Burlington jfinr &rts Club* CATALOGUE BRONZES and IVORIES OF EUROPEAN ORIGIN, EXHIBITED IN 1879. LONDON: PRINTED FOR THE BURLINGTON FINE ARTS CLUB. 1879. From the Library Frank Simp soia ^Burlington jfttu &rts Club. CATALOGUE BRONZES AND IVORIES y OF EUROPEAN ORIGIN, EXHIBITED IN 1879, LONDON: PRINTED FOR THE BURLINGTON FINE ARTS CLUB, METCHIM LONDON: & SON, 20, PARLIAMENT STREET, S.W., AND 32, CLEMENT’S LANE, E.C. 1879. LIST OF CONTRIBUTORS. *E. M. Blood, Esq. Mrs. Blood. Charles Bowyer, Esq. *George P. Boyce, Esq. *Charles Butler, Esq. *Edward Cheney, Esq. *Francis Cook, Esq. *Sir William Drake. Lord Elcho, M.P. Isaac Falcke, Esq. Barclay Field, Esq. ^Richard Fisher, Esq. Mrs. Ford. C. Drury E. Fortnum, Esq. *Sir Julian Goldsmid, Bt., M.P. *Alexander Graham, Esq. *F. Seymour Haden, Esq. *Philip C. Hardwick, Esq. J. P. Heseltine, Esq. Rev. J. C. Jackson. Edward Joseph, Esq. *Colonel E. Hegan-Kennard, M.P. George B. C. Leverson, Esq. Thomas Ligertwood, Esq. *Rev. W. J. Loetie. * J ohn Malcolm of Poltalloch, Esq. *C. Brinsley Marlay, Esq. ^Alfred Morrison, Esq. *George Plucknett, Esq. *J. C. Robinson, Esq. *George Salting, Esq. W. Salting, Esq. * J ohn Samuel, Esq. *COLONEL J. G. SANDEMAN. *T. Foster Shattock, Esq. The Viscountess Strangford. *John E. Taylor, Esq. Rev. Montague Taylor. Lady Tite. Professor Vitale de Tivoli. *Henry Vaughan, Esq. *Duke of Westminster. Clifford Wigram, Esq. *Hon. Rowland Winn. Marked thus * are Members of the Club. Digitized by the Internet Archive in 2018 with funding from Getty Research Institute https://archive.org/details/catalogueofbronzOOburl PREFACE. HEN some few weeks since the idea of holding an Exhibition of Bronzes was first discussed, those persons best qualified to give an opinion on the subject, expressed grave doubts as to the possibility of bringing together, in this country, a collection worthy of comparison with the previous Exhibitions of the Burlington Fine Arts Club. The admitted want, in Englishmen generally, of that keen perception of the beauties of form and outline, so essential to the right appreciation of the Sculptor’s Art, in small things as in great, suggested the conclusion that what is found to be too often true of our Artists and Artworkmen would certainly hold good of our Collectors. Actual enquiry proved, as was anticipated, the comparative rarity of Bronze Work of a high order of excellence in English Private Collections; but sufficient encouragement was given by a few ardent amateurs to induce the Committee to proceed with the Exhibition, notwithstanding the serious difficulty of displaying properly in the dull climate of London, and together, a number of objects, each a VI requiring comparative isolation and a brilliant light. It was suggested that the difficulty in question might be lessened by combining with the Bronzes a Collection of Ivories — precious objects of Art, perhaps even more rare than their kindred works in Bronze, but having a special appropriateness in the fact that the period of highest excellence in the carving of Ivory is just that period of Art history of which we possess no works in Bronze. To the Club it must be left to decide whether the results of the Committee’s efforts are to be considered satisfactory ; but the warmest acknowledgments of the Members generally are due to those amateurs, many of them not Members of the Club, who have so freely placed their Collections at our disposal. It would be impossible, within the brief limits of a hastily written Preface, to offer any historical or illustrative observations upon a series of more than five hundred works, ranging in time from the later days of original Greek Art to the beginning of the eighteenth century; but it will perhaps be convenient if a brief sketch of the contents of the Gallery be given for the benefit of the hurried visitor. Owing to the necessity of keeping together the Collections of those Contributors to whom we are most largely indebted, it has been impossible to observe, except here and there to a limited vii extent, any historical sequence in the arrangement of the Exhibition. The main endeavour has been so to place the objects that they may be seen to advantage and rightly enjoyed. In a Collection, essentially an assemblage of works of Sculpture, the first place is naturally given to the Art of ancient Greece and Rome. One half of the Upper Shelf in Cabinet No. i is occupied by Graeco-Roman and Roman Bronzes, contributed by Mr. Montague Taylor, amongst which may be specially noticed the superb Mask, No. 11. Some other objects of the same class will be found on the Upper Shelf of Cabinet No. 4. A “Venus,” (No. 165) of Greek workmanship, ascribed to the school of Praxiteles, is contributed by Mr. Drury Fortnum, and forms one of the principal ornaments of Cabinet No. 5. Next in order may be taken the Italian Statuettes of the 16th century, reproducing, on a reduced scale, the masterpieces of Classical Art which were given back to the world at the period of the Renaissance. Of these reproductions there is an interesting series Nos. 13 to 23) in Cabinet No. 1 ; and others will be found in different parts of the Gallery. The fine reduction of the “ Borghese Gladiator,” belonging to Lord Elcho (on the top of Cabinet No. 8), should not be overlooked. The remainder of the Bronzes exhibited are for the most a 2 Vlll part a Collection of Italian Sculpture. To those amateurs who know well the exquisite creations of genius wherewith the pre- Michaelangesque Sculptors have graced the churches and tombs of Italy, the very name of Italian Sculpture will conjure up visions of beauty which will excite expectations too high not to be disappointed; and yet such persons will, perhaps, best appreciate the works now gathered together. Bronze Sculpture is here to be seen in its humbler efforts, rather in domestic service than employed in the cause of religion or the glorification of Princes. Works of religious Art are, how¬ ever, not absolutely wanting. The “St. John the Baptist'’ ascribed to Donatello (No. 16S), and the “Virgin” and the “ St. John ” (Nos. 161 and 163), possibly the work of Lorenzo Ghiberti, deserve to be specially mentioned. In the splendid series of Plaques contained in Cabinet 6; and Table Case C may be noted, many lovely designs full of the quaint earnestness of early devotional Art. It is, however, in objects of domestic use—the Inkstands, Candlesticks, Saltcellars, Handbells, and Doorknockers of the Italy of the 16th and 17th centuries—that the special feature of the Collection will, perhaps, be found. Nothing can better show the bold yet refined modelling which the Florentine Bronzists of the 15th century, trained in Goldsmiths’ work, had attained to, than the Candlestick No. 169, where the casting has been so IX skilfully executed that the bronze stands out with all the sharpness of the original wax in which the design was modelled by the artist’s hand ; this fine work is attributed with great probability to Pollaiuolo. Hardly less perfect is the workmanship of No. 175, which closely resembles in its ornamentation the doors of the shrine by Pollaiuolo in S. Pietro in Vincoli. Of the Inkstands, in many of which great fancy and taste is shown, may be specially mentioned No. 414 on Table I, lent by Mr. Malcolm, of Poltalloch, Nos. 319 and 321 (Cabinet No. 6) lent by Mr. Cheney, and the sumptuous piece of Furniture No. 173 in Cabinet 5. The superbly modelled figure by Riccio (No. 174), “A Faun with the Panpipes,” deserves to be con¬ sidered rather as a Statuette than an Inkstand; it can hardly have been designed for actual use. Two Inkstands in the same Cabinet are the authentic work of Peter Vischer, of Nuremberg, the designer and founder of the magnificent bronze shrine of St. Siebald, in that city. Of the Saltcellars, Nos. 171 and 172 (Cabinet 5) may be par¬ ticularly noted, and of the Knockers No. 309 (between Cabinets 7 and 8) from the Grimani Palace in Venice, and No. 422, likewise Venetian, on Table No. II. The Handbell, No. 320, in Cabinet 8, is worthy of attention as a rare and beautiful piece of Ouattro-cento X domestic Art, even if we are not prepared to endorse the ascription of it to Verocchio. In concluding this hasty Notice, as far as regards Bronze objects in the round, mention should be made of the figures and groups by or after John of Bologna and other successors of Michel Angelo. These specimens of later Italian Art occupy, for the most part, conspicuous positions on brackets, or on the tables which have been placed in the Gallery. They will at once attract the attention of the visitor, and need not now be referred to in detail. There still remains to be noticed the Collection of Cast Medals and Plaques, which will, it is hoped, prove one of the most attractive features of the Exhibition. Table Case A contains Portrait Medals of the fifteenth century only, the signed work of able masters —Pisano, Pasti, Sperandio, and Enzola. PI ere may be seen and felt the intense personality which gives such a vivid interest to the Ouattro-cento, the birth-time of modern society and modern art. Crafty and cruel faces of Princes almost as ardent in their devotion to literature and art as they were unscrupulously violent in the prosecution of their selfish political ends, are placed side by side with those of contemporary philosophers and artists. Many visitors will look with pleasure upon the half-amused, observant face of Vittore Pisano, as stereotyped for us by his own hand with the XI same inimitable skill which seized what was most characteristic in the outward semblance of the moving spirits of his age. Not less delightful is the portrait of John Bellini, revealing to us the keen and refined features of the great artist whose own power as a portrait painter is so splendidly represented by the Loredano of our National Gallery. The historical interest of these Medals, and the light which the earlier ones throw upon the pictures of Piero della Francesca and other early portrait painters, need only be alluded to in passing. They have, however, in the charming ideal compositions which often form the “ reverses ” of the medallion, another value, which will be best appreciated in such examples as the “Cecilia Gonzaga” (No. 432), and the “Lionel d’Este” (No. 437). It is no uncommon thing to find in Quattro cento sculpture startling fidelity in portraiture, such as no Dutchman ever surpassed, combined with richness of fancy and supreme delicacy, both of conception and execution, in ideal or decorative work. Many 15th century Medals of extraordinary interest will be found in Table Case B with others of the 16th and 17th centuries ; amongst the latter, some fine specimens of French workmanship, contributed by Mr. J. C. Robinson. The de¬ scriptions in the Catalogue do not aim at any completeness. They have been derived almost exclusively from M. Armand’s recently published work “ Les Medailleurs Italiens des 15 me - et i6 me - Siecles.” Xll Space and time will not permit of a reference to even the principal objects exhibited in the choice Collections of Bronze Plaques displayed in Cabinet 6 and Table Case C. Allusion has already been made to the religious subjects, many of them designed for “ Paxes,” two of which are exhibited complete as actually used in the service of the Mass. Not less worthy of attentive study are the secular works representing mythological subjects, and showing in what manner classical Art manifested itself, when it became once more a living influence, bringing home to us the ancient world and making it seem more modern than the Middle Age. If that portion of the present Exhibition, which is devoted to works in “ eternal bronze,” bears witness to the indisputable pre¬ eminence of Italian Art, during the 15th and 16th centuries, not less strongly are we reminded, by the fragile yet enduring works in Ivory, of the surpassing excellence of Gothic Art in France and England, during the 13th and 14th centuries. A highly competent authority assures us that, with the exception of some fragments of Roman Work under the Emperors, there are no Ivory Carvings in existence which equal those made from about 1280 to 1350 for truth and gracefulness of design or excellence of workmanship. Some few illustrations of this supreme period of Sculpture in Ivory are shewn in Cabinet No. 7. The “ Virgin crowned by a descending Angel" Xlll (No, 275) was probably the centre panel of a shrine with folding shutters. It is notable for the singular grace of the drapery, and the skill with which its beauty is enhanced by the tasteful application of colour. Nos. 274 and 279 show evidence of the familiarity with which the medieval artist handled sacred subjects; a familiarity not profane but chiefly the result of his intellectual nearness to the supersensual world. The half-opened eyes—to some extent characteristic of the early Renaissance Sculpture of Italy—may be seen less opened still in the earlier Gothic of the North ; for instance, in Nos. 273, 275 and 279. German Gothic is, presumably represented by No. 263 “ The Adoration of the Three Kings,” and No. 269 “St. George and the Dragon.” The former is remarkable for its complete preservation, and for the rich effect of finely wrought metal in combination -with ivory; the latter is no less valuable as an instance of largeness and fineness of style in miniature carving. Well worthy to be placed in the same cabinet with these charming pro¬ ductions is the Hispano-Moresco Coffret, No. 270 (of the nth century) described by its maker himself as “ a vessel for musk, for camphor and ambergris.” This same maker has recorded on the coffret not only his name “ Khalaf,” but the delight which he took in the work of his hands. We truly may say of the casket—using the literal rendering of the Cufic phrase inscribed thereon—“ Beauty has cast upon it a robe bright with gems.” One of the most important Ivories in the Collection (No. 84) b XIV is placed on the mantel-shelf of the Gallery, in a convenient position for the detailed examination which it so well deserves. It is an example of the rare and fine French “ open work ” of the 14th century, and probably formed part of the decoration of a shrine or reliquary. The frame contains no less than sixteen panels, each representing a scene from the Life of Our Lord. Every panel is surmounted by a richly decorated canopy of three arches or gables, having between the gables two angels playing on musical instruments. The visitor should not fail to observe the immense fertility of invention shown in the design, and the exact skill with which the carver has known precisely when to hold his hand, giving with wonderful power of abstraction only the very essence of the forms, so that in the minutest work the utmost richness is attained without the slightest overcrowding of details. In order to facilitate the examination of the panels, a list of the subjects represented is given below in the somewhat remarkable order in which they occur in the frame, except that they are here arranged in vertical instead of horizontal sequence:— " Judas Covenanting with the Jews. The Washing of the Disciples Feet. ' Flight into Egypt. Presentation in the Temple. I Christ among the Doctors. I Baptism of Christ. I XV f The Supper at Emmaus. I Incredulity of St. Thomas. | Ascension of Christ. I Day of Pentecost. f The Nailing to the Cross. J The Crucifixion. The Deposition. _ The Entombment. In Cabinet 9, we are once more brought back to Italy and to Florence by No. 369, an example of the highest rarity and interest. The subject represented, in low relief, on this thin plate of Ivory (probably the panel of a casket) is the “ Triumph of Death.” Two Tuscan oxen, with more than the solemn seriousness of their race, are slowly dragging the four-square tumbril or chariot of death over the prostrate bodies of Prince and simple citizen, matron and maid. The forewheel rests upon the low-lying form of the Pope himself; while the hinder wheel is just passing over the body of a beautiful young girl who has all but reached womanhood. The boldness with which the designer has attacked the most difficult problems of perspective is strikingly characteristic of the early Quattro-cento: some of the violently foreshortened recumbent figures recall the pictures of Uccello and Mantegna. Leaping over a wide interval of time, which is, however, as nothing to the immeasurable gulf in sentiment and style, we must notice some contributions which exhibit what may perhaps be XVI called the last bickerings of the true classical fire rekindled by Niccola Pisano four hundred years before. The attractive productions of Duquesnoy of Brussels and his school, exhibiting again that delight in child-life which so prominently marked the early Florentine revival, are well represented in the gallery. It is hardly necessary to dwell upon individual specimens, but attention may be called to No. 293 in Cabinet 7, No. 346 in Cabinet 9, and No. 62 (a cupid) in Cabinet 2; also to No. 54, which exhibits astonishing boldness of design, with great freedom of execution. In concluding this necessarily superficial sketch, mention may be made of some domestic objects in Cabinet 9, especially the nutmeg graters, Nos. 378, 379, and 355 to 357. The beautiful 16th century Italian comb of open work, with medallion portraits (372), was probably made for domestic use or show ; but No. 371, of the same time and country, would appear to be a late specimen of the ecclesiastical ceremonial comb, notwithstanding the pagan character of some of its ornamentation. The principal subjects which are finely carved in relief, are the “ Adoration of the Magi,” and the “ Massacre of the Innocents.” It is hoped that the foregoing remarks may induce those Members of the Club and their friends, who have the necessary leisure, to discover for themselves, and enjoy, the many fine works to which it has not been possible even to allude. A. H CATALOG U E. On Bracket to left of Cabinet No. i. 1 GROUP.—Bronze. Silenus, with the Infant Bacchus in his arms. From the Antique. Italian. Late 16th or 17th century. (H. 13 inches.) This reduction would appear to have been made from the Borghese marble discovered in Rome in the 16th century, and now forming one of the principal ornaments of the Sculpture Museum of the Louvre. It differs in some particulars from the version of the subject belonging to the Vatican collection. The original work, of the school of Praxiteles, is believed to have recently come to light in the excavations at Olympia. Lent by the Rev. Montague Taylor. CABINET No. 1. (Bronzes.) 2 STATUETTE.—Bronze. Hercules. Antique Roman. (H. 8}4 inches.) Right arm raised as if in the act of hurling a javelin; over the left arm, the usual attribute of the lion’s skin. From other examples it appears that the third Labour of Hercules, the taking of the stag with golden horns, is here represented. Lent by the Rev. Montague Taylor. B 3 STATUETTE.—Bronze. Camillus. (Boy employed as a servant or inferior minister in a temple). Draped figure holding aloft a drinking vessel. Etruscan work. (H. 6 inches.) Lent by the Rev. Montague Taylor. 4 GROUP.—Bronze. Venus and Cupid on bronze pedestal. Dark green patina. Antique Roman. (II. io inches.) Lent by the Rev. Montague Taylor. 5 STATUETTE.—Bronze. Camillus. (Temple Attendant). Partly draped figure with chaplet of large leaves round the head, dish or shallow cup in extended right hand. Pale green patina. Etruscan. From Palestrina. (H. 9 inches.) Lent by the Rev. Montague Taylor. 6 UNGUENTARIUM.—Bronze. In the form of a female bust, with handle above. Antique Roman. (H. 5 inches.) Lent by the Rev. Montague Taylor. 7 HANDLE OF A VASE.—Bronze. A warrior seated in a dejected attitude under a tree, to the left; an erect draped female figure on the right. Supposed to represent the Dacian Conquest. Affixed to a support of Siena marble. Antique Roman. Probably of the time of Trajan. (H. 4%) inches, W. 4^ inches.) Lent by the Rev. Montague Taylor. 8 STATUETTE.—Bronze. Minerva. Right arm extended, presenting a disc or flat cup ; left arm raised as if holding a spear. Antique Roman. (PI. 9 inches.) Lent by the Rev. Montague Taylor. 3 9 HAND MIRROR.—Bronze. Engraved with mythological subject. Etruscan work. From Palestrina. (L. 11%. inches, W. 6 inches.) Lent by the Rev. Montague Taylor. 10 STATUETTE.—Bronze. Standing figure of Jupiter, with attributes of thunderbolt and sceptre. Antique bronze pedestal. Graeco-Roman work. (H. 7)4 inches.) Lent by the Rev. Montague Taylor. 11 ORNAMENT OF A VASE (?).—Bronze. Mask of a Marine Deity. Graeco-Roman work. (H. 3)^ inches.) Found at Pompei. Portions damascened with silver; the eye-balls of rubies. Lent by the Rev. Montague Taylor. 12 STATUETTE. —Bronze. Apollo, on antique decorated bronze pedestal. Antique Roman. (H. 8)4 inches.) Undraped figure, wreathed ; a quiver on the shoulder. At the back of the thigh is the following punctured inscription, M . TORT . TERT . BEL . AVG. CONCORD. Lent by the Rev. Montague Taylor. 13 STATUETTE.—Bronze. Boy carrying an urn upon his head. Italian. 16th century. (H. 6)4 inches.) Lent by the Rev. Montague Taylor. 14 STATUETTE.—Bronze. Apollo. Reduction from the antique statue called the Apollino of the Uffizi, which was brought from Rome to Florence in 1780. Italian. 17th or 18th century. Florentine. (H. 7)^ inches.) Lent by the Rev. Montague Taylor. B 2 4 15 STATUETTE.—Bronze. Cupid discharging an arrow as he flies. Reduction from the antique. (?) On marble pedestal. Italian. 17th or 18th century. Florentine. (H. 4)4 inches.) Lent by the Rev. Montague Taylor. 16 STATUETTE.—Bronze. Mercury. Reduction from the marble formerly called the Antinous of the Vatican, now in the Cortile di Belvedere. Italian. 17th century. Florentine. (H. 8 inches.) Lent by the Rev. Montague Taylor. 17 STATUETTE.—Bronze. Figure of Ceres. Reduction from the antique. Original in the Vatican. Italian. 17th century. Florentine. (H. 6)^ inches.) Lent by the Rev. Montague Taylor. 18 STATUETTE.— Bronze. The Venus dei Medici. Reduction from the original marble, which was found at Tivoli, in the Villa of Hadrian, and removed to Florence about 1677. Italian. Late 17th or early 18th century. Florentine. (H. inches.) Lent by the Rev. Montague Taylor. 19 STATUETTE.—Bronze. Seated figure of boy extracting a thorn from his foot. Reduction from the antique. Italian. Late 17th or early 18th century. Florentine. (H. 6 inches.) Antique copies of the original Greek statue are in the Capitoline Museum in Rome and also in the Uffizi. The present literal reproduction of one of those copies should be compared with the inkstand, No. 177, Cabinet No. 5, a work of earlier date, where the action of the figure is reversed and slightly altered. Lent by the Rev. Montague Taylor. 5 20 STATUETTE.—Bronze. An athlete holding a vase. Reduction from the antique. Original marble in the Uffizi. Italian. 17th century. Florentine. (H. 11)^ inches.) Lent by the Rev. Montague Taylor. 21 STATUETTE.—Bronze. Crouching Venus. (Venus accroupie.) From the antique. This reduction appears to have been made from the marble now in the Vatican, and not from that in the Uffizi collection. Italian. 17th century. Florentine. (H. inches.) Lent by the Rev. Montague Taylor. 22 STATUETTE.—Bronze. Discobolus. Reduction from the antique. The finest copy of the statue is in the Vatican. The lost original work has been conjecturally attributed to Naukydes. 17th or 18th century. Italian. (H. 9 y 2 inches.) Lent by the Rev. Montague Taylor. 23 FIGURE.—Bronze. Tumbler. From a statuette in the Collegio Romano- Italian. 17th or 18th century. (H. 11%^ inches.) Lent by the Rev. Montague Taylor. 24 STATUETTE.—Bronze. Highly finished figure of Hercules, on rosso antico pedestal. Club over right shoulder and lion skin on left arm. Italian. Late 16th century. Florentine. (H. 5^ inches.) Lent by the Rev. Montague Taylor. 25 STATUETTE.—Ebony. Negro boy. Right arm raised, left arm resting on his side. He wears a neck chain and armlets of silver gilt inlaid with gems. Italian. 16th century. Venetian. (H. 7^ inches.) Lent by the Rev. Montague Taylor. 6 26 GROUP.—Bronze. Female satyr, seated, with young male satyr by her side. Probably designed for an inkstand. Compare No. 173 in Cabinet No. 5. Italian. Middle of the 16th century. (H. inches.) Lent by the Rev. Montague Taylor. 27 STATUETTE.—Bronze. Paris. Reduction from the antique. Italian. 17th century (?). Florentine. (H. 9^2 inches.) Lent by the Rev. Montague Taylor. 28 STATUETTE.—Bronze gilt. Undraped female figure, bearing a small vase in the left hand. On marble pedestal. German. 16th century. A small loop is inserted in the back of this figure, which has probably formed part of the decoration of a cabinet. (H. 7^ inches.) Lent by the Rev. Montague Taylor. 29 STATUETTE.—Bronze. inches.) Jester dancing. German. 16th century. (H. 9)4 Lent by the Rev. Montague Taylor. 30 STATUETTE.—Bronze. Grotesque figure of a satyr striding forward, right arm extended. The face turned upwards, with a leering expression. On African marble pedestal. Italian, 16th century. (H. 8 inches.) Lent by the Rev. Montague Taylor. 31 STATUETTE.—Bronze. The Gladiator of Agasias. Reduction from the antique. The original marble, formerly in the Borghese Palace, is now in the Museum of Sculpture in the Louvre. Italian. 17th century Florentine. (H. 9*^ inches.) A very fine copy of the famous Borghese statue, larger and of earlier date than the present example, is contributed by Lord Elcho, and will be found on the top of Cabinet No. 8. See also another version (No. 329) on the Lower Shelf in the same Cabinet. Le 7 it by the Rev. Montague Taylor. 7 32 STATUETTE.—Bronze. The Infant Hercules strangling the serpents. From the antique. Italian. 16th century. (H. 9 inches.) This vigorous work differs greatly from the Graeco-Roman bronze at Naples. It is in fact a translation into the art language of the cinque-cento, rather than a mere reproduction of a classical original. Another con¬ temporary example, exhibited by Mr. Fisher, will be found (No. 316) in Cabinet No. 8. Lent by the Rev. Montague Taylor. 33 STATUETTE.—Bronze. Standing figure of satyr, in the act of pouring wine from a jug into a shell, which he holds in his left hand. Late 16th century. (H. n inches.) Lent by the Rev. Montague Taylor. 34 STATUETTE.—Bronze. Triton, or Sea Monster. Arms raised, as if in im¬ precation. Italian. Late 17th century. School of Bernini (?). (H. 9 inches.) Lent by the Rev. Montague Taylor. 35 STATUETTE.—Bronze. The Antinous of the Capitoline Museum. Reduc¬ tion from the antique. (A solid casting.) Italian. 17th century. (H. 11 ^ inches.) Lent by the Rev. Montague Taylor. 3 Q INKSTAND.—Bronze. A triangular vase on lion feet. The cover surmounted by a figure of Cupid, seated. Italian. 16th century. (H. 8inches). Lent by Mr. Drury Fortnum. 37 GROUP.—Bronze. Venus and Cupid. (H. 5 inches.) Lent by Mr. Drury Fortnum. 8 38 STATUETTE.—Bronze. Adam. (?) Italian. 16th century. (H. 6^ inches.) Lent by Mr. Drury Fortnum. 39 GROUP.—Bronze. The Pieta of Michael Angelo. Italian. Late i6th or early 17th century. Florentine, or possibly the work of Annibale Fontana. (H. 5inches, W. 4% inches). Lent by Mr. Drury Fortnum. 40 STATUETTE.— Bronze. Male figure in chain armour. Ulysses. (?) (H. 6^ inches). Attributed to Adrian Fries, or Vries. Circa 1600. Lent by Mr. Drury Fortnum. 41 SALTCELLAR.—Bronze, gilt. A triton, riding on a tortoise and blowing a conch shell, supports a scollop on his shoulder. Venetian. 16th century. (H. 5 Lj inches). Lent by Mr. Drury Fortnum. 42 CANDLESTICK.—Bronze. A nude boy, or amorino, seated and holding a leafy cornucopia in each hand. Italian. 16th century. (H. inches, W. 5^ inches). Lent by Mr. Drury Fortnum. 43 SALTCELLAR.—Bronze. A turtle ridden by a triton; he holds a conch shell on his head, another on his fish-like lower limb. Italian. Probably Roman, in the manner of Bernini. 17th century. (H. 6 % inches, W. 5 inches.) Lent by Mr. Drury Fortnum. 9 44 INKSTAND.—Bronze. A square base, containing divisions for ink, pens, &c., with scroll mask feet at the angles. On the flat cover, a female figure, holding a tablet, is seated on a pedestal. Italian. 17th century. (H. 8 yi inches, W. 8}4 inches). Lent by Mr. Drury Fortnum. On the Top of Cabinet No. 1. 45 STATUETTE.—Bronze. Copy of the antique Faun in the Tribuna of the Uffizi. (H. 11 inches.) Lent by Mr. A If red Morrison. 46 VASE.—Bronze. Oviform. The body and foot of hammered work engraved with cartouche ornament. The handle in the shape of a rampant lion; the nozzle or spout formed by a horned mask with a dragon issuing from its mouth. Late 16th century. Venetian. (H. 18 inches, dia. 12 inches.) Lent by Mrs. Ford. 47 STATUETTE.—Bronze. Copy of the antique Faun in the Tribuna of the Uffizi. (H. loft inches.) Lent by the Hon. Rowland Winn. On Bracket to right of Cabinet No. 1. 48 FIGURE.—Bronze. Bacchus, from the antique. 10th or 17th century. Florentine. (H. 15 y 2 inches.) c Lent by the Rev. Montague Taylor. 10 On Pedestal to the left of Cabinet No. 2. 49 VASE.—Bronze. Of oval form, supported by four Tritons. The handles are formed of two Tritons blowing conchs. The sides of the Vase embellished with a Greek sea fight in alto relievo. (H. 19^4 inches, circ. 81^2 inches.) Lent by Sir William Drake. CABINET No. 2. (Ivories.) 50 STATUETTE.—The Flagellation. (H. pf. inches.) Lent by Sir Julian Goldsmid, Bt., M.P. 51 TANKARD.—Mounted in silver gilt. 17th century. (H. \2]/ 2 inches.) Bacchanalian figures. FlAMlNGO. Lent by Mr. Alfred Morrison. 52 FRAME.—Containing two musicians. Lent by Mr. John Samuel. 53 TWO GROUPS.—Boys holding garlands of flowers, seated on trunks of trees. 17th century. Lent by Mr. John Malcolm , of Poltalloch. 54 TANKARD.—Satyr. Boys and lion. FlAMlNGO. 17th century. (H. 9 inches.) Lc?it by Mr. John Malcolm , of Poltalloch. 55 FRAME.—With five plaques ; musical subjects. Lent by Mr. John Samuel. 56 TWO FRAMES.—Containing portraits of Henri IV. and Marie Antoinette. Lent by Mr. G. B. C. Lever son. 57 VASE.—-Floral decoration. (H. 12 inches.) Lent by Rev. J. C. Jackson. 58 NEEDLE-CASE.—Subjects from Old Testament. Venetian work. Lent by Mr. Vaughan. 59 PLAQUE.—Adoration of the Magi. Lent by Mr. W. Salting. 60 STATUETTE.—A brigand. (H. 7j£ inches.) Lent by Rev. Montague Taylor. 61 STATUETTE.—St. James of Compostella. (H. 10 inches.) Lent by Rev. J. C. Jackson. 62 FIGURE OF BOY, reclining, inches.) School of Bernini. 17th century. (H. 9 Lent by Mr. Vaughan. 63 TWO FIGURES of Banditti. In frames. L^ent by Mr. G. B. C. Leverson. I 2 64 TWO SALT-CELLARS. Each supported by three allegorical figures. By Fiamingo. 17th century. (H. 6^ inches.) From the Collection of the late Mr. George Field. 65 STATUETTE.—Amorino guiding a dolphin. Fiamingo. 17th century. (H. 5inches.) From the Collection of the late Mr. George Field. 66 TANKARD.—Mounted in silver gilt. Subject, Diana and Actaeon. Two amorini on lid. 17th century. (H. 12 inches.) Lent by Viscountess Strangford. 67 SLEEPING BOY.— Fiamingo. 17th century. (H. 7 inches.) From the Collection of the late Mr. George Field. 68 STATUETTES.—A pair of undraped male and female figures. German. (H. 11 inches.) Lent by Mr. T. F. Shattock. 69 PLAQUE.—In frame. Descent from the Cross. Ellis collection. German. From the Wynn Lent by Mr. W. Salting. 70 BUST of Locke. (H. S inches.) Lent by Mr. Alfred Morrison. 13 71 TWO STATUETTES.—Jupiter and Juno. (H. 8 inches.) Lent by Mr. G. B. C. Leverson. 72 TANKARD.—Silver mounted. Equestrian figures. Hunting subject. Lent by Mr. G. B. C. Leverson. 73 BUST of Rigaud. By Le Marchand. Lent by Mr. Alfred Mornson. 74 CASKET.—Italian. Panelled sides, with figures in relief. Lent by Mr. George P. Boyce. On the Top of Cabinet No. 2 . 75 STATUETTE.—Bronze. Figure of a bearded warrior with Greek helmet. Right arm and half of lower limbs wanting. Antique. Green patina. (H. io inches.) Lent by Mr. Bowyer. 76 FIGURE.—Bronze. Fully draped statue of “ Temperance,” with the following inscription on the base:—“ TEMPERATIS hominibus lex devs.” Flemish. 17th century. (H. 22 inches.) Lent by Sir Julian Golds mid, Bt., M.P. 14 77 STATUETTE.—Bronze. Male torso. 9 inches.) Italian. Late i6th century. (H. Lent by Mr. Seymour Haden. On Pedestal to right of Cabinet No. 2. 78 STATUE.—Bronze. David. He is represented as in the act of striding forward ; grasping the sling in his right hand, he turns his head as if to measure his antagonist. The left hand, which is hollowed as if holding the stone, is thrown forward to balance the advancing right leg; a strap passes over the right shoulder to the left side. This work has been supposed to be the long lost bronze ordered of Michel Angelo by the Florentine Signoria, for a present to the Marechal de Gie, and ultimately completed by Benedetto de Rovezzano. (H. 36 inches.) Lent by Mr. G. Salting. On Brackets above Mantelshelf. 79 BUST.—Bronze. Life-sized head of a young girl bending forward, with face turned to the left, the mouth half open. The hair, which is partly braided, is gathered in a knot above the forehead. A strap or ribbon passes over the left shoulder and confines some gathered drapery on the breast. Florentine. Early 16th century. (H. 14 inches.) I^ent by the Duke of Westminster. *5 80 BUST.—Bronze. Head of one of Niobe’s children, copied from the antique ; life-size, on green-mottled imitation marble stand. The famous Niobe group was discovered in Rome. These marbles were acquired by the Medici family in 1583,and placed in the Villa Medici; they were removed to the Uffizi in 1779. Italian. Late 16th or early 17th century. (H. 14 inches.) Lent by Mr. Fisher. On Mantelshelf. 81 CANDLESTICKS.—Bronze Pricket. Ornamented with foliage, figures, & masks, &c. 16th or early 17th century. (H. 12^ inches.) 87 From the collection of the late Mr. George Field. 82 FIGURES. —Bronze. Pair of Sphynxes of fantastic form, the wings meeting & behind the head and terminating in an ornamental scroll. Large leaves 86 project outward from below the neck and partly cover the breasts. These figures, which are seated on oblong stands, decorated with masks and garlands, and supported on lions claws, are repliche of the sphynxes at the base of the famous paschal candlestick made by RlCClO for the Church of St. Anthony in Padua. See the inkstand No. 174 (in Cabinet No. 5), attributed to this master. North Italian. 16th century. (H. 19 inches.) Lent by Mr. G. Salting. 83 THREE FRAMES OF IVORY PLAQUES. 14th century. t0 Memorandum on back of centre plaque “ Sculptds et decoupes a jour se de- tachant sur un fonds de Velours noir. Ces bas reliefs sculptes sur quatre plaques d’ivoire de meme dimension, forment unc suite de sujets au nombre de quatre dans chaque plaque, tous tires de la Vie du Christ.” The two smaller are Gothic book covers, each containing six compartments. Formerly in the Debruges collection. From the collection of the late Mr. George Field. i6 On low Stands at each side of Fireplace. 88 STATUETTES. —A pair of Italian Bronze Statuettes representing “ Ceres ” & and “ Minerva.” Originally forming terminal figures to Andirons. Italian. 89 17th century. (H. 23 inches.) On rosso-antico bases. Lent by Sir William Drake. On Wall to left of Cabinet No. j. 90 BAS RELIEF.—Bronze. Elijah ascending in the fiery chariot. North Italian. (Padua ? ). 15th or early 16th century. (D. 9^ inches.) Lent by Mr. Drury Fortnum. 91 BAS RELIEF.—Bronze. The triumph of Ariadne. A replica (of the time) of the panel in the bronze base at the Uffizi, which has been ascribed to Lorenzo Ghiberti and to Desiderio, but is believed (by Gaye) to be by Vittorio Ghiberti. (“Perkins’ Tus. S.,” i., p. 136.) It is figured in the “Gal. de Florence et du Palais Pitti,” vol. i. Italian. (Florentine.) 15th centuiy. (11 by 15 inches.) Lent by Mr. Drury Fortnum. 92 STATUETTE.—The Centaur ridden, bound by Cupid ; after the antique in the Capitol, Rome. Ascribed to GlOVAN, BOLOGNA. The Cupid (of silver) to GlOV. Dughe. By an old inscription on the base we read : “ Gioanni da Bologna Fece il Centauro ” — “ Gioanni Dughd Fece I'amore.” Italian. 16th century ; the Cupid 17th century. (H. 16 inches.) Lent by Mr. Drury Fortnum. n CABINET No. 3. (Ivories.) 93 PLAQUE.—Part of Casket, or book cover. 12th century. Lent by Mr. Philip C. Hardwick 94 CEREMONIAL COMB.—French. 15th century. Lent by Mr. Philip C. Hardwick. 95 PLAQUE.—Part of casket, or book cover. Late 14th century. 96 LEAF OF DIPTYCH. Lent by Mr. Philip C. Hardwick. Early 13th century. Lent by Mr. Philip C. Hardwick. 97 LEAF OF DIPTYCH. Early 13th century. French. Lent by Mr. Philip C. Hardwick. 98 DIPTYCH. French. Lent by Mr. Philip C. Hardwick. 99 CRUCIFIX.—Boxwood. Nuremburg (?). Late 16th century. Lent by Mr. Philip C. Hardwick. D 100 FIGURE OF THE VIRGIN.—Signed Bianchi, 1507. Italian. Lent by Mr. Philip C. Hardwick. 101 CASKET.—Early 14th century. Lent by Mr. Philip C. Hardwick. 102 STATUETTE.—Flagellation. 17th century. Lent by Mr. Philip C. Hardwick 103 PLAQUE.—Amorini leading a lioness. Lent by Mr. Philip C. Hardwick. 104 OVAL DISH.— Italian. 16th century. Mythological subjects. Lent by Mr. Philip C. Hardwick. 105 PLAQUE.—Head of Inigo Jones. Lent by Mr. Philip C. Hardwick. 106 HANDLE of walking-stick. French. 18th century. Lent by Mr. Philip C. Hardwick 107 PANEL OF CABINET.—Italian. 18th century. Lent by Mr. Philip C. Hardivick, 108 BOX.—Oval. Neptune and Amphitrite. Lent by Mr. Philip C. Hardwick. 109 PLAQUE.- -David with Goliath’s head. Italian. Lent by Mr. Philip C. Hardwick. 110 PLAQUE.- -Oblong. Mars, Venus, and Cupid. Italian. Late 17th century. Lent by Mr. Philip C. Hardwick. 111 PLAQUE.- -Adam and Eve. German work. Middle 16th century. Lent by Mr. Philip C. Hardwick. 112 STATUETTE.—Prometheus. Italian. 13th century. Lent by Mr. Philip C. Hardwick. 113 CAST from Ivory, by Fiamingo, of a Bacchanalian subject. The original is at Madrid. Lent by Mr. Alfred Morrison. 114 PLAQUE.—Ivory. French. Lent by Mr. Alfred Morrison. 20 On the Top of Cabinet No. j. 115 GROUPS.—Bronze. Allegorical subjects, flying attitudes. Male and female figures in half- Lent by Mr. T. F. Shattock. 116 FIGURE.—Bronze. Fully draped statue of “ Prudence,” with the following inscription on the base : “ ESTOTE PRVDENTES SICVT SERPENTES.” Flemish. 17th century. (H. 19 inches.) Lent by Sir Julian Goldsmid , A/., M.P. 117 See 115 (above). On Table between Cabinets Nos. j and 4 . 118 STATUETTE.—Ivory group of the Massacre of the Innocents. Italian. 16th century. (H. 13 inches.) Lent by Mr. E. Joseph. CABINET No. 4. (Bronzes.) 119 STATUETTE.—Bronze. A winged figure with helmet; quiver on right shoulder, a fish in the left hand, on giallo antico pedestal. Antique Roman. (H. 6 inches.) Lent by Mr. Francis Cook . 120 STATUETTE.—Bronze. Seated figure of an emaciated youth, the eyes of silver; probably a votive offering. Antique Greek. (H. 3^ inches.) Lent by Mr. Francis Cook. A*- 121 STATUETTE.—Bronze. (H. 2^ inches.) Draped figure of a boy or young girl. Antique- Lent by Mr. J. C. Robinson. 122 STATUETTE.—Bronze. Silvanus. Probably a reproduction from the antique. Italian. 16th. century. (H. 3^ inches.) Lent by Mr. J. C. Robinson. 123 STATUETTE.—Bronze. 7 inches. Athene, of archaistic style. Antique Greek. (H. Lent by Mr. Francis Cook. 124 STATUETTE.—Bronze. Highly finished male bearded figure, right arm extended, left bent at elbow. No attributes. On marble stand with ormolu garland at base. Italian. 17th century (?). Florentine. (H. 5 inches.) Lent by Mr. Bowyer. 125 GROUP.—Bronze. Laocoon. An interesting variation from the antique design. Father and sons are here represented as seated or reclining on a long wall of rock. One of the children, in an agony of pain, has thrown himself head downwards across his father’s knee, and the other son, paralleling the action of the father, turns up his face appealingly to the out¬ raged god. Italian. 16th century. (H. y/ 2 inches.) Lent by Mr. J. C. Robinson. 1^6 STATUETTE.—Bronze. Reduction from or model for the figure of Fortune surmounting the Dogana at Venice. Italian. (Venetian.) (FI. 414 inches.) Lent by Mr. E. Cheney. 126 STATUE iTE.—Bronze. Reduction from the antique marble, known as the Mercury or Antinous of the Vatican. (See also No. 16, in Cabinet 1.) (H. 7JT inches.) Lent by Mr. Bozuyer. 127 STATUETTE.—Bronze. Undraped male figure, striding forward and drawing a sword. 16th century. Florentine. (IT. Sy inches.) Lent by Mr. Vaughan. 128 FIGURE.—Bronze. Horse ; trotting action. (H. 5 y inches.) French. 18th century. Lent by Mr. G. Salting. 129 STATUETTE.—Bronze. Figure in antique armour. Left arm raised, right extended. Copy from the antique. Italian (?) (H. 10 inches.) Lent by Mr. Seymour Haden. •CO INKSTAND.—Bronze, partially gilt. Kneeling figure of satyr. The right arm raised, holding a shell ; the left resting on a vase (the receptacle for the ink). (FI. 7 inches.) Lent by Mr. Bowyer. 131 STATUETTE.—Bronze. Venus, after John of Bologna. (See also Nos. 138, 148, and 180, from all of which it differs in the action of the left arm, and in having the left foot supported on a vase). Italian. (H. 6 y inches.) Lent by Mr. E. Cheney. 23 132 CASKET.—Steel. Of rectangular form, with raised cover, having a higher stage, surmounted by a crown, and decorated at the angles with cornu¬ copias. The sides of the casket divided into panels, and ornamented with rams-heads, scroll-work, and hanging flowers in relief. In the centre of the two front panels are figures of Minerva and Mars in alto relievo. Formerly belonged to the Medici family. From the Soulages collection. (H. ro%) inches, W. j]/ 2 inches.) Early 16th century. Florentine. Lent by Mr. John Malcolm , of Poltalloch. 133 STATUETTE.—Bronze. Venus, after John of Bologna. Compare Nos. T 3 1, 138, 148 and 180, from which the present example differs in the action of the left hand. Late 16th century. Florentine. (H. 6 inches.) Lent by Mr. George P. Boyce. 134 GROUP.—Bronze. Woman carried off by a hippocentaur. (Nessus ai.d Dejanira.) 16th or 17th century. Florentine. (IT io}4 inches.) Lent by Sir William Drake. 135 JUG.—Bronze. Oinochoe form. Greek. (H. 4j4 inches.) Plain sides, high-arched handle. Antique Lent by Mr. Vaughan. 136 STATUETTE.—Bronze. Bacchus, vine-crowned ; a goat-skin across the shoulder. Hanging from the right hand, which rests upon the top of the head, is a bunch of grapes ; a similar bunch is in the pendent left arm, and a dog with raised paw endeavours to reach it. Late 16th century. Florentine. (H. 9 inches.) Lent by Mr. Bowyer. 2 4 137 STATUETTE.—Bronze. Mercury, (?) playing on a flute ; winged helmet on his head ; long, hanging drapery from left arm to the base of the figure. Late 16th or 17th century. Florentine. (H. gY inches.) Lent by Mr. Bowyer. 133 STATUETTE.—Bronze. Venus, after John of Bologna. See Nos. 131, 148, and 180. Late 16th or 17th century. Florentine. (H. \o]/ 2 inches.) Lent by Mr. Bowyer. 139 GROUP.—Bronze. Hercules tearing open the jaws of the Nemean lion. On a convex base, upon which lie the club and bow of the hero. Italian. 15th century. (H. inches.) Lent by Mr. G. Salting. 140 STATUETTE.—Bronze. Boy in startled attitude. Florentine. (H. jy 2 inches.) 16th or 17th century. Lent by Mr. Butler. 141 CASKET.—Bronze. Oblong in shape, with figures and ornamentation in relief. On the cover is the head of Medusa surrounded by a garland, with winged genii as supporters. On the front and back panels a bust in high relief, with cornucopiae, supported on each side by a centaur carrying off a woman. Italian. 15th or early 16th century. The original design ascribed to DONATELLO. (H. inches, L. 8 % inches, D. M/z inches.) Lent by Mr. E. Cheney. 142 GROUP.—Bronze. Bacchanalian boys ; one supporting the other aloft on his arm. On high marble stand. Italian. 16th or 17th century. (H. inches.) Lent by Sir William Drake. 25 143 INKSTAND—Bronze. Head crowned with laurel; upturned face. The open mouth serves for the introduction of the pen. 16th century. Florentine. (H. M/i inches.) Lent by Mr. Falcke. 144 CRUCIFIX (figure for).—Bronze. The body divided longitudinally, probably to form a receptacle for a relic. Italian. 17th century. (H. 5 inches.) Lent by Mr. Bowyer. 145 STATUETTE.—Bronze. Phryne (?). Undraped figure, with hands raised to conceal the face; elbows extended. On yellow marble stand. 16th century. (H. 7)4 inches.) Lent by Mr. Bowyer. 146 INKSTAND.—Bronze. Supported on a tripod formed of goats’ legs and satyrs’ heads. The bowl decorated with garlands and masks in relief. Italian. 16th century. (H. 7 inches.) From the collection of the late Mr. George Field. 147 STATUETTE.—Bronze. Undraped helmeted figure, advancing with left arm thrown forward and right swung back. Italian. 16th century. (H. 10 inches.) Lent by Mr. Falcke. 148 STATUETTE.—Bronze. Venus, after John of Bologna. (See Nos. 13 i, 138, and 180.) Late 16th or 17th century. Florentine. (H. 9)4 inches.) Lent by Mr. Julian Marshall. 149 STATUETTES.—Bronze. The prisoners for the tomb of Julius II. The