CATALOGUE 
 
 OF THE 
 
 oulages 
 
 olleftion ; 
 
 BEING A DESCRIPTIVE INVENTORY OF A COLLECTION OF 
 WORKS OF DECORATIVE ART, FORMERLY 
 IN THE POSSESSION OF 
 M. JULES SOULAGES OF TOULOUSE. 
 
 The Property of, and Exhibited by, the Members of the Executive 
 Committee of the Exhibition of Art Treafures 
 
 of the United Kingdom. 
 
 BY J. C. ROBINSON, F.S.A. 
 
 CURATOR OF THE MUSEUM OF 
 
 ORNAMENTAL ART. 
 
 MANCHESTER EDITION. 
 
 LONDON: 
 PRINTED BY CHARLES WHITTINGHAM. 
 ' 1857. 
 
INTRODUCTION. 
 
 HIS Colledion was formed by M. Jules 
 Soulages, advocate, chiefly during the period 
 between 1830 and 1840. 
 
 It was the refult of repeated tours through 
 Italy, made with the exprefs purpofe of ac- 
 quiring fpecimens of Art : M. Soulages, in the outfet of his 
 purfuit, devifed for himfelf a definite feheme or idea of a Col- 
 le(6lion, and all his acquifitions were made ftridtly with refer- 
 ence to it. Premifing that his objedt was the illuftration of 
 Art, and not the indulgence of a tafte for the merely curious, 
 his aim appears to have been to get together a complete feries 
 of decorative objeds of utility, and of thofe minor produc- 
 tions of great artifts, which are not ufually thought to deferve 
 the defignation of high art'' It is evident that the real- 
 ization of the defign mufl: have been entirely dependent on 
 the nature of his opportunities for the acquifition of fpecimens, 
 and that therefore the charadler of the Colledtion when formed , 
 would be in a great meafure determined by circumftances ; — » 
 but the idea of fuch a Colle6tion, even at this comparatively 
 recent period, was a novelty, — an abundance of materials was 
 available, and confequently there is no doubt but that, in pro- 
 portion to the means and endeavours employed, it was far more 
 efFedually carried out than would be pradicable at the prefent 
 
iv 
 
 INTRODUCTION. 
 
 day, even with a greatly increafed expenditure of funds, time, 
 and perfonal exertion. The clafs of works in queftion, more- 
 over, although they had, doubtlefs, been always more or lefs in 
 demand, can fcarcely be faid to have been then habitually fought 
 for by colledtors. The very fineft fpecimens were, it is true, 
 purchafed with avidity for their original purpofe as objeds 
 of room decoration ; they were not, however, at that period, 
 generally deemed worthy of the fame kind of regard which 
 was paid to pidlures, ftatues, engravings, or objeds of pure 
 antiquity. An infinity of interefting objeds was therefore 
 to be obtained, all over the Continent, and more efpecially 
 in Italy, at prices very much below their prefent value. 
 M. Soulages, being not only one of the earlieft but alfo 
 moft fyftematic colledlors, was thus enabled to acquire, in 
 a few years, fuch a Colledion, as could now fcarcely be got 
 together by any individual in the courfe of a lifetime. As a 
 proof of the importance of his acquifitions, he has been more 
 than once alluded to, in terms of regret, by Italian writers, as 
 one of the moft fuccefsful and untiring ravifhers of the art 
 treafures of their country. It is fcarcely necefTary to fay, that 
 fince the period alluded to, the Continent in general has been 
 ranfacked for works of Art, fo that latterly, from the increafing 
 fcarcity of really fine works, the ratio of price between the 
 occurrence of one great fale and another is found to augment 
 in a degree which would fcarcely be credited, were it not that 
 the records of fale rooms remain to atteft the fadl.* For works 
 of real merit the increafe is fure to be a permanent and 
 progreffive one. Colledtors are rapidly acquiring increafed 
 knowledge and judgment, the eftablifhment of public Mufeums 
 and other caufes, are rendering the tafte for colleding almoft 
 
 * The Italian Majolica ware may be inftanced as a cafe in point. It is no 
 exaggeration to fay that the average value of fpecimens of Majolica has, virithin 
 the laft five years, literally rifen in the proportion of fliillings to pounds fterling ! 
 and it may be fafely predi6led that the apparently extravagant prices of to-day 
 v^ill yet be far exceeded. 
 
INTRODUCTION. 
 
 V 
 
 univerfal amongft educated perfons, whilft the number of 
 ancient works of real merit is not only extremely limited, but 
 likewife, from the chances of accident, natural decay, and the 
 permanent withdrawal of fpecimens from the market, by their 
 final location in public Mufeums, becomes every year ftill more 
 reftridled. The feemingly extravagant rife in the value of works 
 of art is therefore perfedlly legitimate by virtue of the natural 
 laws, which regulate the fupply and demand of all commodi- 
 ties — the fupply of the article diminishing, whilft the demand 
 is being rapidly and permanently augmented. 
 
 SOULAGES' Colledion, originally located in Paris, 
 was afterwards removed by him to his native city, 
 • Touloufe, where for feveral years it had an exten- 
 five reputation, fome of the principal objedls having been 
 engraved, or otherwife illuftrated, in important Continental 
 publications.* 
 
 During this time, offers from various collectors to purchafe 
 feparate objedls were both numerous and tempting, but M. 
 Soulages uniformly refifted all inducements to difmember 
 his Colledlion, ultimately refolving to difpofe of it as a 
 whole ; but pending thefe negotiations, however, he was 
 not ignorant of the extraordinary increafe in value of the 
 clafs of works in his poflefTion, and it is no reproach to him 
 to ftate, that he has in confequence progreffively augmented 
 the price at which he was willing to part with his Colledtion. 
 M. Soulages has now obtained the fair price of the day 
 for his property, and fhould the Colledlion, contrary to the 
 wilh of its purchafers, unfortunately be difperfed, they feel 
 confident that its fale in detail will afford an entire verification 
 of the affertions already made, refpeding the rapidly increafing 
 value of works of Art in general. 
 
 * Du Sommerard — Les Arts au Moyen Age." Laborde — " Notice des 
 Emaux, du Mufee du Louvre, &c." 
 
VI 
 
 INTRODUCTION. 
 
 HE nature of the various clafles of objeds comprifing 
 the Colledlion is defcribed in the explanatory head- 
 ings in the Catalogue ; it is here only neceffary to 
 make a few remarks on the comparative rarity or frequency 
 of their occurrence in this country. Of the three principal 
 Sedlions, viz. Majolica, Bronzes, and Cinque-cento Furniture, 
 it is certain that the average beauty and importance of the 
 fpecimens comprifed in the firft, and the number, as well as 
 general excellence of thofe in the two other Sedtions, have 
 never been equalled in any other coUedtion, either imported or 
 offered for fale at any time in England. There is no clafs of 
 works of rarer occurrence than fine Italian bronzes, whilft fur- 
 niture of the fame origin is not the lefs eagerly fought after : the 
 infrequency of the fale of fuch works, therefore, deprives us 
 to a certain extent of data for estimating their rate of value 
 at this moment. With refped to the Majolica, the cafe is 
 different ; here there can be no doubt but that the extraordi- 
 nary appreciation of this beautiful ware which prevails, will 
 receive at once a gratification and a fhimulus, fuch as it has not 
 yet experienced. Laftly, it fhould be obferved, that the Col- 
 le6lion contains an unufual number of works of extraordinary 
 importance of their feveral kinds, with a very fmall number 
 of trivial fpecimens, whilft there is perhaps not one bad or 
 dubious piece. 
 
 ^ft ^ ' ^'^ HE fecuring the Colledion to this country was, 
 neverthelefs, confidered to be worth an effort, and 
 on the matter being made known to a few influential 
 perfons, interefled in the inftrudlion of the public in art, a fum 
 of money was immediately guaranteed, more than double the 
 amount required. Mr. John Webb, an eminent dealer, was 
 deputed to examine and report on the Colledion, and on 
 receiving a fatisfadory confirmation of the genuinenefs and 
 value of the objeds from him, it was at once purchafed from 
 
INTRODUCTION. 
 
 Vll 
 
 M. Soulages, in the name of Meflrs. Dudley Coutts Marjori- 
 banks, M.P., Matthew Uzielli, of London, and Henry Cole, 
 C.B., who were deputed to ad for the reft of the fubfcribers. 
 
 The primary intention was to offer the Colledlion to 
 Government at the coft price, and it was hoped that the 
 nation would become the proprietor. 
 
 HE Board of Trade confented to allow the Colledlion 
 to be exhibited at Marlborough Houfe, according to 
 its ufual pradtice of receiving fine works on loan ; it 
 being underftood that in fo doing, government did not pledge 
 itfelf to any purchafe. Whether the nation acquired the Col- 
 le(5tion or not, was, in a pecuniary point of view, a matter of 
 entire indifference to the fubfcribers of the guarantee, who, as 
 promoters of public inftrudion, came forward to afford the 
 country the opportunity of making this acquifition : and took 
 the moft effedual means in their power of inviting the public 
 to pafs its own judgment, and of affording the Government 
 found evidence for its guidance. 
 
 HE Colle(5lion was, as propofed, offered to Govern- 
 ment, and the purchafe was declined : and it has 
 been fince purchafed, upon their own refponfibility, 
 by the Members of the Executive Committee, in order to 
 fecure its appearance amongft the Art Treafures of the United 
 Kingdom ; and alfo in the hope that the Colledlion may be 
 permanently placed for the purpofes of public inftrudlion in 
 the City of Manchefter. 
 
viii INTRODUCTION. 
 
 A copy of the Agreement entered into, which more fully 
 explains the objed of the purchafe, is annexed. 
 
 {Signed) 
 
 r James Watts, Mayor of 
 Manchefter, 
 Thomas Ashton, 
 William Entwisle, 
 Thomas Fairbairn, 
 Joseph Heron, 
 Edmund Potter, 
 SiGisMUND J. Stern. 
 
GREEMENT for fale of the Colledlion to 
 Managers at Manchefter in connexion with 
 the Manchefter Art Treafures' Exhibition, 
 
 EMORANDUM. The underfigned, Dudley Coutts 
 Marjoribanks, Matthew Uzielli and Henry Cole, 
 the Managers of the Soulages Colledion, under the 
 annexed Memorandum (hereinafter defignated " The London 
 Managers"), having purchafed and exhibited it in conformity 
 with the terms of that Memorandum, and having at prefent 
 failed to induce Her Majefty's Government to exercife the 
 option of purchafe referved to them by Claufe 7 of the Me- 
 morandum, have in accordance with Claufe 8 of the Memo- 
 randum, and in order to fecure the Colle6lion for permanent 
 Exhibition and Public Inftrudlion, and to prevent its difper- 
 fion into private hands, agreed to transfer the fame to the 
 underfigned, Thomas Fairbairn, James Watts, Thomas Afh- 
 ton, William Entwifle, Jofeph Heron, Edmund Potter, and 
 Sigifmund James Stern, Efquires (hereinafter defignated " the 
 Manchefter Managers"), upon the following terms and condi- 
 tions : viz. 
 
 I. The fum of Thirteen thoufand five hundred pounds (being the 
 amount of the prime cofl: of the Colledlion, including the ex- 
 penfes incurred in reference to it to the prefent time) is to be 
 paid by the Manchefter Managers to the account of the London 
 Managers, at their Bankers, Meflrs. Coutts and Co., in London, 
 by or before the eighth day of April, 1857, applied by the 
 
 1857. 
 
X 
 
 FORM OF THE 
 
 London Managers in difcharge of the liabilities of the Subfcribers 
 to the Memorandum, and without any control or refponfibility 
 on the part of the Manchefter Managers as to the application of 
 the money. 
 
 2. On fuch payment being made, the Colledtion is to be forthwith 
 
 packed and forwarded to Manchefter, at the rifk and expenfe of 
 the Manchefter Managers, and to be exhibited at the Art Trea- 
 fures' Exhibition about to take place there. 
 
 3. Until the expiration of twenty-eight days next after the clofe of that 
 
 Exhibition, the Corporation of Manchefter or any other perfon or 
 perfons who may be defirous to purchafe the Colle6lion entire, 
 for purpofes of permanent Public Exhibition and Inftru6l:ion in 
 Manchefter, and will engage to devote it to fuch and no other 
 purpofes, ftiall have the preemption of the Colle£lion at the fum 
 of Fourteen thoufand one hundred and feventy-five pounds, and 
 notice of this preemption ftiall be publiflied by the Manchefter 
 Managers in two at leaft of the Manchefter Newfpapers, once in 
 each week during the twenty-eight days previous to the figning 
 of the contra61:. 
 
 4. If fuch right of preemption be not claimed, and a contract to that 
 
 effe£l: figned within fuch twenty-eight days, the Prefident of the 
 Committee of Her Majefty's Privy Council on Education ftiall 
 then have the option of purchafing the Collection entire, for 
 public purpofes, at the like fum during the then next twenty-eight 
 days, and notice of fuch option ftiall be given to him and alfo to 
 the London Managers immediately after the expiration of the firft 
 mentioned period of twenty-eight days. 
 
 5. If fuch purchafe of the entire Collection be declined by the Pre- 
 
 ftdent of the Committee of Her Majefty's Privy Council on 
 Education, then he and the Manchefter Managers ftiall have the 
 further right to purchafe it between them in equal portions, at 
 any time during fourteen days next after the expiration of the 
 fecond above mentioned period of twenty-eight days, and fimilar 
 notice of fuch further right of purchafe ftiall be publiflied and 
 given as required in the preceding Claufes 4 and 5. 
 
 6. If the parties laft before named eleCt to purchafe the Collection 
 
 between them, each ftiall appoint an agent to reprefent fuch party 
 in the divifion to be made of it, and fuch divifion ftiall thereupon 
 be made by each agent, commencing with the Manchefter Agent, 
 feleCling an objeCt alternately at the price put againft each objeCt, 
 in a priced catalogue of the Collection authenticated by the ftg- 
 nature of the parties hereto (the whole of the prices in fuch 
 
GUARANTEE FUND. 
 
 Catalogue amounting to the before mentioned fum of fourteen 
 thoufand one hundred and feventy-five pounds), and if only one 
 of fuch parties ele6t to purchafe one half of the Colle6lion, then 
 the other party fhall appoint an agent to reprefent them in the 
 feledion and divifion of the Colle6tion as hereinbefore ftated. 
 
 If the Collection be not difpofed of as above mentioned, or only 
 half of it be fo difpofed of, then the Manchefter Managers fhall 
 (with the concurrence of the London Managers) caufe the Col- 
 lection or the undifpofed portion of it, to be fold by Public Auftion 
 in London with all reafonable fpeed, and not later than the firfl: 
 of June, one thoufand eight hundred and fifty eight ; and if a lefs 
 fum than Fourteen thoufand one hundred and feventy-five pounds 
 be realized on the ultimate difpofal thereof, the lofs fhall be wholly 
 borne by the Manchefter Managers; and if any furplus arife 
 therefrom, fuch furplus fhall be accounted for, and be paid over 
 by them to the London Managers, to be difpofed of by the latter 
 as provided for by Claufe 9 of the Memorandum. 
 
 The Manchefler Managers figning thefe Articles fhall be confi- 
 dered as pofTefTed of the legal ownerfhip of the Collection when 
 handed over to them by the London Managers, and as the Pro- 
 prietors thereof for the time being, fubjeCt only to the terms and 
 conditions before exprefTed, and fhall be perfonally refponfible to 
 the London Managers for the due performance of thofe terms 
 and conditions. 
 
 If the before mentioned fum of Thirteen thoufand five hundred 
 pounds be not paid by the day flipulated, the London Managers 
 are at liberty to declare this agreement at an end. Witnefs the 
 hands of the parties, the thirtieth day of March, one thoufand 
 eight hundred and fifty-feven. 
 
 {Signed) D. C. Marjoribanks j i^^^^^ 
 
 M. UziELLi 1^ Managers, 
 
 Henry Cole. J 
 
 James Watts 
 Thomas Fairbairn 
 William Entwisle 
 Edmund Potter 
 Thomas Ashton 
 SiGisMUND James Stern 
 Joseph Heron. 
 
 Manchejier 
 Managers, 
 
LIST OF SUBSCRIBERS TO THE ORIGINAL 
 
 GUARANTEE FUND 
 
 £ 
 
 E. Marjoribanks looo 
 
 The Earl Granville, i6, Bruton-ftreet 500 
 
 The Lord Afliburton, Bath Houfe, Piccadilly 1000 
 
 H. Minton of Stoke 1000 
 
 Edward Wood of Burflem 1000 
 
 Robert Napier of Glafgow ........... 500 
 
 W. Mafkell, 9, Vidtoria-fquare, Clifton 500 
 
 M. Uzielli, Hanover Lodge, Regent's-park 1000 
 
 Philip Miles of Briftol 100 
 
 Dodlor Lyon Playfair, C.B 300 
 
 Richard Redgrave, R.A 200 
 
 Henry Cole, C,B 300 
 
 J. Mayer, Liverpool 100 
 
 H. T. Hope, Deepdene, Dorking 1000 
 
 J. C. Robinfon, F.S.A 100 
 
 F. Fowke, Capt. R.E 200 
 
 W. Ewart, M.P., 6, Cambridge-fquare, Hyde-park .... 100 
 
 R. Burchett 100 
 
 H. Farrer, F.S.A., 15, Albert-road, Regent's-park .... 500 
 
 C. Sackville Bale, 71, Cambridge-terrace, Hyde-park . . . 100 
 
 W. Chaffers, F.S.A., 14, Grafton-ftreet, Bond-ftreet ... 250 
 
 A. Barker, 103, Piccadilly • 500 
 
 Richard Fifher, 35, Queen-fquare, Bloomfbury 100 
 
 J. Swaby, 13, Torriano Terrace, Kentifti Tov^n .... 200 
 
 John Webb, 1 1, Grafton-ftreet, Bond-ftreet 500 
 
 Holland and Sons, 23, Mount -ftreet 500 
 
 Artifts, Carvers, and Workmen in the employ of Meflrs. 
 
 Holland and Sons ^ 
 
 Alfred Lapworth and Co., 22, Old Bond-ftreet . . / . . 200 
 
LIST OF SUBSCRIBERS. xiii 
 
 John Jackfon, 49, Rathbone-place 300 
 
 W. B. Simpfon, 456, Strand 100 
 
 George Trollope and Sons, Parliament-ftreet 250 
 
 Jackfon and Graham, 38, Oxford-ftreet ....... 500 
 
 John Grace, 14, Wigmore-ftreet "... 300 
 
 J. Sheepftianks, Rutland Gate . 200 
 
 G. R. Elkington, Birmingham . 300 
 
 J. Jobfon Smith, Sheffield 100 
 
 Thomas De la Rue, 1 
 
 Warren De la Rue, F.R.sJ^""*"'l-'^°"' 500 
 
 Gillow and Co. 176, Oxford-ftreet 500 
 
 R. Phillips, 23, Cockfpur-ftreet 200 
 
 S. C. Hall, 21, Afliley Place, Viftoria-ftreet 100 
 
 Dudley, C. Marjoribanks, M.P. 29, Upper Brook-ftreet . . 500 
 
 Sir Francis E. Scott, Bart., Great Barr Hall, Birmingham . . 100 
 
 George Godwin, F.R.S., 24, Alexander-fquare, Old Brompton, 100 
 
 Henry G. Bohn, Twickenham 200 
 
 G. Gilbert Scott, 20, Spring-gardens 100 
 
 George J. Morant, 91, Bond-ftreet 250 
 
 I. K. Brunel,F.R.S., 18, Duke-ftreet, Weftminfter ... 500 
 
 Sydney Smirke, A.R.A., 79, Grofvenor-ftreet . . . 500 
 
 Johnftone and Jeanes, 67, New Bond-ftreet 500 
 
 His Grace the Duke of Hamilton and Brandon, Arlington-flreet, 500 
 
 Robert S. Holford, Dorchefter Houfe, Park-lane . . . , 300 
 
 Chriftie and Manfon, 8, King-ftreet, St. James's .... 250 
 
 John Dunn Gardner, 113, Eaton-fquare 200 
 
 Jofeph Clarke, 13, Stratford-place 100 
 
 Owen Jones, 9, Argyll-place 100 
 
 R. J. Spiers, 14, St. Giles'-ftreet, Oxford 100 
 
 Hanfon and Wright, 16, John-ftreet, Oxford-ftreet . . , 100 
 
 Hunt and Rofkell, 156, New Bond-ftreet 300 
 
 Council of the Society of Arts, per P. Le Neve Fofter, Secretary, 500 
 
 J. J. Mechi, Tiptree Hall, Kelvedon 100 
 
 Jofeph Rodgers and Sons, Sheffield 100 
 
 James Dixon and Sons, Sheffield 100 
 
 Mappin, Brothers, Sheffield 100 
 
 Sir Henry Meux, Bart., M.P., 41, Upper Brook-ftreet . . 500 
 William Mulready,R. A., i. Linden Grove, Kenfmgton Gravel 
 
 Pits ' ^ . . . 
 
 Sir John Marjoribanks, Bart., Lees, near Coldftream . . . 200 
 
xlv LIST OF SUBSCRIBERS. 
 
 Thomas Miller Whitehead, 8, Duke-ftreet, St. James's . . loo 
 
 Titus Salt, Saltaire, Bradford looo 
 
 J. W. Frafer, 8a Kenfington Palace Gardens 200 
 
 C. Drury E. Fortnum, Stanmore Hill, Middlefex .... 200 
 
 W. Wilfon Saunders, Wandfworth 100 
 
 Edward Chapman, 193, Piccadilly 100 
 
 The Marquis of Hertford, K.G., 2, Rue Lafitte, Paris . . 1000 
 
 Felix Slade, 22, Bennett's Hill, Do61:ors Commons . . . 500 
 
 £24,800 
 
CONTENTS. 
 
 N.B. — The arrangement of the Colle^ion, and the numbers affxed to the 
 ohjeSis^ have been temporarily adopted from the original inventory^ 
 furnijhed by M. Soulages, 
 
 I.- Page 
 
 AJOLICA WARE (plateaux and plates). Nos. i 
 to 83, 115 pieces i 
 
 Majolica ware (Vafes and other " fliaped" pieces). 
 Nos. 84 to 133, 52 pieces 46 
 
 II. Enamelled Earthenware, Faience of Bernard Palifly and 
 
 of the South of France. Nos. 134 to 156, 23 pieces 71 
 
 III. Various. Nos. 157 and 158, 2 pieces ... 80 
 
 IV. Flemifh Stoneware " Gres de Flandres." Nos. 159 to 
 
 1665 8 pieces . . . . . . .81 
 
 V. Venetian Glafs. Nos. 167 to 257, 91 pieces . . 83 
 
 VI. Various objects. Knives and Forks, Spoons, Coffers, 
 Ivories, Utenfils in various materials. Nos. 258 to 
 305, 48 pieces ....... 90 
 
 VII. Enamels of Limoges. Nos. 306 to 330, 25 pieces . 98 
 
 VIII. Bronzes — chiefly decorative utenfils, Clocks, Goldfmith's 
 
 work, Damafquinerie. Nos. 331 to 436, 86 pieces . 105 
 
 IX. Italian Sculpture, Delia Robbia ware, works in Stone, 
 
 Marble, &c. Nos. 437 to 444, 8 pieces . .129 
 
 X. Painted Glafs. Nos. 445 to 472, 28 pieces . . 135 
 
 XI. Medals, chiefly Italian, of the Quattro and Cinque-cento 
 
 periods. Nos. 473 to 578, 106 obje6l:s . .136 
 
 XII. Pi6):ures. Nos. 579 to 586, 7 pieces . . .161 
 
 XIII. Textile Fabrics — Tapeflries. Nos. 587 to 603^20 pieces. 163 
 
 XIV. Decorative Furniture. Nos. 604 to 691, 80 pieces . 166 
 
 XV. Addenda — various obje£ts, chiefly works in metal. Nos. 
 
 692 to 790, 60 pieces ..... 184 
 
CATALOGUE. 
 
 I. MAJOLICA WARE. 
 
 VER fince the period of its produdtion . the 
 ancient art pottery of Italy —called, in the 
 language of the country, " Majolica," has 
 more or lefs engaged the attention of con- 
 noiffeurs. More commonly known in this 
 country as " Raffaelle ware" or " Faenza ware," it has always 
 had a certain traditional preftige, even whilft the fineft fpeci- 
 mens were to be met with for (hillings in every curiofity-lhop 
 in Italy. The univerfal belief that Raffaelle himfelf had, in 
 the outfet of his career, condefcended to paint plates and 
 difhes, was the chief caufe of this wide-fpread appreciation, 
 which, however, was of the moft unfubftantial kind, inafmuch 
 as it is only during the prefent century, and indeed within the 
 laft few years, that anything like a real or critical know- 
 ledge of this clafs of work of art has become at all general. 
 Now, however, although ftripped of the intereft conferred 
 on it by its reputed aflbciation with the great painter of 
 Urbino, modern connoifleurfhip has recognized in the Ma- 
 jolica an intrinfic importance, which is every day being more 
 fully acknowledged. It is now perceived to be one of the 
 moft important categories of induftrial or decorative art which 
 the world has yet feen. In every age pottery has been a 
 
 B 
 
2 I.— MAJOLICA WARE. 
 
 favourite vehicle for the difplay of art; and the wonderful 
 epoch of the cinque-cento, or in more precife terms, the revival 
 of art in Italy, alfo produced a decorative pottery, quite as 
 excellent in its degree as the great works of painting and fculp- 
 ture of the fame period. The tafte for Majolica, which is 
 now becoming a paffion with amateurs, is thus founded on 
 rational grounds, and it is evident that a development of in- 
 duftrial art of this acknowledged importance is well worthy to 
 be reprefented in our national colledlions. The manufadure 
 of Majolica in Italy was, to all appearance, greatly promoted 
 by the decorative pottery already produced by the Arabs in 
 Spain, and which throughout the middle ages continued to be 
 imported into Italy. Towards the middle of the fifteenth cen- 
 tury this peculiar ware was imitated by the Italians, who were 
 alfo probably aided by Moorifb workmen : an original and 
 national ftyle had however all along prevailed in Italy, fo that 
 the Spanifli or Morefque influence muft be regarded only as 
 modifying the national manufactures. An allufion to the 
 Morefque influence in this brief notice feems defirable, as it 
 had fo much to do with the origin and development of the 
 famous luftre pigments, which are fo efpecialiy illufl:rated by 
 the extraordinary fpecimens in the prefent Colledion. During 
 the entire courfe of the fifteenth, fixteenth, and in a lefs degree 
 in the feventeenth century. Majolica ware was a great fl:aple 
 manufacture of Italy, more efpecialiy of the central diftriCls. 
 Manufactories were founded and foftered by princes, jufl: as 
 has fince been the cafe with porcelain ; the love of art, inherent 
 in thofe days in all clafl^es of fociety, placed both the manufac- 
 ture and the focial ftatus of the workmen entirely above the 
 conditions of ordinary productive indufl:ry, the artifl:s were 
 " maefl:ri," enjoying widely extended individual repute, and 
 the cities which were the principal feats of the manufacture, 
 acquired therefrom additional dignity and importance in Eu- 
 rope. Faenza, Urbino, Cafl:el Durante, Gubbio, Pefaro, cities 
 
I.— MAJOLICA WARE. 3 
 
 all comprifed within a limited diftridt lying towards the eaft 
 coaft of Italy, were the moft renowned centres of the Majo- 
 lica fabrication, whilft the celebrated dynafties of Montefeltro 
 and Delia Rovere, fucceffive princes of the State of Urbino, 
 were the moft noted patrons. It is impoffible, within thefe 
 brief limits, to give even a conneded outline of this fubjedt, 
 which is one of great intricacy and extent.* But as the prefent 
 Colled:ion is remarkable for one particular clafs of Majolica 
 wares, that of the luftred fpecimens, a few notes on thefe may 
 not be unacceptable. The metallic luftres, " iridefcent co- 
 lours," " reflets metalliques," colori cangianti," or " madre- 
 perla," as they are indifferently termed, are fimply various 
 pigments, in reality metals, depoflted or painted on the furface 
 of the ware in a fl:ate of extreme divifion ; the beautiful 
 iridefcent lufl:re refulting,.in fome manner not eafily explained, 
 from the relative thicknefles of the films produced. There is 
 a great variety in the afpe6t of thefe pigments : the compofi- 
 tion as well as the mode of application of nearly all of them 
 is unknown at the prefent day ; and the attempts of modern 
 chemifts and manufadlurers to reproduce fome of the mofl: re- 
 markable have hitherto almoft uniformly failed. The fecret 
 of one of them, the celebrated Crimfon or Ruby luftre, died 
 out early in the fixteenth century even, and has hitherto 
 generally been believed, (though erroneoufly,) to have been 
 confined to one celebrated Ceramic artift, Maefl:ro Giorgio, of 
 Gubbio. Now the prefent Colledlion contains a greater number 
 of authentic works of this celebrated artifl:, than has perhaps 
 ever before been aflembled together in modern times, (in all 
 
 * The author has been for a confiderable time engaged in colle6ling mate- 
 rials for a work on the Majolica, and takes this opportunity of publicly an- 
 nouncing his defign, in hopes that it may be the means of procuring him 
 additional materials, efpecially as the undertaking is one involving a very con- 
 fiderable amount of labour and obfervation, and muft be profecuted entirely, 
 con amore, without hope or profped of any material recompenfe. 
 
4 I.— MAJOLICA WARE. 
 
 upwards of 40 pieces) ranging from the earlieft to almoft the 
 lateft period of his career, and the ftudy of this feries alone 
 offers an amount of information, which is not lefs interefting 
 to the connoifTeur, than really important in point of view of 
 the advancement of the " technique" of modern pottery. We 
 may follow the gradual development of Giorgio's well-known 
 ftyle — trace its derivation from previous artifts of Gubbio, 
 whofe works are alfo here reprefented; in fhort, a tangible 
 hiftory of the " botega " or manufadlory is fpread out beneath 
 our gaze. It will therefore not be out of place to put on 
 record here certain fadls which will be further alluded to in 
 the body of the Catalogue, and which although they may 
 feem fomewhat uncalled for to the general public, will be 
 appreciated by thofe fpecially interefted. This Colledion 
 then affords additional confirmation of the following propo- 
 fitions, previoufly noted by the author : — Firfl, That Giorgio 
 was not the inventor of the Ruby luilre, but that to all ap- 
 pearance he fucceeded to, and apparently monopolized, the 
 ufe of a pigment firfl employed by an earlier artifl of Gub- 
 bio, to whofe works Giorgio's producflions have fuch refem- 
 blance, as to render it probable that he was the mafler or pro- 
 prietor of a botega, to which Giorgio may have fucceeded. 
 Secondly, That the figned works of Giorgio are in reality 
 executed by feveral diftind hands. Thirdly, That the a(5lual 
 handwork of Giorgio may be diftinguifhed with certainty, as 
 alfo, perhaps equally furely, that of his fon Maeflro Cencio. 
 Fourthly, That it is moil likely that all, or at any rate 
 a confiderable proportion of the pieces painted with hif- 
 torical fubjedls, (c. 1530-50) obvioufly of the Urbino or 
 Caflel Durante fabrics, and which are heightened with luflre 
 colours— no matter by whom the pieces may really have been 
 executed — were in reality decorated with the luftre colours 
 by M. Giorgio at a fubfequent operation. Fifthly. That con- 
 fequently the luftre colours were mainly confined to Gubbio, 
 
I.— MAJOLICA WARE. 5 
 
 and that many of the leading MajoHca painters of Urbino and 
 Caftel Durante, were in the habit of fending their wares to 
 Gubbio, (to M. Giorgio,) to receive the luftre colours, and that 
 probably every luftred piece of the well-known artift, Francefco 
 Xanto, of Urbino, was fo enriched by M. Giorgio, either on 
 his (Giorgio's) own account, or on commiffion for Xanto. 
 The perfonal information we pofTefs concerning Giorgio, may 
 be condenfed as follows : — Giorgio Andreoli, a gentleman of 
 Pavia, already ennobled in his native place, migrated to Gubbio 
 with his two brothers, towards the clofe of the Fifteenth Cen- 
 tury ; and in or about the year 1498 obtained the rights of 
 citizenfhip at the latter place ; he acquired a high pofition, and 
 filled many offices of truft in his adopted city, and is faid to 
 have been living in 1552. Giorgio had two fons, one of 
 whom only, Vincentio, called Maefhro Cencio, followed his 
 father's profeffion. 
 
 The earlieft date with the fignature of the Mafter on Gior- 
 gio's wares hitherto obferved by the writer, is 15 18, and the 
 lateft, 1537. The Pafolini Collection, (now difperfed), con- 
 tained a piece purporting to have been iigned by the Mafter, 
 and dated 1541. This inftance, however, cannot be impli- 
 citly relied on. 
 
 Important works of feveral other notable Maeftri will be 
 found in this Colledlion, and the enamelled fculpture of the 
 fchool of Luca della Robbia is reprefented by two fine fpeci- 
 mens. In conclufion, it may be obferved, that the average 
 merit of the fpecimens is of a very high order, the majority 
 of the pieces bearing much the fame relation to ordinary fpe- 
 cimens, that coftly examples of old Sevres porcelain do to 
 common printed Stafford (hire wares. 
 
6 
 
 I.— MAJOLICA WARE. 
 
 PLATEAUX, PLATES, ETC. 
 No. I. 
 
 ARGE PLATEAU with raifed medallion centre, 
 diam. i8 in. Urbino ware — circa 1550. The me- 
 dallion painted with Leda and the Swan. The reft 
 of the furface and the wide margin decorated with arabefque 
 ornaments — reverfe, yellow concentric lines. The arabefque 
 or more properly " grotefque" ornaments of this piece grot- 
 tefche") are particularly charadleriftic of the Urbino manu- 
 fadiure of the fchool and period of the Fontana family. The 
 works of Giovanni da Udine may be taken as the type of 
 this ftyle, which, as feen applied to Majolica ware, does not 
 date much before 1540, being continued in ufe down to the 
 middle of the feventeenth century. This clafs of Majolica has 
 ufually a brilliant white ground, produced by painting over 
 the furface of the ftanniferous covering with the white enamel 
 colour (" fbiancheggiato") previous to the execution of the 
 ornaments, increafed brilliancy and tone being given by a 
 final vitreous glaze. 
 
 No. 2. 
 
 ARGE PLATEAU, diam. 17 in. Faenza ? or 
 Caftel-Durante ? — circa 1500. In centre Arms of 
 the Dukes of Urbino, of the Delia Rovere dynafty, 
 furmounted by the ducal coronet, and fupported by two 
 female figures. The medallion centre is furrounded by three 
 concentric zones of rich arabefques : the firft grounded in 
 blue, the ornamentation confifting of chalices, winged dragons 
 coupled together by finger rings, fet with a fharp pointed 
 ftone (device of the Dukes of Urbino), interwoven with 
 elaborate foliated fcroll work ; the fecond band, on the coved 
 
I.-MAJOLICA WARE. 7 
 
 fide or funk part of the plate, is decorated with a running 
 fcroll in white enamel on the plain furface of the ware (" lavoro 
 di fopra bianco"); the outer zone is on the margin or border 
 of the piece, and confifts of a running acanthus fcroll on a 
 ground of brilliant orange, interfperfed with amorini and various 
 animals, and with circular medallions alfo containing amorini ; 
 reverfe of the piece decorated with deep blue concentric lines. 
 The enamel glaze is of the moft perfed quality, and the 
 colours are unufually brilliant and forcible. The name of 
 the artift is unknown ; feveral other pieces by the fame hand 
 are however extant, all of which by their great excellence bear 
 teftimony to the paramount ability of this early mafter. 
 
 No. 3. 
 
 ARGE PLATEAU, form « fruttiera," diam. 14 in. 
 executed at Cartel Durante — circa 1530. Subje6t — 
 Olympus. Compofition of many figures in an ex- 
 tenfive landfcape covering the entire furface of the piece ; in 
 the centre Apollo, around him poets and muficians playing on 
 various inftruments ; above, in the clouds, a choir of amorini. 
 This piece is the work of an artift whofe produ6lions have 
 confiderable refemblance to thofe of Francefco Xanto, but 
 whofe labours were probably of fomewhat anterior date. It 
 is one of the mofl: important fpecimens extant ahke of the 
 artift and the " fabrique." 
 
 No. 4. 
 
 ARGE PLATEAU, with raifed medallion centre, 
 diam. 14^ in., executed at Gubbio by Maeftro 
 Giorgio. In the centre medallion are the arms of the 
 Brancaleoni family ; around it a wide border of arabefque 
 ornamentation, confifting of cherubs' heads, interlaced fer- 
 pents with eagles* heads, painted in luftfe colours, on an 
 alternate green and blue ground, the margin decorated with 
 
8 I.— MAJOLICA WARE. 
 
 an interlaced guilloche or ftrapwork pattern on a ground of 
 gold luftre. This magnificent piece is one of the moft im- 
 portant works of the early and beft period of the mafter ; it is 
 unfigned, but may be referred to about the year 1520. The 
 reverfe is decorated with a well-known interlaced knot pattern. 
 The ruby luftre is of the delicate pale rofe colour, met with as 
 a rule only in his moft finiftied works. 
 
 No. 5. 
 
 ARGE PLATEAU, with raifed medallion centre, 
 diam. lyin. Faenza ? — circa 1520. The entire fur- 
 face of the piece grounded in dark blue enamel ; in 
 the centre a coat of arms, with mantling, in proper colours, with 
 a creft of an angel holding up a fcroll, on which is the word 
 " Pax around it is a band or frieze of dancing amorini, 
 again encircled by a wide border of arabefque ornamentation. 
 With the exception of the blazon in the centre, the decoration 
 of this piece is executed in blue, heightened with white (" fopra 
 azzurro.") Reverfe richly ornamented with an imbricated 
 pattern and fcroll ornaments, a manufadlurer's mark in the 
 centre, confifting of a circle or ball painted yellow, interfecfled 
 by a crofs, a point or pellet being placed in one of the 
 quarters. The works of this " botega," or rather individual 
 artift, are very numerous ; they are nearly always marked with 
 the device juft defcribed. The prefent is perhaps the fineft 
 piece by this mafter now extant. This pattern, or rather 
 ftyle of enrichment, is not met with much after 1530, having 
 been introduced at leaft as early as 1491. (See circular plaque. 
 No. 120 in this Colledion.) 
 
 No. 6. 
 
 ARGE PLATEAU, diam. lyf inch. Urbino,— 
 circa 1550. Compofttion of numerous figures, Ro- 
 man foldiers breaking down a bridge, furrounded by 
 a fine double border of beautiful grotefques, painted " fopra 
 
L— MAJOLICA WARE. 9 
 
 bianco." On the reverfe is the infcription, " Cefar prefTo a 
 Genaua rompe il ponte." Painted by the fame hand as the 
 two Pilgrims' Bottles, No. 92 and 93. 
 
 No. 7. 
 
 ARGE PLATEAU, form ^^bacile." Gubbio 'Muf- 
 tre ware." Diam. 17 in. — circa 1505. In centre, a 
 female bufl portrait in profile, with fanciful head- 
 drefs, accompanied by a fcroU or banderole, on which is in- 
 fcribed, " Chi be guida fua barcha efe r in porto." Border of 
 rayed compartments, filled in alternately with fcale work and 
 foliated ornamentation ; the reverfe grounded in dull yellow 
 enamel. This piece is a charad:erifl:ic fpecimen of a very fer- 
 tile mafter, whofe works, however, (never figned), afford the 
 only information we have refpedling him. They are executed 
 on a white ground, in a firm, precife blue outline, fhaded with 
 the fame colour, and profufely enriched with a yellow iridefcent 
 luftre. 
 
 No. 7 (a). 
 
 ARGE PLATE, form " bacile." Diam. 14 in. 
 Gubbio luftre ware. By Maeftro Giorgio— circa 
 1 5 10. In centre a female buft portrait, with a fcroll, 
 infcribed " PuHfena . B." (Polixena bella), border of geo- 
 metrical diapered ornament, refembling a mofaic pattern. 
 Efpecially interefting as being one of the earlieft fpecimens of 
 Maeftro Giorgio ; executed in the ftyle of the painter of the 
 previous piece. Profufely enriched with ruby and gold luftres. 
 The defign is very fimply outlined and fhaded in blue in the 
 ancient manner. Reverfe covered with yellowifh white 
 enamel. 
 
 ■ No. 7 (b). 
 
 LARGE PLATE, form "bacile." Gubbio luftre 
 ware — circa 1500-10, diam. i6i in. Female buft 
 portrait, with fcroll infcribed, "Memento mei;" 
 
lo I.— MAJOLICA WARE. 
 
 border of fcale-work pattern. Reverfe, yellow enamel. This 
 piece is by the fame hand as No. 7. The works of this maf- 
 ter, eafily recognifable from their great fimilarity one with 
 another, are of frequent occurrence. The luftre is heavier 
 in tint and lefs brilliant than that of M. Giorgio ; the ruby 
 colour is never ? found. 
 
 No. 7 (c). 
 
 IMILAR LUSTRED ^^B AGILE" PLATE, diam. 
 15-I in. Female buft portrait, with fcroU, infcribed, 
 " Timor . domini . fui . efilium fuum." Border of 
 foliated ornament. By fame hand as the preceding piece. 
 
 No. 8. 
 
 ARGE PLATEAU, Urbino ware, diam. 18 in.— 
 circa 1 5 50. Subjedl — Mofes ftriking the rock, (from 
 a defign by Battifto Franco ?) furrounded with wide 
 border of grotefques on white enamel ground. Reverfe in- 
 fcribed, " Quando Moi'fe precoffe la pietra." A fplendid 
 fpecimen of the beft period of the Urbino fabrique. 
 
 No. 9. 
 
 ARGE PLATEAU, form "bacile," diam. 18 in. 
 Buft portrait of the painter Pietro Perugino, on a 
 deep blue background, wide border of a wreath 
 of foliage, with four circular medallions, in which are refpedl- 
 ively painted, in their natural colours, a goldfinch, kingfifher, 
 grofbeak, and tomtit — circa 1520. This magnificent work 
 muft be regarded as an unique piece, executed entirely irre- 
 ipedlive of the ufual conditions of manufadlure ; it is painted 
 by one of the moft able of the Maeftri-Majolicari, probably 
 from a pidlure or drawing furniftied by fome one of the 
 greateft painters of the epoch. The date of the piece is 
 about 1515-20, (Pietro died in 1524). The portrait of 
 
L— MAJOLICA WARE. ii 
 
 Pietro is a well-known one; we know that his popularity 
 with the young painters of the new fchool founded by M. An- 
 gelo and Raffaelle, led them frequently to introduce his por- 
 trait into their works. Vafari records that Lorenzo da Credi 
 painted Perugino's portrait, and as in the prefent work he is 
 reprefented much younger than he can have really appeared 
 at the date affigned to the piece, it is juft poflible that this 
 head may have been copied from Da Credits portrait. From 
 the analogy of ftyle of execution and colour, this piece is be- 
 lieved to have been painted by the fame artift who executed 
 the celebrated plate acquired by the Marlborough Houfe Mu- 
 feum from the Bernal Colledlion, which reprefents a Majolica 
 painter in his ftudio, painting the border of a plate in the pre- 
 fence of a richly-attired cavalier and lady ; and alfo of another 
 plate from the fame colledion, on which is reprefented the 
 St. George of Donatello, from the bronze ftatue in Florence. 
 The latter were executed at Caffaggiolo, a villa of the Medici 
 family, near Florence, where in all probability the princes of 
 this celebrated dynafty had founded a private manufactory of 
 Majolica ware. The artifts of this *^ fabrique" were probably 
 all of the fame family, as we find feveral diftind hands making 
 ufe of the fame monogram on their pieces, fometimes accom- 
 panied with the word " Caffaggiolo" or the letter " C." only ; — 
 to all appearance they were an offshoot from the Faenza fchool. 
 The prefent piece unfortunately has no fignature or mono- 
 gram ; but in confirmation of its Tufcan origin, it may be 
 obferved that the fl:yle of the border, which is very unufual 
 in Majolica ware, is imitated from the borders fo much in ufe 
 in the enamelled relief-fculpture of the Delia Robbia fchool — 
 a flyle which, at an earlier period ftill, was made familiar to 
 the Florentine artifls in the works of Andrea Pifani and Lo- 
 renzo Ghiberti. , 
 
1% L— MAJOLICA WARE. 
 
 No. lo. 
 
 ARGE PLATEAU, with deep funk centre and 
 wide border, diam. i8 in. Gubbio luftre ware. 
 ^ ^->- Painted by Maeftro Giorgio — reverfe, fcrolls and in- 
 terlaced knots, with the date 1530, and initials of M. Giorgio 
 in luftre colours. 
 
 In a medallion in the centre is a ftanding figure of a faint, 
 with two dogs, landfcape background, and the initials S. L. 
 The drapery and nimbus of the faint are in the ruby luftre. 
 The cavetto of the plate forms a band of gold luftre, and the 
 wide border is decorated with arabefques and medallions, on a 
 blue ground ; the ornamentation confifts of interlaced ferpents, 
 foliated fcroU work, and amorini, with four large medallions 
 furrounded with wreaths of green foliage ; thefe contain :— 
 Firft, An amorino feated and holding an eel, which is Aiding 
 through his fingers, and the motto "Cofi fugge la vita noftra," 
 (fo flies our life). Secondly, Female buft in blue outline, in- 
 fcribed " fanta caterina;" this medallion is entirely wafhed 
 over with tranfparent ruby luftre, through which the out- 
 line of the defign appears. Thirdly, Female buft infcribed 
 Fauftina," fimilarly grounded with gold luftre. Fourthly, 
 Laureated buft of an Emperor, infcribed " Hero rex," fimilarly 
 grounded with gold luftre. 
 
 This is one of the largeft and moft important pieces of the 
 Mafter known to exift, and is entirely from his own hand. 
 
 No. II. 
 
 ARGE PLATEAU, diam. i^j- in.— circa 1560. 
 Mutius Scaevola burning his hand before Porfenna, 
 infcribed on reverfe " Mutio che la fua deftra erante 
 cocie." This fubjed is of very frequent occurrence in the 
 Majolica wares of all periods.^ 
 
 * In the firft edition of this Catalogue this piece was attributed to the 
 botega" of Guido Fontana of Urbino, and fuppofed to be aftually from the 
 hand of his fon Camillo. The author has fince, however, found reafon to 
 
I.— MAJOLICA WARE. 
 
 13 
 
 No. 1 1 (d). 
 
 LATE, form bacile," Gubbio luftre ware. M. 
 Giorgio P — diam. 1 1-| in. — circa 1510-20. In centre 
 a coat of arms ; on a band within it is written the 
 word " vafo — border in compartments containing fcroll fo- 
 liage ; the ornamentation executed entirely in ruby and gold 
 luftre, with blue lines and fhading — reverfe, yellowifh white 
 enamel. This piece is probably one of the early unfigned 
 works of the Maeftro. 
 
 No. II (e). 
 
 LATE, diam. 14 in. — M. Giorgio, dated 1525 and 
 initialed. In centre medallion, an efcutcheon of 
 arms on rich golden luftre ground. Wide border 
 of running leaf fcroll pattern in yellow and ruby luftre, 
 outlined and fhaded with blue on white ground. Reverfe, 
 fcrolls and interlaced patterns in luftre tints. 
 
 No. 1 1 (f). 
 
 ARGE PLATEAU, form fruttiera," diam. 16 in. 
 Faenza ware — circa 1520-30. The furface of this 
 piece is entirely covered with a compofition of the 
 Gathering of the Manna, copied from an engraving by Agof- 
 tino Veneziano after RafFaelle. This magnificent piece is un- 
 queftionably one of the moft perfedl fpecimens of the Majo- 
 lica iftoriata" extant — the force of tint, variety, and harmony 
 of the colouring are moft remarkable, many paftages being in 
 this refpedt of exquifite beauty. It is executed with unufual 
 care, and the manufadlure of the piece has been attended 
 with perfedt fuccefs. The name of the artift is not known. 
 Several other pieces by the fame hand are, however, extant ; 
 
 miftruft his judgment on this point, and to feel doubtful whether the execution 
 of the painting ought not rather to be alTigned to Girolamo Lanfranco of Pefaro; 
 peculiarities in the ftyle of the painting feem to connedl it with both thefe 
 notable Maeftri. - 
 
14 I.-MAJOLICA WARE. 
 
 all of which are of high clafs. At the bottom of the com- 
 pofition, painted on a ftone, is a monogram unfortunately 
 blurred by the flowing of the enamel glaze ; it, however, 
 appears to have been the initials F. B., which is the flgnature 
 found on feveral of the pieces alluded to. Reverfe, without 
 decoration. 
 
 No. II (g). 
 
 ARGE PLATEAU, form " bacile," Gubbio luftre 
 ware, by Maeftro Giorgio. Diam. 14^- in. — circa 
 1500-10. In centre a medallion with an amorino 
 riding on a unicorn, encircled by concentric bands of ruby 
 luftre and diaper decoration ; — the cavetto of the plate is 
 enriched with oval funk pools or gadroons grounded with 
 gold luftre, wide border of fcalework pattern in ruby and gold. 
 One of the moft quaint and beautiful, and, at the fame time, 
 earlieft examples of the mafter. Unfigned. Reverfe, con- 
 centric circles in ruby. 
 
 No. 12. 
 
 ARGE PLATEAU, form bacile." Gubbio luftre 
 ware — circa 1490-1500, diam. 14I in. Subjedt — 
 Two horfemen in richly decorated armour, one 
 bearing a lance, and the other a banner ; border of foliated 
 ornament ; the defign executed entirely in brilliant gold luftre 
 on white ground, outlined with deep blue. Reverfe grounded 
 in yellow enamel. The luftre colour in this piece is of unufual 
 brilliancy, and the blue outline and fhading of correfponding 
 intenfity in tint. 
 
 No. 13. 
 
 ARGE PLATE, form "bacile," Gubbio luftre 
 ware, diam. iG\ in. — circa 1490- 1500. The funk 
 centre of this piece is entirely filled with a large 
 crowned eagle (arms of Montefeltro) — border of rays and 
 floriated ornament. Reverfe, yellow enamel ; brilliant gold 
 and ruby luftre, with blue outline on white. By fame hand 
 as the preceding piece. 
 
I.— MAJOLICA WARE. 
 
 No. 14. 
 
 ARGE PLATEAU, Gubbio luftre ware, diam. 16 
 in. — circa 1490- 1500. Female buft portrait in pro- 
 file, with a fcroll on which is infcribed " chi a tempo 
 non dorma." On the lady's fleeve is a device of a burning 
 heart, bound round with a cord ; border of fcroll and palmette 
 ornaments. This piece is executed entirely in ruby luftre, 
 and blue outline and ftiading. Reverfe, numerous concen- 
 tric lines in ruby. By fame hand as the two previous pieces. 
 This ancient artift, there is every reafon to believe, was the 
 mafter, or, at any rate, the immediate predecefTor of Giorgio, 
 and it is prefumed that he was the inventor of the ruby luftre, 
 his pieces being the earlieft in date on which this celebrated 
 pigment has, as yet, been obferved to occur. Both the luftre 
 tints are unufually brilliant, the gold or yellow (fee previous 
 pieces) furpaffmg even that of Giorgio ; the ruby inclines to 
 orange or copper colour, as contrafted with the more perfectly 
 developed pigment of Giorgio. The blue colour has a 
 peculiar ftrength and power of tint, being of a full dark 
 indigo ; this peculiarity alone rendering the works of this 
 mafter eaftly recognifable. His ftyle of execution is fimilar 
 to the early manner of Giorgio, manifefting, perhaps, greater 
 force and precifton of outline, though with the fame careful, 
 timid modelling or ftiading in the ftmple blue pigment, which, 
 as ufual with the early Gubbio m afters, is the only colour 
 employed in the flefti. The three pieces of this mafter are all 
 of them fplendid fpecimens. 
 
 No. 15. 
 
 LATE, Gul^bio luftre ware, diam. 1 in., 
 Maeftro Giorgio — dated 1526, and figned " M"* G"* 
 da Ugubio."* In centre an amorino fwinging on the 
 
 * See fac-fimile of lignature. Appendix A. 
 
1 6 L— MAJOLICA WARE. 
 
 branch of a tree^ painted in grifaillej the cavetto of the plate 
 grounded with gold luftre, and with wide border of fcroll and 
 palmette ornament, richly luftred with gold and ruby on blue 
 ground. This piece is probably from the hand of Maeftro 
 Cencio. 
 
 No. 15 (h). 
 
 LATE, Gubbio luftre ware, diam. iii in. M. 
 Giorgio, — unfigned. Same pattern as the preceding 
 piece. In centre an amorino with a dog. Painted 
 by M. Giorgio himfelf, and apparently rather an early fpeci- 
 men of this well-known type. 
 
 No. 15 (i). 
 
 LATE, form " fruttiera," Gubbio luftre ware, 
 Maeftro Giorgio, diam. in. In centre Cupid 
 with a bow and quiver; wide border of military 
 trophies on blue ground, richly luftred. Reverfe, rude 
 fcrolls in luftre. A late piece of the Giorgio fabrique. Circa 
 
 1535- 
 
 No. 1 5 (j). 
 
 LAT PLATE, Gubbio luftre vs^are, diam. io| in., 
 Maeftro Giorgio. Similar pattern to the preceding 
 piece. In centre an amorino with orange drapery — 
 dated 1537, and initialed by Giorgio. This and the preced- 
 ing piece were probably painted by fome workman employed 
 in the botega of the maeftro. 
 
 No. 15 (k). 
 
 LATE, Gubbio luftre ware, diam. 9I in. Maeftro 
 Giorgio; dated 1528, and initialed. Similar pat- 
 tern to Nos. 15 and 15 (h). ' In centre medalHon, 
 an amorino fupporting a column, on ground of gold luftre. 
 Reverfe, marginal lines on yellow luftre. This piece is pro- 
 bably the work of Maeftro Cencio. 
 
I.— MAJOLICA WARE. 
 
 No. 15 (1). 
 
 LATE, Gubbio ? luftre ware, diam. 10 in. Same 
 y pe as preceding piece ; in centre medallion an 
 amorino with a bow, painted in grifaille on ruby- 
 ground ; border of fcroll ornament on blue. Reverfe, figned 
 with an N, and decorated with fcrolls in luftre. School of 
 Giorgio. The execution of the amorino is in imitation of the 
 manner of Cencio, but much feebler in defign. This fpeci- 
 men is an unufually excellent piece of this well-known hand. 
 
 No. 15 (m). 
 
 LATE, Gubbio luftre ware, diam. 10^ in. Maeftro 
 Giorgio. — Dated 1526, and figned M". G'\ da 
 Ugubio." Same type as preceding pieces. In centre 
 an amorino finely drawn, with ruby-luftred drapery on a ground 
 of yellow luftre; border of elaborate fcroll-palmette, and in- 
 terlaced knot ornaments in brilliant luftres on blue. This 
 beautiful fpecimen, executed in a year in which the mafter 
 feems to have attained to the fummit of his powers, is re- 
 markable for the profulion and brilliancy of the luftre tints, no 
 lefs than for its unufually careful and finiftied manipulation. 
 
 No. 16. 
 
 LATE, form fruttiera," diam. i li in., Gubbio 
 luftre ware. — Maeftro Giorgio; — initials " M. G." 
 on reverfe, and date 1522. Subjedl — Fight for the 
 ftandard ; compofition of three mounted cavaliers, one of 
 whom, bearing a ftandard, is attacked by another with a ftiletto; 
 the third, alfo engaged in the melee, is habited in Roman 
 armour, and has a commander's baton in his hand ; two flain 
 foldiers, with buckle;-s and other arms, are being trampled 
 under foot, while on the left a foot foldier is feen fleeing away. 
 Landfcape background, the fky grounded dark blue, powdered 
 
 c 
 
1 8 I.—MAJOLICA WARE. 
 
 with ftars in luftre colour. The piece is very profufely luftred, 
 the ruby tint being applied in mafTes; the painting is from 
 the hand of Giorgio, in the ufual timid careful ftyle of his 
 early and middle period. This compofition is taken from an 
 early Italian print by an unknown mafter, of which an impref- 
 fion is preferved in the print room of the Britifh Mufeum. Re- 
 verfe, rude fcrolls, alternating with interlaced knots, with date 
 and lignature in luftre colours. 
 
 No. i6 (n). 
 
 ARGE PLATE, form " fruttiera," Gubbio luftre 
 ware. M. Giorgio, diam. i2i in. A proceftion of 
 fix warriors in antique armour, carrying banners, (on 
 white ground.) Reverfe, decorated with oblique fpiral gadroon 
 ornamentation in ruby luftre, the monogram of M. Giorgio, 
 and date 1520. The unufual brilliancy of the luftres is 
 efpecially remarkable. Pieces dated in this year (1520) are 
 very rarely met with. 
 
 No. 17. 
 
 LATE, form fruttiera," diam. 10 in., finely luftred. 
 Subjedt from the hiftory of Jafon; reverfe, fcroll 
 ornaments in luftre colours, fame pattern as M. 
 Giorgio's, with the fignature N. and date 1540. This is 
 one of a numerous clafs of works, all apparently by the fame 
 hand, and as evidently imitations of the ftyle and technical 
 peculiarities of Giorgio. The prefent example, and indeed 
 the fpecimens generally, are richly decorated with the ruby 
 and yellow luftres, the former tint being, perhaps, heavier and 
 lefs brilliant than that of M. Giorgio. In the abfence of any 
 dired clue to the origin of thefe pieces, it is conjedured 
 that they were the produ6lion of fome fcholar or workman of 
 Giorgio, who had fucceeded in difcovering the fecret of the 
 luftre colours. It is moft likely that the place of their manu- 
 
I.— MAJOLICA WARE. 19 
 
 fadlure was Gubbio ; they are always coarfer in defign and 
 ruder in execution than the genuine works of the mafter, and 
 even when not initialed by the N, on the reverfe of the pieces, 
 may be diftinguifhed by the peculiarity of the flefh tints, which 
 are heavily outlined or fhaded with deep olive, and crudely 
 heightened in the lights with white enamel. 
 
 No. 17 (o). 
 
 LATE, form "fruttiera," diam. loi in., Gubbio luflre 
 ware. M. Giorgio; dated on reverfe, 1526, and 
 figned, " M^ G" da Ugubio." Subjedt— Abraham 
 offering up Ifaac. In the lower part of the composition, which 
 comprehends a double adion, Abraham is feen with a falchion 
 in his hand, purfuing Ifaac, who is endeavouring to efcape 
 from him ; in the upper part the facrifice of Ifaac appears 
 about to be confummated. Richly luftred, the drapery of 
 Abraham being grounded in a full mafs of ruby, glazed over 
 blue outline and fhading, which caufes the luilre to afTume a 
 warm purple hue ; the piece is probably by the hand of 
 Maeflro Cencio, Giorgio's fon. Reverfe, the ufual ifolated 
 fcrolls and fignature in yellow and ruby luftres. 
 
 No. 18. 
 
 LATE, form "fruttiera," diam. 10^ in., Gubbio luflre 
 ware. M.Giorgio; date about 1520-25. Subjedt — 
 The Virgin and Child feated on a throne, in an Italian 
 architectural interior ; through the interflices of the columns 
 in the background an extenfive landfcape, with rivers mean-- 
 dering ; the fea, with fhips, in the diflance. The group of 
 the Virgin and Child is evidently after Raffaelle, and has 
 confiderable refemblance to the " Madonna di Foligno ;" the 
 drapery of the Virgin, 'the chequered pavement, the columns, - 
 and other details of the architecture, are enriched with the 
 ruby and gold luftres, in unufual quantity and of the mofl 
 
20 I.— MAJOLICA WARE. 
 
 brilliant and harmonious tones. Reverfe, fcroll decoration in 
 gold luftre, and although not figned, there is no doubt but 
 that this is a fpecimen of Giorgio's middle period. 
 
 No. 19. 
 
 LATE, form fruttiera/' diam. 10 in.— circa 1530. 
 Full-faced buft of a young girl, on dark-blue ground, 
 powdered with luftre ftars, and with the infcription 
 " Amaro chi me amara," (I will love whoever loves me,) alfo 
 in luftre. This beautiful piece, one of the choiceft morceaux in 
 the colledlion, is by an artift, who appears to have fpecially de- 
 voted himfelf to painting portraits for this defcription of piece, 
 (^^ Majolica Amatoria"), intended as lovers' prefents; — there 
 IS as yet no clue to the name or " locale" of this able painter ; 
 his manner bears a certain refemblance to that of the artift 
 working with Maeftro Giorgio, and who is believed to be his 
 fon Cencio ; the colouring is, however, warmer, more tranf- 
 parent, and the execution more mafterly than that of the 
 latter. The piece was certainly luftred either by M. Giorgio 
 or the mafter of the monogram " N." 
 
 No. 20. 
 
 LATE with funk centre, and wide margin, diam. 
 9|: in., Gubbio luftre ware. M. Giorgio. In centre 
 a ftar or rofette ; border, foliated decoration in gold 
 and ruby luftre, outlined and ftiaded with blue on white 
 ground. Reverfe, concentric lines in ruby. An early piece of 
 the mafter, probably dating about 1520. 
 
 No. 20 (p). 
 
 EEP BOWL-SHAPED FRUTTIERA, diam. 
 10^ in., Gubbio ? raifed luftre ware. In the raifed 
 centre is a figure of St. Sebaftian in relief, and the 
 border has pine cones and circular bofles alfo raifed ; richly 
 
I.— MAJOLICA WARE. 21 
 
 luftred with deep yellow and ruby, and rudely outlined and 
 wafhed with blue on white ground. This ftyie of piece, in 
 which the ornamentation is (lightly in relief, was evidently 
 purpofely defigned to difplay the luftre colours in their greatefl: 
 brilliancy ; the majority of them are by the fame hand, (the 
 artift figning his pieces with an N), and generally date be- 
 tween the years 1530 and 40. Reverfe^ flight fcrolls in luftre. 
 
 No. 20 (q). 
 IMILAR DEEP BOWL-SHAPED " fruttiera/' 
 diam. 8 in. In centre a raifed figure of St. Francis 
 receiving the ftigmata ; border of raifed pine cones, 
 and foliated ornament in luftres ; by fame hand as previous 
 piece. Reverfe, plain — circa 1535- 
 
 No. 21. 
 
 LATEAU, with raifed medallion centre, diam. 12^ 
 in., Gubbio luftre ware, M. Giorgio — circa 1520. 
 In centre a rabbit, — border and margin of geome- 
 trical foliated diaper ornament, ruby and gold luftre, outlined 
 and ftiaded with olive on white ground. Reverfe, concentric 
 lines in ruby. An early unfigned piece of the Maeftro, (be- 
 fore 1520.) 
 
 No. 22. 
 
 ARGE PLATE, Gubbio luftre ware, diam. 12 in. 
 Maeftro Giorgio, ^ — dated 1522. Arms of Urbino, 
 (of Duke Francefco Maria the Firft) furmounted by 
 the ducal coronet, and furrounded by elaborate arabefques on 
 a blue ground covering the entire furface of the piece. The 
 ornamental details confift of dragons, interlaced ferpents, 
 fphinxes, mafks, military and mufical trophies, garlands, in- 
 fcribed cartouches, &c. ; they are almoft entirely grounded in 
 the ruby and yellow luftres, exhibiting a perfedt^ blaze of the 
 moft brilliant " reflet." The date 1522, and the following 
 
22 I.— MAJOLICA WARE. 
 
 infcription, are written under the glaze on feparate fcrolls or 
 cartouches: — " Amor.'* — " Penfa a dios" — " aiurai felice." 
 The reverfe is decorated with concentric lines of yellow luftre, 
 but is without fignature. This moft precious fpecimen is per- 
 haps for the fine diftribution, abundance and perfedtion of the 
 luftres, unfurpafled by any other piece of the Maeftro now 
 extant. 
 
 No. 23. 
 
 LAT PLATE, Gubbio luftre ware, diam. 10 in. 
 Maeftro Giorgio. Shield of Arms, with a large fcroll 
 banderole, on which is infcribed " Viva, Viva, in 
 eternum ; " the reft of the fur face filled with cherubim, two 
 large cornucopias with flames ifluing from them, ribbons, and 
 other arabefque details, on a deep blue ground ; the heads of 
 the cherubim are delicately modelled in flefti tints of blue, 
 glazed with light orange, and the remainder of the ornaments 
 are grounded in the full luftre tints. This piece in beauty of 
 execution and efFecfl, equal to the preceding, is alfo decorated 
 on the reverfe with concentric lines of ruby luftre, and has 
 the ufual fignature of the Maeftro in the centre, but is without 
 date. It is probably fomewhat anterior to that of the previous 
 fpecimen. (1518-20?) 
 
 No. 24. 
 
 EEP PLATE, with wide border, diam. io|- in., 
 Gubbio luftre ware, M. Giorgio — circa 1520. In 
 the medallion centre is a cartouche with the word 
 "viva" in luftred charaders ; the cartouche relieved on a 
 background of fcalework ; the " cavetto" of the plate is 
 grounded with the gold luftre, and the border is decorated 
 with oblique radiating leaves, alfo in luftre tints, the general 
 eifed being fkilfully enhanced by zones and touches of ruby ; 
 the furface of the plate is almoft covered with luftre. Reverfe, 
 concentric lines in ruby. 
 
I.— MAJOLICA WARE. 23 
 
 No. 24 (r). 
 LAT PLATE, Gubbio luftre ware, diam. 10 in. 
 Maeftro Giorgio. In the centre a profile buft : quar- 
 tered border with floriated fcrolls, richly luftred and fhaded 
 with blue on white ground. 
 
 No. 25. 
 
 LATE, form "fruttiera," richly luftred, diam. loi 
 in. Subjed, Perfeus and Andromeda — circa 1 540. 
 This piece is clearly in the category of the works 
 believed to have been luftred by Maeftro Giorgio for an out- 
 lying mafter or fabrique. The ftyle of the piece, irrefpec5live 
 of the added enrichment in luftre, is fomewhat Angular, the 
 drawing of the figure is unufually careful and correct, the 
 colouring feeble and difcordant, the flefti being fimply ftiaded 
 in brownifti yellow, heightened with a cold heavy white enamel, 
 whilft the rock to which Andromeda is tied is painted with 
 patches of intenfe black colour and raw orange, forming a 
 violent contraft with the delicate tints of the nude figures. 
 Certain peculiarities feem to point to Caftel Durante as the 
 locality of produdlion of this piece ; but, on the other hand, 
 the work has every appearance of having been originally exe- 
 cuted with a view to receive the luftre decoration, which is 
 applied with judgment and unufual care — to a certain extent 
 corredling the patchy efte(5l previoufly noticed. The reverfe 
 has the ufual rude fcroll pattern of the Giorgio fabrique ; in the 
 centre is the infcription " Perfeo e Andromeda," written in blue 
 by the original painter of the piece. 
 
 No. 26. 
 
 EEP PLATE, or "fruttiera," Gubbio relievo luftred 
 ware, diam. 9^ in.— circa 1530. Medallion in 
 centre, containing an Agnus Dei" in relief. Border 
 
124 I. —MAJOLICA WARE. 
 
 of raifed acanthus leaves ; rich gold and ruby luftre, on white 
 ground, lined and fhaded with blue. Reverfe, flight fcrolls 
 in ruby, with the initial N. (School of M. Giorgio.) 
 
 No. 27. 
 
 LATE, diam. in., Gubbio luftred ware— dated 
 1 539. The ftory of Narciflus. Compofition of fix 
 figures in an elaborate landfcape, richly heightened 
 with luftre colours. Reverfe, the ufual fcrolls of the Giorgio 
 fabrique. By fame hand as No. 17. 
 
 No. 28. 
 
 ?EEP TAZZA, or " fruttiera," with raifed medallion 
 ^ centre, around which are concave waved fpiral flutings, 
 I the border of the piece cut or fcolloped, — Faenza 
 ware ? — circa 1520-30. In the medallion centre is a flanding 
 figure of a faint, habited in the coftume of a monk, and hold- 
 ing a book and a crofs (St. Francis ?) — landfcape background ; 
 the fluted furface and margin of the remainder of the piece 
 alternately grounded in deep blue and orange, on the former 
 of which is painted running fcroll foliage, in yellow ; and on 
 the latter, fimilar fcrolls in white fhaded with blue. Reverfe, 
 alternate parallel blue and orange lines, arranged fpirally in 
 the dire(5lion of the fluting. The works of this mafler are 
 numerous, and refemble each other fo clofely as to be always 
 eafily recognifable. The pattern, indeed, feems to have been a 
 " fpecialty" of this particular artifl ; the pieces are always exe- 
 cuted with great delicacy, the figure fubjedls in the medallions 
 being well drawn, and painted in a finifhed and fpirited manner. 
 
 No. 29. 
 
 LUTED TAZZA or " fruttiera/' diam. io| in., 
 Urbino ware — circa 1560. In the centre medallion 
 a male claffical figure feated in a landfcape ; wide 
 
I. -MAJOLICA WARE. 25 
 
 border of grotefques on brilliant white enamel ground. The 
 glaze and enamel colours of this piece are unufually perfed:. 
 
 No. 30. 
 
 AZZA or " fruttiera/' diam. 1 1-^ in., finely enriched 
 with luftre colours, dated 1541, manufadlure un- 
 known (Pefaro ?) This fpecimen is one of the clafs 
 of pieces already alluded to, as having been luftred in the " bo- 
 tega" of Maeftro Giorgio for the artifts of other manufadtories. 
 The fubjedt reprefents the birth of Adonis, compofition of feven 
 figures in a landfcape, occupying the entire furface of the 
 piece. The painting, though expeditious, is mafterly, and the 
 colour is unufually rich and harmonious. Reverfe, the ufual 
 fcroll ornamentation, the date 1541 in ruby, and the infcription 
 " Nafimento d' Adonis" in black — the latter, as ufual, written 
 by the painter of the piece. 
 
 No. 31. 
 
 LATE, form "bacile," diam. iii in., Gubbio luflire 
 ware, Maeftro Giorgio? — circa 1500. In centre 
 clafped hands, the male hand adorned with a thumb 
 ring, that of the female with two rings on the fecond and 
 two on the fourth finger ; above them a heart in ruby luftre 
 transfixed with arrows ; underneath the hands is a fire, the 
 flames in yellow luftre — border of painted rays — luftres on white 
 ground, with dehcate blue outlines and ftiading. This piece 
 is probably one of the earlieft works of M. Giorgio, and is an 
 interefting ancient example of an " amatoria " piece. Reverfe, 
 yellow enamel. 
 
 No. 32. 
 
 LATE, dram. lo^ in. luftred ware, fchool of M. 
 Giorgio, fubjedt allegorical. A female figure feated, 
 is converfing with a man habited in the coftume of 
 
26 I.— MAJOLICA WARE. 
 
 the fixteenth century, and holding a halberd. Various animals, 
 a horfe, bull, dragon, peacock, &c., are advancing towards the 
 group ; landfcape background, — richly luftred. Reverfe, rude 
 fcroUs in luftre. By fame hand as No. 27. 
 
 No. 33. 
 
 AZZA " fruttiera," embofTed luftred ware, Gub- 
 bio — circa 1520. In centre a heart transfixed by 
 a dagger and a dart in the midft of flames, above 
 it two eyes ; border of raifed pine cones or eggs, with foliated 
 ornaments, rich ruby and gold luftres on white ground, out- 
 lined and fhaded with blue. Apparently a very early fpeci- 
 men of the raifed or emboffed ware. 
 
 No. 34. 
 
 AZZA, " fruttiera," Gubbio luftre ware — circa 
 1520-30. In medallion centre a profile buft of a 
 man, the head painted in grifaille, drapery in ruby, 
 border of fcroll foliage in luftre on white ground, ftiaded with 
 blue. Reverfe, figned with an N. It is difficult not to be- 
 lieve that this piece is by the fame hand which executed 
 Nos. 38 and 38 (t), the latter being initialed by M. Giorgio, 
 and believed to be the work of his fon Cencio. (It has more 
 than once occurred to the author of this catalogue, that the N 
 may in reality be the monogram of Cencio (Vincentio), con- 
 taining as it does the three letters VI N.) 
 
 No. 35. 
 
 LATE, diam. 9^ in., Gubbio luftred ware — circa 
 1 520-25, Maeftro Giorgio. In centre a female buft 
 portrait on a blue ground, with the initials B. B. in 
 
 luftre colours, border ornamented with circular pools, or depref- 
 fions grounded in luftre, blue grounding or ftiading. The 
 
I.— MAJOLICA WARE. 27 
 
 portrait is executed in the ufual greenifh grey chiaro-fcuro tints, 
 thought to indicate the work of Maeftro Cencio ; the careful 
 drawing and execution would feem to denote it to be an early 
 efTay of the matter. Reverfe, concentric lines of gold luftre. 
 
 No. 36. 
 
 OWL, or deep " fruttiera/' luftre ware, manufacflure 
 uncertain, (Gubbio or Deruta ?) — circa 1490- 1500, 
 diam. 8|- in. In the centre is the facred monogram 
 I. H. S. in relief, outlined in blue and grounded in luftre co- 
 lours ; border of oblique concave deprefTed gadroons and cir- 
 cular finkings, likewife grounded in luftre, blue outline and 
 lhading on white ground. This beautiful piece is remarkable 
 for the full orange ruby luftre and the brilliant white enamel 
 ground forming the glaze or covering of the ware. Reverfe, 
 oblique fpiral fcroll ornaments and marginal lines in luftre. 
 
 No. 36 (s). 
 
 EEP "FRUTTIERA," diam. in. Gubbio? em- 
 bofted luftred ware — circa 1 520 ? In centre the facred 
 monogram in relief, furrounded by rays, border of 
 raifed acanthus leaves, alternating with pellets ; the relief or- 
 namentation is grounded in gold and ruby luftres, on a white 
 furface of great purity and brilliancy. This exquiftte little 
 piece exhibits the full power obtainable by the introdu(5lion of 
 the luftre tints, in a degree, perhaps, unfurpafted by any other 
 example in the colledlion ; the yellow luftre has a full rich 
 golden tone, and the ruby a pure vivid red, peculiar to this 
 fpecimen. It is evident that the perfedlion of the pigments 
 here feen is in great meafure due to the fine quality of the 
 enamel glaze on which they are applied. The entire arrange- 
 ment of the ornamentation, moreover, fhows a perfedt ap- 
 preciation of the decorative ufes of the luftre colours ; and on 
 the whole, although evidently manufadtured in an expeditious 
 
28 I.— MAJOLICA WARE. 
 
 manner as an objedl of commerce, this fpecimen is a mafter- 
 piece of the Ceramic art. It is difficult to determine whether 
 it is by the fame hand, as the many fpecimens of nearly fimilar 
 defign ; if fo, it muft evidently be regarded either as an 
 ifolated inftance of unufual perfection, or as one of a more 
 coftly clafs, which, from its comparative limited manufacture, 
 has now become very rare. 
 
 No. 37. 
 
 LATE, enriched with luftre tints, diam. 9^ in. — 
 dated 1549. The fubje6t, which covers the entire 
 furface of the plate in the ufual ftyle of the Urbino 
 " iftoriati" pieces, is from Ariofto, and reprefents Rogero de- 
 livering Angelica. In the centre, Angelica is feen bound to a 
 rock, whilft a huge monfter, apparently arrefted in its advance, 
 turns towards Rogero, who is feen defcending to the attack 
 on a hippogriffin ; on the oppofite fide is a galley with three 
 figures, and in the background rocky iflands in the fea, with 
 the fun rifing. The author is inclined to attribute the painting 
 of this beautiful plate to the celebrated Maeftro, Orazio 
 Fontana, of Caftel Durante and Urbino. The careful drawing, 
 brilliancy, and true artiftic feeling in the colouring — evinced in 
 many circumftances of detail — are entirely confiftent with the 
 general ftyle of the feveral initialed fpecimens of the Maeftro, 
 latterly identified in various colledlions.* The luftre colours, 
 on the other hand, have all the charadteriftics of Maeftro 
 Giorgio, and were doubtlefs applied in his botega. This is 
 not the firft piece thus conjointly executed which has been 
 noticed. The reverfe has the ufual luftre fcroll pattern of the 
 Giorgio fabrique, with the date 1549 faintly written in ruby, 
 whilft the infcription " Angellica ligata al duro fcoglio " is 
 written in blue by the painter of the piece. 
 
 * See Appendix B. 
 
I.— MAJOLICA WARE. 
 
 No. 38. 
 
 LATE, diam. 9 in., Gubbio luftre ware. M. Giorgio. 
 In centre a male head in profile, painted in grifaille 
 on ground of gold luftre, wide border of arabefque 
 ornamentation in grifaille, heightened with gold and ruby 
 luftre on blue ground. The motives of the ornamentation are 
 fphinxes, cornucopias, mafks, fcrolls, ftrapwork, &c. Reverfe, 
 fcrolls in luftre, the date, 1 53 1, and initials of Maeftro Giorgio.* 
 This piece is apparently executed by M'' Cencio. 
 
 No. 38 (t). 
 
 LATE, diam. 9 in. Maeftro Giorgio. Similar pat- 
 tern to preceding fpecimen. In centre a female 
 profile buft with a fcroll, on which is infcribed 
 " Daniella Diva." In the upper part of the arabefque border 
 a burning heart pierced by a fcroll or banderole, on which is 
 infcribed " oime;" on a ftiield is the date 1530. Reverfe, 
 fcrolls in ruby, the date 1531, and initials of M. Giorgio. 
 This piece, or one of precifely fimilar defign, is defcribed in 
 Pafteri's work on the Majolica. 
 
 No. 39. 
 
 AZZA, or "fruttiera," Gubbio luftre ware, diam. 9 
 in. The head of St. John the Baptift in a Charger, 
 on a deep blue background, diapered with fcrolls 
 in ruby luftre ; above is a pendant garland of green leaves 
 and fruit, and on one fide a crofs and banderole infcribed 
 " ecce-agnus-dei." Reverfe, Giorgio fcrolls ; the date 1535, 
 and initial N in luftre. | 
 
 No. 40. 
 
 LATE, diam. lof in. Urbino ware, " Majolica ifto- 
 riata," — circa 1570. Latona changing into frogs the 
 
 * See fac-limile of fignature, Appendix A. 
 t See fac-fimile of monogram. Appendix A. 
 
30 I.~MAJOLICA WARE. 
 
 peafants who had infulted her. Reverfe, infcribed " La dea 
 Latona." 
 
 No. 40 (u). 
 
 LATE, diam. 11 in., Urbino ware, — circa 1560-70. 
 Jacob bleffing his Sons, (Gen. xlix.) compofition of 
 ten figures. Infcribed on reverfe, " Jacobbe." 
 
 No. 40 (v). 
 
 LATE, Urbino ware — circa 1570, diam. loj in. Sub- 
 ject, a Sacrifice ; — compofition of ten figures, infcribed 
 on reverfe, " II Sagrefitio." 
 
 No. 40 (w). 
 
 LATE, Urbino ware, diam. 10^ in. — circa 1570. Mi- 
 nerva and the Mufes, — compofition of eight figures. 
 Infcribed on reverfe, " Le Nove(?) mufe." 
 
 No. 40 (x). 
 
 LATE, Urbino ware, diam. io|- in. — circa 1570. 
 The Sons of Jacob, — compofition of eleven figures. 
 Infcribed on reverfe, " Li figlioli de Jacobbe." 
 
 No. 40 (y). 
 
 LATE, Urbino ware, diam. io|- in. — circa 1540. 
 Alexander vifiting Diogenes, — compofition of fix 
 figures. In the upper part of the piece a fiiield of 
 arms quartering Della-rovere and Montefeltro, with crefl: of a 
 favage man's arm brandifiiing a dagger, and motto on a fcroll 
 " Sapies domini fitur afl:ris." 
 
 No. 41. 
 
 MALL PLATEAU, diam. 10 in., Gubbio or Pe- 
 faro.^ luftre ware — circa 1500-10. Medallion in 
 centre containing a female profile bufl: with a vertical 
 
I.— MAJOLICA WARE. 31 
 
 plant, or branch of a flowering fhrub ; border of foliated orna- 
 ment and geometrical arabefque ; yellow and pale ruby luftre, 
 outlined with blue on white, or pale blue fhaded ground. Re- 
 verfe, concentric lines in yellow luftre. It fhould be obferved 
 that this is the firft fpecimen of this Maeftro which has fallen 
 under the author's notice on which the ruby luftre has been 
 found. 
 
 No. 42. 
 
 LATEAU, with raifed medallion centre. Gubbio ? 
 luftre ware,diam. 1 in. — circa 1 500-10. In centre, 
 female profile buft, border of foliated ornament, 
 fcale pattern, &c. in compartments ; fimilar in defign to the 
 preceding piece, and painted by the fame hand, but luftred 
 in yellow or gold colour only. The yellow luftre of this 
 period, common apparently to the prefent and three or four 
 other Maeftri, although lefs pleafing in its pofitive tint than 
 the luftres of M. Giorgio, being of a dull or dirty yellow colour, 
 is fuperior to nearly every other pigment of this nature in re- 
 fpedt of the extraordinary reflet" or iridefcence, which afTumes 
 all the prifmatic variety of colours of mother-of-pearl — this is 
 in fad the true " luftro Madreperla " of the Italians. 
 
 No. 43. 
 
 LATE, diam. 9 in. — circa 1530. Arabefque orna- 
 mentation on blue ground ; in centre a fphinx feated 
 on a tablet on which are the letters -S* P* R* fur- 
 rounded by fcroll foliage, cornucopia, mafks, and military 
 trophies. The dry precife ftyle of execution, and the pre- 
 dominance of crude blue and yellow in the colour of the piece, 
 indicate Deruta as the place of manufacture ; the enamel glaze 
 has likewife the fame dull greyifli tint and opacity which cha- 
 radterife many of the flgned pieces of that fabric. Reverfe 
 no decoration. 
 
J2 I.— MAJOLICA WARE. 
 
 No. 44. 
 
 LUTED TAZZA, or " fruttiera," diam. 10 in. 
 Faenza ? — circa 1530. In centre a claffica] profile 
 buft with cartouche infcribed Flamino;" border 
 in compartments, grounded alternately, in blue, green, and 
 yellow, with fcroll foliage in yellow. By fame hand as No. 28. 
 
 No. 45. 
 
 LATE, fruttiera," diam. 8-| in. — circa 1 540. Manu- 
 facture uncertain. Profile buft of a warrior with a 
 fanciful helmet ; on an interlaced ribbon fcroll is infcribed 
 " oritia'' — dark blue background, no border. Reverfe plain. 
 
 No. 45 (aa). 
 
 IMILAR PLATE, " fruttiera,'' diam. 9 in. Manu- 
 fa(5i:ure uncertain. Bufl of a young man in coilume of 
 fixteenth century, with fcroll infcribed " Capitanio gentile ; " 
 companion fpecimen to preceding piece, and executed by fame 
 hand. Reverfe no decoration. 
 
 No. 45 (z). 
 
 LATE, form, tazza or bacile," diam. 9 in. Faenza ? 
 ware — circa 1 540. Female full-faced buft portrait, 
 with an interlaced ribbon fcroll, infcribed " Silvia 
 Bella;" blue background. A gift or " amatoria" plate, of 
 brilliant and harmonious colouring, by a mafter whofe name 
 is not known. Reverfe, no decoration. 
 
 No. 46. 
 
 ARGE PLATEAU, diam. 16^ in. Urbino ware— 
 circa 1 540-50. Battle of the Ifraelites againft the 
 Amorites; Joftiua commanding the Sun to ftand 
 
I.— MAJOLICA WARE. 
 
 ftill. Compofition of many figures, horfes, &c. covering the 
 entire furface of the piece ; in the upper part a fhield of arms. 
 Reverfe infcribed " Cu Jofue bellu eflet vidoru & notefceret 
 orationib folem firmauit." 
 
 No. 46 (bb). 
 
 |ARGE OVAL PLATEAU, length 19^ in., width 
 18 in., Urbino ware — circa 1540-50. Subjed, a 
 Battle — being a crowded compofition of many figures 
 and horfes ; in part a pafticcio from Raffaelle's Battle of Con- 
 ftantine. Reverfe, plain. This important piece may pro 
 bably be from the " botega" of Orazio Fontana, though it is 
 certainly not from the hand of the Maeftro himfelf. 
 
 No. 46 (cc). 
 
 ARGE PLATEAU, diam. 17 in., Urbino ware— 
 circa 1550-60. Subjedt — An army paffiing a river 
 in the face of the enemy ; ^ in the centre a wide 
 river divides the compofition into two parts ; on each bank 
 are oppofing armies : in the lower part of the compofition 
 the attacking party appears to have made an attempt to crofs 
 the river by means of rafts or pontoons, which has apparently 
 failed, being vigoroufly oppofed by the enemy with a battery 
 of cannon eftablifiied on the oppofite bank ; higher up, how- 
 ever, and fimultaneoufly, the river is being forded, the afiail- 
 ants having apparently fucceeded in landing a body of men. 
 
 * This defign is copied from a print by Eneas Vico, reprelenting the army 
 of the Emperor Charles V. paffing the Elbe near Muhlbourg (Bartfch i8). 
 The print is dated 155 1. The author was not aware of the exiftence of this 
 engraving before the publication of the firft edition of the prefent Catalogue, 
 and in defcribing the fubjedl as " The Taking of Alba," was guided by the 
 infcription on the reverfe of the piece, which can fcarcely be underftood to 
 mean the pafTage of the Elbe. 
 
 D 
 
34 I.— MAJOLICA WARE. 
 
 who are proceeding to attack the city, whilft the attention of 
 its defenders is occupied by the engagement lower down. On 
 the reverfe is infcribed, " la prefTa dalba." 
 
 No. 46 (dd). 
 
 ARGE PLATEAU, diam. 17 in., Urbino ware— 
 circa 1 540. Lucretia killing herfelf in the prefence 
 of a concourfe of Roman citizens. Compofition of 
 fixteen figures ; in the background a portico or colonnade of 
 Roman architedture. Infcribed on reverfe, " M. che e morire 
 che vivare co vergona." This important fpecimen is one of the 
 moft carefully-executed fpecimens of the."MajoHche Iftoriate." 
 
 No. 47. 
 
 ARGE PLATEAU, diam. 19-^ in., Caffaggiolo or 
 Faenza ware — circa 15 10? Pope Leo the Tenth, 
 feated in a rich chair or throne, on a platform or 
 palanquin, borne on men's fhoulders, is carried in proceffion, 
 accompanied by cardinals riding on mules, and a numerous 
 retinue of ecclefiaftics, officials, guards, &c. In the foreground, 
 marching at the fide of the main proceffion, is a regiment of 
 halberdiers in parti-coloured coftume, headed by a drummer 
 and fifer, and an officer bearing a banner charged with the 
 palle" of the Medici family ; the main proceffion is headed 
 by a cavalier riding on an elephant richly caparifoned. Im- 
 mediately behind the Pope appears a column of pikemen with 
 an enfign at their head, alfo bearing the banner of the Medici 
 family. The Pope is reprefented in the ad of benedidion ; 
 he wears the papal tiara and a rich cope of diapered cloth of 
 gold, fafl:ened by a large circular morfe or fibula ; in his left 
 hand he holds an objed which refembles an orb or ball of 
 cryfi:al ; the fingers of both hands are covered with numerous 
 rings. The compofition contains upwards of fifty figures, 
 executed in colours on a dark blue background. The figure 
 
I.— MAJOLICA WARE. 35 
 
 of the Pope has every appearance of being an authentic por- 
 trait, and the heads of feveral of the cardinals and attendants 
 have marked individuality of expreffion. Amongft the fol- 
 lowers is a Turk, with red hair and a long beard, and wearing 
 a high-crowned turban. The reverfe of the piece has concen- 
 tric lines in blue, and is figned with a large P. 
 
 Many concurrent indications leave little doubt but that this 
 curious hiftorical monument was executed at the manufactory 
 of CafFaggiolo, a caftle of the Medici, near Florence, where is 
 fuppofed to have exifted a fabrique fupported by that celebrated 
 family. The execution of the piece is hafty, and inferior to 
 the compofition ; the profufion of the rare red enamel colour, 
 the ufe of which is believed to be almoft exclufively confined 
 to this fabrique and that of Faenza, is remarkable ; the colour, 
 though known to the Majolica artifts of other localities, being 
 feldom or never employed on account of the difficulty of its 
 application, and the uncertain adlion of the fire upon it. 
 
 No. 48. 
 
 ERFOR ATED TRAY or Bafket, with two handles, 
 diam. 12 in. — circa 1700. In the centre is a car- 
 touche, with the initials S. A. G. S., probably thofe 
 of the perfon for whom the piece was fabricated ; it is coarfely 
 painted with fcrolls in blue and crude yellow, outlined with 
 Manganefe brown. 
 
 This piece may poffibly be of the fabrique of Savona. 
 
 No. 49. 
 
 ^■^^^LATE, "fruttiera," diam. 9^ in. — circa 1540. Ma- 
 S nufadlure uncertain. Female buft portrait, (ritratto 
 
 amatoria?) on blue background, with ribbon fcroll 
 infcribed " Silvia diva mirabella" — either by fame hand as the 
 fine plate. No. 1 9, or an imitation of the ftyle of this mafter, 
 by the painter of the pieces Nos. 45, and 45 (aa).? . 
 
36 I.—MAJOLICA WARE. 
 
 No. 50. 
 
 LATE, " fruttiera," diam. 10 in., Deruta (near Pe- 
 rugia) luftred ware — circa 1 530. Hercules and the 
 Nemean lion ; painted with a predominance of blue 
 and pale green colour. This piece is enriched with a pale 
 yellow luftre, and is likewife very fparingly touched with ruby, 
 which is of uncommon occurrence on the Deruta wares. Re- 
 verfe, concentric lines in yellow luftre. It rriay be obferved 
 that the gold luftre of the Deruta fabrique may generally be 
 recognifed by its peculiar pale yellow " brafly reflet;" the 
 brownifh dirty tint of the enamel glaze, its comparative opacity, 
 and the hard decifive ftyle of outline painting always in bright 
 blue, (the nude ufually fliaded with the fame colour), are like- 
 wife diftindive marks of this ware. 
 
 No. 51. 
 
 EEP TAZZA, fruttiera" or " bacile," diam. 10 
 in., Gubbio luftre ware, Maeftro Giorgio — circa 
 151 8-20. In centre, a female buft portrait on blue 
 ground, infcribed " Baldaflna," border of oblique radiating 
 gadroons, and pellets or balls in relief, grounded in luftre 
 colours, outlined and ftiaded with blue on white ground. 
 Reverfe, concentric lines in yellow luftre. From the hand of 
 the Maeftro himfelf, in his delicate and careful early manner — 
 profufely luftred. The ruby tint applied in mafs on the cof- 
 tume of the figure. 
 
 No. 52. 
 
 LATE, " bacile," diam. i li in., Gubbio luftre ware. 
 Maeftro Giorgio— circa 15 10. In centre, a buft of 
 a warrior in claftical coftume, with a lily or vertical 
 branch of fome other flowering plant on each fide ; border of 
 
I.— MAJOLICA WARE. 37 
 
 geometrical ornament, profufely luftred with gold and ruby, 
 outlined and fhaded in blue on white ground. Reverfe yellow 
 enamel. A coarfer fpecimen of the fame ftyle and period as 
 No. 7 (a). 
 
 No. 53. 
 
 JLATE, " fruttiera," Gubbio luftre ware, diam. 8| in. 
 Maeftro Giorgio — circa 1530. St. Sebaftian tied to 
 a tree ; background of orange ruby luftre. Reverfe, flight 
 fcrolls in yellow luftre. 
 
 No. 54. ' 
 
 ;EEP plate, " bacile" or " fruttiera," diam. 8 in. 
 Gubbio embofled luftre ware — circa 1520. Maeftro 
 Giorgio ? In centre, clafped hands held over a fire ; above, 
 a pierced heart in relief, border of raifed acanthus leaves, &c. ; 
 ruby and gold luftre with blue lining and ftiading, on white 
 ground. Reverfe, plain. 
 
 No. 55. 
 
 lEEP " BACILE" PLATE, with raifed centre, diam. 
 io§ in., Gubbio luftre ware — circa 1510. In centre, 
 a female profile buft in rich coftume, border of pointed rays and 
 circular flowers or pellets ; margin of the fame ornamentation. 
 Greenifli yellow iridefcent luftre, outlined with deep blue, on 
 white ground. Reverfe, concentric lines in luftre, apparently by 
 fame hand as Nos. 12 and 13. 
 
 No. 56. 
 
 I LATE, " bacile," Gubbio ? luftre ware, diam. 9f in. 
 Maeftro Giorgio ?— circa 1520-30. Leaf fcroll orna- 
 mentation in luftre, on white ground, lined and ftiaded with 
 blue ; in centre, the letter B, in a medallion ; yellow and ruby 
 luftre. Reverfe, flight fcrolls in luftre. 
 
38 
 
 I.— MAJOLICA WARE. 
 
 No. 57. 
 
 )LATE, Urbino ware, diam. lo-f- in. — circa 1570-80. 
 Caricatura fubjed. A repaft of hungry mendicants in 
 the kitchen of an inn^ ferved by a fat cook, who is being con- 
 ftrained to remain againft his wilh Reverfe, plain. 
 
 No. 58. 
 
 MALL TAZZA or cup, Gubbio luftre ware, diam. 
 7-J in. Maeftro Giorgio — circa 1525, Standing 
 ered: in the centre of the compolition a nude male 
 and female figure are feen embracing ; on the left an amorino 
 feated. In the background an extenfive landfcape with a 
 town in the diftance, and a river with various tributary ftreams 
 meandering through the foreground. Richly heightened with 
 luftre colour; initialed ikf' C'^^ on reverfe, with fcrolls in 
 ruby. The defign here reprefented is a part of a compofition 
 known as "the ftream of Life," from an engraving by, 
 Robetta. This exquifite fpecimen is of the moft perfed 
 "technique" of the mafter; there can be no doubt, although 
 not dated, that it was executed in the year 1525, the year in 
 which fo many of Giorgio's really fine works were produced ; 
 it is of precifely the fame quality both in drawing, colouring, 
 and perfection of enamel glaze and luftre, as the well-known 
 fpecimen reprefenting the Three Graces in the collection of M. 
 Rouftel of Paris, and of the plate reprefenting a battle fubjedl, 
 belonging to H. Scudamore Stanhope, Efq. ; and laftly, of the 
 celebrated plateau, painted with this fame compofition on a 
 larger fcale, acquired at the fale of the Bernal colledion by 
 Andrew Fountaine, Efq. — (all three dated 1525). Giorgio 
 was not a powerful draughtfman ; his execution, generally 
 fpeaking, is far inferior to that of many other Maeftri, his con- 
 
 * See fac-limile of fignature. Appendix A. 
 
I.— MAJOLICA WARE. 39 
 
 temporaries ; but this fingle piece would fuffice to eftablifh 
 his claims as a colourift. The harmony and luminous quality 
 of colour here difplayed would be admirable in any material ; 
 whilft, technically fpeaking, the pigments themfelves and their 
 mode of application, efpecially the ruby luftre, which is feen in 
 its full perfection in the drapery of the female figure, have 
 never fince been furpafTed in any Ceramic vehicle. The prefent 
 fpecimen may vie in thefe refpeds with the fineft pate tendre 
 porcelain of Sevres. 
 
 No. 59. 
 
 EEP PLATE, with wide margin, Gubbio luftre 
 ware, diam. 8-|- in. — circa 1525. Maeftro Giorgio. 
 In centre, a coat of arms, border of bold foliated 
 fcrolls, gold and ruby luftre on white ground lined and fhaded 
 with blue. Reverfe, concentric lines in luftre. No figna- 
 ture. 
 
 No. 60. 
 
 MALL TAZZA, or " bacile," diam. 8 in. Manufac- 
 ture uncertain — circa 1500-10. In centre, a medal- 
 lion with profile buft of a warrior in fanciful armour, 
 on a deep blue ground ; the reft of the furface of the piece 
 covered with an imbricated pattern in yellow and ruby luftre. 
 Reverfe, concentric lines in luftre. The ftyle and " technique" 
 of this rare fpecimen have great analogy with the early CafFag- 
 giolo wares. 
 
 No. 61. 
 
 MALL FRUTTIERA, with raifed centre, em- 
 bofled luftre ware — circa 1510-20, diam. in. 
 Fabrique uncertain. In centre, profile buft of a lady, 
 infcribed on a fcroll " Sepia" — border of raifed pine cones and 
 pellets, richly luftred'with ruby, and outlined with blue. The 
 enamel ground of this piece, curioufly enough, is of a warm 
 light fepia tint, producing a fingular but not difagreeable effedl. 
 
40 L— MAJOLICA WARE. 
 
 This peculiarity is fo unufual, that in fpite of the coincidence 
 with the name of the lady, the fmoky efPed can only be re- 
 garded as the refult of fome accident to the enamel glaze of 
 the piece. Reverfe, lines in brilliant ruby. 
 
 No. 62. 
 
 MALL TAZZA, " fruttiera," emboffed luftre ware 
 — circa 1520, diam. 8 in. Manufacture uncertain 
 (Deruta?) In centre, acanthus leaves, border of 
 raifed flutings and pellets, pale yellow and ruby luftre, out- 
 lined and fhaded with blue. Reverfe, rude luftre fcrolls and 
 the initial D. (Deruta?) — if fo, an imitation of the Gubbio 
 ftyle. 
 
 No. 63. 
 
 MALL TAZZA, " fruttiera," emboffed luftre ware 
 — circa 15 10, diam. in. Manufadlure uncertain. 
 In centre, a heart pierced with a broad Italian dagger 
 or " anelace," fufpended over a vafe full of flames ; on each 
 fide elaborate monograms ; border of raifed flu tings and pellets 
 profufely enriched with ruby and gold luftres, outlined and 
 fliaded with blue. Reverfe, concentric lines in ruby. By 
 fame hand as No. 6 1 (Caffaggiolo ?) The execution of thefe 
 two pieces is very fpirited, refembling the delicate early 
 Faenza ftyle. 
 
 No. 64. 
 
 EEP " FRUTTIERA" or cup, emboffed luftre ware. 
 Manufacture uncertain (Deruta ?) — circa 1 5 10, diam. 
 in. In centre, a raifed rofette furrounded by oblique 
 radiating gadroons, border of radiating gadroons and pellets in 
 relief, pale yellow luftre and blue outline on white. Reverfe, 
 concentric lines in luftre. (Similar in ftyle and perhaps fame 
 fabrique as No. 36?) 
 
I.— MAJOLICA WARE. 
 
 No. 65. 
 
 LATE, diam. 8|- in., Faenza or CafFaggiolo ? — circa 
 1 5 10. Four foldiers in coftume of the period 
 ftanding in converfation, one of them holds a banner, 
 — deep blue background. Reverfe, interlaced chequered or 
 lozenge pattern in blue and orange. 
 
 No. 66. 
 
 EEP PLATE, diam. 9 in., Caftel Durante ?— dated 
 1527. In centre, a military trophy in grifaille, with 
 a buckler infcribed S * P • Q * R * on bright orange 
 ground ; wide border of arabefque ornamentation, fphinxes, 
 with convoluted ferpents, dolphins, &c., in bluifh grey on blue 
 ground ; on two cartouches are refpedively infcribed A.V.E., 
 and the date 1 527. An interefting early fpecimen of the beau- 
 tiful chiaro'-fcuro arabefque plates, generally believed to be of 
 the Caftel Durante fabric. Reverfe plain. 
 
 Nos. 67 and 68. 
 
 WO fmall cups of Gubbio embofled luftre Ware, 
 diam. of each 6 in. — circa 1540. (67) St. Jerome 
 and the Lion, (68) St. Sebaftian tied to a Tree. Both 
 the figures are in relief, enriched with pale yellow luftre, and 
 outlined with blue on white ground. Thefe pieces, types of 
 rather a numerous clafs,are from the hand of MaeftroPreftino or 
 Pereftino, an artift of Gubbio, of whom pieces have been noted 
 by the author dating at various periods between 1 530 and 1 557- 
 The works of this mafter are interefting as exhibiting a return 
 to the ftyle of the early gothic mafters of the beginning of the 
 fixteenth century, the iridefcent luftre being identical with that 
 of the well-known painters of the bacile amatoria pieces. It 
 is poflible that M"* Preftino's fabrique produced the coarfe 
 late fpecimens, enriched with the yellow iridefcent luftre, fre- 
 
42 I.—MAJOLICA WARE. 
 
 quently noticed, and evidently dating far into the fixteenth 
 century ; he is, at any rate, the moft recent mafter hitherto 
 identified, ufing the luftre colours. 
 
 No. 69. 
 
 EEP PLATE, fruttiera," diam. ^ in. Faenza or 
 CalFaggioio ? — circa 1510-20. Interlaced arabefque 
 pattern. In centre, a circular medallion of foliated 
 arabefque ornaments on blue, — ground alternately of yellow, 
 orange, green, and white. The ornamentation of this elegant 
 piece is evidently copied from the Levantine damafquinerie, 
 fpecimens of which were everywhere current at this period, 
 and ultimately exercifed a very marked influence on Italian 
 renaiflance ornament. Reverfe, blue concentric lines. 
 
 No. 70. 
 
 LATE, Urbino ware — circa 1570, diam. 10^ in. 
 Subjed, Orpheus charming the Beafts. 
 
 No. 71, 
 
 AZZA, " fruttiera," Gubbio luftre ware, Maeftro 
 Giorgio, diam. lo^ in.— circa 1530-5. Standing 
 figure of St. Peter, with drapery in ruby luftre on 
 ground of gold luftre. Reverfe, fcrolls in luftre. No figna- 
 ture. Probably painted by Cencio. In the Colledlion of An- 
 drew Fountaine, Efq., is a fimilar piece on which is reprefented 
 the prophet Balaam. 
 
 No. 72. 
 
 LATE, with deep centre and wide border, Deruta 
 luftre ware —circa 1525-30, diam. i of in. In centre, 
 an amorino frightened by a fkull, wide border of 
 palmette fcroll arabefque in luftre on dark blue ground. 
 This is an example of the well-known ^'Maeftro Giorgio" 
 
I.—MAJOLICA WARE. 
 
 pattern, (fee No. 1 5, &€.), but is undoubtedly a copy executed 
 at the Deruta fabrique. Reverfe, no decoration. 
 
 No. 73. 
 
 iLATE, diam. 8^ in. Caftel Durante— circa 1550. 
 Neptune with two fea Horfes. This piece, painted 
 with great maftery and force of colour, is probably by one 
 of the artifts ufually employed in painting the fine chiaro'- 
 fcuros of this fabrique. 
 
 No. 74. 
 
 Jeep fluted TAZZA, " fruttiera," Faenza ware 
 —circa 1540, diam. 9 in. In centre a female buft, 
 border " quartiere" pattern, orange and blue. Same pattern 
 and " fabrique " as No. 28. 
 
 No. 75. 
 
 JLATE, diam. 10 in., Urbino ware — circa 1600. In 
 centre, Cupid riding on a Dolphin ; double border 
 of grotefques on white ground. 
 
 No. 76. 
 
 (LATE, with deep centre and wide margin. Caftel 
 Durante — circa 1527, diam. in. In centre, a 
 tablet fupported by a cherub's head, and infcribed " In 
 nomine dom." Grifaille on blue ground, wide border of tro- 
 phies on blue ground with two cartouches, infcribed Ama 
 dio." Same hand and ftyle as No. 66. 
 
 No. 77. 
 
 LUTED TAZZA, diam. lof in. Faenza ware — 
 circa 1 540. ' In centre, a buft of a man in oriental 
 claffical coftume ; border, quartiere pattern, grounded alter- 
 nately blue, green, and orange. Same fabrique and period as 
 No. 74. 
 
44 I.— MAJOLICA WARE. 
 
 No. 78. 
 
 LATE, fruttiera," diam. 11 in. — circa 1530-40. 
 Manufafture uncertain — (Padua ?) The ftory of 
 Perfeus and Andromeda, infcribed at reverfe " D' Androma 
 e Per/eo" 
 
 No. 79. 
 
 LATE, " fruttiera," diam. 9I- in., Urbino or Caftel 
 Durante — circa 1525. In centre, a cameo buft in 
 grifaille, on deep blue or black ground, furrounded 
 by a green wreath, wide border of interlaced oak branches 
 and acorns in yellow, on deep blue ground. This beautiful 
 defign, not an uncommon one, evidently became popular in 
 compliment to the Delia Rovere family, lords of Urbino, 
 whofe cognifance was an oak branch. Reverfe plain. 
 
 No. 80. 
 
 LATE, Gubbio ? or Deruta ? luftre ware, diam. -. 
 9 in. — circa 1520. In centre the letter A, fur- 
 rounded by foliage, border of radiating gadroon 
 ornaments, yellow and pale ruby luftre, with blue lining and 
 fhading on white ground. Reverfe, rude fcroUs in luftre, 
 and the initial N (or V with a " paraphe ") ; a fimilar piece to 
 No. 62, and certainly of the fame fabrique. 
 
 No. 81. 
 
 EEP PLATE, Gubbio? or Deruta? luftre ware, 
 diam. 9I- in. — circa 1535. In centre, a trophy of 
 arms, on pale ruby ground, border of trophies in 
 grifaille on blue ground, profufely heightened with yellow and 
 ruby luftres ; on two cartouches are refpedively infcribed A* M* 
 and " S • P • Q • R*" Reverfe, fcrolls in ruby and the initial 
 N (or V, with a "paraphe"). 
 
I.— MAJOLICA WARE. 45 
 
 No. 82. 
 
 LATE, "fruttiera/' diam. loj in., Faenza ware — 
 circa 1520. Subjedt, the Adoration of the Shep- 
 herds, painted on a dark blue ground, (" fopra azzurro ") 
 compofition of fix figures, after Francia. Reverfe, elaborate 
 decoration of interfedling circles in blue and orange. In 
 centre, an interlaced knot pattern. 
 
 No. 83. 
 
 LATE, " fruttiera," diam. 1 1 in. Manufacture un- 
 certain, Urbino ? or Pefaro ? — circa 1530-40. Sub- 
 jedl, the ftory of Apollo and Marfyas, infcribed on reverfe 
 « Marfio et Apollo." 
 
 No. 83 (ee). 
 
 LATE, " fruttiera," diam. 1 1 in. Manufadure un- 
 certain, Urbino or Pefaro Subje(5t, the Story of 
 Europa. Reverfe infcribed, " Giove mutato in tore et 
 Europa ;" by fame hand as No. 30, but not luflred. (Lan- 
 franco of Pefaro ?) 
 
 No. 83 {{{). 
 
 LATE, " fruttiera," diam. 1 1 in., Urbino — dated 
 1542. Subjedt, the Chafe of the Caledonian Boar. 
 Infcribed on reverfe, " 1 542, La Cacia del porco Calidonio 
 Urbino." Apparently a late piece of Nicola da Urbino ? 
 
 - No. 83 (gg). 
 
 ARGE PLATE, " fruttiera," Urbino ware, diam. 
 1 1 -I in. — dated 1543. Subjedl, Camillus expelhng 
 the Gauls from Rome; compofition of numerous figures. 
 
46 I.— MAJOLICA WARE. 
 
 with background of Italian cinque-cento architedlure. In- 
 fcribed on reverfe, — 
 
 1543- 
 
 Come Camillo. libero Roma 
 dela Seruitu d Galli. 
 Urbino. 
 
 A carefully-painted and brilliantly -coloured fpecimen of, (in 
 all probability,) the artift figning himfelf Nicola da Urbino. 
 
 VASES AND OTHER "SHAPED" PIECES. 
 No. 84. 
 
 [ROUP, in full relief (" in the round"), intended as 
 an inkftand ; height 1 5 in., Urbino ware — circa 1 550. 
 A young man in the coftume of the period is play- 
 ing on an organ ; on the oppofite fide of the inftrument a boy 
 is working the bellows, of which there are two ; the lower 
 part of the pedeftal contains a fpace for the inkftand. The 
 folding chair in which the player is feated will be recognized 
 as nearly identical in defign with many of the chairs adually 
 forming part of the colle6lion. The organ is of architectonic 
 defign, and is beautifully decorated with the ufual Urbino 
 arabefques ; in a cartouche in front is written the word " Ur- 
 bino," and on the back of the chair is a monogram W (or two 
 interlaced Vs) in a heart-fhaped fhield, (either the monogram 
 of the artift or of the perfon for whom the piece was made, 
 moft probably the latter). This piece is engraved in Du 
 Sommerard, " Les Arts au Moyen Age," 7^ ferie, pi. 35. 
 
 No. 85. 
 
 CUELLE, or Sauce Boat. A fyren holding a fhell ; 
 manufacture uncertain, Faenza ? — circa 1550 ; length, 
 7-J- in. ; width, in. The defign of the objed was probably 
 fuggefted by an antique bronze lamp. 
 
I.— MAJOLICA WARE. 
 
 No. 86. 
 
 RIANGULAR SALT-CELLAR, height 5f in., ma- 
 nufadure uncertain, Urbino ? The bowl, painted with 
 ' a female buft portrait, is upheld by three dolphins, refting on 
 a plinth with claw feet. 
 
 No. 87. 
 
 UADRANGULAR ALTAR-SHAPED SALT- 
 CELLAR, height 5|- inches, Urbino ware — circa 
 1 5 70- 1 600. Painted with " Urbino" grotefques on white 
 enamel ground. 
 
 No. 88. 
 
 ^fflMALL OVIFORM EWER, Urbino ware— circa 
 1540-50. This exquifite piece is a fpecimen of the 
 Urbino manufadlure of its beft period. It is attributed, and 
 probably truly, to the botega of Orazio Fontana. In every 
 technical quality there can be no doubt but that the pre- 
 fent and the few other pieces extant of the fame origin, are 
 the " ne plus ultra" of Majolica — it might almoft be faid of 
 the Ceramic art in general. Neither Sevres nor Drefden have 
 ever produced in porcelain anything finer in refped: of glaze 
 and colour. Pieces like this, which combine almoft every 
 excellence which the Ceramic Art is capable of difplaying, 
 are thofe on which the reputations of the ancient Maeftri were 
 juftly founded — reputations acquired not in the chara6ter of 
 artifts, but of potters. Engraved in Du Sommerard — Album, 
 7^ ferie, pi. 35. (Unfortunately the handle and foot of the piece 
 are reftorations.) 
 
 No. 8g. 
 
 ARGE OVIFORM EWER or " aiguiere," height 
 13^ in., manufadlure uncertain, Deruta? — circa 1600. 
 The form of this piece is very good, but the 
 
48 I.— MAJOLICA WARE. 
 
 painting, which reprefents the Virgin and St. John ftanding 
 on each fide of a crofs, to which is affixed the label, crown of 
 thorns, and the nails, is feeble ; and the faint crude colouring 
 difplays a predominance of blue and yellow, which indicates it 
 to be a produdlion of the decadence of the art. 
 
 No. go. 
 
 IRCULAR BOWL, diam. 13 in. depth ^± in., Ur- 
 bino ware — circa 1 560. The interior is painted with 
 a fubjedt of Venus in the fea, ftanding on a fhell 
 drawn by dolphins ; on each fide are Tritons and fea nymphs, 
 whilft above Cupid is feen flying in the air. The exterior is 
 painted with a landfcape. 
 
 No. 91. 
 
 ASE with two handles and cover, height i of in., Gub- 
 bio luftre ware, by Maeftro Giorgio — circa 1510-20. 
 The body or drum of the vafe is grounded in gold 
 and ruby luftre, on one fide is a fhield of arms, with ribbons or 
 fcrolls, fupported by two amorini, outlined and fliaded in blue, 
 and on the other fide a dance of three amorini fimilarly painted 
 in grifaille. The cover has a frieze of amorini playing at various 
 games, in grifaille, heightened with luftre colours, on deep 
 blue ground ; the under part of the body of the vafe has alfo 
 amorini playing, on gold luftre ground ; and the foot is enriched 
 with cherubim relieved, like the cover, on deep blue; the 
 handles are grounded in gold luftre, the portion of the drum 
 of the vafe under them being enriched with a large acanthus 
 leaf in ruby. The drawing and execution of the amorini are 
 in the timid early ftyle of the mafter, and as the piece is 
 neither figned nor dated, it was doubtlefs executed before 
 151S, after which year there are few fpecimens to which 
 Giorgio's well-known fignature is not appended. In perfec- 
 tion of luftre, enamel glaze, and depth and power of the blue 
 
L— MAJOLICA WARE. 49 
 
 pigment, this important fpecimen is unfurpafTed by any other 
 piece of the mafter. 
 
 Nos. 92 and 93. 
 AIR OF OVAL FLASKS, pilgrims" bottles, 
 Urbino or Caftel Durante ware — circa 1560, entire 
 height of each piece 1 8 inches. Flanked by handles 
 formed by large mafks in relief, terminating in raifed fpiral 
 volutes, which ornament the lower part of the piece ; in the 
 centre of the flat fides are circular medallions grounded in 
 orange, and containing Bacchanalian fubjeds treated as cam^i ; 
 remainder of furface covered with Urbino grotefques on white 
 enamel ground. The mufeum of the Louvre poflefles one 
 flafk of this model ; it is not, however, perfe6b. The prefent 
 are complete with their covers, and are probably unique as a 
 pair. 
 
 No. 94. 
 
 ASE with cover, height 24 inches, Faenza ware ? 
 — circa 1480. It is fomewhat difficult to give an 
 adequate idea of this Angular piece by mere de- 
 fcription. The fhape is oviform, furmounted by a conical or 
 pyramidal cover, and with two large handles formed by 
 winged dragons ; the neck and under part of the body are 
 enriched with gadroons or flutings in relief, and the cover has 
 a feries of triangular cufped and crocketed lucarnes or win- 
 dows, the apex being furmounted by a large ball grounded in 
 orange ; the centre of the vafe is furrounded by a band of 
 painted claflical palmette ornament in blue and white on orange 
 ground ; the refl: of the furface is varioufly painted with acan- 
 thus leaves, "fopra bianco work," &c. the colours employed 
 being green, blue, and orange. 
 
 E 
 
so I.— MAJOLICA WARE. 
 
 No. 95. 
 
 WO-HANDLED VASE, Hifpano-Morefco luftred 
 ware — fifteenth century, height 20^ inches. The 
 body of the vafe is fpherical, mounted on a tall coni- 
 cal ftem, and with lofty funnel-fhaped neck, flanked by tv/o 
 large wing-fhaped handles, perforated with circular holes. The 
 entire furface of the piece is covered with a diaper pattern of 
 ivy or briony? leaves, and fmall flowers and fcroll tendrils, in 
 yellow luftre and blue enamel, on white ground. 
 
 This important piece is probably of pure Morefque fabrica- 
 tion ; the form of the handles, in particular, exadtly refem- 
 bling thofe of the celebrated vafe of the Alhambra. It is 
 the production of a condition of art and civilization entirely 
 diiFerent to that which gave rife to the art pottery of Italy : 
 and is undoubtedly a more ancient Ceramic type. It is agreed 
 that the Italian word Majolica was derived from Majorca, the 
 name of an ifland in the Mediterranean ofl^ the eaft coaft of 
 Spain : this ifland was, during the earlier centuries of the 
 middle ages, under the domination of the Moors or Saracens, 
 and a peculiar pottery was there, and on the continent of 
 Spain manufactured by the Morefque artizans, which, in com- 
 mon with other products of Mahometan indufliry, was largely 
 exported, efpecially to Italy, then the richefl: and mofl: flourifli- 
 ing country in the world. The prefent is unquefl:ionably one 
 of the pieces fo exported, and which, in the fifteenth century, 
 were curtly termed by the Italians ^^Majorca" or ^^Majorka" 
 and thence by corruption ^^Majolicay^ a term which, as we have 
 feen, ultimately obtained a place in the language, and was applied 
 indifcriminately to all kinds of glazed earthenware. Juft as in 
 our own country the word China is ufed to defignate porcelain, 
 and, more appofitely fl:ill, " delff' or " delph'' for all kinds of 
 earthenware, the latter term preferving the remembrance of a 
 ware formerly largely imported into this country from Hoi- 
 
I.— MAJOLICA WARE. 51 
 
 land, but the manufadture of which, for exportation, has ceafed 
 for more than a century. The firfl: detailed notices of the 
 Hifpano-Arab wares were by M. Riocreux, Confervateur of 
 the Mufee Ceramique of Sevres, and M. Labarte, a diftin- 
 guiihed French amateur. Thefe gentlemen fucceeded in 
 eftablifhing with certainty the Spanifh origin of the ware. 
 Their attempts to affign the feveral varieties to their relative 
 periods of development were, however, owing to the then 
 comparatively few fpecimens obferved, unfuccefsful — the moft 
 modern being, by a Angular chance, deemed to be the primitive 
 variety. Since the publication of the notices in M. Labarte's 
 truly excellent introdudion to the catalogue of the Debruge- 
 Dumenil Colledlion (1847), nothing further of any importance 
 has been written on the fubjed. Such being the cafe, there- 
 fore, a few detailed notes on this occafion may not be deemed 
 out of place. 
 
 I. As to the purely Arabic origin of this pottery. M. 
 Labarte's evidence that both the plumbo-ftanniferous glaze, 
 and the luftre pigments, were the invention of the Arabs, at a 
 very early period, is confirmed by the difcovery by the writer 
 of feveral fragments of ancient pottery, with a white enamel 
 (evidently ftanniferous) covering, enriched with defigns in 
 luftre, fimilar to the Hifpano-Arab patterns, amongft mifcel- 
 laneous objeds found by Mr. Layard ten or twelve feet under 
 ground at Khorfabad. Thefe fragments are now preferved 
 in the Britifh Mufeum. This goes far to prove that 
 luftred Majolica ware, for fuch indeed it is, was univerfally 
 manufadured by the Moors and Saracens wherever they 
 had dominion, and that, in fad, the great difcoveries of the 
 glaze, the enamel colours (blue and manganefe), and the luftres, 
 were made at an early epoch — in all probability during that 
 brilliant period of the domination of the early caliphs to which 
 fo many other important inventions are due. In all probability 
 thefe difcoveries were the refults of attempts to imitate Chinefe 
 
52 I.— MAJOLICA WARE. 
 
 porcelain which, there can be little doubt, was known at Bag- 
 dad, and other great eaftern centres of commerce, centuries 
 before it penetrated to the weft. 
 
 2. The fad of the difcovery of the ftanniferous enamel by 
 the Arabs, taken in conne6tion with the importation of pottery 
 into Italy in the fifteenth century, is a ftrong argument 
 againft the claim of Luca Delia Robbia to be confidered the 
 firft inventor of this enamel covering in Italy. This has been 
 already noticed by M. Labarte ; but the author having particu- 
 larly examined the earlieft fpecimens of true Itahan Majolica, 
 fome of which, to all appearance, date at leaft as far back as 
 the middle of the fifteenth century (virtually at leaft as far as is 
 at prefent known, contemporaneous with Luca's alleged dif- 
 covery), has found that, like the Morefque fpecimens, they are 
 very frequently covered with true ftanniferous glazes ; that, in 
 fadl, the ftanniferous glaze and the white engobe occur indis- 
 criminately on the moft ancient Italian Majolica wares hitherto 
 examined. It is, therefore, fair to prefume that the fecret of 
 the glaze was acquired by the Majolicari from the Morefco 
 potters rather than from Delia Robbia s enamelled fculptures ; 
 and that, therefore, Delia Robbia's fuppofed invention was in 
 reality fimply an application to fculpture of a procefs or compo- 
 fition previoufly generally known to the potters. 
 
 3. The luftre pigments. In the Morefque and later Spanifti 
 fpecimens, there are but two diftinft varieties, i. The gold 
 or yellow luftre, and the copper- coloured ; the former of thefe 
 is probably the moft ancient ; it is apparently identical with 
 the early Italian luftre of Gubbio, and the fecret of its compo- 
 fition was doubtlefs taught to the Italian artifts by the Moors, 
 probably by Morefco artizans, fettled in Italy, many adual 
 indications confirming the current traditions of the fad of fuch 
 migrations to the latter country. The copper-coloured luftre 
 is the more recent of the two, being in abundant ufe in Spain 
 during the feventeenth century, and probably known at the 
 
L— MAJOLICA WARE. 53 
 
 prefent moment; whilft, as in Italy, the fixteenth century 
 feems to have witnefTed the entire dying out of the former 
 pigment. There is no indication of the ruby luftre on any 
 Hifpano-Morefco wares, and it was, doubtlefs, a purely 
 Italian invention. 
 
 4. M. Labarte's claffification of the Hifpano-Arab wares, 
 divided into three categories, according to fuppofed priority of 
 date, was as follows : — 
 
 1. The fpecimens having rude diaper decorations in 
 copper- coloured luflre. 
 
 2. The gold or yellow-luftred pieces frequently decorated 
 with fhields of arms, generally of Spanifh princes or 
 dynafties. 
 
 3. Pieces enriched with blue and manganefe colour, as 
 well as the yellow luftre, and painted with arms, in- 
 terlaced ornaments, and fometimes with animals. 
 (The piece under defcription is of this variety.) 
 
 The author, on the contrary, is convinced that this claffi- 
 fication is erroneous in more than one refpedt."^ In the firft 
 place, the enamelled tiles of the Alhambra, affigned by M. 
 Labarte himfelf to the beginning of the fourteenth century, 
 are of the mixed variety, i.e. enriched both with blue enamel 
 and the luftre tint. This variety, then, aflumed to be the 
 latefl: in date, is in reality quite as early as the majority of the 
 pieces (fecond clafs) exhibiting the luftre tint only, and which 
 are ufually painted with arms, and generally date during the 
 fecond half of the fifteenth century, ne truth doubtlefs is 
 that theje two varieties were equally ancient^ being employed 
 ftmultaneoujly. 
 
 As to M. Labarte's firft clafs — the copper-luftred pieces 
 
 * In all probability, M. Labarte himfelf has long ere this recognized his 
 miftakes ; and, in endeavouring to reilify them, the author defires to do fo 
 without in any way refledling on M. Labarte's general acumen, for which he 
 has the higheft pofTible refpedt. 
 
54 I.— MAJOLICA WARE. 
 
 rudely decorated with fcroll diaper and birds, &c. — here the 
 moft ferious miftake has been committed. Every evidence, fo 
 far from tending to eftablifh their greater antiquity, goes on the 
 other hand to prove that they were not even of Moorifh origin, 
 but that they were in fad, with much more likeHhood, the inferior 
 produdt of the Spanifh continuation of Moorifh Ceramic tra- 
 ditions — the rude plates and vafes coarfely decorated with birds 
 and fcrollwork, which deceived M. Labarte, were, judging from 
 the mofl: conclufive poffible analogies, produds of the feven- 
 teenth century, all the more important pieces of the fame clafs 
 having on the face of them unmiftakeable evidence of their pe- 
 riod ; thus the Mufee de Cluny poflefTes feveral pieces, painted 
 with arms, coftume figures, &c., about the date of which there 
 can be no miftake, and which are truly afligned in the cata- 
 logue to the feventeenth century. The author has, moreover, 
 elfewhere obferved feveral pieces of the fame kind, amongft 
 others a "benitier," decorated with cherubs' heads and rococo" 
 fcroll-work, clearly dating towards the end of the feventeenth 
 century. On the other hand, no pieces decorated with the 
 yellow luftres, or with the blue enamel in addition, have been 
 yet noted of later date than the fixteenth century, and indeed 
 all of this clafs, that have hitherto come under the notice of 
 the author, have appeared to him to be not later than the end 
 of the fifteenth century. The truth probably is, that the ufe 
 of the yellow luftre gradually declined in , Spain, as in Italy, 
 during the fixteenth century, and that the fecret of its com- 
 pofition was finally loft with the expulfion of the Arabs in the 
 beginning of the fucceeding age. One very remarkable fa6t is, 
 that although the Hifpano-Arab luftre pieces are ftill com- 
 monly enough to be met with in Italy, Sicily, and on the Iftrian 
 and Dalmatian coaft, to all appearance they are almoft entirely 
 wnating in Spain, the land of their production . 
 
 Pafieri, the Italian laft century writer on the Majolica, 
 quoting Piccol Pafix), an earlier author, frequently alludes 
 
I.—MAJOLICA WARE. ss 
 
 to the " Majolica alia Caftellana" Modern writers have been 
 uniformly at fault refpedting this term, unable to determine 
 whether it refers to a manufadory fituated at a place called 
 Caftellana, or is to be underftood as the name of a fpecific 
 variety of the Majolica. .The author would here advance an 
 hypothecs which may be either accepted or rejeded on merits ; 
 it is that this was an ancient Italian term for the luftre wares 
 in general, but more particularly for the Hiipano-Arab pieces ; 
 that it meant in reality Caftilian Majolica, i,e, the Majolica of 
 Caftile in Spain ; the very frequent occurrence of the arms 
 of Caftile on this ware at any rate feems to point to that 
 province as a centre of the fabrication, and fo lending fome 
 countenance to this hypothefis. The word " Majolica" itfelf, 
 down to the period of Piccol PafTo (circa 1 550), was, moreover, 
 rather underftood to refer to the luftre pigments, or, at any 
 rate, to luftred pieces, than to the ware in general, /. e, it was not 
 at that time ufed in Italy to defignate every variety of ftanni- 
 ferous glazed, painted pottery. This important fad is put in 
 the cleareft poffible light in the extradls from Piccol Pafib's 
 manufcript, and from other documents given by M. Raffaelli. 
 Memorie delle Maioliche Burantine.'' FermOy 1846, 71, 
 
 No. 96. 
 
 ARGE OVIFORM VASE, with cover; entire 
 height 21 in., Urbino ware — circa 1560. The fur- 
 face of this piece is entirely covered with a hiftorical 
 fubjedl with landfcape background, in the ufual ftyle of the 
 Urbino Majoliche iftoriate." The fubjedts reprefented are 
 fomewhat obfcure ; in front, in the centre of the compofition, 
 a queen is feated in a chair, elevated on a pedeftal — on both 
 fides female figures in claffical coftume are feen advancing to- 
 wards her, bearing offerings of cups full of gold and filver 
 coin, &c. ; on the pedeftal is infcribed in confpicuous characters. 
 
56 I.— MAJOLICA WARE. 
 
 " Fatto in Urbino on the oppofite fide of the vafe is a mili- 
 tary fubjed, apparently the taking of an oath? between two 
 warriors^ in Roman coftume. This fine vafe is in excellent 
 prefervation, and has its original cover. It is one of the moft 
 important pieces of the Urbino fchool, which has come down 
 to us, and was in all probability painted in the " botega" of 
 one of the Fontana family ; and it is not unlikely that the 
 correfponding vafe to this had the name of the maker fimilarly 
 infcribed. The formula on other Fontana wares adually noted, 
 ufually running fomewhat as follows : — " Fatto in botega de 
 Orazio Fontana in Urbino ; " or, " Fatto in Urbino in botega/' 
 &c. (i. e. made in the workfhop of Orazio Fontana, in Urbino.) 
 
 No. 97. 
 
 YLINDRICAL DRUG VASE, with two handles, 
 Gubbio luftre ware, height 9^ in. — circa 1500? 
 The drum or body of the vafe is ornamented with 
 oblique gadroons grounded with ruby luftre ; the neck and 
 bafe are furrounded with two bands of circular depreffions, alfo 
 in ruby lufhre ; two large handles are affixed to the piece, the 
 lower parts of each twifted into fpirals ; the luftre decoration 
 lined and fhaded with blue on white ground. The ruby luftre 
 fo profufely applied in this fpecimen is of unufual intenfity ; 
 the local tint, if it may be fo called, independent of the " re- 
 flet," being of a deep blood crimfon. 
 
 No. 98. 
 
 ASE, Gubbio? embofTed luftre ware, height 10 in., 
 diam. 9I- in. — circa 1500-20. This piece, approach- 
 ing to a globular ftiape, is decorated with raifed cir- 
 cular gadroons in the under part and foot ; the centre is encircled 
 by a band, the margins of which are formed by projedling 
 mouldings painted with leaf enrichment ; the band is filled in 
 with large femi-circular bofTes ; the neck or upper part is de-: 
 
L— MAJOLICA WARE. 57 
 
 corated with concave oval flutings. The piece has two fcroU 
 handles, alfo enriched with oval fcroll flutings — the enrichment 
 is in gold or orange ruby luftre outlined and fhaded with blue 
 on white ground, and with lines or filets of ruby. 
 
 No. 99. 
 
 ASE, with cover and fcroll handles — embofled Gub- 
 bio ? luftre ware, height io|- in., width S^in. — circa 
 1 500-20. Similar in form to preceding piece. De- 
 coration of large femi-circular bofles in relief, and oblique 
 raifed gadroons — the cover ornamented with fcalework pattern. 
 The decoration is entirely executed in ruby, or rather bright 
 copper-coloured luftre on white ground, lined with blue. The 
 luftre in this remarkable piece is of fomewhat unufual tint, 
 approximating rather to the Hifpano-Arab copper luftre than 
 to the genuine ruby of the Gubbio fchool. 
 
 No. 100. 
 
 ARGE BOWL, or tazza, on elevated ftem, height 
 6 in., diam. 10 in., Gubbio luftre ware. Maeftro 
 Giorgio — circa 1510-20. The bottom of the bowl 
 forms a large circular medallion, painted with Cupid ftanding, 
 holding in one hand a ball and in the other a cornucopia; 
 painted in blue in the ufual early manner of the mafter ; the 
 reft of the body of the piece, both infide and out, covered with 
 geometrical foliated decoration and pointed rays, in luftre 
 colours, outlined and fliaded with blue on white ground. The 
 yellow and ruby luftres are in great quantity. 
 
 No. loi. 
 
 OWL TAZZA, on elevated ftem, height 4^ in., 
 diam. 8f in., Gubbio luftre ware — circa 1520-30. 
 The bottom of the bowl painted with trophies, en- 
 tirely grounded in luftre tints on dark blue ground ; the reft 
 
58 L— MAJOLICA WARE. 
 
 of the furface, both infide and out, covered with geometrical 
 foliated decoration, gadroon ornaments and fcale-work patterns 
 in luftre on white ground, lined and fhaded with blue — under- 
 neath the foot is the fignature N. The luftre tints in the 
 piece are of great power and brilliancy, the gold tint being of 
 a deep orange ruby hue, and the ruby having an intenfe 
 crimfon reflet." 
 
 No. I02, 
 
 ARGE BOWL TAZZA, on raifed ftem, with two 
 twifted handles, height 7 in.,diam. 14 in. — manufac- 
 ture uncertain. This tazza is the fineft fpecimen 
 which has yet appeared of a variety of Majolica ware of great 
 rarity, and of the origin of which little is known with certainty. 
 It is grounded with a deep blue tranflucent enamel, and covered, 
 both infide and out, with a minute fcroU diaper pattern in 
 copper-coloured luftre arranged in zones. From the fadl of 
 this, and all the other fpecimens of the fame ware hitherto 
 obferved, having been brought from Italy, and from the unmif- 
 takable evidence of the fhapes of the pieces, which are decid- 
 edly in the ftyle of that country, and apparently of the firft 
 half of the fixteenth century, the Italian origin of this ware 
 may be held to be eftablifhed. The blue enamel ground and 
 the luftre, however, differ entirely from all the ufual Majolica 
 pigments ; whilfl, on the other hand, they are identical with 
 thofe of a rare variety of oriental pottery, apparently of the 
 fixteenth century, of which fome few fpecimens have been 
 preferved. The ware thus alluded to is either of Perfian or 
 Turkifh origin, and is a fpecies of imperfedt porcelain or 
 ► fritted filiceous body, differing entirely from the common 
 earthenware of the Majolica ; the covering is a thick, tranflu- 
 cent, vitreous glaze applied immediately on the ware, and the 
 decoration, which confifls of foliated arabefque or diaper 
 patterns, is executed in a copper-coloured luflre, identical with 
 
I.-~-MAJOLICA WARE. 59 
 
 that of the present fpecimen, and apparently the fame pigment 
 employed in the late feventeenth and eighteenth century 
 Spanifh luftre wares. 
 
 With refpedt to the tazza in queftion, then, it is evident 
 that it muft be an Italian imitation of this peculiar ancient 
 Perfian ? ware, and from indications in the general fly le of 
 the pieces — judging efpecially from the fhapes — executed fome- 
 time during the firft half of the fixteenth century.* It may 
 here be obferved that this view is borne out by the fadt, that, 
 at a later date, imitations of the well-known Perfian pottery 
 (the variety decorated with fcroll foliage in brilliant colours on 
 a white ground,) were executed to a confiderable extent in 
 Italy, apparently at or near Venice,')' one piece having been 
 obferved figned " Candiana," (the name of the fabrique,) and 
 dated 1637. decoration, markedly oriental in 
 
 charadter, has fome analogy with that of the Venetian ? enamels 
 on copper, grounded in blue with minute diaper decoration in 
 gold.J The fabrication of thefe latter evidently commenced 
 before the year 1 500, and continued with but little variation 
 'in ftyle down to apparently, at any rate, 1540. It is moft 
 likely that both thefe charadleriftic fpecimens of manufadure 
 were confined to fingle individuals or " boteghe," or, at any 
 rate, that they were not manufadured by "the trade"at large. 
 
 * It is worthy of remark, in a technical point of view, that the tranfparent 
 blue glaze of the fpecimen now illuftrated, is applied over an *' engobe" or 
 coating of thin white clay, which conceals the dark colour of the clay body. 
 In the original oriental fpecimens, on the contrary, it is applied at once to the 
 ware, which is of a greyifh-white colour, and is femi-tranfparent like porcelain. 
 
 f A fpecimen. No. 2598, is preferved in the Marlborough Houfe Colledlion. 
 
 X See tazza. No. 542, Marlborough Houfe Colledlion. 
 
6o L- MAJOLICA WARE. 
 
 Nos. 103 and 104. 
 
 'AIR OF SMALL OVIFORM VASES, with handles 
 and fpouts (cruets for oil and vinegar), height 6f in., 
 Urbino ware — circa 1 570. Painted with " Urbino " 
 grotefques on white enamel ground ; in the front of each piece 
 a device of a flame of fire, with the motto " ardet asternum" 
 on a fcroll. 
 
 No. 105. 
 
 ROTESQUE VASE OR SAUCE BOAT, Urbino 
 ware — circa 1560, length 8i in., height 6f in. Dol- 
 phin with recurved tail, terminating in a " mafcherone," 
 painted in brilHant enamel colours. Engraved in Du Som- 
 merard, Les Arts au Moyen Age." Album, 7"^ ferie, pi. 36. 
 
 No. 106. 
 
 UOWL TAZZA, on elevated ftem, Gubbio luftre ware, 
 b height 6| in., diam. 9I in. — circa 15 10. By fame hand 
 as Nos. 41 and 42. In centre of bowl a female profile portrait 
 with two lilies, border of pointed rays, &c. Exterior, deco- 
 rated with fcalework pattern and gadroons, yellow iridefcent 
 luftre outlined with blue on white ground. 
 
 No. 107. 
 
 j ARGER BOWL TAZZA, on elevated ftem, Gubbio 
 luftre ware — circa 15 10, height 8 in., diam. io| in. 
 By fame hand as previous piece, and fimilarly decorated ; in 
 centre a cartouche infcribed " Diamte. B." 
 
 Nos. 108 and 109. 
 
 ;AIR of SALT CELLARS, Urbino ware -circa 
 1 5 Bo- 1 600, height 9 in., length 8| in. The body of 
 the fait cellar forms an oval vafe, decorated with raifed ftrap- 
 work ornamentation, fhields, &"c., and with two ftatuettes of 
 
I.— MAJOLICA WARE. 6i 
 
 amorini in full relief holding fhells, arranged as handles ; the 
 vafe part is fupported on fcroll feet, and is elevated on a pe- 
 deftal painted in imitation of green marble ; on a fhield, repeated 
 on each fide of the pieces, the following is written : " Excubia 
 agimus * ftrepitus * repellimus * hoftem." 
 
 No. no. 
 
 I^OAT-SHAPED SALT CELLAR. Urbino ware— 
 fi^^ circa 1560, length 8} in., height 6| in. Enriched 
 with raifed ft rap work fcrolls, malks, &c., and with a ftatuette 
 of an amorino holding a fhell at each extremity, the bowl, 
 and underfide of the piece painted with amorini ; the colours 
 and enamel glaze of this piece are very brilliant. 
 
 No. III. 
 
 ^LOBULAR VASE, with three handles, Gubbio luftre 
 ware, height 10 in., diam. 8§ in. — circa 1500-10. 
 Enriched with a leaf diaper, and with three large fcrolls, on 
 which are refpedively infcribed " ifpera dio.," " memento" and 
 " Pafa tepo." The under part of the vafe and the foot deco- 
 rated with pointed rays ; yellow iridefcent luftre outlined with 
 blue on white ground. This piece is apparently by the early 
 mafter known as the painter of the Gubbio luftred bacili. 
 See Nos. 7, yb, and 7 c. 
 
 Nos. 112 and 113. 
 
 ,AIR OF TWO-HANDLED VASES, Gubbio or 
 Deruta ? luftre ware, height of each piece in. — circa 
 1500-10. Decoration of fcalework patterns, fcroll foliage, 
 gadroons, &c., in yellow luftre, outlined and ftiaded in blue 
 on white ground. 
 
 ' No. 114. 
 
 WO-HANDLED VASE of fimilar ftiape to the 
 preceding. Gubbio ? luftre ware — circa 1 5 1 3 - 2 1 , 
 
62 I.— MAJOLICA WARE. 
 
 height II in., width 8 in. On each fide of the upper part of 
 the vafe is a large fhield of the Medici arms, furmounted by 
 the papal tiara and crofs keys, (arms of Pope Leo X.) ; the reft 
 of the ground filled with acanthus fcroll foliage, gadroon orna- 
 mentation, &c., yellow iridefcent luftre with blue outline and 
 fhading on white ground. (The Marlborough Houfe Mufeum 
 poflefi^es a bacile plateau, (No. 3033,) of the fame defign, with 
 the fame arms, and, in all probability, the piece manufadlured 
 to go with this identical vafe.) Leo X. attained to the papal 
 chair in 15 13, and died in 1521 ; this piece muft, therefore, 
 have been executed between thofe two dates. 
 
 No. 115. 
 
 AZZA on raifed foot, diam. 8| in., height 4 in., 
 manufacture uncertain. — Faenza ? or Deruta — circa 
 ' 1510-20. In the centre of the bowl a lion with 
 
 a branch of foliage, — border in rayed compartments, filled in 
 with fcalework and foliated fcrolls, the defign executed almoft 
 entirely in blue and bright orange. Reverfe of the piece, blue 
 concentric lines, the foot decorated with leaf ornament in blue 
 outHne. M. Soulages terms this piece a " coupe de Mercatello.'' 
 It is not known on what authority the piece is attributed to 
 that locality. Numerous works by the fame mafter have been 
 obferved, notably large bacili, painted with bufts of warriors in 
 fantaftic armour, or with equeftrian figures. In the Marl- 
 borough Houfe Colledlion are feveral fpecimens by the fame 
 hand, one of which is figned with a large A on the reverfe of 
 the piece. The motives of the ornamentation are almoft 
 identical with thofe of the well-known early Gubbio luftred 
 bacili, whilft the abundant ufe of the fine orange pigment 
 is rather more charaderiftic of Faenza, the predominance 
 of blue, the hard precife ftyle of outline on the other hand, 
 feeming to point to Deruta. Should M. Soulages be in 
 
I.__MAJOLICA WARE. 63 
 
 pofleflion of any evidence connedling thefe wares with Mer- 
 catello, this ambiguity will be of courfe fatisfadtorily refolved. 
 
 No. 116. 
 
 LASK with cover, " pilgrims' bottle/' Urbino ware — 
 circa 1550, height 14 in., width SJ in. The fldes are 
 flanked by raifed malks, with horns forming handles. The 
 painting, continued entirely round the piece, apparently repre- 
 fents the Rape of the Sabines ; brilliant ^colour and enamel 
 glaze. 
 
 No. 117. 
 
 ASE in the fliape of a pine cone, wanting cover, Gub- 
 bio ? lufl:re ware — circa 1510-20, height 8^ in., 
 grounded with gold luflire, the foot ornamented with fpiral 
 gadroons in ruby — underneath the foot is the No. 4 in Roman 
 numerals. 
 
 No. 118. 
 
 IMILAR VASE with cover, Gubbio ? luftre ware— 
 circa 1510-20, height lof in., underneath the foot the 
 figure 4 (in Arabic numerals), white ground touched with 
 green, orange and gold luftre, foot enriched with leaf orna- 
 mentation in luftre on blue ground. 
 
 No. 119. 
 
 [LA QUE, height 6f in., width 5 in., Urbino? or 
 Gubbio? — circa 1530-40* St. Jerome feated in a 
 rocky landfcape. This exquiflte little fpecimen, apart from 
 the fine execution of the defign, and the brilliant enamel 
 glaze and colours, has a particular intereft from the fignature 
 at the back, which, although hitherto unknown, is believed to 
 be that of Maeftro Gi'orgio. It confifts of a large interlaced 
 monogram of a G and an A (Giorgio Andreoli), in gold luftre 
 
 * See fac-fimile in Appendix A. 
 
64 I.-MAJOLICA WARE. 
 
 the defign is flightly touched with luftre in the ufual manner 
 of Giorgio's wares, and was in all probability fo enriched in 
 his " botega but the painting itfelf was certainly not executed 
 by him. It is far more mafterly than any of his produ6tions ; 
 and the writer has no hefitation in expreffing his belief, that it 
 is the work of Orazio Fontana — a comparifon with the 
 initialed pieces, really from the hand of Orazio (in the Louvre, 
 Briti/h Mufeum, and Mr. Fountaine's colle6tion), he thinks 
 will bear him out in this opinion.^ The fa6t of Giorgio having 
 figned works executed by other maeftri is notorious ; but it is 
 certainly fomewhat fingular, that he fhould have fo oftenta- 
 tioufly taken the credit of this fine work, as, fuppofing the 
 monogram on the back really to be his, would feem to be the cafe. 
 
 The monogram, however, is fo much more carefully exe- 
 cuted and altogether fo different from the ufual hafty curfive 
 chara6ter of the Giorgio fignature, that the author can fcarcely 
 bring himfelf to believe that it was really traced by his 
 hand, and would fuggeft that it was, in fa6t, affixed to 
 the piece by Orazio himfelf, out of compliment to the well- 
 known Gubbio Maeftro, and that the piece was both painted 
 and luftred by Orazio in the " botega" of Giorgio. In fupport 
 of this theory, he would remark, that the colouring of the piece, 
 though extremely harmonious and powerful, is fomewhat colder 
 and blacker than in Orazio's ufual performances, approxi- 
 mating in this refpedl, indeed, to the prevalent greenifh-grey 
 tones of Maeftro Giorgio. To all appearance, it was executed 
 at an earlier period than the beautiful fmall plate (No. 57 
 in this colle(5lion), alfo attributed to O. Fontana (dated 1549), 
 and it is prefumable that the plaque was painted before he 
 (Orazio) had eftablifhed a " botega " on his own account. 
 
 An examination of the plate. No. 17, is calculated to throw 
 fome light on the prefent piece. It (the plate) was beyond all 
 
 * For a notice of thefe, fee Appendix B. 
 
I.— MAJOLICA WARE. 65 
 
 queftion luftred in the fabrique of Giorgio, and if the ftyle of 
 application of the luftre decoration to the painted fubjedt, as 
 compared with that of the plaque, be particularly noticed, a 
 marked difference between the two will be immediately perceived 
 tending to fupport the hypothefis that the luftring of the plaque 
 was by the painter (Orazio) himfelf.* On the plate the luftre 
 is applied without feeling or intelligence, in the ufual coarfe 
 mechanical ftyle of the Giorgio fabrique, whilft in the plaque on 
 the contrary, its ufe is fparing in the extreme, being applied only 
 where it is really calculated to aid the artiftic effed of the piece, 
 indicating thereby the fober judgment of an artift as oppofed 
 to the "clinquant" of the mere manufadlurer. 
 
 No. I20, 
 
 IRCULAR PLAQUE, diam. lof in., Faenza ware ? 
 — dated 1491. This plaque is grounded in deep 
 blue, and the painting is in white enamel and orange, 
 precifely in the ftyle of the well-known " fopra azurro," Faenza 
 ware ? pieces (generally dating about 1520). In the centre is 
 a medallion, with the facred monogram J • H • S, with border 
 of rays, alternately in white enamel and orange ; on the border 
 is the date 1491, and likewife two interlaced monograms, an 
 M • I and apparently C • A in white enamel. This interefting 
 plaque was probably an incruftation into an altar front, the 
 centre of a pilafter, or fome other architedlural member. The 
 occurrence of this peculiar ftyle ('^ fopra azurro") at this early 
 period is fomewhat remarkable, as hitherto it has not been 
 obferved till at leaft twenty years later than this date. 
 
 * Although it is afTumed, that Orazio aftually applied the luftre pigment to 
 this fpecimen, it is not necelTarily to be inferred that he was acquainted with 
 the lecret of its compoiition ; the great probability is, that he was not : docu- 
 mentary evidence, indeed, exifts, which is almoft conclufive on this point. 
 
 F 
 
66 I.— MAJOLICA WARE. 
 
 No. 121. 
 
 EXAGONAL PEDESTAL SALT CELLAR, 
 Gubbio ? luftre ware — circa 1520-30, diam. 6 in. 
 The upper and under furfaces of this piece are alike ; 
 the drum or body of the pedeftal is ornamented at the angles 
 with balufters, and in each fquare compartment of the fides is 
 a rofe in relief grounded with luftre tint. Scroll foliage deco- 
 ration, in luftres on white ground, outlined and fhadedwith blue. 
 In all probability by the painter figning his works with an N. 
 
 No. 122. , 
 
 VIFORM DRUG VASE, Faenza ware? height 
 12I in., diam. 9 in. — circa 1490. A large wreath 
 of fruit, forming a medallion, occupies the centre 
 part of this vafe, this is filled in with cherubs' heads and 
 firings of golden beads on dark blue ground, on two fcrolls 
 are written " chonferve dachori." 
 
 No. 123. 
 
 MALL TWO-HANDLED VASE, Gubbio luflre 
 ware, height 6f in., Maeflro Giorgio ? — circa 1520- 
 30. Foliated ornamentation and gadroons in ruby 
 and yellow luflre on white, outlined and fhaded in blue. 
 
 No. 124. 
 
 ASE OR CHALICE on tall flem with dragon 
 handles, ancient Faenza ware.^ — circa 1470-80, 
 height 9^ in. This is a gift or amatoria" piece, 
 by one of the earliefl maflers yet obferved. On each fide 
 of the body of the piece are large medallions, formed by 
 mafTive wreaths of leaves, both painted with a Cupid bear- 
 ing a chalice in which is a heart transfixed with a dart, and 
 two fcrolls with the following infcriptions in very ancient 
 
L— MAJOLICA WARE. 67 
 
 charatfirers, *^per amore te porto in qviflta copa bella" ("for love 
 I carry thee in this fine cup"), and " quifta te dono pr amore 
 bella " (" this I give you for dear love"). The reft of the furface 
 of the piece is covered with a fcroll diaper pattern. The vafe 
 is flanked by two large handles, in the form of a dragon with 
 fhield-fhaped wings, painted with a peacock's feather pattern. 
 The piece is grounded white, and the painting is in deep blue 
 outline, the only other colours employed being a tranfparent 
 tan-coloured orange and cupreous green. The Marlborough 
 Houfe Colledion contains feveral pieces by this interefting 
 early mafter, one of which (No. 2559), a bacile, is initialed 
 with the monogram E • B, linked together by a fcroll or 
 ^^paraphe." 
 
 No. 1 24 (a). 
 
 MALL GLOBULAR VASE, much mutilated, 
 diam. 6| in., Gubbio luftre ware ? — circa 1520-30. 
 Painted with foliated fcrolls and gadroon ornament- 
 ation in ruby and yellow luftre, on white, lined and fhaded 
 with blue. By M. Giorgio ? or the artift of the monogram N. 
 
 No. 125. 
 
 UG OR CRUCHE, with trefoil lip and fcroll 
 handle, Gubbio luftre ware, height 10 in., M. Gior- 
 gio ? or the mafter of the monogram, N. Painted 
 with zones of fcroll foliage in ruby and gold luftres, on white 
 ground, lined and fhaded with blue. The luftres are in fuch 
 quantity as nearly to conceal the ground. 
 
 No. 126. 
 
 UP OR TAZZA on raifed ftem, Gubbio ? luftre 
 ware, height 3I in., diam. 81 in. — circa 1510. In 
 centre of the bowl is a medallion with buft portrait 
 of a woman holding a flower in her hand — border of oblique 
 
68 1. -MAJOLICA WARE. 
 
 gadroons and concentric lines. The outfide of the piece is de^ 
 corated with geometrical ornaments and concentric lines, ruby 
 and yellow luftre on white ground, lined and fhaded with blue. 
 By one of the early Gubbio bacile" painters. It fhould be 
 obferved, that the ruby tint feldom occurs in connexion with 
 the variety of yellow iridefcent luftre feen in this piece. 
 
 No. 127. 
 
 AUDLE CUP without cover, coppa puerpera," 
 Gubbio luftre ware, Maeftro Giorgio ? — circa 1 520-30, 
 height 3 in., diam. 6i in. In a medallion at the 
 bottom of the cup is an amorino ftanding near a large vafe, on 
 blue background, the reft of the interior of the piece grounded 
 in gold luftre ; exterior painted in rayed compartments, with 
 fcalework and foliated ornaments ; the circular fpace under the 
 feet alfo, painted/with the letter A, furrounded by fcroll work. 
 Ruby and yellow luftres on white, outlined and ftiaded with 
 blue. This is an ifolated piece of a fet or fervice, of which 
 each part was made to fit together with the others fo as to form 
 one veflel. It was cuftomary to prefent thefe pieces to ladies 
 on their accouchement. 
 
 No. 128. 
 
 MALL BOTTLE-SHAPED EWER, Gubbio? 
 luftre ware, height 7§ in. — circa 15 10. Painted 
 with the raifed monogram J * H * S, and vertical 
 rayed compartments with foliated ornaments, &c., yellow 
 luftre, outlined and fhaded with blue on white ground. 
 
 No. 128 (ff). 
 
 MALLER EWER, fame ftiape as preceding piece, 
 Gubbio luftre ware, height 5I in. — circa 15 10. 
 Painted with vertical rays or columns forming com- 
 partments, filled in with fcalework patterns; the under part 
 decorated with oblique radiating gadroons. Ruby and gold 
 luftres on white. 
 
L— MAJOLICA WARE. 69 
 
 No. 129. 
 
 ^^MALL TWO-HANDLED OVIFORM VASE, 
 height 4^ in., Urbino ware — circa 1 580-1600. Painted 
 with amorini. A diminutive copy of a larger model of vafe, 
 probably intended as a toy. 
 
 No. 130. 
 
 ARGE OVAL CISTERN, length 21 in., width 17 
 in., depth io| in., Urbino? ware — circa 1540-50. 
 The margin and foot of the piece are moulded, and enriched 
 with funk flutings, &c. The interior is painted with a fubjed 
 of many figures, covering the entire furface : — Diana and her 
 nymphs bathing, with the difcovery of the incontinence of 
 Califto. The exterior is fimilarly painted, with a continuous 
 landfcape, with Diana and nymphs. The defign and execu- 
 tion of the paintings in this important fpecimen difplay the 
 hand of a pradifed and dexterous maeftro. Several of the 
 pieces by the fame artifl: have been elfewhere obferved, but 
 as yet no clue has been obtained to his name, or the place of 
 his labours. 
 
 No. 131. 
 
 I^^ANDLESTICK, Gubbio luftre ware, by Maeftro 
 Giorgio. Diam. of ftand 8 in., height 4.^ in. — circa 
 1520-30. The defign of this rare and beautiful piece is 
 adapted from the bronze damafcened candlefi:icks of oriental 
 workmanfhip, which were fo much in ufe in Italy in the 
 fifteenth and fixteenth centuries. The band of beautiful 
 interlaced decoration in ruby lufi:re on blue ground, which 
 furrounds the pedeftal, is quite in the ftyle of the damafcened 
 arabefque patterns. 
 
7Q I.— MAJOLICA WARE. 
 
 No. 132. 
 
 LAT GADROONED VASE, OR CUP, Gubbio 
 luftre ware, diam. 7 in., height in. Maeftro Gior- 
 gio. In the centre of the bowl is a large medallion 
 painted with an amorino, in an archite61:ural landfcape, in gri- 
 faille, (yellowifh brown tint) ; exterior enriched with guilloche 
 ornaments in yellow luftre. The painting of this piece, which, 
 like the preceding, is a rare, if not unique model, moft grace- 
 ful in form, is from the hand of Maeftro Cencio ? 
 
 No. 133. • 
 
 WER WITH TREFOIL LIP AND SCROLL 
 HANDLE, Caftel Durante ? or Faenza? ware^ 
 height 8 1 in.- — circa 1530-40. Painted in com- 
 partments of various geometrical forms, grounded alternately 
 in blue, orange, and green ; thefe compartments are filled m 
 with foliated fcrolls in yellow^ white^ &c. 
 
II,— PALISSY WARE, AND ANCIENT FAIENCE 
 OF THE SOUTH OF FRANCE. 
 
 PART from its intrinfic merit in the point 
 of view of Art, our eftimation of the pot- 
 tery of Bernard PalifTy is unqueftionably 
 enhanced by the romantic circumftances 
 attending its produdion : the fpecimens 
 have indeed fomewhat of the intereft of 
 rehcs. Pahfly's hiftory is now very generally known ; but it 
 is unfortunate that hitherto he has been prefented to us rather 
 in the charader of a romance hero, than in his true quality as 
 a great mafter in induftrial art. 
 
 An adequate monograph of PalifTy's pottery has yet to be 
 written, and it is Angular that the archasologifts and connoifTeurs 
 of his native country fhould have left this undertaking fo long 
 unattempted. 
 
 PalifTy was originally a glafs painter, located in an obfcure 
 diftridl of the fouth-eaft of France, and his earlieft productions 
 in pottery appear to have been given to the world, after many 
 weary years of incefTant experimenting in his native city of 
 Saintes, fomewhere about 1550. Soon after fuccefs crowned 
 his efforts he removed to Paris, where, down to the period 
 of his death in 1589, he laboured inceffantly in his vocation as 
 a Ceramic artift. After his death the "fabrique" which he 
 founded was carried on by his defcendants, who feem to have 
 
72 II.— PALISSY WARE, &c. 
 
 fpeedily degenerated into mere manufaduring potters, content 
 to reproduce, with gradual deterioration, the well-known pieces 
 of the mafter ; the manufadure finally coming to an end 
 fometime in the early part of the feventeenth century. 
 
 The fpecimens met with are therefore of two categories, 
 viz., thofe adlually from the hand, or, at any rate, the " fa- 
 brique" of the mafter, and thofe produced by his fucceflbrs. 
 The care difplayed in the manufadure of the pieces generally, 
 the fharpnefs of the relievo decorations, purity of tint, and 
 brilliancy of the enamel colours, being the only tefts by which 
 fpecimens can be diftinguifhed as belonging to one or other of 
 thefe clafTes. 
 
 PalifTy's wares may be arranged in three generic diviiions. 
 
 1. His fo- called, " ruftic pieces" (the fpecimens deco- 
 rated with reptiles, fhells, plants, &c.) 
 
 2. Thofe with relievi of figure fubjeds. 
 
 3. Pieces decorated with purely ornamental motives. 
 
 The firft is in all probability the primitive variety, and from 
 its quaintnefs and originality will always, probably, attract the 
 greateft fhare of attention. The conventionally decorated 
 pieces, however, are thofe on which his claims as an artift muft 
 mainly reft. 
 
 To the objedlion made by many perfons of tafte, that 
 PalifTy's wares are merely curious, and not beautiful, may, for 
 inftance, be oppofed fuch pieces as the "Exquifite Ewer" in 
 this Colledion, and the fine works of fimilar ftyle in the collec- 
 tions of Andrew Fountaine, Efq. and M. Sauvageot, of Paris. 
 
 The genuine pieces of the mafter, efpecially of the purely 
 ornamental clafs, have become exceedingly rare ; and the 
 adverfe opinions alluded to have been, generally fpeaking, 
 bafed on fpecimens which were in reality his common trade 
 produdtions ; and it fhould not be forgotten that then, as now, 
 the merely quaint , or fantaftic had a better chance of fale than 
 more truly beautiful productions. 
 
IL— PALISSY WARE, &c. 73 
 
 The clafs of ware varioufly termed " Faience of the South 
 of France," " Faience of Dauphine/' " Valence," or " Avig- 
 non ware," has hitherto been very imperfec5lly illuftrated. 
 A few notes are offered after the defcription of the pieces in 
 this catalogue. 
 
 No. 134. 
 
 ARGE OVAL DISH, PalifTy ware, ornamented 
 in relief with reptiles, fifh, fhells, plants, &c., length 
 21 in., width 16 in. A river or brook flows round 
 the bottom of the difh, leaving, as it were, an ifland in the 
 centre; on this is a large fnake, in the river are fifh, pebbles, 
 crayfifh, &c. The broad margin of the difh reprefents a 
 floping bank, on which, in various life-like attitudes, are 
 arranged one large and two fmaller lizards, a fnake coiled 
 up, a frog, and numerous fhells. The plants reprefented are 
 ferns, ivy, oak leaves, and acorns, &c. The ground of the 
 piece is deep blue, and the animals, &c. are enamelled in their 
 proper colours. Reverfe, enamelled with mottled or variegated 
 colours, in which a rich chocolate brown predominates. The 
 brilliancy of the glaze and purity of the enamel tints, as well 
 as the fharpnefs of the relievo work, leaves no doubt but 
 that this piece is adlually from the hand of PalifTy himfelf. 
 It is a fair type of PalifTy's fo-called " ruflic figulines." 
 
 No. 135. 
 
 VAL DISH, PalifTy ware, length 20 in., width 15 
 in. ; decorated with reptiles, fifh, &c., in the flyle of 
 the preceding piece. The centre has a raifed ifland 
 furrounded by a rivulet, the middle of the ifland has three 
 cockle fhells furrounded by a circle of fmall univalve fhells, 
 and at each extremity is a large frog ; in the rivulet is a pike, 
 two carp, and a miller's thumb ; on the raifed border or band 
 
74 II.— PALISSY WARE, &c. 
 
 are two large lizards, two cray-fifli, a frog, and a death's-head 
 moth ; the leaves of various plants, fhells, &c., are fcattered 
 over the reft of the furface. This piece, although more formal 
 in compofition and lefs perfed in glaze and colouring, isnever- 
 thelefs an original work of the mafter. Reverfe, variegated 
 enamel. 
 
 No. 136. 
 
 VAL PLATEAU, PalifTy ware ; piece known as " La 
 belle Jardiniere," length 13} in., width 10^ in. This 
 fpecimen may be taken as a reprefentative of the fe- 
 cond clafs of Palifly's produdion — ^the " fubjecft" pieces. It is a 
 well-known and favourite defign, and which,from the number that 
 have come down to the prefent day, muft have been in extenfive 
 demand. In the centre a female figure (Flora) in claftical 
 coftume, her head crowned with flowers, and holding in each 
 hand large bouquets, is feated in a garden ; near her is a vafe 
 in Palifly's ftyle of deflgn, holding flowers, and at her feet are 
 various gardening implements ; in the background a chateau 
 with parterre and fountain in the centre ; a gardener is feen at 
 work, and two female figures, (probably allegorical of Sum- 
 mer and Autumn,) are advancing ; the border is decorated 
 with an embofled arabefque defign, evidently executed with a 
 metal die or ftamp, and enamelled pale green. Reverfe of the 
 piece variegated enamels, — by Palifly himfelf. This piece, 
 and, in fad, Palifly's wares in general, difl'er confiderably in the 
 arrangement of the enamel tints, fcarcely any two being alike 
 in this refpedb. 
 
 No. 137. 
 
 VAL TAZZA, "faladier," St. John baptizing 
 Chrift, length 11^ in., width io| in. Reverfe 
 grounded in variegated enamels. Judging from the 
 purity of the enamel tints and fliarpnefs of the work, this 
 fpecimen is believed to be from the hand of the mafter. This 
 
IL— PALISSY WARE, &c. 75 
 
 model, however, was manufadured long after Palifly's time, 
 and is frequently met with in a very worn coarfe ftate as to 
 relief, and heavy dull colouring ; it is in the fame category of 
 Palifly's ware as the preceding fpecimen. 
 
 No. 138- 
 
 IRCULAR BOWL TAZZA, " faladier," Palifly 
 ware, diam . 1 1 1: in. This piece belongs to the third va- 
 riety of Palifly's works, as the piece is decorated in relief 
 with purely conventional ornamentation. In the centre of the 
 bowl is a raifed rofette, from which flutings or gadroons detached 
 on leaves radiate towards the margin ; the edge of the piece is 
 cut or vandyked, the forms being determined by the foliation 
 of the leaves, richly decorated with blue, green, yellow, and 
 variegated enamels. Reverfe, fplafhed or variegated enamel. 
 An original piece of the mafter, in perfed: confervation. 
 
 No. 139. 
 
 HALLOW TAZZA PLATE, Palifly ware, diam. 
 9i in. Second variety; fubjedt, Perfeus and An- 
 dromeda ; in the foreground numerous figures wit- 
 neffmg the deftrudion of the monfter. This piece is of very 
 frequent occurrence. 
 
 Nos. 140 and 141. 
 
 AIR OF OVAL PERFORATED DISHES, 
 compotieres," PalifTy ware, length 12 in., width 
 9 in. Third variety. Thefe fpecimens are charac- 
 teriftic types of Palifly's conventionally decorated pottery, in 
 which, in fad, his higheft merit as a defigner is difplayed. In 
 the centre is an oval concave pool or depreffion, the margin 
 furrounded by a narrow band of raifed ftrapwork, which, by 
 an interlaced pattern, ferves to conned with it four other 
 
76 II.— PALISSY WARE, &c. 
 
 circular pools ; the ftrapwork band forms the margin of the 
 piece, and the intervals of the border between the four circular 
 depreflions are filled in with foliated fcrolls and ftrapwork orna- 
 ments in relief, and pierced in open work ; the diftribution of 
 the enamels on thefe two pieces is different one from the 
 other. 
 
 No. 142. 
 
 VAL PERFORATED COMPOTIERE with five 
 hollow pools, Palifiy ware, length lof in., width 
 8 J in. The defign of this piece is nearly the fame 
 as the two previous ones ; the relievo ornaments are, however, 
 fharper, and the enamel glazes much more vivid and brilliant. 
 Of the beft period of Palifiy's works. 
 
 No. 143. 
 
 IRCULAR BOWL, TAZZA, "faladier," Paliffy 
 ware, diam. io|-in. Ornamentation of raifed con- 
 ventionalized leaves and mafks, the margin ftudded 
 with fmall circular flowers or rofettes, and cut or fcolloped to 
 the pattern. 
 
 No. 144. 
 
 |VAL EWER, or " Aiguiere," Palifly ware, length 
 8 1 in., extreme height 11 in. This truly beau- 
 tiful vafe is one of the moft exquifite fpecimens 
 of decorative art, that the great period of the French Renaif- 
 fance has bequeathed to us. If from the defign of Palifly 
 himfelf, it would alone fuffice to place him on a level with 
 the mofl: celebrated artifts of the epoch. It is more likely, 
 however, to have been modelled for the potter by fome one of 
 his contemporaries (not improbably Jean Goujon). The draw- 
 ing of the nude figure, maflcs, &c., fl:rongly refembles the fl:yle 
 of that great artifl;, although, from the fmallnefs of the fcale. 
 
II.— PALISSY WARE, &c. 77 
 
 and the alteration they have fuffered in the procefs of the 
 manufadure of the piece, it is not poffible to exprefs a de- 
 cided opinion on this point. The defign, however, in every 
 part difplays the influence of the Fontainebleau mafters, and 
 is clearly the work of a French artift trained in that fchool. 
 The body or drum of the vafe is decorated on each fide with 
 a cartouche, on which are recumbent nude female figures, one 
 reprefenting the goddefs Flora, the other a river nymph. Mafks 
 of a fatyr and nymph refpedlively occupy the fpaces underneath 
 the fpout and handle, and the intervening fpaces are filled in 
 with fcroll foliage ; the handle, forming an elegant fcroll, is 
 decorated with a nude female figure, in alto relievo, holding a 
 cornucopia, and recurved to the form of the fcroll. The under- 
 fide of the fpout is decorated with a large grotefque maik of 
 fpirited defign, and the under fide of the vafe, near its junction 
 with the foot, is enriched with raifed gadroons. The piece is 
 grounded in dark blue tranfparent enamel, and the various orna- 
 ments difplay every tint in Palifiy's repertory. This model 
 is of the greateft rarity, only three other fpecimens being 
 known to the writer, viz., a pair in the celebrated colledlion 
 of Andrew Fountaine, Efq., and one in that of M. Sauvageot, 
 of Paris. The prefent fpecimen is quite intad. 
 
 No. 145. 
 
 OUNTAIN, Palifly ware, height in. Repre- 
 fenting a conical rock, ornamented with fiiells, 
 ferpents, lizards, frogs, crayfifh, &c., in natural 
 attitudes, difpofed around the vafe. This piece is probably 
 a portion from the decoration of a grotto or garden foun- 
 tain, in the category of the " ruftic figulines/' defcribed and 
 fo denominated by Palifiy. 
 
78 
 
 II.— PALISSY WARE, &c. 
 
 Nos. 146 to 151. 
 
 IX OVAL DISHES, with raifed ornaments, ena- 
 melled faience of Dauphine — i6th century, average 
 fize of the pieces, 14 in. long, 11 in. wide. Relief 
 decoration of mafks, cherubs' heads, rude foliated ornaments 
 and ftrapwork, arms, medallion heads, &c. Variegated 
 enamels, on a white or cream-coloured ground or body. The 
 ornamentation of thefe pieces difplays fo much analogy with 
 that of PalifTy, that we may conclude they were in fome fort 
 a rude imitation of his ftyle. This variety of ware with 
 relief decorations of a fragmentary or applique character, was, 
 however, undoubtedly manufadlured in France long before 
 PalifTy 's time, probably as early as the middle of the fifteenth 
 century, fo that the prefent pieces mufl be regarded only as 
 adaptations in the flyle of the pafTmg epoch ; the coarfe lead 
 enamel glaze is fplafhed with large blots of brown, green, 
 blue, and yellow, and this mode of mingling or variegating 
 the enamel tints was probably in ufe from a very early period ; 
 and it is more likely that Palifly's beautiful mixed enamels 
 were derived from this ware, than the prefent examples from 
 his pradlice in this refped. 
 
 No. 152. 
 
 ASE, brown glazed Avignon ? ware, height 15$ in., 
 — 1 7th century. The body of this piece is pyriform ; 
 four lofty handles rife above it, terminating in open 
 work fcroUs fupporting a fmaller cylindrical vefTel, which 
 was probably originally furmounted by a cover reprefenting 
 a crown; on the top of the pyriform vafe, and within a 
 compartment joined by the vertical handles, is a fhield with 
 the arms of France, fupported by two amorini; odagonal 
 moulded foot, entirely covered with a tranfparent brown glaze. 
 
IL— PALISSY WARE, &c. 
 
 79 
 
 Nos. 153 and 1 54. 
 
 WO VASES, or " aiguieres," fimilar ware,— 
 17th century, height 15 J- in. The body of thefe 
 vafes is pyriform, like the preceding piece, and is 
 furmounted by a lofty cylindrical neck and fpout, formed by 
 an eagle's head : — fcroll handle, enriched with a terminal figure 
 of an amorino, odagonal foot, and brown enamel glaze. Thefe 
 curious pieces are rather in the ftyle of metal work than 
 pottery, and the brown enamel covering, identical with our 
 own Rockingham ware glaze, was probably intended to aid 
 this impreffion. M. Soulages attributes them, and no doubt with 
 truth, to the fouth-eafl: of France ; were it not, however, for 
 one of the pieces having the arms of France fo confpicuoufly 
 difplayed, the writer would rather have deemed them to be of 
 Italian origin, the ftyle, which is unmiftakeably charaderiftic, 
 agreeing perfedly with many feventeenth century Venetian ? 
 works in brafs. The truth probably is, that they were the 
 products of a fabrique located fomewhere in the Comtat 
 VenaifTm (Avignon) during the latter years of the Papal 
 poffeffion of that territory, and were, in fad, the productions 
 of an Italian potter. 
 
 Nos. 155 and 156. 
 
 AIR OF EWERS, faience of the fouth of France, 
 (fame ware as No. 146, &c.) height (of No. 156,) 
 1 1 in. — fixteenth century. The body of thefe pieces 
 is bell-fliaped, with fpout and angular handle, the cover is of 
 a piece with the vafe, and the opening or mouth of the piece 
 is under the foot ; rehef decoration of vertical bands, rofettes, 
 mafks, &c. ; brown glazed ground ornaments in white (the 
 colour of the pate or body), floated in part with green glaze. 
 
8o 
 
 III.— V ARIA. 
 
 No. 157. 
 
 LATEAU, with raifed medallion centre, in embofTed 
 pewter, diam. i8|- in. — Swifs work — circa 1600 ; by 
 Cafpar Enderlein. In centre an allegorical figure of 
 Temperance, furrounded by two zones of ornamentation, 
 one of them containing allegorical figures of the elements, 
 within oval cartouches, and the outer one (on the margin) 
 reprefentations of the fciences. On the reverfe in the centre 
 is a medallion portrait of the artift, infcribed " Cafpar Enderlein 
 fculpebat." This is a clofe copy of the well-known plateau 
 of Francois Briot, the original fpecimens of which have a 
 medallion portrait of the Author — (fee M. H. Mufeum, No. 
 2063, (Bernal Coll.) Enderlein was a well-known Swifs die 
 finker, but there can be no doubt but that Briot was the real 
 author of this piece ; on comparing the two fpecimens together 
 the great fuperiority of the original will be at once apparent. 
 Enderlein evidently however made frefli dies, as the details of 
 the work differ confiderably ; his impudent affumption, of the 
 credit really due to another, is even carried fo far as to place 
 his own initials on the pedeftal on which the figure of Temper- 
 ance in the centre medallion is feated, in the exad place which 
 the initials of Briot occupy in the original. Briot s piece is ac- 
 companied by an Ewer en fuite. There can be little doubt 
 but that Enderlein counterfeited the Ewer alfo. 
 
 No. 158. 
 
 LATEAU, with raifed centre in alabafter, Italian 
 work — circa 1 500, diam. 16^ in. The centre and the 
 margin are ornamented with radiating flutes or gad- 
 roons picked out in gold. This and the preceding piece were 
 
IV.— FLEMISH STONEWARE, &c. 8i 
 
 the ftands or plateaux for ewers, intended to contain perfumed 
 water for pouring over the hands of guefts at table — (in reality, 
 the ancient fubftitution for finger glafies) ; they were however 
 probably not often made ufe of for this purpofe, being more 
 frequently difplayed as ornaments on buffets or credences. 
 
 IV.— FLEMISH STONEWARE, " ORES DE 
 FLANDRES." 
 
 No. 159. 
 
 ARGE CRUCHE, brown glazed ftoneware; height 
 1 2^ in. — dated 1 590. Round the centre is a band or 
 belt containing a dance of peafants in relief, with two lines of 
 rhyming infcription in Dutch or Flemifh, and dated 1590. 
 
 •No. 160. 
 
 ^glMILAR FLEMISH, BROWN-GLAZED 
 ^^S, CRUCHE, height 1 2^ in. — dated 1584. Band round 
 the centre containing fubjedls from the hiftories of Efther and 
 Sufannah, with infcription — date 1584, and fignature " Ehgel 
 Kran." 
 
 No. 161. 
 
 MALL GLOBULAR FLEMISH CRUCHE in 
 " Terre de pipe," with pewter cover — fixteenth cen- 
 tury, height 7i in. Pundured ornamentation and incifed 
 flutings, mafk under fpout. 
 
 No. 162. 
 
 MALL GLOBULAR FLEMISH CRUCHE with . 
 pewter cover,' grey and blue-glazed ftoneware, orna- 
 mented with a ftamped diaper pattern, and a mafk under the 
 fpout, height 8i in. — circa 1600. 
 
 G 
 
82 IV.— FLEMISH STONEWARE, &c. 
 
 No. 163. 
 
 MALL GLOBULAR CRUCHE, fimilar ware, 
 height 6 in. — circa 1600. 
 
 No. 164. 
 
 MALL GLOBULAR FLEMISH CRUCHE, 
 brown glaze, height 7 in» — circa 1600. 
 
 No. 165. 
 
 ^|MALL globular flemish CRUCHE, 
 blue and grey-glazed ftoneware, height 7 J in.— feven- 
 teenth century. In front a medallion with the initials LA. 
 
 No. 166. 
 
 MALL GLOBULAR FLEMISH CRUCHE in 
 " Terre de pipe," incifed ornamentation and mafks in 
 relief, height 6i in. — fixteenth century. 
 
 No. 166 (nn). 
 
 UREEN, with cover and ftand, in enamelled earthen- 
 ware, reprefenting a cauliflower. Italian faience — 
 eighteenth century. 
 
V. VENETIAN GLASS WARES. 
 
 tf^^ HE ancient Glafs Wares of Venice have, 
 after the lapfe of two or three centuries^ again 
 become in requeft ; — originally regarded 
 more as objedls of tafte or luxury than as 
 articles of general ufe, they have but per- 
 haps reverted to their original deftination in 
 having become the exclufive property of the colledtor. 
 
 The fpecimens exhibit an almoft infinite variety of forms, 
 modes of decoration, and manipulatory procefTes, generally 
 fpeaking, evincing greater originality and beauty, and even a 
 wider range of technical refources than correfponding modern 
 produdions. The prefent Colledion contains a numerous 
 feries of fpecimens chiefly felec5led for beauty of form, M. 
 Soulages having evidently been efpecially influenced by a pre- 
 diledlion for excellence in this refpedV. 
 
 With the exception of the fine feries of early enamelled 
 tazze, and fome half-dozen mifcellaneous pieces of the " lati- 
 cinio," " fchmelze," and " millefiore" varieties, all the fpe- 
 cimens are in plain tranflucent glafs ; and it is here worthy of 
 remark, that the lafl: extenfive Colledion of Venetian glafs wares 
 fubmitted to public view — that of the late Mr. Bernal, was 
 charaderized by the predominance of an entirely different clafs 
 of fpecimens, the laticinio varieties. Vitro di trina, &c., having 
 there formed the bulk of the Colledlion, almoft to the entire 
 exclufion of the Ample " fliaped'' pieces. 
 
84 V.^VENETIAN GLASS. 
 
 This difference is the more worthy of notice, as it fhows how 
 uncertain and inadequate muft be any eftimate of the general 
 charaderiftics of a fpecial category fuch as this, which is 
 merely founded on an acquaintance with private colledlions ; 
 few private individuals being exempt from thofe fpecial pre- 
 diledlions, which are of courfe incompatible with the formation 
 of an average or catholic feledbion. 
 
 Very little is known about Venetian Glafs ; ho detailed 
 monograph or technological work on the fubjedl exifts ; and in 
 fad: a careful ftudy of the fpecimens which remain, will alone 
 enable anything like a clarification into ftyles or periods to 
 be accomplifhed. 
 
 Apparently there are few pieces extant of an earlier date 
 than the laft decade of the fifteenth century ; the art, however, 
 was in full exercife in Venice long before this time. Gilding 
 and decorations in enamel colours are very frequent on the 
 early quattro-cento pieces, and a charaderiftic ftyle or motive 
 is the fcalework or imbricated pattern in gold with points or 
 touches of enamel colours in imitation of jewels, of which 
 many varieties may be obferved on the feries of tazze in this 
 Golledion. It is not at all unlikely, that the tafte for enamel 
 decoration was prompted by the oriental (Arabic) enamelled 
 glafs wares, which appear to have been very generally known 
 in Europe during the middle ages, and of which a few very 
 t-are fpecimens have come down to us. 
 
 The " laticinio" or filigree varieties. Vitro di trina, &c., 
 to all appearance were the produdl of the fixteenth century, 
 and the majority of the pieces in Colledions probably belong to 
 the fecond half of that period. The former, (filigree " laticinio " 
 work), and the "millefiore" or " Vitro fiorito" were both re- 
 vivals of antique proeeffes, and doubtlefs refulted from the in- 
 veftigation of claflical antiquities then fo recently entered upon. 
 
 It is however very difficult to determine the exad periods 
 of Venetian glafs wares— pofitive data are very feldom to be 
 
v.— VENETIAN GLASS. 85 
 
 obtained ; and the only available affiftance is from the analogies 
 which may be found in the forms and ornamental details 
 of the pieces with thofe of veflels in other materials — the 
 idates of which are more evident. There will thus always re- 
 main great uncertainty as to the j*eal dates of numbers of 
 fpecimens. Like the Antique, Venetian glafs is rarely or 
 ever cut on the wheel, being on the contrary fimply blown 
 into elegant fhapes, the manipulative fkill difplayed being oftejti 
 truly wonderful. Glafs blowing, like " throwing" clay on the 
 potter's wheel, naturally induces beautiful curved forms and 
 tenuity of fubftance, and as a rule Venetian glafs is frankly 
 and confiftently charadlerized by adherence to thefe natural 
 fuggeftions of the material. 
 
 The following brief definitions of a few prominent varieties 
 and procefTes may interefl: thofe to whom the fubjedt is entirely 
 new. — Firft : " Laticinio," or filigree 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 twifted or woven as it were, into 
 regular fpiral or reticulated patterns, producing in fome fpeci- 
 mens a kind of network of delicate lines fpread over the piece, 
 
 vitro di trina," or lacework glafs) ; this latter term, how- 
 ever, 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. " Mille- 
 fiore" glafs has a rich variegated appearance, exhibiting an 
 infinity of eccentric patterns, ftars, circles, &c., produced by 
 mingling fmall cylindrical pieces of various coloured filigree 
 glafs, cut from thin rods, with the melted mafs from which 
 the vefTels are blown, " Schmelze," and Schmelze-Avan- 
 turine; the former of thefe varieties is a femi-opaque glafs 
 of a rich variegated brown, green, or bluifh colour, which 
 when feen through by tranfmitted light takes a deep blood-red 
 
86 V. -VENETIAN GLASS. 
 
 tint. Patches or globules of gold, fometimes feen on the fur- 
 face of this kind of glafs, conftitute the fchmelze-avanturine. 
 The " Avanturine" is obtained by mingling metallic filings or 
 levigated leaf-gold with melted glafs, in the mafs of which it 
 5s feen fufpended in the fhape of brilliant particles. 
 
 Nos. 167 to 184. 
 
 OMPRISE a feries of eighteen Tazze of various dc- 
 jfigns, all enriched with enamel colours and gilding. 
 The general fimilarity in ftyle renders a fpecific de- 
 scription of each piece unnecefTary ; fourteen of them , range 
 from 9 in. up to 14I in. in diameter, and there are four fmaller 
 bowl tazze, averaging about 6 in. diam. each ; fome are ele- 
 vated on tall feet, others on low moulded ftems. A great 
 variety of vertical and oblique fpiral flutings or gadroons, 
 diamond moulding, &c., comprifing all the ufual patterns, are 
 feen carried out in one or other of the fpecimens ; feveral 
 have filets, margins, or entire ftems in coloured glafs, but 
 there are no fpecimens of filagree or laticinio work, thefe pieces 
 being of a period anterior to the introduction of the laft named 
 varieties ; they are nearly all decorated with bands and filets 
 of imbricated work in gold, and pearl, or jewel ornamentation 
 in enamels. In two of the fpecimens the imbricated ornament 
 nearly covers the pieces, and has a diftincfl refemblance to the 
 peacock's-feather pattern, fo favourite a motive on certain 
 quattro-cento Majolica wares, (fee Nos. 171 and 172). Four 
 of the fpecimens have ftiields of arms enamelled in the centre 
 of the bowls ; one has a medallion of Lucretia flaying herfelf ; 
 one bears a medallion containing a dragon, with enamelled 
 and gilded radiating gadroons, and another a wreath of elegant 
 fcroll foliage, The date of the majority is during the earlieft 
 years of the fixteenth century, whilft three or four fpecimens, 
 Nos. 171, 172, 176, 184, may be referred to the quattro- 
 cento period. 
 
v.— VENETIAN GLASS. 
 
 87 
 
 No. 185. 
 
 :OBLET ON TALL FOOT, height 8 in.—circa 
 1480. The bowl is enriched with vertical gadroons 
 in relief, grounded in gold ; a broad band of im- 
 bricated ornament in gold, with jewels or fpots of enamel 
 colours, furrounds it near the margin. The foot is fluted. 
 
 No. 186. 
 
 •ASK OR EWER, with handles and cover. Entire 
 height 14 J in. This curious piece may probably 
 be referred as far back as the latter part of the fif- 
 teenth century ; the charadteriftics of flyle, however, are not 
 fufficiently marked to enable the period to be determined with 
 certainty. It has a refemblance in fliape to the " burettes" or 
 cruets in metal of the fifteenth century, but has alfo, in addi^ 
 tion, a fwing or bucket handle of twifted glafs attached. The 
 glafs has a fmoky brownifh tint, caufed in all probability by 
 the addition of manganefe to the colourlefs mafs from which 
 it was blown. If really of the quattro- cento period, the con- 
 fervation in an intad condition of fo fragile a piece is very- 
 remarkable. 
 
 No. 187. 
 
 pBLET OR TAZZA, oval or boat-fhaped fluted 
 bowl, on raifed balufl:er fl:em. Height 8? in., length 
 of the bowl 8§ in. — fixteenth century. 
 
 No. 188. 
 
 ROTESQUE VESSEL, fliaped like a mule. White 
 and blue glafs. 
 
 - No. 189. 
 
 ESSEL, in the form of a fliip, with rigging, mafts, 
 &c. 
 
§8 
 
 y.— VENETIAN GLASS. 
 
 No. 190. 
 
 ROTESQUE GOBLET, with a fyphon apparatus, 
 furmounted with the figure of a ftag in full relief, 
 blown or moulded, entire height 14 in, 
 
 No. 191, 
 
 f^ELL-SHAPED GOBLET on low balufter ftem, 
 in dark blue glafs, the bowl diamond- moulded, height 
 9 in., wi4th 6{ in,— Datp, firfl: half of the fixteenth century, 
 
 Nos. 192 to 195. 
 
 OUR FLOWER VASES, moulded glafs, height Sf 
 in. The body of each of thefe vafes is in the fliape 
 of a pedlen fhell, the rays or flutings of the fhell being in 
 relief ; it is furmounted by a funnel-fhaped neck, with two 
 fcroll-handles in blue glafs attached. 
 
 No. 196. 
 
 ^SmALL oviform ewer, in blue glafs, height 
 6 1 in. — Sixteenth century. 
 
 No. 197. 
 
 IMILAR EWER, in opaque white glafs, height 5f in. 
 — Sixteenth century. 
 
 No. 198. 
 
 ^^MALL OVAL FLACON in blue glafs, with oblique 
 pattern in " laticinio," and raifed ribs and bofTes in 
 ppaque white glafs, 
 
 No. 199. 
 
 ^^MALL BULB-SHAPED BOTTLE, vetro fioritp*' 
 or " millefiore*' glafs, 
 
v.— VENETIAN GLASS. 
 
 Nos. 200 to 2 2 2. 
 
 WENTY-THREE WINE GLASSES of various 
 patterns. —Sixteenth and feventeenth centuries. 
 
 No. 223. 
 
 UNNEL-SHAPED GOBLET, the lower part of the 
 bowl decorated with arabefque ornamentation of dol- 
 phins, fcroll foUage, &c., in enamel colours, the margin of 
 the glafs enriched with gilded zones. — Height 5I in. — circa 
 ,1500-20. 
 
 Nos. 224 to 247. 
 
 ^gWENTY-FOUR WINE GLASSES, TAZZE, 
 @^ GOBLETS, FLACONS, &c., of various defigns.— 
 Sixteenth and feventeenth centuries. 
 
 No. 248. 
 
 AZZA, on tall fluted, balufter- fhaped ftem, the bowl 
 enriched with raifed circular bofles and radiating 
 gadroons, height 6 in., diam. 6J in., — -cinque-cento period. 
 The material of this glafs has a peculiar blackifh (" sfumato") 
 tinge, probably from manganefe; this colour, which feems to 
 enhance the luftre of certain pieces, is found in many fpecimens 
 of the cinque-cento period, and is much efteemed by con- 
 noifleurs. 
 
 Nos. 249 to 254. 
 
 IX PIECES various, — wine-glafles, tazze, flacons, &:c. 
 -^Sixteenth and feventeenth centuries. 
 
 ' No. 255. 
 
 OWL in " Schmelze" glafs, diam. 1 2 In., height 43- In. 
 — Sixteenth or feventeenth century. 
 
^ v.— VENETIAN GLASS. 
 
 No. 256. 
 
 WER, "en fuite" with the preceding piece, height 
 in. — Sixteenth or feventeenth century. 
 
 No. 257. 
 
 RAND PENDENT CHANDELIER for a faloon, 
 in Venetian glafs, for twelve lights, ornamented with 
 rofettes or flowers in coloured glafs. — Seventeenth, or early 
 eighteenth century work. 
 
 VI.— VARIOUS OBJECTS. 
 
 Knives and Forks ^ Spoons, Coffers, Ivories — Utenfils in 
 various materials, 
 
 Nos. 258 and 259. 
 
 AIR OF HANDLES to a knife and fork, in carved 
 ivory, compofltion of amorini in the ftyle of Fia- 
 mingo. French, or Flemifh feventeenth century work. 
 
 Nos. 260 to 267. 
 IGHT CARVED IVORY HANDLES to knives 
 and forks, female nude allegorical figures. French or 
 Flemifh feventeenth century work. 
 
 Nos. 268 and 269. 
 
 POON AND FORK in carved ivory, the handles in 
 the form of terminal pedeftals furmounted by bufls of 
 amorini. French or Flemifh feventeenth century work. 
 
 No. 270. 
 
 ORK, with carved ivory hilt : Judith with the head of 
 Holofernes. French or Flemifh fixteenth century 
 work. 
 
VL_yARIOUS OBJECTS. 
 
 Nos. 271 and 272. 
 
 iNIFE AND FORK, with filver hilts, German or 
 Flemijfh — circa 1600. The hilts are engraved with 
 fcriptural fubjec5ls and arabefques, in the ftyle of Theodore de 
 Brie, the pommels decorated with open-work fcrolls or ftrap- 
 work, and on the fides of the hilts is the motto efperant en 
 dieu." 
 
 Nos. 273 and 274. 
 
 ^^POON AND FORK in filver gilt ; Italian? fixteenth 
 century work. The ends of the handles enriched with 
 mafks and terminal figures of fatyrs. 
 
 No. 275. 
 
 pNIFE with hilt in chifelled iron, the pommel formed 
 by a lion holding a fhield with the arms of France. 
 French work — circa 1540-50. 
 
 No/276. 
 
 pNIFE, with brafs hilt; Italian? — circa 1570. The 
 hilt formed by a terminal figure of a fatyr, mafks, 
 ftrapwork ornament, &c. 
 
 No. 277. 
 
 pNIFE, with three blades and chifelled fteel hilt, origi- 
 nally gilded; French or Italian? — circa 1550. This 
 curious utenfil forms three diftind: knives, which may be de- 
 tached and ufed feparately ; the three are held together as one 
 objed by bevelled flanges on each fide of the centre knife hilt, 
 and correfponding grooves in the two fide pieces, which Aide 
 on to the centre flange. 
 
9? 
 
 yi.— VARIOUS OBJECTS. 
 
 Nos. 278, 279, 28O5 and 281. 
 
 OUR SMALL KNIVES, with chifelled and gilded 
 fteel hilts, two of them incrufted with mother-of-pearl. 
 French or Italian work — circa 1540-50. 
 
 No. 282 and 283. 
 
 I^ESK PEN KNIFE AND ERASER, with long ftyle 
 fhaped ivory hilts ; the upper parts formed by nude 
 female figures; entire length of each, 14 in. — Italian? fixteenth 
 century. 
 
 No. 284. 
 
 ^^MALL PAIR OF SHEARS in chifelled fi:eel (heath; 
 ^^^^ Italian fixteenth century work. 
 
 No. 285. 
 
 ^®MALL "ETUr^ or needle-cafe in chifelled fi:eel ; 
 Italian ? feventeenth century work. 
 
 No. 286. 
 
 VORY COMB, ornamented with fcroll ornaments in 
 minute filver pique work — feventeenth or firfl: half of 
 eighteenth century. 
 
 No. 287. 
 
 l^pARVED IVORY COMB, French or Italian work— 
 circa 1350, length 6f in., width 4! in. The centre 
 of the comb forms on each fide a band or frieze, carved in 
 baf-relief with numerous figures. The fubjeds reprefented 
 are, on one fide, a dance of young men and maidens within a 
 grove of trees, and on the other, within compartments divided 
 by trees, are four fubjedts of a lover and his mifl:refs ; in the firfl:, 
 on the right, they are feen exchanging gifts ; fecond, the cava- 
 
VI,— VARIOUS OBJECTS. 95 
 
 Her prefents the lady with a (ring ?) ; third, the lady crowns 
 her lover with a wreath fourth, the pair embracing. This 
 curious piece was doubtlefs intended as a lover's gift ; it is pre- 
 cifely in the ftyle of the fmall circular mirror covers of the 
 fame period. The latter objeds, however, occur much more 
 frequently than combs. 
 
 Nos. 288 and 289. 
 
 ^^WO LADIES' STAY OR " BUSK" BONES, in 
 ivory, enriched with pique work in filver — feven- 
 teenth or early eighteenth century work. 
 
 No. 290. 
 
 RON KEY, Italian or French work — circa 1550. 
 The upper part of the barrel is formed by a miniature 
 Corinthian capital, on which are pofed two fyrens with inter- 
 laced wings and tails, &c. forming the bow. 
 
 No. 291. 
 
 pEYof fimilar defign — fame work and period. 
 
 No. 292. 
 
 f RON KEY, with perforated wheel tracery pattern 
 bow — fifteenth or early fixteenth century work. 
 
 No. 293. 
 
 EY of fimilar defign and period to Nos. 290 and 291. 
 
 No. 2g^. 
 
 lEY of fimilar defign and period, but more highly finiflied 
 workmanfhip. 
 
VL— VARIOUS OBJECTS. 
 
 No. 295. 
 
 11^^ EY in wrought iron, (French?) — fifteenth century 
 work, length jj- in. This exquifite fpecimen of 
 Gothic" lockfmith's work is enriched with a circular bow 
 or wheel, filled in with a flamboyant cufped tracery pattern ; 
 underneath it is a band or gallery of open-work tracery, and 
 the fummit is formed by a fquare crown of open cufped arcades, 
 terminating in fleurs de lys, and clofed in on the top by a waved 
 radiating flar. The minute tracery work, cufpings, &c. of 
 this piece are executed with all the architedonic precifion of 
 ftone fculpture on a large fcale. 
 
 No. 296. 
 
 ^^^RON KEY, fimilar deiign and period to Nos. 290, 
 
 Nos. 297 and 298. 
 
 WO RAMS' HEADS in chifelled iron, Italian, 
 cinque-cento work. On the forehead of one of thefe 
 is an acorn in full relief, a device of the Della-Rovere family. 
 As thefe objedts were procured from the diftrid of Urbino, it 
 is very probable that they originally formed part of fome de- 
 corative utenfil belonging to the Urbinefe princes. 
 
 No. 299. 
 
 ENTRE PORTION of a chifelled iron lock, 
 French work — circa 1520-30, length li in., depth 2 
 in. On one fide is a fmall flatuette of a faint (St. Paul?) 
 holding a fword and a book, (landing under a fhell-fhaped 
 canopy, minutely chifelled in full relief ; the ground of the 
 lock is ornamented with two circular arcades, with Ionic fluted 
 three-quarter columns, and under one of thefe is an angel 
 bearing a fcroll, and a winged bull, alfo with a fcroll, (fym^ 
 
YI.— VARIOUS OBJECTS. 91 
 
 bols of St. Matthew and St. Luke) ; both are chifelled in 
 full relief. 
 
 No, 300. 
 
 AIR OF SMALL CHISELLED STEEL PIN- 
 CERS, Italian -work, — i6th century. The handles 
 are formed by two dolphins, enriched with acanthus foliage. 
 
 No. 301. 
 
 URSE-FRAME IN CHISELLED STEEL Ef- 
 carcelle") — 15th century work, length 5 in., height 
 5 J in. The circular frame, the beam or crofs bar, and ap- 
 paratus for fufpenfion, are all enriched with perforated tracery 
 and " ftrawberry-leaf " creft-work. 
 
 No. 302. 
 
 URSE-FRAME Efcarcelle") IN CHISELLED 
 STEEL, damafcened with gold — Italian work — circa 
 1540-50. The lower part of the frame is ornamente4 
 with an oval cameo medallion, containing a ftanding figure of 
 Cupid, and at the fides are compartments determined by the 
 fhape of the frame, in each of which is a recumbent female nude 
 figure ; the reft of the ornamentation confifts of oval medal- 
 lions and compartments enclofed by ftrap-work ornaments, 
 and chafed with trophies of arms, armour, &c. Both the defign 
 and execution of this exquifite fpecimen are unfurpafled by any 
 other work of the fame nature. The beautiful recumbent 
 figures are drawn with all the power of the greateft Italian 
 mafters in defign, and are executed with the delicacy and pre- 
 cifion of gem fculpture. It is probably the work of fome 
 one of the famous Milanefe metal workers of the cinque-cento 
 
VI.— VARIOUS OBJECTS. 
 
 No. 303. 
 
 IPTYCH, (devotional tablets) in carved ivory; 
 French? — circa 1340, height of each plaque 7 in., 
 width 4f . The plaques are divided into upper and 
 lower portions by pointed Gothic arcades, enriched with 
 crockets, cufps, ornamented fpandrils, &c. The fubjeds re- 
 prefent fcenes from the Paffion of Chrift, forming a continued 
 frieze without divifions, running in fequence acrofs both the 
 plaques. The feries commences at the bottom, on the left, 
 with: — I. Judas receiving the bribe for the betrayal of our 
 Lord. 1. Chrift taken in the garden, with Peter fmiting 
 off Malchus' ear. 3. Chrift brought before Pilate. 4. 
 (continued on the oppofite leaf) Pilate wafhing his hands. 
 5. Judas hanging himfelf. 6. Our Saviour buffeted by the 
 foldiers.* 7. (upper feries) Chrift ftripped of his clothing by 
 the foldiers. 8. The flagellation. 9. Chrift carrying his 
 crofs on the way to Calvary. 10. Chrift being nailed to the 
 crofs. 1 1 . This compartment is vacant, but from indications 
 in the back ground, it doubtlefs originally contained a further 
 reprefentation of the Crucifixion, apparently a rood, with the 
 Virgin and St. John ftanding on each fide. 
 
 No. 304. 
 
 EXAGONAL COFFER, in carved bone and 
 " tarfia" work of fhell and coloured woods ; Italian, 
 — firft half of the 15th century, height 13 in., 
 diam. io| in. The drum or body of the coffer is furrounded 
 by relievo fubjeds, carved on feparate plaques of bone, with, 
 apparently, the hiftory of Pyramus and Thift^e. The cover 
 
 * This fubjedl is of very unufual occurrence, and is here treated in a 
 lingular manner — a cloth being thrown over the head of the Saviour, through 
 wrhich the features are perceptible — this difficult palTage is executed with great 
 finefle and truth to nature. 
 
VI.— VARIOUS OBJECTS. 97 
 
 is furrounded with a curved band or frieze of foliated 
 ornaments, with winged genii or amorini, two of which 
 hold kite-fhaped fhields; the upper part of the cover, the 
 cornice, or margin, and the bafe of the coffer, are decorated 
 with mofaic incruftation, tarfia work ") of fhell, bone, and 
 tinted wood, arranged in chequers, meanders, and interlaced 
 knot patterns. This coffer is one of a frequently recurring 
 type, and was probably intended as a wedding gift, or calket 
 for the bride's troufleau. All the fpecimens feem to date 
 about the fame period, and have fo clofe a general refemblance 
 to each other in ftyle, as to induce the belief that they were 
 all executed in the fame diftridl, probably the north or centre 
 of Italy. 
 
 No. 305. 
 
 MALL COFFRET, in putty or ftucco work, 
 Italian — circa 1490, length 6| in., width 4! in., 
 depth jf in. The ornamentation is applique work 
 in relief, on a gilded ground. The fides are covered with 
 relievo fubjedls, with an arabefque pilafler at each angle ; the 
 bafe and margin are decorated with ornamented mouldings, and 
 the top of the cover has a raifed torus wreath, forming a border, 
 the panel within being filled in the centre with a conical or dome- 
 fhaped rofette, furmounted by a ball, and the ground fpaces at 
 the ends with mafks and fcroU foliage in relief. The fubjedls on 
 the fides of the coffret are : — i. In front, Curtius leaping into 
 the gulf. 2. At the back, 'the triumph of David. 3. Atone 
 end, two fhips ; and 4, at the oppofite end, two warriors in com- 
 bat, mounted on elephants, with a third, on foot, holding an 
 oak branch. Many other cofFrets of this peculiar flyle and 
 material exifl in collec5]:ions ; they have fuch a clofe refem- 
 blance to each other as to fuggefl the belief that they are all 
 from the fame workfhop. 
 
 H 
 
VIL ENAMELS OF LIMOGES. 
 
 HE enamels of Limoges form one of the 
 minor fedions of this Collection ; feveral of 
 the pieces, however, have attradled the no- 
 tice of French archaeologifts. The fpeci- 
 mens are all of the lixteenth century period, 
 and of one clafs, viz. the painted enamels 
 (" emaux des peintres.") 
 
 Works of this clafs, it is fcarcely necefTary to' obferve, are 
 being fought for with great avidity, and almoft every important 
 fpecimen extant is now known and noted. As a national 
 manufadure, of both intrinfic and hiftorical intereft, the French 
 colledors have been laudably defirous of keeping the really 
 fine examples in the land of their production, whilft in this 
 country, wealthy amateurs have, in turn, been animated by a 
 ipirit of rivalry, ftimulated not a little by the fadl of the in- 
 creafing rarity of the ware. The number of fpecimens already 
 permanently withdrawn from the chances of fale, by their location 
 in public Mufeums, has moreover fenfibly diminifhed the 
 fupply, and it fhould be obferved that, being originally the 
 produdion of one locality only, and of a limited number of 
 artifts, the manufacture was far lefs extenfive than that of many 
 other categories of works of art : it is then probable that no 
 fuch feries as the prefent will ever again find its way to this 
 country in one lot. 
 
 A truly excellent body of information on Limoges enamels 
 
VII.—ENAMELS OF LIMOGES. 99 
 
 exifts in M. de Laborde's " Notice des emaux. Sec, — du 
 Mufee du Louvre, &c." a work fo well known and appreciated, 
 as to render it unneceflary to preface the prefent catalogue by 
 any lengthy remarks. 
 
 It is uncertain whether Italy or the city of Limoges was the 
 firft to produce painted enamels, properly fo called;* the fad: 
 probably is, that the development of the art both in France 
 and Italy was independent the one of the other. 
 
 There are no Limoges fpecimens extant of earlier date than 
 the fecond half of the fifteenth century ; thenceforth, however, 
 till the end of the feventeenth century, the feries is uninter- 
 rupted, and it was not till a ftill more recent period (circa 
 1750-60) that the art finally died out in Limoges. Now 
 again, however, the manufadture is being revived in France, the 
 Imperial porcelain manufadory of Sevres having within the 
 laft few years produced fpecimens, oftenfibly in imitation of the 
 ancient technique," which yield in no refpedt of artiftic ex- 
 cellence to the fineft original examples, and at the fame time 
 fraudulent imitations of the ancient wares are daily being 
 executed elfewhere in France, which are calculated to deceive 
 even the keeneft eye. 
 
 * M. de Laborde's affumption that the painted enamels of Limoges are of 
 abfolutely earlier date than any correfponding fpecimen of Italian origin, feems 
 to require confirmation. Some indications appear to point to a contrary con- 
 clufion. Enamel paintings on the Majolica wares are certainly found, which, 
 to all appearance, are of an earlier date than any of the Limoges painted 
 enamels, and the ftep from painting on a ground of ftanniferous enamel to. a 
 iimilar furface on a metallic recipient body is an eafy and obvious one. M. de 
 Laborde is moft likely right in attributing the origin of the Limoges' fpecimens 
 partly to an imitation of the earlier Goldfmith's enamels, and partly to glafs 
 painting, the earlieft mailers having originally been of the latter vocation ; but 
 the Italian quattro-cento painted enamels, as might be expefled, betray a different 
 origin — they have an evident affinity to enamel painting on earthenware, and 
 it is difficult to fuppofe with M. de Laborde, that they were the refult of an 
 imitation of the produds of the Limoges fchool ; the fubjedl, however, requires 
 further inveftigation. 
 
VII.—ENAMELS OF LIMOGES. 
 
 Nos. 306 to 310. 
 
 OUR CIRCULAR PLAQUES, painted in gnfame, 
 enriched with gilding. Profile bufts of the Roman ^ 
 Emperors, — Auguftus, Claudius, Nero, Vefpafian, 
 and Vitellius. The names and titles refpedtively infcribed in 
 gold, in large Roman charadters ; diam. of each, 9I in. — date, 
 circa 1 540-50. Thefe plaques, doubtlefs part of a feries of the 
 twelve Casfars, were probably intended for infertion either into 
 fome large piece of furniture or the fittings of a room. 
 
 No. 311. 
 
 [ARGE CIRCULAR MEDALLION PLAQUE, 
 bufl: of Lucretia, furrounded by a border of arabefque 
 ornaments, diam. with border, 15 in. — circa 1540. The 
 medallion plaque is painted in grifaille on black ground, and 
 is infcribed in gold letters, "Lucreffia • Romana." It is proba- 
 bly by the fame mafter as the preceding pieces. The border is 
 in grifaille on dark blue ground, in parts heightened with gold. 
 
 No. 312. 
 
 ,VAL PLAQUE, painted in colours, heightened with 
 I gold, height 11 in., width, in. — circa 1560. The 
 work of Pierre Remond (or " Raymond"). Subjed, The Fall, 
 Eve prefenting Adam with the Apple, initialed by the artift, 
 « P . R." 
 
 No. 313. 
 
 jVAL PLAQUE, fame feries as the preceding piece, 
 height II in., width 8| in. Subjed, the drunkennefs 
 of Lot; in the background Sodom in flames, — Lofs wife 
 ftanding in the middle diftance. Initialed by the artift (Pierre 
 Remond). 
 
VII. -ENAMELS OF LIMOGES. 
 
 No. 314. • 
 
 I VAL PLAQUE, fame feries, height 1 1 in., width 8f 
 [ in. Subjedl, Sampfon and Dalilah. Initialed by the 
 artift (Pierre Remond).' 
 
 No. 315. 
 
 VAL PLAQUE, fame feries, height 11 in. width 
 Sf in. Subjedt, Judith and Holofernes. Initialed by- 
 Pierre Remond. 
 
 [Thefe plaques were in all probability intended as decora- 
 tive infertions.] 
 
 No. 316. 
 
 ,VAL PLAQUE, — enamel in colours and gold, length 
 I 8 in., depth 5^ in. — circa 1560; the work of Pierre 
 Courtoys. Subjedt, a warrior about to flay a fhepherd or 
 huntfman, who is in an attitude of fupplication ; two women 
 and two fhepherds are interceding with the afTailant. In the 
 foreground are the initials of the artift, " P. C." 
 
 No. 317. 
 
 I LA QUE, — portrait of Charles Tiercelin, Seigneur de 
 la Roche Dumaine, en Poitou, Chancelier de France, 
 height 7 1 in., width 5|- in. The work of Leonard Limofin, 
 — circa 1 540 ? This admirable work is of the beft time and 
 moft finijfhed execution of the artift, in every refped: equal to 
 the fineft of the portrait enamels of the Louvre. 
 
 No. 318. 
 
 iLAQUE, Limoges enamel. Portrait of Antoine de 
 Bourbon King of Navarre ? height of the. plaque, 5|- 
 in., width 4.-^ in. — circa 1540-50, attributed to Leonard Li- 
 mofin. This portrait is in its original frame. A duplicate of 
 it exifts in the Colledion of Hollingworth Magniac, Efq. 
 
102 VII. -ENAMELS OF LIMOGES. 
 
 No. 319. 
 
 |VAL PLAQUE, back of a fmall mirror, height 4 in., 
 I width 3f in. Subjedt, Olympus, or an aflembly of the 
 gods. Tranflucent enamel on metallic foils, (" email fur 
 paillon,") — circa 1560. 
 
 No. 320. 
 
 IIMILAR OVAL PLAQUE, back of a mirror, height 
 4 in., width 2^ in, Subjed:, Mount Helicon and the 
 Nine Mufes, tranflucent enamels "fur paillon." — circa 1560, 
 
 No. 321. 
 
 iLAQUE, with arched top, Limoges enamel, in its 
 ancient mounting as a pax. Size of the pax, height 
 3 in., width 2^ in. — circa 1490. Subject, the dead Chrifl: 
 fupported by the Virgin and St. John. The plaque is mounted 
 with a framework or border of filk thread, enriched with white 
 bugle beads and feed pearls. The back covered with crimfon 
 figured fatin. The mounting is probably of the feventeenth 
 century. 
 
 No. 322. 
 
 jVAL PLAQUE, back of a mirror, within its original 
 bronze gilt frame. A warrior in Roman coftume, fur- 
 rounded by a border of floriated ornament. Enamel on paillon ; 
 height 3f in., width 2j in. — circa 1550, 
 
 No. 323. 
 
 |CTAGONAL PLAQUE, back of a mirror. Enamel 
 I on paillon, height 3 J in., width 2f in. Subjed, Two 
 Female Deities, with a border in compartments, painted with 
 Tritons, various animals, and minute foliated diaper. The work 
 of Leonard Limofin, the younger, whofe fignature in minute cha- 
 raders in gold is written at the bottom edgeof the centre fubjedt.* 
 
 * M. de Laborde has defcribed this piece as follows : " Colledlion, Soulages, 
 a Touloufe. Je n'ai point vu cet email ; j'en parle d'apres les notes qui me 
 
VIL— ENAMELS OF LIMOGES. 103 
 
 No. 324. 
 
 MALL OVAL PLAQUE— circa 15 10, by Jean 
 Penicaud the fecond, height 2 in., width 1 1 in. A king 
 kneeling, with his crown on the ground, and with a cenfer in his 
 hand, is adoring the Virgin and infant Chrift, who are feen in 
 the clouds above ; behind him ftand three ladies in coftume of 
 the period, one of whom, although without a nimbus, is proba- 
 bly a patron faint. On the oppoUte fide are two halberdiers ; 
 above is a Latin infcription in gold, much defaced. Tranf- 
 lucent enamel on " paillon," or metallic foil. On the reverfe is 
 the crowned P, the monogram of the Penicaud family, ftamped 
 with a punch in the copper. This curious and delicately exe- 
 cuted fpecimen is believed to have been a cockade or medallion 
 for the hat.* 
 
 No. 325. 
 
 IRCULAR INKSTAND, Limoges enamel— circa 
 1 560, diam., 8 J in. Decoration of coloured arabefques 
 or grotefque ornaments, on ground of opaque white enamel. 
 Enamels of Limoges on a white ground are of extreme rarity, 
 and feem to have been almoft confined to one artifl:, Leonard 
 Limofin, to whom this piece is afcribed. The arabefques 
 are in the fiiyle of Etienne de I'Aulne. They are executed with 
 
 font fournies. Plaque de miroir oftagone ; au centre, Jupiter et Califl:o.(?) 
 Sur les bordures, des tetes d'amours, des tritons et des animaux au milieu 
 d'un femis de fleurs varices. Les deux figures principales font d'un deffin peu 
 correft, le refte d'une execution precieufe. La fignature fe lit au bas de la 
 compofition centrale. Hauteur, 0,082. Largeur, 0,065." 
 
 * This piece is thus defcribed in M. de Laborde's work, p. 1 57 (note) ' Col- 
 leBion Soulages.^ Enfeigne de chapeau. " Un feigneur, agenouille devant la 
 Vierge, qui apparait au milieu des nuages. Les coftumes des femmes reportent 
 a la cour d'Anne de Bretagne, et celui des hommes a I'etiquette du regne de 
 Louis XIL L'infcription a ete refaite, et n'eft pas intelligible ; c'etait une in- 
 vocation a la Vierge. Plufieurs couleurs font appliquees fur paillon ; I'email eft 
 d'une grande fineffe. Le contre-email eft tranflucide ; la marque du pbin9on 
 eft frappee au centre. Medallion ovale. Hauteur, 0,05 3 ; largeur, 0,040." 
 
104 VII— ENAMELS OF LIMOGES. 
 
 great fpirit, but have every appearance of having been copied 
 from a copper-plate engraving, doubtlefs one of the numerous 
 ornamental prints publifhed by de TAulne for the ufe of arti- 
 ficers. 
 
 No. 326. 
 
 [LATE, Limoges tranflucent coloured enamels, on foils 
 (fur paillon). Subjedt, from the hiftory of Jofeph ; 
 diam. 8 in., by Jean Courtois — circa 1550-60. Border of 
 arabefque ornaments, mafks, dragons, &c., in colours and gold 
 on black ground. Reverfe, arabefque decorations, malks, ftrap- 
 work, ornaments, and gilding. Initialed, J * C. 
 
 No. 327. 
 
 IMILAR PLATE, diam. 8 in. Subjedt, from the hif- 
 tory of Jofeph. Painted by Jean Courtois. 
 
 Nos. 328 and 329. 
 ,AIR OF HEXAGONAL SALT-CELLARS, Li- 
 moges enamel in colours on black ground, height 
 2| in. diam. 3 in. The fides are painted with fubjeds of the 
 Labours of Hercules, with infcriptions, and the upper and 
 under furfaces are painted with medallion heads in the funk 
 bowls and borders of arabefque ornament and rofettes. Thefe 
 beautiful pieces are believed to be of the early time of Pierre 
 Remond (circa 1540?). 
 
 No. 330. 
 
 IRCULAR PEDESTAL SALT-CELLAR, Li^ 
 moges grifaille enamel and gilding, height 3-^ in., 
 diam, of bafe, 4I in. The fide is painted with a continuous 
 frieze of fubjeds of the Labours of Hercules. The top or 
 bowl has a female medallion portrait and border of cartouche 
 or ftrapwork ornament with fruit. Attributed to Pierre Remond 
 — circa 1550-60, 
 
VIII. BRONZES. 
 
 Chiefly decorative Utenfils — Clocks — GoldJmitKs Work— 
 Dmnafquinerie, 
 
 TALY alone, in the middle ages, inherited 
 the ancient tafte for that beautiful but auf- 
 terely fimple material bronze ; elfewhere 
 the fubftitute was brafs or " latten/' meant 
 to be kept bright, and in preference always 
 gilded whenever the importance of the 
 objed would allow of the outlay. The mediaeval" artifts of 
 northern and weftern Europe had no chance of feeing the 
 grand effedt of monumental fculpture in the fombre but har- 
 monious tones of ancient bronze ; and there can be little doubt 
 but that the oxidation of the metal was deemed by them an 
 evil rather than a quality to be turned to account. Moreover 
 the dull grey daylight, and the humid atmofphere of the 
 north, are, in reality, little favourable to the difplay of this 
 material. Sculpture in bronze requires the full power of fun- 
 light and the confequent fharply defined fhadows, to overcome 
 the heavy local tint of the metal ; and the exquifite and varied 
 tones of patina, are not only imperceptible in a fcanty difFufed 
 light, but are indeed little likely ever to be formed amidft the 
 vapours of humid climates, which by rendering fmoke and 
 duft adherent to the furface, foon cover the work with a cruft 
 of dirt inftead. But in Italy all conditions of climate were 
 favourable ; the foil was full of ancient relics, to which time 
 
io6 
 
 VIII.— BRONZES. 
 
 had lent the fuperadded beauties of patination, and finally, more 
 than one noble work of antiquity had furvived all the chances 
 and changes of ages of barbarifm and devaftation. In Rome 
 the Marcus Aurelius, the ancient wolf of the Capitol, the 
 bronze doors of the Pantheon, remained, as they ftill remain, in 
 Jitu. 
 
 The earlieft indications of the revival of art then, were 
 manifefted in works in bronze perhaps more decidedly than 
 in any other vehicle ; and thefe Roman ftatues and other 
 ancient remains became at once the types of works fcarcely 
 lefs admirable. Already in the fourteenth century the bronze 
 doors of San Giovanni, in Florence, by Andrea Pifani, exhibit 
 a vaft bound forwards. Nature and the antique are there 
 already feen ftruggling with the old manner. Pifani's great 
 fuccellbr, Lorenzo Ghiberti, foon after embarked ftill more 
 boldly in the fame career, and with Donatello, Brunalefchi, 
 Verocchio, Pollajuolo, &c. came at laft — the great age of 
 the revival. Everlafting bronze was then deemed the fitteft 
 material for all works in fculpture ; the age of connoifTeurfhip 
 followed, when every fragment of the great epochs of Greece 
 and Rome was treafured up and ftudied. Soon the greateft 
 artifts of the age — painters, architeds, fculptors, goldfmiths, 
 bufied themfelves with imitations and reprodudions of antique 
 works in bronze. Nothing was deemed too trivial to engage 
 even the higheft talents, provided antiquity could fhow fome 
 parallel work, and in confequence miniature ftatuettes, relievi, 
 medals, vafes, lamps, candlefticks, and in fhort, all kinds of 
 decorative objeds were produced on all hands, not as manu- 
 factures, but as works of art. The quattro-cento period then, 
 was the great age of Italian bronze working ; and it was not 
 till the fucceeding century that Florence reduced the art to 
 the flatus of a great ftaple trade. 
 
 The bronze manufactures of Florence have hitherto received 
 but little elucidation from writers on art, whilft the corref-r 
 
VII.— BRONZES. 107 
 
 ponding produdions of the north of Italy, (Venice and the 
 Lombard towns), are feldom fpecially identified or affigned to 
 their true origin. This Colledion contains feveral important 
 monuments of northern Italian work, notably, the great 
 fire-dogs; and in another category, the beautiful engraved 
 and damafcened decorative utenfils of Venice. An interefting 
 chapter might be written on the latter clafs of objedts, con- 
 nected as they are with the well-known Oriental damafcened 
 velTels, ftill fo frequently to be found in Italy. 
 
 Notwithftanding the extent to which they were pro- 
 duced, good Italian bronzes have now become of very rare 
 occurrence, and always command high prices. One reafon of 
 this is, that they are ftill ufed as articles of furniture or room 
 decoration, and there are hundreds of manfions in this country 
 ornamented with fine renaiftance bronzes, the owners of which 
 do not yet regard them as ferioufly deferving the defignation 
 of works of art. 
 
 No. 331. 
 
 ALVER, in gilt bronze, Venetian engraved work — 
 circa 1530-40. Diam. 20 in. In the centre is a 
 raifed medallion with a fhield of arms, and around 
 it a wide band of engraved ornamentation, containing four 
 large cartouches, with clafTical battle fubjedls ; between thefe 
 are allegorical and terminal figures, mafks, interlaced ftrap- 
 work, and foliated ornament. The border is elaborately en- 
 graved with three compartments, reprefenting the attack and 
 defence of fortified places, and with medallions of emblema- 
 tical figures, with cartouche ftrapwork, amorini terminating in 
 fcroll foliage, &c. &c. The entire furface of the piece is 
 engraved in the moi^: intricate manner, the fubjeds containing 
 hundreds of figures. 
 
io8 
 
 VIII.— BRONZES. 
 
 No. 332. 
 
 WER, in gilt brafs. Venetian engraved work — circa 
 } 1530-40; entire height, ii| in. This moft elegant 
 vefTel is decorated in the ftyle of the preceding piece, the 
 ornamentation is, however, fomewhat more mafterly and 
 refined in ftyle, and, apparently of rather earlier date than the 
 plateau. Although it exadly matches the latter, it was evi- 
 dently not the original Ewer "en fuite" with it; around the 
 body of the vafe is a continuous frieze of a battle-fubjedl, con- 
 taining a multitude of figures and horfes ; the neck, handle, 
 and foot are enriched with the moft beautiful arabefque orna- 
 mentation. The fhape of the piece is evidently founded on 
 an antique (Greek) model, and although different in many 
 refpedSj having a decided imprefs of the fixteenth century, is 
 fcarcely lefs beautiful than the ancient prototype. 
 
 No. 333. 
 
 jVIFORM EWER, in bronze, engraved. Venetian 
 t work— circa 1530-40. Height 12J in. This piece, 
 although in the fame category as the preceding fpecimens, is 
 of fomewhat different charadler. In the firft place, it is caft 
 or moulded, whereas the others are of turned or hammered 
 work ; the lip and fpout, are formed by cartouche fcroll- 
 work of mafTive charadter, and the handle is a compofition 
 of a dragon on a cornucopia, in full relief, and finifhed by 
 chifelHng. The piece is, in fad, of an intermediate cha- 
 radter, between the engraved fpecimens and the bronze fculp- 
 tured or relievo vafes of the Florentine fchool. The body of 
 the piece, the neck and feet, are however richly engraved in 
 the ftyle of the previous fpecimens. Round the centre is a 
 frieze or band containing three heroic fubjeds within ftrap- 
 work compartments, viz., Mutius Scasvola, Horatius Codes, 
 and Marcus Curtius ; above, on the neck or fhoulder of the 
 vafe, are three medallions, with profile bufts of Camillus, 
 
VIIL— BRONZES. 109 
 
 Scipio, and Marcellus ; on the under part are the hiftoric fub- 
 jedls of the three heroines, Lucretia, Portia, and Virginia, and 
 on the foot, medalhons of EmiHa, Odlavia, and Hortenfia. 
 The fpaces between the ftrapwork compartments are filled in 
 with the figns of the zodiac ; the neck of the piece is en- 
 graved with trophies and with a fhield of arms of the 
 Venetian patrician family of Cicognara under the fpout ; the 
 fignature of the artift, " Horatius ' Sehenkiy' is engraved un- 
 derneath the foot.* Numerous explanatory infcriptions ac- 
 company the engraved fubjedls. 
 
 No. 334. 
 
 AIR OF BRONZE FIRE-DOGS. Venetian work. 
 — circa 1570. Height of each, 4 ft. On pedeftals 
 of open ftrap or cartouche work, with fatyrs, amorini, &c. in 
 the round, are refped:ively fupported ftatuettes of Venus and 
 Adonis. In front of each piece is a fhield with the arms of 
 the noble Venetian family of Barberigo. Thefe magnificent 
 fire-dogs are the fineft of the kind known to exift. Many 
 others of the fame type of defign are preferved in colledions. 
 They are probably all of northern Italian origin. A pair in 
 the Marlborough Houfe Colledlion bears the fignature of the 
 maker, " Jofepho * di ' Levi • in ' Ferona • mi ' feceT 
 
 No. 335. 
 
 AIR OF BRONZE FIRE-DOGS. Italian— circa 
 1560. Height 3 ft. The lower part of the compo- 
 fition is ornamented with a large grotefque mafk and iron fl:rap 
 fcrolls ; above is a triangular focle, with amorini at the corners, 
 fupporting a vafe, which in turn ferves as a pedefi:al for an 
 
 * In the Bernal colleftion was a Venetian plateau of this fabrique, (lot 
 1224,) figned and dated " Horatio Forezza, 1 533 ;» and another, (lot 1227,) 
 figned " Nicolo Rugina." Both are now in the Britifh Mufeum. 
 
I lO 
 
 VIII.— BRONZES. 
 
 amorino. Both the dogs are identical in defign ; they were 
 originally brought from a palace of the Counts Brancaleoni. 
 
 Nos. 336-339. 
 
 ET OF FOUR FIRE-IRONS. Italian work— 
 circa 1560. Thefe utenfils are of unufual fize as 
 compared with limilar modern ones ; they are in wrought 
 iron ornamented with perforated tracery-work and fcrolls, the 
 tops or handles being formed by bronze terminal figures of 
 fatyrs; the fet confifts of fhovel, tongs, a fork with two 
 prongs, and a hooked utenfil intended for drawing together 
 the billets of wood anciently burnt on the open hearths of the 
 vaft fireplaces ,* the latter utenfil, it ftiould be obferved, is the 
 reprefentative of our Englifii poker, tlie introduction of which, 
 both in Italy and France, is entirely of recent date, and is of 
 courfe only really required where coal is burnt. It is probable 
 that this peculiar inftrument correfponds to the ancient French 
 " utenfil de cheminee," the " Tirtifeu.." See M. de Laborde's 
 Gloflary attached to his " Notice des Emaux,'' &c. (Second 
 Part, p. 516, Article " Tirtifeu.") 
 
 Nos. 340 and 341. 
 
 WO WROUGHT IRON FENDERS, ancient 
 Italian cinque-cento work. Width 2 ft. 7 in., depth 
 from back to front 2 ft. One of thefe belongs to the 
 fire-dogs. No. 335. Thefe objedls are both rare and intereft- 
 ing, very few fpecimens having been preferved to the prefent 
 day. They confift of a fi mple band or ftrap of wrought iron, 
 ornamented with cuttings or funk flutings at regular intervals, 
 2 in. wide and in. thick, wrought into an elegant curved 
 outline, and pofed on edge. In front of each is a fmall bronze 
 ma{k fcrewed on. 
 
VIII.— BRONZES. 
 
 Ill 
 
 No. 342. 
 
 ;AIR of bronze candlesticks, Italian 
 work — circa 1480- 1500. Height of each, 10 in. ; 
 diam. of bafe 8^. The wide circular bafes are fimilar in fhape 
 to the well-known Morefco-Damafcened candleflicks of the 
 fame period. The pillar of the candleftick is furrounded on the 
 lower part by numerous bold proje6ling mouldings, and is 
 balufter-fhaped above, and the bafe is decorated with exquifite 
 interlaced ornaments and foliated work, grotefque mafks, gar- 
 lands, and fhields, and bold torus mouldings of wreaths of 
 leaves. The vigorous and artiftic defign of thefe magnificent 
 candleflicks is only to be equalled by the mafterly execution 
 of the work ; the fharp and decifive chifelling almofl: fuggefting 
 the idea of their being cut from the folid mafs. That they 
 are of the quattro-cento period there can be no doubt, and as 
 little, that they are the work of one of the greateft artifts of the 
 age, moft likely one of the great Florentine fculptors. The 
 general defign of the pillar of the candleflick refembles that of 
 the bronze pedeflal of the flatue of Judith, by Donatello, under 
 the Loggia of Orcagna, at Florence. 
 
 Nos. 343, 344, 345. 
 
 ^^HREE pairs OF BRONZE CANDLESTICKS, 
 engraved and damafcened with filver, — Venetian work 
 — circa 1550. Height of the largefl pair, 7^ in., diam. of 
 bafe, 7 in. Thefe pieces are nearly identical in defign, and are 
 probably all by the fame hand. They are a charad:erifl:ic type 
 or model, and are evidently the refult of the imitation of 
 Turkifh or Morefco work, which became fo much the fafhion 
 in Venice during the fifteenth and fixteenth centuries. The 
 broad cylindrical bafe of the Morefco candleflicks here feen 
 modified by an elegantly moulded contour, forms a pedeflal 
 for the pillar above, which reprefents an oviform vafe. The 
 
112 
 
 VIII.— BRONZES. 
 
 decoration, again, has a ftrong analogy to the Morefco ftyle : 
 it confifts of an elaborate pattern of a narrow interlaced filet 
 in filver damafquinerie, the ground fpaces being entirely filled 
 in with an engraved fcroll diaper pattern. This peculiar 
 genre" of ornamentation was not confined to Italy. The 
 works of the German Virgilio Solis, and other of the Augf- 
 burg goldfmithdefigners aboutthisperiod, exhibit many varieties 
 of the fame generic motive, and fhow how quickly then, as 
 now, any favourite ftyle of pattern was reproduced, and 
 imitated on all hands. 
 
 No. 346. 
 
 AIR OF BRONZE CANDLESTICKS, caft and 
 chafed. Italian work — circa 1570. Height, 9 in. 
 On a triangular plinth three ftatuettes of kneeling amorini, 
 conneded by garlands of fruit and flowers, are upholding an 
 oviform vafe-fhaped pillar, decorated with mafks, ftrapwork, &c. 
 in relief. 
 
 No. 347. 
 
 f^RONZE CANDLESTICK, caft and chafed. Italian 
 work — circa 1570. Height 7I in. The upper part 
 of the piece is fimilar in defign to the preceding, but is fup- 
 ported on three terminal ftatuettes of amorini, with dolphins' 
 tails, ftrings of pendent beads or pearls replace the garlands of 
 the previous example. Thefe pieces were probably produced 
 in the north of Italy ; they have great analogy with the ftyle 
 of the fire-dogs, being, like them, evidently caft from models 
 carved in wood. 
 
 No. 348. 
 
 RONZE CANDLESTICK, ftatuette of an amorino, 
 bearing a vafe on its ftioulder, and fupported on a 
 triangular open ftrapwork pedeftal, ornamented with cherubs' 
 heads and fea-horfes at the angles. Height io| in. — circa 
 1570. 
 
VIII.—BRONZES, Etc. 113 
 
 No. 349. 
 
 I^RONZE LAMP, caft and chafed— circa 1570. Entire 
 height, 13 in. The lower part forms a candleftick of 
 very fimilar ftyle to the preceding piece ; into the nozzle, 
 however, is adapted a lamp formed by a dragon in full relief, 
 with a large murex fhell fupported on the point of its tail. 
 
 No. 350. 
 
 I^^IMILAR BRONZE CANDLESTICK LAMP, 
 the upper part formed of a grotefque figure of a fyren. 
 Height, 14 in. — circa 1570. 
 
 No. 351. 
 
 RONZE INKSTAND — circa 1 5 60-70. Entire 
 height 14^ in. The lower part is formed by a circular 
 gadrooned vafe, upheld by three terminal winged tritons, on a 
 triangular plinth ; and the cover is furmounted by a ftatuette 
 of Fame blowing a trumpet and holding a wreath. 
 
 No. 352. 
 
 I^RONZE VASE (PEN HOLDER), Italian work— 
 circa 1560-70. Height 5|: in. The body of the vafe 
 is decorated with acanthus foliage in relief, and refts on three 
 open ftrapwork fcrolls. 
 
 No. 353. 
 
 RIANGULAR BRONZE INKSTAND, fupported 
 on three lions holding Ihields; the cover furmounted 
 by a ftatuette of Hope. Height 9I in. —circa 1560-70. 
 
114 VIII.— BRONZES, Etc. 
 
 No. 354. 
 
 I^RONZE QUADRANGULAR ALTAR- 
 1^ SHAPED PEDESTAL, Florentine work. Quattro- 
 cento period. Height 3 in., diam. of bafe 3 in. The four 
 fides contain panels, in each of which, alternately, is a fingle 
 figure of a faun or a bacchante. In the centre of the under- 
 fide of the pedeftal is a circular relievo medallion of Apollo. 
 This admirable work is one of thofe favourite early imitations 
 of the antique, alluded to in the introdudion to this fedlion. 
 There is nothing in the fl:yle of defign to enable one to aflign 
 it with probability to any particular artift. It is, however, 
 well worthy of a Donatello, and can indeed fcarcely be the 
 work of a lefs powerful hand. 
 
 Nos. 355 and 356. 
 
 AIR OF BRONZE BRACKET BRANCHES 
 for lights, — terminal figures of fyrens, the lower por- 
 tion forming an acanthus leaf fcroll, the wings foliated. Height 
 
 19 in. — circa 1570. 
 
 Nos. 357 and 358. 
 
 ^^AIR OF BRONZE BRACKET BRANCHES 
 J^^^ or girandoles, —terminal amorini, holding up cornu- 
 cupia, with prickets for candles — circa 1570. Entire height 
 
 20 in. Thefe elegant branches are moft likely of Florentine 
 work ; they were cafl: by the procefs called " a la cire perdu," 
 and are of extreme lightnefs. 
 
 No. 359. 
 
 RONZE DOOR-KNOCKER. Italian work— circa 
 1560. Height I4f in., width 13 in. In the lower 
 part are two nymphs or fyrens embracing, terminating in fcroll 
 
VIIL— BRONZES, Etc. 115 
 
 foliage, their lower extremities forming the heart-lhaped frame- 
 work of the compofition; on their fhoulders ftands an amorino, 
 filling in the centre of the compofition, and on each fide are 
 amorini clinging to the framework of the defign. This beau- 
 tiful work is attributed to Giovanni Bologna. It is a fplendid 
 fpecimen of a clafs of objedts of which very few are now to 
 be found in fitu. The chafing or finifiiing of the work was 
 evidently from the hand of the mafter, indicating it to be in 
 all probability an original or unique fpecimen of this particular 
 defign. 
 
 No. 360. 
 
 f^RONZE GROTESQUE LAMP, Florentine quattro- 
 cento work. Height 10 in. On a tall pillar enriched 
 with numerous mouldings, mafks, &c., and Handing on three 
 proje6ling feet is pofed a negro's head, forming the body of 
 the lamp ; on the feet are lizards in natural attitudes. The 
 negro's head and tripod feet are both imitated from antique 
 originals. 
 
 No. 361. 
 
 IRCULAR BRONZE INKSTAND OR PER- 
 FUME BURNER. Florentine quattro-cento work, 
 ornamented with mafks, garlands, &c. in the fl:yle of the 
 candlefticks. No. 342. The cover is furmounted by a large 
 fl:atuette of a Roman emperor, and is apparently of later date 
 than the lower part. 
 
 No. 362. 
 
 I^RONZE LIFE-SIZE BUST, of an unknown per- 
 fonage, wearing a gown and fquare cap — circa 1550. 
 Italian work, attributed, but without adequate evidence, to 
 Sanfovino. 
 
ii6 VIII.— BRONZES, Etc. 
 
 No. 363. 
 
 I^RONZE STATUETTE, Satan overthrown. Flo- 
 rentine ? cinque-cento work. Length 6| in. This 
 fpirited ftatuette was probably part of a group of St. Michael 
 overcoming Satan. It was carefully chafed and finifhed, 
 doubtlefs by the artift, and is of the beft, or at any rate moft 
 abundant period of the Florentine bronze fabrication, about 
 the middle of the fixteenth century. 
 
 No. 364. 
 
 NGRAVED COPPER EWER, fimilar in fhape to 
 Nos. 332 and 333. Venetian work — circa 1500-30. 
 Height 10 in. This ewer is entirely covered with an engraved 
 interlaced pattern, evidently a copy, line for line, of an 
 Arabic or Morefco damafcened defign. The fhape is, however, 
 conclufive as to its being actually of Italian origin. The piece 
 is of hammered or turned work, and has been thickly plated 
 with fome white metal, probably an alloy of tin. 
 
 No. 365. 
 
 VIFORM EWER IN COPPER. RepoufTe work, 
 Venetian — circa 1530. Entire height, 12 in. The 
 body of the ewer is furrounded with bands of foliated fcroU- 
 work, executed in repoufle in an expeditious manner, and 
 dexteroufly finifhed by chifelling. The ornamentation is very 
 charadleriftic of the north of Italy.* 
 
 * Venetian and Lombard foliated ornament of the earlier cinque-cento 
 period has but little analogy with that of the fouth of Italy at the fame epoch. 
 The Roman and Florentine ftyles are founded direftly on the antique ; the 
 clalTical acanthus fcroll being the conftant and indeed almoft unique motive. 
 In the north, on the contrary, a more naturaliftic bias is vifible : a peculiar 
 fmall cut or raffled leaf," fomewhat refembling an ivy, or more nearly ftill a 
 vine leaf, is here the favourite motive, and the direft influence of oriental 
 conventionalized floral diaper patterns is likewife diftindly vifible. It is 
 
VIII.— BRONZES, Etc. 
 
 117 
 
 Nos. 366 and 367. 
 
 WO BRONZE OVIFORM EWERS, fimilar in fliape 
 to previous example. Venetian work — circa 1530. 
 Entire height of each, 11 in. Without decoration. Thefe 
 fpecimens appear to be of caft and turned work. 
 
 No. 368. 
 
 ARGE BRONZE EWER, of fimilar defign. Vene- 
 tian work — circa 1530. Entire height, 16 in. 
 
 No. 369. 
 
 WER, with cover, (cruet or burette,) in bronze or 
 latten. French or German work — circa 1400. Height 
 9 in. The fpout is formed by a rude fedent figure of a lion, 
 and the handle by a ferpent or dragon. This fpecimen is the 
 earlier "gothic" type, corefponding to the utenfils previoufly 
 defer ibed. 
 
 No. 370. 
 
 WER, in bronze. Venetian work — circa 1530. Entire 
 height 13 1 in. Similar defign to No. 368. 
 
 No. 371. 
 
 ^^ALVER OR PLATEAU in engraved bronze. Ve- 
 netian work — circa 1530-40. Diam. 19 in. Richly 
 engraved with foliated arabefques, cartouches, ftrapwork, and 
 guilloche ornaments, mafks, &c. In the centre, a medallion 
 
 fometimes difficult even, to diftinguilh between the ornamentation of the north 
 of Italy and that of Germany of the fame period, (particularly circa 1530,) the 
 ftyle having been communicated to the latter country in all probability from 
 Venice. This decided difference betwixt the ornament of the north and 
 fouth of Italy was remarked, during the courfe of the fixteenth century even, 
 and is alluded to by Cellini more than once in the defcriptions of works of 
 Art given in the courfe of his Memoirs. 
 
ii8 VIII.—BRONZES, Etc. 
 
 with a fliield of arms. (The plateau originally en Juite with 
 an ewer of fimilar defign to No. 332.) 
 
 No. 372. 
 
 ^^MALL BRONZE HAND-BELL. Italian work— 
 date 1 56 1. Height 4I in. Richly decorated with 
 zones of arabefque ornament in relief, and with three fhields 
 of arms. Around the upper part is a band containing the fol- 
 lowing infcription : " lo 'jacobus • Malhabia • mdlxi." It is 
 uncertain whether this records the name of the maker or of the 
 owner of the bell, moft probably that of the maker, as it feems 
 to have been a pretty general cuftom with bell-founders to fign 
 their works. It may be remarked, that the ornamentation is 
 decidedly of an earlier charader of ftyle than that of the adual 
 date ; this peculiarity alfo is often noticed with refped to bells, 
 the old patterns having been moulded and reproduced over and 
 over again, as though a certain traditional permanence in defign 
 were purpofely affeded. 
 
 No. 373. 
 
 ^Smaller Italian bronze bell. Height 
 
 3 in. — cinque-cento period, richly decorated with ara- 
 befque ornaments, acanthus-leaf mouldings, &c. Infcribed 
 round the upper part, " Pulfa meo fervus voco lipo mano 
 tuos." The ornamentation of this bell belongs to an earlier 
 period than the previous fpecimen, probably dating as far back 
 as 1500. 
 
 No. 374. 
 
 TOPPER OF A LARGE FLASK or Fountain in 
 bronze. Italian work — cinque-cento period— repre- 
 fenting a grotefque dragon or chimera in full relief. Length, 
 6 in. Entire height, in. 
 
VIII.— BRONZES, Etc. , 119 
 No. 375. 
 
 RONZE TAP TO A CISTERN or fountain. 
 Italian cinque-cento work. The fpout or nozzle is 
 formed by a grotefque head of an animal, and the handle of 
 the tap by an eagle with outftretched wings. 
 
 No. 376. 
 
 ^^SYREN, or Mermaid, in bronze. Italian cinque-cento 
 work ; probably a handle to a bronze bath or ciftern, 
 or to a piece of furniture. Height, 4 in. ; width, 3I in. 
 
 No. 377. 
 
 MALL OVAL ESCUTCHEON, in gilt bronze 
 (" Porte montre"). Italian cinque-cento work. 
 Height, 3 in. ; width, 2f in. Within an oval frame of ftrap- 
 work ornament and amorini, is a demi-buft figure of Judith 
 with the head of Holofernes. From the lower part of the 
 frame a hook projedls. This little utenfil was in all proba- 
 bility intended for the fufpenlion of a watch. 
 
 No. 378. 
 
 f^RONZE STATUETTE of a Falconer or Peafant, 
 bird-catching. Italian (Florentine?) work. Firft 
 half of fixteenth century. Height, 15 in. It is probable that 
 the adtion of this figure reprefents the luring back a hawk by 
 the exhibition of a decoy-bird. 
 
 No. 379. 
 
 ^RONZE STATUETTE. David triumphing— at hi§ 
 feet the head of Goliath. Height, 8| in. Florentine 
 cinque-cento work. A copy or partial " fur-moulage" of an 
 earlier work of the period of Donatello. 
 
120 
 
 VIIL— BRONZES, Etc. 
 
 No. 380. 
 
 i^RONZE STATUETTE of a grotefque aged man or 
 flave, originally gilded. Florentine quattro-cento 
 work. Height, 5^ in. This ftatuette appears to have formed 
 part of fome utenfil, and was mofl: likely a copy or repro- 
 duction from an antique grotefque. 
 
 No. 381. 
 
 iTATUETTE, in bronze or " latten/' of a Fool or 
 Jeffcer playing on a bagpipe, mounted on hexagonal 
 pedeftal. Entire height, 8 in. German ? work — fourteenth or 
 fifteenth century. Originally the bafe or pillar of a candleftick. 
 
 No. 382. 
 
 MALL STATUETTE of a Fool or Jefter, in bronze. 
 Height, 4$ in. Mediaeval work. Probably the hilt 
 of a knife or dagger or the top of a fool's baton, — faid to have 
 been found in the tomb of the fool of Charles the Sixth of 
 France. 
 
 Nos. 383 to 386. 
 
 OUR BRONZE HANDLES to a fet of fire utenfils. 
 Italian cinque-cento work. Terminal figures of amorini. 
 
 Nos. 387 to 393. 
 
 EVEN STATUETTES in gilt bronze. Amorini 
 playing on various mufical inftruments. Italian, Flo- 
 rentine ? cinque-cento work. Height of each 5^ in. Origin- 
 ally part of the mounts or metal enrichments of a piece of 
 furniture. 
 
VIII.— BRONZES, Etc. 
 
 121 
 
 Nos. 394 to 397. 
 
 ^^ET OF FOUR CHISELLED BRONZE FEET, 
 or fupports to a coffer or fmall cabinet. Italian cinque- 
 cento work. Winged fphinxes or fyrens, the lower extre- 
 mities terminating in acanthus foliage. 
 
 No. 398. 
 
 HESS PIECE, or top of a cane, — head of a monk in 
 bronze, with a hinged hood or capuchon. Mediaeval 
 work ; entire height 3 in. 
 
 No. 399. 
 
 ^SMALL statuette, in gilt bronze. An amo- 
 rino holding a tortoife. Height 4J in. — Italian cinque- 
 cento work. A portion of fome decorative objedt of ufe. 
 
 No. 400. 
 
 ARGE PENDENT BRANCHED CHANDE^ 
 LIER, in brafs or " latten." Flemifh feventeenth 
 century work. 
 
 Nos. 4015 402, 403, 404. 
 
 OUR FEET, or fupports to a coffer or cabinet, in gilt 
 bronze. Eagles with outfpread wings. Height of 
 each 5 1 in. Italian fixteenth or feventeenth century work. 
 
 No. 405. 
 
 ISTERN, or fountain, in caft brafs (" latten.") Fle- 
 mifh or German work — circa 1400-50 ? Height i6i 
 in., width lof in. This interefling objedt, intended for fuf^, 
 penfion againfl a wall, is a rare and perhaps unique example 
 of its kind. Similar utenfils are not unfrequently feen figured 
 in illuminations and Flemifh pidlures of the early fchools. From 
 
122 VIIL-^BRONZES, Etc. 
 
 the early date and real excellence in defign of this adlual fpe- 
 cimen, however, it is entitled to Tome confideration. The 
 defign reprefents a caftle or clufter of turrets : three circular 
 " tourelles" are attached to a fquare central tower, the group 
 being carried on a compound bracket of elegantly defigned 
 mouldings, with a demi figure holding a ftiield of arms in 
 front. The upper part is battlemented and crowned with 
 conical roofs or fteeples. At the canted angles of the fquare 
 central portion are placed two fmall gilded ftatuettes, — thefe, 
 however, are of more recent date, (fixteenth century,) and 
 have doubtlefs replaced original ones of more confiftent defign ; 
 the tap appears alfo, rather more modern than the ciftern itfelf. 
 
 No. 406. 
 
 AIL OR " SEAU," with fwing or fwivel handle, in 
 engraved bronze. Venetian work — circa 1530. 
 Height 5|- in. Diam. 10^ in. The decoration, confiftirig of 
 foliated ornamentation, oval cartouches with allegorical figures, 
 &c. is in the ftyle of the ewer and plateaux already defcribed. 
 The ufe of thefe pails, which are not of rare occurrence, is 
 not quite obvious ; they may have been intended, like the 
 ewer and plateaux, to contain perfumed water for rinfing the 
 hands of perfons at table. 
 
 No. 408. 
 
 AIR OF BRONZE SNUFFERS, Italian cinque- 
 cento work. The box is ornamented with a fyren or 
 mermaid, and with pundlured ornamentation. There are few 
 minor objedls of everyday ufe, of the renaiflance period, which 
 exhibit a greater variety of elegant defigns than fnufFers ; and 
 fpecimens are to be found in almoft every colledtion of medi- 
 aeval art. ; : ; 
 
VIII.-BRONZES, Etc. i2j 
 Nos. 409 and 410. 
 
 WO STOPPERS to large flafks, copper repouffe 
 work, parcel gilt, reprefenting eagles' heads. Italian, 
 fixteenth and feventeenth century work. 
 
 No. 41 1. 
 
 AZZA, in filver gilt, Italian repoufle and chifelled 
 work — circa 1560. Height 5 in., diam. 7|- in. In 
 the centre of the bowl is a raifed medallion with Noah's ark, 
 around it a frieze, reprefenting the deluge, in various epifodes. 
 The ftem has an oviform knob in the centre, chafed with fyrens 
 and foliated ornament, and the foot is chafed with marine 
 animals. This elegant fpecimen of the goldfmith's art may 
 probably be of Genoefe origin. 
 
 Nos. 41 2 and 413. 
 
 i AIR OF STANDS (fait cellars, or « drageoirs ") in 
 bronze gilt. Italian (Venetian) work — circa 1570. 
 Height 12 in., diam. of bafe 9 in. On a triangular plinth or 
 " focle," enriched with ftrapwork ornamentation, mafks, &c., 
 and fupported at the angles by fea horfes, are three ftatuettes 
 of Tritons, furrounding a central balufter-fhaped pillar ; on the 
 heads of the Tritons are pofed three pedlen fhells ; and the 
 pieces are refpedively furmounted by ftatuettes of Jupiter and 
 Venus. The ornamental mafks and faces of the Tritons are 
 in filver. 
 
 No. 414. 
 
 :ENTRE PIECE, " drageoir," or falt-cellar, in gilt 
 bronze. Italian (Venetian) cinque-cento work — circa 
 1560. Entire height 18 in. On a fquare pedeftal, orna- 
 mented with ftrapwork and mafks, are four kneeling figures 
 in the round, upholding a farcophagus-fhaped vafe, the fides 
 
124 VIII.— BRONZES, Etc. 
 
 of which are engraved with marine fubjeds. This again is 
 furmounted by another fimilar vafe, or falt-cellar, fupported 
 on terminal feet, and crowned by a conical fpire or cover, 
 enriched with trophies. 
 
 No. 415. 
 
 I^RONZE " DRAGEOIR," or falt-cellar. Italian— circa 
 ^^^^ 1560; height 7 in. This vigorous compofition con- 
 fifts of a ftatuette in the round, of Neptune kneeling on a 
 Dolphin and upholding a large peden fhell on his fhoulders ; 
 the latter obje6t probably moulded from nature : the group 
 is fupported on a circular moulded bafe or plinth. Not 
 unworthy of Giovanni Bologna, and probably a work of his 
 fchool and period. 
 
 Nos. 416 and 417. 
 
 AIR OF SALT-CELLARS, in bronze gilt. Floren- 
 tine work — circa 1560. Height of each 8^ in. Two 
 well drawn and carefully modelled nude male figures . are 
 kneeling as caryatides, and fupporting clam or chama fhells ; 
 probably, as in the previous inftance, moulded from the real 
 fhells. 
 
 Nos. 418 and 419. 
 
 AIR OF SALT-CELLARS. Same models on a 
 flightly reduced fcale. Height 6-J- in. 
 
 No. 420. 
 
 ALT-CELLAR, in gilt bronze ; Italian cinque-cento 
 work. Height 1 1 in. Three Tritons arranged back 
 to back are fupporting three pedten fhells, furmounted by a 
 ftatuette of Mars. 
 
 Salt-cellars in the Mediaeval and earlier cinque-cento periods 
 were always favourite objeds of decoration, and were fome- 
 times works of great coftlinefs; one or two prominent ones 
 
VIII.— BRONZES, Etc. 125 
 
 being placed as centre pieces on the table. The celebrated 
 falt-cellar executed by Cellini for Francois Premier, (now pre- 
 ferved at Vienna) and^ defcribed in the life of the Artift, was 
 of this defcription. 
 
 No. 421. 
 
 ONCAVE LENS, or diminifhing glafs, in rock cryftal, 
 with mounting and handle in filver gilt. Italian 
 work — circa 1550. Diam. of lens 2^ in., entire length, with 
 handle 6-|- in. The handle is formed by three interlaced fer- 
 pents twifted fpirally round a central ftem : at its infertion 
 into the frame of the glafs is a vigoroufly defigned mafk fur- 
 rounded by cartouche work. 
 
 No. 422. 
 
 ASE for a fmall MifTal, in gilt bronze, length 5-I- in., 
 width 4 in. Italian work— circa 1540. The fides 
 have fhields of arms in the centre, furrounded by cartouche 
 work and ribbons, and around them is a wide border of ara- 
 befque work ; the ornamentation is engraved with the burin, 
 the cafe is faftened by two clafps of elegant defign. 
 
 No. 423. 
 
 ^^UGSBURG CLOCK. In gilt bronze cafe— circa 
 1560. Entire height 1 1{ in. The cafe is ornamented 
 with balufter-fhaped attached columns at the angles ; it is fup- 
 ported on a fplayed bafement, and furmounted by a perforated 
 dome cover with a ftatuette of Fortune : all the parts of the 
 defign are richly ornamented with ftrapwork ornament, &c. 
 
 No. 424. 
 
 EDESTAL CLOCK, in chafed and gilt bronze. Ve- 
 netian work — circa 1580. Entire height 14 in. On 
 an elaborately decorated hexagonal pedeftal, containing the 
 works of the clock, is a tall pillar or maft fupporting a globe. 
 
126 VIII.— BRONZES, Etc. 
 
 furrounded by a belt or band on which the hours are marked, 
 and at the bafe of the pillar {lands a ftatuette of a Turk with 
 a fcimitar. 
 
 No. 425. 
 
 LOCK, in gilt bronze. Italian work, fixteenth cen- 
 tury. Entire height i8| in. The cafe of this clock 
 reprefents a fquare tower in three ftages, crowned by an open 
 lantern and dome. The miniature edifice is enriched with 
 regular architectural members, baluftrades, crenelations, cor- 
 nices, angle quoins, battlements, doors and windows, &c., 
 all executed with great precifion. The ftyle of architecture 
 has the maflive femi-military characfter of the Florentine Villa 
 architecture. Many articles of furniture in other materials 
 exift of this peculiar architectural character, which feems to 
 have marked an epoch of Florentine art. 
 
 No. 426. 
 
 ^MSTRONOMICAL CLOCK, in bronze gilt cafe. Ve- 
 netian work, fixteenth century. Height 14 in. 
 
 No. 427. 
 
 UNDIAL, apparently alfo forming an inkftand, in gilt 
 bronze, elaborately engraved. Augfburg work — 
 circa 1550. A fquare pedeftal is furmounted by a truncated 
 column, both are decorated with coftume figures, infcriptions, 
 aftronomical tables, diagrams, &c. 
 
 No. 428. 
 
 OMPASS, in bronze gilt, and engraved cup-fhape cafe. 
 French or Italian — circa 1590. 
 
 No. 429. 
 
 OMPASS, in fquare book-fhaped cafe, bronze gilt and 
 engraved. German ? fixteenth century work. 
 
VIII.— BRONZES, Etc. 
 
 No. 430. 
 
 MALL FLAGON, with fcrew ftopper, in gilt copper. 
 Mediaeval (fourteenth or fifteenth century) work. 
 Length 4^ in. 
 
 No. 431. 
 
 ^®MALL FOLDING CORKSCREW, in chafed filver, 
 alfo forming a feal fet with a glafs pafte. Augfburg 
 work — circa 1680. 
 
 No. 432. 
 
 TUI or needle-cafe in chifelled filver. Augfburg, feven- 
 teenth century work. 
 
 No. 433. 
 
 AIR OF SCISSORS, and two other inftruments 
 mounted in chafed filver. Italian cinque-cento work. 
 
 No. 434. 
 
 TYLUS or filver crayon." Italian — circa 1530. 
 This interefting object is a ftylus or tracing point ufed 
 by draughtfmen for drawing on fized or prepared paper. Many 
 drawings of Raffaelle, Leonardo da Vinci, and other great 
 mafters of the cinque-cento epoch are extant, executed in great 
 part with an inftrument of this kind. 
 
 No. 435. 
 
 ENITIER, or cup for holy water — bronze gilt, inlaid 
 or fet with agates and other ftones. Florentine fix- 
 teenth century work. 
 
128 
 
 VIII.— BRONZES, Etc. 
 
 No. 436. 
 
 ^OWL or tazza. " Mazer bowl" in German ferpentine, 
 g mounted in filver. Diam. 10 in. On the filver mount- 
 ing is the date 1521, and the handle is decorated with a fhield 
 of arms with enamelled blazon. 
 
IX. ITALIAN SCULPTURE. 
 
 Bella Robhia Ware^ Works in Stoncy Marble, 
 
 ELLA ROBBIA WARE," as it is now 
 familiarly termed, is fculpture in terra-cotta, 
 generally in high relief, or in the round, 
 covered with an enamel glaze of the fame 
 compofition as that of the Majolica ware. 
 The fpecimens are all believed to have 
 been produced by one family of artifts working in Florence. , 
 The firft inventor of this kind of fculpture, and the greateft 
 name of the family, was Luca della Robbia (born in 1399 or 
 1400, died 148 1 ). He was affifted during his lifetime by his 
 nephew Andrea, (born 1437, died 1528,) and the latter had 
 feveral fons, three of whom, Giovanni, Girolamo, and Luca, 
 followed their father's profefTion, while a fourth, Ambrogio, a 
 Dominican monk, alfo executed fome works. The art feems 
 to have come to an end with thefe four defcendants of Luca, 
 none of whom left children to furvive them. Girolamo 
 migrated to France during the reign of Francis the Firft, and 
 died there about the year 1567. The fabrication of thefe 
 fculptures may be prefumed to have been carried on in Florence 
 for about a century. Our information refpeding the Delia 
 Robbia is mainly derived from Vafari, writing about the 
 middle of the fixteenth century, and from Baldinucci in the 
 latter part of the feventeenth century ; — both accounts have 
 been proved to be full of errors. 
 
 It is not eafy to identify the productions of thefe feveral 
 
I30 IX.— ITALIAN SCULPTURE. 
 
 artifts, or to clafTify the fpecimens with certainty according to 
 periods. In the firft place, there can be little doubt but that 
 the pieces were often repeated, long after the epoch of their 
 original produdtion ; and in the next, as the uncle and nephews 
 appear to have worked together in the fame fabrique, a gene- 
 ral family ftyle may be fuppofed to have refulted, precluding 
 thofe marked indications of individuality, which form the beft 
 clue to the identification of the authorfhip of works of art. 
 Generally fpeaking, however, the earlier works of Luca, and 
 thofe of Andrea after his (Luca's) death, can be diftinguifhed. 
 The fpecimens which are only partially enamelled, /. e. in 
 which the nude details of the figures are left of the original 
 colour or furface of the clay, appear to the writer to be of 
 the earlieft time, /. e, the period of Luca himfelf. The pieces 
 entirely covered with the white, or the white and blue ena- 
 mels, were, however, doubtlefs after a time executed fimul- 
 taneoufly. The former fpecimens are interefting as pointing 
 to the origin of the ware. The flefh in thefe pieces was 
 originally in every cafe painted of the natural colours in dif- 
 temper, the draperies and acceflbries only being covered with 
 the enamel glaze ; (in the then ftate of the ceramic art it was 
 impofiible to produce true flefh tints in enamel colours^) and 
 it is moft probable that fimilar painted terra-cottas were 
 fabricated long before Delia Robbia's time, and that his in- 
 vention or innovation confifted fimply in applying to them 
 the enamel glazes already in ufe by the potters. (See antCy 
 p. 52.) 
 
 * It may be remarked, that in the later praftice of the Delia Robbia School 
 this difficulty was in great part overcome by a very ingenious expedient, which 
 may be feen in a relievo of the Laft Supper in the Marlborough Houfe Col- 
 leftion, No. 3986. In this piece the entire compofition is enamelled, the drape- 
 ries, accefTories, &c. in proper colours. The enamel glaze (white) of the 
 heads, hands, feet, &c. is, however, applied much more thinly than on the 
 other parts, and, being femi-tranfparent, allows the reddilh tint of the clay to 
 fliow through it, producing a kind of tawny flefh colour. 
 
BELLA ROBBIA WARE. 131 
 
 It is moreover highly probable, that others befides Delia 
 Robbia were, during the quattro-cento period, in the habit of 
 executing fimilar enamelled fculptures. Evidence to this 
 efFe(5t is indeed indiredlly given in Baldinucci, and more re- 
 cently in the notes to the life of Delia Robbia, appended to 
 the edition of Vafari now in procefs of publication at Florence ; 
 (^^ Vite dei pittori^ i^c. ^c, di Giorgio Vafari^ publicate per 
 cur a di una Jocieta di amatori delle arti belle, Firenze, 1846, 
 ^^c") and that, in confequence, the fecret of the enamel cover- 
 ing and its application was not exclufively confined to the 
 Delia Robbia family, as pretended by Vafari ; many concur- 
 rent circumftances, indeed, leave little doubt on this point. It 
 feems at any rate impofTible to draw any other conclufion from 
 the fad, that the ftanniferous enamel was everywhere in Italy, 
 during the fifteenth century, currently applied as a covering 
 to clay in the fhape of plates and vafes : its application to 
 relievi in the fame material could not therefore have remained 
 a myftery. 
 
 It is not neceflary to anticipate any remarks on the Italian 
 fculpture in ftone, marble, &c. comprifed in the Soulages col- 
 ledion ; the fpecimens are defcribed as they occur in the 
 Catalogue. 
 
 No. 437. 
 
 IRCULAR RELIEVO— Virgin and Child. Ena- 
 melled fculpture in terra-cotta of the " fabrique" of 
 Delia Robbia. Diam. of the relievo, 21 in. This 
 piece is probably the work of Andrea or of one of his fons, 
 dating after 1500? The background is coloured blue, and 
 the figures are covered with white enamel in the ufual manner. 
 The round, fwollen forms of the infant Chrift have no analogy 
 with the fl:yle of drawing of Luca, in which a certain tendency 
 to meagrenefs is on the contrary perceptible. The carved 
 
132 IX.— ITALIAN SCULPTURE. 
 
 frame, though of ancient Italian work, is of later date than 
 the relievo. It is apparently of Venetian origin, dating about 
 1550-60. 
 
 No. 438. 
 
 HE ADORATION OF THE KINGS.— Relievo, 
 in Delia Robbia ware. Length, 24 in. ; height, i6| 
 in. This exquifite work, alfo enamelled in white, on blue 
 background, is either from the hand of Luca, or an early work 
 of Andrea. It was probably a compartment of the " predella" 
 of a large altar-piece. 
 
 No. 439. 
 
 I^UST IN MARBLE, larger than life. Italian 
 cinque-cento period. Attributed to Sanfovino. The 
 perfonage reprefented is unknown ; he has a long pointed 
 beard, and wears a robe or gown of rich diapered ftufF. This 
 buft was obtained by M. Soulages from the Univerfity of 
 Padua. 
 
 No. 440. 
 
 ELIEVO IN MARBLE. Profile buft of Francefco 
 Cynthio, an Italian poet — date, firft half of the fifteenth 
 century. Author uncertain. Height of the panel, i ft. 1 1 in., 
 width, I ft. ^-^ in. He wears the ufual beretta, or cap, of 
 the fifteenth century, which is furrounded by a wreath of bay- 
 leaves ; around his neck a gold chain. The relievo is enclofed 
 within a funk moulded panel, and at the bottom is a band 
 with the following infcription in Roman capitals : " Fran • 
 Cynthius • aetatis * ann • xxiix." This beautiful work is un- 
 queftionably by one of the greateft of the Italian quattro- 
 cento fculptors. M. Soulages attributes it to one of the Pifani 
 (Andrea ?) (or Vittore Pifano, called Pifanello ?) ; but there 
 does not appear to be fpecial evidences of ftyle fufficient to 
 warrant its being attributed to any particular mafter. It is 
 
BELLA ROBBIA WARE. 133 
 
 treated quite in the manner of fome of the early bronze por- 
 trait medallion plaques ; of which there are feveral in the 
 Colledlion. Thefe early fquare medallions, however, feldom 
 or never appear to have been figned, and they, like the prefent 
 work, are, to all appearance, of fomewhat earlier date than 
 the dated medals of Pifanello, Sperandei, &c. An unfiniflied 
 relievo of regardant portraits of a lady and a gentleman exifts 
 at the back of the flab. 
 
 No. 441. 
 
 ^SMALL BUST IN ALABASTER. Italian work— 
 circa 1550. Height 8 in. Portrait, probably ideal, 
 of a lady in the coftume of the period indicated. 
 
 No. 442. 
 
 HIMNEY PIECE IN CARVED STONE, Italian 
 work — circa 1500-10. Height 7 ft. 6 in., length 
 (along the cornice) 8 ft., projection of the upper part, (cornice), 
 from back to front 3 ft. 6 in. The jambs are decorated with 
 femi-detached balufter-fliaped fhafts or columns, enriched with 
 a profufion of decoration. Supported on the fummits of the 
 capitals of thefe fliafts, on each fide, are large projedling trufles 
 or corbels, reprefenting figures of tritons or mermen, uphold- 
 ing the fuperincumbent entablature. The latter projeds boldly 
 forward into the room, forming a kind of canopy, finifhed 
 originally above by a floped or pyramidal roof. The various 
 members of the entablature are richly ornamented with carved 
 mouldings, and the frieze is filled with a continuous band 
 of hunting fcenes, confifting of an immenfe number of 
 figures, horfes, dogs, and wild animals, reprefenting various 
 epifodes of the chafe ; the figures are executed in full relief, 
 i.e,y for the moft part entirely detached from the ground. 
 The cornice is richly ornamented with modillions and deco- 
 rated mouldings, executed with the utmoft fkill and high 
 
134 IX.— ITALIAN SCULPTURE. 
 
 finifli. This magnificent fpecimen of ancient decorative fculp- 
 ture was brought from the palace of the Counts PetinelH at 
 Padua, and is beheved to be the work of one of the Lombard! 
 family, one of whom (Tullio), is known to have been exten- 
 fively employed on fimilar works at Padua, towards the begin- 
 ning of the fixteenth century. 
 
 No. 443. 
 
 ELIEVO IN ALABASTER. German or Swifswork 
 — circa 1550-60. Height 15 in., width 12 in. The 
 fubjed reprefents the ftory of the Prodigal Son. Several dif- 
 tind adions or epifodes of the ftory are fhown befides the prin- 
 cipal group, which reprefents the prodigal fon on his knees, with 
 the fwine feeding near him. The background is filled with 
 elaborately decorated fantaftic architedure, the ornamental details 
 of which are gilded. The work is executed with great technical 
 ability in a mafterly but mannered ftyle. Sculptured pictures 
 in al abaft er of this kind, often furrounded by elaborately carved 
 wood or ftucco frames, were much in vogue about this period. 
 The fubjedls are ufually fcriptural or hiftorical ; and they 
 appear to have been fimply intended as objeds of chamber 
 decoration. They have great analogy in ftyle with the glafs 
 paintings of the fame epoch of the Bafle fchool. 
 
 No. 444. 
 
 ROUP IN THE ROUND,— ftatuettes of the Virgin, 
 with the infant Chrift and St. John, in marble. Height 
 I ft, 10 in. Italian work — circa 1500-20. Although cha- 
 raderized by marked peculiarities of ftyle, the author of this 
 beautiful work is not known. The influence of Michael 
 Angelo, however, is efpecially vifible in it ; the drapery, in- 
 deed, having a fpecific refemblance in the breadth and large- 
 nefs of treatment, whilft the general ftyle of drawing of the 
 Virgin alfo recalls the manner of the great Florentine. The 
 
X.— PAINTED GLASS. 135 
 
 compofitlon, on the other hand, was evidently motived by the 
 Holy Families of RafFaelle ; and, laftly, in the children we ftill 
 fee a lingering adherence to the traditional ftyle of the quattro- 
 cento. The work is evidently an ecledic or tranfitional one, 
 and was not unlikely the produdlion of a fculptor of eftablifhed 
 eminence, trained under the ancient fyftem, but endeavouring 
 in this work to acquire the more ample and grandiofe manner 
 of the new fchool. 
 
 X.-PAINTED GLASS. 
 
 Nos. 445 to 472. 
 
 ERIES OF TWENTY-EIGHT CIRCULAR 
 MEDALLIONS or roundels of painted glafs. 
 Flemifh — circa 1500-20. Diam. of each, 9 in. 
 Thefe medallions are all executed in grifaille and yellow ftain, 
 and fome of them are enriched by ornamental borders. They 
 exhibit a great variety of Biblical, legendary, and hiftorical 
 fubjecfls, and are all works of the higheft merit of their clafs. 
 
XL— MEDALS, 
 
 Chiefly Italian of the fifteenth and ftxteenth Centuries, 
 
 ^^^^^^^^HE earliefl: of the Italian Medallions appear 
 to have been executed about 1440-50 — i. e. 
 at the period of the firft uprifing of the fpirit 
 of imitation of the antique — Greek and Ro- 
 man Medals, and engraved gems, had, how- 
 ever, long before, engaged the attention of 
 nien of learning and connoifleurs ; and at laft the artifts alfo 
 became alive to the infinite fuperiority of the ancients, mani- 
 feiled in thefe minor productions of art. Medals became the 
 fafhion ; painters, archite6ls, fculptors, goldfmiths — all clafles 
 of artifls indeed, devoted themfelves to thefe works, whilft 
 princes and men of learning, ftatefmen, churchmen, and fol- 
 diers, fhowed an univerfal folicitude for the tranfmiffion of their 
 lineaments and the record of their actions or honours to pof- 
 terity in monumental bronze. The iconography of Italy of 
 the fifteenth and flxteenth centuries indeed, exifts complete in 
 thefe Medals. 
 
 Although the art of ftamping coins from dies was known to 
 the ancients, and was likewife in ufe for coining money during 
 all periods of the middle ages, the quattro-cento artifts do not 
 feem to have been able to ftrike medals of any confiderable 
 fize ; they were, therefore, nearly always caft in a mould and 
 
XL— MEDALS. 137 
 
 afterwards finifhed up with the chifel or chafing tool by the 
 artift himfelf, and this fa6t of the artiftic finifhing by hand may 
 generally be relied on as proof of the medal being really an 
 original or authentic example of the period : favourite medals 
 having been moulded and remoulded long afterwards, juft as 
 impreflions of copper-plate engravings were ftruck off at all 
 periods, exhibiting every degree of excellence as regards im- 
 preflion. The ftruck medals of any fize were not commonly 
 produced much before the year 1500, and in Italy did not 
 entirely fuperfede the caft fpecimens until the beginning of the 
 eighteenth century. 
 
 An infpedlion of the prefent collection will, it is thought, 
 fhow that the great Italian art of the revival, is in no category 
 of works more nobly manifefted than in medals, whilft there 
 is perhaps at the fame time no clafs of obje(5ls with which the 
 public is lefs familiar. 
 
 No. 473. 
 
 I^RONZE GILT MEDALLION of Galeazzo Mare- 
 fcotti of Bologna. Diam. 4^- in. The work of Speran- 
 dio of Mantua — fifteenth century ; caft and elaborately chafed. 
 Obverfe, buft of Marefcotti in armour, with the legend, " Ga- 
 leazius ' Mare/cotus' de Calvis ' Bononien * eques'" ac 'Jenator • of- 
 timus" Reverfe, a feated figure of an aged man, habited in 
 a gown, holding a book in each hand ; — -on the ground, near 
 him, arms and armour ; infcribed, " opus * Sperandei." This 
 magnificent medal was probably chafed by the artift himfelf. 
 
 No. 474. 
 
 RONZE MEDALLION of a Cardinal Trivulzio. 
 Diam. 2f in. — Early fixteenth century work, caft and 
 chafed. Obverfe, buft of Trivulzio, infcribed " Scaramutia • 
 Trivul • car * comiti • io ' formi ' primi •/.'* Reverfe, a female 
 
138 XL— MEDALS. 
 
 figure in clafTical drapery, walking to the right, holding in her 
 hands a mirror and a pair of compafles ; at her feet a cocka- 
 trice. 
 
 No. 475. 
 
 f^RONZE MEDALLION of Borfo d'Efte. Diam. 3A 
 in. — dated 1460, caft and chafed; the work of Petri- 
 cini of Florence. Obverfe, buft of the duke, infcribed, " Borjius* 
 dux ' Mutine ' Z • regii • Marchio Eftenjis* Rodigii • comes' " Re- 
 verfe, a hexagonal coffer with hinged lid, partly open, fur- 
 rounded by rocks, on the fummits of which are three caftles ; 
 above, the fun with fpreading rays ; infcribed, " Opus Petri- 
 cini de Florentia^ mcccclx." 
 
 No. 476. 
 
 ff^RONZE MEDALLION of Louis XII., King of 
 '^^m France, and his Queen, Anne of Brittany. — Dated 
 1499. Diam. 4 J in. On the obverfe is a buft of the king on 
 a field, powdered with fleurs-de-lys, and around the margin is in- 
 fcribed, ^^felice ' Ludovico • regnante • duodecimo • C^fare * altero* 
 gaudet • omnis • naceo" On the reverfe, the buft of the queen 
 on a field powdered on the dexter half with ermine, and with 
 fleurs-de-lys on the finifter fide. The infcription is as follows : 
 " Lugdun ' re • public a • gaudet e * bis Anna • regnante • benigne ' 
 fic * fui ' conflata * 1499.'' This fine medallion was executed by 
 order of the magiftrates of the city of Lyons, the model in 
 wax being the work of Mafters Nicholas and Jehan de Saint 
 Prieft, affifted by the goldfmith, Jehan Lepere, who caft it. 
 The medallions were afterwards retouched by the two artifts, 
 Saint Prieft. One example is faid to have been made in gold, 
 and one in filver is preferved in the Bibliotheque Imperiale in 
 Paris. 
 
XI.— MEDALS. 
 
 139 
 
 No. 477. 
 
 I^RONZE GILT MEDALLION of Ludovico Car- 
 bone? Diam. in. The work of Sperandio — fif- 
 teenth century — caft and chafed by the artift. Ob., laureated 
 buft of Carbone, infcribed, " or 'Jettu ' quel ' carhone • quella 
 fonte,^^ Rev., a fyren or mermaid in the fea, with two tails, 
 holding one in each hand ; infcribed, " che *fpandi • di "parlar * 
 fi largo fiume" and in fmaller charadlers, " mufis gratiifque 
 volentibus" 
 
 No. 478. 
 
 I^RONZE GILT MEDALLION, Philibert, 8th Duke 
 S,^^ of Savoy, and his Duchefs, Margaret of Auftria — circa 
 1 500. Diam. 4 in. Caft and chafed and gilded. Ob., re- 
 gardant bufts of the Duke and Duchefs, a wicker hurdle 
 ftretches acrofs the lower part of the field, the upper part 
 pov/dered with thiftles and true-love knots, infcribed, " Phili- 
 hertus ' dux ' Sahaudie • VIII' Margua • Maxi ' Cae • aug'fi'd' 
 
 Ja • " Rev., Arms of Savoy, devices of a true-love knot, 
 thiftles, and the motto, " fert." Infcribed, " gloria ' in alti- 
 
 Jimis * Deo ' et in terra pax • hominihus • hurgus.^^ 
 
 No. 479. 
 
 f^RONZE MEDALLION, head of Chrift. Diam. 
 fi^^ 3-I in. Caft and chafed — fourteenth century. Ob. 
 infcribed, " Y H S • X P S • Salvator mundi" Rev., the field 
 of the medal filled by a long Latin infcription, in parts illegible, 
 apparently purporting that this portrait of our Saviour was 
 copied from an engraved emerald, the work of the ancient 
 engraver Theucris, ,given to Pope Innocent VIII. by the 
 Sultan, &c. 
 
XL— MEDALS. 
 
 No. 480. 
 
 EDALLION, in lead, of Giulio C^fare Varanno? 
 Diam. 3I in.— fifteenth century. Ob., bu ft of Varanno, 
 infcribed, " Divus • Julius • C^efar • Varanefis * dux • hello • et ' pa- 
 cepcipuus" — No reverfe. 
 
 No. 481. 
 
 I^RONZE MEDALLION, Emilia Pio, a lady of the 
 Montefeltro family. Diam. 3^ in. — early fixteenth 
 century work, caft and chafed. Ob., buft of the lady, her 
 hair gathered into a long queue behind. Legend, Fel- 
 tria " Aemylia * pia'' Rev., a pyramid, with an urn at the 
 fummit, infcribed, " caftis cinerihusJ' 
 
 No. 482. 
 
 RONZE MEDALLION, Giovanni Boldu, a Vene- 
 tian painter, by himfelf. Diam. 3-^ in., caft and chafed. 
 Ob., buft of Boldu, the neck and fhoulders in the nude, a 
 wreath of leaves round the head ; treated in the antique ftyle ; 
 — obfcure infcription in Greek characters. Rev., a man feated 
 with his head buried in his hands, as if in grief, and an amo- 
 rino with his arm refting on a fkull ; infcribed, " opus Joanis 
 Boldu ' piStoris Venetus ' xojrafi • mcccclviii." 
 
 No. 483. 
 
 I^RONZE GILT MEDALLION, Sigifmund Pan- 
 fi^^ dulfo Malatefta, Lord of Rimini. Diam. 3-J^ in., dated 
 1446, caft and chafed. The work of the painter Vittore Pifa- 
 nello of Verona. Ob., buft of Malatefta, with the infcription, 
 Sigifmondus ' Pandulfus ' de * Malateftis ' S ' Ro eclefte * capi- 
 taneus'' Rev., the caftle of Rimini, infcribed " caftellum • 
 Sigifmondum ' Ariminenjis ' mccccxlvi." 
 
XL— MEDALS. 
 
 141 
 
 No. 484. 
 
 [EDALLION IN BRONZE, Alfonfo, King of Naples. 
 Diam. 3 in. — circa 1450. Ob., buft of the King in rich 
 armour, impofed on a crown ; infcribed, " Alfonfus • rex * re gi- 
 bus * imperans • et * hellorum • vi3ior" Rev., Mars and Bellona 
 crowning the King; infcribed, Mars et Bellona coronant 
 vi^forem regni^^ and figned " Chrifiophorus ' Hierimia" This 
 fplendid medal can fcarcely be furpaffed by any other work of 
 the quattro-cento period ; the prefent example is an early caft, 
 and in perfedt confervation. 
 
 No. 485. 
 
 iRONZE MEDALLION, " Ifotta da Rimini." Wife 
 or miftrefs of Sigifmund Malatefta. Diam. 2^ in^ caft 
 and chafed. The work of Pifanello. Ob., buft of Ifotta, 
 infcribed " Z) * IJottae ' Ariminenft'^ Rev., an elephant, and 
 date 1446. 
 
 No. 486. 
 
 I^RONZE MEDALLION, Sigifmund Pandulfo Mala- 
 tefta. Lord of Rimini. Diam. 3^ in., caft and chafed. 
 The work of PifaneJlo. Ob., buft of Malatefta, infcribed 
 " Sigifmundus • Pandulfus • de Malateftis ' s ' Ro - eclefie ' c • 
 generalise Rev., a female figure in armour, wearing a crown, 
 and holding in her hands a broken column, is feated on two 
 elephants, with the date 1446. (Companion medal to the 
 preceding.) 
 
 No. 487. 
 
 f^RONZE MEDALLION, Niccolo Picinino of Perugia, 
 a celebrated condottiere. Diam. 3|- in. — the work of 
 Pifanello, — caft and chafed. Ob., buft of Picinino in armour, 
 infcribed ^^Nicolaus 'Picininus • vicecomes 'Marchio ' capitaneus • 
 
142 XI.— MEDALS. 
 
 max^ ' ac • Mars • alter.'' Rev., a griffin fuckling two children, 
 round its neck a collar infcribed " Ferufia " (the arms or em- 
 blem of Perugia), infcribed Braccius ' N ' PicininuSy' ■awdi 
 " Pifani opus,'' 
 
 No. 488. 
 
 EDALLION in filver. Diam. j^- in. — fixteenth cen- 
 tury. Ob., a hand in glory holding a fcroll, around 
 which are arranged thirteen fliields of arms of the Swifs cantons, 
 with their refpeftive names. Rev., in centre a crofs with a 
 Latin infcription, fupported by two angels, and furrounded by 
 feven (hields of arms. 
 
 No. 489. 
 
 I^RONZE MEDALLION, Nicolas Palmerius, Biffiop 
 of Orta. Diam. 2| in., caft and chafed. The work of 
 Andrea Guacialoti. Ob., buft of Palmerius, infcribed " nu- 
 dw egrejus * fic ' redihoy' and in an inner line, ftamped or 
 engraved on the ground, " Nicolaus ' Palmerius • Siculus ' epo * 
 Or tan'' Rev., a nude male claffical figure ftanding on a 
 bracket, holding in one hand an hour-glafs, in the other a fpear 
 or wand, infcribed (in intaglio) " contur ernalisy" and on an 
 infcription running acrofs the field, Vix • an • lxv — obiit A • 
 D M°ccccLxvii • Underneath (in relief) " Andreas Guacia- 
 lotis." 
 
 No. 490. 
 
 RONZE MEDALLION, Antonio de Grandis, caft 
 and chafed. No reverfe. Diam. i\ in. Buft of de 
 Grandis, infcribed " Ant • de * Grandis • mott • proth ' app'* 
 
 No. 491. 
 
 I^RONZE OVAL MEDALLION, diam, 2f by o.^ 
 in. Alfonfo, King of Naples, in civic coftume — 
 circa 1450. This medallion, which is caft and carefully chafed, 
 and is undoubtedly of the period, has neither infcription nor 
 reverfe. 
 
XL— MEDALS. 
 
 H3 
 
 No. 492. 
 
 f^RONZE MEDALLION, Leonello, Marquis of Efte, 
 Diam. af in., caft and chafed. The work of Pifanello. 
 Ob., buft of the Marquis, infcribed Leonellus * Marchio • 
 Eflenfis'^ Rev., two naked men feated in front of a maft with 
 a fpreading fail, infcribed " o'pus ' Pifani * pi^loris'' 
 
 No. 493. 
 
 |RONZE MEDALLION, Leonello, Marquis of Efte. 
 Diam. 2I in., caft and chafed. The work of Pifanello. 
 Ob., buft of Efte, infcribed, " Leonellus ' Marchio ' E/lenJts" 
 Rev., two nude male figures holding bafkets of fruit on their 
 ftioulders, and infcribed, opus ' Pifani ' piElorisJ' 
 
 No. 494. 
 
 I^KRONZE medallion, Caterina Riario Sforza. 
 
 Lady of Forli and Imola. Diam. 2f in., caft and 
 chafed. Ob., buft of Caterina, infcribed, Catarina' Sfor * 
 viceco ' de Riario Imol^e Forlivii ' dna,'' Rev., Fortune ftanding 
 on a globe, infcribed acrofs the field of the medal, • " tibi * et * 
 vertuHy 
 
 No. 495. 
 
 I^RONZE MEDALLION— of a lady unknown. Diam. 
 
 2^ in., caft and chafed. The work of Giovanni 
 Maria Pomedello, of Verona. Ob., buft of the lady, infcribed, 
 f ' b ' et ' longius ' vivat 'Jervata 'fide''' Rev., on the left 
 a naked man kneeling, bearing on his ftioulders a bafket 
 of fruit ; on the right Cupid ftanding on a globe under a vine, 
 infcribed, loannis * Maria • Pomedellus * Veronefi •/." 
 
 ' No. 496. 
 
 j J ED ALLION in lead, male portrait unknown. Diam. 
 
 1 1 2-|-in. Italian — circa 1450. Rev., the letters N • M * 
 
 in large church-text charaders. 
 
144 
 
 XI. ^MEDALS. 
 
 No. 497. 
 
 ^^ILVER MEDALLION, Cardinal d'Amboife, minifter 
 of Louis Xllth ; an early ? ftruck medal. Diam. 
 2\ in. Ob., buft of the Cardinal, infcribed, " Georgius • Dam- 
 hoije 'f'ae-r' card" Rev., a city, (Milan ?) with the fun 
 darting down rays ; infcribed beneath, " Mediol^' and the 
 legend, ^^Jalvat • uhi ' lucet ' 1500*" 
 
 No. 4.98. 
 
 RONZE MEDALLION, Francois ift, hj Benvenuto 
 Cellini. Ob., buft of the King, infcribed, " Fran- 
 cijcus ' I' Francorum • rex'' Rev., a horfeman ftriking at a 
 proftrate female figure with a club ; on the ground are the 
 attributes of fortune; infcribed, devicit ^ for tuna ' vir tut e'' 
 and the fignature, " Benvenu * * •/." 
 
 No. 499. 
 
 RONZE MEDAL, conjoined bufts of Geronimo Pa- 
 nico and Pompeo Ludovifi. Diam. if in. — Sixteenth 
 century. Ob., conjoined bufts .of Panico and Ludovifi, in- 
 fcribed, " Hieronymus • Panicus • Pat • Pompeius Lodovifius'Bon'' 
 Rev., a genius, with a patera in one hand and a dolphin in the 
 other, facrificing at an altar, infcribed, genio" and benevo- 
 lent ia ' dulcisJ* This medal, apparently ftruck from a die, re-- 
 fembles the work of Giovanni Cavino, called II Padovano. It 
 is a clofe imitation (in ftyle) of an ancient Roman medal. 
 
 No. 500, 
 
 f^RONZE MEDAL, Giovanni Paolo Zuponi, of Padua. 
 ^[^^ Diam. i f in. Struck from a die — 1 6th century. Ob., 
 buft of Zuponi, infcribed, lo • Paulus • Zuponus • Patavinus'^ 
 Rev., an eagle ftanding on an amphora, from which ifiues an 
 
XL— MEDALS. 145 
 
 olive or laurel-branch ; infcribed, " virt • aet * cons." The work 
 of Giovanni Cavino, of Padua, called " II Padovano in the 
 ftyle of the antique. 
 
 No. 501. 
 
 I^RONZE MEDALLION, Filippo de Vadi. Diam. 
 
 2|- in. Caft and chafed, quattro-cento. The work of 
 Giovanni Boldu, of Venice. No reverfe. Buft of de Vadi, 
 infcribed, " Philippus • de • Vadis • de * Pijis • Chironem '/u- 
 
 No. 502. 
 
 f^RONZE MEDALLION, Filippo Maria Vifconti, 
 Duke of Milan. Diam. 4 in. Caft and chafed — circa 
 1450. The work of Pifanello. Ob., buft of Filippo Maria, 
 micYih^di/^ Philip pus- Maria 'Anglus' dux 'Mediolani • e * ctetera 
 Papie • Angler ie * que ' comes * ac * Genve • dominus'' Rev., three 
 mounted knights, and fignature, " opus ' Pijani ' pi3foris'' 
 
 No. 503. 
 
 S^RONZE MEDALLION, head of St. Paul. Diam.jf 
 in. Caft and chafed. (Companion medal to No. 479.) 
 Ob., buft of St. Paul, infcribed, Paulus • Apoftolus • vas • elec- 
 tionis. Rev., infcription running acrofs the field, " Benedi5ie • 
 in ' excel/is • deo ' domino • de ' fontihus ' IJrael • ibi * heni * amim * 
 adolejcentulus • in * mentis * excejfu." 
 
 No. 504. 
 
 I^RONZE MEDALLION,— Nicolas Orfmi. Diam. if 
 in. Caft and chafed. Quattro-cento period. Ob., 
 buft of Orftni, infcribed, ^^Nic • Urs ' Pet ' et • Nol ' comes* Ser- 
 mi • duca • do * Ven • armi ' qu" Rev., the Duke on horfeback, 
 attended by foldiers ; infcribed, " Nic ' urs • Pet * et • Nol ' 
 comes ' in * exercitu ' regi ' Partenopeiu 'J.'' 
 
 L 
 
T46 
 
 XI.~MEDALS. 
 
 No. 505. 
 
 |^=RONZE MEDALLION, Alfonfo Ferdinand, Duke 
 of Calabria. Diam. 2f in. — Dated 148 1 ? Ob., buft 
 of the Duke in armour, infcribed, " Alfonjus • Ferdi • dux * 
 Calahriey Rev., an army entering a city ; infcribed, '^^ Neafolis 
 • Vi5irix^' and underneath, in a cartouche, an illegible infcrip- 
 tion and date (148 1 ?) 
 
 No. 506. 
 
 I^RONZE MEDALLION, Marc- Antonio Trevifano, 
 Doge of Venice — dated 1554. Diam. 2| in. Caft 
 and chafed. Ob., buft of the Doge, infcribed, " Marcus * Ant • 
 Trevixano " dux ' F.'' Reverfe, infcription within a wreath. 
 " Marcus ' Antonius • trevixano ' dei * gratia * dux ' Venetiarum 
 etc ' vixit ' ano - I' in - principatu • obit • mdliiii. 
 
 No. 507. 
 
 f^RONZE MEDALLION, Vittore Camelo, by him- 
 felf ; ftruck from a die. Diam. i| in. — Dated 1508. 
 Ob., buft of Camelo, infcribed, " Vi^for * Camelius 'Jui * iffius ' 
 effigiatory m * d • viir Rev., a facrifice, infcribed ^^fave - for" 
 and ^^/acrif" 
 
 No. 508. 
 
 I^RONZE MEDALLION, " Antoine B.," of Bur- 
 gundy — circa 1490- 1500. Ob., buft portrait, in- 
 fcribed, Antbonius ' B ' de • Burgundia'" Rev., a purfe ? 
 with the infcription, " nul ' nefi -frote" 
 
 No. 509. 
 
 "~ |R0NZE gilt MEDALLION, Charles the Bold, 
 ^ DuTce of Burgundy. Diam. if in. Caft and chafed, 
 Italian quattro-cento work ? Ob., buft of the Duke, infcribed 
 Dux ' Karolus • Burgundus.'' Rev., the collar of the golden 
 fleece. 
 
XL— MEDALS. 
 
 No. 510. 
 
 ^IbLONG bronze medallion plaque, buft 
 portrait of an unknown lady. Height af, width in. 
 Italian quattro-cento work, caft and chafed. No infcription, 
 and without reverfe. 
 
 No. 511. 
 
 BLONG BRONZE MEDALLION PLAQUE, buft 
 portrait of a young man, unknown. Height 2 in., 
 width 1 1" in. Caft and chafed. Italian quattro-cento work. 
 No infcription and without reverfe. 
 
 No. 512. 
 
 BLONG BRONZE MEDALLION PLAQUE, buft 
 portrait of a lady unknown. Height 2 in., width ij 
 in. Caft and chafed. Italian quattro-cento work. No infcrip- 
 tion. Rev., Cupid reclining. 
 
 No. 513. 
 
 VAL BRONZE MEDALLION PLAQUE, buft 
 portrait of a man, unknown. Italian quattro-cento 
 work. Height, 2I in., width, i| in. Caft and chafed. No 
 infcription, and without reverfe. 
 
 No. 514. 
 
 f^RONZE MEDALLION, conjoined bufts of the Em- 
 ffi^^ peror Charles V. and his brother Ferdinand, King of 
 the Romans. Diam. 2^ in. Infcribed, Carol ' V' et Fer* 
 I ' Fres ' Ro - imp ' et - re - Hifp * archid * Auji ' et ' B ' Burg ' 
 1532." Rev., a coat of arms, and infcription engraved with 
 the burin, " Chriftof • Arothfchicz ' anno • dominie 1535." 
 
148 
 
 XL— MEDALS. 
 
 No. 515. 
 
 IRONZE medallion, buft of a lady, unknown. 
 ^ Diam. ij in. Caft and chafed — circa, 1500. Ob., 
 buft of the lady. Rev., two amorini flying, and holding up 
 wreaths, infcribed " et ' animo * et ' corpori" 
 
 No. 516. 
 
 SRONZE medallion, Charles VIII., King of 
 g F ranee. Diam. 2j in. Caft and chafed. Italian quat- 
 tro-cento work. Ob., buft of the King, infcribed " Carolus - 
 VIII' Rex • Francorum." Rev., Hercules and the lion, in- 
 fcribed, "/>r • quinciarum .... ator" 
 
 No. 517. 
 
 f^RONZE MEDALLION (reverfe fide only). Diam. 
 
 2 1 in. Caft. The work of Giovanni Francefco Par- 
 menfe, dated 1468. Subject a combat. A knight on horfe- 
 back, armed at all points, is attacking a cavalier on foot, whilft 
 a third combatant is ftabbing the horfe in the belly with his 
 fword. Infcribed " mcccclxviii - lohannis • Franciji • Par- 
 mefis * opus'^ Reverfe of a medal (of Coftanzo Sforza ?) 
 
 No. 518. 
 
 IRONZE medallion without reverfe. Diam. 
 ^ 2 1 in. Caft and chafed, quattro-cento work. Buft of 
 a man, wearing the beretta" of a prieft. Infcribed " Simon • 
 Michael ' Venetus * canonicus • VeronenfisT 
 
 No. 519. 
 
 i VAL MEDALLION, Scipio Africanus. Height 3 in. 
 width, i\ in. No reverfe — ^caft and chafed — circa 1 500. 
 ClafTical buft of a young warrior, with a richly decorated hel- 
 met. Infcribed ^* Scip ' AfT In all probability this is a caft 
 
XL— MEDALS. 149 
 
 from an Italian cameo of the Renaiflance period, executed in 
 imitation of the antique. 
 
 No. 520. 
 
 f^RONZE MEDALLION, buft portrait of an unknown 
 lady, in rich coftume. Without reverfe or infcription. 
 Diam. 1 in. Caft and chafed. 
 
 No. 521. 
 
 I^RONZE MEDALLION, portrait of a cardinal, un- 
 known. Without infcription or reverfe, diam. in., 
 caft and chafed, quattro-cento work. 
 
 No. 522. 
 
 ^RONZE MEDALLION, buft portrait of Antonio 
 BofTi. Diam. 2f in. Caft and chafed, cinque-cento 
 period. Ob., buft of Bofli, infcribed ^"-Antonius ' Bojfius 'VeneT 
 Rev., Fame ftanding, holding a trumpet reverfed, infcribed, 
 nunquam • morior'' 
 
 No. 523. 
 
 EDALLION IN LEAD, Alphonfo 2nd, Duke of 
 Ferrara, and Lucretia, his Duchefs. Diam. ij in- 
 Cinque-cento period. The work of Giovanni Paolo Poggi. 
 Ob., buft of the Duke, infcribed ^^Alphon ' Eften ' Ferar • prin- 
 ceps" Rev., buft of the Duchefs, infcribed " Lucretia ' 
 Med • Eften - Ferar • princep^ 
 
 No. 524. 
 
 I^RONZE MEDALLION. Diam. 2| in. Caft and 
 chafed, quattro-cento work. Ob., buft of a man wear- 
 ing the " beretta" or cap, infcribed " loannis • Aloijus • Tufcanus 
 advocatusT Rev., infcription within a wreath, " prevenit ' ae- 
 tatem * ingenium ' precox. 
 
I50 
 
 XL- MEDALS. 
 
 No. 525. 
 
 ;EDALLI6n in lead. Caft. Diam. 3I in. Italian 
 quattro-cento. Ob., buft of an aged man with a long 
 beard, wearing a fantaftic tiara, impofed on a crefcent or half 
 moon, rays from above illumining his face. (Query a Pope ?) 
 Numerous infcriptions in Greek and in Latin, (full of lacunes, 
 from the corroded ftate of the medal). Rev., the fame figure 
 drawn in a car of triumph by three horfes ; voluminous infcrip- 
 tions in Greek and Latin, in great part illegible. 
 
 No. 526. 
 
 IRCULAR MEDALLION PLAQUE, or reverfe 
 of a medal. Diam. 3-^ in. Caft and chafed, cinque- 
 cento period. Allegorical compofition of numerous figures ; in 
 centre a female claffical figure fupporting a fountain, &c., 
 infcribed " virtus'" and " nunq ' deficit''' This medal is in the 
 ftyle of Valerio-Vicentino. 
 
 No. 527. 
 
 iRONZE MEDALLION, without reverfe. Buft por- 
 trait of a monk — unknown. Italian quattro-cento 
 work, caft and chafed. Diam. i\ in. 
 
 No. 528. 
 
 f^RONZE MEDALLION, buft portrait of Boccaccio. 
 
 Diam. 2 in. Italian quattro-cento. Ob., laureated 
 buft of Boccaccio, infcribed lohes ' Bocatius • Flore" Rev., 
 a claftical draped figure, holding a ferpent in one hand. 
 
 No. 529. 
 
 EDAL in bronze. The poet Ariofto. Diam. if in. 
 Caft and chafed, cinque-cento work. Ob., laureated 
 buft of Ariofto, infcribed, " Ludovicus • Arioft - poet" Rev., 
 
XI.— MEDALS. 151 
 
 an altar ftanding amidft flames, a fwarm of bees alighting on 
 the top, infcribed, pro ' bono ' malum'' 
 
 No. 530. 
 
 I^KRONZE medallion, Aldus Manutius, the prin- 
 ter. Diam. 2 in, caft and chafed, early cinque-cento 
 work. Ob., bufl: of AX&us/m^cnh^d, Aldus * Pius ' Manu- 
 tius • r • " Rev., an anchor, round which a dolphin is twined, 
 infcribed, BPAAEHS SnETAE. 
 
 No. 531. 
 
 IRONZE MEDALLION, Pietro Aretino. Diam. 
 2I in., caft and chafed, cinque-cento work. Ob., 
 buft of Aretino, infcribed Divvus • Petrus ' Aretinus,'" 
 Rev., Truth, reprefented as a naked female feated on a rock, 
 is crowned by a winged genius, at her feet a fatyr is kneeling, 
 above Jove is hurling a thunderbolt at her ; infcribed, " Veri- 
 tas ' odium ' par it,'' 
 
 No. 532. 
 
 I^RONZE MEDALLION, Cardinal Bembo. Diam. 
 
 2- in., caft and chafed, cinque-cento period. Ob., buft 
 of the Cardinal, infcribed, " Petri * Bemhi * Car" Rev., Pe- 
 gafus. 
 
 No. 533. 
 
 f^RONZE MEDALLION, Dante. Diam. i\ in., caft, 
 quattro cento. The work of Pifanello. ? Ob., buft 
 of Dante, infcribed, " Danthes Florentinus.'' Rev., uncertain^ 
 much eroded, apparently a fubjed from the Inferno. 
 
 No. 534. 
 
 EDALLION in lead. Count Balthafar Caftiglione, 
 ftruck from a die. Cinque-cento period. Diam. i-| in. 
 Ob., buft of Caftiglione, infcribed, " Balthafar * Caftilion ' Cre,'* 
 
152 XI.— MEDALS. 
 
 Rev., Aurora in her car, rifing over the globe, on which is 
 reprefented the map of Italy, infcribed, " tenehram • et * lucisJ' 
 
 No. 535. 
 
 I^RONZE MEDALLION, caft and chafed, Francefco 
 fi^^ Sforza, Duke of Milan, and Galeazzo Maria Sforza. 
 Diam. iA in. Ob., buft of Francefco, infcribed, "i^r • Sfortia • 
 vice ' comes • Mli • dux ' I III * belli • pater • et * pads • autor • 
 MccccLVi • ; in the field are the initials • V * F, probably thofe 
 of the artift ? Rev., buft of Galeazzo Maria, infcribed, 
 " Galeaz * Maria ' Sfortia ' vice • comes * Fr ' Sfortia * Mli • du- 
 cis ' nil * pr Imogens In the field the date mcccclviii. and 
 the initals V • F. 
 
 No. 5 36. 
 
 RONZE MEDALLION, gilded, Jacoba Corrigia, 
 Diam. 2^ in. Caft and chafed — quattro-cento period. 
 Ob., bufl: of the lady. In the field a lily, an oak branch, and 
 an olive branch tied with a ribbon, infcribed, " Jacoba * Cor- 
 rigia 'forme * amorum * domina ' Rev., Cupid bound to a tree^ 
 infcribed, " ce£i • deamili • tatejiat'' In the field the initials 
 P-M- 
 
 No. 537. 
 
 EDALLION in bronze, caft and chafed, Queen Mary 
 of England. Diam. if in., (ftruck in Italy?). The 
 work of Jacopo da Trezzo. Ob., buft of the Queen, in- 
 fcribed," Maria • /• reg ' Angl' Franc ' et • Hib ' fidei ' defenfa- 
 trix" Underneath the buft is the fignature of the artift, in minute 
 charadlers " Jac Tres'' Rev., a female allegorical figure feated 
 on a throne and wearing a crown, is holding a lighted torch to 
 a pile of arms on the ground, and holding up a palm and an 
 olive branch with the other ; on one fide fire from heaven is 
 being rained down on the heads of a crowd of figures — in- 
 fcribed, " cecis • vijus • timidis • quies" 
 
XL— MEDALS. 
 
 153 
 
 No. 538. 
 
 ^RONZE MEDALLION, caft and chafed ; without 
 reverfe. Diam. 2^ in. The Emperor Maximilian IL 
 Italian ? cinque-cento work. Buft of the Emperor, infcribed, 
 " Maximi - d' g' rex • Boemi^ • arc * dux • Auji,'' 
 
 No. 539. 
 
 f^RONZE MEDALLION, caft and chafed; without 
 reverfe. Diam. 2|- in. Urban Labenwolf of Augfburg, 
 dated 1 5 1 8. Buft of Labenwolf, infcribed, " Urpanus * Laben- 
 wolf' ain * Augspurger 'f*s* xli." In the field, the date 1 5 1 8 . 
 
 No. 540. 
 
 S^SlEDALLION in lead, diam. 3 in., caft and chafed; no 
 reverfe, and without infcription. Buft of a gentleman 
 in German coftume of the firft half of the fixteenth century. 
 
 No. 541. 
 
 ^RONZE GILT MEDALLION. Pope Gregory 
 XIII. ftruck from a die. Diam. i J in. The work of 
 Frederico Parmenfe. Ob., buft of the Pope, infcribed, " Gre- 
 gorius * XIII' pont • opt • maximus" Rev., a dragon with its 
 tail in its mouth encircling the field of the medal, within which 
 is a ram's head with a pendant wreath, infcribed, " anno • rejii- 
 
 No. 542. 
 
 jRONZE GILT MEDALLION, Cardinal Hyppoly- 
 tus D'Efte. Diam. in., ftruck from a die. The 
 work of Frederico Parmenfe. Ob., buft of the Cardinal, in- 
 fcribed, " Hippolytus ' Eftens • r * ^ ' prejb ' card * Ferrar • ;" un- 
 derneath is the fignature of the artift, " Fred Farm,'' No 
 reverfe. 
 
154 
 
 XL—MEDALS. 
 
 No. 543. 
 
 gRONZE MEDALLION, Cardinal Alidoffi. Diam. 
 2|- in., cafl; and chafed — circa 1500. Ob., buft of the 
 Cardinal, infcribed, Fr ' Alidoxius • car - Papien- Bon • Roman- 
 diola ' (f ' c * legat" Rev., Jupiter in a car drawn by two 
 eagles ; underneath, in the field, the figns Pifces and Sagitta- 
 rius, infcribed, " his * avibus • curru * • cito • duceris * ad * aftra'^ 
 
 No. 544. 
 
 RONZE MEDALLION, Geronima Farnefe. Diam. 
 2|- in. No reverfe — ^dated 1556. (qy. the work of 
 Gio Paol Poggi ?) Buft of the lady, infcribed " Hieronima ' 
 Farnejia ' d ' S ' Vitali ; " underneath the buft the fignature P. 
 and date 1556. 
 
 No. 545. 
 
 S^^RONZE MEDALLION, a lady unknown. Diam. 2^ 
 in. No reverfe — caft and chafed, cinque-cento period. 
 
 No. 546. 
 
 RONZE MEDALLION, a Princefs of the Houfe of 
 Auftria. Diam. i\ in. No reverfe — buft of the lady, 
 infcribed, " Maria * imper' mdlxxv." 
 
 No. 547. 
 
 f^pRONZE MEDALLION, Antonio Grimani. Diam. 
 g.^^ 2|-in. No reverfe — caft and chafed. Buft of Grimani, 
 infcribed " Antonius ' Grimanus 'procurator ' s • Marci'' 
 
 No. 548. 
 
 [EDALLION in lead, Lucretia, Medicis, Duchefs of 
 Ferarra. Diam. 2| in., caft. Ob., buft of the princefs, 
 infcribed, ''Lucretia • Med ' Ferr ' princ - a' a' xiiii." Under- 
 neath is the date 1558. Rev., a female emblematical figure 
 
XI,— MEDALS. 155 
 
 furrounded by books, mufical inftruments, and other emblems 
 of the arts, infcribed, " nec ' tern-pus — nec • betas'' 
 
 No. 549. 
 
 jRONZE MEDALLION, Ippolita Gonzaga. Diam. 
 i\ in., caft and chafed. The work of Leo Leoni of 
 Arezzo. • Ob., buft of the princefs, infcribed, " Hippolita • 
 Gonzaga * Ferdinandi 'Jil • an • xvi." Rev., Aurora in her car, 
 infcribed, " virtutis ' formceq 'previa.''' 
 
 No. 550. 
 
 EDALLION in filver, Louis XII., and Anne of Bri- 
 tanny, ftruck from a die. Diam. i\ in. Ob., buft of 
 the King, infcribed in Gothic character, Ludovico ' XII ' 
 regnante * Cajare * altera ' omnis • natioT Rev., buft of the 
 Queen, infcribed, Anna • Regina * hac • lente • omnis • l^tahatur 
 terra J" 
 
 No. 551. 
 
 I^RONZE GILT MEDALLION, Henry II. of 
 France. Diam. 2-^ in. caft and chafed. Ob., laureated 
 buft of the King, in richly decorated armour, infcribed, " Hen- 
 ricus ' II* Galliarum • rex ' mvi^ijf' p * p Rev., an oli ve 
 wreath, inclofing the infcription, reftituta • rep ' Senenfi • lihe- 
 ratis ' ohjed * Mediomat ' Parma • Mir and • Scandami ' et * recepto 
 hedinio' or bis * conjenju * 1552." 
 
 No. 552. 
 
 I EDALLION in lead, Diana of Poitiers, ftruck from a 
 die. Diam. 2in. Ob., buft of Diana, infcribed "D/^;/^' 
 Dux ' Valentinorum • Clariffima" Rev., Diana trampling under 
 foot Cupid, infcribed " omnium * victor em • vici'' 
 
 No. 553 
 
 I^RONZE MEDALLION, a lady unknown. Diam. 
 2| in. No reverfe. Italian cinque-cento work. 
 
156 
 
 XL— MEDALS. 
 
 No. 554. 
 
 I^RONZE MEDALLION. Giovanni Francefco Gon- 
 zaga. Diam. if in., caft and chafed, quattro-cento 
 period (Pifanello ?) Ob,, buft of Gonzaga, infcribed lohannes • 
 Franci/cus ' Gonz" Rev., an ingot of gold in the midft of 
 flames, with the motto ^^probitas laudatuf on a fcroll, and 
 infcribed " Marchio ' comes * Roti" 
 
 No. 555. 
 
 IrONZE medallion, a princefs of the houfe of 
 ^ Gonzaga. Diam. in. Ob., buft of the princefs, in- 
 fcribed, " Diva ' Antonia • Bautia ' de * Gonz • Mar'^ Rev., a 
 genius ftanding on a galley in the fea, which is drawn by two 
 winged horfes ; infcribed, ^^Juper • eft '/pes" 
 
 No. 556. 
 
 QUARE MEDALLION PLAQUE, in bronze, 
 portrait of a young man, unknown, wearing the " be- 
 retta." Quattro-cento. No reverfe, and without infcription. 
 2\ by li in. 
 
 No. 557. 
 
 RONZE MEDALLION, Martin Luther. Diam. if 
 fi^^ in. Caft, Ob., buft of Luther, infcribed, ^^T>o5ior * Mar- 
 tinus ' Lutherus • b * prophet a * Germanic • mdxxxviii." Rev., 
 a ftiield with a device of a rofette, in the middle of which is a 
 heart ; the ftiield is upheld by two amorini. Infcribed, " in • 
 filencio 'fortitudo * veftra • mdxxxvii." 
 
 No. 558. 
 
 RONZE MEDALLION, Martin Luther. Diam. if 
 in. Caft and chafed. Ob., buft of Luther, infcribed 
 et 'Japiecia • dabo * vobis ' cui * no • pot eft ' cot - die ere" in the 
 
XL— MEDALS. 157 
 
 field, Ma Lut ecs" Wit J' Rev., a cinque-foil rofette, with a 
 heart in the centre, and the legend, " in 'filencio • et 'fpe ' erit . 
 fortitudo ' veftra * EJa ' 30." 
 
 No. 559. 
 
 1^ RONZE MEDAL, Lorenzo de Medici. Diam. i f in. 
 SSfe ftruck from a die. Ob., buft of Lorenzo, infcribed, 
 Laurent ius * Medic es'' Rev., a cap of liberty and two dag- 
 gers, infcribed, FIl • id • Jan" 
 
 No. 560. 
 
 1^ RONZE MEDALLION, Sigifmund Pandulfo Mala- 
 tefta. Diam. i|- in., caft and chafed. The work of 
 Pifanfello, dated 1450. Ob., buft of Malatefta, infcribed ^'^Sigif- 
 mundus • Pandulfus • Malatefta 'fan Rev., a church, in- 
 
 fcribed, ^^praecl'Arimini ' tern-plum * an \gratia ' v ' e' mccccl.'' 
 
 No. 561. 
 
 I RONZE MEDALLION, a lady, unknown. Diam. 
 ^.^fe) If in., no infcription, and without reverfe. Cinque- 
 cento work. 
 
 No. 562. 
 
 1^ RONZE GILT MEDALLION, Andrea Doria. 
 
 Diam. if in. Ob., buft portrait, infcribed " Andreas * 
 Doria'' Rev., a galley. 
 
 No. 563. 
 
 lEDALLION in bronze, Medea Malatefta Ferretta, 
 and Nicolo Malatefta. Diam. i| in., caft, cinque-cento 
 period. Ob., buft of Medea, infcribed " Medea • Malatefti ' 
 Ferretta" Rev., buft of Nicolo, infcribed " Nic • Malat • 
 Leon 'fil • Mar • i." 
 
XI.— MEDALS. 
 
 No. 564. 
 
 f^RONZE MEDALLION, Thomas Philologus. Diam. 
 
 1 1 in., caft and chafed. Ob., buft of Philologus, in- 
 fcribed, " Thomas • Philologus * Ravennas" Rev., a nude re- 
 cumbent female figure, furrounded by a circle of ftars, an infant 
 clutched in the talons of an eagle is clinging to her bofom, in- 
 fer ibed " Jove ' et 'for or • e - genita * 
 
 No. 565. 
 
 I^RONZE MEDALLION, a lady (unknown). Diam. 
 g,^^ if in. No infcription, and without reverfe. Italian, 
 cinque-cento period. 
 
 No. 566. 
 
 lEDALLION in lead, Livia della Rovere, a princefs 
 of Efte. Diam. 2I in. No reverfe, buft of the lady, 
 infcribed " Livia * Feltria ' de * Ruvere * Eft en ^ 
 
 No. 567. 
 
 I^RONZE GILT MEDALLION, conjoined bufts of 
 a prince and princefs of the houfe of Auftria. Diam. 
 if in. infcribed acrofs the field, " Rex' BoheJ' — German, fix- 
 teenth century. 
 
 No. 568. 
 
 ILVER COIN, teftoon ? of Hercules, Duke of Fer- 
 rara, quattro-cento period. Diam. i in. Ob., buft of 
 the Duke, infcribed, Hercules • Ferar * dux'' Rev., the Hydra. 
 
 No. 569. 
 
 I^RONZE GILT MEDAL, George Herman. Diam. 
 fl^^ ij in., caft and chafed, German work. Ob., buft of 
 Herman, infcribed " Georgius * Herman* atatis • an • xxxxvii — 
 
XL— MEDALS. 159 
 
 M • D • XXXVIII." Rev., an efcutcheon of arms with a helmet 
 and creft, and legend infcribed • deo • confide.^' 
 
 No. 570. 
 
 bPPER COIN of Coftanzo Sforza. Diam. \\ in. 
 Ob., buft of Sforza, infcribed, " Conftantius ' Sf' de' 
 Arago-Pifaud" Rev., a caftle, infcribed, "-"-Jalut • et • memoriae ' 
 condidit" 
 
 No. 571. 
 
 i^^RONZE MEDAL of Giovanni Cavino, Aleflandro 
 Bafliano, and Marco Bonavita, of Padua. Diam. i|- in. 
 The work of Giovanni Cavino of Padua, called il Padovano. 
 Ob., conjoined bufts of the artift (Cavino) and Baffiano, in- 
 fcribed, Alexand' Baffianus • e * lohan * Cavineus * Patavini." 
 Rev., buft of Bonavita, infcribed, " Marcus • Mantua * Bona- 
 vitus • Patavineus 'jus • con.^' 
 
 No. 572. 
 
 I^BrONZE medal, Auguftus Vates. Diam. li in., 
 quattro-cento ? Ob., laureated bull: of Vates, infcribed 
 " Auguftus ' Vates.'" Rev., a nude ftanding female figure, in- 
 fcribed, " Urania J'' 
 
 No. 573. 
 
 EDALLION RELIEVO, in Lithographic ftone, buft 
 portrait of a man, unknown. German work — circa 
 1530. Diam. \\ in. No infcription. 
 
 No. 574. 
 
 I^RONZE MEDALLION, Cofmo de Medici, Firft 
 2,^^ Grand Duke of Tufcany. Diam. \\ in. The work 
 of Pietro Paolo Gal'eotti. Ob., bull of the Duke, infcribed, 
 " Cojmus • Med • Floren • et • Senar • duxii ' 1561." Rev., the 
 building of the " Uffizj^' infcribed, " publicae * Commoditati.'" 
 
i6o 
 
 XI.~MEDALS. 
 
 No. 575. 
 
 i^pRONZE MEDALLION, Francois premier, Henri II. 
 2.^^ and Francis II., Kings of France. Diam. i-L in., caft 
 and chafed. Ob., conjoined bufts of the three Kings, infcribed, 
 ^'Fr ' Hen * et 'Fr ' reges • Fran'' Rev., a claffical compofition, 
 apparently the facrifice of a veftal at an altar. Underneath, 
 the initials " S • C." This medal is probably the work of 
 Benvenuto Cellini ; it has great refemblance in ftyle to No. 
 498. 
 
 No. 576. 
 
 RONZE MEDAL, Domenico Fontana, Architedt. 
 Diam. i\ in., ftruck from a die. Ob., buft of Fon- 
 tana, infcribed, '^Dominic * Fontana ' cir 'Ro ' com ' palat ' et ' eq- 
 aurJ' Rev.3 an obelifk, infcribed, " ex ' Ner ' gir ' tranftuUt * 
 et • erexit and within the field, jujfu • Xyjii • quint - pont • 
 opt * max ' 1586." 
 
 No. 577. 
 
 RONZE MEDAL, Cardinal Pietro Barbo of Venice. 
 Diam. i\ in., caft and chafed. Ob., bufl: of the Car- 
 dinal, infcribed, " Petrus • Bar bus ' Venetus ' Cardinalis ' S • 
 Mrci" Rev., a fhield of arms, furmounted by a Cardinal's 
 hat, infcribed, " has • ^des • condidit ' anno • chrifti ' mcccclv." 
 
 No. 578. 
 
 EDAL in lead, Guido Rangoni. Diam. i^in., ftruck 
 from a die ; (qy. the work of Cavino ?) cinque-cento. 
 Ob., buft of Rangoni, infcribed, " Guidus ' Rangonus ' hello • 
 pac^eq • injignis.'' Rev., a female figure riding on a bull, and 
 holding a palm branch, is crowned by vidory, infcribed, 
 " extenfto ' alarum * dei'' 
 
XII.—PICTURES. 
 
 No. 579. 
 
 (ORTRAIT OF PETRARCH^S LAURA. Height 
 I ft. 1 1 in., width i ft. 5 in. A feventeenth century 
 pafticcio, or a copy from an early Italian work. The carved 
 and . gilt frame is of Italian fixteenth or feventeenth century 
 work. 
 
 No. 580. 
 
 ^j^WO SAINTS, half figures, by Carlo Crevelli. Height 
 of each panel 1 ft., width i ft. 2| in. One of them 
 is a canonized cardinal, holding a model of a church in his 
 hand, and the other is St. Catherine. Both are on rich gold 
 diapered backgrounds. Thefe panels, undoubtedly from the 
 hand of the mafter, were probably part of the wings or volets" 
 of an altar-piece, cut down to their prefent proportions. The 
 carved frame is a fine fpecimen of a well-known 'Venetian 
 cinque-cento pattern. 
 
 No. 581. 
 
 I^^OLY FAMILY, painted on panel, gold background. 
 £^J| Italian, fifteenth century. Attributed to Vivarini. 
 Height 2 ft. 2 in., width i ft. 10 in. Carved and gilt Italian 
 feventeenth century frame. 
 
 No. 582. 
 
 ORTRAIT OF A DOMINICAN MONK, by 
 ^ Giovanni Bellini. In one hand he holds a book labelled 
 as the works of St. Dominic, and in the other a white lily. 
 The background is a curtain of green fluff, with foliated 
 diaper pattern in red and white. At the bottom is a label, 
 
 M 
 
1 62 XII.— PICTURES. 
 
 with the jfignature of the mafter, " loanis * Bellin' • op." and 
 underneath, the date, mdxv. This fine portrait is painted on 
 coarfe Venetian canvas. The carved frame is of ItaHan feven- 
 teenth century work. 
 
 No. 583. 
 
 |OSTUME PORTRAIT of a man in a fur cloak 
 and cap, and holding a rofary in his hand. German — 
 circa 1 530. Height 2 ft. 4 in., width i ft. 9 in. At the bottom, 
 on a band or fafcia, is a long infcription in German text hand, 
 with the fignature of the painter, ^'Heinrich * Schwahn • Maler • 
 zu • Landfhuet." Italian carved and gilt feventeenth century 
 frame. 
 
 No. 584. 
 
 fIRGIN AND CHILD.— School of Van Eyck. 
 Height 8 in., width 6 in. Italian carved and gilt 
 feventeenth century frame. 
 
 No. 585. 
 
 fIRGIN AND CHILD, attributed to Innocenzio da 
 Imola. Height 2 ft. 2 in., width i ft. 10 in. An 
 original pidture of the fchool of Raffaelle, of uncertain author- 
 fliip. Italian feventeenth century carved and gilt frame. 
 
 No. 586. 
 
 ;,ORTRAIT OF A YOUNG LADY in Swifs cof- 
 tume of the early part of the fixteenth. century. 
 School of Bafle, mafter unknown. Height i6i in., width 
 13 in. Venetian fixteenth century carved and gilt frame. 
 
i63 
 
 XIII.— TEXTILE FABRICS.— TAPESTRIES. 
 
 No. 587. 
 
 OUR PIECES OF CRIMSON AND AMBER 
 RAISED VELVET. 35 ft. running, by 3 ft. i in. 
 wide. Goenefe or Venetian — date, fecond half of fixteenth 
 century. Rich floriated pattern. 
 
 No. 588. 
 
 iET OF BED FURNITURE, curtains, vallances, 
 &c. complete, in blue velvet and figured fatin. Vene- 
 tian ? — circa 1550. The defign is a bold foliated fcroll 
 pattern, executed in applique embroidered work. 
 
 No. 589* 
 
 WO CURTAINS, Portieres.") Each 1 1 ft. long, 
 by 2 ft. 10 in. wide. Silk embroidery, on ground of 
 black filk net or canvas. Elaborate interlaced pattern of 
 rofes and other flowers, tied with ribbons ; fcolloped border 
 of a running fcroll pattern of rofes, &c. French or Italian — 
 feventeenth century. 
 
 No. 590. 
 
 MBROIDERED TABLE COVER. German work, 
 — dated 1598. 5 ft. 7 in. by 5 ft. 3 in. The ground 
 is of dark green ferge, and the embroidery is in woollen thread. 
 In the centre, within a circular medallion border of flrapwork and 
 fruit, are two fhields of arms with elaborate mantlings, and a 
 fcroll, with the date 1598. Around the margin of the cloth a 
 wide border of flrapwork ornament, fruit, flowers, &c., and 
 from each corner of the fquare cloth a branch of foliage con- 
 verging towards the centre. 
 
1 64 XIII.— TEXTILE FABRICS. 
 
 No. 591. 
 
 ilMILAR TABLE COVER in dark green ferge. Ger- 
 man work — circa 1 590-1 600. In centre a large medal- 
 lion of the Annunciation. 6 ft. by 5 ft. 3 in. At the corners are 
 panels containing figure fubjeds of peafants, &c., engaged in 
 paftoral occupations, with four circular medallions, alfo con- 
 taining figure fubj e(5ts. Scroll ornaments at the angles, as in 
 previous fpecimen. 
 
 No. 592. 
 
 JECE OF TAPESTRY HANGING. Flemifh, 
 (Arras ?) fifteenth century work. Length 9 ft. 10 in., 
 height 12 ft.- — circa 148a. Uncertain legendary fubje6t. 
 
 No. 593. 
 
 'lECE OF TAPESTRY HANGING. Flemifli 
 (Arras?) — circa 1490. Length 29 ft. 4 in., height 
 1 1 ft. Paftoral fubjed in two compartments : fhepherds and 
 fhepherdefTes playing at various games, — in the background 
 peafants cutting wood, and on the extreme left a chateau with 
 lowered drawbridge, from which are ifTuing a feigneur and 
 his lady, attended by an efquire. The compartment on the 
 right contains paftoral figures engaged in various occupations 
 of the chafe. 
 
 No. 594. 
 
 ^^lECE OF TAPESTRY HANGING. Flemifh 
 (Arras). Length 13 ft., height 11 ft. 6 in. — date 
 about 1490 -1 500. Legendary fubjedl, containing various 
 epifodes or hiftories, furrounded by a narrow border of fruit 
 and flowers. 
 
XIII.— TEXTILE FABRICS. 165 
 
 Nos. 59 5 to 601. 
 
 EVEN EMBROIDERED CHAIR-SEAT 
 COVERS. 2 ft, 6 in. by 2ft. Venetian?— circa 1600-50. 
 Ground, yellow fatin, with a bold fcroll foliage pattern, flowers, 
 birds, &c., embroidered in natural colours with fllk thread ; 
 in centre a large mafk. 
 
 No. 602. 
 
 :WO PIECES OF CRIMSON AND AMBER 
 RAISED SILK BROCADE, (curtains or "por- 
 tieres.") Each 10 ft. I in. long by 4 ft. 2 in. wide. Italian 
 (Venetian ?) manufadlure — firft half of fixteenth century. Rich 
 defign of ftrapwork ornamentation, " pine-apple " diaper^ 
 vafes, &c. 
 
 No. 603. 
 
 lECE OF RICH SILK AND GOLD BROCADE. 
 J ft. 6 in. fquare. Lyons or Genoa? — circa 1700. 
 Green ground. Pattern of large oriental flowers in gold and 
 fllver. 
 
XIV. DECORATIVE FURNITURE. 
 
 EDI^VAL dwellings were, as a general 
 rule, very fcantily furnifhed : an entirely 
 different fyftem prevailed from that which 
 has fince obtained. Formerly, and efpe- 
 cially in Italy, apartments were furnifhed 
 in a permanent archite6tonic manner, and 
 contained only a very few moveable articles of neceffary ufe ; 
 now, on the contrary, rooms, efpecially in this country, are 
 mere fhells, having fcarcely any permanent decoration, and 
 are very often inconveniently crowded with moveable articles, 
 fome of real, others only of conventional ufe. With us com- 
 fort, and a certain exprefTion of opulent profufion, has replaced 
 the ancient archite6tonic fimplicity. 
 
 It will therefore not be confidered furprifing when it is flated 
 that, limited in range and quantity as the articles compofing 
 this Sedtion of the Colle(5lion may feem, almofl the entire 
 mobilia" of an Italian fixteenth century houfe is neverthe- 
 lefs reprefented. The feries of chairs of the fixteenth century 
 is unique and unrivalled, and the four beautiful metallic mir- 
 rors, in their original highly decorated frames, are not only 
 of the highefl merit as works of art, but have likewife addi- 
 tional intereil from the extreme rarity of the occurrence of 
 fuch works. Several of the French renaiflance carved cabinets 
 or " drefToirs" are alfo remarkable works of their kind. 
 
XIV.— DECORATIVE FURNITURE. 167 
 
 Nos. 604 to 61 1. 
 
 W^^ERIES OF EIGHT CARVED AND PARTLY 
 GILDED VENETIAN CHAIRS, en fuite/' 
 ^^^^^ Extreme height of each 4 ft. i in. — circa 1560, 
 Thefe chairs refemble in conftrudlion the modern hall chairs ; 
 or rather, it fhould be faid, that the latter are the recent 
 copies of this ancient type. They are fimply wooden ftools 
 with backs added, the fupports being formed by two plane 
 furfaces or fides, as though of a box or pedeftal, flightly 
 fplayed outwards, the broad fides being at the front and 
 back refpedlively. The earlieft examples of this favourite 
 pattern do not feem to date much before 1550, and they 
 probably continued to be manufactured till the clofe of the 
 century. It was doubtlefs a characSleriftic Venetian type, an 
 exclufive fpecialty, in fad, of the cabinet-makers or wood- 
 carvers of that city. The fpecimens are executed in cheftnut, 
 or fome other warm tinted wood, and are generally richly 
 gilded, i. e, picked out in gold ; the prominent mouldings 
 and decorative details exhibiting judicious contrails of mat 
 and burnifiied furfaces, whilft other portions are merely touched 
 in an artiftic manner, with gold lines or hatchings. This 
 fyftem of parcel gilding feems to have been pecuHar to the 
 Venetian fchool, and when carried out with judgment and 
 artiftic feeling has an excellent refult, though in the hands 
 of the mere mechanic it too often produces a patchy effe(5l, 
 deftrudtive of all repofe and unity of defign. Thefe chairs, 
 although of the fimpleft pofiible conftrudlion, are admirably 
 adapted to difplay the rich relief ornamentation of the fchool 
 and period ; and, accordingly, we find a great variety of 
 defigns, generally confifi:ently carried out in furface carving ; 
 /. e, in relief decoration carved out of the mafs of the plank. 
 The execution of the work is ufually expeditious, and often 
 fome what coarfe, but always fiiriking and efFedlive ; it being 
 
1 68 XIV.— DECORATIVE FURNITURE. 
 
 evident that they were confidered as articles of current manu- 
 fac^lure, and not fpecimens of recherche decoration. The 
 prefent model is of unufual fize ; the trefTel fupports are carved 
 with rich ftrapwork, or cartouche ornamentation, terminal 
 figures, maflcs, &c. with a fhield of arms, with painted blazon 
 in the centre, and the backs, which are fan-fhaped, are deco- 
 rated with perforated acanthus fcroliwork. The angles flanked 
 by terminal figures, and the creft or pediment formed by re- 
 gardant fphinxes, with foliated wings and extremities, having 
 between them a fmall vafe. 
 
 Nos. 6 1 2 to 6 1 9, and No. 6 2 1 . 
 
 ^^ERIES OF NINE CARVED AND PARTLY 
 GILDED VENETIAN CHAIRS. Similar model 
 to previous examples. Height of each 3 ft. 6 in. — circa 1560. 
 The fupports and the back in this defign are heart-fliaped, 
 forming decorative compartments bordered by ftrapwork, 
 filled in with running fcroUs, and enclofing large foliated 
 mafks, &c. The pediment, or upper part of the back, confifts 
 of interlaced cartouche ornament, enclofing a gilded flar. 
 
 No. 620. 
 
 ARVED AND PARTLY GILDED VENETIAN 
 CHAIR, cinque-cento period. Height 3 ft. 5 in. 
 Same type as preceding examples. The fupports heart-fhaped ; 
 compofition of rich carved ornamentation ; fan-fhaped back. 
 
 No. 621, 
 
 ^^MALLER CARVED AND PARTLY GILDED 
 VENETIAN CHAIR, cinque-cento period. Height 
 3 ft. 5 in. Same type as preceding examples, but different in 
 the ornamental details. A fhield of arms in the centre of the 
 back. 
 
XIV.~DECORATIVE FURNITURE. 169 
 
 Nos. 623 and 624. 
 
 ^gWO CARVED AND PARTLY GILDED VE- 
 NETIAN CHAIRS. Height 3 ft. 6 in. Same 
 type as preceding, but richer and more elaborate decoration. 
 The back and fupports carved with open interlaced cartouche 
 work, amorini, fphinxes, terminal figures, mafks, &c. In 
 the centre of the backs, fhields of arms, with blazon. 
 
 No. 625. 
 
 ^SaRVED and PARTLY GILDED VENETIAN 
 CHAIR, cinque-cento period. Height 3 ft. 5 in. 
 " En fuite" with No. 620. 
 
 Nos. 627 to 640. 
 
 OURTEEN FOLDING ARM CHAIRS in carved 
 oak. Italian work — circa 1530-50. Average height 
 3 ft. 5 in., width 2 ft. 4 in. Unlike the preceding variety, 
 chairs of this conftrudlion are of great antiquity, we may fee 
 them reprefented on the moil ancient Greek vafes ; at a later 
 period the Curule chairs of the Roman Senators were of the 
 fame type, and more than one antique fpecimen in bronze has 
 come down to the prefent day. Chair of St. Peter," in the 
 Vatican- — " Chair of Dagobert," from St. Denis, now in the 
 Mufee des Souverains in the Louvre.) It was a favourite 
 mediaeval model ; and the prefent fpecimens, although dating 
 about the middle of the fixteenth century, bear the imprefs 
 in many details of a traditional mode of treatment of much 
 greater antiquity. The cufps in the under part of the frame 
 work and the running fcroll-pattern repeated along the rails 
 or ftyles, with variations in nearly every fpecimen are, for 
 inftance, completely in the ftyle of the quattro-cento, and 
 were it not for other details, would have efFedually mifled 
 gne as to the real date of thefe chairs ; as it is, it fimply ' 
 
lyo XIV.— DECORATIVE FURNITURE. 
 
 proves that this was a fixed and fettled ftyle or model re- 
 peated again and again from the mere force of habit ; familiar 
 objedls of ufe often refifting the changes of fafhion long after 
 correfponding ftyles in other vehicles had pafled away. The 
 prefent feries contains feven diftindt defigns exhibiting great 
 diverfity in the decorative details, although the framework or 
 confhrudlion is the fame in all ; moft of them have fhields of 
 arms of the refpedlive families to whom they originally belonged, 
 carved on the back or crofs rail. It is not an uninterefting 
 circumftance that in the Majolica group, reprefenting an organ 
 player, (No. 84 in the colledion) the performer is feated in a 
 chair of precifely fimilar model to thefe. 
 
 Nos. 641 to 649. 
 
 INE CHAIRS, in carved cheftnut ? wood. Same type 
 as No. 604, &c. Venetian — circa 1560. Thefe chairs 
 are all of different defigns ; they are fimilar in ftyle to thofe 
 already defcribed, with the exception of the gilded enrichment, 
 which they do not feem ever to have received, having been 
 left of the natural rich colour of the wood. 
 
 Nos. 650 to 653. 
 
 ^Series of four folding arm chairs, 
 
 ^^S, " en fuite," in cheftnut or walnut wood, inlaid with 
 mofaic ('^ tarfia work") of ivory and lighter coloured wood. 
 Italian work, cinque-cento period — (circa 1550?). Entire 
 height 3 ft. 4 in., width 2 ft. 7 in. Thefe beautiful chairs are 
 of fimilar conftru6lion to the Nos. 627, &c., and like them but 
 for pofitive evidence of their origin would have been referred to 
 the quattro-cento period ; they are in polifiied deep tinted wood 
 elaborately incrufted or inlaid with minute geometrical Mofaic 
 work, formed by fmall lozenge-fiiaped pieces of ivory, the 
 defigns, chiefly circles and lozenges, being more precifely made 
 out by narrow lines or filets of white wood, probably willow. 
 
XIV.—DECORATIVE FURNITURE. 171 
 
 The fpecies of work here defcribed was in great vogue in Italy 
 as early as the thirteenth century even ; it is precifely analogous 
 in ftyle to the geometrical glafs pafte Mofaic, and to that of 
 the marble pavement Mofaics fo common during the mediaeval 
 periods. The circular medallion formed by the interfedlion 
 of the rails or framing of the chair, in the lower part, is 
 decorated with an oval fhield of arms, being that of the 
 Ducal family of Urbino, and from the circumftance of a de- 
 vice ('^ imprefa") which furmounts it, we are enabled to afcer- 
 tain the adual ownerfhip of thefe chairs. The device alluded 
 to is that of Duke Guidobaldo the Second (began to reign 
 1538 — died 1574); it confifts of three " Metae," or antique 
 goal pillars (winning pofts)* encircled by the Ducal coronet, 
 this Ihield is an incruftation or infertion in lighter coloured 
 wood — the bearings or device incifed or burnt in ; it is evi- 
 dently a genuine infertion of the period of Duke Guidobaldo, 
 but it is not quite clear that the chairs themfelves are not of 
 confiderably older date. Some portions of the ancient velvet 
 backs and feat covers have been preferved, as alfo feveral of 
 the gilded nails with which they were attached — the latter are 
 in the form of large acorns (the acorns were alfo a device of 
 the Della-Rovere family). 
 
 No. 654. 
 
 ^^RM CHAIR, with high back. South of France— 
 circa 1580. Entire height 3 ft. 8 in. The back is 
 decorated with two circular arcades, with carved pediment, and 
 the ftyles and framing are inlaid with marquetrie. 
 
 . * Denniftoun — Dukes of Urbino, vol. i. appendix v. p. 421. Three 
 metae, or antique goal pillars, or obelifks, motto, f^iXaiperoTdray " To the 
 moft devoted lover of Virtue." A defign for thefe goals was fent to Duke 
 Guidobaldo Second, by 'Bernardo Taflb, from the Circus Maximus at Rome. 
 
172 XIV.-~-DECORATIVE FURNITURE. 
 
 Nos. 655, 656. 
 gWO CARVED CHESTNUT-WOOD COFFERS. 
 Italian work — circa 1550-60. Length of each 6 ft. 
 3 in., width 2 ft. 3 in. Height 3 ft. 3 in. Thefe magnificent 
 pieces of furniture are a well-known Italian cinque-cento type, 
 they are ufually ftyled, marriage coffers, or bride's chefts, and 
 are generally fuppofed to have contained the bride's wardrobe. 
 That they were articles of bedroom furniture is certain, as they 
 may be feen reprefented in ufe in many Italian pidtures and 
 prints.* The prefent fpecimens are faid to have been prefented 
 to a Countefs Delia Porta. The fubjedls forming the friezes 
 or fides of thefe fpecimens reprefent fcenes from the hiflory of 
 David, the figures being carved in full relief in the moft 
 mafherly ftyle. At each angle is a flatuette in the round, of 
 a prophet, and the ends of the chefls are fculptured with alle- 
 gorical reprefentations of the feafons. Thefe coffers are evi- 
 dently the work of an artift fculptor, and not of a mere cabinet 
 maker. 
 
 No. 657. 
 
 IBRARY TABLE, with defk containing drawers, in 
 carved chefhnut or walnut wood. Italian — circa 1570. 
 Length 4 ft. 5 in., width 2 ft. 7 in., height 2 ft. 8| in. This in- 
 terefling piece, which is entirely of ancientwork and inits prifline 
 condition, is fupported on four legs, each formed by two large 
 flatuettes of flanding amorini. The upper part or frieze is 
 enriched with fcroU foliage, and the edge of the table with 
 guilloche ornamentation. 
 
 * In the celebrated pi6lure called " Titian's Venus," engraved by Sir Robert 
 Strange, an attendant is feen taking linen from a limilar cheft, in a bedroom 
 interior. 
 
XIV.— DECORATIVE FURNITURE. 173 
 
 No. 658. 
 
 ONSOLE TABLE in carved cheftnut. French re^ 
 naiflance work — -circa 1560. Length 4 ft. 3 in., width 
 2 ft. 2 in., height 2 ft. 7 in. The treflel or confole fupports 
 at each end of this table are richly carved, and reft on a maflive 
 bafe, which is continued as a crofs rail all the length of the 
 table ; the confole is a compofition of two fphinxes tied toge^ 
 ther by open ftrapwork and rich acanthus fcroll ornamentation, 
 and between them ftands a claffical female draped figure. This 
 ftriking and eiFedive model is charadleriftically French, and 
 the fpecimens appear to be ufually from the South. 
 
 No. 659. 
 
 IMILAR TABLE of richer defign and more elaborate 
 execution. French — circa 1560. Length 4 ft. 9 in., 
 width 2 ft. 4f in., height 2 ft. 8 in. The confoles in this fpe- 
 cimen are griffins coupled together with open ftrapwork orna- 
 ments ; in the centre a grotefque terminal figure. 
 
 No. 660. 
 
 ^^ARVED "BUFFET," ("dreftbirde falle a manger") 
 French renaiflance work — circa 1560. Height 7 ft., 
 width 4 ft., depth i ft. j{ in., carved in every part with ela- 
 borate relievo ornamentation, and inlaid with marqueterie. 
 
 No. 661. 
 
 ARVED " DRESSOIR" of fimilar defign. French 
 renaiflance work — circa 1560. Height 7 ft. 6 in., 
 width 4 ft. 8 in., depth i ft. 10 in. This fine cabinet is a 
 fpecimen of a very prominent article of French cinque-cento 
 furniture. This objedl, indeed, was perhaps the principal 
 article in the entire " ameublement." It doubtlefs originally 
 occupied the moft prominent place in the ancient dining-room. 
 
174 XIV.— DECORATIVE FURNITURE. 
 
 and ferved for the difplay of plate, artiftic pottery, pewter, 
 enamel wares, &c. It is difficult to defcribe the elaborate 
 fculptured ornamentation, but the fpecimens executed in all 
 parts of France at this period have fuch a clofe general refem- 
 blance, that a minute fpecifi cation of details is unnecefTary. 
 The execution of the ornamental carvings of thefe pieces is 
 ufually bold and effedive in the extreme, and whatever may be 
 the faults of defign, fome of the motives, indeed, often verging 
 on groflhefs, they are always highly decorative, and have a ftately 
 magnificent effed, which, it may be obferved, is feldom at- 
 tained in modern works, even at a far greater outlay. 
 
 No. 662. 
 
 ARVED BUFFET of fimilar ftyle and period, want- 
 ing the upper part. Height 4 ft. 7 in., width 3 ft. 
 I of in., diam. i ft. 7 in. 
 
 No. 663. 
 
 ARVED CABINET OR ARMOIRE. French 
 renaiflance — circa 1570-80. Height 7 ft. 9 in., 
 width, in the lower part, 3 ft. 8 in., projection, i ft. 10 in. 
 This piece is a different, and perhaps rather more recent type 
 than the preceding fpecimens ; it confifts of two ftages or cup- 
 boards, one of diminished fize, planted on the other, and fur- 
 mounted by an elaborately carved pediment. In the panels 
 of the doors of the lower part are jfhields with a device of a 
 fountain, with a fwan fwimming in the bafin, and in the upper 
 panels are female allegorical figures in claffical coftume. The 
 whole is furmounted by a lofty creft, containing a femicircular 
 niche in the centre, flanked by broken pediment mouldings, 
 furmounted by fea-horfes, the fummit of the centre portion being 
 crowned by a fpread eagle. 
 
XIV.— DECORATIVE FURNITURE. 175 
 
 No. 664. 
 
 ARVED TABLE, fupported on circular pillar legs. 
 Italian or French — circa 1550-60. The pillars at the 
 ends are decorated with fpiral wreaths of vine foliage, and the 
 crofs rail, underneath the table, which has a wide fplayed fur- 
 face richly carved, fupports feveral elegant turned columns, 
 which carry femicircular arcades. The mouldings of thefe 
 fhafts difplay great tafte, being admirably defigned for contraft 
 of forms. 
 
 No. 665. 
 
 ECRETAIRE, in tarfia work, with the arms of 
 Guidobaldo II., duke of Urbino. Similar work and 
 period to the chairs, No. 650, &c. 
 
 Nos. 666 and 667. 
 
 WO COFFERS in tarfia work. Same ftyle and period 
 as the preceding piece. 
 
 No. 668. 
 
 ARGE HALL LANTHORN in carved and gilded 
 wood. Venetian — circa 1570. Height 7 ft., diam. 
 2 ft. 10 in. This impofing decorative objedt was brought 
 from the palace of the Counts Gradenigo in Venice, and was 
 doubtlefs originally fufpended from the ceiling of the fala 
 grande," or great hall of the palace. The defign is of the 
 moft florid charadler of the fchool and period. The mafTive 
 framework being ornamented with boldly carved flrap or car- 
 touche work, amorini, fatyrs, terminal figures, garlands of 
 fruit, &c., in full relief. The figures have been painted in 
 proper flefh tints, and the refl of the work gilded. 
 
176 XIV.—DECORATIVE FURNITURE. 
 
 No. 669, 
 
 ETALLIC MIRROR, in carved cafe or frame. Ita- 
 lian (Florentine?) work — circa 1550-60. Height 
 3 ft. 5 in., width 1 ft. 2 in., dimenfions of the plate 13 in. by 
 10^ in. In this fpecimen we have one of thofe chefs d'oeuvre, 
 never at any period numerous, in which the difplay of art of a 
 high order was the real intention, and the adoption of a ufeful 
 utenfil for its embodiment little more than a pretext. The 
 defign of this piece muft have been the work of a great mafter, 
 perhaps no lefs a perfonage than Benvenuto Cellini. The name 
 of this celebrated artift is constantly taken in vain in refpe6fc 
 to works utterly unworthy of his talent, and which offer no 
 fpecific refemblance to his ftyle. Some apology, therefore, 
 feems necelTary in venturing to attribute the authorfhip of the 
 prefent piece to him. The work, however, has fo great a re- 
 femblance, both in the " enfemble" of the compofition, and in 
 a(5tual pecuHarities of detail to known works of the mafter, (in 
 particular the marble pedeftal of the ftatue of Perfeus in Flo- 
 rence), that the author deems himfelf juftified in at any rate 
 recording his belief that the defign is fubftantially due to 
 Cellini. The execution of the work, though moft mafterly, 
 would, in this cafe, be by another hand, working after Cellini's 
 drawing. The compofition in general arrangement fomewhat 
 refembles a monumental tablet ; in the centre the metallic 
 plate is covered by a funk fliding panel ; this panel is carved 
 with a large female profile buft, treated in low relief, in the 
 manner of an antique cameo, the furrounding ground fpaces 
 being perforated, and allowing the bright furface of the mirror 
 to be feen through. Around this is a wide dado or architrave 
 in poliftied root of oak, or fome other beautifully knotted 
 wood, decorated with mafks, garlands of fruit and flowers, 
 heads of amorini, &c., in high relief ; underneath is a finely 
 
XIV.— DECORATIVE FURNITURE. 177 
 
 compofed bracket, and above a bold cornice, with fluted or 
 gadrooned cavetto moulding, furmounted by an enriched 
 blocking courfe. 
 
 No. 670. 
 
 IRCULAR METALLIC MIRROR, in carved 
 walnut-wood frame. Italian — date, fecond half of fif- 
 teenth century. Diam. of plate, 6| in., diam. including frame, 
 19 in. Not lefs beautiful than the preceding fpecimen, and 
 of an earlier and better period of art. In general appearance 
 this piece rather refembles a fhield than a mirror. The frame 
 has a curved furface, the inner and outer margins enriched with 
 claffical egg and tongue moulding picked out in gold. The 
 ornamentation forms a continued frieze of the richeft and moft 
 elaborate relief carving ; at the bottom, or under fide, is a nefi: 
 of acanthus foliage, through which is thrufl: a large letter Y, 
 probably the initial of the pofiefibr's name (Yfabel ?) ; from 
 this, on each fide, fprings an acanthus running fcroU, being 
 an exquifite quattro- cento verfion of the antique. At the 
 jundtion of the two fcrolls at the top, is a device of a flaming 
 grenado, and on one fide an angel in the adl of writing on a 
 tablet, and on the oppofite one a human fkeleton. Within the 
 refl: of the fcroll are various animals, each of which is accom- 
 panied by a large capital letter picked out in gold ; reading 
 upwards from the bottom, thefe apparently difconnedted letters 
 will be found to compofe the words Bonum and Malum, the 
 former word being on the left hand and the latter on the right. 
 The animals accompanying the letters of each word are evi- 
 dently typical, refpedlively of good and evil qualities.* 
 
 The metallic mirror plate is enriched at the back with a 
 
 * The author is indebted to W. H. Blaaw, Efq. for the explanation of this 
 enigma, which, owing to the hafte with which the firft edition of this Cata- 
 logue was prepared, had efcaped difcovery. 
 
 N 
 
178 XIV.^DECORATIVE FURNITURE. 
 
 beautiful relievo of the Virgin and Child, feated on a throne 
 between two angels, who are holding out a feftoon of foliage ; 
 above, two angels in the air playing mufical inftruments. 
 This relievo, in the ftyle of Fra Angelico or Benozzi Goz- 
 zoli, is replete with religious fentiment. 
 
 M. Soulages jftates that this mirror was reputed to have 
 been the property of the celebrated Lucrezia Borgia, and that 
 the flaming grenado, (evidently the emblem of the poflefTor), 
 was her device. 
 
 No. 671. 
 
 ETALLIC TOILET MIRROR, with carved frame 
 and ftand, in walnut- wood. Italian work — circa 1440- 
 50. Height I ft. 6 in., fizt of the mirror-plate io| in. by 
 in. This exquifite work confifts of a fquare frame, with 
 richly carved mouldings, into which the plate is fitted, upheld 
 by a fhort moulded pillar refting on a quadrangular foot. 
 The decoration is entirely in the revived claffical ftyle, exhi- 
 biting beautiful renderings of palmette ornaments, guilloche 
 and acanthus-leaf mouldings, and within the triangular panels 
 of the foot are four circular medallions, carved with emblem- 
 atical devices in relief, as follows: i. an elephant; 2. a 
 lighted link or torch, (formed by twifted ftrands of tarred 
 rope ?) with a ftar above ; 3. a fwan or goofe carrying a nail 
 in its beak ; 4. a beaver or otter, with a blank open label 
 fcroll. On the mirror are two fmall fquare panels containing 
 each the fame device, which it is fomewhat difficult to de- 
 fcribe, the objedt reprefented not being recognizable. It re- 
 fembles a fmall oval patch of ground, on which are laid three 
 rofettes, or tufts of grafs, or ftar-fifh. 
 
 There can be little doubt but that this interefting utenfil was the 
 property of Sigifmund Pandulpho Malatefta, lord of Rimini, or of 
 his celebrated miftrefs, Ifotta degl'Atti (called Ifotta da Rimini). 
 The elephant was their favourite device, and may be feen on the 
 
XIV.— DECORATIVE FURNITURE. 179 
 
 reverfe of the well-known medal of Ifotta, an example of which 
 exifts in this colledlion (No. 485). The marked claffical 
 ftyle of this piece, carried out with exquifite tafte and feeling, 
 is juft what would have been expe6ted from its origin. Mala- 
 tefta was one of the greateft: patrons of artifts of his period, 
 and was, moreover, a paffionate admirer of the antique. He 
 employed the celebrated archited Leon Battifta Alberti to 
 build him a church at Rimini (San Francefco), which is ftill 
 quoted as one of the earlieft and moft important monuments 
 of the revival. The beautiful mirror now in queftion agrees 
 entirely with the architedonic fentiment of the church ; and 
 it is not improbable that it was executed from a defign of the 
 celebrated archite6t juft mentioned. Nothing can exceed the 
 fpirited carving of the details; they are replete with all the finefle 
 of a great fculptor, whilft the proportion of the feveral parts, 
 profiles of the mouldings, &c. are perfedl. ^ - 
 
 No. 672. 
 
 ETALLIC MIRROR in ebony frame. Italian— circa 
 1500-20. Height 2 ft. I of in., width 2 ft. 7I in., 
 dimenfions of the plate i ft. 9 in. by i ft. 5 j in. The frame 
 forms a fimple moulded architrave, the profile being compofed 
 with great tafte and judgment. The decoration confifts of an 
 inlay of narrow filets of ivory, forming interlaced Italian fret- 
 work or knot patterns. At the bottom, within a circle, is a 
 bow, alfo in inlaid ivory : this objed, faid to be a device of 
 the Vifconti family, being thought to denote the original 
 ownerfhip of the piece. The work is further interefting as 
 one of the earlieft examples of the ufe of ebony, which after- 
 wards became fuch a favourite decorative material. 
 
i8o XIV.-~ DECORATIVE FURNITURE. 
 
 No. 673. 
 
 ETALLIC MIRROR, on which is executed a painting 
 in oil of Adam and Eve. Italian— cinque-cento work. 
 Size of the plate 
 
 No. 674. 
 
 ARVED BELLOWS, with chifelled bronze nozzle. 
 Entire length, with nozzle, 2 ft. 6 in., width lof in. 
 Italian (Venetian) work — circa 1550. Both fides are richly 
 carved in high relief, and picked out in gold. In front two 
 fatyrs, their lower extremities ending in fohage, form the border 
 or framework of the circular panel ; in the centre radiating 
 gadroon ornaments, with a ftatuette of a ftanding amorino. 
 The oppofite leaf or fide is filled with a large grotefque mafk 
 carved in low relief. The bronze nozzle decorated with mafks 
 and terminal figures. 
 
 No. 675. 
 
 S^^ ELLOWS, in carved wood, with chifelled bronze nozzle. 
 
 Italian — circa 1500-20. Extreme length 2 ft. 4 in., 
 width 10 in. Specimens of this utenfil of the Italian cinque- 
 cento period are rather numerous, but the prefent piece is of 
 an earlier date, and far higher merit in defign than the gene- 
 rality ; it is, perhaps, indeed the very finefl example known. 
 The two pear-fhaped panels forming the fides are both en- 
 riched with arabefque compofitions of admirable invention 
 and mafterly workmanfhip. In front, the compofition is en- 
 clofed within a circular wreath of fruit and flowers, clipped 
 with ftrapwork ornaments, the central fpace is filled with a 
 trophy, or ornamental arrangement of grotefque motives, in 
 which may be remarked dolphins, a fhell, two terminal figures, 
 with fhields fighting, mafks, &c. intermingled with the richefl 
 fcroU foliage. Underneath the wreath is a triangular fpace, filled 
 by an eagle with outftretched wings, and the fquare handles are 
 
XIV.— DECORATIVE FURNITURE. i8i 
 
 decorated with grotefque fphinxes. The reverfe has mafks, 
 a tablet or cartouche, and acanthus-foliated ornament ; the 
 nozzle or fpout is formed by a grotefque animal. M. Sou- 
 lagesj on the evidence of armorial bearings on the fhields of the 
 fighting terminal figures in fronts believes this utenfil to have 
 belonged to Hercules duke of Ferrara of the Efte family, or 
 to his daughter Beatrix. 
 
 No. 676. 
 
 ELLOWS. Italian — cinque-cento work. 
 [Not yet received from M. Soulages. Under repair.] 
 
 No. 677. 
 
 ^^MALL READING EASEL, enriched with furface 
 il^^ carving of arabefque ornaments. Italian — circa 1560. 
 Height 12 in., width 8 in. 
 
 No. 678. 
 
 REDENCE, in carved oak. 
 [Not yet received from M. Soulages. Under repair.] 
 
 No. 679. 
 
 ARVED AND GILDED ITALIAN PICTURE- 
 FRAME. Cinque-cento work. Compofition of richly 
 carved mouldings, the moft prominent one being decorated with 
 a perforated vine-fcroll, with grapes. 
 
 No. 680. 
 
 ORNICE for a large room (complete entablature) in 
 carved pine. Venetian — circa 1560. Entire length 
 90 feet running meafure, depth 2 ft. 7 in., projection i ft. 6 in. 
 The principal features of this compofition are large pendent 
 modillions, arranged in couples, and carved with mafks or bufl:s, 
 and feftoons of fruit. Between the modillions, the frieze is 
 
1 82 XIV.— DECORATIVE FURNITURE. 
 
 decorated with oval cartouche panels. The fofHt of the cor- 
 nice has alfo cartouche panels and pendent bofTes, and the cor- 
 nice mouldings are enriched with funk flutings, firings of beads 
 or pearls, &c. Brought from the Palazzo Benfi-Ceccini at 
 Venice. 
 
 No. 68i. 
 
 ORNICE, or entablature of a room, in carved pine. 
 Venetian — circa 1570. Entire length 68 ft. 8 in. 
 running, depth 14 in., projedlion 10 in. Pendent modillions, 
 mouldings richly carved, with proj celling boffes in foffit of the 
 cornice. 
 
 Nos. 682 to 689. 
 
 ^^glGHT SETS OF SHELVES FOR MAJOLICA 
 WARE, conftrudted from ancient Italian carved wood- 
 work. 
 
 No. 6go. 
 
 ABINET (" dreflbir de falle a manger"), in carved 
 walnut wood. French renaiffance work — circa 
 1550-60. Entire height 7 ft. 10 in., width 4 ft., depth from 
 back to front i ft. 8 in. This fine cabinet is faid to be the 
 work of Bachelier, a celebrated cinque-cento fculptor and 
 archited of Touloufe, of whom many works exift in that city. 
 Bachelier has been, hitherto, little known out of his own 
 locality ; there, however, he appears to have gained a lafting 
 reputation, and there is a tradition that he ftudied in Italy and 
 was a pupil of Michael Angelo. - The body of the cabinet is 
 carried on two grotefque fupports of winged fphinxes, the 
 upper part, in two graduated divifions, is exuberantly decorated 
 with miniature columns, niches containing ftatuettes, panels of 
 hiftorical fubjedls in high relief, terminal figures, mafks, heads 
 of amorini, &c. ; the plain ftyles or fpaces inlaid with marque- 
 
XIV.— DECORATIVE FURNITURE. 183 
 
 terie of ivory, coloured woods, mother-of-pearl, and coloured 
 marbles ; the fummit or pediment, in three divifions, is crefted 
 with dragons, grotefque birds, &c. ; the relievo in the centre 
 divifion reprefents David with the head of Goliath, and two 
 figures in the lateral niches are imperfonations of Juftice and 
 Fortitude ; in the upper divifion the relievo fubjedl is Judith 
 with the head of Holofernes. In many details this work be- 
 trays a ftrong Italian influence, and it is not unlikely that 
 Bachelier, imbued with the vigorous manner of the Florentine 
 ornamentifls, may have been the founder, or, at any rate, 
 chief promoter of the charaderiftic fl:yle of furniture carving 
 of the fouth of France. 
 
 No. 6gi. 
 
 ABINET, or " armoire." French renaifTance work 
 — circa 1550-60. Height 7 ft. 10 in., width in the 
 lower part 3 ft. 8 in., depth from back to front i ft. 10 in. 
 This fpecimen, different in type to the preceding piece, and 
 of lefs elaborate ornamentation, is, however, in all probability, 
 alfo the work of Bachelier. The elegant fimplicity of the 
 ^^enfemble" of the piece, and the admirable vigour and invention 
 difplayed in the ornamentation, efpecially of the pediment or 
 creft, render this piece as a decorative compofition even more 
 valuable than the preceding fpecimen. There is, however, a 
 marked fimilarity of ftyle between the two. 
 
i84 
 
 XV.— ADDENDA. 
 
 Various obje^s, chiefly works in metal, 
 
 Nos. 692 to 695. 
 OUR PIECES OF FRIEZE (painting in oil on 
 canvas), forming the entire frieze of a room. 
 Venetian — fixteenth century. Length 77 ft. 8 in., 
 depth 2 ft. 6 in. Compofition of fea nymphs, tritons, and 
 amorini in the fea, in the manner of Pordenone. 
 
 No. 696. 
 
 LASK, " pilgrims' bottle," in blue glafs. French — 
 circa 1550. Height ii~ in., width 14! in. This 
 flafk is in thick femi-opaque blue glafs, and is mounted with 
 bands or ftrapwork of pewter on each fide ; on the fhoulders 
 are two lizard handles, with rings for fufpenfion. In the 
 centre of the fide of the flafk is a circular medallion, contain- 
 ing a clafTical helmeted head, in Limoges enamel (by Pierre 
 Remond), infcribed " Paris • fuis." In the tapeilry hanging. 
 No. 593, the ufe of thefe flafks is illuftrated — the efquire 
 attending a feigneur and his lady who are fetting out hawking ? 
 carries with him a fimilar flafk fufpended by a cord pafTed 
 through loops or rings at the fide. 
 
 No. 697. 
 
 BLONG SARCOPHAGUS-SHAPED BOX OR 
 COFFER. Venetian work — circa 1530-40. Length 
 19 in., width I2| in., depth 9^ in. The furface is entirely 
 covered with foliated fcroll ornamentation in low relief ; the 
 cover and bafe of the box enriched with flutings or gadroons 
 
XV.— ADDENDA. 185 
 
 and carved mouldings ; handle in chifelled bronze in the 
 centre of the cover ; the ornamentation partly gilded. The 
 interior is arranged with compartments apparently to contain 
 writing materials. 
 
 No. 698. 
 
 IMILAR COFFER or box for writing materials. 
 Venetian work — circa 1550. Richly decorated with 
 cartouche or ftrapwork ornamentation ; originally partly 
 gilded. Length 18 in., width 15$ in., depth 10 in. 
 
 No. 699. 
 
 |M|PPER PART OF A CARVED WOOD " GUE- 
 RIDON" OR "TORCHERE." Italian (Venetian) 
 work — circa 1560. Rich compofition of amorini, ftrapwork 
 ornament, fruit, &c., partly gilded, and the amorini painted in 
 flefti tints. 
 
 No. 700. 
 
 HISELLED IRON LOCK. French tranfitional 
 gothic " flamboyant " or early renaiftance work — 
 circa 1500-20. Height 9 in., width 6J in. This beautiful 
 fpecimen of lockfmiths' work is decorated with ftatuettes of 
 the Virgin and St. John, which, with the Chrift (originally 
 affixed in the centre and now wanting), formed a rood or con- 
 ventional reprefentation of the Crucifixion. Above is a demi- 
 figure of the Almighty in glory ; the three figures are crowned 
 by rich canopy-work, both ftatuettes and canopies being 
 executed in full relief. The ground of the lock is filled with 
 bands of perforated tracery and renaiflance fcroll foliage. 
 
i86 
 
 XV.— ADDENDA. 
 
 No. 701. 
 
 HISELLED IRON LOCK. French "flamboyant 
 gothic" — circa 1490. Length 5^ in., height 4$ in. 
 Compofition in three compartments. In the centre a ftatuette 
 of St. John, in full relief, furmounted by a perforated canopy ; 
 the two lateral panels filled with rich tracery work, furmounted 
 by crocketed canopies. 
 
 No. 702. 
 
 ^^HISELLED LOCK-FRONT. French renaiflknce 
 work— circa 1530. Length 6^ in., height 6 in. 
 
 No. 703. 
 
 ^|MALL CHISELLED IRON LOCK. German 
 work — circa 1500. The front enriched with open- 
 work, fcroll foliage. 4§ in. fquare. 
 
 No. 704. 
 
 ^^HISELLED IRON LOCK-FRONT. French re- 
 naiflance— circa 1 500-20. Height 6-| in., width 4! in. 
 The front enriched with applique-work, fcroll foliage;, dol- 
 phins, &c. 
 
 No. 705. 
 
 OODEN LOCK, with rude iron key— fourteenth or 
 fifteenth century ? 
 
 No. 706. 
 
 l^pHISELLED IRON LOCK. French or German 
 work — circa 1500. 4^ in. by 4 in. 
 
XV.— ADDENDA. 
 
 tion. 
 
 No. 707. 
 
 NUFF-BOX, in tortoifeiliell, inlaid with mother-of- 
 pearl and filver pique work — early eighteenth century- 
 work. 
 
 No. 708. 
 
 ^T^ORTOISESHELL SNUFF-BOX, inlaid with filver 
 fcroll pique work — early eighteenth century work. 
 
 No. 709. 
 
 ATCH-CASE, in bronze gilt. Italian (Venetian?) 
 work — circa 1550. Perforated arabefque ornamenta- 
 
 No. 710. 
 
 MALL FLACON. " Cloifonne" enamel on copper 
 — date and manufadure uncertain. 
 
 Nos. 711, 712, 713. 
 
 HREE BRONZE KNIFE-HILTS— cinque- cento 
 period. 
 
 No. 714. 
 
 MALL DECORATIVE MASK, in gilt bronze. 
 Italian cinque-cento work. 
 
 No. 715. 
 
 YREN, in chifelled iron. Fragment of a lock. Cinque- 
 cento work. 
 
 No. 716. 
 
 ROTESQUE DRAGON, in bronze gilt. Support 
 to a coffer or cabinet. Italian cinque- cento work. 
 
 No. 717. 
 
 MALL GILT BRONZE ORNAMENT. Support 
 to a coffer. Italian cinque-cento work. 
 
i88 
 
 XV.— ADDENDA. 
 
 No. 718. 
 
 jTATUETTE in carved walnut wood. Female nude 
 figure in the round, fupporting a bafket of fruit. 
 French renaiffance work — fixteenth century. Height, 18 in. 
 Stand for a mirror? or a portion of fome decorative article 
 of furniture. 
 
 No. 719. 
 
 ERTICAL PANEL of raifed velvet. Italian (Ve- 
 I netian?) work — circa 1500. Length, 7 ft. 10 in.; 
 width, I ft. 8 in. • 
 
 No. 720. 
 
 ^REST ORNAMENT to a widow^s? cap in black 
 bugle beads — date, fir ft half of feventeenth century. 
 French or Spanifh ? 
 
 No. 721. 
 
 ^WRON padlock and KEY— fixteenth century 
 work. 
 
 No. 
 
 722 
 
 iOCK AND KEY. French work— circa 1600. The 
 bow of the key decorated with fyrens, pofed on a mi- 
 niature Corinthian capital. 
 
 No. 723. 
 
 ASTILE BURNER, or fummit of an " etagere" or 
 fait- cellar. In gilt bronze. ItaHan — cinque-cento 
 
 work. 
 
 No. 724. 
 
 lUSHION for a " fauteuil." Silk embroidery on 
 white fatin. French— circa 1700. 
 
XV.— ADDENDA. 
 
 No. 725 to 728. 
 
 OUR TRIANGULAR PEDIMENTS in gilt 
 bronze. Italian — cinque-cento work. The crefts or 
 fummits of metal mirror frames. 
 
 Nos. 729 and 730. 
 
 WO GROTESQUE PROJECTING HEADS of 
 fatyrs, in bronze. Italian — cinque-cento work. Door- 
 handles or knobs, caft " a la cire perdue." 
 
 No. 731 to 738. 
 IGHT SMALLER BRONZE PROJECTING 
 BUSTS or heads. Florentine — cinque-cento work. 
 Decorative mounts to fome article of furniture. 
 
 No. 739 to 741. 
 
 ^^^HREE TERMINAL FIGURES of amorini, hold- 
 
 ing books. In gilt bronze. Florentine — cinque-cento 
 work. Handles or other decorative details to an article of 
 furniture. 
 
 No. 742. 
 
 EM ALE HALF FIGURE, holding a vafe. In 
 bronze. Italian — cinque-cento work. Portion of a 
 decorative mount. 
 
 No. 743. 
 
 AGUES' HEAD SUPPORT, in gilt bronze. Sup- 
 port or foot of a cabinet or coffer. Italian — cinque- 
 cento work. 
 
 No. 744. 
 
 IeDALLION in chifelled bronze, richly gilded. The 
 judgment of Paris. Itahan work — circa 1490. Diam. 
 (A cockade or medallion for the hat ?) 
 
190 
 
 XV.— ADDENDA. 
 
 No. 745. 
 
 |YREN, CARYATIDE, in gilt bronze. Italian— 
 feventeenth century work. Portion of a decorative 
 mount. 
 
 No. 746. 
 
 ;bRTION OF A LOCK ESCUTCHEON, in gilt 
 and chifelled bronze. Italian — cinque-cento work. 
 
 No. 747. 
 
 IRNAMENTAL MASK in chifelled bronze. Flo- 
 rentine work — circa 1500. Portion of a decorative 
 objed. 
 
 No. 748. 
 
 MALL WATCH-KEY. Syren, in gilded bronze. 
 Italian — cinque-cento work. 
 
 No. 749. 
 
 HISELLED IRON BOLT. German or French- 
 circa 1490. 
 
APPENDIX A. 
 
 Fac-ftmtles of Signatures of Maeftro Giorgio^ traced from 
 pieces in the Soulages Colle5iion, 
 
 From the reverfe of Plate, No. 15. Full fize. 
 
 From the reverfe of Plate, No. 38. Full fize. 
 
192 
 
 APPENDIX A. ^ 
 
 Fac-fimile of Monogram executed in luftre colours at the back of 
 Plaque, No. 119, hitherto unpubliflied, and believed to be an unique 
 fignature of Maeftro Giorgio (Giorgio Andreoli). 
 
APPENDIX A. 
 
 193 
 
 Fac-fimile of Date and Monogram on the reyerfei of Plate, No. 39^ 
 painted in luftre colours. (Gubbio ware ? — School of M. Giorgio ?) 
 
 A P P E N D I X B. 
 
 The Font ana Family. 
 
 HE defire for information on the fubje(St of the Majolica 
 has now become fo univerfal, that the author thinks it 
 will not be inopportune to give here a brief monograph 
 of one of the greateft families of Majolica artifts— the 
 Fontana. The preceding Catalogue contains a certain amount of 
 information on M. Giorgio, and as Giorgio and Orazio Fontana are 
 unqueftionably the two leading names of the Majolica art, fome 
 account of the latter will perhaps be deemed a fitting fequel. He 
 therefore begs to offer an extracSl from the MS. of his work on the 
 Majolica, now in progrefs, trufting that the hafte with which the pre- 
 fent publication has been produced, and the as yet crude ftate of the 
 materials for his contemplated work, will be received as an apology 
 for the faults or inaccuracies, which, under the circumftances, he can 
 fcarcely expert to have avoided. 
 
 " The celebrity of one member of this family has been long eftab- 
 liftied by common confent. Orazio Fontana has always occupied the 
 
 o 
 
194 
 
 APPENDIX B. 
 
 higheft place in the fcanty lift of Majolica artifts, although at the fame 
 time nothing was definitely known of his works. Unlike their con- 
 temporary, Xanto, the Fontana feem but rarely to have figned their 
 productions, and confequently their reputation as yet refts almoft 
 entirely on tradition, on incidental notices in writings, which date back 
 to the age in which they flourifhed, and on faCts extra6led at a recent 
 period from local records. No conne6ted account of this family has 
 as yet been attempted ; although the materials are fomewhat lefs fcanty 
 than ufual : there can be no doubt however that a confiderable propor- 
 tion of the products of the Fontana ' boteghe' is ftill extant, and that 
 future obfervations will throw light on much that is now obfcure in 
 the hiftory of this notable race of induftrial artifts. The informa- 
 tion I have fucceeded in getting together will eftablifti feveral faCts 
 hitherto unnoted, and, at any rate, lay the groundwork for a more 
 detailed account. Orazio Fontana, whofe renown during his lifetime 
 even, feems to have completely eclipfed that of the other members of 
 his family, and in fa6t of all the other Urbinefe artifts, is firft mentioned 
 by Baldi, at the beginning of the feventeenth century, in his eulogy of 
 the ftate of Urbino, pronounced before Duke Francifco Maria II. 
 At a more recent period Crefcembeni alludes to him in reference to a 
 fubjeCt, which we fhall hereafter have occafion to^ difcufs more parti- 
 cularly ; and laftly, Pafleri, quoting both thefe authors, has added in a 
 brief notice all that was known of him up to a very recent period. 
 Pafleri, following Crefcembeni, afllimes him to have been a native of 
 Urbino, but is in doubt as to the a6lual place of his labours, fuggefting 
 Urbino, Fermignano, Caftel Durante, and laftly Pefaro^ where he in- 
 fmuates ' he found the earth more proper for his art in afliiming him 
 to have worked at the laft mentioned city however, Fafl^eri merely 
 gives way to a ridiculous mania for exalting his own locality ; there is 
 in fa6t not a tittle of evidence beyond this loofe aflertion, that he was 
 ever in any way conneCted with Pefaro ; and it is equally certain on 
 the other hand, that Urbino was the real feat of his labours : but in 
 fixing the period in which he flouriftied as between 1540 and 1560, 
 Pafl^eri is within the truth, as we ftiall prefently fee. 
 
 " Pungileoni, however, was the firft to furnifti us with reliable evi- 
 denccy and more recently, Raffaelli has confiderably enlarged our 
 fources of information. Having thus far noted the gradually increafing 
 pofthumous reputation of its leading member, we will now turn to the 
 faCts refpeCting the family in general. From documents cited by Raf- 
 faelli, it is eftabliflied beyond doubt that the original family name was 
 Peliiparioy of Caftel Durante, Fontana being an adopted cognomen or 
 
APPENDIX B. 
 
 19s 
 
 furname ; and it is not immaterial to obferve, that down to the lateft 
 mention of any one of the family (in 1605), they are invariably de- 
 fcribed as of Caftel Durante. 
 
 The firft who occurs is Nicola Pelltparto^ who was alive in the year 
 1540, and though not fpecially fo qualified, was doubtlefs the proprietor 
 of a vaferia ; this Nicola had a fon, Guido, who is mentioned in a 
 notarial deed as early as 1520. The latter appears, in turn, to have 
 had three fons — Orazio, Camillo, and another Nicola ; Guido, the 
 father, furvived Orazio, and probably alfo Nicola, living at leaft after 
 157 1, in which year Orazio died,* leaving a daughter, Virginia. Ca- 
 millo, the fecond fon, very likely lived much longer, and Pungileoni 
 notices his fon Guido, who died in the year i6o5.t In addition to 
 thefe names, Denniftoun ftates,J I know not on what authority, that 
 Orazio was aflifted in his labours not only by his brother Camillo, but 
 alfo by a nephew (Flaminio), who afterwards fettled in Florence. This 
 latter may have been another fon of Camillo. 
 
 Nicola 
 Guido 
 
 Camillo Orazio, ob. 1571 Nicola 
 
 . . . . j . 
 
 Guido Flaminio ? Virginia, 
 ob. 1605 
 
 The Fontana were undoubtedly manufa6lurers as well as artifts, 
 /. e. they were the proprietors of" vaferie." Of the firft Nicola, as we 
 have only a brief incidental notice of him, nothing pofitive can be 
 affirmed. The fuppofition of his being identical with " Nicola da 
 Urbino" has already been difcuffed in our notice of that artift ; but 
 with refpe6t to his fon Guido, we have the teftimony both of works 
 ftill extant, and of contemporary documents. An infcription on the 
 reverfe of a fine plateau in the Fountaine Collection informs us, that it 
 was " fatto in Urbino in Botega di M° Guido Fontana Vafaro" (/. e. 
 
 * Raffaelli, p. 35, and Ibid, (note) 26. 
 . -j- " Di cui in un libro'della Confraternita de S. Croce de Urbino legged : Guido 
 Durante di Camillo pittore da Caftel Durante entro in la Compagnia a di 20 gen- 
 naro 1581, ed in appreflb, obiit die 9 Julii, 1605.'" — Pungileoni. Giornale Ar^ 
 cadico, vol. xxxvii. p. 353. 
 
 X Denniftoun, Dukes of Urbino, vol. iii. p. 402. 
 
196 
 
 APPENDIX B. 
 
 ^' made in Urbino in the ftiop of Maeftro Guido Fontana, vafe maker") ; 
 whilft we learn, by the evidence of monuments,^^ that his fon Orazio 
 alfo had a ftiop or manufactory of his own, and we have fortu- 
 nately evidence of an entirely circumftantial nature on this point. 
 RafFaelli gives an extrad: from a notarial document, f eftablifliing the 
 fa61: that Orazio worked in conjunction with his father up to the year 
 1565, at which date he feparated himfelf from the latter, and fet up a 
 " botega" on his own account in the Borgo fan Polo, near to his 
 father's eftabliftiment, there being at the time of this feparation im- 
 portant commiffions, both from the Duke of Urbino and from Pied- 
 mont, in procefs of execution, and on which Orazio in particular was 
 bound to exercife his art. The faCt is thus eftabliftied, that between 
 1565 and 157 1 at any rate, there were two diftind Fontana manufac- 
 tories, — that of father and fon. What became of Orazio's eftablifli- 
 ment after his death, whether continued by his brother Camillo, or 
 reunited to that of the father, there is no evidence to fliow. With 
 refpedt to the remaining members of the family, our infornmtion is of 
 the fcantieft kind. Camillo, who was inferior in reputation as a painter 
 only to his elder brother, appears to have been invited to Ferrara by 
 Duke Alfonfo II., and to have introduced the Majolica manufacture 
 into that city.J We know not, however, at what period of his career 
 this migration occurred, and from the faCt of the mention of his fon, the 
 younger Guido, as living at Urbino in 158 1 (fee ante), it is fair to prefume 
 that he returned again to Urbino, and probably ultimately fucceeded his 
 father. Of Nicola, the third ? fon, we have only incidental mention 
 
 * Vafe formerly in the Strawberry Hill Colle£iion, infcribed, ** Fate in Botega 
 d'l Oratio Fontana and likewife a large vafe in the Mufee Ceramique of Sevres, 
 infcribed on the triangular plinth, " In botega di Mo. Oratio Fontana j" alfo a 
 vafe of the fame model, fimilarly infcribed, now in the colleftion of Alexander 
 Barker, Efq. 
 
 f " Cum fit quod verfa fuerit et vertatur extrajudicialis controverfia inter Mag, 
 Guidonem q. Nicolai de Durante figulam et habitatorem Urbini ex una, et Mag. 
 Horatium ejus filium ex altera caufa et occafione bonorum mobilium et fuppellec- 
 tilium domus et apothecse Mag. Guidonis . . . et fpecialiter creditum quod didi 
 Mag. Guido et Horatius habent cum illuftriffimo et excellentiffimo Domino noftro 
 Urbini invi6tilIimo Duce et quod habent in Pedemonte . . . et quia di6i:us Hora- 
 tius alligabat, prout alligat di6la credita ad ipfum fpeflare . . . et velle de cetero 
 fuam artem exercere." Rog. Girolamo Fazzini Not. Urbenate, 8 Nov. 1565, 
 Quoted by RafFaelli, p. 3 5, note 24.. And " Csefar Marini . . . dedit . . . Mag. 
 Horatio Fontanae unam domum In burgo S. Pauli juxta ftratam bona Mag. Guidonis 
 Fontanae : Rog. Gafparre Fazzini."— Ibid, note 25. 
 
 J Pungileoni Giornale Arcadico, vol. xxxvii. p. 3 S3' 
 
APPENDIX B. 
 
 197 
 
 in a legal document, merely eftabliftiing the fa6l of his exiftence in the 
 year 1570.* Guido, fon of Camillo, we have feen, lived till 1605 ; 
 and of Flaminio, who may either have been fon of Camillo or of 
 Nicola, Denniftoun's vague notice aflerting his fettlement in Florence 
 is all I have been able to colledt. No figned pieces of Camillo, Fla- 
 minio, Nicola the fecond, or Guido the fecond, have as yet been 
 obferved. 
 
 It has been already ftated that a confiderable proportion of the Fon- 
 tana Majolica is doubtlefs ftill extant; and it becomes now defirable 
 to endeavour to identify the works of the individual members of the 
 family, without which the mere knowledge of their exiftence is of 
 very little moment : but this is no eafy tafk ; although fpecimens from 
 the hands of one or other of them are to be undoubtedly found in 
 almoft every colle61:ion, the work of comparifon and collation has as 
 yet been fcarcely attempted. The fimilarity of ftyle and technical cha- 
 ra£i:eriftics of the feveral artifts moreover, working as they did with the 
 fame colours on the fame quality of enamel ground, and doubtlefs in 
 intimate communication with each other, refolves itfelf into fuch a 
 ftrong family refemblance, that it will require the moft minute and 
 careful obfervation, unremittingly continued, ere the authorfhip of the 
 feveral fpecimens can be determined with anything like certainty. 
 The evidence of figned fpecimens is of courfe the moft to be relied 
 on, and is indeed indifpenfable in giving the clue to complete identifi- 
 cation in the firft inftance; but here, in the cafe of the Fontana 
 family, and doubtlefs alfo in that of many other Majolicari, a difficulty 
 prefents itfelf which fhould be noticed in the outfet. This difficulty 
 arifes in determining the authorfhip of the pieces figned, " Fatto in 
 hotega^' Sec. &c. : this mode of fignature, in fa6i:, proves very little 
 in determining individual characl:eriftics, inafmuch as apparently nearly 
 all the works fo infcribed, are painted by other hands than that of the 
 proprietor of the Vaferia ; thus, in the cafe of pieces executed in the 
 botega of Guido Fontana, we may expert the painting to be rather 
 from the hand of Horatio or Camillo than that of their father the 
 Vafaro ; in fad, I have myfelf obferved that one and the fame hand 
 may be traced in pieces infcribed refpe£l:ively from the boteghe of 
 both Guido and Orazio, the hand being, I have little doubt, that of 
 
 * " Mag. Guido q. Nicolai de durante nuncupatus Fontana figulus Urbini 
 reliquit .... in omnibus autem ejus bonis fuos haeredes eflfe voluit Horatium, 
 Camillum, et l^icolaum filios legitimos. Rog. Marcus Antonius Theofilus Not. 
 Urb. 1570, die 29, &c. &c. — Raffaelli, p. 36, note 30. 
 
198 
 
 APPENDIX B. 
 
 Camillo. In cafes, however, in which the artift has actually figned 
 or initialed pieces with his own name, of courfe no fuch difficulty 
 exifts, but the certainty acquired by this pofitive evidence is as yet 
 confined, in the cafe of the Fontana family, to their greateft name, 
 Orazio. 
 
 The information I am now, however, enabled to communicate 
 will, I think, be conclufive in eftablifhing the identity of his works, 
 and I confidently anticipate that the greatly increafed attention which 
 the Majolica is now receiving, will foon refult in the acquifition of 
 equally fatisfadtory evidence as regards the others. 
 
 It appears from PafTeri that a great number of pieces from the hand, 
 or at any rate the " fabrique" of Orazio, were preferved in the " Garda 
 Roba" of the Dukes of Urbino, whence they in all probability pafTed 
 into the pofleffion of the Farnefe family at the devolution of the Duchy 
 in 163 1 ; this he gathers from an inventory extant at Pefaro in his 
 time, and from the fame fource PafTeri has extradted the following 
 mark, indicating, " Orazio Fontana Urbinate fece,^^ 
 Succeeding writers, down to the prefent time, have 
 quoted and reproduced this as the only known mono- 
 gram of Orazio. At the fame time it muft be obferved 
 that no one, not even PalTeri himfelf, has ever been able 
 to verify its exiftence on any piece of Majolica. M. 
 Delange, writing as late as 1853, ^^7^5 " -^^ revanche 
 PafTeri donne le Tigle d'un celebre artifle, dont il efl re- 
 grettable qu'on n'ait jamais vu d'exemple, c'efl le monogramme de 
 Oratio Fontana." 
 
 But although the mark refls fimply on PafTeri's unfupported autho- 
 rity, I am not difpofed to queflion its authenticity; and think it mofl 
 likely fooner or later fome piece fo figned will come to light. This, 
 however, was not the only monogram employed by Oratio ; and I 
 have now the fatisfa£l:ion of adducing for the firfl time four others 
 copied immediately from pieces of ware in exiflence. In the fum- 
 mer of 1855 M. Delange was kind enough to 
 communicate to me the following monogram, 
 copied from a fine plate reprefenting the rape 
 of the Sabines, in the colledion of the Cava- 
 liere Alefl^andro Saracini, in Siena. This mark, 
 I fhould obferve, had been previoufly given to 
 M. Delange by H. Scudamore Stanhope, Efq. 
 and the latter gentleman has fince kindly confirmed the authenticity of 
 the mark, and communicated to me his impreffion as to the ilyle of 
 
APPENDIX B. 
 
 199 
 
 painting and general appearance of the piece. Neither of thefe gentle- 
 men, however, feem to have read the monogram, or fufpe^ted its true 
 attribution. Shortly afterwards I difcovered the fame mark on a plate 
 in the Collection of the Britifli Mufeum, originally from the Bernal 
 Collection, reprefenting the chafe of the Calidonian boar. 
 
 mo 
 
 This fpecimen was at once revealed as an Urbino piece, by 
 a hand very often obferved elfewhere, and which I had long fuf- 
 peCted to be one of the Fontana family. On endeavouring to de- 
 cipher the monogram, which, it will be obferved, is identical with the 
 one from the Saracini collection, there was little difficulty in conftruing 
 its ingenious combinations : taking the large O as the beginning, and 
 the fmaller o in the centre as the laft letter, the word '* Oratio" ftands 
 clearly confefled ; and it may be obferved that the pages of Brulliot 
 might be fearched in vain for a more felicitous combination. The date 
 1 544, which accompanies both thefe fpecimens, evidently refers them 
 to the very earlieft period of the artift ; the Britifli Mufeum plate, in- 
 deed, bears every evidence of youthful care and timidity. Although 
 diflinguiflied by an unmiftakeable and charaCteriftic ftyle, it is yet far 
 from equalling in power and beauty the fpecimens ftill to be defcribed. 
 
 The next mark may be feen on a magnificent plateau, the painting 
 reprefenting the Maflacre of the Innocents, copied from Marc Anto- 
 nio's engraving after RafFaelle. This fplendid piece, unfortunately 
 
 cruelly fraCtured, is the chef d'oeuvre of 
 the collection of Majolica of the Mu- 
 feum of the Louvre, In the foreground 
 of the compofition is confpicuoufly 
 placed the following initial. Although 
 a far finer and more j5owerful work, there can be no doubt of its being 
 by the fame hand as the Britifli Mufeum piece ; I fliould indeed deem 
 it to be of the finefl: and mofl: fully developed period of the artifl:, pro- 
 bably fomewhat before 1550. 
 
200 APPENDIX B. 
 
 We have next two marks very clofely refembling each other, from 
 pieces in the celebrated Colleftion of Andrew Fountaine, Efq. Thefe 
 two pieces are large tazze or fruttiere evidently from the fame fervice. 
 One of them is admirably painted with the fubje£t of St. Paul preach- 
 ing at Athens, from RafFaelle's well-known cartoon, whilft the other 
 reprefents David flaying Goliath. The marks, as in the previous in- 
 ftance, are placed in the foreground of the compofition on tablets or 
 flabs of ftone drawn in perfpe61:ive. Nothing c^n exceed the bril- 
 liancy of colour and glaze, and the mafterly drawing of thefe pieces. 
 They are, in fa6t, equal, if not fuperior in excellence, to the Louvre 
 fpecimen, unqueftionably by the fame hand as it, and of about the 
 fame period. The monogram on the plate reprefenting St. Paul 
 preaching, may, I think, be conftrued as follows : The firft charadler 
 
 is probably intended for the Greek 
 letter phi, but which has at the fame 
 time a double meaning, and may be 
 read as the monogram O • F. In 
 either cafe it is ufelefs to obferve that 
 the firfi: letter of the name Fontana 
 is indicated. The next character is 
 a delta for Durantino" (Orazio 
 Fontana Durantino); the delta, how- 
 ever, it fhould be obferved, is proba- 
 bly compounded with fome other letter which is not obvious. The fig- 
 nature in the " David and Goliath" piece differs only in the firft of the 
 
 charafters, which, in this cafe, 
 is a regular Greek phi. It is 
 not my intention to enter into 
 any more detailed defcription 
 of the technical and artiftic 
 qualities of thefe noble fpeci- 
 mens of the art, we fhall re- 
 vert to their confideration 
 further on. I will here only 
 obferve that they are unquef- 
 tionably by the fame artift as the fpecimens previoufly adduced." 
 
 CHISWICK PRESS : — PRINTED BY C. WHITTINGHAM, TOOKS COURT, 
 CHANCERY LANE.