widow's drefs ; and on the other, Louis XIV. — apparently nine or ten years old. The young King wears a fcarlet ftriped doublet, broad blue ribbon or fcarf, falling collar, and a fcarlet oftrich feather in his hair, falling on to his fhoulders. This interefting work is by one of the early French enamellers of the Toutin or Bordier fchool, and probably originally contained locks of the hair of the two royal perfonages. Anne of Auftria, eldeft daughter of Philip II., King of Spain, married Louis XIII., King of France, in 161 5, and became mother of Louis XIV. in 1638. On the death of her hufband, 1643, the young Louis XIV. being in his minority, fhe became Regent, and died in 1 666. Judging from the appa- rent age of the young King, thefe miniatures mull have been painted about 1650. Louis XIV. was five years old when he afcended the throne in 1643, an ^ died in 17 15, having reigned feventy-two years. No, 970. qUARE MINIATURE in oil on copper. Fainter unknown — probably by a follower of Velafquez. Circa 1650. Portrait of a Spanifli lady in a low black drefs trimmed with yellow. Her long black hair is ornamented with bunches of yellow ribbon, and with two falling lapels or bands of parallel firings of pearls. This ftriking miniature is Angularly frefh and piquant in colour. 2 § in. by 2 \ in. No. 97 1. ETITOT. Small oval miniature — enamel on gold. 1 in. by |- in. Portrait of Louis XIV., aged about thirty -five, probably painted about 1670-75. XVIII. —MINIATURES. 289 No. 972. ^ 'ETITOT. Small oval miniature — enamel on gold. J in. by § in. Portrait of the minifter Louvois, aged about thirty-five. Francois Michel Letellier, Marquis de Louvois, Prime Minifter to Louis XIV., was born in Paris in 1 64 1, became powerful on the death of Colbert in 1683, and died in 1691. No. 973. ETITOT. Minute oval miniature on card. |- in. by ^ in. Portrait of a gentleman in coftume of circa 1 670, faid to be the Duke of Orleans, brother of Louis XIV., in the original gold locket-fetting of the period. Philippe de France, Due d'Orleans, only brother of Louis XIV. (born 1640, died 1 701). This exquifitely beautiful miniature is unqueftion- ably by the great artift to whom it is attributed, and is a rare example of his work in water colours No. 974. CHOOL OF PETITOT. Small oval miniature- enamel on gold. 1 in. by | in. Portrait of Henriette Anne d'Angleterre, Ducheffe d'Orleans, daughter of Charles I., King of England, born at Exeter, 1644; married the Duke of Orleans, 1661 (fee previous number) ; died at St. Cloud, 1670. No. 975. CHOOL OF PETITOT. Small oval miniature on gold. Portrait of a lady. ^ in. by | in. Circa 1700, u 290 XVIII. — MINIATURES. No. 976. CHOOL OF PETITOT. Miniature, enamel on gold. i£ in. by 1 in. Madame de Sevigne. Marie de Rabutin Chantal, born .1617, married in 1644 the Marquis de Sevigne, who was killed in a duel in 1651. Died 1696. Celebrated for the admirable colle&ion of letters to her daughter — efteemed as the moft perfect models of French epifto- lary compofition. No. 977. IpSN OVAL MINIATURE on ivory, in feventeenth century it&M enamelled locket cafe. 1^ in. by 1 in. Portrait of a lady, period of Louis XIV. No. 978. INCKE. Miniature — enamel on gold. 1^ in. by i| in. fill Portrait of Lord Chefterfield, dated 1735. Philip Dormer Stanhope, Earl of Chefterfield, the celebrated orator, ftatefman, and writer; born 1694, died 1773. No. 979. INCKE. Oval enamelled miniature on gold. i| in. by if in. Portrait of Sir Robert Walpole, Earl of Orford, Prime Minifter to George II. ; born 1676, died 1745. No. 980. |il|N OVAL MINIATURE on gold, if in. by i| in. The Si® painter, Francois Boucher ; figned, "Homes, 1773." XVIII.— MINIATURES, 291 No. 981. g^gBLONG MINIATURE, in body colours or " guafh," MP^Is on card. 2§ in. long, z\ in. high. Portrait of Louis XV. (half length), {landing in a garden, and holding a rofe in his hand. Born 17 10, was the only furviving fon of the Due de Bourgogne, eldefl fon of Louis, the Dauphin, fon of Louis XIV. ; afcended the throne in 1715, became of age in 1723, and died in 1774. No. 982. ASTER UNKNOWN. Oval miniature on ivory. 2§ in. by 2^ in. Portrait of Catherine II. of Ruffia, in her robes. Born 1729, became Emprefs by the dethronement and fubfequent murder of her hufband in 1762. Died in 1796. No. 983. fp| VAL MINIATURE on ivory. French, period of ft^rftS Louis XVI. 2^ in. by i| in. Portrait of a lady, pro- bably an aclxefs, in fancy coflume. No. 984. WMVAL MINIATURE on ivory. French, period of Louis XVI. 2 1 in. by 2 \ in. Portrait of a lady, pro- bably an a&refs. No. 985, ISABEY. Large oval miniature on ivory. Por- trait of the Duke of Wellington in the forty-eighth year of his age. 5^ in. by 4| in. On the reverfe u 2 292 XVIII. —MINIATURES. is written, evidently in the handwriting of Ifabey, u Peint par ordre de fa Majejie pour Jon cabinet particulier, 18 18." Arthur Wellefley, Duke of Wellington, born May 1, 1769; died September 14, 1852. No. 986. |^ARGE MINIATURE in oil— a work of the Spanifti %hSk fchool of the feventeenth or early eighteenth century. The Madonna. No. 987. QUARE MINIATURE PICTURE in diftemper on vellum. Flemilh — circa 1 $6o. Matter unknown. " The Comte de Meghen." Half length, habited in a rich fuit of armour damafquine with gold. He holds a helmet in his right hand, and grafps the fcabbard of his fword with his left ; around his neck is the collar of the Golden Fleece. The Comte de Meghen was a celebrated leader on the fide of the Imperialifts in Flanders, under the fanguinary Duke of Alva. 5l in - b Y 4 in. No. 988. ^IMILAR SQUARE FLEMISH MINIATURE, by the fame hand, and en fuite with the preceding. " Femme du Comte de Ligne." Circa 1550-60. This lady is attired in a magnificent drefs of black and white, pro- fufely ornamented with jewels. 6 in. by 4f in. No. 989. COOPER. Oval miniature on card. Circa 1645. Lady Falconberg. A lady of about twenty-five years old, with reddifli auburn hair in long ringlets — plain XVIII.— MINIATURES. 2 93 low white fatin drefs, and wearing a necklace of pearls. Blue Iky background. (From Lord Northwick's Collection.) 2 1 in. by 1 J in. No. 990. ^^SOLBEIN. Circular miniature on card or vellum. Sir 5? Thomas Seymour, Lord High Admiral of England. He is about thirty or thirty -five years old, has a reddifh or fandy coloured beard and mouflache, wears a black drefs and black cap with a gold medallion in it. Plain ultramarine back- ground. On the back of the miniature is written in an ancient, and perhaps nearly contemporary hand, iC The picture of Sr Thos. Seymer, Knight, L Admyrall of England." Diam., i| in. An exquifite miniature. No. 991. COOPER. Oval miniature on card or vellum. The Earl of Pembroke. An exquifite miniature of the early time of the artift. Initialed, but without date. The Earl is reprefented as about forty years old, with long auburn hair, and fmall pointed beard and mouftache, dreffed in black fatin, with falling collar edged with point lace. 2 in. by 1 1 in. (From Lord Northwick's Collection.) No. 992. COOPER. Oval miniature on card or vellum. The Countefs of Pembroke, wife of the preceding. An admirable miniature. The lady is about thirty-five years old, with light auburn hair in long ringlets. Low drefs of white fatin, ornanlented with jewels, and necklace and ear-drops of large pearls. The background, a crimfon curtain. 2 in. by i# in. 294 XV III. — MINI ATU RES. Nos. 993, 994, and 995. vHREE SMALL OVAL MINIATURES on vellum. Three young children or the Earl and Countefs of Pembroke, painted on ultramarine backgrounds. Attri- buted to S. Cooper. Each i § in. by i in. (From Lord North- wick's Collection.) No. 996. *W§F% VAL MINIATURE on ivor y* A Countefs of Shrews- MsPQHa bury— a lady of about fifty years old, in coftume of ©fe^S) the period of Queen Anne. Initialed " I. S. — 60 ; " labelled "Spencer" on the back — probably the name of the artift. (From Lord Northwick's Collection.) No. 997. |f§| ETER OLIVER. The Eleaor Palatine, King of Bohe- illlbJZ mia, fon-in-law of James I. Oval miniature on card or vellum, with the monogram of the artift. Dark blue background. 1 1 in. by 1^ in. No. 998. SAAC OLIVER. Oval miniature on card or vellum. Dr. Donne, the poet. Signed with the monogram of Oliver in gold on the dark blue background, and dated 1 610. An admirable and moft perfectly preferved miniature. 2^ in. by if in. (From Lord Northwick's Collection.) No. 999. VAL MINIATURE. Enamel on gold. The Marquis of Vieuville. Infcribed at the back, " Portrait in enamel of the Marquis de Vieuville, killed at the Battle XVIIL— MINIATURES. 295 of Auburn Chafe, Sept. 18, 1643." From the Portland and Strawberry Hill Collections — and more recently from Lord Northwick's Collection. A beautiful miniature, probably by P. Bordier. 2^ in. by i| in. No. IOOO. f^f^ICHOLAS HILDYARD. Oval miniature on vellum. 'ft 3 j| A young lady with a black drefs and wide puffed ruff, wearing a black hat or cap ornamented with a cameo fet in gold as a medallion, and a twitted wreath of pearls. Ultra- marine background, with the infcription in gold, " JEtatis fua 20 ; ano. dni. 1587." 2 J in. by ig in. No. 1 00 1. |||| COOPER. Oval miniature on card or vellum. A $S8lk • lady, aged about twenty-eight, with long auburn hair in ringlets. Low blue drefs, with a necklace of pearls. Initialed S. C, and dated 1652. 2 J- in. by i| in. No. 1002, gpHE EMPRESS JOSEPHINE, A beautiful French cISSS miniature on ivory. 3 in. by 2 J. No. 1003. MALL OVAL MINIATURE on ivory. By Petitot, or of his fchool. Portrait of a lady. Circa 1680. 1 \ in. by 1 in. No. 1004. VAL MINIATURE on card or vellum. Philip Earl of Arundel, 16 15. Modern copy from an original by Ifaac Oliver. 2 J in. by if in. 296 XVIIT. — MINIATU RES. No. 1005. VAL MINIATURE, painted in oil on a flab of polifhed bloodftone. A fleeping Cupid, with a wine-fla/k. This exquifite minute work is attributed to Guido, and is in every refpecl: worthy of that great mailer. i\ in. by if in. No. 1006. |U ETITOT. Oval miniature on vellum. Portrait of Louis llSf He£lor, Due de Villars. if in. by 1^ in. No. 1007. IS ABE Y. Large oval miniature on card. Portrait of a lady in walking coflume. Signed, " J. Ifabey, Vienne, 1 8 15." Height, $\ in. ; width, j| in. No. 1008. $^|fiIR ANTONIO MORE. Oval miniature of Queen ^^^^S Mary. Painted in oil on card, in gold enamelled locket - iSte^t* cafe. This admirable miniature is unqueflionably by More, and to all appearance muft have been painted from the life about the commencement of the Queen's reign (circa 1553). She is dreffed in black, with a black coif or bonnet, richly adorned with firings of pearls and gold enamelled work. Round her neck flie wears a narrow frill or ruif, and her drefs is edged with a collar of fur. The head is relieved on a plain blue background. The features, though fomewhat angular and unmiftakeably charac- teriftic, are more refined than ufual, and the general expfeflion is very animated. Height, 1 f in. ; width, 1 \ in. XIX. WATER-COLOUR DRAWINGS BY MODERN MASTERS. ATER-COLOUR drawing, or more correctly fpeaking, painting in water colours, is efTen- tially an art of modern times; Oftade, his pupil Du Sart, and fome other Dutch artifts of the feventeenth century, neverthelefs, occa- fionally produced drawings, which in the pigments employed, methods of execution, and refultant force of colour, very much refembled the modern works. Thefe occafional efforts, however, led to no permanent refult, and it was not till the fecond half of the eighteenth century that certain Englifh artifts, amongft whom, Paul Sandby, Girtin, J. Varley, Criftall, G. Barrett, and above all, Turner, were the moft confpicuous, formed a national fchool of water-colour painting. From the beginning of the prefent century, this branch of art has rapidly developed itfelf in England, and in the admirable works of Turner has, at all events as far as landfcape is concerned, undoubtedly attained its higheft point of excellence. It has remained a peculiar fpeciality of the Englifh fchool, no foreign artift having as yet fucceeded in rivalling that union of artiflic excellence with true appreciation of the nature and peculiar advantages of the vehicle, which our great eft water-colour painters have difplayed. The names of David Cox, Copley Fielding, W. Hunt, Prout, De Wint, John 298 XIX.— WATER-COLOUR DRAWINGS. Lewis, Stanfield, and many other diftinguifhed artifts, including thofe previoufly named as the early founders of the fchool, will ever remain illuftrious in the annals of the arts of the nineteenth century; their productions, indeed, may be faid to mark the epoch, ranking in every refpect on the fame line with the works of the greateft contemporary painters in oil, many of whofe mod exquifite qualities of colour and luminous chiaro fcuro have been borrowed, indeed, from the fitter vehicle. CATALOGUE. No. iooi (a). ig| OPLEY FIELDING. Harlech Cattle. A grand land- s <£^k fcape in the "hifloric" ftyle. Length, 3 ft.; height, 2 ft. 6 in. No. 1002 '(a). ^jS^INNELL. The hay waggon — a hill-fide farmyard in MMSi the Ifle of Wight. Original drawing in water colours, for the picture, No. 865, in this Collection. 7§in. by 4§ in. No. 1003 (a). ®M M. W. TURNER, R.A. The Bafs Rock. 10 in. by fWrn: • 8^ in. Painted at Abbotsford, for Sir Walter Scott. No. 1004 (a). gpl M. W. TURNER, R.A. Rye. iof in. by 7I in. laSSO • The celebrated engraved drawing in the " South Coaft " feries. ■ No. 1005 (a). |Sp DANBY. Southampton. 7 in. by 4I in. 3oo XIX. — WATER-COLOUR DRAWINGS No. 1006 (a). J EVANS, of Eton. View on the Thames. 1 9^ in. by 12A in No. 1007 ( a )- W. TOPHAM. The piper. 20 J in. by 12I in. A group of Irifh peafant girls and children at a cabin- door, furrounding a piper, who is playing to them. No. 1008 (a). HUNT. The farrier's mop at Strathfieldfaye. celebrated early drawing. 29^ in. by 21 in. No. 1009. LEWIS (1834). Highland cottars with dogs. 22 in. ^ 8 by 1 81 in. No. 10 10. 18 SIDNEY COOPER (1840). Cattle in a meadow. Si* 13^ in. by 8| in. No. 10 1 1 REDERICK TAYLER. Irifh peafants going to market. SIH83 12 J in. by 9! in. No. 10 1 2. TANFIELD, R.A. (1837). Gevit and Charlemont. ffiirJ Drawing in pencil on tinted paper, llightly wafhed with colours. 1 5 in. by 1 1 in. BY MODERN MASTERS. 301 No. 10 13. BENTLEY. Sea piece. 2 ft. 8 in. by 1 ft. 8 in. No. 1 014. Ill E WINT. Landfcape with a mill. 2 ft. 5 in. by 1 ft.. M 8 in. No. 1015. ®fjjl ENKINS. Norman peafant girls in the harveft field. !J 23 in. by 15 in. No. 10 16. SIe WINT. "The moated Grange." i 4 £ in. by Wm iil in No. 10 1 7, mm ICHARDSON. " Way-fide devotion." 26J in. by No. 10 18. RICHARDSON. "Loch Lochy "--peafants at a cabin- door in the foreground. 28 in. by 7I in. No. 10 19. |1|S ICHARDSON. La Rochetta, Calabria. 28 in. by ESms 7^ in. No. 1020. mm ICHARDSON. Vico, near Sorrento. 39 in. by 13 in. XIX.— WATER-COLOUR DRAWINGS. No. 1 02 I. ASTINEAU. An Irifli lake fcene. 20 in. by 14 No. 1022. ASTINEAU. Trim Caftle. No. 1023. ASTINEAU. Lincoln Cathedral. XX. ILLUMINATED MANUSCRIPTS. No. 1024. S S A L. A Florentine manufcript on fine vellum. Circa 1490. This beautiful book is in the mod: perfect ftate of prefervation. It is enriched with fix illumina- tions, each of which fills the entire page, and with numerous decorated initial letters. The illuminations confill of the vignette fubjects ufually found in the Italian miflals of this period, fur- rounded with fplendid arabefque borders painted in the moft vivid colours. The illuminations are probably by a pupil of Ghirlandaio. Size of the page, 5 \ in. by 4 in. Purchafed in Florence, 1859. No. 1025. ISSAL, enriched with twenty illuminations. An admirable little manufcript of Flemifh origin. Circa 1470. Decorated by one of the great fcholars of Van Eyck. The number of the illuminations, the exquifite finifli and elaboration of every detail, and the vivid freflmefs of the entire book, raife it to the very higheft rank of its kind both in refpect of intrinfic beauty and alfo in pecuniary value. It is bound in crimfon velvet, with angle plates and clafps in gold filagree work — the latter probably added towards the end of the fixteenth century. On the fly-leaves are feveral curious fignatures of previous pofiefibrs ; amongft them occur the names of " Luxemburg," " Brandenburg," " Magdalen de Clenes, 1579," " Sibylle de Clenes, 1579," and " Diane de Dampmartin." Size of the page, 3^ in. by 2§ in. XXI. MODERN SCULPTURE. No. 1026. ENUS. Life-fized ftatue in marble, by John Gibfon, R.A. This celebrated work was commiffioned from the artift in 1853 m Rome? by the prefent poffeflbr. THE END. JOSEPH CLAYTON, PRINTER, 17, BOUVERIE STREET, FLEET STREET, LONDON. GETTY CENTER LIBRARY 3 3125 00607 1571