BRONZES IN THE SOUTH KENSINGTON MUSEUM. 33487. a 0- u^o ST, JEROME. Italinn. FiftceHtli Century No. 4699. '50. SCIENCE AND ART DEPARTMENT OF THE COMMITTEE OF COUNCIL ON EDUCATION. SOUTH KENSINGTON MUSEUM. A DESCRIPTIVE CATALOGUE OF THE BRONZES OF EUROPEAN ORIGIN IN THE SOUTH KENSINGTON MUSEUM. IVith an IntroduElory Notice 3Y C. DRURY E. FORTNUM, F.S.A. r.ONDO N : NTED BY GEORGE E. EYRE AND WILLIAM S P OTTIS WO O DE, PRINTERS TO THE QUEEN'S MOST EXCELLENT MAJESTY. AND SOLD BY CHAPMAN fif HALL, AGENTS TO THE DEPARTMENT FOR THE SALE OF EXAMPLES, 193, PICCADILLY, LONDON. 1876. Price Thirty Shillings. Digitized by the Internet Archive in 2013 littp://archive.org/details/descricatabronzOOsout r J B L E OF CONTENTS. Page. List of Photographs ----- [k//] List of Etchings _ - - _ - [wV/] PREFACE [/;,J INTRODUCTION : PER I. On the compofition of Bronze - i IL On the fafliioning and manipulation of Bronze - - - - xxi III. On the ufe of Bronze in pre-hiftoric times _ - - _ XXX IV. On the ufe of Bronze in Sculpture, &c. by the nations of antiquity xl Egypt, Aflyria, &c. xlv Etruria _ - - - xlvii Greece - - - - lii Rome - - - - Ixviii Toreutic works - Ixxiv V. The ufe of Bronze in Mediaeval and Renaifiance Sculpture Ixxviii Italy - _ - .- Ixxxvi Tufcany - xc Venice - - - - cxiv Mantua, Bologna - - - cxx Ferrara, Reggio, Parma, &c. cxxi VT. Michel Angelo and the Decline in Italy cxxii VII. Bronze Sculpture in Germany - cxxxvii VIII. Bronze Sculpture in France clxi IX. Bronze Sculpture in Flanders, the Nether- lands, and Spain - _ _ clxxv X. Bronze Sculpture in England clxxxv XI. Concluding remarks - - - cci Colleftions of Bronzes ccvi Works of Reference ccix [vi] Table of Conte7Us. Page. CATALOGUE OF BRONZES: Works in the Round - - - - 3 Busts - - - - - 3 Statuettes _ _ - - 8 Works in Relief - - - - - 29 Utensils and other Objects (arranged in alphabetical order) - - - - - "75 APPENDIX : Objects of" later acqiiifition - - - - 217 Do. on Loan from the Queen - - - 218 Do. do. Duke of Weftminfter - - 220 INDEX : Table of Reference from the Regifter Numbers to pages - 223 Names of Artifts - - - - - 229 Objeds and Localities ----- 238 General Index ------ 242 Addenda et Corrigenda ----- 249 LIST OF PHOTOGRAPHIC PLATES. No. Page- I. St. Jerome - 4699. '59. (Frontifpiece) 15 11. Pope Innocent X.- - - 1088. '53. 7 III. The Infant Saviour - - 411. '54. 14 IV. Ceres - - - - 85. '65. 20 V. Rudolph II. - - - 6920. '60. 29 VI. Triptych - - - - 1615. '55. 35 VII. Plaque - _ _ _ 7370. '61. 36 Casts from Seals - 7799-7800. '63. 67, 68 VIII. Plaque - - _ _ 2535. '56. 62 „ - - - - 7483. '61. 37 „ - - - - 756. '64. 63 IX. Mirror Case - - - 8717. '63. 58 X. The Deposition (bas-relief) - 8552. '63. 59 XI, Release of a Female Saint - 474. '64. 61 XII. Candlestick _ _ _ 1595. '55. 90 „ - . _ 2566. '56. 90 - - - 1594- '55- 91 XIII. Candlestick. - _ _ 2184. '55. 93 Salver - _ _ _ 2061. '55. i93 Candlestick . _ _ 554. '65. 94 XIV. Candlestick - _ _ 552. '65. 9^ XV. Lamp - - _ _ 4409. '57. 1^4 Candlestick - _ . 562. '65. 99 Lamp - - - _ 4701. '59. 1^3 XVI. Ewer - _ _ _ 4054. '56. 1^4 „ - - . . 1471. '70. 112 XVII. Ewer - - . _ 8429. '63. 1^9 Salver - _ - _ 5632. '59, i94 Ewer - _ . _ 8430. '63. i^o XVIII. Fire Dog - - - _ 8431. '63. i^S XIX. Inkstand - _ - _ 2089. '55 iS^ „ - - - - 8867. '61! 152 XX. Knocker - _ - _ 573. '65. iS^ XXI. Knocker - . _ . 588. '53. iS^ XXII. Lamp - . _ . 137. '65. 1^3 XXIII. Monumental Roundel - - 7796. '63. i73 XXIV. Salt-cellar _ _ _ 627. '65. 1^3 Vase - . . - 35- '65. 207 Salt-cellar - - - 628. '65. i^4 XXV. Vase - _ _ _ 843. '70. 208 Printed by the Permanent Printing Company (Woodbury Procefs). LIST OF ETCHINGS. *^* Thefe are the work of Students, in training as Art Teachers, in the Etching Clafs at the South Kenfington Art Schools, under the direftion of the late Richard J. Lane, A.R.A. No. Page. I. Bell - - - - Etched by M. Sullivan. - 4483- '58. 76 2. Bracket Candlestick: Etched by J. Emms. - 572- '65. lOI 3- Casket _ - - - Etched by W. Wife. - 2084. '55- 108 4- Fountain Jet _ _ - Etched by E. F. Brewtnall. - 7391- '60. 132 5- Inkstand - - - - Etched by W. F. Randall. - 4673- '58. 153 6. Lock Escutcheon - - - Etched by R. I. Stevenfon. - 5750. '59- 171 7- Mortar _ - - - - 2175. '55- 175 Etched by W. W. McCarty. 8. Pedestal - - - - - 188. '66. 179 Etched by W, M. McGiU. 9- Snuffers - - - - Etched by W. Wife. - 2081. '55. 198 PREFACE. HE prefent volume treats of the Euro- pean bronzes in the South Kenfington Mufeum. Thefe form an important fed:ion of a large clafs of objedls, the produdlion of various branches of the plaftic art. The work of the filverfmith, and objects for eccle fiaftical appliance, both in the precious and lefs noble metals, had been afligned as the materials for another Catalogue. Oriental bronzes, again, w^ere diftind:, while Sculpture in Marble, &c. of the Italian Renaifsance had been already and ably treated by Mr. J. C. Robin- fon in his Catalogue of thofe works. On every fide, therefore, were artificial lines of boun- dary that could not be palTed without trefpaf?ing on other ground, and by which many nearly allied objefts, fuch as certain reliquaries, Saracenic bowls, the Glou- cefter candleftick, and others, were of neceffity excluded. Notwithftanding the intimate connection between medals, and the plaquettes which form an important ; L- Preface. feature of this volume, and which were in many inftances the work of the fame hands, it was deemed expedient that medals, together with coins, (hould form the fubjed; of a feparate work. The difficulty, indeed, was where to draw a line by which the volume would be confined to reafonable fize, and its main fubjecft be adhered to as much as poffible. Sculpture is the root whence all thofe various branches derive their artiftic quality, and to trace the ufe of bronze in that noble art became a neceffary inquiry in elucidating this fedlion. In the following introductory notice, the writer fears that, without aiming at originality or complete - nefs, he may have been led to a fomewhat too lengthy confideration of the fubje6t — his excufe muft be that it is fo large and fo interefting. Stanmore Hilly Middle/ex. 1 NT R DU C ri ON, CHAPTER 1. On the Composition of Bronze. HAT compofite meta], known to us as bronze, is identical with the ^ctkxo^ of the Ancient Greeks, the aes of the Romans, words which however referred alfo to the pure copper and to brafs, as far as that mixed metal was then known. It is an alloy of copper and tin in flightly varying propor- tions, with occafional, but feemingly unimportant, additions of filver, zinc, lead, and other fimple metals. Thefe may be regarded as foreign to the true alloy rather than as necefTary elements in its compofition, although their prefence may more or lefs influence its dudlility and malleability. The normal compofition of true bronze may be approximately fixed at nine portions of copper and one of tin ; but the quantity of the latter metal may be faid to vary from eight to ten per cent. Cannon or " gun metal " is of a fimilar compofition. This important alloy has been known and in ufe from a very early period, anterior to any written record of the world's hlftory. We need not, therefore, wait to inquire into the mythical fliory that this mixture of the metals was dis- covered by the Idaean Dadtyli, or firft brought into ufe by the Telchinse of Rhodes ; nor need we, for our prefent purpofe, do B. b ii IntroduBion. more than allude to the ftory of that Cadmus, of the Phoeni- cian occupancy of Egypt under the feventeenth dynafty, who failed to Greece, and by reafon of the excellence of his weapons, formed of " Cadmian bronze," prevailed over his opponents, and founded the Cadmian Thebes. In the facred writings Tubal Cain is the earlieft recorded as an inftructor of artificers in working brafs (bronze) and iron. But whatever local truth may be at the foundation of thefe and other cognate hiftories, we have the evidence of the objedls themfelves to prove the wide fpread and abundant ufe of bronze, for the formation of weapons and tools, at a period fo early as to be beyond written record, and which we can only now define as overlapping and fucceeding the fo-called " ftone age." That the art was brought into Northern and Eaftern Europe from Afia there can be little doubt ; nor are we lefs alTured that the compofition of bronze was well known in Egypt, perhaps at a ftill more remote period. Thence its ufe may have fpread to the European fhores and iflands of the Mediter- ranean, probably aided by, rather than originating with, the Phoenician people. From thofe prehifl:oric times, even to the prefent day, its continuous ufe and value have been known ; firftly, in the pro- duction of weapons of war and for the chafe, the advanced fucceflbrs of the celts and knives, fpear heads, fcrapers, and the like, of flint and flone, and fubfequently for domeftic and other utenfils, and as a favourite and enduring material for the exercife of the fculptor's art. In our own day the ufe of bronze is comparatively lefs general than of yore, for brafs now arro- gates the fway of the more coftly and " eternal bronze " ; this its lefs expenfive and lefs noble fifter alloy, of such extended ufe in the m.anufadure of furniture, fittings, &c., is compofed alfo of copper, but allied with the cheaper metal, zinc, which replaces the tin in larger quantity. IntroduSiion. Without entering into a minute and fcientific inquiry as to the nature and technical modes of produdlion and manufadture of thefe alloys of copper with tin, zinc and other metals, furnifhing the materials from which the various objeds defcribed in this Catalogue have been formed, it may be well to take a rapid view of their hiftory, compdfition, and application. To begin with the parent metal. It is probable that long C°pp before any fyftematic mode of reduction or combination with other metals was known to the early inhabitants of various countries in which the mineral occurs, pure copper, or rather the metal found in its native ftate, was, by partial fufion and by hammering, or other fimple means, fafhioned into weapons and other objedls for the ufe of the primitive people of fuch diftridts as yielded this valuable material ready to hand. But, although we may reafonably afTume that the ufe of copper in its native and unalloyed condition would have pre- ceded the knowledge of its alloys with other metals, and the confequent modification of its qualities, its very great du6lility and malleability, together with its difficulty of fufion, qualities which render copper of the firft importance for certain manu- facturing purpofes, would detradl from its value as a material for the formation of weapons by a primitive people. Not that the ufe of unalloyed copper has ever ceafed, but its value is in a different diredtion ; that malleability which renders it too foft for weapons, is peculiarly valuable in the formation of vefTels of every variety of form, a ufe to which it has been applied in almofl every age, and in none more fo than in our own, when the requirements of chemical and other manufactures are met by the conftrudlion of enormous flills and refrigerating worms, boilers and evaporating pans of this metal ; acres of fheet copper protect our fhips from the attacks of various marine creatures ; and again in the production of the crowd of fmaller objects, fuch as our tea urns, copper ftew pans, kettles, and IV IntroduSiion. the like, vaft quantities of this ufeful and widely diffufed metal are confumed, without entering upon the confideration of its more artiftic application. It is worthy of obfervatlon that, from the evidence afforded by the buried remains of their civilization, during the flourifhing periods of Egypt, Aflyria, Greece, Etruria and Rome, bronze feems to have been ufed by preference in the produdlion of culinary and other veflels for domeftic ufe, even of large fize, and copper in its purer ftate but rarely. Not fo, however, during the " Gothic " period of the twelfth, thirteenth, four- teenth and fifteenth centuries, when bronze and bell metal, as well as " latten " or " eledlrum," were equally well known, for the majority of the admirably wrought objedls for church ufe, fuch as reliquaries, chafTes, monftrances, and fome mountings of heavy choir books, &c., when not formed of the precious metals, were, in many inftances, of nearly pure copper, and heavily gilded with equally pure gold. So again, during the Renaijfance and fubfequent period of decline, copper in beaten work {repoujfe) was much ufed for vefTels, many of which are of highly artiftic form and ornamentation, as alfo for works of fculpture in baffb and alto rilievo, and for the formation of figures on a folid core ; of fuch is the great ilatue of S. Carlo Borromeo, which overlooks the lovely Lago Maggiore. Nor mufl we forget its ufe for coinage and the produc- tion of medals ftruck in a die ; nor its hitherto extenfive ufe in the manufacture of copper plates for engraving. The eledro depofit, that ingenioufly varied application of what, in our own memory, ufed to be merely a curious and flriking demonftration of chemical or rather of " voltaic " adion in the ledure room, has now developed into various extenfive branches of manufacture, and is of the greateft value in the reproduction of artiflic objeds in an enduring material ; what may be defined, although conveying a feeming contra- didion, the method of cafl;ing by the moifl: system, par la voie IntroduSiion. V humide. In England this method has been applied with fingular fuccefs by the late Signor Franchi and the Meflrs. Elkington, as alfo by many able French and German manu- fadurers in their refpedive countries. An important feries of reprodudtions in metal by this pro- cefs is preferved in the South Kenfington Mufeum, among thefe we may particularly note the celebrated gates of the Baptiftry at Florence, by Lorenzo Ghiberti, a remarkable work of the exadt size of the original. The Pifan gate, of bronze, is alfo there, and many other interefting works of fmaller size, for a defcription of which reference is made to the Catalogue of Reprodudlions. The metal copper occurs in its native ftate in amorphous mafles of confiderable fize, and in cryftalline laminas per- meating the fifTures of quartz veins. It is alfo found in combination with other fubftances, con- ftituting the ores from which the larger fupply of this im- portant metal is obtained. Thefe ores of copper are more or lefs abundantly diftributed in almoft every country of the old and new world. The Ifland of Cyprus feems to have been one of the earlieft fources of this metal known to the ancient clafTic writers, but perhaps the neighbourhood of Chalcis, in Euboea, may have as early a claim. The mines of Spain, of Gaul, and of Anglefea, as probably thofe of Cornwall, were alfo known to the ancients, as was the exiftence of this metal in Tufcany and the fouth of Italy, in the Alps, and in Egypt, and various parts of Afia. Pliny,^ from whom, as might be expedled, we derive the greateft amount of information on the fubjedl, tells us, that three of the ores of copper {lapdes aerofi) were known to him, namely, the cadmia^ the chalcetis, and the aurichalcum or orichalcum ; how thefe varieties agree or correfpond with Hift. Nat. lib. xxxiii-xxxiv. VI IntroduSiion, the ores diftinguifhed by mlneralogifts of the prefent day, it is hardly within the province of this volume to inquire ; neither can we do more than touch upon the large fubjedt of their redudion into the metallic ftate. It has been argued, not without fome probability, that the laft of thefe ores mentioned by Pliny, and from which the golden coloured Corinthian bronze is faid to have been produced, may have contained a larger or fmaller quantity of calamine, or perhaps of the ful- phuret of zinc (" black jack "), which gave that golden colour to the copper by the proportion of zinc which it contained, and which imparts a yellow or bralTy colour to the metal, a portion in fadl of true brafs. Of this more anon. That the mines of copper ore exifting in our own country were worked by the Romans we have abundant proof. Per- haps the moft diftindl evidence of thefe mining operations for this metal is to be found in the Ifland of Anglefea, where not only the ftone pounders or hammers with which they, and pro- bably alfo ftill earlier miners, detached the ore from the rock, previoufly heated and then difintegrated by the adtion of cold water, as defcribed by Tacitus, but cakes of the fufed metal have been difcovered from time to time and in various places. One of thefe mentioned by Pennant, in his " Tour in Wales," is infcribed with the words SOCIO • ROM^ ., and in fmaller letters • natsoi. Others have been found on the fide of the Parys mountain ; thefe, flat and circular in fliape, are of pure copper, each weighing about 29 lbs. 6 oz. One of them was infcribed - IVLS -, and is now in the pofleffion of the Hon. W. Owen Stanley, who communicated a paper on the fubjedt in the thirtieth vol. of the Archaeological Journal. Some of the other cakes weighed as much as 34 and 42 lbs. refpedlively. It has been argued by Mr. Thomas F. Evans, in the fame volume, that thefe majfte mufl: have each reprefented a value approaching to 600/. of our money, allowing for the difficulty and labour of working with the primitive appliances then at IntroduSiion vii command, a conclufion which may perhaps be open to fome queftion. Its moft important and abundant mineral is the yellow double fulphuret of copper and iron, known as copper pyrites, though not fo rich in that metal as the rarer grey ore, the fimple fulphuret. It alfo occurs in fmaller quantity as a car- bonate, the harder and clofer varieties of which are well known as the beautiful mineral called malachite, the produd of Sibe- rian as alfo of Auftralian and fome other mines ; alfo, but rarely, as the black oxide. The other minerals of copper need not detain us, nor may we enter upon more than a flight rationale of the interefting procefs for its redudtion to the metallic ftate. Firftly, after the mechanical operations of feparating from the quartz and other valuelefs fubftances occurring in the lode, by pounding, wafhing, milling, &c., the ore is expofed to the adlion of flame in the roafting furnace, by which a portion of the fulphur is burned off, leaving the remainder in the ftate of a fub-fulphate of the oxides of copper and iron. By fufion with filiceous mineral and fome unroafted ore, the iron is feparated as a flag ; repeated and long continued roafting in the rever- beratory furnace fupervenes to remove the fulphur and to oxidize. The next procefs is the redudlion to the metallic ftate, by driving off oxygen with the aid of charcoal in the reducing or blaft furnace. The metal ftill contains many impurities, which are removed by the tedious and delicate operations of refining, after which it is run out into ingots or bars of the purified metal. For a full and moft interefting account of thefe pro- ceflles the reader is referred to Dr. Percy's admirable work on " Metallurgy," as alfo to Mr. J. A. Phillips' " Manual of Metallurgy," and to the article in Dr. Ure's " Didlionary of Arts, Manufadlures, and Mines." viii IntroduEiion. Tin. Next in importance to our fubjedt is tin, a metal which known from unrecorded times, ftill retains its place and value in the manufaduring arts, particularly in connedlion with copper and with lead. It was known to Homer and to Hefiod as xaa-a-lrepog {kajfiteros)^ who defcribe the fufing of the mineral. The ores of copper are abundantly diftributed, not fo with thofe of tin, which are of more local occurrence. Many re- markable and interefting fubjed:s of inquiry arife from the fadt that our own country is, and has been, from the earlieft ages, one of the chief fources from which this valuable metal has been derived. Unacquainted, as it would feem, with zinc in its metallic ftate, and only partially as an alloy of copper, the ancients well knew the ufe of its more noble fellow-metal tin. The Phoenicians of old traded largely with England, taking their mineral cargoes from the Devon and Cornifh ports, as they did alfo from Spain, and it feems far from improbable that through them, the fea carriers of the ancient world, the countries bordering on the Mediterranean, and perhaps even Egypt and Aflyria, were fupplied with that neceflary ore ; this trade extending back in all probability to a very remote period. We muft not, however, forget that from Arabia, from Perfia, and perhaps from Northern India, fupplies may have been occafionally obtained. The Caffiterides, iflands the locality of which was kept fecret by the Phcenicians, but which are fup- pofed to have been the Scilly group, or even portion of the Cornifh coaft, were a fource whence they conveyed tin to the Mediterranean fhores. Diodorus and Strabo tell us that it was brought to Marfeilles from Britain, and Pliny fpeaks of this metal as the ftannum or white lead," the kajfiteros of Homer, as being found alfo in Lulitania and Gallicia. In Ezekiel we read that the Tyrians received tin from Tarihifli. It is firft mentioned by Mofes, in Numbers, xxxi. 22, as part of the fpoil of the Midianites, circa 1452 B.C. Ifaiah fpeaks of it as an alloy for other metals. IntroduSiion. ix Tin alfo occurs in Ireland, and in Bohemia and Saxony, in GalHcia and the north of Portugal, and in Sweden. In Afia it is found in the ifland of Banca, the peninfula of Malacca, in the Weftern Auftralian colonies, and elfewhere in fmaller quantities. The principal mineral of tin is the oxide, which occurs in veins and alfo in rounded grains as " ftream tin " ; the latter is generally more free from impurity, the vein tin being more or lefs accompanied by iron, copper, arfenic, &c. Its redudtion to the metallic ftate is a much more fimple procefs than that for copper, tin being eafily fufed and the oxygen readily driven off. Indeed, the primitive method feems to have been nothing more than making a pile of the mineral mixed with fmall wood, firing it and receiving the metal in a ftone trough beneath. Interefting evidences of the early working for tin ore have been difcovered at Carnon, where a pick formed of deer horn fixed in its own handle was unearthed at a depth of many feet from the furface and affociated with bones of extinct animals.^ Other picks, as alfo bronze celts, together with wooden fhovels of Roman and of much earlier time, have been difcovered in the ftream tin workings of Cornwall. Blocks of tin are rarely found in the hoards of the bronze period, but fome fuch were difcovered with bronze fickles at Hermannftadt in Tranfylvania. It is by the melting together of thefe two metals, copper Bronze. and tin, that bronze is produced, differing in colour from either of its conftituent elements as alfo in various other qualities. In lieu of a white metal and one of a ruby colour we have a clofer fubftance of a golden brown. It is alfo a well-known fadl that the bulk occupied by the fame weight of the alloy is confiderably lefs than that occupied by the two metals previous to their combination, the refult R. N. Worth, Archsol. Journal, xxxi. p- 53. X IntroduSiion. being a great increafe in hardnefs, perhaps due to the inter- penetration of their atoms. Their aggregate fufibiiity is, moreover, much increafed. We have already ftated that the normal relative propor- tions of thefe metals is as nine to one, but many variations of thefe proportions have been from time to time purpofely adopted, or in other cafes may have arifen from the lofs of tin during the procefs of fufion, or by the prefence of other metals in the ores. One great difficulty in the fufion of bronze arifes from the great volatility of tin by the abforption of oxygen when melted, a property which the prefence of copper does not obviate. It is neceflary, therefore, to obferve great caution in the fufing and cafting, which fhould be effedled as rapidly as poffible, that the proportion of tin remaining in the alloy may not be diminiflied to too low a ftandard. Mr. J. A. Phillips tells ^ us that experiments made by him upon antique coins and other bronze objedls, yielded the following refults. That the Greek coins of Hiero and Alex- ander are of pure bronze, containing only tin and copper. The early Roman contain fome lead ; while, about the period of Auguftus and fubfequently, zinc is found in the Imperial coinage. During the Lower Empire, filver, varying from one to eight per cent., is alfo found. The general refult of other analyfes of feveral examples of Greek and Roman bronze has fhown a compofition of 88 or 90 parts of copper to 12 or 10 of tin; fome fpecimens yield- ing a very fmall, and probably accidental, quantity of filver. The tools of the ancient Egyptians were generally formed of a bronze containing 12 parts of tin to 88 of copper, doubt- lefs hardened and tempered, even to elafticity, by hammering, &c. 1 Chemical Memoirs, Od. 1851. IntroduEiion . XI According to Pliny, who acknowledges to the inferiority of the Roman bronze of his time, the metal ufed for ftatues was compofed of a mixture of old and new copper melted together, to every hundred part by weight of which twelve and a half of another mixture, made of equal parts of lead and tin, was added and the whole fufed. The addition of lead would probably be to increafe the fufibiiity of the mixture, and as an economical fubftitute for the full proportion of tin. It would feem to have been an acknowledged adulteration of the tin received from Soain. Pliny and other clafTic authors defcribe various kinds of bronze ufed by the ancient fculptors and founders, for the origin of fome of which curious hiftories are given, particularly that of the Corinthian metal. The bafe gold, known as Corin- thian metal in his time, from which veflels for the table, &c. were made, could have no relation, except, perhaps, its agree- ment in colour with the Grecian ftatues in bronze, alfo called Corinthian by the Roman dilletanti. T\i\sAss Corinthiacum, ftated to have been accidentally formed during the burning of Corinth by Lucius Mumimius, B.C. 146, by the fufion together of various metals, chiefly bronze, but intermingled with filver and gold, was, as argued by Fiorillo,' in all likelihood a well proportioned mixture of good metal adopted by the fculptors and bronzifts of that city long anterior to the period of the conflagration. His fuppofition is, moreover, borne out by the fadl that fome of the works ftated by the ancient writers to have been formed of this bronze were executed long previous to that event. This hiftory of the origin of the much-prized Corinthian bronze may therefore be little lefs than mythical, and perhaps the fo-called golden colour may have been nothing more than 1 In Kunftblatt, 1832, No. 97. xii IntroduSiion, may now be feen upon the uncorroded furfaces of fome of the Greek bronzes in the Britifh and other Mufeums, among others upon the juftly celebrated bronzes of Siris, the analyfis of the metal of which correfponded with that of a Greek helmet, with nails from the treafury of A.treus, and with fome early Corin- thian coins, viz., about 88 parts of copper and 12 of tin. Again, the faft that Pliny ^ fpecifies three diftindly known varieties of the Corinthian bronze would prove that they were purpofely produced, and not the accidental refult of a pro- mifcuous fufion. He mentions the white {candidum\ from the large quantity of filver in its compofition ; the golden, from the admixture of that metal (a doubtful ftatement), and thus formed of equal portions of the feveral metals. But in all this the Roman naturalift only difplays his want of accurate know- ledge of the true nature of the Aes Corinthiacum, which may probably have been kept fecret by the metallurgifts of the Ifthmian city. Other varieties of this bronze are alluded to by Pliny as the Aes nigrum, the Demonnefium, &c. The hepatizon was another variety of bronze much efteemed by the ancients for the rich liver colour which it took. This, in all probability, was entirely free from any admixture of zinc, and perhaps contained a fomewhat fmaller proportion of tin than the Corinthian. In colour and in other respeds it pro- bably aflimilated to the fine rich bronze ufed by the Florentine artifts of the fifteenth and fixteenth centuries. In the eftima- tion of the ancients this mixture would feem to have taken an intermediate place between the Delian and Aeginetan and the richer Corinthian bronze. But the hepatizon could only have attained its liver colour on the furface, and was probably the refult of a ^' pickle," the compofition of which was kept fecret by the bronzifts, who myftified inquiriers by afcribing it to the action of the furnace alone. H. N., xxxiv. Zj s, 3. IntroduEiion. It is alfo highly probable that the golden variety may have been formed by the admixture of more or lefs of the mineral calamine (the native carbonate of zinc), known to the ancients as imparting a golden colour when fufed with copper. Of this mineral, the cadmia of Pliny's day {lapis ex quo jit aes, cadmia vacatur^ Plin. His. Nat., L. 34, c. 10), we fhall fpeak further when treating of zinc and brafs. Delos was, in the early time, noted for the Aes Deliacum produced by the fkilful metallifts of that ifland, to which artifts and thofe requiring work in bronze flocked from all countries. Myron was the great patron of the Delian alloy, which has been fuppofed to be of too high a tone of colour. The bronze made at Aegina rivalled that of Delos, and was adopted by Polycleitus for his works in metal. A great number of able artiflis and founders feem to have carried on the work upon that ifland. Whatever may have been the original colour of thefe feveral varieties, the oxidyzing adlion of the atmofphere mufl: foon have changed the glittering metal into a coloured coating, which alfo varied with the compofition of the metal and the nature of the atmofphere to which it was expofed.^ 1 Since writing the above, I have perufed an article, in the 31st vol. (No. 122) of the Journal of the Ar- chsological Inftitute, on the Annecy Athlete by the Rev. C. W. King, M.A., rich in claffical quotation on the fubjcil of fome varieties of bronze in ufe among the ancients. The writer, whofe ready pen has always at com- mand so large a ilore of learned re- ference, fails, however, to convince us of the technical accuracy of the authors from whom he quotes. The Corin- thian brafs (this very rendering of the word acs, for the alloy, feems to acknow- ledge our own fuggeftion as to its com- pofition), of which the Roman virtuofi fuppofed that the " old Greek " bronzes were made, Mr. King declares to be a "gold of low ftandard." He quotes, tranflating, the paffage from Pliny in which he says, that whereas the taking of Corinth took place in the third year of the 158th Olympiad or 658 ofRome, " thofe eminent fculptors " all whofe ftatues thefe people call " ' Corinthian ' had come to an end " fome generations before." By this he alludes to the ftory that the Corin- thian bronze was the refult of the general accidental admixture of metals by fufion, at the burning of that city. xiv IntroduSlion. The compofition of the bronze in ufe during the Byzantine period, as alfo by various artifts of the Renaijfance in Italy, Germany, and elfewhere, doubtlefs varied confiderably, as may be noticed from the colour of the metal in their different works. We know alfo from Cellini's vivid defcription of the cafting of the Perfeus, how almoft anything that would melt was caft into the caldron to make up for the lofs of tin by the infufficiency of the fire to liquify the mafs. That the ufe of zinc increafed is alfo proved by the writings of the Monk Theophilus in the eleventh century. He, more- over, defines brafs as aes or auricalcum^ and tells us how to mix grained copper with calamine in the crucible, which on fufion yields aes ; but that if the aes is to be gilded it mufl be made from fine copper purified from lead ; this yields the auricalcum^ whereas from the unrefined copper the more ordinary aes is made, which will not take the gold. And he alfo informs us and that its quality was fo fine from the large quantity of gold and filver which it contained. " The only ' Corin- " thian ' articles (fays Pliny) are veffels " fuch as thofe men of tafte employ " fometimes for table fervice, &c." Thus, as already ftated, it would appear that the " Corinthian bronze," Aes Corinthiacum, of Pliny's day was but a name for fome alloy polTibly as defcrip- tive of its real compofition as our " Mofaic gold," and containing as little of the precious metal. But had not the bronzes called " Corinthian " any quality which in fome meafure juftified that appellation ? May it not have been their golden yellow colour as contrafted with that of the inferior metal of which many figures were call ; for doubtlefs, as now, there were bronzes and bronzes in thofe days ; and is it not a rcafonable fugges- tion that this yellow colour may have arifen from the admixture of calamine in fufing the alloy ? The bronzes of Pompeii and Herculaneum, to which Mr. King alludes, are for the moil part of really fine bronze, yet fome of them poffibly may have been of a Corinthian golden furface, if uncoloured, when firft they left the artift's hands. Mr. King (page 125) says, "To us " accuftomed to fee all bronzes with " one uniform dark green coating ; the " antique coated by natural ruft ; the " modern, by artificial oxidization, &c." Is this so ? The antique patina varies materially with the nature of the foil in which the bronze has been buried, and furcly a glance at the renaijja?ice bronzes in this colledlion will fhow very great variety in their furface colour, arifing from the application of difi"ercnt " pickles," alfo toned by the adion of the atmofphere to which they have been expofed. IntroduSiion. . xv that both filver and pure copper are eafier to gild than auricalcum. This would account for the fo frequent ufe of copper as a j metal in making the richly gilt monftrances, reliquaries, and ^ other church veffels and objedls of the twelfth, thirteenth, and fourteenth centuries. The bronze ufed in many of the works of the earlier period of the Renaijfance varies confiderably, but is for the moft part of good quality, there being no difpofition on the part of the artifts, who v/ere fo frequently their own founders, to cheapen the metal by admixture of an inferior alloy, and thereby to injure the rich furface efFe6l of their callings. The works exe- cuted by Donatello, Verrocchio, Pollaiuolo, by Riccio, and the Lombardi are all of rich metal. So alfo are the admirable cafts in bronze (five of which were unfortunately melted down by order of the revolutionary government of France) made by Primaticcio, from the then moft celebrated ftatues of antiquity by order of Francis I., and which now adorn the gardens of the Tuilleries. The addition of lead and zinc was only in fmall quantity, and even later we find that the brothers Keller, who executed fo many works in bronze for Louis XIV. at Verfailles and elfewhere, were extremely careful as to the compofition of their metal, which was alfo of fine quality. Analyfis has proved them to be compofed of — 91*68 - copper - 91 "40 2*32 - tin - I • 70 4-93 - zinc - 5-52 I • 07 - lead - 1*37 The bronze ftatue of Louis XV. is compofed of an alloy of lefs value, viz. : — 82 • 45 copper, 10 • 30 zinc, 4 • 10 tin, 3 • 1 5 lead. xvi IntroduEtion. Sir Humphrey Davy recommended for large works lo parts of copper to i of tin. The compofition of gun metal has varied from the time when it was fo much encouraged by Queen Elizabeth. In olden times the typical proportions were lOO copper to 12 tin. In 1 6 14, according to Diego Ufano, the following proportions were varioufly ufed by different gun founders : — Copper - 160 100 100 100 Tin - 10 20 8 8 Brafs - 8 5 5 Our later mixture is of 90 copper and 10 tin. Bell metal alfo varies, the introduftion of lilver and other metals having been fuppofed to produce effects upon the found. Perhaps the proportions of — 78 parts of copper, or - 80 and 22 ,, tin, or - 20 may be confidered as nearly typical. The Monk Theophilus tells us that to the copper one fifth part of tin is added to make bell metal, the details for the cafting of which he alfo gives. For medals a good alloy is formed by the fufion of 88 copper, 10 tin, 2 zinc. Another mixture is of — 90 or 92 copper, 10 or 8 tin, lead in fmall quantity being fometimes added to increafe the fluidity. Zinc. We are not aware of any traces of zinc having been dif- covered in the bronze tools and weapons of Egypt or of Greece, neither has it been found in any appreciable quantity in the European implements of the bronze period. That zinc was indiredtly known to the Romans there can be little doubt, IntroduSiion. xvii although their acquaintance with it in a fimple metallic ftate muft have been very limited. We learn from Strabo and from Ariftotle of an earth, and Pliny tells us that certain mines produced ores, which on fmelting yielded a golden coloured metal highly efteemed, and that it was much regretted when loft by the exhauftion of the lodes. Thefe ores were probably the copper pyrites, with which a confiderable quantity of the " blende," the fulphuret of zinc, occurred, as is frequently the cafe in our Cornifti and other mines ; or the mineral may have contained fome confiderable portion of the earth known to the ancients as cadmia, in all probability the calamine of mineralo- gifts (native carbonate of zinc), which, when added to copper in a ftate of fufion, gave it a yellow colour producing the rich looking metal known as aurichalcum, and probably fimilar to the ope/;^aXxo^ of Strabo. The biftiops Ambrofius of Milan (A.D. 374-397), Prima- fius of Adrumetum (fixth century), and Ifidore of Seville (circa 570-636), refer in their writings to a fubftance, the addition of which to copper gave it a yellow colour, and we find that many of theobjedls for church ufe in the Northern Italian and Rhenifti Byzantine, and fubfequent periods of art, are formed of a bronze of yellow colour, which probably contains a confiderable mixture of zinc. We have already referred to the aes and auricalcum of the Monk Theophilus ; varieties, in fadt, of brafs produced with the calamine by a nearly fimilar procefs to that referred to by the ancient claflic writers. Paracelfus, the Swifs phyfician (1493— 1541), fpeaks of the metal zinc. It is the contrefeyn of the Saxon metallurgift Agri- cola (1494-1555), and Robert Boyle, the philofopher, refers to it as Jpeltrum. In 1 72 1 Henckel procured zinc in the metallic ftate from calamine. Van Swab, in 1742, reduced it from Swedifti ores, and in 1746 Marfgraf publiftied a method for its redudtion. B. c xviii IntroduSiion. The firft works in England feetn to have been thofe of Champion, near Briftol, about 1760, where the metal was re- duced from its ores and fent into Birmingham under the names of zinc or Jpelter. The more important minerals of zinc are the fulphuret, known as zinc blende and " black jack," and the native car- bonate, calamine, both of which minerals are more or lefs widely diftributed. The former is reduced by firft roafting in contadl with the air to burn off the fulphur, and then fufing in contadl with carboniferous fubftances, as charcoal, &c. The metal, which burns and volatilizes at a comparatively low temperature, is conveyed in the form of vapour from the clofed crucible by a defcending iron tube into water, at the bottom of which it is depofited in cakes, the " fpelter " of commerce. Brafs. The alloys of copper with zinc, which, as a diluent or partial fubftitute for tin in the compofition of bronze, has been occafionally more or lefs ufed from Roman times, have gradually become more and more adopted fince the days of Paracelfus, or the earlier years of the fixteenth century, and have in a great degree replaced the richer and more enduring metal. Under the names of ele^rum and latone^ ufed by the early writers as fyrionymous with orichalcum and aurichalcum, laiton (Fr.), latten (Ang.), pinchbeck, tomback, Corinthian metal, prince's metal, or-molu, mofaic gold, fimilor, glanzgold^ &c., flightly varying varieties of brafs, this mixture, now fo im- portant in manufaftures, has been more or lefs known through- out Europe, but its adoption feems to have been more readily accepted by the northern than by the fouthern countries. The white copper of China, fpeculum metal, and the white alloys known as nickel and German filver, albata and Britannia metal, &c. are varying mixtures of copper with tin, nickel, zinc, lead, &c. IntroduSiion. xix The relative proportions to make the hard yellow brafs may be ftated generally at 70 of copper to 30 of zinc ; for red brafs, 80 copper to 10 of zinc ; and brafs wire, which muft be tenacious and fomewhat dudtile, 70 copper, 30 zinc, and fome lead. Mines of " latten " are referred to in the time of Henry VI., but the manufadture feems to have taken a definite form in England under the encouragement of Queen Elizabeth, who, in 1563, granted certain rights, by patent, over the calamine found in this country and in Ireland, to William Humphrey, her aflay mafter, who was in partnerfhip with one Chriftopher Shutz, a cunning workman experienced in the finding of that mineral, and in its ufe for the produdlion of the mixed metal called latten or brafs. A corporation was afterwards formed, and joined by fome of the leading nobility, under the name of the " Society for the Mineral and Battery Works," 1568. In 1650, one Demetrius, a German, had a large work in Surrey, others exifted near London and in Nottingham ; but the trade declined in 1670, and did not recover till early in the next century, when, in 1708, an A61 was pafled, in anfwer to a peti- tion made by the brafs workers for encouragement, repealing certain export duties on copper and on brafs wire. It greatly revived about 1720, aided by and encouraging the development of copper mining operations in Cornwall. At the latter end of the century brafs was exported to Flanders, whence previoufly the manufactured articles known as dinanderie had fo extenfively fupplied all markets. About 1740 the Turner family introduced the manufacture into Birmingham, which has fince become the capital of this extenfive branch of induftry. The method of producing the finell brafs is by reducing calamine to powder, fifting, and wafhing ; it is then mixed with C 2 XX IntroduBion, charcoal and calcined ; again pounded with charcoal, it is mixed with the requifite quantity of copper in the form of Ihot. Tightly prefled into a crucible and luted down, it is expofed to a ftrong heat for the purpofe of melting the copper, which, combining with the difengaged zinc, is poured into iron ingot moulds in the ftate of liquid brafs. Other variations of this and other methods of fabrication are adopted in Germany and elfewhere. IntroduEiion. xxi CHAPTER 11. On the Fashioning and Manipulation of Bronze. Cajling, &c. EFORE inquiring into the ancient hiftory of works either beaten or caft, it may be well to give a brief defcription of the more ancient and general procefs adopted for cafting a ftatue or other objedt of confiderable fize in bronze. When lightnefs is requifite, as alfo generally with the view to the economy of metal, fuch works are not made folid, but are caft over a central and re- moveable core. To make this is the firft care, and accordingly it is built up to the rude outline, but fmaller than the ftatue or other objedl to be moulded upon it. A material is employed, compofed generally of modelling clay mixed with pounded brick and plafter of Paris, in proportions varying with the circumftances and the experience of the artift. When faftiioned it is flowly and carefully dried, the laft moifture being driven from it by baking in an oven. Upon this core,^ which muft neceflarily correfpond with the artift's conception or defign for the work he is about to model, and which, in the cafe of a large ftatue, is further fupported by iron bars and framing, modelling wax is overlaid of a thicknefs in accordance with the require- ments for ftrength and in regard to ftze, adlion, &c. The fculptor now works upon this wax, modelling his figure to the utmoft of his art, and with all the elaboration which he wiflies to beftow upon the details. It is, in fadt, the finiftied ftatue as it leaves his hands, but of wax, to be replaced by bronze. ^ An inftructive example of this cafe among the wax models by M. mode of working in the i6th century Angelo and others in the South Ken- may be feen in No. 4133.— '54, a group fington Mufeum. of a bull baited by dogs, which is in a xxii IntroduEiion, Outfide this the mould has to be formed, and here alfo the greateft care is neceflary that every minute detail fhall be filled in with the compofition, and that without the flighteft difturb- ance to the form or abrafion of the finifhed waxen furface. For this purpofe the mixture muft be fomewhat liquid, and evenly applied, care being taken that no air be left in bubbles. It is generally a compofition of dried clay and pounded cru- cibles with fome plafter of Paris intimately mixed, ground, fifted, &c., and rubbed up with water to the confiftence of cream. Cautioufly waflied upon the furface, firft in a thin coat penetrating every minute intaglio, and gradually, as it dries, thickened by other layers until a fufficient fubftance be obtained. Upon this a ftouter coating of coarfer quality mull: be formed to fuftain the inner mould and bear the weight of metal. Small rods of bronze have alfo been inferted in the core, which, ftanding out through the wax, will leave their other ends im- bedded in the mould ; the objed of thefe is to fuftain the core and mould in their relative pofitions, without the flighteft move- ment, when the wax form has been melted from between them. The whole, after flow and careful drying, is then firmly fixed in proper pofition within an oven fpecially prepared, fire is kindled till the mafs is heated and the wax, which was within, has flowed out in a liquid ftate from every corner. Dudls or vents have been made in various places to permit the efcape of air, when the liquid metal fliall be poured in. We thus have left, thoroughly baked and to be firmly fixed in the cafting pit, bedded in fand, the outer mould, within which the core is fteadily fuftained, and between them the now empty fpace which reprefents the ftatue. Meanwhile the metal has been duly mixed and fufed in its proper furnace, the requifite " ingates" or conduits have been formed, and the critical moment has arrived. Who, that has read Cellini's graphic account of his diffi- culties in the cafting of the Perfeus, will not fympathife with the IntroduSiion. xxiii anxieties of the ancient artift who direded all thefe operations by his own mind, and worked at them with his own hand? Who cannot enter into the fpirit of this exciting moment on reading Schiller's vivid word-pidure of the founding of the bell ? The bath of liquid metal, glowing like fun-lit gold, is tapped, and fteadily it pours into the mould, filling every line and detail which the wax had occupied, clofing the dudls by which the air was forced fighing from before it, rifing in the vacant fpace which, open to receive, is now gorged to the full — enough ! the bronze is caft, and we may reft. But woe betide if any moifture has remained within the core of the mould, or if the air vents are infufficient for its efcape, mixed with the gafeous emanations from the melted metal ; the mould is rent, the work is fpoiled, and the liquid fire is vomited forth in fcalding fhowers among the unhappy workmen. After cooling, the mould has to be broken carefully away, the core raked out, and all projedions, as of the rods inferted to conned the core and mould, fuperfluous metal from the duds and conduits, and afperities in general, muft be removed. The artift's model Is there before him, not in wax as he left it, but in a more enduring form. This is the procefs known as " a la cire 'perdue" the almofl: conftant pradice for fmall and for large works by the artifts of the Renaijfance and earlier ages. Should the work, however, be required in duplicate, or the caft from an exifting ftatue be defired, or, as in cafting of fmaller works, many times repeated, other methods are to be employed. In the firft cafe, a caft in plafter of Paris made in divifions muft be taken from the model, which may be of clay, fbeets of moulding wax are then carefully prefted into every interftice and hollow of the mould, and kept of even thicknefs. Generally beginning at the feet, the mould, ftatue, and core are thus built up together, jointing the pieces of the former as xxiv IntroduSlion, they are lined with wax, and filling in the middle with a femi- liquid compofition to form the core. For larger works the prefent method is to build up the mould, lining it with modelling clay of the thicknefs required for the metal, infide this the core is alfo built up ; the mould is then detached in pieces, and its clay lining being removed, is again fet up in the fame pofition, leaving an empty fpace between it and the core, which the liquid metal is to fill. For fmaller works, frequently repeated, a more permanent mould is adopted, formed upon a carefully executed model or pattern piece. Our objedl is to give a general idea of the mode of cafting in bronze, rather than to enter into all the details of its varied methods as adopted by different artifts at various times, and by different founders of our own day, many of whom have adopted fpecial arrangements applicable to the works upon which they were or are engaged. Thus, moulds of plafter of Paris have been made diredlly upon leaves and fprays of trees and flowers, which, charred in the furnace, have been readily lhaken out in the form of charcoal duft ; the liquid metal has then been poured in and the mould broken to remove the cafting. Cafting in fand is not fo applicable to works in the round, though much ufed for models in rilievo. After removal from the mould and abftradlion of the core, a greater or lefs amount of finifhing is required upon the work, depending upon the degree of elaboration beftowed by the artift upon the wax or clay model, and the fuccefs with which the cafting has been effeded. Whatever in the way of filing, chifelling, chafing, punching, or polifhing is done to the bronze fliould be the work of the mafter's hand, or at leaft under his immediate fupervifion. In this confifts much of the artiftic charm of the earlier RenaifTance works, which in fo many cafes are, with the exception of the removal of afperities, in the ftate in which they left the mould ; the fculptor's wax model, IntroduEiion. XXV upon which he has beftowed his painftaking thought and art, and, which, like the painter's finifhed fketch, bears the reflex of the artifl's mind, is changed only into an enduring material, to which time and its modeller's own hand has imparted only a richer tone of furface colour. Unfortunately the procefles of finifhing are now too fre- quently delegated to other hands, dexterous perhaps in the manipulation of their tools, but not having the knowledge nor ability to comprehend the fpirit of the fculptor's model. Groups and figures in violent adlion are generally caft in different pieces, which are joined by foldering or by dove-tailing and pouring molted metal into the joints after fecurely fixing in a furrounding bed, then carefully filing down to an evennefs of furface. The cafliing of works in rilievo, when large and the figures much raifed in relief, is effected in a nearly fimilar manner, except that the core is more independent of the model. Sand cafting is only applicable to works in lower relief and free from undercutting. In bronze, and in latten or foft brafs, many works have alfo been produced by hammering, the Jphyrelaton or toreutic work of the ancients, of which we fhall have further occafion to fpeak, the repou/fe or beaten work of our own day. But the pure copper being more du6tile and malleable than its alloys is better adapted to this clafs of work, and we fhall find ac- cordingly that it has been largely ufed for that purpofe. The ancients, however, for the moft part fafhioned their unfurpafTed works of this nature in a malleable bronze. This beaten work is produced on the fame principle as that of the goldfmith. The defign is outlined on the metal plate feledled, and by means of varioufly formed hammers and punches it is beaten from behind, the figures of the fubjed being gradually brought into relief and finifhed in all their details ; for the latter it is worked upon the face, being, if xxvi IntroduSiion, neceflary, filled in behind by a compofition of wax^ pitch, and other fubftances to form a refifting mafs fuftaining the rilievo ; the ftamp and chafing tools complete the finifii. A more mechanical method is to beat the metal plate into a mould, formed of hard wood or harder metal, upon the furface of which the defign has been carefully incifed in intaglio ; finifhing afterwards by punching and chafing. Machine fl;amping into or with a die or " force " is largely ufed in the manufadture of light brafs fittings and ornaments ; the after colouring, lacquering, or burnifliing of which fcarcely form part of our fubjedt. Coins and medals, when not caft, are ftamped in the ordi- nary manner by a flieel die. The next care is to impart an even colour to the furface, for, when finifhed by any of the procefles of working by the hammer, the furnace, the roller, or the prefs, the objed natu- rally retains the original garifli colour of the metal. By expofure to the air a gradual chemical aftion takes place, and the furface afi*umes a natural patina or tint, varying with the nature of the alloy and the atmofphere to which it is expofed. But it has been more or lefs the pradlice from ancient times to give an artificial colouring to the metal by the application of various mixtures, known as pickles, and procefles, fome of which have been kept as precious fecrets by their difcoverers. We may defcribe fome of thofe which are more generally known. Objedts of copper, as medals, coins, &c., obtain that liver colour fo generally adopted by the following means : — The medal, after being ftrongly heated, is wafiied with fpirits of turpentine, which becomes decompofed, leaving a film of refin of a reddifli colour firmly and evenly attaching to the furface of the piece. A more fimple procefs for the medal ft:ruck, as is ufually the cafe, from foft copper, is by heating and then rubbing the furface with the peroxide of iron or jewellers' rouge. IntroduBion. xxvii Another, and more lafting method, equally applicable to bronze medals, is by applying to them a folution confifting of muriate of ammonia (fal ammoniac) one part, fubacetate of copper (verdigris), two parts, diflblved in vinegar by boiling and carefully fkimming. Diluted with water until no further precipitate falls, and again boiled, it is at once poured over the pieces fo placed in a copper pan that every part is touched by the liquid. The adtion of the acid mufk be watched that it does not go too far, and when their furface has afTumed the required colour, carefully wafh to remove all acid, dry and polifh with a brufh. A Chinefe procefs is faid to be by means of a mixture of cinnabar, verdigris, alum, and fal ammoniac, with which the objedt is palled over, then gradually and uniformly heated ; after cooling it is wafhed and polifhed. Nothing can exceed the beauty and variety of colour im- parted by the Chinefe and Japanefe to their admirably caft and finifhed works in bronze. Various modes have been adopted to imitate the natural patina which antique bronzes take after being long buried in the ground. This patina varies with the nature of the foil in which they have been buried and the objedls in their immediate vicinity ; thus, contadt with iron will impart a rufty tint ; the marfhy and peaty foils will give that low olive tone of colour and beautiful furface known as the Pontine and Maremma patinas. In fome cafes the furface acquires the fmoothnefs and brilliant colour of malachite, while every detail of the moft minute workmanfhip is preferved. The volcanic foils adl ftrongly on the metal, as does the nitrous foil of Egypt, and leave the furface rough, while in many inftances it is bliftered and diftorted out of form. Thefe ftates of the furface and of the metal beneath, arifing from the flow and regular adlion of natural caufes, vary confiderably. In fome examples, more frequently afforded by the dry climates of Upper Egypt and xxviii IntroduBion. Greece, the furface of fome parts is left purely metallic and free from oxidation ; this is alfo the cafe with many bronzes which have been conftantly beneath frefli water, as inftance weapons, &c, dredged up from the bed of the Thames and other ftreams, from peat bogs, &c. On the other hand many examples occur in which, notwith- ftanding the more or lefs perfed prefervation of the form and details, the whole interior mafs has been converted into a cryftalline red oxide of the metal, hard and grating to the knife edge, and having on the external furface a thin film of carbonate of clofe and even grain. Occafionally fmall portions of the black oxide of copper may be found, but it is almoft the in- variable rule that, where an antique bronze is covered with a green patina, a thin ftratum of the cryftalline red oxide may be traced between it and the metal. Difficult and almoft impoflible as it is to imitate perfeftly the natural patina of an antique bronze, notwithftanding the admirable counterfeits which have been produced, the eye of the practifed connoifleur will not be fatisfied with that alone, in his judgment of the authenticity of an objedl fubmitted to his fcrutiny. There are charadleriftics which it would be hard to define, but which long experience will unveil to the eye naturally gifted to appreciate the artiftic fpirit of the works of various periods, and the nice diftinftions which exift between the real obje6l and an imitative reprodu6tion. Occafionally an ancient work may be pafled by or even condemned as a reprodudlion, which has fufFered from the over nicety of a pofleflx)r, or the excefs of afliduity on the part of the cleaner or reftorer, who fometimes have thought their own new colouring better than the old. Antiques have been thus treated, their original furface having been rubbed over to receive the fuperimpofed varnifh or other falfe colouring. The imitation of the antique patina has generally been kept fecret by thofe who have pradlifed it with the greateft fuccefs. IntroduEiion, xxix for obvious reafons, the bronzes To coloured being for the most part produced with a view to deception, forgeries of the antique. One well-known method, the fuccefs of which greatly depends upon its fkilful ufe, is to mix twelve parts of common fait with fix of the bi-tartrate of potafs and two of fal- am- moniac, difiblving in twenty-four parts of boiling water, and adding thereto from eight to ten parts of the ftrong folu- tion of nitrate of copper. This mixture is to be wafhed over the furface of the bronze, which muft be kept in a damp place, frequently repeating the application as it flowly dries, and until a truly antique effect is produced which is heightened by polifhing. Another method is by covering the bronze with a mixture of fulphate of iron, vinegar, water, and fugar in proportions, varying with the opinions and experience of the operator. For giving an even tone, without doing more than foftening the glitter of the new metallic furface, some bronzifts have merely wafhed their work with a folution of the muriate of ammonia, leaving time to do the reft. A thin greenifh varnifh was applied by others, an objedlionable method, as was alfo that fo frequently applied to bronzes of the fixteenth century, an artificial glazing of dark brown, which, like the other, frequently fcales off, leaving uncovered patches of the metal. There are methods alfo of imitating thefe, and of heighten- ing the effeft of a furface which had been rendered dull by damp or ill treatment. Thus the application of almond oil, in which flower of fulphur has been long macerated and expofed to the a6tion of the fun, is ufeful in fome cafes. Mercurial ointment in others, while the fmoke of flowly burning green willow twigs or laurel leaves, and that arifing from old flioes are valuable agents in experienced hands, as is fal ammoniac for the antique patina. XXX IntroduSiion. CHAPTER III. On the Use of Bronze in Prehistoric Times. /__ ^r^HE ufe of the alloys of copper in the multifarious produ6bion of weapons, tools, domeftic and culi- "^^^^ nary utenfils, facrificial and monumental veflels, \mM.. armour, hinges and locks, even roofing tiles and wall linings, perfonal ornaments, &c., &c. has been fo extenfive and continuous throughout the world's hiftory that we can only afford place in this volume for a few and curfory remarks upon the development of its many appliances. Carefully to trace the ufe of bronze in its application to the various branches of the plaftic art would be little lefs than a hiftory of the development of fculpture, a fubjedl far too vaft and too im- portant to be attempted in a work of this nature, limited as it is to the defcription of objedls in that one material. We muft content ourfelves therefore with a hafty glance at the manner of and the ufes to which it has been applied by various races of mankind, from that remote period when the " bronze age " in different countries was overlapping, on the one fide, the ruder age of ftone, and on the other the gradual extenfion of the ufe of iron. On this, the earlieft and extremely interefting branch of the fubjedl, we would refer to the works of thofe great authorities upon the implements of prehiftoric ages, Meffrs. A. W. Franks, John Evans, Sir John Eubbock, and others, not forgetting the many valuable contributions towards fuch hiftory by foreign and Englifii writers in the pages of the fcientific journals and publications of the learned focieties. Perhaps no better opportunity was ever afforded for gaining an infight into this branch of the fubjed, both by ocular and oral IntroduEiion. xxxi demonftration, than on the occafion of the exhibition of bronze implements, Britifti and foreign, of the prehiftoric ages, which took place at the rooms of the Society of Antiquaries in London during the month of January 1873- We know by obfervation and written record that fubfequent to the period, varying in different countries, when the ufe of ftone weapons and implements was general, the art of fafhioning metals gradually fpread. It is reafonable to prefume that the native metallic copper found in various localities was firft brought into application, and that from the fadl of that metal requiring a very high temperature to fufe, and the more com- plicated arrangements neceffary for cafting, the earlier method of working it into fhape was by cold hammering fubfequently aflifted by previous heating. Accordingly we find that fome of the tribes of North America, in the diftrid of Lake Superior, although able to rend the rocks by fire, in order to extrad the flakes of metal, and to fink fhafts and workings where native copper occurs in large maffes, unacquainted with the art of fufing and cafting, were in the habit of fafiiioning the metal thus found ready to their hands, into various inftruments by cutting and by cold hammering. In Ireland, India, Cyprus, &c,, weapons of copper, caft or beaten, have been found of fimple forms, analogous to thofe of the ftone implements, the ufe of which preceded or was contemporaneous with them. Some of thefe, whether always fafliioned by the hammer or caft in moulds, have been found to contain a fmall quantity of tin, which may or may not have been an accidental addition. Whether by the teaching of a cafual occurrence, as is related of the difcovery of glafs, or how the admixture of tin with copper to produce bronze was firft difcovered, and where, are problems which we can hardly expedt 'to folve ; but it is a remarkable fa6t that our prefent fcientific knowledge could hardly fuggeft an improvement in the general compofition, as our advanced mechanical practice could hardly furpafs the admirable xxxii IntroduEiion, workmanfhip and beautiful form of the various implements of the developed " bronze period." Their more ufual compofition is of nine parts of copper to one of tin, but the proportion of the latter metal occafionally varies, as might be expected, from five to fifteen per cent., and in fome of the later fpecimens fome lead has been detefted. As far as our prefent knowledge will enable us to infer, it would appear probable that the Caucafus was the cradle of the bronze induftry and civilization ; thence, as from a waterfhed, it flowed in one direcftion, foutliward and weftward through Greece and the Mediterranean iflands to Italy ; perhaps to Cyprus by Phoenicia ; in another by the Danube, through Hun- gary and Northern Germany to the Baltic, whence it may have fpread to Sweden and Norway, &c. Egypt, however, would feem to fl:and alone. At a very remote period it attained to a high degree of perfedlion in Greece and in Etruria, probably anterior by feveral centuries to its fpread in Germany. Gaul, and perhaps Britain, may have received it from the north, unlefs we may fuppofe that, as is equally probable, a native Englifh development was prompted by the abundant pofleflion of the requifite ores. Indeed it may not unreafonably be prefumed that various fources of the art may have exifted, fpringing from thofe localities where copper and tin ores were native, and differing in period proportionally with the development of their refpedlive civilization. It is believed to have been originally introduced into Sweden and the North, and there is abundant proof throughout that it overlapped the ftone age on the one hand, as on the other it was overlapped by that of iron. The ufe of bronze for cutting inftruments as preceding the knowledge of iron is referred to by Hefiod, by Lucretius, by Agatharchides, and other ancient writers, and proved by modern refearch. Thefe implements, charadleriftic of the fo-called " bronze period," are found more or lefs abundantly in many countries. IntroduBion, xxxiii In Egypt the ufe of iron was known in very early times, and iron inftruments are found, together with thofe of bronze, as daggers, axes, fwords, &c., of chara<5teriftic forms peculiar to that country. It is, however, remarkable that one of thefe, a flat axe blade of bronze, is infcribed with the name of Pa-'hek-aa, fuppofed to be one of the fhepherd kings or a Perfian monarch. So alfo in Aflyria, where, as In Egypt, they occur in com- pany with implements and weapons of iron, the latter being more numerous ; in Babylonia alfo. Many bronze weapons were unearthed during the excavations made in Cyprus by General di Cefnola and Mr. Lang, among them fpear heads of large size ; and it is remarkable that many of thefe are formed of nearly pure copper, perhaps by hammer- ing only, as the fockets are formed by beating round a central form ; of such were the fpear heads, according to Mr. Flight's analyfis, while the fwords and daggers are of bronze. The bronze weapons unearthed by Dr. Schlieman at HifTarlik, the fup- pofed fite of Ancient Troy, are finely formed by cafting. Rhodes has yielded others at Talyfus, alTumed to be 1200 years B.C. In the Caucafiian plains a large quantity of bronze arrow heads of Grecian type have been difcovered. The copper implements of India have already been referred to ; of thefe the great hoard of 424 pieces difcovered in 1870, near Gungeria, in the Balaghat diftridt of Central India, is, perhaps, the moft remarkable. Some few others of bronze have been found elfewhere in India, and alfo in Perfia, in Birmah, in Java, and in China. Siberia has a few, and perhaps every country of Europe has yielded fpecimens in more or lefs abundance ; Greece and Italy, France and Switzerland, Germany, Hungary, and Sweden having their more or lefs peculiar and charadteriftic examples of nearly every variety of cutting or pointed inftrument, weapons, tools, and perfonal ornaments. Implements of copper have alfo been found in Peru. B. d xxxiv IntroduSiion. The idea, fo long prevalent, that Phoenicia was the fource from which nearly all the earlier bronze implements and utenfils was derived has been completely refuted by more recent refearch, the Etrufcans having as ftrong a claim to that diftindlion. But, as we before obferved, there can be little doubt that each country had its own native induftry, for each great diftri6t yields objedls of more or lefs charafteriftic form, together with the moulds, the rough metal, and other proofs of home fabrication. It is, moreover, a remarkable fadl that Afia Minor, Phoenicia, and Africa have as yet yielded very few bronze weapons. Two copper celts were found near Bethlehem ; and fome arrow heads in the writer's pofleflion, found at Sidon, the latter pro- bably of Greek origin. Doubtlefs the Phoenicians were great traders, and their fhips may have conveyed both the metals, tin and copper, from Spain, from Britain and elfewhere throughout the countries of the then civilized world. So alfo were the Etrufcans, although, perhaps, confined to a more limited range, the Tyrrhenian fhips being as frequently engaged in piracy as in trade, an exciting variety in their commercial purfuits, doubtlefs equally obferved by the Phoenician mariners. In no country, however, was the produdlon of bronze weapons and implements brought to greater perfedlion than in our own, and we may perhaps even go farther in faying that, both In refpedl to the beauty of the lines and form, the con- ftrudtive excellence, and the perfedlion of the cafting, thefe pro- dudtions of the early inhabitants of Britain would rival, as far as their limited requirements diredled, the manipulative fkill of the beft workmen of Sheffield or Birmingham at the prefent day. And this not merely in regard to cafting, but the remark applies equally to the excellence of the toreutic workmanfhip of thofe fhields and other objedls, of the later Celtic period, fometimes enriched with enamel, not even excelled in careful execution of the rilievo, by the more developed produdions of Etruria. Further, we muft bear in mind that both one and the IntroduSiion. XXXV other were the produdlions, for the moft part, of a people anterior to or independent of the Roman civilization, that " compulfory education " which changed the current diredion of all native induftries, and more or lefs moulded their arts into one great fyftematic ftyle, which in prevailing left its imprefs proportionately to the period of the conqueror's fway. A vifit to the rich feries of Englifh and Irish prehiftoric bronzes in the Britifh Mufeum will fatisfy the obfervant inquirer of the truth of thefe obfervations. Let us now inquire into the means by which fuch excellent refults were produced ; fortunately modern refearch has enabled us not only to learn the nature of the finifhed objedls them- felves, but we have difcovered the tools, the materials, and other evidence, from which we may learn the whole modus operandi of the ancient Britifh armourer's workfhop, and mentally figure to ourfelves the cunning but unlettered worker, handling the very tools which his care had hoarded in a fup- pofed place of fecurity. At that moft inftrudtive exhibition of bronze implements and weapons before alluded to, Mr. John Evans, the learned authority on prehiftoric fubjefts, ftiowed and explained the nature and ufe of a number of objedls found together on the Ifland of Harty, Kent, in one hoard, evidently the worldly wealth of an ancient bronze founder. There are the pieces of rough copper and fragments of broken weapons, ready for fufing ; the bronze moulds for focket celts, and fome of thofe which had been caft therein ; the bronze mould for a gouge, and two of thofe implements ; the quadrangular hammer ; pickers, one broken, probably in its ufe for diflodging the cores from celts; knife blades, &c., and a whetftone. And from another hoard found at Reach Fen, Burwell, in Cambridge- fhire, in addition to fragments for melting and the celts, fpear heads, knife blades, gouges, &c., already formed, were two awls and a focket hammer. The difcoveries of others in England d 2 xxxvi IntroduBion. and fome continental hoards have been recorded, as one pre- ferved at Kiel ; fome in Italy, &c. The raw material is occa- fionally found among hoards in the Britifh Iflands ; thus thir- teen fmall ingots of copper, each weighing about 4 or 4^ ozs., were found at Royfton, Herts. (Pro, Soc. Antiq., N. S., vol. i. p. 307.) We alfo find moulds carefully cut in ftone, made in two parts to lay flat together, each incifed with the form of one fide of the axe or fpear head. I muft borrow largely from Mr, Evans' defcription of the method purfued in calling, &c. by the ancient founder, if not his very words. Of the nature of the primitive furnace we have no knowledge, neither have the vefl*els become known to us in which the metal was fufed. Three methods of calling were employed : moulding in clay or fand, probably the moft primitive ; cafl:ing in fl:one moulds ; and in metal moulds. Per- haps alfo the ufe of wax models for the more complicated forms was adopted, or what is more probable models formed of foft wood and burnt out of the mould. Among the objedls found at Harty, in the Ifle of Sheppey, is the mould for a focketed celt, in two parts which fit together with dowels ; a celt certainly caft from this mould is there, but on trying it in, the cutting edge is found to be too broad and too long ; and why ? it is clear on examination that the edge has been hammered to fliarpen and to harden it, and thus has been extended beyond the outline of its original form. The bronze hammer is there as a witnefs to the fad, and is made of a harder alloy than that of the celt ; and there, alfo, is the whetftone, " ufed by this old founder for giving a final polilh to the edge of the celts." The core for the focketed celt, formed of clay, was baked to hardnefs in the fluid bronze ; among thefe infl:ruments is a pointed tool, doubtlefs the pick for working out this indurated core. Again, we find in another hoard evidences of the ufe of lead, may be for " core boxes " and leaden celts, perhaps patterns from which clay and fand moulds were formed. IntroduBton, xxxvii Great is the variety of arms and implements of the bronze period which have been difcovered and are now preferved in mufeums and private colledions. Celts or axes and palftaves, fome ornamented by punching and hammering, others with patterns in relief ; daggers and knives ; fwords and their fheaths, marvels of cafting ; fpear and arrow heads and ferules, fickles, fifh hooks, tweezers and tongs, hammers, picks, punches, and anvils, files, of bronze and of iron together, from Hallftatt ; trumpets and fhields ; perfonal ornaments, as torques, armlets, rings, buttons, earrings, pins, &c. Bronze vefTels rarely occur in England. We dare hardly venture upon the confideration of the chronology of the bronze period ; it muft have varied in its development from various centres. Lindenfchmidt thinks that the bronze age in Europe generally goes back to the time of the Etrufcans, but this is indefinite. Mr. Evans confiders that the bronze period in England extended over feveral centuries, and that it had virtually merged into or was overlapped by that of iron, at leaft a century before the invafion by Casfar. A tranfitional period is to be noticed, defined by Mr. Franks as the " late Celtic," during which the inhabitants of Britain produced admirably finifhed weapons, fhields, and perfonal ornaments of bronze, fome of which are ornamented with enamel, a method alfo in ufe among the Romans, but it yet feems doubtful whence it was derived. The execution of the hammered work in relief upon fome of thefe objefts could hardly be furpafled in excellence. In Egypt, where a highly advanced civilization exifted when Abraham was a fojourner in that land, nearly eighteen centuries before our era, a ftate of advancement in the arts of daily life, as of government, denoting a long anterior development in the fkilful application of natural objedts to the fervice of man, we find the ufe of bronze for tools and weapons, as well as for other purpofes, to have been general. Thus we haye daggers. xxxviii IntroduSiion. axes, and other implements of the time of Thothmes III., and earlier. A curious tool, apparently of pure copper, was found in recently explored paflages in the Great Pyramid. A razor in the Britifti Mufeum, of thin wide blade, beautifully formed, and probably hardened by beating, fhows figns of its having been fharpened on the whetftone. It is therefore vain to in- quire to what remote period in that country the mode of reduc- tion from the ores, the knowledge of the alloys with tin, &c., and the art of calling objedts in a mould could have extended. Cafting was certainly known at the period of Ofiftarfen and Thothmes, and probably much earlier than 1800 B.C.,^ long anterior to the recorded Grecian artifts, Rhacus and 'Theo- dorus of Samos, who Paufanius (Grec. lib. viii. c. 14) tells us were the firft who call ftatues. This may, however, allude to thofe only of larger fize. The Samians were great and cele- brated workers in bronze as early as B.C. 600, but this is relatively a recent date. It is, however, probable that the Etrufcans were adepts in the working of bronze at an earlier period than the Greeks, and worthy of remark that, whereas the Grecian weapons feem, until a later period, to have been formed of bronze, as well as their armour, in Etrufcan tombs believed of earlier times, iron weapons are aflbciated with the fhields, breaft-plates, and other defenfive armour made of bronze. The fmaller works of the Etrufcans, Greeks, and Romans, as alfo of the earlier inhabitants of Italy and the Mediterranean countries, are, for the moft part, or alwavs, caft folid. This pradice alfo prevailed during the earlier half of the Renaijance period. It is indeed probable that the earlieft mode of forming fmaller figures in the round {epithema)^ the primitive fta- 1 We find note of a figure in bronze, mate date of which is fuppofed to be but whether caft or beaten we know nearly z,ooo years anterior to the not, bearing a cartouche, the approxi- Chriftian era. IntroduSiton. xxxix tuary, was by cafting folid in a mould. This would feem to have been the cafe in Egypt and Aflyria, as well as in Etruria, Phoenicia, and in Greece ; in the latter country and in Etruria figures of a larger fize, as well as veffels, were formed of beaten plates, pinned or riveted together, and generally upon a wooden or other core. Thefe were the works known as holofphyrelata and Jphyrelata, and of which more anon. The method of forming in rilievo by embofling or beating up in a mould and finifhing by the punch and chafer, work known as emblemata, is alfo of an antiquity coeval with the laft. Both thefe pro- cefles were well known alfo to the Egyptians ; an example of beaten work is a fmall figure of Ofiris in the Britifh Mufeum. Hollow cafts, in which the folid interior was fupplanted by an earthy core, a method by which great lightnefs and economy of metal v/as fecured, were made by the Egyptians, even in figures of a fmaller fize, and at a time probably long anterior to that when the Samian Rhacus and the brothers T elides, and 1'heodoroSy who is fuppofed to have ftudied in Egypt, are faid to have invented it in Greece, anterior to the 30th Ol., or perhaps about 580 B.C. An inftance in the writer's colledtion is ftill filled with a black core, very light, and which feems to be compofed of fand with powdered charcoal and probably fome agglutinating fubftance ; but it is of a later period. To Glaucus of Chios was afcribed the art of foldering the various pieces together, thus obviating the necefiity for rivets. Thefe mythical ftatements muft, however, be received with full allowance for poetical fentiment and the defire to attach difcovery or improvement to individual names. They can, moreover, only refer to the ufe of bronze in the fculptor's ftudio ; the bronze weapons of prehiftoric times having been known to the clafiic writers, and colledted and higly prized as curiofities by fome of the Roman emperors. xl IntroduEiion, CHAPTER IV. On the Use of Bronze in Sculpture, &c. by the Nations of Antiquity. N the laft chapter we have endeavoured to caft a hafty and fomewhat general glance upon the early modes of fabrication, and the ufes to which bronze and copper were applied in prehiftoric ages. The objedts of pri- mary neceffity were naturally implements for the chafe, weapons of defence, and tools. Ornaments for perfonal adornment were only fecondary, but foon the defire to imitate the forms of furrounding natural objedts, and to create and embody types of a religious fentiment, infpired by the common obfervation of natural phenomena, led to the produ(5lion of thofe early and rude figures in terra-cotta, wood, and other fimple materials, which were followed by fimilar works in bronze. At what precife period thofe curious rude figures, which have been found in various localities of the Italian central and fouthern hill country, in Etruria, and in the Rhaetian Alps, may have been made, and under what circumftances of civilization, is more than antiquarian knowledge can, as yet, define ; nor do we feel called upon in a work of this nature to do more than allude to that abftrufe fubjedl of high antiquity, which has occupied the thought and pens of many antiquaries. I may, however, refer to the works of Micali, Dr. Braun, the Padre Garucci, &c., to notices in the " Bulletino" of the Inftitute " di Corrifpondenza Archasologica," and to the interefting papers by Mr. Wylie in the Archasologia of the Society of Antiquaries.^ 1 Archaeologia, vol. xxxvi. t. 26; vol. xli. p. 275; xlii. Appendix. Pro- ceedings, N. S., vol. iv. p. 232, &c. t IntroduBion, xli But, although it may be reafonable to conclude that fmaller objeds, fuch as thofe juft referred to, were for the moft part, even in the earlier ages of civilization, formed by fufion and cafting in the mould, the defire to create figures and other works of larger fize or more intricate form was incompatible with the means at their difpofal, nor were thofe primitive artifts fufficiently cunning to devife mechanical methods for the pro- dudlion of a larger or more complex caft. We find accord- ingly in the Greek and Mediterranean iflands and mainland, and particularly in Etruria and other provinces of Italy, exifting examples, which fhow that thofe fimple early tools, the hammer and tongs, were called in fervice to produce beaten metal work in copper and its alloys, plates ham.mered to adjuft together in the form of the different limbs and features of the required figure, finifhed by chafing or punching, and fixed or rivetted to each other, or fafhioned and faftened by pinning upon a wooden fhape. There can be little doubt that the earlieft figures of any confiderable dimenfions were thus produced, as alfo veflels for domeftic and other purpofes, and the metallic enrichments of furniture, armour, &c. The early tombs of Vulci, Perugia, and Cervetri have afforded notable examples of this Jphyrelata or hammered work, particularly that fingular archaic female buft, with long ringlets and a bafe ornamented with figures in rilievo of fphynxes, chariots, &c., which is now preferved in the Britifh Mufeum. On this invaluable monument of early toreutic art, — which was difcovered in the Grotta d' Ifide at Vulci, together with Egyptian objedls of pottery, &c., and has been figured and. defcribed in the Bull. Inft. 1839, PP- 7i~73 '■> Micali, Mon. Ined. pp. yj~l^^ t^'v- iv-viii. ; and in Dennis's Cities and Cemet. of Etruria, vol. i. p. 423, and vol. ii., back of p. 535, — no foldering is obfervable ; the plates are held by pins upon the wooden core, the corkfcrew ringlets are formed of coils of the thin metal cut previoufly into ribbons and attached by a xlii IntroduSiion, nail above ; the timidly defined features and members are pro- duced by hammering the metal from within, as are the bas- reliefs of curious animals, perhaps beaten into a correfponding intaglio^ previoufly incifed in ftone or wood ; the jundlion of the various plates is cunningly concealed by overlying orna- ment, thus the necklet hides the jundlion of the head and breaft, &c. Other notable examples of early Greek and Etrufcan toreutic workmanfhip are preferved in coUedtions. Our grand national treafure houfe of the monuments of claffic art hiftory contains not a few ; among them are veflels of forms corre- fponding to thofe of the early pottery of Greece and Etruria, many of which are of confiderable elegance. Of fuch beaten work was the wondrous fhield of Achilles as defcribed by Homer, that alpha of artiftic decorative armour, to which Flaxman's Wellington fhield is a charaderiftic omega. And here we fhould paufe to confider the circumftances under which thefe works were produced, and the influences which led to their adoption and development. Firftly, we mufl recoiled that the metals were difficult of produftion and valu- able accordingly ; economy in its ufe was therefore neceffary, and it was important for the artift to produce the largefl: poflible effedl with the fmalleft quantity of material. We have faid that the art of fafliioning metal by means of beating with the hammer was probably of earlier date than that of calling, and this would feem to have been the cafe with the early in- habitants of Ireland, India, and elfewhere, who firft began the ufe of metal weapons formed of beaten copper. For the formation of velTels, in which lightnefs was an almoft indifpen- fable quality, fuch a procefs would naturally be adopted, and thence by fuccefllve ftages of improvement the art of the copperfmith rofe on the one hand to the dignity of fculpture, and on the other to the production of veflels and articles, more IntroduEiion. xliii or lefs ornamented, for domeftic, facerdotal. and funereal ufes. This courfe of improvement in one diredtion was natural and fequent, maintaining its independence of the fifter art, that of the founder, which in a parallel courfe ftruggled through the greater difficulties retarding its earlier life until an equal per- fedion was attained ; by pradlice fchooled and working hand to hand, they united to produce those unfurpafled works of bronze in every form, from the moll delicately fafhioned per- fonal ornament to the heroic ftatue, during the palmy days of Egypt, Greece, Etruria, and Rome, of which we have fo few and fragmental memorials ftill left to us. By them we are enabled to trace the progrefs of the art, the hammered plates, nailed or rivetted together ; their mode of attachment developed into a conftrudtive ornamental motif, the native root from which all healthy ornamentation fhould take its rife ; then united by foldering, accentuated by mould- ings covering the joint and declaring the ftages of conftru6lion ; again, later, by the union of the kindred arts, the hammer formed body of the vafe, the handles and more folid ornaments caft and foldered or rivetted on. Both branches of the art muft alfo have combined to fit the warrior chief for the battle field, his fpear and arrow heads and the blade of his good fword were from the furnace moulded ; while his fhield, his helm, and armour were more frequently beaten into form and finifiied by the chafing tool and punch. And ftill thefe parallel methods of fafhioning copper and its various alloys to the requirements of the higheft and the moft ordinary of human purpofes, have continued to work together in fteady development from thofe dawning days of civilization and relatively infantile but earneft ftriving with the difficulties of metal work, unto this our age of fcientific and manufadluring power and induftry. Now, it is difficult for thofe outfide the pale of commercial and manufacturing pur- xliv IntroduSiion fuits to imagine the amount of capital, of labour and material, conftantly working in thofe channels and for the fame great ends. We muft not lofe fight, however, of the dexterous handi- work requifite to produce the refults bequeathed to us from thofe early times. The fkilful manipulation neceflary to fafhion from the lump fuch even and thin plates of bronze by the adlion of the hand hammer only, would put to the blufh many a modern workman proud of the facility with which he can apply the improved mechanifm of his modern tools. But in the one cafe, as in all pure handicraft, the mind is excited and led on in ftriving to attain a dexterity which the hand and head and not the tool can furnifh ; the hammer, like the artlft's pencil, becomes a means of communicating mind to matter, which records the painftaking afiiduity and artiftic fkill and fentiment of him who wielded it. The per- fedion of modern machinery ads in the contrary diredlion, the almoft felf-adling tool conveys its material and mechanical quality to the human machine who ftarts it into motion, and afiifts its labour merely by the tightening of a fcrew or the withdrawal of a pin, the refult is the produdtion of the machine, not of the man who tends it. Art and handicraft are man and wife ; mechanifm and manufadure (fo mifcalled) are alfo wedded, and a fertile pair, but they are of a younger and lefs noble branch of a grand old family. Neverthelefs, they are fuitably adapted to our age, but it behoves us, in their en- couragement, never to forget the more infpired works and higher artiftic claims of the older family, nor to ceafe our admiration and encouragement of fuch of its members, as will, for the love of what they do, individually devote themfelves to any one branch of artiftic handicraft. We will now attempt, but only in a fuperficial manner, to follow up the inveftigation of the ufe of bronze by the fculptors of Etruria, of Greece and of Rome, during the periods of IntroduBion. xlv their feveral hiftories, before entering upon the confideration of its ufe in mediaeval and more recent times. And, firft, let us briefly confider the bronze works of the Egyptian and Aflyrian people, after which we will examine thofe of the Etrufcans, for although recent inveftigations in Greece and the Troad have brought to light fpecimens of workmanfhip in bronze of very early date, perhaps Etruria, from more continuous and frequent inveftigations, has yielded to us more examples of the childhood of the bronzift's art, and we have already referred to important works of the toreutic branch yielded to us by the tombs of Vulci. The antiquity of civilization in Egypt is one of thofe archaso- logic problems which will long remain to be folved, although light is fteadily gaining upon the fubjed and the well-diredled refearches now being made will gradually diflipate fome more of that darknefs in which its earlier hiftory is yet involved. So alfo with Affyria, for who can now fay to what remote period a high degree of development in the induftrial arts may not have exifted among the inhabitants of thofe cities and towns watered by the Nile and the Euphrates ; a development which, judging from what we know of its remains, would feem to leave all Hebrew chronicle as of comparatively recent time. As far back as we can trace, the ufe of bronze feems to have been abundant, and its fabrication both by cafting and beating perfedly maftered. We learn by the infcription of Una, of the period of the fixth dynafty in Egypt, how he brought " the farcophagus with " its cover and pyramidion," and " a granite doorway, with fill, " granite doors, and lintels " from Elephantine to the Shanefer Pyramid ; by which we may infer that the bronze tools requifite for the working of thefe objeds were in familiar ufe. Then xlvi IntroduSiion. we find in the annals of Thothmes III. (eighteenth dynafty, circa 1800 to 2000 B.C.) record of vafes of bronze, as well as works in gold, filver, and iron ; tent poles ornamented with bronze ; befides the chariots enriched with gold and silver, the heavier metal work of which was doubtlefs of bronze. Bricks (probably ingots) of copper from the " wretched Kufh ; " brafs armour and other metal work from them and the other peoples whom he had conquered. Again, in the narrative of the battle of Megiddo, gained by Thothmes III. over the confederate kings of Palestine, mention is made of the chariots plated with filver and gold captured from the enemy. Suits of brafs armour, fome inlaid with gold, one from the chief of Maketa ; vefl'els of brafs (or bronze) ; arms and weapons of the fame metal from various tribes. Thefe records prove the extenfive and varied ufe of all thefe metals, iron included, by people whofe civilization was far below that of their conquerors ; and, further, that from its abundant ufe in fo many ways the know- ledge of bronze must have exifted for previous untold ages. The feries of weights, in bronze, formed as lions, and the bowls of bronze ^ ornamented with figure and other fubjefts in beaten work, which are preferved in the Britifii Mufeum, prove the familiarity of the Aflyrians with all the technique of bronze handicraft, among other objedls in which material are weighty fetters, the much worn links of which tell of long enduring mifery. That mufeum is rich alfo in fpecimens of cafl: and beaten bronze of Egyptian manufacture, to fome examples of which we have already referred. It is, however, to be borne in mind that up to the prefent time we have no evidence of the power to produce works of coloflal or even of large size by cafl:ing either in Afiyria or in Egypt. But we are wanting in record of fpecific works, their dates and their producers, and 1 From the pfeudo-Egyptian cha- Mr. Franks fuggefts that they may have rafter of the figures upon thefe bowls, been of Phoenician produdion. IntroduSiion. xlvii muft content ourfelves with thefe few curfory remarks on this remote but highly interefting and extenfive branch of our fubjedl. In the feventh chapter of the Firft Book of Kings, v. 13, et feq., we read how Solomon fetched Hiram out of Tyre, a worker in brafs, who executed extenfive and varied artiftic works for the temple, among them the " molten fea, ten cubits from one brim to the other " ; and how they were caft " in the clay ground between Succoth and Zarthan." Etruria. There can be little doubt that the arts of the Etrufcans were to a certain, although perhaps limited, extent influenced by communication with Egypt and the Eaft, diredlly or through the intercourfe of the Phoenicians ; at the same time it mufl- be borne in mind that the Pelafgian and Tyrrhenian elements were ftrongly imbued with an archaic orientalifm. But, beyond and independent of all this, Etrufcan art has a marked indi- viduality of charadter, and it is more than probable that the knowledge of ordinary and artiftic metal work, particularly in gold and bronze, was, with other arts indicative of very ad- vanced civilization, poflefled by that remarkable people at a very remote period. It would feem alfo that at a time when Greek art was efcaping from the rigid formula of the archaic ftyle, the more traditional manner of the Etrufcans, probably controlled by prieftly influence, led them to retain the earlier forms to a much later period. We find accordingly that in the contemporary works of the two peoples, thofe of the Etrufcan would frequently feem to be of an anterior date. The advance of Hellenic influence, communicated through the Grecian colonies of fouthern Italy, was irrefifl.ible, and the later works of the Etrufcans, though fl;ill generally retaining a certain rigid man- nerifm and individual character, were hardly to be difl:inguiflied xlviii IntroduEiion. from fome of the lefs advanced produdlions of the Grecian fchools, Pliny tells us that as early as about 660 B.C. fculptors from Corinth fled with Demaratus to Italy, on the expulfion of the Bacchiadas. But recorded hiftory fails us in refpedl to their earlier works, as we have yet to learn their exadl origin and their language. Their knowledge and great excellence in bronze calling was indubitably a pofleflion of a very early period ; but, while day by day the books of Egyptian and Aflyrian hiftory become more and more revealed to our refearch, little progrefs has yet been made in tracing that of Etruria. We have already alluded to fome important examples of their toreutic workmanfhip yielded to us by her tombs, for from their contents, almoft exclufively, do we learn what little we know of their minor arts and the habits of their lives. Thefe contents frequently offer parallel proof of the ufes to which bronze was applied as defcribed in the writings of Hefiod and Homer. Thus we find in the Perugian grottoes the beaten plates covered with figure fubje6ts which once adorned a chariot, and fome objedt of furniture. The walls of tombs, as at Fonterotella, feem fome- times, from fragments of their metal which remained, to have been partly or in the whole covered with an ornamental metallic lining. A tomb recently opened at Chiufi had the floor paved with ftrips of bronze faftened together by nails over crofTed iron rods. Thefe difcoveries recall the defcription of the treafury of Atreus at Mycenas, and declare that the blind bard was not in poetic flight dreaming merely of what he had never known. The abundant ufe of bronze for caft and beaten work by the Etrufcans is very remarkable, and, although few remain to us of their larger works, the mufeums of Europe difplay a marvellous variety of votive ftatuettes, lamps, vefTels, and inftruments, furniture and armour admirably formed of this material, and in fome inftances inlaid with filver and gold in a manner which proves their equal fkill with the Greeks in this IntroduEiion. xlix mode of enrichment ; but, notwithftanding the great excellence in point of fkilful cafting, beating or inlaying, and the high finifh beftowed by the Etrufcans on their works in bronze, in the higher walks of fculpture they never advanced to within a long diftance of that glorious perfedion attained by the Greeks, by fuch artifts as Polycleitus or Lyfippus. Etrufcan cities, like thofe of Greece, were crowded with brazen ftatues of the gods and heroes, and Rome in her aggrandifement by conqueft derived her beft adornment from the pillage, firft of Etruria and then of Greece. Some Idea of the number of ftatues which adorned the cities of Etruria may be gathered from the ftatement that, at the capture of Volfinii by the Romans (B.C. 267), not lefs than two thoufand, fome of which were of cololTal fize, were carried away to Rome, but whether all of bronze is queftionable. At the taking of Veii, Rome's great rival for more than two centuries, a population of ftatues was carried away by her conquerors. Nor, although we do not here pretend to inquire into or attempt to diftinguifti the bronze works of the other peoples of Italy, which, perhaps lefs developed than by the Etrus- cans, were ably and abundantly produced by the Pelafgians and Tyrrhenians, the Samnites, the Volfcians, and probably by the Sabines and other races, muft we lofe fight of the fadl that many fuch exifted. Pliny informs us that the great bronze ftatue of Apollo on the Palatine, taken from the Samnites, was fo large that when fet up in Rome it was vifible from the Alban hills. One of the moft ancient of bronze ftatues was that of Jupiter, which ftood near the temple of Minerva at Sparta. This was formed of beaten plates faftened together by nails, and was faid to be the work of Clearchus of Rhegium in the fouth of Italy ; but whether he was a Pelafgian or a Greek we do not know. B. e 1 IntroduEiion. Arms rather than the arts were native to the Romans, and accordingly we find, as in the analogous hiftory of the Phoeni- cians, Tyrians, and Jews, that after the conqueft of Veii, Etrufcan builders and metal workers were tranfported to Rome, and the effedt of the poffeflion of Etrufcan ftatues of the gods was to modify the fterner laws which had prevailed. Thus Vulcanius of Veii was ordered by Tarquinius Prifcus to make a ftatue of Jupiter for the Capitoline temple, by which Numa's previous law forbidding the imperfonation of the gods was difregarded. Numa had permitted the eredlion of ftatues to heroes and illuftrious perfons, but only to be three feet high {tripedanea). It is probable that fuch were thofe faid to have been fet up in honour of Clelia and of Horatius Codes. How few of thefe larger works, the " Tufcania figna" have defcended to our times ! Statuettes are ftill abundantly found, and of various periods, perhaps the " Tyrrhena ftgilla " of the Roman writer, many important examples of which are preferved in the Mufeum of Florence, as alfo at Rome, Volterra, and in other colledtions. The Britifh Mufeum is alfo rich in Etrufcan bronzes ; the figure of Mars found at Monte Falterona may be fpecially mentioned. A figure nearly fimilar is in the Florentine colledlion. Among the few Etrufcan bronzes of larger fize which have been preferved, admirable in point of execution, though partaking of the archaic and oriental charadler, is the remark- able figure of the Chimaera, infcribed in Etrufcan charadlers TINSCVIL, now in the Mufeum of the Uffizii at Florence. It was found at Arezzo in 1534. The Minerva, alfo found at Arezzo, is another and ftill more archaic work in the fame mufeum. The well-known bronze wolf of the Capitol, alfo an archaic work, but by fome fuppofed a produdlion of the middle ages, is afcribed to Etrufcan artifts, and prefumed to be that votive figure ereded in the year 295 B.C., at a time when Grecian IntroduEiion. li fculpture was far advanced beyond its period of greateft excellence. ' A caft of this figure in fcagliola is in the South Kenfington Mufeum (No. '62.-2670). The fine figure of JMars, or of a youthful warrior, found at Todi, and now in the Gregorian Mufeum of the Vatican, alfo infcribed in Etrufcan charafters, is by fome thought worthy of Grecian rather than Etrufcan art. Another infcribed figure is that of a boy holding a goofe, and now in the Leyden Mufeum ; the lettering is in filver on the right leg and thigh. A larger and more advanced work, probably of the period of Roman rule in Etruria, but before her language had fallen into difufe, is the life-fized ftatue of the orator Aulus Metellus, found on the (hores of Thrafymene in 1573, and now in the Florentine Mufeum. The Etrufcans were noted for their fkill in the produdtion of various articles of furniture and ornamental work in caft and beaten bronze. Particularly graceful are their candelabra and lamps which were exported from Etruria, and are referred to by Athenasus and others. Fine examples of them are preferved in the Gregorian Mufeum and at Florence. The Britifti Mufeum pofleffes good fpecimens, but the wonderful lamp is that found in the neighbourhood of Cortona and now in the mufeum of that ancient city. Specially remarkable are the hand mirrors or Jpecchi, which were caft, one fide being poliftied fufficiently to refledl objedls, the other having fubjedls, more rarely in rilievo, generally engraved upon the funken furface. Many of thefe are works of great beauty. Some were contained in cafes on which rilievo fubjects were produced by beating from within. The Britifti Mufeum is rich in mirrors, Greek and Etrufcan, The moft important work on the fubjedt is that by Gerhard, " Etrufkifche Spiegel." They were Angularly excel- lent In the manipulation of the metals, for there is little difference between the bronzifts and the goldfmiths' modus operandi, and I e a lii IntroduSiion. need but refer to the extraordinary beauty of the Etrufcan jewellery. Arms and armour beautifully formed by calling or the hammer ; bedfteads, curious funereal cars, tripods, caldrons and other veflels, malks, engraved cijla and calkets, braziers and their inftruments, ftrygils and particularly the mirrors, to which we have already referred. All thefe of bronze, a material never called into more univerfal fervice than by the Etrufcan people. The art of " damafcening," or inlaying gold and filver beaten into incifed hollows on the bronze furface, was well known and pradlifed by the Etrufcans, as by the Greeks and Romans. This mode of enrichment was followed by the ufe of enamel in later Celtic and Roman times, and by niello. The ufe of coloured ftones, ivory, and enamel to give life to the eye was alfo generally known. A ftatuette in the Britifh Mufeum has, literally, diamond eyes. The mufeums of the Vatican and the Collegio Romano at Rome, thofe of Florence, Cortona, Perugia, and Volterra in Italy, and again at Paris, Berlin, Leyden, and our own Britifh Mufeum are more or lefs richly ftored with bronzes of Etrufcan workmanfhip ; the more important of which have been illuftrated or defcribed in the works of Gerhard, Micali, Inghirami, Dr. Braun, Henzen, Miiller, Dennis, and other writers on the hiftory and monuments of that interefting people. Greece. We have already alluded to the working of bronze by the Ancient Greeks as defcribed by Homer and Hefiod, referring particularly to that great toreutic work the fhield of Achilles, as alfo to the Ihield of Hercules. The defcription of the gorgeous palaces of Menelaiis and of Alcinous in the Odyfley would fliow, even allowing for poetical licence, to what an extent the ufe of this metal had been adopted, and how much plates of IntroduBion. liii brafsj or more corredtly bronze, were applied for the decoration of walls, furniture, &c. " The walls were mafTy brafs : the cornice high " Blue metals crown'd, in colours of the iky ; " Rich plates of gold the folding doors incafe; " The pillars filver on a brazen bafe ; " {Pope's Od. b, vii.) But there can be little doubt that the larger figures, as of animals, &c. were not then fafhioned by cafting, but were em-pafiic works, or Jphyrelata^ covered with beaten plates of the metal. The colofTal bronze Apollo at Amyklas, in the neigh- bourhood of Sparta, was, according to Paufanias, little more than a pillar, with indication of head and hands which held the weapons, and was doubtlefs of fimilar conftrudlion. At the fame time it is reafonable to fuppofe that fmaller works may have been executed by cafting, both in Greece and in Etruria. The mythical Dadalus^ the typical embodiment of the metal- lifts' art, gave life to thefe archaic reprefentations of the human form, and was followed by Smilis, Endceus^ and others. It was probably in the earlier years of the feventh century B.C., that Glaucus of Chios made great advance in metal work byfoldering, &c. ; while theSamian artifts Rhacus -Siwdi his fons, 'Telecles and 'Theodorus, invented, or what is more probable, applied the art of cafting to larger works by improved methods of their own difcovery, or learned by them from Egypt or Egyptian artifts. Soon after we find Dip^enus and Scyllis working at bronze cafting in Crete and Sparta, where fubfequently Gitiadas is faid to have eredted the bronze covered ftirine and ftatue of Minerva Chalci^cus, and executed other works. Gallon of ^gina was another cafter, of later time. About 550 B.C., the Cretans, Dip^nus and Scyllis, alfo worked in the Peloponnefus and in iEtolia, producing many and various fculptures in wood, ivory, and gold, and gilded bronze ftatues of Diana, Apollo, and Hercules, &c. ; their followers meanwhile eftabliftiing a fchool of fculpture in Sparta. Among liv IntroduEiion. others was Clearchus (or Learchus) of Rhegium, in fouthern Italy, who went to Sparta, and made a ftatue, the earlieft in bronze, of Jupiter, fafhioning it of bronze plates rivetted to- gether. Thus we fee that a modification of the earlier methods ftill prevailed. Another great bronze work of this period was the cololTal ftatue of Zeus at Olympia, alfo probably formed of plates united by foldering or rivets. Of a more advanced period, towards the beginning of the fifth century B.C., was Canachus of Sicyon, a great worker in bronze, who executed a coloflal ftatue of Apollo in that material for the Didymasan Temple of the Branchidas at Miletus, the character of which work is made known to us by the Milefian coins, and by an antique bronze ftatuette in the Britifti Mufeum. It is a figure in the archaic manner, rigid in pofe, but difplaying the exiftence of a more advanced knowledge on the artift's part. The right hand, advanced, holds a fmall figure of a fawn ; the left has probably held a bow, now wanting ; the hair, bound round the head in clofe curls upon the forehead, falls in long trefles over either ftioulder. Arifiocles of Sicyon was alfo a worker in bronze at this time. Ageladas of Argos worked exclufively in bronze about 515 B.C. He made ftatues of Jupiter, of Hercules, groups of horfemen, chariots, &c., and was the inftrudtor of PheidiaSy of Myron, and of Polycleitus, the greateft fculptors of that land where the plaftic art attained its higheft excellence. Ariftomedon about the fame period, or rather later, was alfo working groups in bronze and fingle ftatues in a more advanced manner, and about a quarter of a century later Glaucus and Dionyfius of Argos produced important works for Olympia, fome of which were fubfequently removed by Nero. In iEgina Gallon maintained the older and feverer manner, like that of Canachus^ comparable in its rigid and minute ftyle to the artifts of Etruria. His bronze ftatue of Proserpine was IntroduBion. remarkable. But he was furpaffed by Onatas of the fame ifland, who executed groups and ftatues, notably a chariot with four horfes, dedicated by Hiero of Syracufe to Olympia, and placed there in 466 B.C. His bronze Apollo made for the Pergamenians was alfo noted. He is fuppofed by Overbeck and others to have been the fculptor who executed the cele- brated ^ginetan marble groups, now preferved in the Glypto- thek at Munich, about 475 B.C. At Athens Critias and Hegeftas were fculptors in bronze. Critias repeated, probably in this material the iconic ftatues of Harmodius and of Ariftogiton. Of the tranfitional period was the Athenian Calamis, who not only worked at the bronze chariot and horfes of Onatas^ but alfo produced many works in different materials, among others fome bronze figures of boys praying, which alfo were fent to Olympia, and a coloffal Apollo, 60 feet high, which afterwards was brought to Rome. He was unfurpafTed in modelling figures of horfes. Pythagoras of Rhegium was another artift of the fame tranfitional fchool, who moftly or always worked in bronze, and difplayed great fkill in the aftion of his figures of athletes, animals, &c., and in the minute finish of the details. We have now arrived at the period approaching the higheft perfedlion of Grecian fculptures, Myron, the Basotian, who was one of the great and probably an elder pupil of Ageladas, worked like his mafter for the moft part in bronze, and is faid to have preferred the -i^lginetan alloy. Celebrated was his group of Jupiter, with Minerva and Hercules, at Samos, which Antony carried to Rome, and which was reftored by Auguftus to the Samian temple of Juno ; he, however, detached the Jupiter from the other ftatues and placed it in a (hrine on the Capitol. Of note, were his Eredbheus at Athens and a Bacchus ; an Apollo at Ephefus ; and another infcribed with the fculptor's name at Agrigentum ; and a Perfeus conquering Medufa. Pliny ftates Ivi IntroduSiion. that a Hercules by Myron was in the houfe of Pompeius in Rome. A group of Minerva and Marfyas, of which latter figure there is an antique copy in marble in the Lateran Mufeum, are among the moft celebrated of his works in bronze which are recorded by the ancient writers, not however to omit reference to the world-celebrated cow. His manner was energetic and mafculine, his fubje6ts for the moft part in fpirited and vigorous adlion rather than expreflive of mental or bodily repofe. The figure of the difcobolus, defcribed by Lucian and well known to us by the antique marble reproductions in the Vatican, the Palazzo Mas- fimi, and elfewhere, is a charadlerillic example of his ftyle, as was the ftatue of the celebrated viftor, at the Olympic games, Ladas the runner. Of the fchool of Myron was Lycias, his fon, working about 420 B.C., when he executed a bronze group of thirteen figures reprefenting the quarrel between Achilles and Memnon. A bronze boy with holy water, and one with a vafe for incenfe, into which he is blowing to kindle the expiring fuel, are alfo recorded as meritorious works by Lycias. In the Cabinet of Antiques at Tubingen is a ftatuette of the charioteer Baton, full of life-like charadler, and which has been attributed to this tranfitional period. Crejilas was another follower of the fchool of Myron, to whom has been afcribed the ftatue of a wounded amazon, in bronze, antique copies of which in marble are known to us, the fineft, perhaps, that of the Capitoline Mufeum at Rome. He alfo executed one of a wounded warrior in the laft throes of his waning life. He made a portrait buft of Pericles, of which thofe in marble in the Britifti Mufeum, the Vatican, and at Munich may poflibly be copies. Styppax was of the fchool of Myron, he was of Cyprus. Strongylion another, great in bronze figures of animals, among others the Trojan horfe, the dedicatory infcription from the IntroduSiion. Ivii bafe of which was unearthed on the Acropolis in 1 840. He alfo executed an amazon of great beauty, which Nero after- wards poflefled ; and an admirable figure of a boy. Callimachus and Demetrius, artifts of the fame period, though fomewhat influenced by their greater rivals, purfued to a certain extent an independent manner, faid, in the works of the former, to have been too highly elaborated in the details. To him has been afcribed the invention of the Corinthian capital in archi- tefture, the minute beauty of which would rather fuggeft an original of metal. Demetrius was naturallfl:ic and minute in his execution, and much occupied in portraiture, in which he was over exaft even to perpetuating fmall defedls. The adapta- tion of the graceful leaf of the acanthus carefully rendered, to architedtural decoration, might well fuggeft itfelf to a mind fo conftituted as that of Callimachus, as evidenced by the recorded charafter of his works. The zenith of Grecian art was comprifed within the ftiort fpace of a quarter of a century, from about B.C. 460 to 430, when Athens was for the moft part under the guidance of Pericles. Pheidias, born about B.C. 500, was probably the greateft fculptor of any age. It would appear that he firft began his artiftic career as a painter, but fubfequently repaired to the fchool of Ageladas. Unlike Myron, his works are imbued with the higheft in- telledlual fentiments, and he executed them in various materials. Some of his earlier productions, as might be anticipated from his fchooling in the ftudio of the bronzift Ageladas, were of that material ; thus we hear of his group of thirteen bronze ftatues prefented by Athens to Delphi, in memory of the vidlory at Marathon. It reprefented Miltiades furrounded by the Attic heroes, and fupported by Apollo and Minerva. He alfo caft coloffal and other figures of Minerva, particularly that of Athene, made from the bronze fpoils of Marathon, which, fome feventy Iviii IntroduSiion. feet in height, rofe crowning the fummit of the Acropolis, and became a typical reprefentation of that divinity. But his ftatues of the Minerva Parthenus and of the Olympian Zeus, both alfo typical forms, in gold and ivory, were perhaps his moft im- portant productions, which do not, however, from their material come within the fcope of our inquiry. A bronze Minerva by Pheidias was carried to Rome by iEmilius Paulus. But of the numerous works by this, perhaps the greateft artift that the world has known, the Raffaelle of Greek fculpture, and the able hands working under his imme- diate direction, how little now remains to us. The Parthenon pedimental ftatues, metopes, and frieze, and other portions of the rilievos which adorned thofe glorious temples on the Acro- polis, are our richeft inheritance, and we may be juftly proud of their pofleflion in the Britifh Mufeum. Thefe and a few more fragments, here and there, are all by which we can form but an imperfed idea of the wondrous art which muft have dis- tinguifhed the more important and individual works of his own hand, for who can fay what portion of the frieze is due to Pheidias'' chifel ? This was the period of higheft perfection in antique fculpture, a perfection which foon afterwards, although retaining all its plaftic and mechanical power and facility, loft that fublime ideal and native dignity which again appear under another afpeCt and infpiration in the works of Donatello and Raifaelle as equivalent to the Pheidias, as Michel Angelo might reprefent the Myron, or perhaps the Scopus, of the Renaiffance. Of the pupils oi- Pheidias, one of the greateft, Alcamenes, was chiefly reputed for his works in bronze ; among thefe was a ftatue of a viCtor in the Pentathlon, known for its excellence as " the model " ; and various figures of the gods, among thefe a celebrated one of Vulcan. Of the wonderful excellence to which fculpture had been brought in every variety of material, in its largeft conception IntroduSiion. lix and in its moft minute detail, fome fmall idea may be formed by the fad that the celebrated " Venus of Milos " (now in the Louvre), perhaps one of the grandeft imperfonations that has been preferved to us, is confidered by fome connoifTeurs to be only a carefully executed copy, although more probably it is an original work of that time, but which was by no means celebrated in antiquity. To this period may probably alfo be afligned the beautiful bronze head of Aphrodite found in ThefTaly, and now in the Britifh Mufeum, an original work of the higheft excellence. Agoracritus, alfo a pupil of the fchool of Pheidias, was the favourite of his mafter, to whom is afcribed the marble Nemelis at Rhamnus, fometimes believed to be the work of Pheidias. By him were ftatues in bronze of Jupiter and of Minerva in the temple at Coronaea. Colotes was another pupil, but of works in bronze by him we have no definite record. The influence of fo great a mind as that of Pheidias fpread far and wide, more or lefs modifying the fchools of fculpture exifting in the other states of Greece, the Archipelago, and her colonies, Calamis, Thrace, Megara, Paros, and the reft, winning them by the magic charm of his artiftic power to acknowledge the fuperiority of the Attic fchool. In the Peloponnefus, Polycleitus, the fellow pupil of Pheidias, had eftablifhed an important fchool at Argos. In this what may be deemed a naturaliftic tendency prevailed. We know how hiftory repeats itfelf in art as in politics and war, fo here we find recorded the prototypes of thofe great divifions under which the artifts of the Italian renaifTance may alfo be clafTed. But we are told of the art of Polycleitus that, although by him the ideal was rendered fubfervient to natural beauty, nature herfelf was almoft furpafled by the exquifite phyfical creations revealed by his chifel. His coloflal ftatue of Hera, a toreutic work ere6ted at Argos, was important for fize and excellence. Ix IntroduSiion. His beautiful youth, the Diadumenos, muft have been the perfedtion of young manly development. We can hardly judge of its merits from the antique marble, fuppofed to be a copy of this work, and now preferved in the Britifli Mufeum. There is, moreover, a bronze in the Florentine Mufeum, found at Pefaro in 1530, agreeing for the moft part with this figure, and which has been confidered as a work of this artift. In the Braccio Nuovo of the Vatican is a figure of an amazon alfo fuppofed to be an antique copy after a work by this great mafter, another antique copy of which is in the Berlin Gallery. His works were for the moft part in bronze ; of thefe the figures of two naked boys playing with dice, which in Pliny's time flood in the Atrium of Titus at Rome, were confidered as of the higheft perfedlion. We need not fpecify other loft works recorded as being the production of his flcilful hand, which delighted in the moft minute and careful execution of every detail, but may not omit the mention of his admirable pair of canephoras referred to by Cicero. He is faid to have been the firft fculptor who dared to adopt the fyftem of throwing the whole weight of a figure upon one limb, leaving the other foot free if not detached from the bafe, a conception whereby a great effed of lightnefs and elafticity was obtained, but which could only have emanated from an artift habitually working in metal rather than in marble. Of the vaft numbers of bronze ftatues of athletes and iconic figures produced by the artifts of the Peloponnefus at this period, how gladly fhould we hail the recovery of fome few. A bronze figure of Mercury and one of Hecate exifted in Argos, the works of Naucydes, a pupil of this fchool. Other ftatues were produced by him, among them a difk thrower, of which a marble in the Vatican is fiippofed to be a copy. Of this period was that great bronze work an offering made by the Spartans to Delphi to record their vidtory over IntroduSiion. Ixi the Athenians in B.C. 404, Two diftind groups were formed confifting of fome thirty-eight ftatues. There Lyfander was reprefented receiving the crown of vidlory in prefence of the gods, and portrait ftatues of thofe who, by their valour, had contributed to the vidlory. Another trophy, reprefenting a group of heroes, with Apollo and Vi6lory, and offered by the Tegeates, was alfo executed about 368-365 B.C. Antiphanes, who was probably engaged on part of thofe works, alfo executed a figure of the Trojan horfe in bronze, an offering to the oracle from the Argives, and commemorative of a vidtory over Lacedasmon. We now arrive at a period when the female form was reprefented in perfedt nudity more frequently than had been the cuftom of a former age ; it is true that Pheidias had modelled Venus as nude, in the Pantheon, but this was excep- tional rather than the rule. Such was the crouching figure of Venus by D^dalus, which, according to Pliny, was in the portico of Odlavia. The well-known marble figures in Florence, in the Vatican, and elfewhere are believed to be ancient copies of this work. Meanwhile in Athens Cephifodotus (the elder), fuppofed to be the father of Praxiteles, was working in a ftyle which, while partaking largely of the more purely ideal fentiment of the fchool of PheidiaSy had yet a tendency towards a more realiftic treatment. He alfo worked in bronze, producing ftatues of the gods, of which one, a Minerva, at the Peiraeus, is referred to by Pliny in terms of praife, as alfo an altar in the Temple of Jupiter Soter. He alfo worked in marble. A noble group of Eirene carrying the infant Plutos, of which there is a fine antique marble copy (the original is fuppofed to have been of bronze) in the Glyptothek at Munich, is believed to be that referred to by Paufanias as ftanding in the Tholas at Athens and a work by the mafter. With the heart-ftirrings and univerfal commotion of the Ixii IntroduSiion. Peloponnefian war fculpture received another infpiration, that of mental emotion and unreft, as contrafted with the fublime repofe and dignity of the earlier Attic fchool. Greece was fatally divided againft herfelf, and individual aggrandifement prevailed over felf-facrifice for the public weal. Art became perfonal to ftates or individuals rather than the expreffion of a national devotion and of a high religious fentiment. Wealth and luxury had increafed, and with them came a loofening of the Spartan fpirit of a more primitive and ideal age. The commencement of a fenfational and fubjedlive epoch had been reached, and fofter forms of female beauty were contrafted with a fomewhat exceffive and paflionate emotion or of a dreamy and afFe6led repofe in the male, as alfo indeed in many of the female figures. Scopas was a leading artift of this time ; he was a Parian by birth, and working firft in Attica, afterwards at Athens and elfewhere. Thus the celebrated temple of Minerva Alea in Tegea engaged much of his earlier time. He worked for the moft part in marble, although fome figures in bronze are recorded as by him, as a Venus Pandemos mounted on a goat, which was at Elis. Scopas worked at the Maufoleum at Hali- carnafTus about 350 B.C. 'TimotheuSy a colleague who was occupied at the Maufoleum, alfo worked in bronze. Leochares was another bronze fculptor who aided Lyjippus in the group reprefenting Alexander at a lion hunt. His Ganymede borne upwards by the eagle, in the fame material, was feveral times copied in marble ; one of thefe is in the Vatican. Praxiteles was another great Athenian, in which city he was born perhaps about 390 or 392 B.C. By preference he is faid to have worked in marble as a more favourable material for the difplay of his unrivalled power of reprefenting female and youthful beauty. In this he attained to the higheft excellence in his nude flatue of Venus at Cnidus, which called forth the IntroduSiion. Ixiii rapturous admiration of the claffic world. It alfo was recorded on the Cnidian coins. He, neverthelefs, occafionally made ufe of bronze, but of fome fifty works recorded as by him, the moft part are in the lighter material. His group of the Rape of Proferpina was in bronze, as alfo the companion group of the reftoration of Proferpina to Hades ; the Apollo Saurodtonus, of which an antique copy, confidered by Winckelmann to be the original by the mafter, exifts in the Villa Albani at Rome. The bronze group of Bacchus with Methe and Staphylus was at Rome, Phryne prefented her portrait ftatue in gilt bronze, by this artift, to the temple at Delphi. A figure of a girl adorning herfelf ; a Diadumenos on the Acropolis ; figures of a laughing girl and of a weeping matron are alfo recorded, and a bronze canephoros. Alfo the figure of a charioteer for the chariot and horfes of Calamis. The original of the well-known Faun of Praxiteles was probably of bronze. Cephifodotus and TimarchuSy fons of the great mafter, alfo worked in bronze. Of this period and fchool may probably be affigned the elegant figure of a youth liftening, fo well known as one of the choiceft bronzes which Pompeii has afforded (in 1865), and which graces the Neapolitan Mufeum. A bronze figure of Venus, fome thirteen inches high, which was found in the vicinity of Stratonyce in Caria, and is now in the writer's poflefTion, was confidered by the late Profeffor Weft- macott and others to be a work of the fchool of Praxiteles. Silanion executed portraits in this material, as did alfo Euphranory the painter and fculptor, a man of univerfal artiftic genius. Of the Peloponnefian artifts of a parallel epoch, Lyftppus muft firft be named, who from his youth was accuftomed to work in bronze, a material which he exclufively employed. He foon obtained not only the patronage of Alexander, but the exclufive privilege of portraying him in fculpture. His works were very numerous, nor need we fpecify more than a few of the more re- Ixiv IntroduSiion. markable : as the coloflal Jupiter at Tarentum, faid to have been fixty feet in height ; a group of Apollo and Mercury difputing for the lyre ; the Helios in his chariot at Rhodes, the effect of which Nero fubfequently impaired by gilding, which had to be removed, and other figures of the gods. His coloffal feated figure of Hercules, at Tarentum, became typical ; it travelled to Rome, thence to Conftantinople, where it was melted by the Crufaders in 1202. He is faid alfo to have executed a fmall figure for Alexander, about a foot high, reprefenting the fame hero feated, and with upward look, holding a goblet in one hand, the club in the other. This figure was conftantly carried about by Alexander and placed upon his dinner table, hence its name, " Herakles Epitrapezios." It afterwards paffed into the poffeflion of Sylla. Portrait ftatues and bufts, as of vidtors, of NXo^^ and others, and particularly that of Alexander, whom Pliny tells us that he reprefented at every period of life. One of his moft extenfive works was the group raifed to record the dead at the battle of Granicus ; this confifted of a figure of Alexander in the centre, furrounded by twenty-five horfemen and nine on foot. It was afterwards brought from the Macedonian capital to Rome, where it flood in the portico of Odavia. Another was the lion hunt already referred to as partly the work of Leochares ; it was at Delphi. A figure of Alexander, probably after one by Lyfippus, was found at Gabii. The fine marble figure in the Vatican of an athlete ufing the ftrygil upon the extended right arm would feem to be an ancient copy from the bronze original, which formerly was placed in front of the Thermae of Agrippa at Rome. His drunken flute-player ; horfes and other animals, and figures too numerous to have have been recorded, for Pliny tells us that Lyfippus produced not lefs than fifteen hundred ftatues by his own hand, a number, even including ftatuettes, which would feem to be incredible. IntroduSiion. The Ludovifi Mars is fuppofed by fome to be after an original by Lyfippus, and laftly, the feated bronze Mercury of the mufeum at Naples, found at Herculaneum, may be afcribed to his period and fchool, if not a work by the hand of that mafter, probably the greateft fculptor in bronze that the world has ever known. Lyfijlratus, Lyfippus' brother, is faid to have firft adopted the ill-conceived method of taking cafts from the living model and executing thefe in bronze. By fome writers an iconic head in the Britifh Mufeum, the details of which are executed with great accuracy (No. 12, Cafe E, Bronze Room), is fup- pofed to be by this artift, or at leaft a work of the Lyfippasen fchool. Lyfippus had a large following, Euthycrates^ Ddippus, and Bocdas his fons, to the latter a bronze figure of a boy praying, in the Berlin Mufeum, has been afcribed, Eutychides was a follower of this fchool and worked in marble and bronze ; his figure of the river god Eurotas in the latter material was celebrated in antiquity. Chares of Lindus was a follower of Lyfppus, and was the author of the world-wide celebrated Colofius of Rhodus, an ifland particularly devoted to the worfhip of the orb of day, and his own peculiar territory, on which ftood a hundred coloffal ftatues of the fun. That huge creation, one of the feven wonders of the world, was of bronze, and reprefented the god Helios or Sol; it was 105 feet in height, and was completed in the year 291 B.C. It fpanned the entrance of the port, jfhips failing beneath its outftretched legs. Pliny ftates that few could fpan the thumbs with their arms, and that each of the fingers was larger than many ftatues. A winding internal ftair led to the top, whence the fhores of Syria and fhips on the coaft of Egypt could be feen. An earthquake over- threw it in 224 B.C., and it lay in ruins until Rhodes was taken by the Saracens in A.D. 672, when the fragments, B. f Ixvi IntroduBion. 720^900 lbs. in weight of bronze, were fold, and are faid to have required nine hundred camels for their tranfport. The Theban artifts, Hypatodorus and Arijiogeiton, produced a large group in bronze, reprefenting the Seven againft Thebes, which was dedicated to Delphi in commemoration of the vidory over the Lacedemonians gained at CEnoe. Ariftodemus was another fculptor in bronze of this abundant period ; he executed a portrait ftatue of NXo^^. Boethus pro- duced figures and groups of children, &c. of great excellence. The well-known bronze figure in the Capitoline Mufeum, a feated youth extradling a thorn from the left foot, is probably a work or the copy of an original of this period (about 290-285 B.C.). The fine bronze figure of a drunken faun in the Mufeum at Naples may alfo be of this time, as alfo the grand head of Homer in the fame colledlion. The period of the higheft development of Grecian fculp- ture may be faid to have pafled away with the death of Alex- ander, and, although it ftill exifted in a condition of excellence which has known no fubfequent equal, the fummit of its glory had been reached and the eafy downward path encouraged the already growing tendency to a fubjedive treatment, to laxity of purpofe, accompanied by fomewhat of exaggeration in the adion and voluptuous rendering of the female figure. A fenfe of fufficiency in the artift, almoft of a boafl:ful difplay of power, becomes apparent, and the fimplicity and ftriving of the earlier art is loft. The purely Hellenic civilization had degenerated, its nervous tenfion was unftrung by the growing influence of eaftern luxury and defpotifm. Neverthe- lefs, there was a vitality in Grecian art which did not fuccumb without a ftruggle againft the inevitable contagion of decadence. The heart and trunk were almoft dead, but fome of the limbs had life and vigour yet, and it was this fading and fpafmodic power that produced works which were the defpair of Michel Angelo, who declared himfelf their pupil, and dared not ven- IntroduSiion. Ixvii ture to reftore more than a few loft extremities. Some of the works moft highly efteemed by the artifts and connoifleurs of the RenaifTance and of our own time were produced at this period. The Rhodian arm retained the ftrongeft vitality ; the fpirit of Lyjippus ftill floated in the fun-lit atmofphere which bathed the hundred colofll of that ifland. Enormous wealth and luxury drew to her artifts from other fchools, while it gave full employment to her own in the gorgeous decoration of ftately public and private buildings. The name of Ariftonidas is given to him who executed a portrait ftatue of the repentant Athamas in bronze, to which iron was faid to have been added to exprefs the glow of ftiame in the colour, a ftatement probably more poetical than corredt. The ufe of fome fait of iron may, how- ever, have been ufed by the artift in colouring the furface of the bronze, with a view to this effed. The fuperb marble group of the Laocoon, the admiration of Pliny and the gem of the Vatican collection, is one only of the many original works produced at this period and at Rhodes. That known as the Farnefe bull is another grand work afcribed to the fame time and fchool, as alfo probably the group of the wreftlers in the Tribune of the Uffizi at Florence. We can refer to no typical works in bronze of this fchool. Of the other leading artifts recorded were Agejander^ Athenodorus ^ and Polydorus, the authors of the Laocoon ; Apollonius and 1" aurifcus^ who fculptured the Farnefe bull. At Pergamus another fchool exifted in which the conquefts of Attalus and Eumenes againft the Gallic tribes which had invaded Greece, about 280 B.C., were recorded, in gratitude to the gods, by large groups figurative of the battles of gods and giants ; Thefeus and the Amazons ; the Athenians and Perfians ; and the victories of Attalus over the Gauls ; by the reprefentation of groups and figures of their northern enemies, for the moft part in the fame tragic and effective fenfational manner as the works of the Rhodian fculptors. A tendency to reprefent hiftorical fubjeCts fa Ixviii IntroduSiton. and dramatic aftlon became manlfeft. Four names are fpecially recorded by Pliny, viz., Ifogonus, Stratonicus, Antigonus, and Phyromachus. We are fortunate in poffeffing one great and well known original work of this fchool, the fo-called Dying Gladiator, perhaps more corredtly a felf-wounded and dying Gaul ; and probably another in the group at the Villa Ludovifi, known as the "Arria and Pastus." It was probably about this period and under this fenti- ment and influence that the bronze original of one of the mofl: celebrated and admired works of ancient art which time has bequeathed to us was executed, the Apollo of the Belvedere. An antique bronze ftatuette (with the fupporting tree fl:em) in the po{refllon of Count Stroganoff, which was found in a cavern at Paramythia, in the neighbourhood of Joannina in 1798, with other bronzes, three of which are in the Britifh Mufeum,^ fhows that the left hand held the asgis and not a bow, as was aflumed in the refloration of that member of the Vatican marble, which, beautiful as it is, can only be a copy of Hadrianic time from the bronze original. That original was probably one figure of a confiderable group produced about 279 B.C., and alfo to record the fame Gaulifli defeat under Attalus. Rome. The conqueft of Greece by Rome was the death blow to all purely Grecian art as embodying the Grecian fentiment and purpofe. Neverthelefs, more than a mere mechanical power furvived, and the removal of artifts, together with works of art to Rome, for the adornment of the then miftrefs of the world during the lafl: century and a half before the coming of Our Lord, fl:imulated their torpid energies and produced a fpafmodic revival during which works, among the mofl pre- 1 Bronze Room, B. M., Cafe E. 7, 8, and 9. IntroduSiion, Ixix cious that have been preferved to our daySj were executed. The inborn power of art, unable to expand into thofe higher regions of originality which the period of Grecian glory had kept free, was now enflaved to produdtion rather than creation, and to the gratification of a mafter rather than the thankofFering to and glorification of a God, The fplendour of what has been fo-called Roman art was the produce of enllaved Greek genius, and the foul of the ideal was equally in bonds. Never- thelefs, fome marvellous works in marble were produced, almoft purely fubjedlive it is true, or admirable copies of the great originals, and among thefe are now fome of the moft precious gems of our modern mufeums. Among copies fo executed at this period are believed to be the Hercules Torfo of the Bel- vedere, the admiration and defpair of Michel Angela^ by the Athenian Apollonius, perhaps after an original by Lyfippus ; the Farnefe Hercules by Glycon, alfo after Lyfippus, the originals of both works having been probably in bronze ; the Venus de' Medici, a work by Cleomenes of Athens ; the Venus of the Capitol, the Callipyge, and the crouching Venus after Daedalus ; the Pallas of the Ludovifi Villa ; the portrait ftatue of a Roman orator, known as the Germanicus of the Louvre, by another Cleomenes. The two colofli of the Monte Cavallo are alfo pro- bably copies of this time from Greek originals. The Borghefe Gladiator, by Agafias the Ephefian, is probably copied from a bronze; and the Venus Genetrix, by Arcefilaus, is of this period ; as alfo the group by Menelaus in the Villa Ludovifi, known as Eledra and Orefi:es. We have already referred to the Apollo of the Belvedere as a copy of this later period from an earlier bronze original, as may alfo be claffed the Diana of Verfailles and the Ariadne of the Vatican, The pillage of Greece by Rome, miferably imitated in modern days by the Napoleonic conquefts of Italy, &c., brought into the latter country, mainly to the capital, but alfo fpread about among the imperial and other villas of the peninfula, a crowd of the finefi; works in Ixx IntroduEiion. bronze, of all periods of Grecian art ; a crowd fo vaft as to feem almoft incredible. Thus we learn from ancient record that Scaurus was faid to have poflefled 3,000 bronze ftatues, which Pliny tells us he ufed, for the nonce, in adorning a temporary theatre. Thefe doubtlefs were fome of the plunder taken by Sylla from the luxurious cities of Afia Minor. A fine bronze vafe in the Capi- toline Mufeum, an infcription on which ftates it to have been given by Mithridates to the Gymnafium of the Eupatorians, may have been part of this plunder. But at an earlier period, when Syracufe was taken, the Roman conqueror Marcellus fent one half the artiftic plunder to Rome to adorn the public places and buildings. Nero's raid on Delphi deprived that city of fome 500 of its choiceft ftatues. And even at the laft, after all previous fpoliation, fome idea of the extent of the employ- ment of bronze by the Greeks in the formation of ftatues, may be formed from the record that, at her final conqueft, Mutianus, the Roman Conful, found 3,000 bronze ftatues at Athens, as many at Rhodes, and an equal number at Olympia and Delphi. Some of the moft admirable portraits of Roman perfonages were the work of thofe Greek artifts. Such are the Spada Pompey ; the Auguftus of the Villa Livia ; and that alfo in the Vatican found at Otricoli ; the buft of the young Auguftus, and another equally fine, in the Britifti Mufeum ; the Agrippina of the Capitol and other works in marble. 'Thaletius, a Greek bronze cafter, worked at Rome in the firft century of the Empire. The Mufeum at Naples is rich in portraits, ftatues, and bufts of bronze, fome of great excellence, which were produced at an earlier period, others of Hadrianic and later time. Art had fteadily declined in Greece and her colonies before their final conqueft by Rome. The original religious afpiration, the defire to reprefent to the fenfes the ideal creation of the intel- led: had been fatisfied, and could not be furpafled without a new IntroduBion. Ixxi revelation ; a realiftic feeling was naturally confequent, and, by the imperfonation in marble or in bronze of thofe forms of the beautiful human figure which they knew fo well, art was gra- tified for the while and the lefs intelledtual and fenfuous eye was pleafed, but foon to fatiety. The higher intelledt roamed among philofophic dreams which fhe could not embody. A Roman, one Mamurius Vetturius, is faid to have worked in bronze in Numa's reign. Novius Plautius was another Roman fculptor who worked about 250 B.C. His name is incifed upon a little group repre- fenting a youth and two fatyrs which forms the handle to the celebrated ciftus in the mufeum of the Jefuit college at Rome.^ In workmanfhip it is very inferior to the admirable engraving on the body of the ciftus. One Novius Blejamus, of later time, is recorded. Caius Pompeius and Caius Ovius flourifhed about the end of the fifth century ; their names are feen, the firft on a ftatuette of Jupiter, the laft on a buft of Medufa, both of which are in the fame mufeum. The queftion arifes, however, whether thefe latter may not be the names of owners, or if votive objefts, of thofe by whom they were offered. The name of Publius Cincius Salvius is infcribed on the huge bronze pine cone which formerly furmounted the mole of Hadrian. Titius Gemellus modelled his own buft. Flavius Largonius made ftatuettes. Copronius made fourteen figures to reprefent nations conquered by Pompey. Decius caft a coloftal head for the Conful Publius Lentulus Spinther (A.V.C. 697, about B.C. 56). Until about 190 B.C. nearly all the more important temple ftatues at Rome were of bronze. A more purely Roman art difplayed itfelf after the period of Auguftus, when it became more and more fubjedl to mere architedtural decoration and portraiture. 1 The name is in old Latin, "A^w/sf " Macolnia filea dedia." (Muf. Kirk. " Plavtioi ?ned Romai fecit Dindia t. i., pi., II. III.) Ixxii IntroduEiion. Of antique and line workmanfhip worthy of that age, are the four noble gilt bronze fluted columns of the Corinthian order, which now adorn the chapel of the Holy Sacrament in the Lateran bafilica. The maflive bronze doors of the Pantheon are ftill in Jitu. Caligula caufed a cololTal bronze ftatue of himfelf, no feet high to be formed. He brought to Rome, among other price- lefs works of Greek art, 500 bronze fl:atues from the temple of Apollo at Delphi. Of the period of Nero, a bronze fculptor named Zenodorus was celebrated, who formed a coloflal figure of that emperor 115 feet high ; but the art of producing fuch large works was already feeble, for, notwithflanding Nero's readinefs to find the richeft material, Pliny informs us that the figure indicated that the art of cafting ftatues of fuch fize was loft. The huge head of Nero, in the court of the Capitol at Rome, is fuppofed by fome to be portion of this figure, but Zenodorus can hardly have been guilty of fuch inferior modelling as it difplays. Sculpture had ftill further and rapidly declined from the period of Nero to that of Trajan, neverthelefs there is excellent work upon the baf-reliefs of farcophagi and buildings of the latter reign. The gilt bronze figure of the youthful Hercules, in the Capitol, is probably a Roman work of the decline. Another revival occurred at the period of Hadrian (A.D. 1 17-138), that emperor giving great encouragement to the arts and endeavouring to revive the Hellenic fpirit of a former time. But it did little more than reproduce earlier and choicer works, and by their ftudy induced a fpirit of ecledlicifm rather than a fire of originality. Such is ftiown in the otherwife beau- tiful marble figure of Antinous in the Capitoline Mufeum. The greater number of the more important works in marble and bronze which have defcended to our time, excepting thofe of which Pompeii and Herculaneuni have yielded fo rich a ftore, were probably produced during this period of revival; in fome IntroduSiion. Ixxiii cafes original, but, for the moft part, copies in various fizes of the works of the great Grecian fculptors, feveral of which we have already referred to. A ftatue of note and rarity alfo, by fome attributed to this period of revival, is the huge and heavy gilt bronze Hercules recently found in Rome, and now placed in the Vatican. This may, however, be of earlier time. The admirable centaurs of the Capitol, in black marble by Jrifieas and Papias of Aphrodijias, fculptors of Afia Minor, are alfo works of this period, fuppofed to have been copied from earlier bronze originals. An admirable reduced copy of the elder of thefe, believed to be from the atelier of John of Bologna, is in the writer's colledtion. Another work of the period is the faun of rojfo antico in the fame Roman mufeum. The dancing faun, the Herma- phrodite, and others in marble ; but few large works in bronze are preferved to us. Many fmaller works in that metal, of ad- mirable model, careful cafting, and excellent finifh in the details, may alfo with probability be attributed to this Antonine Grsco- Roman revival. Of fuch may be the beautiful little Mercury from the Payne-Knight Colledtion in the Britifh Mufeum, and the Annecy athlete, a fine figure difcovered at that place in Savoy in 1867.^ Alfo fome other ftatuettes of equal excellence ^ Our learned authority, the Rev. C, W. King, in his paper on the fub- jeft of this figure already referred to (Archsological Journal, vol. xxxi., p. 108), exprelTes his opinion that it is of a period " not much later than " Lyjtppus." He argues the incapacity of the fculptors of the Hadrianic re- vival to produce fo fine a work, from the faft that a century before, under Nero, Zenodorus had fo fignally failed in cafting his cololTal ftatue of that Emperor. But furely an artift ca- pable of modelling and finifliing fuch a work as the cqucilrian ftaiuc of Marcus Aurclius, at a period fome quarter of a century after the ftimulus of Hadrian's own living patronage had paffed away, would have been capable of executing a fmall figure fuch as the Annecy athlete, copied, in all proba- bility, from an earlier work. More- over, by Mr. King's own fh owing, even in Nero's time, Zenodorus him- felf, who failed in his Nero, was able to copy the cups which Calamis had chafed," in fuch a way that there was " hardly any perceptible difference in " the workmanfhip." Thz" arts obli- " teratio " of Pliny referred to their incapacity to execute larger works, but that art alio revived under Hadrian. Ixxiv IntroduSiion, which have been unearthed in the neighbourhood of Aries and Nifmes, feveral of which, from the great fimilarity of their very excellent treatment, would almoft feem to indicate the works of a local artift. The equeftrian ftatue of M. Aurelius on the Capitol is a Roman work, and important as the only antique equeftrian ftatue in this material which has been preferved to our days, a fad owing, it is faid, to a belief among the iconoclaftic Chriftians of fucceeding time that it reprefented the firft Chriftian Emperor Conftantine. Later and painfully inferior is the coloflal bronze ftatue of Theodofius at Barletta, a work of the later years of the fourth century. Probably the moft meritorious works of the third century are the reliefs upon the fepulchral farcophagi fo much in ufe at the time of the Antonines, and fonie of which are of great beauty. That in the Capitoline Mufeum, which was fuppofed to be the tomb of Alexander Severus and in which the cele- brated Portland vafe of glafs was difcovered, may be inftanced as a work of great excellence and in the higheft rilievo. Many of thefe have Chriftian fubjeds and allufions intermingled with allegorical reprefentations of Grecian mythology. Numerous are the fmaller figures and ornamental objedls in bronze, the work of thefe centuries of the final decadence of clafTic tafte, many of which, derived from models of earlier time, perpetuate the forms of higher infpiration and a certain charafter of ex- preftion and ftyle of workmanftiip, which, although rude, ftill retains the reminifcence of a former vigour, the fpafmodic effort of a decrepit and decaying art. 'Toreutic works. We have already ftated that the earlieft figures of large fize were formed of beaten plates {Jphyrelata) attached to a wooden core by pins. The art of beating from behind and thus pro- IntroduBion. Ixxv ducing rilievos of mere ornament or of fubjedts is alfo of the higheft antiquity, and probably for this purpofe preceded the knowledge of cafting. Thefe reliefs {emblematd) were formed either by fimple adlion of the hammer working from behind, and afterwards fharpening the outlines by the chifel or punch, or by beating the metal plate into a mould previoufly formed by carving the fubjedt in intaglio upon fome refifting material. Thefe methods were applied to produce a vaft number of objedls in the precious metals and in bronze, and particularly for the ornamentation of objedls for facred and domeftic ufe as vafes, patera, &c., &c. In Greece this peculiar diredtion of art was brought to the higheft perfedlion in the period of Lyfippus and Alexander, when vefTels, as alfo armour, was adorned with rilievos of the greateft beauty. One of the earlier and moft dexterous artifts in metal on record is Mys^ who worked the rilievos on the fhield of the bronze ftatue of Minerva, the anterior produdlion of Pheidias ; thefe reprefented the combats of Centaurs and Lapithas, after a defign by the painter Parrhafius. Pliny writes in the higheft praife of Mentor, an artift of a later day, whofe works obtained enormous prices from Roman amateurs, 100,000 feftertii, nearly 900/., having been paid for two filver goblets made by him. Boethos the fculptor alfo executed works by this method, alfo Akragas and Zenodorus. In the Mufeum of St. Peterfburg are fome admirable works of this nature in the precious metals and in bronze, which were found in tombs at Kertfch in the Crimea. Illuftrations of them have been publifhed in a fumptuous form in the work pro- duced under the direction of the Ruffian Government. The Britifh Mufeum is rich in fine examples of beaten work of the good period of Grecian art. We may particularly refer to thofe two ornaments which covered the fhoulder buckles of a cuirafs and back plate, known as the " Bronzes of Siris" (publiftied and illuftrated by the Dilettanti Soc. fol. 1836), Ixxvi IntroduBion. which are afcribed to fome artift of the fchool of Scopas^ as marvels of breadth in ftyle combined with minute execution. Mr. Heywood Hawkins poflefles an equally beautiful work defcribed by Millingen, which probably formed the cover to a mirror ; it was reftored by Flaxman. The Britifh Mufeum alfo poflefles fome admirable mirror cafes in filver and in bronze. {See Cafe D., Bronze Room, B.M.) We have already referred to Etrufcan works in the fame collection. Again Pliny refers to other ctelatores of great note as Stratonicus the fcuiptor ; "Taurifcus of Cyzicus ; Hecat^us, and Eunicus and Arijlon of Mitylene ; Diodorus. Of the Roman imperial period when the art was greatly encouraged, Pqfeidonius of Ephefus, a bronzift ; Parthenius and Zopyrus ; Pytheas alfo did wondrous works, and 'Teucros. As examples of the per- fedlion attained in this clafs of workmanfliip, although not of bronze, we may inftance the filver Corfini cup in that palace at Rome ; the centaur and ivy leaf cups and the vafe with apo- theofis of Homer in the Mufeum at Naples; the fuperb objeds in filver difcovered at Hildeflieim in 1867 and now in the Berlin Mufeum, of which reprodu<5lions are in the South Ken- fington Collection ; a filver drinking cup of extraordinary beauty, undoubtedly of Greek work, and worthy of the period of LyfippuSy though probably of later date, belonging to Sir William Drake ; the Aquileia goblet at Vienna ; the Bernay treafure ; and, though of minor importance, a filver cup, adorned with fycamore leaves, in the writer's pofl*eflion. The mufeum at Naples is perhaps the richefl: in bronze objeCls for domefl:ic ufe, many of which are of great artifl:ic beauty ; fome are executed by beaten work, others cafl:, and the com- bination of the two methods, the beaten body of the veflel, with handles, feet, &c. caft in the round {epthemd) and ri vetted or foldered on. Among the more important collections of antique works of fculpture, &c., in bronze, may be mentioned, — in Italy, the Mufeo IntroduElion. Ixxvii Nationale at Naples ; at Rome, the Vatican, the Capitol, and the Kircherian Mufeum ; at Florence, in the Uffizii ; Perugia ; Cortona ; Volterra ; the bronze horfes at Venice ; the Vidlory at Brefcia. In France, at Paris, in the Louvre, and the Biblio- theque, and in the local public mufeums at Nifmes, Aries, and other cities. In Germany, befides the important public and royal colleftions at Berlin, Vienna, and Munich, many intereft- ing bronzes, fome of which we have already referred to, are fcattered among the local city mufeums, as Hanover, Brunf- wick, &c. In Switzerland, at Berne and Zurich. In Ruflia, at the Imperial Mufeum in St. Peterfburg, where is alfo the private colledlion of Count Stroganoff. At Leyden in Holland. Few, or none, however, out of Italy, can compete with our own national colledlion at the Britifh Mufeum, where are many works already referred to in thefe pages, and where the art of working in bronze is well reprefented from the moft archaic period to the decline; following upon this is the South Kenfington Col- ledlion of objeds of the Medieval and Renaiflance times. Some of the more extenfive private colleftions of antique bronzes in Italy, in France and in England have been difperfed within the laft few years, and their more important obje6ts have been acquired by the public mufeums of Europe. Our fpace permits that fome only of the more important names and works of the great bronzifts of antiquity can be referred to, nor would a more complete lift or treatife upon this branch of the fubjedl be appropriate in a work of this nature. For the fame reafon, and to avoid confufion, we have thought it better to ufe the Latin rather than the Greek names for thofe deities, &c., ftatues of which have been referred to. Ixxviii IntroduSiion. CHAPTER V. The Use of Bronze in Medieval and Renaissance Sculpture. ITH the advance of the Chriftian religion, but not entirely confequent thereon, fculpture declined. Its greateft fubjefts were diredlly offenlive to the Mofaic law, the Ipirit of which, as regards idolatry, was inherited and promulgated by the difciplesof Chrift. Paganifm was moreover rotten at the heart, and the grand old poetic fpirit, which had fed and developed claflical mythology, crufhed by defpotifm, fcorned by philofophy and materialifm, had faded away, leaving as its record the beauteous forms in which it had been fo fublimely embodied. Thefe however ftill afforded a ftandard about which prieftcraft clung, which intereft foftered, and to which ignorance ftill looked for aid. But among thofe of Grecian, of Etrufcan, and of Latin blood, the sefthetic and artiftic defire was inherent, and could not entirely pafs away : eventually its diredlion was altered and its application modified. Meanwhile the wreck of the Roman do- minion, the inroads of barbarian hordes, and finally the removal of the feat of empire to Byzantium had throughout and rapidly undermined and debafed the fpirit of that wondrous creative faculty which at one time had attained fuch glorious perfedlion in Hellenic hands. The plaftic art in all materials had rifen to the higheft excellence which the world has ever known, or probably will ever know again. Its progrefs had been gradual, its fall was rapid, and it is difficult to conceive, with fuch glorious monuments ftill exifting and around, that it could have IntroduSiion. Ixxix been permitted to fink fo low. In truth no healthy foil was there for the encouragement of art in her higher walks ; but a certain amount of technical ability was ftill maintained to adminifter to the pride of vanity and the luft of the eye, in fafhioning innumerable iconic ftatues and bufts, and in the fabrication of ornamental figures and vefl!els in rich or cofl:ly material. The downward tendency was however very rapid, and the depth to which it fell in Italy was very low. The troubles and weaknefs of the wefl:ern empire increafed, while the wealth of Byzantium attraded the more competent artifts, who there retained many of thofe procefles which were gradually almoft loft to Rome ; until the returning tide, forced northward and weftward by that ftorm of iconoclaftic perfecution which raged during the eighth century at Conftantinople, fpread Byzantine artifts and Byzantine forms of art throughout the greater part of Europe. Early Chriftian art, doubtlefs of very high intereft from its fymbolical reference to biblical and apoftolic hiftory, and to the tenets of our religion, was neverthelefs, for the moft part, extremely bad, nor did the fteady increafe and influence of the faith, nor its extenfion, carry immediate improvement with it, but rather the reverfe. From the fourth century until the tenth its manipulative faculty was continually on the wane, although we cannot but recognife an increafing effort to exprefs a higher fentiment ftruggling with the incapacity to reprefent material form corredtly. Without any contemporary portrait from the life, unable, and perhaps from reverential motives at the firft, unwilling, to attempt a reprefentation of the features and figure of the Saviour, a fymbolifm was adopted, which foon became an accepted method of reprefentation, and the more fo from its not being comprehended by thofe yet unconverted to the faith. It is recorded that Alexander Severus ordered a ftatue of Chrift to be fculptured, but there was no earlier model to Ixxx IntroduEiion. guide, and had it been executed the work muft have been purely imaginary. The Chriftian had therefore to be fatiffied with a typical emblem or monogram, or at moft with the reprefentative figure of the Good Shepherd, a youthful form in ruftic drefs, bearing a young lamb upon his fhoulders and with fhepherd's ftaff in hand. In the Chriftian Mufeum of the Vatican are two bronze medallions, on which are reprefented heads of St. Peter and St. Paul facing each other ; they are reported to have been found in the Callixtan Catacombs, and are thought to have fair claim as early portraits of thofe Apoftles. During the reign of Conftantine bafilicas were rapidly built and richly furniftied with altars of wood covered with filver and canopied by a baldacchino ; on thefe were crofTes and ftatues formed of the precious metals and adorned with precious ftones. Gilt bronze farcophagi lined with filver were made, to contain the bodies of St. Peter and St. Paul. The high altar in St. Peter's bafilica was cafed in filver and gold, and was furmounted by a jewelled crofs, in weight 130 lbs. of gold; the choir paved with the former metal, while golden ftatues of the Saviour and of fome of the Apoftles ftood around, and lamps of the precious metals burned continually. The bafilica of St. Paul was fimilarly enriched, and the wealth of the churches in ornamental and facramental veflels, formed of the precious metals, was, according to Anaftafius, enormous. Nor was the love of fplendour confined to facred purpofes, for during the reign of the firft Chriftian Emperor the members of the Imperial family, followed by the wealthy of the land, were extravagant in the ufe of the precious metals and jewels for the adornment of their houfes and their perfons with rich ftuffs and richer ornaments. Metal work was greatly encouraged, and as St. John Chryfoftom, eventually at the coft of his life, complained, the goldfmith's was the office moft highly efteemed. IntroduEiion, Ixxxi Works in gilded bronze naturally took their place where the more precious metals were deemed unneceflary or their femblance fufficed. But of all thefe little or nothing is left to us, and we can only judge of the comparative rudenefs of the art from fculptured baf-reliefs, for the moft part on far- cophagi of that period, and reprefenting Chriftian together with typical fubjedts from the Old Teftament hiftory. In metal work we have a few fpoons and pateras of filver ; the remarkable facramental ewers or cruets of the fourth century now preferved in the Vatican ; the cafket of filver found with other objeds on the Efquiline in 1793, and now in the Britifli Mufeum ; fome filver objedls in the pofi*effion of Mr. Franks, and others in various colledtions. Bronze lamps, curious in fymbolic form or ornamented with crofi"es and other emblems of the faith, have been found in the Catacombs and elfewhere, feveral of which are in the Chriftian Mufeum at the Vatican, in the Uffizi at Florence, and in the Britifh Mufeum ; one, extremely well wrought in the form of a fifh, and probably of earlier date, is in the writer's colle6tion, as alfo a remarkable fet of facramental veflels found in Upper Egypt, and defcribed and figured in Vol. XXV. of the Archasological Journal, p. 242, et Jeq. ; thefe are of the earlier years of the feventh century, and formed of bronze. It was not till towards the clofe of the fixth century that the ringing of bells for fummoning to worfliip was adopted in the monafteries of Italy, &c., their ufe foon became extended and general, but not till 770 was the firft campanile or bell tower eredled by Pope Stephen II. at Rome. The moft important work in bronze fculpture which has defcended from thofe days to ours, is the feated ftatue of St. Peter in that faint's bafilica at Rome, a work ordered by Leo I. Its general afpedl is that of a fenatorial iconic ftatue, a work of the fifth century, and unufually good for the debafed art of that period ; not wanting in a certain rigid dignity, and remarkable for B- g Ixxxii IntroduSiion. technical fkill and finifh, which would corroborate the opinion, formed from a Greek infcription which exifted on the original marble chair in which the figure was feated (now replaced by a bronze one of the fifteenth century), that it may be the work of a Byzantine artift. Alfo of the fifth century is the much reftored marble ftatue of Hippolytus, now in the Lateran Mufeum, a fculpture which fliows a lingering power of no mean order. An important gilt bronze work, afcribed to the feventh century, is the chair or throne of Dagobert (fo called), at Paris, an electro-depofit copy of which is in the South Kenfington Mufeum.^ It is not, however, all of the fame period, the lower portion being probably more ancient, while the upper is an addition of more recent time. To this we lhall again refer. The foul of the earlier creative art had fled, but a fpafmodic power flill enabled the body to perform accuftomed mechanical fundlions, that furvived even to longer period at the extremi- ties, the provinces and colonies of the enfeebled empire. We ought not to forget the fa6t that under Conflans II., during his vifit of twelve days to Rome in 663, the removal of all bronze and many other works of art confidered worthy was accompliflied by that fratricide emperor, who then finally robbed the eternal city of her chiefeft remaining works of art. Among thefe, according to Nibby, were the ftatue of Trajan, and the gilt bronze tiles which covered the dome of the Pantheon ; all were fliipped for Conftantinople but loft by ftiipwreck or by Saracenic fpoliation. At Byzantium, where the procefTes of various arts had been preferved, a great work in bronze was executed by order of Juftinian in the year 543. It was a column covered with plates of that metal, and furmounted by a coloflal equeftrian figure of the emperor fome thirty feet in height, and alfo of bronze. ' Reproduftions, No. '68. 16. IntroduEiion. Ixxxiii It is remarkable that the artift, Eujiathius, is faid to have been a Roman, from which, perhaps, it may be inferred that the plaftic art was ftill fuperior in that city. This work, although ruined, was not melted down till the fixteenth century. Another important work, which by Mr. Perkins and other authorities is thought to reprefent the Emperor Heraclius, and to have been caft at Conftantinople by a Greek artift named Polyphobus, in the feventh century, is the colofTal bronze ftatue, now Handing at Barletta in Apulia. Giovanbatifta Finati (Mufeo Borbon. vol. 14, tav. xxv.), following the opinion of Marulli, and judging from comparifon with the coins of thefe emperors, concludes however, that it is intended for Theodofius the Great, and a work of the laft quarter of the fourth century, with which period the Roman military drefs and accoutrements would better agree. He wears a diadem of pearls in double row on his head ; in the right hand the crofs is held aloft, and his gaze is heavenward. This ftatue, ftranded upon the beach, was fet up and reftored by the Neapolitan bronzift, Albanus Fabius, in 1491. At Ravenna was the bronze equeftrian ftatue of the Emperor Zeno, caft at Conftantinople ; on his left arm was a fhield, while his right hand held a lance. The rigid formalifm of the Byzantine ftyle, accompanied by great excellence of technical power, came like a returning wave and extinguiftied almoft the laft fpark of the ancient claflic manner. In the feventh century it had appeared in Italy and was extending its influence and manner throughout the Weft, then faft linking into comparative barbarifm. But few plaftic works of large fize were produced, particularly in bronze, while, on the other hand, a careful execution and high finifti of the details, fuch as rich ornaments of the drefles, thrones &c. in Oriental tafte, may be obferved as reprefented on the ivories and paintings of this period. The manner became ftereo- typed, and under the influence of the Eaftern church lafted Ixxxiv IntroduSiion. almoft unchanged in many localities for feveral fucceeding centuries, in fadl almoft; to our own day, as may ftill be feen in modern works produced by the monks of Mount Athos. Many interefl:ing lamps of terra-cotta and of bronze, adorned with early Chriftian fymbols, ornaments, and figures in the Byzantine ftyle, are preferved in Mufeums. That of the Vatican is rich in examples ; at Florence and in the Britifti Mufeum are fome fpecimens. No. 578. '72 in this Catalogue may be inftanced as a work of this charafter, but without emblems. Another work in the South Kenfington Mufeum of purely Byzantine charafter, although probably caft at a later period than its fliyle might indicate, is the triptych. No. 1615. '55, illuftrated on Plate VI. ; but whether originally modelled for cafl:ing in bronze, or moulded from an ivory carving, it would be difficult to feel aflured. Some of the moft important works produced were for the embellifhment of the bafilicas and churches, and in the form of reliquaries, church veflels, &c. Upon thefe a wealth of precious metals and ftones was frequently beft:owed. Of fuch are the altar front of St. Ambrofio at Milan, and, of later date, that of St. Mark's, Venice ; the altar of the Abbey Church at Peterfhaufen, near Conftance, is now defl:royed ; that of the Cathedral at Bafle, is now in Paris ; the altar front at Aix la Chapelle, &c. The South Kenfington Mufeum is rich in vefi'els for church ufe that well illuftrate the metal work of thofe centuries in gold and filver as in richly gilded copper or oricalchum, adorned with enamel, with niello, and with cabochon ftones of the Byzantine and Byzantine-Romanefque and " Gothic " periods ; thefe will form the fubjedls of another catalogue. From the tenth to the twelfth century fculpture was at a very low ebb, and larger works produced between thofe periods are of great rarity. Ivory carving was practifed, and the fculptor's art of thefe and fucceeding ages is beft reprefented in that material, a fubjedl so ably illuftrated by Mr. Maficell in his IntroduSiion. Ixxxv catalogue of that fe6tIon of the South Kenfington Mufeum, and in Profeflbr Weftwood's fupplementary volume on the reprodudions from ivories in other colledlions. Of works in bronze, the more important are the doors of various churches in Italy and Germany. It will now, however, be neceflary to follow the courfe of our fubjeft in different countries through the fucceeding ages, but before doing this we fhould, diredl attention to thofc bronze gates of Italian churches which were caft by order in Conftantinople, and im- ported thence. Of thefe, the work of one cafter, Staurachios, and the gifts of members of one family, the Pantaleone of Amalfi, are the doors of the cathedral at Amalfi (A.D. 1066), of Monte Caflino (1066), of Monte Gargano (1076), and of S. Salvator at 'Atrani (1087). On them, portrait heads and fubjedts in panels are reprefented by means of incifed lines filled in with filver and with coloured (metallic ?) compofition. Of fimilar charadler and origin are the fmall remains of the doors of the Balilica of St. Paul outfide the Roman walls, which were for the moft part confumed in the great fire of 1824, and which were alfo figured with filver inlay; they were made by Staurentius of Conftantinople, A.D. 1061-72,^ and are illuftrated in Agincourt. The bronze gates of St. Peter's, infcribed in filver inlay with the names of cities belonging to the Holy See, loft during the attack of Frederick I. in 11 67, were reftored to the old Bafilica in 1 200, and were doubtlefs of fimilar origin. The bronze doors of St. Mark's at Venice are alfo of Greek workmanfhip ; one of them is faid to have been taken from Sta. Sophia at Conftantinople, where fome of the prefumably original bronze doors are ftill in fitu. 1 Ciampini, Vet. Mon. pi. 18. The name is doubtlefs only another fpelling of Staurachios. Ixxxvi IntroduSiion. Of fimilar workmanfhip, in ftyle imitative of and derived from Byzantine handicraft, are the bronze gates of the Duomo at Troja, of the earlier years of the twelfth century, about 1119-1127, made by Oderifius of Beneventum, which have their figured decoration, confifting of portraits of bifhops and others, the artift among them, in filver lines inlaid in panels ; the lateral doors are fimilarly worked, but in niello. Alfo figured in niello are the bronze gates of the Grave chapel at Canofa, in Apulia, of remarkable defign, partaking of the Byzantian charadler and the Saracenic, but the work- manfhip of an artift of Amalfi named Roger^ who alfo made a candelabrum, now loft. Thefe were works alfo of the earlier years of the fame century. « Italy. We have feen that in Italy during the eleventh and twelfth centuries two influences were felt, the ftill lingering fpirit of the antique, which took a form known to us as the Romanefque, and the imported Eaftern manner from Conftantinople. In fome localities alfo, as chiefly fliown in Sicilly, the Saracenic element made itfelf felt. The Byzantine knowledge of pro- cefles, and their artiftic ftyle, were alfo fpread by the returning crufaders, extending far and wide. We have referred to bronze gates executed by Greeks, or under the influence of their manner. We will now take note of thofe fimilar works by Italian caflers working independently. Such are the doors of San Zeno at Verona, of wood, each valve of which is covered with twenty-four panels, each a feparate plate, beaten and not caft, feparated and framed by mouldings, with lions' heads at the interfedlions ; thefe, except two which bear the lion's head handles, are covered with rilievos of facred hiftorical fubjedts. They are faftened to the doors with bolts or nails, and the more recent were probably hitroduSiion. Ixxxvii produced during the courfe of the eleventh century ; all are, however, very rude, particularly thofe of the left wing, fome of which were probably the work, of Guglielmo and Nicola da Figarola in 1 1 7 1 . Thofe of St. Clemente, near Pefcara, are alfo formed of plates of metal having fubjedts in relief and nailed to the wooden foundation. They are, however, of later date, in the following century. At Beneventum the portals of the Abbey Church, a noble work, are covered with fubjedls in relief in feventy-two com- partments. They are probably of the middle of the twelfth century, and of fome technical excellence, in manner not quite free from Byzantine influence, but more Romanefque, and inferior in flyle to thofe of Ravello. The doors of St. Ambrofio at Milan, enclofmg panels of the earlier work, may probably be alfo of about 1 170. Thofe of Trani and Ravello, dated A.D. 1179, and the fmaller one, of the northern fide aifle, at Monreale, are of the twelfth century, caft by Barijanus of Trani, and are remark- ably fine works, having fubjedts in relief upon the panels, which are feparated by arabefque mouldings of great richnefs, with rofette-formed bofles at the interfedlions and lions' head handles. In thefe the artift frees himfelf from Byzantine influence, and throws great life into his figures. At Pifa the archited: Bonnano was alfo eminent as a bronze cafter. He executed the gates for the Duomo, of which the fmaller pair remain at the fouthern tranfept, the larger having been lofl; in the fire. Thefe fbow a great advance in refpedl to artiflic modelling and compofition beyond thofe of St. Zeno, but are fomewhat of Byzantine charadler. The cafl:ing is alfo well executed. Full of fubjedl they reprefent incidents in the life of Chrift on funken panels, the fl:iles being enriched with B. g 4 Ixxxviii IntroduSiion. rofe-like bofTes and furrounded by a maffive cord moulding. They were made about A.D. 1180. Cafts of them are in the South Kenfington Mufeum (No. '65. 58). He alfo caft the noble gates for the weftern portal of the Cathedral at Monreale, a work full of compofition and rich ornament, but alfo of marked Byzantine fentiment. In Rome, at the Oratory of St. John in the Lateran Bap- tiftry, is a fmall pair of folid caft doors with a few figures in relief, and defigns of buildings, &c. in incifed lines ; they are by Uberto and Piero di Piacenza in 1195. We have dwelt fomewhat longer upon thefe works becaufe they are important as illuftrating the bronzift's art at a period when fculpture had funk very low, but when a movement was about to take place which eventually led to throwing off the trammels of Byzantine mannerifm, foon to be followed by the introduftion of northern pointed architedlure and its accom- panying fyftem of ornamentation. We have, indeed, little elfe left to us of the bronze works of that period in Italy, with the exception of fome bells, pro- bably fome few of the eagle-formed ledterns, one of which, that in the Church of S. Ambrofio in Milan, is of very early date, and a larger number of croffes and altar candlefticks ; but thefe are more rare of Italian than of German or Flemifh pro- dudlion. Of bronze works of the latter end of the twelfth or early thirteenth century mention may here be made of the wonderful candleftick, the albero in Milan Cathedral. In defign it is a mixture of Byzantine and Romanefque, while the fentiment and adion of fome of the groups and figures would fuggeft the earlier years of the fucceeding century. A caft, by Pietro Pierotti of Milan, of this remarkable work is in the South Kenfington Mufeum (No. '67. i), and it has been defcribed and illuftrated in Didron's Ann. Arch. IntroduSiion. Ixxxix The bronze door of the Lateran facrifty is ftated to be by Albertus and Petrus " Laujenenfis " (of Laufanne ?), and of the year 1203. The influence of the Pifan fchool under Nicola Pifano was the firft great motive change ; the budding forth of the Re- naiflance of the plaftic art under modified claffic forms and ornament, to which a pidurefque element not derived from claffic models, and a religious fentiment which Chriftianity alone could impart, were fuperadded. Giovanni^ the fon of Nicola^ ftill further advanced the new movement, but it is to Andrea that we owe the greatefl: bronze work of the early revival. The gates of the Baptiftry at Florence, were, according to fome flatements, caft after Andrea's defigns by bronze founders from Venice. We fliall return to the confideration of this noble work. The pointed ftyle, which had fo thoroughly eflabliflied itfelf throughout the northern and weftern countries of Europe during the thirteenth, fourteenth, and fifteenth centuries, never took fo firm a root in Italy. But the Italian artifl:s, with that quicknefs of perception and appreciation of the beautiful which is inborn to them, modified and adapted the pointed architefture and ornaments to their own ideal, producing thereby works of the greatefl beauty, but which unfortunately fo fre- quently ignore that great principle of true " Gothic " art, viz., conflru6tion, to which ornament is corredtly made fubordinate. The Italians purfued their own courfe, the regeneration of art in Italy was upon other principles and guided by another fentiment than that of the countries beyond the Alps ; the old claffic blood flill flowed in their veins, and the advancing flood of the afpiring northern flyle, broken into many ftreams by the Alpine barrier which it had to pafs, was foon met and flemmed by the tide of claffic revival. This in its turn flowed north- 1 For examples of the fculptures of the Pifan fchool, Jee Italian fculpture, Nos. 5797 to 5800, 7451, 7563, 7566-7, 7600. xc IntroduElion. ward, fubmerging (alas !) and drowning the better and more original, inaptly termed, " Gothic," and itfelf foon degenerating into an objedionable and nervelefs pfeudo-claffic mannerifm, overlaid by a fungoid and unhealthy growth of rococo fcroU ornament. The fame fentiment that influenced architedure as the leading art alfo modified the fculptors' and the painters' {lyle ; thefe were again followed by the filverfmith, the jeweller, and the potter. Their debafement was univerfal till art and its appreciation fell fo low as to fweep away monuments of a purer time, or to immure them beneath the weight of works which deface fo many fine churches in France and Italy. Fortunately in England thofe earlier works were rather negledled than " im- proved " ; this was not, however, the confequence of a better tafte ; for in architedure, the National Gallery and certain ter- races in the Regent's Park ; in fculpture, the equeftrian bronze ftatues of Wellington and George IV. ; in pottery, the pro- dudlions of Spode ; and in filver, the King's pattern fpoon, are extant witnefTes to the poverty of artiftic capacity in thofe arts, fo curioufly inferior to fome of the contemporary works in painting. 'Tujcany. And now, for greater convenience in the ftudy of our fub- jed, it will perhaps be well firft to confine attention to the moft important and abundant fource of this great revival in the fculptor's art, Tufcany. That love for the production of works in bronze, which had led to fuch technical excellence on the part of their Etrufcan forefathers as to make them the furnifliers of armour, candelabra, vafes, and other ornamental objeds of that material, to the ancient world, even to Athens in the days of Pericles, after a long enervation, and perhaps flimulated by the works of Byzantines and of their immediate followers in the fouth of Italy, we now fee firfl: fl;irring itfelf IntroduSiion. xci into new life by Andrea s produdion of this noble gate of S. Giovanni. The Colimati family at Rome, fculptors and mofaicifts of admirable tafte, defigning firftly in a claflical manner of their own, latterly in the " Gothic " ftyle of Arnolfo del CambiOi were working during the twelfth and thirteenth cen- turies, but do not appear to have produced anything in bronze. With that exception the Roman fculptors had defcended to mere mechanics ; the Byzantine mannerifm knew no pro- grefs ; we know but little of the power which Merovingian tafte exerted beyond the goldfmith's art ; the Carlo vingian influence had been fhort-lived; both probably of the former may be traced, as alfo perhaps a Scandinavian element, in the works of the Comacines, by whom art was kept alive during the darker period of the middle ages in Northern Italy. The Goths and Longobards would feem to have had no art of their own, and we have feen how inferior, although ambitious in its objedr, was the artiftic power of the bronzift as difplayed upon the doors of St. Zeno. But the awakening of dormant energies, wearied and funk in the dark night of ignorance and difcord, was, as we have already faid, due to the inborn genius, foftered by a true appreciation of the works of antiquity, of the Pifan Nicola, fon of a notary of that city, and born about 1 205 or 1 207. The works of this truly great artift, the father of Renaiflance fculpture, who during his adtive life laboured in various parts of Italy, aided and fuc- ceeded by his fon Giovanni, fpread far and wide the feeds of improvement in that art which gradually developing, produced fuch noble fruit three centuries afterwards. Nicola's work, like that of the Comacines and of the Cofimati, was for the moft part in marble, indeed the bronzes on his lateft important undertaking, the fountain at Perugia, were caft by Maejlro RoJJi in 1277, after Nicola's defigns. Of the works of Giovanni, his fon and fcholar, which, although imbued with the father's manner. xcii IntroduSiion, were wanting in the fame original fire, we have none in bronze, a material which feems to have been referved for his fcholar, Andrea, not his blood relative, although as an artift one greater than he. Son of Ugolino di Nino, Andrea Pifano da Ponte- dera advanced beyond the architedlonic trammels which had bound the works of his mafters, though with golden cords, and entered the more poetic atmofphere of allegory, fteadied never- thelefs by a well-balanced propriety and earneft fimplicity of compofition, and imbued with pathos. In his youth Andrea, v/ho was born in 1 270, worked in the fchool of Giovanni as an apprentice, but afterwards feems to have gone to Venice, where it is polTible that he may have gained fome knowledge from Byzantine workmen of the art of bronze cafting ; for foon after his return we hear of him as the beft fculptor in that m.aterial in Italy. He made a bronze crucifix for Clement V. which he fent as a prefent to that Pope through his friend Giotto. His great work, the gates for the Baptiftry of San Giovanni, were modelled by him in 1330; the infcription on them, Andreas Ugolini Nini me fecit . A.D. MCCCXXX," referring to the time when the model was ready, and which took him nine years completely to finifh in bronze. Thefe noble doors now hang on the fouth fide of the Florentine baptiftry, and are furrounded by a rich frieze fubfequently modelled and partly worked by Lorenzo and Vittorio Ghiberti ; they are divided into twenty large panels and eight fmaller, the former reprefenting events In the life of S. John the Baptift, the latter having allegorical figures of the Virtues. The defigns for thefe admirable com- pofitions have been attributed by Vafari and other writers to Giotto, Andrea s friend, and doubtlefs the influence of the mind and works of the great painter had its effeft on Andrea ; but in truth fculpture was in advance of painting at that time, and we fee no reafon to doubt that the invention of thefe admirable groups, fo full of fentiment and purity in expreffion, fo natural and truthful in the telling of their ftory, fo eafy in the pofe and IntroduSiion. xciii elegant in the drapery of the figures, and elaborated with fuch painftaking and technical ability, emanated from the mind of Andrea, as their execution was due to his fuperintendence and handiwork. Almoft all we know of Andrea is upon thefe gates. He did work, chiefly architedtural, at Venice ; modelled fome baf-reliefs for Giotto's Campanile, and fome ftatues for the facade of the Duomo ; a Virgin and Child for the Bigallo, and one for the Campo Santo at Pifa ; another for the facade of the Orvietan Duomo, on each fide of which is the figure of an angel in bronze, caft by Lorenzo Maitani. He died at Florence in 1345. The technical and artiftic knowledge conveyed to fo many by the produ6tion of thefe gates, the admiration of the Signory and people of Florence, led to the formation of a fchool of fculptors in bronze at that city, who, following or leading, as the cafe might be, the fpirit of art in their day, continued to flourifh for upwards of three fubfequent centuries. To thefe we fhall recur ; in the meantime, Siena, the great artiftic rival of Florence, had given birth to artifls of high ability, to none more fo than Maitano di Lorenzo, the architedl, from its firfl flone to its entirety, of that magnificent cafket in marble the Cathedral of Orvieto. Round this wondrous ftru6ture cluftered in loving toil, like bees about their comb, a very crowd of artifls and artizans, aided by the voluntary labour of admiring citizens. Leader among them, the Capo Maejlro, was Maitano, architeft, fculptor in marble and in bronze, mofaicift and philofopher, who has left us on this facade the hiflory of our faith writ in marble, that " he who runs may read," But thefe are not of bronze, and we may not dwell on the wealth of Biblical illuflration and artiftic beauty difplayed upon " the four piers," the handiwork of Pifan and Sienefe chifels more or lefs infpired by the mafter mind. Looking upwards, however, we fee the fymbols of the four Evangelifts in that metal, which were caft, as it is faid, by him in the laft year of his life, 1330. His fon Lorenzo, who afterwards went to Perugia, was alfo a bronzift, as we have xciv IntroduBion, already noted in referring to the fountain in that city. The feated group of the Virgin and Child was caft by Maeftro Buzio di BiaggiOy after a model, as it is faid, by Andrea Pifano. Not however till 137 1 did Siena's greateft fculptor fee the light, Giacomo della Qiuercia^ the fon of the goldfmith Pietro d' Angela di Guarnerio. In his hands marble and bronze were at com- mand, although his more important works at Bologna and elfewhere are in the former material ; this was by accident, for had he fucceeded in his competition with Ghiberti for the fecond pair of the Baptiftry gates, his fame would have been per- petuated in metal rather than in marble. One work by him in bronze is the rilievo panel on the font in the Sienefe baptiftry, which he had been commiflioned to execute in 141 6, but which was not finifhed till 1430, and reprefents the calling of St. Joachim, a fine work, ably grouped. It was to be gilded and a companion panel caft, but this Qjiercia never executed, and the work was giyen to Donatella. He died in 1438. Of other Sienefe fculptors who worked in metal, // Vecchietta, Lorenza di Pietra di Giovanni di Lando^ fo called, was a fcholar of Querciay and executed a filver ftatue of St. Catherine, now loft ; he worked in other materials as a fculptor, and alfo as painter, archited, and goldfmith. By him is the bronze tabernacle above the altar in the Duomo at Siena, adorned with cherubs, and a ftatuette, the rifen Saviour. In the colledion at the Bargello in Florence is the recumbent draped effigy of Marino Soccino by Vecchietta, a ftriking and pathetic work, but fome- what hard and dry, as though caft from the dead model (fee Cafts, No. '64. 11). Other works by him at Siena are the ftatues of St. Peter and St. Paul, at the Loggia de' Mercanti ; a bronze Chrift and angels bearing candelabra in the chapel which he built and endowed at the Hofpital della Scala^ the former of which he infcribed, " Vecchietta^ Pictor^ pro Jua devotione fecit 1 Nos. 7572-4 and 7613 are works afcribed to ^jiercia ; a caft from another is No. '64. 10. IntroduBion. xcv " hoc opus." An altar in the chapel of S. Catherine at S. Domenico, and a Chrifl between two angels in the facriftan's houfe, near the Madonna di Fontegiufta, are alfo fuppofed to be his work. He died in 1480 at the age of 78. Giovanni di Stefane, a pupil of Antonio Federighi, executed two of the bronze angels which furmount the high altar of the Sienefe Cathedral. urino di SanOy a goldfmith, alfo worked in bronze, execut- ing, with the aid of his fon Giovanni , in 1427, two of the panels in relief on the font of the Sienefe Baptiftry, reprefenting the birth of John and his preaching in the Defert, with fur- rounding ftatuettes. Thefe are fuperior to three reliefs in marble, their work, now fet in a wall of one of the chapels in the cathedral. The Sienefe bronze wolf, placed upon a column near the Communal Palace of that city, was caft by Giovanni 1" urino. Francejco di Giorgio was a bronze cafter and fculptor, as well as an engineer and military archite<5l, to which he chiefly devoted himfelf. In 1493 he retired to Siena, and was eledled to the magiftracy ; he then modelled and caft two angels in bronze, which ftand at the fides of the ciborio^ above the high altar in the Duomo. The monument, in the now defecrated church of S. Francis, to Criftofano Felice was afcribed to him, but is now known to have been the work of Urbano da Cortona, one of Vecchietta's fcholars. Giacomo Cozzarelliy another Sienefe and fcholar of Francejco di Giorgio^ was an able bronzift, and made thofe remarkable torch bearers which are fo ftriking an ornament on the Palazzo Petrucci in that city. Thefe fine braccialetti and the brackets in the cathedral, at the ends of the high altar, alfo his work, are very admirable. The artifl:s of Siena, during the courfe of the fixteenth and fubfequent centuries, when her government was merged in that of Florence, were of minor confequence, and need not detain us. xcvi IntroduEiion. Returning to Florence, which city had learnt and profited fo much by the works of the Pifan fchool, followed by her own Arnolfo and Orcagna, we fhall find that not until the end of the fourteenth century, fome hundred and fifty years after the great revival of fculpture by Nicola Pifano, did two of her greateft artifts appear upon the ftage, Lorenzo Ghiberti (1381-145 5), the leader, if not the creator of the pidlorial fchool, and Donatello, made of fterner ftuff, more realiftic and naturaliftic in his treatment of plaftic reprefentation. The fpring-tide of the renaijfance was in full flow, the earlier religious fentiment, undermined by the revival of claffic learning and philofophical fpeculation, was lofing its purity and fervour, while the appreciation of the excellence of antique art had led to the adoption of its forms and ornamicntation, more or lefs modified by individual and local tafl;es. The re- fults were, however, extremely beautiful, and in themfelves the fculptures of this period claim the next place in our admiration to thofe of the fchools of Greece, to which, at a diilance per- haps nearly equivalent to that of the period which feparates their produdlion, they may be looked upon as parallel. A craving for artiftic creation became almoft general, and city rivalled city in the ereftion of temples rather than churches, and in the enrichment of thofe already built. Andrea's gates to their " hel San. Giovanni " but flimulated the Florentines, then in the full tide of their profperity, to the defire for more. Meanwhile Ghiberti was ftudying metal work under the teaching of his excellent father-in-law Bartolo di Michieky the goldfmith, and painting in frefco at Rimini ; until, in- formed that the Signory and Merchants' Guild had decided on erefting another fet of bronze portals to the Baptiftry, and had invited artifts to compete for the work, he, by the advice of Bartolo^ returned to Florence, entered his name for the artiftic tournament, and was to break a lance with his townfman Brunellejchi, with Qjiercia and Valdambrini from IntroduBion. xcvii Siena, with Niccola of Arezzo, and with Simone da Colle. Donatello did not compete. The trial piece was to reprefent Abraham's Sacrifice. The field was foon left clear to the two Florentines, and the judges could hardly decide upon the superior merit of either work. But Brunellefchi' s more critical eye convinced him of his rival's fuperiority, while his noble heart refponded when he yielded the palm voluntarily to Ghiberti. The record of this interefling epifode in art hiflory remains to us in the original trial pieces, which are preferved in the Mufeum at the Bargello in Florence, and of which eledlrotype reprodu6lions are in the South Kenfington Mufeum (Nos. '71. 29, '71. 30). In this great work, Ghiberti' s firfl gates, the artifl indulges lefs in his pidlorial tendency than is to be feen in his later works, from which he has been termed by Perkins, not inaptly, a " painter in bronze." They are divided each into fourteen panels furrounded by mouldings and by fliles, the latter enriched with leafage, and having at the interfedlions a projedting head in high relief. The five upper rows on each door, twenty in all, relate to the hiftory of Our Lord ; the remaining eight are occupied by figures of the four evangelifts above, and four dodlors of the church below. As Mr. Perkins juflly says, " One can never tire in looking at thefe exquifite works, which " combine the purity of ftyle of an earlier period with a " hitherto unattained technical knowledge and fkill in hand- " ling." After twenty-one years' labour, aided by no lefs than twenty artifls, thefe gates were fet up in 1424 in the place oppofite the Cathedral, now occupied by his later great work^ commifTioned almoft immediately after the completion of the firfl, which had excited fuch univerfal admiration. On thefe all the knowledge and dexterity to which fo long a courfe of pra6tical experience had brought his hand and eye, aided by a mind gifted with marvellous inventive power, were brought to bear. The decifion of the Signory, that events from the Old Teflament hiflory fhould be reprefented upon thefe gates, on the B. h xcviii IntroduSiion. larger fpaces afforded by dividing each valve into only five panels, gave more fcope for Ghiberti to indulge in his pidtorial rendering of the compofitions with a plaftic facility that ftands unrivalled. He ftates that he ftrove to imitate nature to the utmoft by ftudy- ing how forms ftrike upon the eye, and endeavoured to blend the theory of pidorial and fculptural art, a fallacy offenfive in pradlice by any hand inferior to his. But gladly one forgets all theory and rule in gazing upon the wonderful art difplayed in thefe compofitions, in which the efi^efts of perfpedive and difl:ance upon the rilievo and details are conveyed to the eye as by a pencil drawing, and with an accuracy that almost defies criticifm. Nor can we but admire the poetic reprefentation of the different adlions of a hiftory, depided (almofl literally) on the one panel in varied groups connected by a natural fequence. The fubjedls, furrounded by fimple mouldings in each panel, are framed by a richly ornate flile continued round the four fides of each valve. On the lateral ones are niches enclofing ftatuettes, twenty-four in all, of fcriptural perfonages, between which, at the angles and interfedlions of the panels, are projefting heads ; among thefe are portraits of himfelf and of Bartoluccio. We may not dwell upon the beauties of thefe wondrous gates, " Che starrebon bene alle forte del Paradi/o" to ufe Angela's words, but pafs on to record other and minor works by this great man, not forgetting, however, to notice the rich bordering of foliage, fruits,'^and flowers, birds and animals, by which both of his and the gates by Andrea Pifano are furrounded, the work partly of Ghiberti^ his son, and affiilants, among whom were Donatella and Pollaiualo. Thefe fecond gates, the chief work of twenty-three years of his life, and not completed till he was feventy-four, replaced his firil in 1452, which were then transferred to where they now remain, on the fouthern fide of the Baptiflry.-^ In the South Kenfington Mufeum is an 1 Thefe gates are well illuftrated by " Le tre parte del Battijlero di San Lafinio's engravings in the folio work, Giovanni." Firenze, 1821. IntroduSiion. xcix ably executed eledtro-depofit reprodudion of them, the work of the late Signor Franchi (No. '67. 44. )> but wearying the eye by their garilTi gilded furface, which, in the writer's opinion, had been better omitted. It is true that the originals were gilt fome years after their completion, but not by the firft defign of the artift : a fplendid extravagance, parallel to that of Nero in gilding the noble work of Lyjippus^ and one that in this inftance would have been " more honoured in the breach than the " obfervance," and which time and wear have remedied upon Ghibertts work. A partial gilding, fay of the architedural mouldings and features, would have been preferable, leaving the rilievo fubjedts, the artiftic excellence of which could be fo much better feen and appreciated in the rich colour of the bronze. Among Lorenzo Ghihertis other works are the three ftatues which he executed for the enrichment of Or San Michele ; they reprefent St. John (made in 141 4); St. Matthew and St Stephen (1419-22); but his life's devotion to modelling on a fmaller fcale and in rilievo, hardly developed an equal excellence on larger works in the round. For the baptiftry at Siena he worked two panels of the font in bronze rilievo, reprefenting St. John before Herod, and the baptifm of Our Saviour ; thefe were finifhed in 1427, and are fine works. The reliquary of St. Zenobius, for the Duomo at Florence, was executed in 1440, on the front of which is a fine relief of the refufcitation of a dead child by the faint, moft fkilfully and admirably reprefented. The " Cafla," made to contain the relics of SS. Giacinto, Nemefio, and Proto, now in the Bargello Mufeum, is another work executed in 1428. In Santa Maria Novella is a fmall bronze rilievo, Chrifl: enthroned, which Burckhardt confiders to be an early work by Ghiberti. Some bronze grave flabs in Sta. Croce and Sta. Maria Novella are works by Ghiberti of minor moment, nor need we more than allude to the mitres, richly fet with gems, which he h a c IntroduEiion. made for Popes Martin V. and Eugenius IV. , nor other gold- fmiths' work by him, no known piece of which fur vives to tell his excellence in his original craft. In architedture he proved himfelf incompetent. He died in 1455, leaving the rich frieze which now furrounds Andrea's Gate, to be completed by his fons and fcholars. To one of thefe, Vittorio Ghiberti, has been affigned by Gaye the beautiful bronze pedeftal or altar in the Uffizi, which has alfo been claimed as the work of Defiderio di Settignano On this, among exquifite furrounding foliated enrichment and mouldings, are two admirable panels in rilievo, one reprefent- ing a facrifice, the other a triumph of Ariadne. Of this laft, a replica of the time, perhaps the fole remains of a companion pedeftal, or fpecially repeated from its greater excellence, is in the writer's colledlion.-^ Filippo Brunellefchi, the architedl-fculptor, after competing with Ghiberti for the gates, and whofe trial piece is preferved with that of his more fuccefsful rival in the colledlion at the Bargello, feems to have devoted himfelf to the greater art, and we have no further record of works by him in bronze. Cluftering round Ghiberti s great work was a fchool in which many artifts acquired invaluable technical knowledge of the fculptor's art in metal, and where their talents were con- firmed and developed under the mafter's eye ; among thefe, of the more important were Lamberti, Pollaiuolo, Michelozzo, and for a while Donatella. The latter, Donato, the fon of Nicolo di Betto Bardi, born at Florence in 1386, and generally known as Donatella, was perhaps the greateft fculptor of the revival, until the giant art of Michel Angelo arofe, fubduing all. Ghiberti, admirable as he was, could not advance beyond the piftorial and miniature reprefentation of hiftories beautifully told, and accompanied by ^ It is illuftrated by an engraving in the " Gallerie de Flore?ue et du Palais Pitti." Fol. Paris, 1789. Vol. i, pi. 16. IntroduSiion. ci an execution of the ornamental details worthy of his own, the goldfmith's, highly developed art. In larger subjedls he was deficient, neither did he ever work in marble ; but Donato, while able to execute the moft minute elaboration with loving care on both materials, could rife far highei in conception and creation. Since the fall of the Eaftern and Weftern Empires no equeltrian ftatue of life or heroic fize had been attempted, till Donato modelled and caft the Gattamelata. As a lad he ftudied under Bicci di Lorenzo, and was protected and lodged by Ruberto Martelli the banker, his patron and friend. He travelled to Rome with his friendly critic and rival, Brunellejchi^ to ftudy antique fculpture and architedlure, returning after two or three years. His earlieft important works as a fculptor are, a rilievo in ftone at Sta. Croce the Annunciation, a work of great refinement, and the ftatues of St. Peter and St. Mark at Or San Michele. We muft, however, haften on in queft of his works in our material, bronze, paufing however one moment to offer our meed of admiration to the noble figure of St. George,^ than which nothing had been produced fo admirable fince claflic times. Following the order of time in which his feveral bronze fculptures were executed, we have firft the noble monument in the Florentine Baptiftry to Pope John XXIII., who died in 141 9, in the execution of which Donato was afiifted by Michelozzo. At Siena, on the font in the Baptiftry, is the bronze bas- relief panel that was to have been executed by Jacopo della duercia, but which was afterwards allotted to Donatella ; its fub- jedl is the feaft of Herod. Alfo at Siena, in the Duomo, is the monumental flab in flat relief, caft by Donato in memory of the Bifliop Giovanni Pecci, who died in 1426. At Rome he aflifted Simone^ a brother artift but not a blood relative, in the 1 Caft in South Kenfington Mufcum. be Simone Ghi?ii, a goldfmith and fculp- 2 By fome called Siinone di Betto tor of Florence, and again, Simon di Bardi, by other authorities fuppofed to Nanni di Fiefole, who died in 1468. IntroduBion. execution of the flab tomb of Pope Martin V., a fine work, which is in the Lateran Bafilica. He was engaged on many works in bronze and other material after his return to Florence, among them the fpirited figure of the youthful David, now in the Bargello Colledion, made for Cofmo de' Medici, a figure of great beauty. This was, however, of fubfequent date to the Judith and Holofernes, now ftanding beneath the Loggia de' I^anzi, a work of great elaboration and in his realiftic manner, but certainly one of his leaft engaging groups, con- fufedly crowded together, energetic but unfatisfactory. At Siena, in the Duomo, is a St. John in bronze, not remarkable. In the Mufeum at the Bargello, in Florence, is a charming fmall rilievo of the triumph of Bacchus in his claflic manner. For- merly in the Ambras Colledlion, and now probably in the Cabinet of Bronzes at Vienna, is a work in rilievo of the higheft pathos, which has all the imprefs of the mailer's hand. It reprefents the Depofition, a group of many highly expreffive figures gathered round the claffic farcophagus, partly gilded, into which the facred body is being carefully depofited. This work has been reproduced in electro-depofit from a caft pro- cured by the writer (No. '69.-10.), and has been ably etched by Mr. Perkins for his volume on " Italian Sculptors." Donatella's moft highly elaborated work, the Martelli Mirror, now in the South Kenfington Mufeum, is fully de- fcribed in this Catalogue at page 58. Next in order comes the equeftrian ftatue of Gattamelata, the firft of heroic fize in the round that had been executed in Europe fince the fall of the Roman Empire. It flands on a pedeftal outfide the angle of the church of S. Antonio at Padua. In this the figure of the rider is ill proportioned to that of the horfe, which is heavy-limbed and coarfe. Other bronze works at Padua are in S. Antonio,^ as the fymbols of the Evangelifts and four angels on the fingers' 1 See Calls (Nos. 'jo.-\i.). IntroduSiion^ ciii gallery : baf-reliefs of great excellence on the high altar, repre- fenting certain miracles by S. Anthony, and others on an altar on the fouth fide of the church in the Chapel of the Sacrament. In the choir gallery alfo is a Depofition. In faft, the church of S. Antonio is richer in bronze fculpture by Donatello than any other locality. Thefe were, for the moft part, caft under his fupervifion by Antonio and Giovanni Celino di Pifa^ Urbano di Cortona^ and Francejco Valentin and finifhed under the mafter's eye. Donatella returned to Florence about 1456, after which he produced the bronze door of the Sacrifty at S. Lorenzo ; the pulpits in that church were defigned by him, and executed with the afliftance of his pupil Bertoldo. In the choice colledion of M. His de Lafalle, at Paris, is a fmall bronze rilievo of the Flagellation, and a Virgin and Child with boy angels, both of which are worthy of, and probably modelled by, Donates hand. Perhaps his laft work and inferior, is the ftatue of St. Louis of Touloufe, that is over the portal of Sta. Croce in Florence. Befriended by Cofmo to the laft, but broken in health and latterly paralyfed, this great artift who, perhaps, may be termed the Phidias of the revival, died in 1466 aged eighty. Lefs pidlurefque than Ghiberti in his reprefentation of fubjeds in rilievo, we have in Donatello, a greater artift, capable of mas- tering works of higher import, and in a manner which had not hitherto been equalled. His ftatue of St. George, in grandeur of conception is worthy to rank with the beft efibrts of any fchool or time ; while the minute care and finifti which he could beftow is exemplified in the Martelli mirror. The South Ken- fington Mufeum is rich in marble works by this great mafter ; the Depofition (No. 7577) and the Charge to Peter (No. 7629) are fine illuftrations of his pathos and power of naturaliftic repre- fentation, the latter one of his fineft works in that low rilievo known as Jliacciato, in the ufe of which he was unrivalled. If civ IntroduBion. Ghiberti was a " painter in bronze," furely Donato may be termed an " etcher in marble." Michelozzo di Bartolomeo (1391-1472), who worked fo frequently with Donatella in early life, executing the fine figure of Faith on the monument to Pope John XXIII. in the Florentine Baptiftry, became one of the more important leaders of the then new ftyle of architedure, derived from clafllc models. We have no work in bronze by him, but a ftatuette in filver, of St. John Baptift, on the altar of the Opera del Duomo, attefts his capabilities as a fculptor in metal. We have already referred to Simone, the Florentine of un- certain patronymic, who was engaged at Rome upon the bronze tomb of Pope Martin V. He was alfo occupied there affifting or affifted by Antonio Averulino, known as Filarete^ in making the bronze doors of St. Peter's, which were executed about 1439. ^^^5 work we fee the imprefs of a fchool, whofe mafter fpirit is no longer there. In panels are reprefented events of the life of Pope Eugenius IV. ; martyrdoms of fome of the apoftles ; fcenes from the life of Our Saviour, &c. ; while among the ornaments upon the border are introduced fuch fubjedls from the antique as Jupiter and Ganymede, Leda and the Swan, &c. in violation of all propriety ; and on the lower ftile, infide, Filarete has reprefented himfelf and his workmen going on a frolickfome jaunt with a well-laden donkey. At Prato, the beautiful lattice work in bronze, teeming with human and animal life among foliage, &c., made for the chapel of the Cintola in the cathedral, is a work of this fchool, which has been doubtfully attributed to Simone, who alfo worked in marble at St. Francefco in Rimini. Dello Delli, who was born about 1404, accompanied his outlawed father, Niccolo, to Siena, and there, in the year 1425, made a large figure in bronze to ftrike the hours on a bell, which was placed on the tower of the Palazzo Pubblico, and known as " II Mangia," from which the tower derived its name. IntroduSiton. To preferve the fequence of Florentine bronze fculpture with greater regularity, we will, before confidering the works of Donatella's great pupil Verrocchio and other able bronzifts of his time, refer to one, who for the moft part was independent of that influence, as he was alfo of the more pifturefque ten- dencies of Ghibertiy but who feems rather to have modelled his works under the guidance of the antique flandard ; this was Luca della Robbia, whofe earlier fculptures were executed in marble (among which the juflly celebrated group of finging boys is an admirable example), but who is more univerfally known as the modeller of thofe finer productions in glazed terra-cotta, with which his name has become infeparably aflbciated. Luca della Robbia ( 1400-148 2) executed one notable work in bronze, the doors leading into the older facrifty of the Duomo at Florence.^ This is a fine work ; each valve divided into five fquare panels, bearing fubjedts in rilievo and reprefenting feated figures of Saints, &c. attended by angels ; on the furrounding ftile, at each angle of the panels, is a projecting head in full relief The two upper panels reprefent, on the one the Virgin and Child with two angels, on the other St. John Baptift, fimilarly attended, below thefe are the four Evangelifl:s, and again, beneath, are the four Doftors of the Church. Dignity and thoughtful repofe are admirably expreffed in thefe noble figures, and their accompanying attendant angels. The group of the Virgin and Child is a moft graceful compofition. The projecting heads reprefenting perfonages of either fex and every age are effec- 1 Calls from two of" the panels arc in the Mufeum (Nos. '64.-5, ^•)' ^ A circular " gejfo duro" in the writer's poffeffion, coloured to reprefent bronze and gilded, may poffibly have been call from an original model by Lucn afterwards adopted with fome variation for this panel. It is infcribcd at the back, "formato 17 Gennaro 1428," with an accompanying, but unfor- tunately illegible monogram, and is even a more graceful compofition and of a purer fentiment than the panel on the door. It is almoft Raffaellefque in charadter, but more in the manner of Lt/ca than of Ghiberti, and remarkably advanced for fo early a date. CVl IntroduSiion. tive and individually excellent, and, indeed, the general effeft of proportion and well-balanced ornamentation on the whole work, lefs pidlurefque in treatment and more ftridly ob- fervant of the rules by which fculptured baf-relief fhould be guided, may well compare with the more compofite defigns and not more excellent modelling of his great and fuccefsful rival Lorenzo Ghiberti. Thefe doors were commenced by huca in 1445. Their execution had been entrufted to the combined care of Michelozzo, Mafo di Tolomeo, and Luca ; after the death of MafacciOy Giovanni di Bartolomeo was com- miflioned to polish and prepare the framing and hanging, which was completed in December 1463. Michelozzo '•n^ls then abfent, and Luca was commiflioned to finifh the door. On examina- tion of the various fubjeds no difference can be traced in the compofition or manner of handhng, and it is but reafonable to conclude that the entire modelling was the work of Luca della Robbia's own hand. We have dwelt rather fully upon the confideration of this noble door, confidering it, as we do, fo fine a model, and as the only work in bronze by this admirable fculptor. Andrea done di Michele, called Verrocchioy the pupil of DonatellOy born in Florence in 1435, was goldfmith, painter, and fculptor in marble and in metal, the mafter of Leonardo da Vinciy and fecond only as a bronzift to his great mafter. Of his admirable works as a goldfmith nothing remains to us, and the two rilievo fubjedls in filver, which adorn the altar front made for the Florentine Baptiftry, alone remain of his fculptures in that metal. He caft a bronze ball to furmount the cupola of the Cathedral. His works, by no means numerous, are marked by great individuality and highly finifhed execution, not free from a certain rigidity and hardnefs of outline which we lofe, however, in the equeftrian ftatue of Coleoni. A work of fmaller fize, but charadleriftic of his manner, is the youthful figure in this colleftion (No. 411. '54.). In the Bargello at Florence is the IntroduSiton, cvii Davidj a fomewhat angular figure, but of confiderable nervous vigour ; it was executed in 1496. A graceful ftatuette is on the fountain in the court-yard of the Palazzo Vecchio, a work pro- bably of his later time, a child prefling a dolphin which fpouts water. The admirable modelling and manipulative fkill dif- played upon the feftoons and cordage of bronze, enriching the monument executed by him to the memory of Piero and Gio- vanni de' Medici, in San Lorenzo at Florence, fhew what care he beftowed on details. But his greateft work was that portion of the model which he was^enabled to execute before his death, and which, from the wording of his will, would feem to have been confined to the horfe, for the ftatue of Bartolomeo Co- leoni the Venetian general, the fecond and fineft equeftrian ftatue of large fize which had been produced fince the deca- dence of claffic art. Having modelled the horfe, Verrocchio returned difgufted to Florence, after breaking its legs and head on learning that the Signory intended Vellano of Padua to execute the figure. He was, however, induced to refume the work at Venice, and had not completed his new model for the charger when he was carried off by a violent illnefs in 1488. He defired that his friend Lorenzo di Credi might finifh the work ; but it was en- trufted to Alejfandro Leopardi, by whom it is prefumable that the figure was remodelled, partly perhaps after Verrocchio' s fketches modified by Leopardi ; the cafting and finifhing were executed by the latter artift, to whom indeed at leaft an equal ftiare of praife is due, and who was probably juftified in infcribing on the faddle girth, "A. Leopardi, F." Alfo of Verrocchids later period, although commenced fome twenty years before (1484), is the group of bronze ftatues reprefenting Chrift and the incredulous St. Thomas, that occupies one of the niches outfide the church of Or San Michele in Florence. It is a work of great expreflive power cviii IntroduSiion. and careful execution, but dry and hard in the lines, angular and heavy in the draperies. Giovanni Francejco R ujlici (i4.yo-i ^ ^o), a pupil of Fer- rocchio, who afterwards worked with and under the inftru6tion of Leonardo da Vinci^ was an amateur but affiduous artift, who executed fome works in bronze. Of thefe was a Mercury for the Medici Palace ; a rilievo reprefenting the Annunciation, for Spain ; and his chief work, the group over the northern door of the Florentine Baptiftry, reprefenting St. John difputing with a Levite and a Pharifee, in the modelling of which he is faid to have been greatly aflifted by Leonardo. Difgufted with the mean payment he received for this able work, i?z(/?/a', after wafting time and money in frivolous purfuits, went to France to undertake a ftatue of Francis I. that was never executed : and there he died in poverty. Another abundant fculptor in bronze of this period (1433- 1498), who alfo was a goldfmith, a niellift, and a painter, but whofe fomewhat exaggerated manner in figure fubje6ts and fluttering drapery is frequently objedlionable, was Antonio Pol- laiuolo, who had learned his art under Bartoluccio and in the ftudio of Lorenzo Ghiberti. To his hand is chiefly afcribed the beautiful frieze that furrounds Andrea Fijand s gate, in which a quail is particularly pointed out as his work, and admirably true to nature. By him alfo were executed fome of the rilievo fubje6ts, reprefenting the dance of Herodias' daughter and the feaft of Herod, on the filver altar frontal for the Florentine Baptiftry. In bronze, of his moft important and fineft works, are the tombs of Pope Sixtus IV. and Innocent VIII. at Rome, and in thefe he fliews his great fkill as a modeller and cafter as alfo a high degree of artiftic power. Thefe qualities are par- ticularly feen in the magnificent tomb of Sixtus, dated 1493, one of the grandeft bronze monumental works of the Renais- sance, and which is fo confpicuous in the Chapel of the Sacrament IntroduSiion. cix at St. Peter's, The fine but realiftic recumbent figure of the Pope is placed upon a cufhioned bafe, the fides of which are panelled, with allegorical figures of the virtues in exaggerated ftyle, and enriched with foliage, mouldings, tafi"els, &c, of the mofl: admirable execution. The mural monument to Innocent VIII. is a later and fmaller work ; it is placed on one of the piers of the cathedral, and reprefents the Pope feated above, and recumbent as in death below, with furrounding figures of the virtues, &c. In St. Peter's alfo are the bronze cande- labra that formerly flood at the fides or head of the tomb of Sixtus. The bronze doors which enclofe St. Peter's chains, in the facrifl:y of that faint's church " in Vincoli " at Rome, are another work by this mafl:er. They are covered with inter- lacing and foliated ornamentation in rilievo of great beauty, furrounding two panels that refpedlively reprefent the im- prifonment and the liberation of St. Peter in baf-relief. In the colledlion of the Bargello at Florence is a repre- fentation of the Crucifixion in baf-relief of bronze, perhaps an early but a powerful work, not authenticated, but eminently characteriftic of this mafter, and which, although exhibiting a too impafiloned adtlon in the figures and a too loofe and fluttering drapery, is, neverthelefs, of great pathos, occafion- ally recalling the fentiment of Botticelli, mingled with that of Mantegna. Works by Pollaiuolo, in the Mufeum, are — in bronze, Nos. 756. '64. and, perhaps, 552. '65. ; in terra-cotta. No. 7598. To Pietro Pollaiuolo, the younger brother and confl:ant afliftant of Antonio, has been afcribed a rilievo in bronze, which adorns one of the fides of the font in the baptifl:ry at Siena ; it reprefents the banquet of Herod, and is a work in the fame exaggerated and overfl:rained manner, but not devoid of power. He died two years before his elder brother, and both were buried, at their wifi:\, in the church of St. Pietro in Vincoli at Rome. cx IntrodtiBion. Bartolomeo Sinhaldi di Montelupo, a fculptor of the fame period, is the author of a figure of St. John the Evangehft, in bronze, which occupies a niche outfide Or San Michele, on the fouth front. Andrea Contucci, called from the place of his birth, in 1460, San-Savino, was a Ihepherd boy, who, like Giotto^ fell under the notice of a worthy and generous patron, and was educated in the atelier of PoUaiuolo, whofe exaggerated ftyle he happily avoided. After the completion of fome other works, archite6lural and plaftic, he went to Portugal, at the defire of King John, for whom he executed a bronze baf-relief, reprefenting that King warring againft the Moors ; as alfo a ftatue of St. Mark. He built a royal palace, and then returning to Florence executed works in marble. About 1 509 he went to Rome, where he erefted his moft important works, the marble tomb in the church of Sta. Maria del Popolo, and his well-known group of the Virgin and Child, with Sta. Anna, in St. Agoftino, a fmall bronze of which is in the South Kenfington Mufeum, No. 109. '64. He alfo worked at Loreto, returning to Rome, where he died in 1529. His group, St. John baptifing Chrift, over the eaftern door of the Florentine Baptiftry, was finifhed by V. Danti. Jacopo Sanfavino, his pupil, but not related, his parental name being Tatti (1477-1570), an artift whofe abundant works in architedure and fculpture during a long life are fpread almoft throughout Italy, worked alfo in bronze. One of the firft by him in that material is a caft from the group of the Laocoon, which, purchafed by Cardinal Grimani, afterwards paffed into France. At Venice important architedlural works mainly occupied him, but fculpture had her fhare of his time. In bronze he executed the elaborately fculptured door of the facrifty at St. Mark's, and other fix rilievos, overladen with fubjeft, in the choir ; alfo the fl:atuettes of the four Evangelifl:s on the baluftrade of the choir. At the Frari is a St. John on a font in the chapel of St. Peter. The bronze figure of St. Thomas of IntroduBion. cxi Ravenna over -the door of San Giuliano is another work.^ The figures of Pallas^ Apollo, Mercury, and Peace, that adorn his loggia at the foot of the Venetian Campanile, are alfo by him. Benedetto di Rovezzano, many of whofe works in fculpture feemed fated to deftruftion, came to England in 15 ■24. to exe- cute a bronze tomb for Cardinal Wolfey. After five years' labour, on the Cardinal's difgrace, Henry VIII. ordered its completion for his own fepulture ; his death, however, antici- pated that completion and it was laid afide. Subfequently Charles I. intended it for his tomb, but the Parliament of Cromwell ordered that the figures fhould be melted. Beneath St. Paul's Cathedral, Nelfon's bones now lie in that farcophagus, fole remnant of a tomb defigned for the proud Cardinal, in part adapted for his haughty fovereign, and, as vainly, defired by the martyred King. Blind and difappointed, but not in want, Benedetto pafTed the remainder of his years in Florence, and died in 1550. Piero 'Torregiano, the fellow pupil with Michel Angela, was born in 1472. It was while working together in the Carmine, that, lofing temper in a difpute, he flruck Michel Angela fo heavy a blow upon the nofe as to crufh it, and disfigure him for life. So angered was Lorenzo de' Medici at this a6t, that in fear Tarregiana fled from Florence to Rome, where he got but poor employ in flucco work, afterwards becoming a foldier in the Papal army. Lacking advancement he joined fome merchants journeying to England, and there recommenced his artiflic occu- pations, entering the fervice of Henry VII. about 1503. He undertook the monument to Henry VII. in 15 18, and went to Florence for afTiflants. On his return he completed that fine bronze fhrine, which is in Weftminflier Abbey. It con- fifls of a black marble foundation, enriched with bronze 1 For another work in the South Kenfington Mufeum by this maftcr, fee No. 7595 (Cat. Ital. Sculpture). cxii IntroduSlion, pilafters, bearing the King's emblems, and feparating panels filled with fubje6ls, as the Virgin and Child and various faints, in baf-relief, of bronze. The royal armorials, upheld by children, are at the ends. On the top are the recumbent bronze figures of Henry and Elizabeth, his queen,^ in long and well arranged drapery, and the whole is caged in a Gothic chantry chapel of open bronze or brafs work of great beauty, fome part or all of which was probably wrought by Englifh hands, anterior to 'Torregiano s employment on the monument, for his fhare of which he received the fum of 1,500/. An altar, alfo the work of that artift, was eredted in front of the tomb, but was de- ftroyed by Sir Robert Harlow. Torregiano contradled to eredl a monument for Henry VIII., but this was never undertaken, that being prepared for Cardinal Wolfey by Benedetto di Rovez- zano having been appropriated but, as already ftated, never ufed for that end. The fine bronze and gilded monument to Margaret Coun- tefs of Richmond, alfo in the Abbey, is likewife afcribed to Torregiano. The fimply habited recumbent figure, with feet refting upon the Lancaftrian antelope, is one of confiderable excellence, both in modelling and finifh. From England Torre- giano went to Spain, where he did fome work in terra-cotta, &c., among which the figure of St. Jerome at Seville may be particularized as with probability his, although not proved to be fo by documentary evidence. Of this the bronze ftatuette in the South Kenfington Mufeum, No. 251. '64., is fuppofed to be caft from the original wax ftudy for the larger figure. Before we enter upon that period when Michel Angelas genius imbued matter with new life — too tranfient, alas ! and leaving a more fatal mannerlfm than even that which had 1 The buft, No. 7916. '62., is a one of the copper candelabra faid to replica of the head of Henry. Nos. have been made for this tomb, and now '58.-276, 277 are cafts of the effigies, in S. Bavon at Ghent. &c., and No. '65.-47. is a call from IntroduEiion. cxiii preceded, and a darker artiftic death in life — let us note the pro- grefs of bronze fculpture in other parts of Italy. Tufcany had been the fountain head, and even long after the decline of Byzantine influence, we find comparatively little had been done in other diftrids. The grand bronze gates, which had been fo abundantly produced in Southern Italy during the twelfth, were not equalled or furpafled by works of fimilar or greater importance during the two next centuries. Marble was more in ufe, and we hear little of works in bronze throughout the central and fouthern ftates of the Peninfular. Of the fourteenth and fifteenth centuries fome good goldfmiths and metal workers are recorded, but few of their works are left to us. Pietro Vannini, of Afcoli, was one of thefe ; Lorenzo another, who made crucifixes plated with silver. Pietro Dini, in 1472, worked a tabernacle with figure of the Madonna in bronze, at Amatrice, in the Lower Abruzzo. All arts in Rome had nearly died, that of the mofaicifts furviving longeft : and to execute required works, architefts, fculptors and painters had been commiflioned, for the mofl part, from Tufcany. A fine recumbent bronze of Pope Innocent VII. is on his tomb in the crypt of St. Peter's. It is the work of an unknown artift executed by order of Nicholas V. (1447-55). In the north, during the courfe of the fourteenth and early fifteenth centuries, when the Cathedral at Milan and the Certofa at Pavia were crowded like beehives with the bufy workers at thefe noble fabrics, the family groups of Comacine and Cam- pionefe fculptors were prominent in excellence ; but no bronze work of importance feems to have been executed or has defcended to our times. A work in bronze, executed in 141 6 by Jacopino, the then diredlor of the " Fabbrica del Duomo," is almoft alone. It occupies a pofition in the centre of the roof of the apfe in Milan Cathedral, and reprefents the Eternal Father in rilievo. At the Certofa are bronze doors caft after the defigns of Amadeo (1447- 15 20, circa), or the work of his B. i cxiv IntroduEiion, pupils, the heads, &c. upon which exhibit that earneft and fevere manner, with cardboard drapery, which is obfervable in many of the works of his and of the Mantegazza fchool. Thefe laft able fculptors, Antonio and Crijloforo (circa 1473), were fons of a goldfmith, and therefore capable of undertaking metal work. As fuch they received a commiffion to execute an equeftrian ftatue of Francefco Sforza in bronze, a work which they ultimately declined, and which was fubfequently taken in hand by Leonardo da Vinci. One hundred thoufand pounds weight of bronze was to be devoted to this ftatue. Nor have we any recognizable bronze by the celebrated Ambrogio Caradojfo (1470- ) of Milan, the rival of Cellini in goldfmiths', enamel, and niello work. He it was who made the beautiful pax, now in the facrifty of the Milan Duomo. But gone is the wonderful gold inkftand which, had it been of bronze might have been faved to us, made by him for John of Arragon at the coft of 1,500 gold pieces. The baf-reliefs with which it was enriched, reprefenting the battle of the Centaurs and Lapithas, the Rape of Ganymede, and two of Hercules' labours, may have been alfo caft in the lefs noble metal, and thus furvive as " plaques " unrecognifed in fome colle<5lion. In 1 509 Bernardino of Lugano, or of Milan, a clever cafter of bronze, was employed by Ruftici of Florence to caft his group of St. John difputing with the Levite and the Pharifee, which is over a door of the Florentine Baptiftry. We have but little to record in bronze work at Venice during the earlier years of her exiftence. In all minor objedls ftie was doubtlefs fupplied by her commerce with the Eaft. We read of brazen lions from whofe mouths water conftantly poured into the early font (feventh century) of the Torcello Duomo. The right-hand door of St. Mark's is a Byzantine work which was brought from Conftantinople in 1 204, and the central, of earlier date, is ftrongly Byzantine in charader, although IntroduEimi. cxv feemingly the work of an Italian, and infcribed in Latin. It was made by order of Leone di MoJino, the Procurator, in 1 1 12. The external gates are faid to have been the work of Bertuccius, about 1300. Sculpture in ftone and marble was, moreover, very inferior at Venice, even during the firft half of the fourteenth century ; of that period, when the " Gothic " tafte prevailed, we have no important works in bronze. The influence of the fchools of Squarcione and Mantegna was felt in the Venetian States ; another powerful fource of artiftic infpiration exifted in the fludio eft:abliflaed by Donatella in Padua ; the leading charadleriftics of thefe mafters, fympa- thetic in conception, may be more or lefs traced in the works of fucceeding Venetian fculptors. Of thefe the members of the Lomhardi family, headed by Pietro, were of chief note as fculptors and as architeds, producing works of great excellence, both in marble and metal. We have not any work in bronze by Rizzo, the contem- porary of Pietro Lombardi, an able architeft and fculptor of the earlier Renaijfance, and, indeed, the bronze work afcribed to Pietro Lombardi was at mofl: a labour of fuperviflon and diredllon in the ere6lion of the fine tomb to Cardinal Zeno at St. Mark's, the work being executed by Paolo Savii, and Pier Zuano delle Campane who adlually cafl the fl:atues of SS. Peter and John and the group of the Virgin and Child that are upon the altar. According to Selvatico, Pietro Lombardi de- figned the figures, which are fl.ern and hard, but not without confiderable dignity ; fo alfo is the figure of the Cardinal, which is carefully elaborated in the details. It was made about 1505- 1515. But as a bronzift AleJJandro Leopardi, who was working at Venice previous to 1487, the year of his banifhment, was more important, and to his rendering of Verrocclm s defign, to which it feems probable that he added much of his own, we owe the i 2 cxvi IntroduSiion. grandeft equeftrian ftatue in the world. Recent inveftigation would feem to fhow that the more important portion of this work is due to Leopardi, and that the figure of Bartolomeo Coleoni was entirely modelled by his hand, which completed the horfe left unfinifhed at Verrocchio's death, and alfo defigned and executed the admirable bafe. Frequent and careful exami- nation, not without the greateft admiration for this figure, and an intimate knowledge of the bronze works by Verrocchio, would lead the writer to agree in the main with Mr. Perkins' ^ obfervations on this noble group. Leopardi has affixed his name, infcribed on the faddle girth, A . Leopardi Opvs. V . F . It was completed in March 1496. Nothing can exceed the power and vigour of this work ; the attitude of the rider, whofe whole figure is fo ftrikingly charadleriftic of the defiant warrior, nerved to the combat ; the horfe alfo is an admirable model, and the ftatue in its entirety far furpafies that by Donatella at^Padua. The details, carefully executed, are very beautiful. So delighted were the Signory at Leopardi s fuccefs in this important work that they commiflioned him to make the grand bronze fockets for fuftaining the ftandard mafts in the Piazza before St. Marco, on the central one of which is introduced an excellent medallion portrait of the Doge Leonardo Loredano. Of this focket, v/hich is dated 1505, there is a copy in eledro-depofit in the South Kenfington Mufeum (No. '63.-2, 3.). In the Academy at Venice are three fine candelabra, alfo afcribed to Leopardi. Another Venetian bronzift was Vittore Gambello, alfo called Camelio, who was working between 1487 and 15 10. He executed fome medals, and by him are two baf-reliefs of battle fubjeds, now preferved in the Academy at Venice ; thefe came from a monument, that of General Briamonte, formerly at ^ Tufcan Sculptors, I. p. 180, et/eq. ; Italian Sculptors, p. 204, et Jeq. IntroduSiion. cxvii La Carita, a fupprefled monaftery. They are exaggerated in the adlion of the figures and overcrowded in compofition. Cicognara records an artift, one Nicolb Roccatagliata, who received i6o ducats for bronze figures of St. George and St. Stephen. The Florentine, Jacopo Sanfovino, to whom we have already referred, was the ruling artift in Venice during forty years of his long life, AleJJandro Vittoria della Volpe, born in 1525 at Trento, was a pupil of Sanfovino^ who carried the already vitiated tafte of his mafter into the painful extravagances of the rococo. He worked at Venice and at Vicenza. Several ftatuettes in bronze, which furmount holy-water bafins, are by him, as alfo fome excellent portrait bufts. Tiziano A/petti of Padua was a fcholar of Vittoria, He caft ftatues of St, Paul and of Mofes for the fagade of St, Francefco della Vigna ; alfo the ugly allegorical figure in the cortile of the Zecca, His portrait bufts were fuperior to thefe works. The grand puteoU or well heads in the courtyard of the Doge's Palace are by Alfonzo Alborghetti^ a native of Ferrara, and Nicolo de Conti, caft, one by the former 1559, the other by the latter 1556, In the Churches of the Salute, of St, Marco^ and St, Stefano are candelabra, that were caft during the latter half of the fixteenth century by artifts of the fchool of Vittoria. At Verona the moft notable bronzift was Pijanello {Victor Pifano, born circa 1380, died 1447), whofe works in portrait medals are fo well known, and who doubtlefs executed other metallic fculptures, as did Matteo di Pajlis and Sperandio. On the facade of the Palazzo del Configlio at Verona are bronze ftatues of the Madonna, with the announcing angel ; thefe were the work of Girolamo Campana^ who alfo modelled and caft the figure of the Virgin for the Collegio dei Mercan- 1 Caft, No. '69,-6, CXVlll IntroduBion, tanti. He afterwards worked at Padua, where he executed a marble rihevo for the Capella del Santo, and alfo the bronze tabernacle for the altar in the Chapel of the Sacrament. Sub- fequently he lived at Venice, where he made a bronze group of the Father, fupported by angels on a gilded globe, which is in the church of St, Giorgio Maggiore, and ftatues of St. Francis and St. Mark, with a crucifix, in bronze, at the church of the Redentore. GiuUo di Girolamo della Torre was another Veronefe fculptor in bronze and medallift, who left the ftudy of the law for art. We cannot, however, refer to any of his works. Nor have we record of fculptors in bronze anterior to the period of Donatella's refidence at Padua, where he worked fo long and fo v.'ell, his influence remaining but his manner exaggerated in the hands of Jacopo Vellano, his pupil, to whom we doubt- fully attribute a baf-relief (No. 5469. '59.) in the South Ken- lington Colleftion. At Perugia he caft the bronze effigy of Pope Paul II., which was placed in a niche outfide the cathedral. He alfo was a medallift. He eredled the tomb of RafFaele Fulgofo in St. Antonio. By him alfo, at a later period, are the rilievos executed in 1488 for the choir fcreen in that church. More advanced than his earlier works thefe ten compofitlons, from fubjedls In the Old Teftament, are wanting in chara6ler and feebly pidturefque. In 1491 he executed two larger rilievos for the monument of Pietro Roccabonella, which are now in San Francefco ; one reprefents the profeffbr ; the other the Virgin and Child ; thefe are fuperior and recall more of the teaching of Donato. His other works are unimportant. But by the hands of Vellano s pupil, Riccio (v4ndrea Briojco, 1470-1532), the cha- radler of the fchool was ably maintained, the well known Pafcal candleflick (1510) alone making his name famous. For the fame choir fcreen he executed two fubjedts in rilievo, viz., David dancing before the Ark and his conteft with Goliath. Another fine work by Riccio, Is now alas ! fadly defpolled, the IntroduEiion, cxix bronze monumental tomb in St. Fermo at Verona eredted in honour of the brothers Delia Torre, two phyficians of Padua. The rilievos, eight in number, which filled its panels were removed, and are now in Paris inferted in the Porte des Carya- tides at the Louvre ; they reprefent fcenes in the life of thofe dodors treated in a renaijfance fty le, declaring the ftrong in- fluence of the antique as ftudied and adopted by the followers of Mantegna ; figures of genii, cupids, fphinxes, &:c., but few of which remain, adorned the angles, of this important but now ruined work. In the Academy at Venice four other baf-reliefs by this mafter are preferved, reprefenting the hifl:ory of the finding of the Crofs. Here alfo is the bronze door of zciborium which may be by Riccio, although it has been alfo afcribed to Donatella ; likewife a rilievo reprefenting the AfTumption of the Virgin, a work of the fame fchool. His great work is the Pafchal candleftick, in the church of St. Anthony at Padua, for which he figned the contradl on 19 June 1507, the price agreed being 600 golden ducats; it was finifhed and fet up in 15 16, and is perhaps the moft excellent work of its clafs produced fince claffic times, the ftyle of which it would feem to imitate by many of its details, as the form is alfo derived from the antique. It would occupy too much fpace to defcribe the numerous and admirable details of this grand work which immortalifed its founder. Thefe indeed can be better ftudied from the caft or from photographs than from verbal defcription. Riccio died at Padua in 1532. A ftatuette of Arion belonging to the Baron Davillier ; an inkftand, formed as a figure of Pan holding a ftiell in the right and the pipes in the left hand, belonging to M. His de La Salle, both are in Paris : in the writer's pofleflion, a figure of a fatyr feated on an ornamental bafe, holding the pipes in his left hand, to the echoed found of which he appears to be liftening, his right fupporting a hvdra-ftiaped vafe on that thigh, intended as a receptacle for ink ; are three carefully executed works of minor import rcafonably afcribed to Riccio' s mafterly hand. cxx IntroduSiion. Giovanni Carina was the artift who caft portrait bufts of Andrea Navagno and Fracaftoro for the Paduan Municipal Palazzo about 1550. The bronze gratings of the arches of the Capella del Santo were caft by Danefe Cataneo of Carrara and 'Tiziano Minio. The medal lift Mojca alfo worked in bronze, as did fome other Paduan artifts of this period. Mantua. Andrea Mantegna, whofe influence upon the art of his day was fo marked, refided for fome years and died at Mantua in 1 506 ; his tomb in the chapel of S. Giovanni, in Sant' Andrea's Baftlica is marked by an admirable bronze por- trait buft, which has been afcribed to Mantegna's own hand, or to that of the great medallift, Sperandio Maglioli. A richly 'L L ^ Mantuan prieft, Guido Gonzaga di Aloifio, in 1444 for St. Andrea's church. A bronze ftatue of Pietro Pompon azzo which was at S, Francefco, but was de- ftroyed during the latter years of the laft century, was caft by Alfonzo di Manteva at the end of the fixteenth. Bologna. In the Mufeum of the Univerfity is a Angular coloflal bronze ftatue of Pope Boniface VIII., faftiioned out of beaten plates and faftened together with nails, in the manner of the early Greeks and Etrufcans, but the work of a gold- fmith and painter of that city, one Manno, in 1301, where it was originally placed over the Ringhiera of the Biada Palazzo. As a work of art it is greatly wanting. Several Bolognefe artiftic workmen were employed by Ghiberti at his bronze gates. The bronze ftatue of Gregory XIII. (1572-85), which is placed over the gateway of the Palazzo Publico, is by AleJ- Jandro Menganti, who was working about 1588, and fatirically known as " Michel Angelo riformato " or incognito.'' In the Sala Farnefe is the bronze ftatue of Paul III. (i 534-49). The buft of Benedid XIV. (1740-58) over the door of one of the halls is by Giobattifia Bolognini. IntroduEiion, cxxi At Ferrara two fcholars of Brunellefchi, Antonio de Criftoforo Ferrara. and JSliccolb di Giovanni Baroncelli, executed a monument ordered by Lionello d' Efte in memory of his father Nicolo, which equeftrlan ftatue was deftroyed in 1796, together with a feated one of Borfo d' Efte ; the fix bronze figures that now adorn the altar in the Duomo at Ferrara, in the execution of which Niccolb Baroncelli was aflifted by his fon Giovanni and by Domenico di Paris of Padua, are harfh and wanting in charadler. On an altar in the Duomo at Ferrara are five bronze fta- tuettes, reprefenting Chrift on the Crofs, the Virgin, St. John and St. George, which have been, it feems erroneoufly, afcribed to Marejcotti, the medallift, and to Bindelli. It would appear however that they were the work of the Baroncelli. To Projpero dementi, grandfon of Bartolomeo di dementi Reggio. Spani of Reggio, are afcribed the bronze group on the high altar in the Duomo of that city, reprefenting Chrift triumphant, and the ftatues of Sts. Profper and Maximus with St. Cathe- rine in the choir. We have no record of bronze fculpture at Parma before Parma. 1484, when the ftatues of the four evangelifts upon the balus- trade in the Duomo, furrounding the ciborio, were executed by FilippOf Giacomo, and Damiano, fons of one Filippo de' Gonzati of that city. CXXll IntroduEiion. CHAPTER VL Michel Angelo and the Decline in Italy. new era in the life of art feemed to be created by the magic touch of Michel Angelo} Sculp- ture and her fifters, earneftly ftriving to embody the fentiment they would convey in more ex- preflive and intelligible forms of beauty, had already attained to a perfe6lion in manipulative fkill and plaftic power, in which, fatisfied with the fweet wine of their laborioufly and lovingly nurtured vineyard, the earneft motive for culture became dormant, and its life-infpiring fentiment faded into mere fafhion. The religion of art was again dead, and fhe became the handmaid of obfervances and the church's fplen- dour, of iconographic felf-glorification, of eye fervice and the vanities or pride of life. But Angela's power over art was fingular, though as of a giant, and fpafmodic, it could not be fuftained ; his eledlric touch might impart unwonted life to every creation of his own mighty genius ; but the purer foul of art had fled, and when that mafter magician left the ftage, after fome few erratic contortions, she quickly fank again into feeble mannerifm and decadence. We muft, however, confine ourfelves to the drier details of our fubjed:. Michel Angelo executed nothing that remains to us in bronze. Condivi and Vafari, feemingly in error, tell us that he made a bronze rilievo of the Virgin and Child, which was sold to a Flemifh merchant named Mofcron ; but there is little 1 ]'or works by M. Angelo, fee Ital. '58.-278, '63.-4, '^S-^'Sj '6, and Sc., Nos. 4104a, 4114, 4116, 4117, '64.-138. and 7560; and cafts, Nos. '57.-161, IntroduSlion. cxxiii doubt that they refer to the admirable group in marble, ftill at Bruges, and over the altar beneath which Pierre Mofcron lies interred. In 1502 he was ordered to make another ftatue of David, in bronze, for the Marechal de Gie, which was even- tually completed by Benedetto da Rovezzano in 1508, and fent to France. It is no longer known to exift.^ The wax model. No, 4106, Cat. Ital. Sculpture in South Kenfmgton Mufeum, is thought by Mr. Robinfon, poffibly, to be a ftudy for that bronze David. Michel Angela's great work in this material was the coloflal feated ftatue of Pope Julius II., that was fet up over the great door of St. Petronio's bafilica at Bologna in 1508, where it remained only till 151 1, when a fickle populace, ftimulated by the French troops who had entered the city in aid of the Bentivoglio caufe, hurled the ftatue down and broke it into fragments; thefe afterwards were ufed by Alfonfo of Ferrara to form a cannon named by him his " Julius." Angela preferred working in marble ; in his converfation with the Pope on the fubjedl of this ftatue, Michel Angela told him, " that bronze cafting neither is nor has been my profeflion," and "that I could not guarantee fuccefs." " Caft it until it does " fucceed," was the reply ; but Angela ftates, " I was obliged to " caft it twice," and again, " as half the metal did not melt, the *• figure was only completed to the waift, wherefore I was obliged before recafting it to pull the furnace to pieces :" after relating his trouble and expenfe in the matter, Angela writes, " But enough ! Having with great trouble at laft fet the " ftatue up in its place, I found that my two years' labour had " profited me four ducats and a half." This was the ftatue, on feeing the model for which, the Pope afked, " whether the right " hand was raifed in menace or in bleffing ? " to which Angela replied, " Menace to the rebellious, Holy Father." " Put a fword 1 A bronze figure of this fubjedl;, by was piirchafed in London a few years many and not without feme rcafon, ago by Signor Pinti, and has fince fuppofed to be that here referred to, been fent on the Continent. cxxiv IntroduEiion. " in the left hand," then faid the Pope, " inftead of a book ; I " was never given to letters." In the Louvre is a fine bronze figure of Apollo with Python, in Angela's manner, and certainly of his fchool. Lorenzo di Ludovico Lotto (1490-1541), who probably fculptured the figure of Jonah in the Chigi chapel, after Raffaello's ^ defign, was affifted in the finifhing of fome bronze baf-reliefs by Montelupo for the altar of that chapel. Of the fchool and followers of Michel Angelo many worked only in marble. GugUelmo delta Porta^ of a Lombard family, adopted Angela's manner after entering the fervice of Paul III,, in 1 547, whofe monument was his fineft work. It is furmounted by the feated effigy of that Pope, a grand figure in bronze, while round the bafe were placed four recumbent allegorical figures of great power but dubious meaning, in marble. Two of thefe are yet on the altered monument in St. Peter's, the others are in the Palazzo Farnefe. Pius IV. commiflioned a bronze baf-relief of fome fubjedl from the hiftory of Our Lord for the doors of St. Peter's ; this was never executed. A fmall bronze recumbent female figure with two children, perhaps reprefenting Latona, is in the writer's colledlion, and probably is a carefully ftudied model by the hands of this able artift. One 'Tamajo della Porta., but not a member of the fame family, caft the bronze ftatues of SS. Peter and Paul, which furmount the Trajan and Antonine columns at Rome. He died in 1618. Daniele Ricciarelli da Volterra (i 509-1 566) modelled and caft in bronze the portrait head of Michel Angela^ probably that now preferved in the Halls of the Confervatori at the Capitol, and which has been wrongly afcribed to Angela's own hand.^ 1 Ilal. Sculp., No. 41 23. the writer in the 32nd vol. of the 2 On the fiibjedt of this and other Archa-ological JoutnaL portraits oi M. Jingelo, fee a paper by IntroduEiion. cxxv For a notice of Pierino da Vinci the reader is referred to page 64 of this Volume. Leo Lioni, of a Comefe family, although known as " // " Cavaliere Aretino" worked much in bronze. His portrait medal of M. Angela ^ taken from the life, is referred to by Vafari.^ He worked much for Charles V., for whom he made a por- trait ftatue in bronze, which is now at Buon Retiro. At Gua- ftalla is his ftatue of Don Ferrante Gonzaga made about 1557-94. In the Duomo at Milan is the ftriking monu- ment to Giovan Giacomo de' Medici, adapted after M. Angela s defigns. hioni alfo was direftor of the mint at Milan. Pompeo Lioni his fon, followed without improving his father's manner. He worked much in Spain and in Milan, cafting thirteen portrait ftatues of the imperial family ; figures for the high altar of S. Lorenzo at Madrid ; nine for S. Filippo Reale ; and fifteen gilded ftatues for the Efcurial. He worked with more rapidity than excellence; after returning to Milan, he died a rich man in 16 10. Antonio Fantana (i 540-1 587), an able metal worker and bronzift in the rococo ftyle, caft the rich bronze gates for the cancellum of the church of S. Celfo at Milan. To this artift or to Annibale Fontana are afcribed the fine bronze candelabra in the Certofa at Pavia.^ Francejco Brambilla, a cotemporary of Fontana, worked with his pupil, Andrea Biffin at Milan Cathedral, for which he modelled the fymbols of the evangelifts, and the figures of the do(5tors of the church which fupport the pulpits. The temple- like tabernacle of bronze over the high altar is alfo by him, and the bronze angels were caft by Biffi. Jacopo and Tomaja Cafignuala caft a bronze ftatue of Pope Paul IV. (1555-9)5 which is on his monument in the church of the Minerva at Rome. 1 Confult the paper referred to in An example of this medal in filver is note 'on the previous page for an account in the Mufeum, No. 4569. '57. of the original wax model for this medal. ^ See carts Nos. '67.-2, 3. cxxvi IntroduSlion, Simon of Pavia and Giovanni Simone di Germano worked during the laft quarter of the fixteenth century at a rich "ancona" in gilded bronze, with ftatuettes, columns, &c. of filver for the confraternity of Sta. Maria della Mifericordia at Bergamo, after a defign by Giovanni Belli. Benvenuto Cellini (i 500-1 571) was, without doubt, the greateft Florentine metal worker of his time, although it is probable that fome lefs boaftful artifts, as Caradozzo of Milan, may have been his equals in manipulative fkill, and perhaps his fuperiors in defign. His earlier years were chiefly devoted to goldfmiths' work in Rome and Florence ; he fubfequently went to Paris. The known works left by him are few, his bronzes being the more important. Of thefe the earliefl: executed is the baf-relief reprefenting the " Nymph of Fontainebleau," an ideal embodiment of the fpring known as the Belle Eau " in that foreft. The nude recumbent female refting upon a vafe, whence iflues the pure fource from which furrounding animals hafl:en to drink, is a mannered figure of overfiirained grace, and but ill-proportioned ; in workmanfiiip highly elaborated (a caft; is in the South Kenfington Mufeum, No. '64.-104.). It was made in femi-circular form to be placed over the great door of the palace, and is now in the Louvre. This is not the place to do more than refer to his golden falt-cellar, made in the fame year, 1543, for Francis I., and now at Vienna ; we pafs on to his next work in bronze, the highly wrought but fl:artling bufl: of Duke Cofimo, executed in 1546, at Florence, and now in the Bargello. Meanwhile he was occupied in preparing for his greateft work, the group of Perfeus and Medufa, the original wax model of which is alfo preferved in the Bargello. Having made the fallen body of Medufa in a feparate piece, he built up the figure of the Perfeus to be caft in one jet. The furnace prepared and all in readinefs, his ten or more afliftants all at hand, the excitable and anxious artift, overcome by fatigue, was proftrated by fever at the critical time. But Cellini s own account of his ftate at this moment muft be read. While writhing upon IntroduEiio7^, cxxvii his bed the mefTage came, " paft earthly remedy your work is ruined." With a fcream Benvenuto rufhed to the furnace, more oak wood was thrown in, and a block of tin added to the pot of metal ; (doubtlefs the furnace had cooled down, or much tin had evaporated and the remaining metal, more rich in copper, was lefs fufible in confequence ; it had caked and cooled ;) then with the forced heat the furnace burft, but the metal was partly fufed though not enough, more tin was wanting ; in he caft his pewter difhes, plates and bowls, aoo pieces of his table fervice ; the plugs were driven in ; the metal ran ! The mould was filling ! was full ! On his knees he praifed God, ate a hearty meal with his men, foundly llept away his fever, and Cellini was himfelf again, Notwithftanding its faults — and what human work is perfect ? — the Perfeus is a noble ftatue and rivets attention. It ftands on a bafe, beautifully ornamented, but fomewhat fniall, on which is a highly poetical and pidlurefque baf-relief, reprefenting the refcue of Andromeda by the deftroyer of Medufa. It was fet up and uncovered to the public gaze in April 1554, the " ad- mired of all admirers," from the Duke in the Palazzo Vecchio above, to the facchino among the crowd filling the piazza. In what a feventh heaven muft; the vain Cellini have felt himfelf to be, when thus his work was extolled and its maker flattered ! He received 3,550 golden fcudi for this work, which he himfelf had valued at 10,000, and believed to be unfurpafled and unfurpafi'able. Benvenuto' s next bronze work was the grand portrait buft of his friend and patron in Rome, Bindo Altoviti, at whofe palace on the Tiber's bank, in the piazza near the Ponte St. Angelo, he was hofpitably lodged, and where the buft ftill occupied its original pofitlon until within (he laft few years. In the interefts of our national colledions, it is much to be regretted that an opportunity that then occurred of fecuring this, Cellini's fineft portrait buft, for the South Kenfington Mufeum was loft by injudicious management; although we cxxviii IntroduEiion, could not but regret any removal of fuch a work from its hiftorical pofition at the Altoviti Palace, in the very atmofphere of which the fpirits of fo many great in art and literature feem yet to linger. There Michel Angela had feen it, writing afterwards to Cellini^ " I have long known you, my Benvenuto, to be the firft goldfmith in the world, now I know you to be equally good as a fculptor." This buft was finifhed in 1552. He fubfequently made models for a finall ftatue of Juno to be executed in bronze, but it does not appear to have been caft, for fhortly before his death he wrote to Francefco de' Medici, to whom he bequeathed the model, ftating his regret that he had been unable to complete it by reafon of hisferious illnefs, againft which, although baffling his phyfician, he ftill fought, being feventy years old. He died on 13th February 1571. Cellini s treatife on the goldfmith's art and his extremely interefting, but probably exaggerated, autobiography are well known. Francejco Primaticcio (1504-70) was engaged by Francis I. to procure cafts from fome of the more important antique ftatues which had then been recently difcovered or exifted at Rome, to which city he was fent in 1 540. Thefe cafts were taken by Vignola. He was alfo commiflioned to buy antique fculpture. After his return to France, he caufed the following to be caft in bronze by able French founders : the Tiber, Laocoon, Cleopatra (Ariadne), Apollo, Venus, Commodus, two Satyrs, two Sphinxes ; of thefe fine bronzes five only now exift and adorn the gardens of the Tuilleries at Paris ; they are the Laocoon, Ariadne, Apollo, Venus, and Commodus ; the others periftied during the many troublous times of France.^ Bartolomeo Ammanati (1511-1592), a pupil of Bandinelli, and who for fome time worked under Jacopo Sanjavino at Venice, fubfequently at Padua and Rome ; on returning to 1 Barbet de Jouy, " Les foittes du Primatice." IntroduSiion. cxxix Florence obtained the commifllon for the fountaui at Pratolino, and the bronze group of Hercules and Antaeus^ at the Villa now named " di Ouarto," furmounting 'T.'riboUs fountain, on the bafin of which are figures of children in bronze, after models by Pierino da Vinci. He was a better architedt than fculptor, his greateft work being the Ponte Sta. Trinita at Florence, which was built after his defigns in 1569. The great fountain in the Piazza della Signoria is lefs fuccefsful, fur- mounted as it is by an awkward figure of Neptune in marble, the bafiji having unmeaning and ill-modelled male and female figures in bronze reclining upon its edge. It was completed in 157I" The moft able fculptor of this later period was Giovanni di Bologna^ or perhaps more corredlly Gian Boullogne,^ born about 1524, a native of Douai, where, after ftudying under a fculptor named Beuch, he, ftill very young, travelled to Rome, where he was noticed and advifed by Michel Angela. Returning homewards he was induced to remain at Florence under the patronage of Bernardo Vecchietta, who, himfelf an amateur, encouraged and afiifted him in bronze calling, &c. He alfo worked in marble. Difappointed in the competition for the Florentine fountain, Giovanni obtained the commifTion for that at Bologna, in conjunftion with its defigner, Tommafo Laureti, and with the cafter Zanobi Portigiani, and was occupied upon it more or lefs during three years ; it was com- pleted in 1566. It confifts of a marble bafe, at the lower angles of which are bronze fyrens, and between them fhell- ornamented bafins ; the fecond fl:age has armorial Ihields of bronze, and fhells upon the lower angles ; round the third, which forms a bafe to the huge bronze figure of Neptune, 1 See Cat. Ital. Sculp., 7716, 109 1. Knocker, 573.-65.; and Reproduc- 2 For other works in the Mufeum, tions, '66.-20, 21, and '57.-29. fee Ital. Sc., Nos. 1092, 4128; B. k cxxx IntroduSiion, are four children holding dolphins and of bronze^ with mafks between and other ornamental details ; the Neptune is nine feet in height, and the effe6l of the whole is very grand. The Mercury, that graceful figure carried upwards by the brazen breath of Eolus, was 'executed fome fhort time after, but the exaft period is not known ; it is now in the Bargello,^ where alfo is a bronze Venus by the fame mafter. His next great work was the fine equeftrian ftatue of Cofimo I. in the Piazza, the bafe of which is adorned with baf-reliefs greatly inferior to the figure aboVe ; it was finifhed in 1594. In the National Gallery at Edinburgh is a reduced bronze copy, carefully executed by Adrian Fries^ of the group of Samfon and the Philiftine, now at Hovingham Hall, York, and which had furmounted a fountain in the Cafino di S. Marco at Florence. He alfo was engaged with his pupils, Pietro Tacca, his countryman, and Pietro Francavilla (1548-16 18), on the bronze equeftrian ftatue of Henri IV. in Paris, the furrounding figures of ftaves, by the latter, and fome portion of which are in the Louvre. Francavilla alfo worked at Genoa. ^ In a niche at Or San Michele is a figure of St. Luke, and on the fountain at Petraja a graceful Venus fqueezing the water from her hair, bronze ftatues alfo by Giovanni, John of Bologna had many pupils and alliftants working in his ftudio and at his furnaces, whence emanated many charming ftatuettes and minor ornamental objedts. As with thofe made by Ferrocchio, Pollaiuolo, Cellini, and other bronzifts, we lofe all record of thefe fmaller works, they neverthelefs carry their own certificate of charaderiftic ftyle, approximatively indicating the hand which modelled, or at leaft the ftudio whence they came. 1 No. 907 1. '63. is a modern rcpro- 2 Sce page 20, No. 85. '65; and duftion of this figure made in France. Ital. Sculp., p. 167, No. 7628. IntroduSiion. cxxxi His laft great work was the bronze gates of the Cathedral at Pifa, replacing thofe by Bonanno, which were deftroyed by the fire in 1 595. Here his own inferiority and that of fculp- ture in baf-relief at his time, as compared with works of the two preceding centuries, is made painfully apparent. No religious feeling is difcoverable in thefe confufed but well executed rilievos, the clever calling of which is due to Domenico Portigiani, whofe father had a fimilar fhare in the produftion of the Bologna fountain. Domenico worked alfo at fix fl:atues and as many baf-reliefs, which Giovanni had modelled for St. Anthony's Chapel in S. Marco at Florence. In the Annunziata he had enriched the chapel of the Madonna del Soccorso with baf-reliefs and a crucifix of bronze ; there he was buried, after his death in 1608, aged nearly eighty-four. Pietro 'Tacca, who worked under Giovanni at the bronze ftatue of Henri IV,, completed that work after his mailer's death. Manni afcribes to this bronzift the horfe of the equef- trian fl:atue of Ferdinand 1. in the Piazza della Annunziata at Florence, which fl:atue is afcribed to Sufmii. It was made in t6o8 from cannon taken from the Turks. The fountains are by 'Tacca, who alfo caft the boar in the Mercato Nuovo, from the antique. By him are the figures of four flaves at Leghorn, at the corners of the bafe fupporting the fliatue of Ferdinand I., and a buft of Cofimo II. at the Palazzo Conventuale at Pifa. He alfo executed work for Spain, We have now arrived at that period when the arts were in rapid decline, not from technical and mechanical incapacity nor timidity of undertaking, for fcale increafed as art diminifiied, but from an abfence of higher motive and a confequent degene- ration in purity of tafl:e, refulting in offenfive mannerifm. Meanwhile at Perugia, on the Piazza, the bronze ftatue of Pope Julius III,, the moft important work of Vincenzo Danti, of that city, was finifhed in 1555, and is of confiderable merit. By him alfo is the group over the fouth portal of k 2 cxxxii IntroduSiion. the Florentine Baptiftry, reprefenting the decollation of the Precurfor. Paolo Ponzio Trebatti (" Maitre Ponce"), who worked in France with Primaticcio, erefted a monument to Alberto Pio, Prince of Carpi, which was deftroyed, the bronze effigy being now in the Louvre, where are alfo ftatues of Andre Blondel and Charles de Magny, works by this artift. To him alfo are afcribed two of the bronze figures of cardinal virtues, which were at the angles of Germain Pilon's monument to Henri II. 'Taddeo Landini was the author of the very elegant " delle Tartarughe " fountain at Rome, the defign for which, incor- redtly attributed to Raffaello, is believed to be by Giacomo della Porta. Girolamo Lombardo, the fon of Antonio di Pietro, who was the head of the Ferrarefe branch of that family, fettled at Recanati (1534-60), near Loreto, where he eftablifhed a foundry, and executed the four bronze doors of the Santa Cafa, works of admirable technical execution and great beauty, reprefenting on panels, fcenes from the life of Our Saviour, in a manner which partakes fomewhat of an earlier and fuperior charafter. The three pairs of external doors to the church, alfo of bronze, were defigned by Girolamo, and executed, the central one by his fons, reprefenting fcenes from the Old Tefta- ment ; that on the left, by 'Tiburzio Verzelli ; that on the right, the fouthern fide, by Antonio Calcagni, partly executed about 1592, but finifiied after his death in 1593, and others, fcholars of Girolamo. Thefe works are of wonderful elaboration, fome- what overloaded in wealth of fubjed: and ornament. The ftatue of the Madonna and Child over the portal, a fine group, is alfo by Girolamo, and faid to be his lafl; work, others of which, figures of the Prophets, are on the angles of the rich cafing of the Santa Cafa. Calcagni alfo defigned and caft: the noble feated bronze ftatue of Sixtus V., which occupies a commanding pofition on IntroduSiion. cxxxiii the marble fteps leading up to the church. It was made between 1587 and 1589 ; the pedeftal is enriched with rilievos and fhields of arms, mannered figures of the cardinal virtues, alfo in bronze, occupying the four corners. The Baptiftry of the church is another work by Tiburzio Verzelli and Giobattijla Vitali, profufely enriched with rilievos, ftatuettes, and orna- mental acceflbries. By the Venetian, Pietro Bojelli, are the gilded bronze life- fize figures, perhaps caft by Wdf Hilger at Freiberg, of the Saxon Princes and Princefles, Heinrich the Pious (died 1541), Auguftus I., Chriftian I., Anna, Katharine, and Johan Georg (died 1656), in the Cathedral of that city ; as alfo the accom- panying mannered figures of Juftice and Charity. There are alfo fixteen fmall and ten larger engraved plates of bronze with portraits of members of that royal family, dating from 1541 to 1617. As, at the end of the fifteenth century, Michel Angela threw new life into the enfeebled art of his cotemporaries, a life not endued with that purer fpirit which had infpired the earlier mafters, but with a fubjedlivity almoft unfettered, although in the works of his own hands rendered fubfervient to an all pervading idealifm ; fo, at the end of the fixteenth century, Lorenzo Bernini gave an impetus to the flagging energies of the art creations of his time, but in a diredion ftill further removed from the earnefl: objedlive fentiment that had attended the earlier regeneration, antecedent to Michel Angelo. Without a fhade of his mighty idealifm, it traveftied his moft extreme energy, appealing to the fenfes and exciting wonder by tour-de- force, combined with marvellous command of material. In this refpe6t marble feemed as pliant as wax in Bernini s hand, and its fur face as mollient as ivory. Had he lived in an earlier period, and under the influence of a Perugino or a Donatello, what noble work might he not have done ! As the fhade of Sanjavino pervades the very atmofphere of Venice, predi(^l- cxxxiv IntroduSiion, ing the coming fall of plaftic art, fo in Rome Bernini clouds the fky, croffing one's path at every turn in form of extravagant architedlure or fculpture gone wild. In France he developed the ^^Jlyle Louis ^atorze " and its fequent incongruities ; indeed, it more or lefs pervaded the whole of Europe, gradually refining at laft into the more elegant manner of the period of Louis XVI. ; this again was chilled to death by the cold pfeudo-claflic ftyle of the " empire," emanating from the fchools of David and Canova. Lorenzo Bernini was of a Neapolitan family; born in 1598 ; he lived to the good old age of 82, and died in 1680. One of his earlier and better works is the Apollo and Daphne group in the Borghefe Villa, which was chifelled by Bernini when only in his eighteenth year. A bronze redudion from this wonderfully elaborated marble, probably executed under his own fupervifion, was fold in London a few years fince, and is now in the pofleffion of Mr. H. Danby Seymour. Bronze was, however, comparatively but little ufed in fculpture by Bernini or the artifts of this later time ; we muft except his baldacchino, which furmounts the high altar in St. Peter's, with twifted and fluted pillars entwined with gilded vine ftems and fupporting its huge caaopy, all of bronze richly picked out with gold ; this is not merely an architedlural work, being adorned with figures of angels, cherubs, &c. The portrait bufts by Bernini are, however, fine, although the drapery is generally in a falfe ftyle. He had many followers, by one of whom is the bronze buft of Pope Alexander VIII. (No. 1089. '53. )3 in the South Kenfington colledtion. Alejandro Algardi was a cotemporary and rival of Berniniy by his hand is the fine buft. No. 1088. '53, in this Catalogue. He executed the impofing coloftal feated ftatue of Pope Inno- cent X., which is in the Great Hall of the Confervatori at the Capitol. IntroduSiion. cxxxv Francejco Mocchi is the author of the mannered bronze equeftrian ftatues of Ranuccio and AleJJandro Farnefe, which were completed in 1624, and are in the Piazza de' Cavalli at Piacenza ; they were caft by Marcello, a bronzift from. Rome, it is faid at one jet. Horatio Albrizio, of Rome, caft excellent reduced copies from the antique and other works about 1625. We muft not omit referring to the huge ftatue of S. Carlo Borromeo, that overlooks the Lago Maggiore from the heights above Arona, The head, which will hold three perfons, the feet and hands are of caft bronze ; the figure is a core of mafonry, covered with beaten copper plates. It was fet up in 1697, and is not without confiderable merit. An able bronzift of noble family was Maximilian Soldani^ by whom were executed three highly elaborated reliefs in the Bargello at Florence, reprefenting St. Francis Xavier, St. Jofeph, and Sa. Therefa. Alfo four large panels in the Royal Colledlion at Windfor, the fubjeds of which are emblematic of the feafons, and which bear the fignature, " Maximilianus . Soldani . nobilis . Florentinus . Fa . Anno . 17 15." In the Florentine Gallery are copies, in bronze, caft from and of the fize of the originals, of the Venus, the liftening flave, the wreftlers, and the faun, of the Tribune of the Uffizi ; the fifth figure, the Afollino^ is wanting, having probably been abftraded during the French occupation of Italy. It is now in the poflef- fion of Robt. Hollond, Efq., of The Hall, Stanmore. The angel in gilt bronze, on the top of the Caftle of St. Angelo, at Rome, was the work of Giardoni, a bronzift of the laft century. Bronze fculpture in Italy was, however, but little encouraged during the laft century, except in the production of ornamental objedls and ftatuettes, copied for the moft part, from the antique. Giovanni Zoffoli, of Florence, was one of the moft able of thefe bronzifts, his vafes and ftatuettes, frequently figned in full cxxxvi IntroduEiion, or with the initials G ' Z ' F *, are well executed. F. Rhi^hetti was alfo an excellent bronzift, working at Rome during the laft quarter of the century, as was alfo G. Bqfchi^ both of whom occafionally figned their works. Francejco Ladetto, of Turin, and Giovanni Paolo Venajca were carters and chafers of furniture mounts ; alfo T^oro who worked in Paris. Canova (1757-1822), the leading fpirit of the art of his day, produced nothing in bronze, a material which became gradually negledted for monumental works, nor has its ufe fince rifen above mediocrity. Among more recent works may be mentioned the monu- ment in bronze to the Emperor Francis, which is fo prominent an objedl in the Court of the Burghof at Vienna. It is an able work by Marchefi of Milan, and was eredled in 1 846. IntroduEiion. cxxxvii CHAPTER VII. Bronze Sculpture in Germany. HE fierce and ftalwart tribes of Germany, who had fo well defended their Fatherland in foreft and on rugged mountain fide againft the fteady advance of Rome's all conquering legions, were equally antagonlftic to the progrefs of Chriftianity. The altars and facred groves of their mythological deities, Odin with his counfelling ravens, or Wodan, Thor, Baldur and the reft, were defended to the death that might open to those wild warriors the golden gates of their Walhalla, where the welcoming nectar draught from the myftic horn would refrefh their wearinefs and foothe them into blifs. The tenth century had, however, feen Chriftianity fteadily in- creafe, except in remote regions, and as the Roman legions had advanced, intrenching themfelves at every point of vantage, so the miftionary of Chrift, armed with the facred meflage beneath the banner of the crofs, fteadily progrefled and took pofleftion of each converted diftrid by the building of a church and its fur- rounding monaftic eftabliftiment. Notwithftanding a period of difcord thefe fortrefles of the new faith increafed in numbers, as in wealth, for the fame romantic devotional fentiment, that had influenced the minds of thofe fierce but fimple people to the adoration of Odin, was now directed to the true God, and to thofe who had made Him known. Wealth gradually flowed in, and it is not a little remarkable that its ufe fliould have been applied to the produdtion of large works in metal at fo very early a period in Germany. The bronze gates that adorn fome of her churches are of even earlier date by a few years cxxxviii IntroduSlion, than thofe produced in Southern Italy ; not, however, as we believe, from any fuperior artiftic power or facility of handi- craft among that comparatively primitive people, but rather, perhaps, from local circumftances, diredled by a comprehenfive judgment on the part of the clergy and applied under extraneous influence. Thus it is reafonable to fuppofe that the materials for making bronze, or that alloy itfelf, would be among the more abundant offerings of fuch a people, either in the rough form, or perhaps the weapons fuccefsfully ufed in the foray or the chafe, and offered as ex votos to the fhrine. Hence the material, while the fuperabundant forefl would afford the ready fupply of fuel requifite for fuch larger operations of the . foundry. But the art, as regards the invention and the modelling of fuch works, was, as we believe, probably not only from the teaching, but, in the majority of inflances, the abfolute handi- work of foreigners, who may have been among thofe numerous artiftic brothers of the monaftery, to whom the arts and the church owe fo much of their material glory. Doubtlefs thefe would be materially influenced by their various furroundings, and their original Byzantine mode of treatment would, to a greater or lefs extent, be modified, refulting in that peculiarity of reprefentation obfervable on thefe early German gates of bronze, in which fome learned German critics have difcerned a native and original romantic element. Looking at them in a German atmofphere, though not with German eyes, we confefs we cannot difcern other than a modified Byzantine treatment and manipulation, influenced, to the extent of a variety, by local circumftances and impreffions. To this root other and later works may well be traced, fome of which are known to us as " Rhenifh -Byzantine " and " Byzantine-Romanefque." At Aix-la-Chapelle we find in the Cathedral 'bronze work of the Carlovingian period, in which clafTic ornamentation is apparent. The bronze pine cone or artichoke may be of tiie IntroduBion. cxxxix tenth century, but the lion-headed door handles, furrounded by a palniette bordering in claffic tafte, the hair on which is rendered in mafles with wave-like curls at the ends, reminding one of the Etrufcan manner ; thefe are probably Carlovingian, and free from Byzantine influence, as are fome bronze gratings in the interior of the church. At Cologne are doors with claffic mouldings and lions' heads in flmilar ftyle. At Brunfwick, on the Cathedral Platz, is the bronze lion, a Byzantine work of the eleventh century, faid to have been brought from Conftantinople, but by other authorities afcribed to German artifts of the twelfth : a caft of this is in the South Kenfington Mufeum (No. '73.-383). We learn that about the year 990 the Bifliop of Verden in Saxony gave fix brazen columns to the Abbey Church at Corvey, and other fix were fubfequently executed by an artifl named Gottfried. But it is among carved ivories rather than in works of bronze that we m.uil trace the progrefs of fculpture during that period, when a degenerated and coarfe clafTic ftyle was gradually fuperfeded by the highly elaborated but rigid Byzantine ; thofe produced in Germany, occafionally fhowing a certain amount of naturaliftic charadter, are neverthelefs greatly under the influence of Byzantine mannerifm, combined with certain clafTic reminis- cences. The churches were alfo enriched with vefTels, reli- quaries, &c. of the precious metals, while fupporting columns of the baldacchino and altar fronts were equally gorgeous. Of fuch is the altar front from Bafle, now preferved in the Hotel Cluny at Paris. It would feem that the Germans were clever in the cafling of bronze, an art that is referred to in the work of Theophilus, and which appears to have been much developed in Saxony. Accordingly we find in the churches of that and other cxl IntroduBion. neighbouring parts of Germany important monuments in this material. At Hildefheim, Bifliop Bernward caufed a bronze gate to be caft for the cathedral.^ It was finifhed in A.D. 1015, and is ftill the great gate of that church. It is arranged in fquare panels^ eight on either fide ; the one ferles reprefenting fub- jedls from the Old Teftament ; the other from the life and paffion of Chrift. By German critics it would feem to be con- fidered as a work of native and not of Byzantine produdlion, the rude modelling being rather influenced by a Romanefque or debafed claflic ftyle. A brazen column was alfo made for the church of S. Michael, in 1022, by the orders of the fame bifhop ; it now ftands in the Cathedral Platz, and is fome 15 ft. in height, although wanting the capital and furmounting crucifix. It is covered by a fpiral band of rilievos, reprefenting fcenes from the life of the Saviour, arranged after the manner of Trajan's column at Rome ; the fubjeds are alfo rendered in a debafed Roman fi:yle.- At Hildeflieim alfo are the magnificent corona: of the fecond half of the fame century ; another is at Aix-la-Chapelle. At Eflen is the fplendid feven-branched candlefl:ick of the fame century. Of the larger Hildeflieim corona, a reprodu6lion is in the South Kenfington Mufeum.* Other works exifl; in Germany, as the bronze figure in high relief of Archbifliop Gifilerius in the choir of Magdeburg Cathedral, a rude work executed fome time fubfequent to his death in 1004. At Erfurt, in the cathedral, is a ftatue, alfo in bronze, of a male figure, holding a lamp ; it is a coarfe bar- baric work. The cathedral at Goflar poflefles an altar formed of bronze plates, and fupported by kneeling figures. 1 Eledrotype copy in Mufeum, Eleftrotype in Mufcum, '74.-43. '74--44- ■^'74--i34- 2 Call in Mufeum, '74.-39. IntroduSiion. cxli Augfburg Cathedral has bronze doors/ caft with fubje6ts in rilievo on feparate panels, but which are fuppofed to have been made up from two diftind works ; the fubjedls of the panels are in duplicate. Following the hiftory of its development in the north and weftern parts of Germany to the Low Countries we find that the twelfth century faw a confiderable increafe in the amount and in the diredtion of artiftic work, both in bronze and in ftone. Flanders even early in the century had made a great advance in the produdtion of metal work, and Dinant became the centre of the induftry. The churches of Sta. Sophia at Novgorod, and the Cathedral at Gnefen, have bronze gates ; the former be- lieved to be a work by one Riquinus ; the latter, fomewhat later in date, is covered with fcenes from the life of St. Adal- bert. Both are believed to be the work of Saxon cafters. The plain panelled doors of Mayence Cathedral, with lion's head handles, are of the twelfth century — 1 135. Of the twelfth century alfo are feveral curious candelabra in churches, as the foot of that at Prague in the Cathedral ; one in the Cathedral at Aix-la-Chapelle of 1165; and again one, very beautiful and perhaps of later date, at Komburg in the Abbey Church. At Treves is a bronze font. Of the next century, the thirteenth, we have at Hildeflieim the wonderful bronze font in the cathedral, covered with fubjedls from Holy Writ, with a portrait of the donor adoring the Madonna, and refting on the four rivers of Paradife.^ The tomb of Rudolph of Swabia in the Cathedral of Merfeburg is of the later years of the eleventh or an early work of the twelfth century. It is a flab reprefenting Rudolph in baf-relief, richly clad in a drefs enriched with gems and with engraving. At Halberftadt is an epifcopal flab monument ^ Eleftrotype copy in Mufeum, ^ Caft, '74.-29. '74.-136. cxlii IntroduSiion. in the Church of Our Lady, and another is in the Cathedral at Magdeburg, in memory of the Bifhop Frederick I. who died in 1 152. This century was even more abundant in the produdlion of reliquaries, crucifixes, monftrances, and other church furniture in gilt bronze, as well as in the precious metals ; the Rhenifh and central towns and artifts being, perhaps, the moft abundant fources. France and Flanders alfo were great producers. Many of thefe have furvived to our days and are preferved, fome in the facrifties of churches, particularly the unrivalled colledtion at Aix-la-Chapelle, others in mufeums and private colledlions ; but thefe belong to the fubjedl of another catalogue. There is but little doubt that the incifed monumental flabs generally known as " braffes," ^ and which are more numerous in England than elfewhere, had their origin in Northern Ger- many or Flanders, probably in the former country. They occur in Saxony, Pruffia, Hanover, Mecklenburg, and Brunf- wick ; in Poland, Switzerland, Holland, Belgium, Sweden, Denmark and France, as alfo in Spain, &c. Perhaps the earlieft now exifting is that in the Church of St. Andrew at Verden, to Bifhop Tfo. von Welpe, 1 23 1 . At Hildefheim is one to Bifhop Otho of 1279. In early German examples (fourteenth century) the figure is left in a fort of flat relief by the excifion of the furrounding field, the details being finifhed by engraving ; as on that at Brunfwick to John de Rintelen, 1376. At a later period (fifteenth century) the face is fometimes reprefented in low relief, as in that to Bifhop Peter at Breflau, 1456. This method would again lead to the modelling of the ^ On the fubjefl; of foreign braffes. Journal ; alfo to Mr. W. H. J. Weale's fee the valuable papers by the late ■ works and memoirs on Belgium, &c. ; Mr. Albert Way in the 7th, and and, for the entire fubjed, to Haine's Mr. Nefbitt in the 9th, loth, nth. Manual of BrafTes. and 13th vols, of the Archjeological IntroduSiion. cxliii entire figure in low or full rilievo, of which there are examples at Bamberg, Marberg. Cracow, &c. The thirteenth century brought with it a development of the plaftic arts hand in hand with architecture, which no pre- ceding period had known fince the decadence of claffic fculpture. The fentiment, infpired by deep religious feeling, created for itfelf a new expreflion in the development of "Gothic" or pointed architecture ; this was not confined to the conftrudlive art only, every objedt partook of the fame charadler, and, imbued with the fame fpirit, was fafliioned in a correfponding ftyle. There was withal a purity and grace of exprefiion in the produdions of the thirteenth century, and an objective and elevated tone that was curioufly analogous to, although widely divided from, that which prevailed about the period of Pericles, and on the other hand, but much nearer, to the earlier productions of the RenaifTance in Italy. Architecture, fculpture, and painting (in polychrome), particularly in the direction of coloured glafs for windows, went hand in hand as loving fifters and fellow-labourers in the one united objeCl, the harmonious completion of buildings and objects devoted to the glory of God. While fculpture developed to a remarkable extent in this direction in France, a more independent, homely, and natu- raliftic feeling, combined with Romanefque treatment, ftill prevailed for the moft part in Germany, frequently rude in conception and execution, but not, however, without occafional grandeur and beauty, although wanting that delicacy of fenti- ment exprefled by the French works. Of ca{^:ings in bronze of this century is the font in Wiirzburg Cathedral, the work of Mafter Eckard, of Worms, in 1279. It is in the Gothic man- ner, having fcenes from the life of Chrift in eight divifions, executed with more care than artiftic merit. Some admirable reliquaries and other church objeCts, with figures of the Apoftles, &c. in copper or bronze gilt, as well as candelabra, &c., were executed during this century, many of which are preferved to cxliv IntroduEiion. our day. Of fuch are the fhrine of the Virgin in the Cathedral of Aix-la-Chapelle, others at Tournay, &c. Hardly fo fatisfactory becaufe not fo pure, the fculpture of the fourteenth becomes ftill more florid in ornament, and although of excellent technical execution. Is wanting in origi- nality of invention and in the expreflion of a higher feel- ing ; a greater tendency to a naturaliftic treatment gained ground and grew into a conventional mannerifm. At Nurem- berg were produced fome of the moft important works of German fculpture in ftone during the fourteenth century, enriching the noble churches of that interefting old city. At Augflburg, Cologne, &c. are others. The carved wooden altar retahles of this and the next century are alfo impor- tant. Meanwhile fome of the metal work was of great beauty, although the larger works in bronze do not equal the excellence of the ftone fculpture of their time in Germany, At Mayence is a plain font of 1328. In the Marienkirche, at Colberg, is the feven-branched candleftick executed in 1327, and the font made in 1355. At Liibeck in the IVTarienkirche is another font, cafl: in 1337. There is another, of 1344, in the Church of St. Nicholas at Kiel, and another at Frankfort- on-the-Oder, of 1376, where is alfo a feven-branched candleftick. Another metal font is in S. Sebald at Nuremberg ; and one in St. Ulrich at Halle, caft in Magdeburg by Ludolf, of Bruns- wick, and his fon Heinrich, in 1435. -A-gain there is one at Berlin in the Church of the Virgin, with figures of Chrift, the Virgin, and Saints in relief. Of the date of 1457 is one by Majler Hermann Vifcher, of Nuremberg, with figures of the Apoftles, which is in the church at Wittenberg. All of thefe, however, difplay an inferiority and want in originality of concep- tion as compared with the earlier fonts at Liege and Hildeftieim. A fine work in lead, which is frequently fuppofed to be of bronze, and of excellent defign, is the fountain in the market place at Brunfwick. IntroduSiion. cxlv At Prague is the interefting equeftrian ftatue of St. George, executed in 1373 by Martin and George von Cluffenbach, by- order of the Emperor Charles IV. It is a moft vigorous and admirable model, conceived with great fpirit and difplaying much knowledge and obfervation of nature. It is nearly two- thirds of the fize of life, the details executed with great care, and altogether one of the moft remarkable works in bronze of the fourteenth century (of this a caft is in the Mufeum, No, '64.- 1 13). In Cologne Cathedral is the noble bronze tomb of Conrad von Hochftaden, the Archbiftiop, who died in 1261, but the monument was not ereded till the following century, probably after 1322. The figure is one of great dignity and folemn repofe. Many and remarkable are the monumental flabs of the earlier years of the fourteenth century in various churches of Central Germany ; fome to lay perfonages, knights and nobles, but more to bifhops and other ecclefiaftical dignitaries ; but they are nearly all fculptured in ftone. Among fome of the more important gilt bronze and copper chajjes of this period in Germany may be mentioned that of S. Emmeran at Ratifbon and that of St. Patrochus of Soeft, the work of Majier Sigefried in 13 13, which is now preferved in the Berlin Mufeum. The fine gilt bronze work of the tabernacle door at St. Sebald's, Nuremberg, a caft of which is in the Mufeum (No. '72.-68), is of the earlier half of the fourteenth century. We have feen how comparatively rare was the ufe of bronze for monumental fculpture in Germany, as was alfo the cafe in France, during the thirteenth and fourteenth centuries. In ftone the northern artifts had made confiderable executive progrefs, but no higher advance in the creative fpirit had become apparent. Meanwhile Italian fculptors had left the reft of the world's art ftill bound in the architedlural fetters of the " Gothic " manner which confined the growing naturaliftic fpirit of the age. In the B. 1 cxlvi IntroduSiion. north, that beautiful architecture ftill prevailed, and fculpture dared not encourage her longing after the freedom of a realiftic manner. In Italy the dormant claffic tafte gladly welcomed a revival of antique archite6lonic forms, and fculpture alfo freed herfelf from thofe reftridtions which the pointed ftyle, never ftridlly adopted in its purity, but more or lefs varied under Italian hands, had only lightly impofed. The Gothic was an exotic of the north, that, beautifully modified by the Italian foil and clime, became a very lovely but erratic variety, foon to fade away before the revived cultivation of an indigenous manner. There is, neverthelefs, a wondrous charm in the delicate propriety, the grace, and earneft truthfulnels difplayed in fome northern fculp- tures of the Gothic period ; but at its decline that art exhibits the fpirit of revolution and unreft, without attaining to a fixednefs or dignity of charadler or beauty of expreflion. Subfequently, in the latter half of the fifteenth century, a ftrongly picturefque dramatic rendering of facred fubjedls is manifefl:ed in the curious carved and coloured wooden altar pieces, &c., fome of which may be referred to in this Mufeum (Nos. 5894.-59, i92.-'66, 2418.-56), &c. As charadleriftic of German plaftic art under the circum- ftances and feelings of the time, wanting in elevation, though full of naive invention, they are hardly otherwife admirable, although occafionally defigned with great power. Their tech- nical execution is very excellent, and the abundance of their production by many hands throughout Germany is remark- able. Wood carving indeed, as might naturally be expected from the abundance of that material and the want of a finer quality of ftone or marble, was the leading vehicle for the art, which in fuch works called in the aid of colour and of gilding to enrich its otherwife fombre furface. Some of the carved choir ftalls, defks, pulpits, &c. are very admirable ; thofe at Ulm by Jorg Syrlin may be particularly mentioned.^ 1 Caft in Mufeum, '74.-89. IntroduSiion. cxlvii Vein Stojs was one of the moft important mafters who developed to a high level the art of fculpture in wood at the end of the fifteenth and early fixteenth centuries, an art in which probably Michael Wohlgemuth^ Adam Krafft^ and Albrecht Durer alfo diftinguifhed themfelves ; he worked at Nuremberg and at Cracow, where he alfo executed fome carved work in ftone. But upon the interefting, and, in England, but little known fubjed of thefe remarkable wood carvings and their authors, among which are fome works of extraordinary beauty, as alfo many of exaggerated and offenfive adion and detail, this is not the place to enter ; we merely allude to them as occupying in German plaftic art the place which in Italy was filled by fculpture in marble and in bronze. During the earlier half of the fifteenth century, with rare exceptions, monumental works were, for the moft part, in ftone, and generally coloured as the wooden altars. More important works in ftone fculpture were executed at Nuremberg during the fecond half of that century, by Adam Krafft^ the typical reprefen- tative of German plaftic art at that period, and by other artifts in Swabia, Franconia, &c. Tomb flabs in bronze are of much lefs frequent occurrence and inferior in execution ; of fuch are fome in the cathedral at Bamberg and elfewhere. The majority are in memory of church dignitaries, and date from 1414 through the fecond half of the century, and may be more cor- redtly clafled among " bralfes," the efliigies, being engraved or caft in outline ; others in very low relief. Of thefe is one to Canon Erhard Truchfefs, who died in 149 1 ; others date during the firft half of the fixteenth century. The name of Hans Krebs, as the cafter, is upon one of them. Subfequently we 1 Rofary at Nuremberg, '72.-67, 2 Groups 1 304.-'72 to 1307.-72, caft ; altar-piece from Boppard, No. wood. i2 5.-'73, wood. 3 Schreyer Monument, St. Sebald's Church, No. '72.-53, caft. 1 7, cxlviii IntroduSiion. find the armorial bearings caft in bronze and inferted in the infcribed ftone. Among thefe bronze memorial flabs we may refer to that of Bifhop Georg I., who died in 1475 ; ^^^^ Bifhop Heinrich III., of 1489 ; Bifhop Vitus!., 1503 ; Bifhop Georg II., 1505, caft from a defign by Wolfgang Katzheimer. Wanting in artiftic excellence of model, they are ably caft and carefully elaborated. We may alfo refer to the curious monuments in gilt bronze of the 15 th century of Count Weinfberg and his Countefs, which are preferred in the National Mufeum at Munich (caft. No. '73.-459, 460), and to the door in the church at Sigmar- ingen of bronze, filvered and gilt (caft. No. '73.-46 1). In Hildefheim Cathedral is a brafs to Canon von Veltheim, of the fixteenth century (caft. No. '73.-375), infcribed, " Cordt mente me fecit." But of fuch works in bronze the larger number were executed by the notable cafters and modellers of Nurem- berg, firft and foremoft among whom was the renowned Peter Vijcher, on the fubjedt of whofe produdlions an important illuftrated work is now being publifhed by Dr. Liibke. Peter was a native of Nuremberg, the fon of a brafs cafter, Hermann Vijcher, who had made the font at Wittenberg in 1457, and who probably executed many of the Bamberg monuments. In the church of St. Sebald at Nuremberg is a figure of the Saviour on the crofs in bronze, a work fomewhat over life fize, of the year 1482, that has been afcribed alfo to Her- mann Vijcher, and which difplays great power and careful execution. The greater part of Peter Vijcher s life feems to have been fpent at Nuremberg, where he executed the orders fent to him from various parts of Germany, and where he was afTifted at his foundry by five fons ; of thefe, one, Hermann, made a journey into Italy. Peter Vijcher was, however, not merely a IntroduSiion. cxlix bronze cafter, he was an artift of profound thought and great inventive capacity, qualities which become manifeft: through- out his otherwife naturaliftic and eminently Teutonic rendering of the fubjedls he fo ably treated ; the Gothic form and orna- mentation, mingled with renaijfance details, pervades nearly all his works and afford a ftriking inftance — paralleled under a different fentiment by the fculptors of Italy in the earlier years of the fifteenth century — of what may be done without, on the one hand, offending the reftridlive exigencies of pointed archi- tefture, by an an over freedoom of gefture ; while, on the other, a rigid mannerlfm gives place to a natural and dignified reprefentation of the figure or fubjedl. Taking his works in the fequence of their produdlion, we begin with the monument to Count Otto IV. of Hennen- berg, of 1490,^ which has been afcribed to Vifcher ; certainly by him is that to Archbifhop Ernft, in Magdeburg Cathedral, exe- cuted in 1495 ; and that to Bifhop Johann at Breflau, in the cathedral, of 1496, in which he already fhows an independence of the rigid models of the earlier fchool. His next recorded work, after an interval of fome ten years, difplays a ftill greater advance in freedom from the old manner, and is in every refpedl a noble monument of artiftic fkill. This is the well known fhrine of S. Sebald at Nuremberg, a labour of love, which occupied him from 1508 to 15 19. A caft of this grand work is in the South Kenfington Mufeum (No. '69. -14). It may be regarded as reprefentative of the perfection of German fculpture in bronze at the dawn of the fixteenth cen- tury, and in this refpedl fhould be ftudied and compared with the fame art in Italy, not indeed at the fame period, but of fome half century anterior ; and again as an example of the higher realiftic fchool, as contrafted with the ideal of the Italian mafters. Admirable as they may be, we cannot but feel that 1 Caft in Mufeum, '73.-580. cl IntroduEiion. the works of Vifcher are by fuch comparifon found wanting in that high feeling for the beautiful which pervaded the art of Ghiberti^ while they are as far removed from the objedlive fentiment and the heart-ftirring power of Donatello. Never- thelefs they engage the attention by the naive rendering of the ftories reprefented, and the charm of truthful nefs that per- vades the whole work ; the figures of the Apoftles alfo are not without confiderable dignity and a depth of expreffion which raifes them above the realiftic ; but in the nude figures of children his modelling is far from excellent, although the play of fancy in the groups has much charm. The architedural and other ornamentation is admirable, as is the painfl:aking execution of every detail of this mafterly work. A rilievo, executed in 15 21, reprefenting the crowning with thorns, which is in the Cathedral at Erfurt ; as alfo a replica in the Caftle Chapel at Wittenberg are fine works by the mafter ; as is another, of the fame period, in the Cathedral at Ratifbon, the tomb flab of Margaretha Tucher, reprefenting Chrift met by the mourning fifters of the dead Lazarus. This compofi- tion is devoid of Gothic influence, and treated in a purely renaijfance ftyle of great excellence. In the Egidienkirche at Nuremberg is another baf-relief ; the fubjed: is the Defcent from the Crofs, and it bears the monogram and mark of the mafler, with the date 1522; a caft of this is in the Mufeum (No. '64.-148.) At AfchafFenburg is the monument to Cardinal Albrecht von Brandenberg, of the year 1525, on which the figure of the Cardinal is reprefented in relief of life size. This is a noble work of high artiflic quality. At Wittenberg, in the Caftle Chapel, is the fine monument to Frederic the Wife, Eledlor ; alfo a figure in rilievo of excellent art, dated 1527, by fome fuppofed to have been executed by his fon Peter, after the mafter's defign. One of the figures which furround the grand monument to the Emperor Maximilian at Innfbruck is believed IntroduBion. cli to have been executed by P. Vifcher, he having received an order for that work in 15 13, and having been occupied in modelling one of the figures. Dr. Liibke fuggefts that this may be the ftatue of King Arthur of England, certainly the moft excellent of the group, and one of the earlieft, dated 1513 ; that of King Theoderic, of the fame date, is alfo fuppofed to be by him. Neither of thefe figures were caft at Innfbruck. Other exifting works afcribed to Vifcher are — a relief in the Berlin Mufeum, reprefenting Orpheus and Eurydice ; the figure of Apollo in the a6t of (hooting, which is at Nuremberg in the Mufeum, is dated 1532, and is probably the work of one of his fons, Peter Vifcher having died in 1529. The rich lattice- work executed by him for the Fugger's tomb at Augfburg was fold for old metal and melted down. Two fine bronzes, inkftands, in the writer's pofi^effion are interefting as fmall objeds by a great mafter ; they are varied embodiments of the fame idea, which is conveyed by a label, bearing the infcription, VITAM . NON . MORTEM . RECOGITA. A nude female figure (Truth ?) is flianding at the fide of a vafe, on which her left hand refts, her right is pointing upwards ; a fkull is on the ground (in one model flie thrufts it behind with her foot), alfo a fhield and fword or mace ; the pofition of the figures, the form of the vafe, and the details, are varied upon each bronze. With the infcription, which is caft in relief, upon one are the initials P . V . and between them the emblem of two fifii, transfixed upon a fpear ; beneath the bafe is incifed the croflled hook, fimilar to that upon the flab in the Egidienkirche at Nuremberg, and the date 1525 : on the other the emblem of two fifh on a fpear is four times repeated among the ornaments upon the elegant but peculiarly formed vafe. Both thefe bronzes are carefully executed, and, as we believe, works by the elder Vifcher} (1) This emblem of the two impaled Eurydice relief at Berlin, above referred fifh is alio feen on the Orpheus and to, and which is clearly the work of clii IntroduEiion. The foundry continued working after the mafter's death, producing many and important caftings, and it would feem that even during his life he executed cafts from models by other artifts ; of fuch is a tablet in memory of Helene Duchefs of Mechlenberg, died 1524, for Schwerin Cathedral. The bronze haldacchino above the tomb of St. Magaretha at Afchaffenburg is alfo attributed to the Vijchers, perhaps the elder. Other fine monuments to Counts of Nuremberg at Romhild are alfo probably from their foundry, from about 1490 to 1510; that of Count Herman VIII. and Elizabeth of Brandenburg, his wife (1508), with recumbent effigies of life fize, is a noble work\ Another bronze monument of great excellence is at Hechingen, commemorating Count Eitel Friedrich II., and his wife Mag- dalena of Brandenburg. A fketch, believed to be for this monument, by the hand of Diirer, dated 15 13, is in the Florentine Gallery. In the Cathedral at Cracow is a grand monument in bronze to Cardinal Friedrich, fon of Cafimir X. of Poland, which combines the graven work of our Englifh braffes with figures in relief. The effigy of the Cardinal is graven on a bronze plate, and upon another he is reprefented kneeling before the Virgin and Child, as in life ; the patron faint, S. Staniflaus, is behind, leading a man by the hand, whom he had reftored to life. In 1 534 Hermann Vijcher^ the eldeft fon, executed the monument to John the Conftant, which is in the Caftle Chapel at Wittenberg. That to the Bifhop Sigmund the fame hand as thefe inkltands. A upon insufEcient foundation, afcribes repetition of the Orpheus plaque, alfo the Dreyfus plaque to Jacopo, reafoning bearing the fame emblem, but varied from what he regards as a fimilarity of in the arrangement of the figures, &c., manner, and miftaking (as we think) the is in the polTelTion of M. Dreyfus, of emblem of the impaled fifli for the well- Paris. In an able memoir on Jacopo known caduceus of Jacopo. In thefe de' Barbnri and his works, in the fmall works it is interefting to observe Gazette des Beaux Arts, and publiflied how much more Peter Vifcher's manner in a feparate form. (4 to., Paris, 1 876.) was influenced by the Italian revival M. Charles Ephrufll, in our opinion when treating a claffic fubjeft. 1 Cafts in the Mufeum, No. '72.-55. IntroduEiion. cliii von Lindenau in the cathedral porch at Merfeberg is alfo by him. At AfchafFenburg is a tablet by John Vifcher, of the year 1550, in the monaftic church, reprefenting the Virgin and Child ; it is more Italian in manner. In Berlin Cathedral is the bronze monument of Johann Cicero the Eledlor, who died in 1499. The figure is in baf-relief on a flab beneath the farcophagus, a work of later time, which rifes above on pillars ; on this the figure is repeated, but in high relief, and treated in a more recent but inferior style. The lower relief is of the time, if not cafl: by the hand, of Peter Vijcher, the more recent work probably by his fon Johann^ whofe name and the date, 1530, is, however, infcribed on the lower flab. A monument to Bifliop Lorenz von Bibra at Wiirzburg (died 1519) is alfo afcribed to him. Pankraz Lahnwolf was a pupil of the Vijcher fchool, who executed in 1550 the fountain bafin in the courtyard of the Town Hall at Nuremberg, as alfo the fl:andard bearing boy on a column. In the market for vegetables is the fountain fur- mounted by the figure of a peafant holding a goofe under either arm, whence flows the water. In the church at Moflcirch is a monument to Count Werner von Zimbern (died 1554), alfo by Labenwolf. Other workers in bronze at Nuremberg executed monuments, of which that to Anton Krefs, is of 1 5 13, and a memorial flab to Hedlor Pomer, died 1541, are in S. Lorenz Church. One to the Bifliop of Stadion, 1 543, in the Egidien Church. Nor fliould we omit to mention the numerous armorial bearings, cafl: in bronze, that are fixed to the graveftones in the Nuremberg Cemetery, and others in churches, as alfo thofe at Wiirzburg. Of thefe a fine original example. No. 7796.-63, is in the South Kenfington Mufeum, and cafts of others, Nos. '72.-75, 76, 77. At the latter city, in the cathedral, are other memorial flabs in bronze, Nurem- berg work, probably of the Vijcher foundry, as that to Bifliop Conrad. One to Bifliop Melchior, who died in 1558, is inferior. cliv IntroduSiion. Perhaps the moft impofing bronze monument in the world is that to the Emperor Maximilian in the Palace Church at Inns- bruck, the idea of which was conceived and partly planned during his life. As it now ftands, a lofty marble farcophagus, on which is the kneeling bronze figure of the Emperor, as in prayer — a work of great beauty that has been afcribed to an Italian artift, Lodovico Scalza, of Milan — is enriched with fculp- tured baf-reliefs, and enclofed with an elaborate grille, occupying the centre of the church ; while ftanding, as in guard, and ranged in a row on either fide, are ftatues, about eight feet high, of twenty-eight hiftorical perfonages or relatives of the imperial houfe, fome of which, as already ftated, were caft at Nuremberg. Of others, one Joerg Mufchgat prepared the model and the cafting was executed by Hans and Laux Xotmann and Lorenz Sartor. But Gilg SeJJlJchr ether, the court painter, had to model one, that was caft by Feter Laiminger, and to fuperintend the work which proceeded but flowly under his direftion ; Steffen Godl, as well as P. Vifcher, had fome portion affigned to him. In 1516 Gilg SeJJlJchreiber is ftill employed, but fome work was alfo done at Augfburg, probably thirty-two half- length figures that are now loft. About one half of the exifting ftatues are afcribed to the court painter, Gilg, including a model for that of the Emperor. In addition to thefe larger ftatues twenty-three of half life fize are now in the Silver Chapel, never having been properly arranged in regard to the monument. Some of thefe figures are works of confiderable excellence, thofe afcribed to Vijcher being by far the beft ; others again are rigid and without movement ; for the moft part the cafting and elaboration of details are more admirable than the model- ling, but the eff^edt of the whole, particularly when feen in the waning light of evening, is very impofing and folemn. Bronze work of the fixteenth century is lefs abundant in other parts of Germany ; we muft not, however, overlook the IntroduEiion. civ city of Liibeckj where, in the Marienkirche, is the bronze font of the fourteenth century, and where others exift of later date. That in the Egidien Kirche of 1454 is a fimple bronze bafin on ftone Hons. One of Gothic charadter is in the Cathedral, by Laurens Graven in 1455, with ftatuettes in arched recefles. Another of the fame charadler is in the Jacobkirche, of 1466. In the Marienkirche is a tabernacle adorned with ftatuettes, &c., the work of the goldfmith Nicolaus Rughejee and the cafter Nicolaus Gruden. There is alfo a grand bronze fcreen in that church made in 1518. The monument of Gothard Wigerinck is of more renaijfance charadler. Other fonts of bronze are in churches, as one at Steudal, of 1474, in the Marienkirche ; another of 1520, and a lattice-work at Salzwedel by Hans von Koln ; at Emmerich is another, fup- ported by fyrens. At Erfurt, in the Cathedral, are numerous monumental flabs commemorating canons and other dignitaries, thefe are moftly engraved, and to be clafled among braftes, fome only of more recent date being in relief. At Merfeberg Cathedral is a rilievo monument to Bifhop Thilo von Trotha, who died in 1510 ; he is reprefented kneel- ing before the Trinity ; alfo a flab to Bifliop Adolph of Naflau, of the fixteenth century. Of the latter half of the fixteenth century German fculpture in bronze is lefs abundant and remarkable, and becomes more and more fubjefted to the influence of the followers of Michel Angela. Some grand works were, however, executed at Nurem- berg and elfe where. By Wolf Hilger^ the cafter of Freiberg, is a monument in the church of St. Peter at Wolgaft to the Duke Philip I. of Pomerania, who died in 1560. By Georg Labenwolf was a grand fountain of Neptune, caft for the King of Denmark in 1583. Another fountain, caft by clvi IntroduEiion, Benedi^ Wurzelbauer in 1589, is that with figures of the cardinal virtues near the church of S. Lorenz at Nurembero-. The produdlion of armorial and other bronze ornaments to the tombftones in the neighbouring cemeteries alfo continued, but their defign is lamentably inferior to thofe of the preceding century. At Wiirzburg, in the Cathedral, Is the rilievo monument to Bifliop Melchior, who died in 1558, and a half figure of Veit Krebfl:er (died 1594) in the Neumiinfter. In the fame church are two grand brazen lamps, the work of Jacob Hack in 1 540. At AfchafFenburg is a bronze monumental flab, caft in 1584 by Hieronymus Hack, and reprefenting the Knight Melchior von Graenroth, kneeling, with St. John, Mary, and others at the foot of the crofs on which Chrift is nailed. Wolfgang Neidthard of Ulm was a carter who worked at Augfburg, executing the bronze ornaments in the Town Hall, and a ftatue of Guftavus Adolphus, for Sweden. Johann Reichel caft the figure of Michael the Archangel, which is over the gateway of the Arfenal in Augft)urg. It was produced anterior to 1607. In Northern Germany the ufe of bronze memorial flabs was ftill, though not abundantly, continued ; feveral of them may have emanated from the Nuremberg foundries. Of fuch probably are thofe at Coburg ; that of Johann Friedrich II. of Saxony, who died in 1595, an able work; alfo one of equal excellence and by the fame hand, to Elizabeth his wife ; one to Johann Cafimir (died 1633). ^ bronze tablet to Chriftina Landgravine of Heflen (died 1 549) is at Caflel, in the Church of St. Martin. One is in the Cathedral at Magdeburg, to Ludwig von Lochow (died 16 16), and again another to Cuno, who died in 1623, with the portrait, and the fubjedl of the Entomb- ment, treated in a highly finifhed but baroque ftyle. During the latter half of the feventeenth and the earlier IntroduElion. clvii years of the eighteenth centuries, works of fculpture in bronze were but rarely executed in Germany ; the thirty years' war too much engrofled the attention of all claffes. Notwithftanding, fome excellent artifts of the Flemifh, Netherland, and Dutch fchools worked in marble and in ftone at Berlin and elfewhere. In 1697 Andreas Schluter, a native of Hamburg, who had ftudied his art in the Low Countries, modelled the ftatue of the Eledtor Frederick III., which was caft by Jakobi and ere(5led in Koningsberg. He afterwards modelled the equeftrian ftatue to the Great Eledtor, which is 011 the bridge at Berlin. It alfo was caft by Jakobi in 1700 and ereded in 1703, and is a work of the higheft excellence. At the angles of the pedeftal, which is panelled with baf-reliefs, are figures of captives in their chains. At Vienna George Raphael Donner (1692-1741) modelled figures of the rivers of Auftria, and of Providence, which were caft in lead and now adorn the fountain in the new market place of that city. As the barocco of Louis XIV. had influenced tafte in Germany previous to the Great Revolution, fo the cold pfeudo- claflical ftyle of the Republic and the Empire fpread its chill- ing and mannered forms throughout, aided by the example of Canova and of David. From the extravagance of the former manner, artifts were led by archaeological teaching and by ftudy- ing the then recently difcovered monuments of Grecian art, to adopt a method which was but a petrification of their charac- teriftics, or a lifelefs reproduction of their forms. From this fcholaftic rigidity the genius of Flaxman, and yet more that of 'Thorwalfden, (whofe moft important work in bronze is the equeftrian ftatue of the EleAor Maximilian I. at Munich) barely fucceeded in refcuing the plaftic art of their refpeftive countries and of Germany, while France and Italy almoft refigned themfelves to the trammels of their own newly-created manner. A more naturaliftic and healthy fentiment has fince prevailed throughout. clviii IntroduSiion. In Germany Schadow (i 764-1 850) produced works of independent character, for the moft part or all in marble, fome of which have fince been reproduced in bronze. Chrijiian Rauch, alfo of Berlin, executed fome portrait ftatues in bronze, of which one to Bliicher, defigned by Schadow^ is at Breflau, and was finifhed in 1820.^ Another in the fame material is at Berlin, executed in 1826, with baf-reliefs upon the bafe. In 1826 alfo he produced the monument to A. H. Franke at Halle, a group reprefenting the founder of the orphanage between two children. Other works by him are the ftatue of Diirer at Nuremberg ; the monument to Maximilian I. at Munich, &c. But his moft important, is the grand equef- trian ftatue of Frederick the Great (1839-1851), with its richly adorned pedeftal, fo confpicuous an objedl at Berlin, and of which there is a reduced copy in the South Kenfmgton Mufeum (No. 97 6 -'7 2). Toward the clofe of his career, in 1855, he produced the bronze ftatues to Generals Gneifenaw and York, and ftill later that to Kant at Konigftjerg, and to Thaer at Berlin. The works of this artift are marked by great truthfulnefs and indi- viduality, harmonioufly proportioned and ably grouped, but wanting high ideal afpiration in fubjedls beyond the range of monumental portraiture. Friedrich Drake, Ranch's pupil, ably followed his mafter's manner, producing numerous works in marble and metal, as that to Juftus Mofer at Ofnaburg, and the equeftrian ftatue to King William of Pruflia at the entrance of the railway bridge at Cologne ; that to Schinkel in Berlin ; to Melanchthon at Wittenberg, &c. Gujiav Bldjer has alfo produced ftatues, &c. in bronze, as that of the Burgomafter Franke at Magdeburg. A notable but fomewhat exaggerated bronze work by 1 A finiftied model of this ftatue, in bronze, figned C. R. F., is in the corridor at Windfor Caftle. IntroduSiion. clix A. JVolff'xs on the ftaircafe of the Berlin Mufeum, a mounted youth attacked by a lion ; it forms a correfponding group to the Amazon by Auguft Kifs, and is of greater merit. This artift has produced many important works in bronze, among them we may note the equeftrian monuments to Frederick William III. at Konigfberg and Breflau, and that king's ftatue at Potfdam. Alfo one to Duke Leopold Friedrich Franz. But his more generally known groups are thofe of St. Michael, and St. George and the Dragon, works of amazing power fomewhat overftrained. Ernji Rietjchel (i 804-1 860) was another able artift in monumental figures, fome of which he executed in bronze. Of fuch are the feated ftatue of King Friedrich Auguft of Saxony, at Drefden, where he worked for fome years. His bronze ftatue to Lefting, at Brunfwick, is excellent ; as alfo that of Luther, modelled by him for the great monument at Worms. Thofe to Goethe and Schiller at Weimar, and to Weber at Drefden, are alfo from his hands. Ernji Hdhnel alfo worked at Drefden. The ftatue of Charles IV. at Prague ; that of Beethoven at Bonn ; that to Friedrich Auguft II. at Drefden ; and the equeftrian ftatue of Prince Schwarzenberg at Vienna, are among his more important works in bronze. At Frankfurt is the Guttenburg monument modelled by Eduard von der Launitz, and executed in metal by the galvano- plaftic procefs. That of Schiller was modelled by Dielmann. Ludwig Schwanthakr (1802-48), the leader of the Munich fchool, worked chiefly at that city after completing his ftudies in Italy. He alfo produced many works in bronze, the coloftal figure of Bavaria, 54 feet high, being moft remarkable for its fize. Twelve figures in bronze gilt, portraits of kings of Bavaria, in the throne room at the Konigft^au, are alfo his work. Others to Wrede and to Tilly. He alfo executed the heavy ftatue to Goethe at Frankfurt, and that to Mozart at Salzburg. clx IntroduEiion. Of Schwanthaler s fchool are fome bronze ftatues in Munich of queftionable tafte^ fuch as thofe in the MaximiHan Strafle, and that of the Eledlor Max Emmanuel on the Promenade. An equeftrian ftatue to King Ludwig is by another hand, that of Widnmann. A more recent work of importance are the bronze doors for the Capitol at Wafliington, caft by F, V. Muller of Munich, after defigns by Randolph Rogers. Hans Gajfer of Vienna is the author of the bronze ftatue to Wieland in Wiemar. Fernkorn, a pupil of Schwanthaler s fchool, has alfo produced bronze works of fize at Vienna, as the St. George and the Dragon, the equeftrian ftatue to Archduke Charles, and that to Prince Eugene. IntroduSiion, clxi CHAPTER VIII. Bronze Sculpture in France. FTER the long continued occupation of Gaul by the Romans, an occupation that left a much ftronger imprefs upon the arts and habits of the people than that produced in Germany or England, a period intervenes, of the produdtions of which we have but few charadteriftic remains. The Franks and Gauls during thefe fubfequent troubled centuries were ftill influenced by reminifcences of the claffic manner, occafionally but flightly intermingled with that of the Byzantines. Not indeed until the Merovingian period do we find any difl;in6tly charafteriftic flyle of metal working fupervening upon that of the debafed Roman, which, for the fake of dif- tindtion, is ufually clalTed as " Gallo-Roman." In Merovingian works of bronze, as alfo thofe in the precious metals, we find a divergence from claffic models, a method of ornamentation of fomewhat oriental tafte, in per- fonal ornaments &c., combining the Celtic filigree interlacings with Teutonic forms and an enrichment by means of coloured glafs or ftones, feparated by cloijons, or thin walls of the metal, and ufed in a manner partaking of the antique Egyptian and of the Byzantine. Again, thefe gold, filver, and gilded bronze fibulse and other ornaments for the drefs, weapons, &c., difcovered in France, approach fo clofely to the character of thofe found in the Saxon graves of England, in the Lombardic fepulchres of Italy, and in Spain, that it is difficult to draw the line of diflference between the produdlions, in fuch fimilar and contemporaneous flyle, of thefe feveral branches or peoples. 6. m clxii IntroduEiion. The ufe of enamel on bronze has been already alluded to in reference to the works in that alloy of the later Celtic period in Britain ; objedls of fimilar ornamentation, which would feem to have had a northern origin, are alfo found in Gaul and in Germany, but the Merovingian and Saxon manner is more diftindly cloijonne, after the Byzantine, and effedled by the infertion of flices cut from rods of red or many coloured glafs or ftones, rather than by the fufion of the powdered enamel. We muft not, however, be detained by an inquiry into the procefs of enamel enrichment to the metal, it is with the bronze itfelf we have to do. The former art in France gathered its forces together in the great centre at Limoges, a locality already celebrated for its metal workers even in claflic times, and where they continued to flourifh under the mafter hand of Abhon fol- lowed by his more celebrated pupil Eloy. Received into Court favour and afterwards created bifhop, the latter admirable artift: yet continued to practife the work he fo much loved, and eftabHfhed at Solignac, in A.D. 631, that monaftery for artiftic monks, which became a fchool of ecclefiaftical metal work. The gilt bronze chair preferved at Paris, and known as that of Dagobert, has been afcribed from early time to the mafter hand of the afterwards fainted Eligius or Eloy (588- 659), the patron of the craft in France; but (the hiftory given by S. Ouen notwithftanding) it is poffibly more ancient, or at moft a copy of a Roman curule chair, to which additions and alterations have been made, perhaps by Suger (who refers to it as the work of Eloy) in the twelfth century. (Caft, No. '68.-16., in the South Kenfington Mufeum.) The Carlovingian ftill retained the forms of debafed Roman art, as may be feen in the bronze grilles, the lion-mafk door rings, &c. at the Cathedral of Aix-la-Chapelle ; but the gold- IntroduSiion. clxiii fmiths' work upon Charlemagne's fword and crown, though rude in modelling, partakes of a Byzantine charafter, and other metal work of that period would feem to exhibit rather a barbaric difplay of rich material, than originality in defign or mafterly execution. The Byzantine manner is ftrongly marked in all the earlier productions of Limoges. Meanwhile, in France, fculpture was applied to ivory and to ftone rather than to metal, and larger caftings in bronze are almoft unknown. The more important goldfmiths' works of the tenth cen- tury, as the altar retahle made to the order of Bifhop Sequin by Beruelin and Bermim^ canons of Sens, for the cathedral of that city, were formed of beaten plates of metal fixed on a wooden framing ; the figures, alfo of beaten work filled in with a com- pofition to give them folidity, being afterwards fixed on. This grand work was melted in 1760. Thus we fee that the efta- blifhment founded by St. Eloy had formed artifts who, migrating to other monaftic and ecclefiaftical communities, fpread the knowledge of their art both far and wide. Laymen alfo worked at thefe and kindred arts. Suger^ Abbot of St. Denis, was the leading fpirit of art during the early half of the twelfth century. He rebuilt the Abbey of St. Denis, and is faid to have introduced bronze cafting, probably by the immigration of Byzantine artifts, caufing to be caft for it, about 1140, the firft pair of gilt bronze doors that had been produced in France. They were enriched with rilievos reprefenting the hiftory of the Paffion, the Refurredlion, and the Afcenfion. Thefe ftill exifted in 1706. Suger was alfo a great reftorer, and in fo doing probably injured many previoufly exifting works, as he regilded and re- enamelled the candelabra given to the Abbey by Charlemagne, and the eagle then in the choir. From 1 100 to 1400 the induftrious artifts of Limoges con- tined to produce large monuments, chafles, church veflels, m 2 clxiv IntroduSiion. candelabra, &c. of gilt and enamelled copper, but their work gradually declined during the troublous times of the fourteenth century, and eventually ceafed, until again refumed in another form under the influence of Francis I. in the fixteenth century, and by the mafter hand of Leonard Limoujin. The earliefl: monument of Limoges work is that to Geoffroy Plantagenet, " Le bel" who died in 1 1 50. It is preferved in the Mufeum at Mans. The monument of Henri le Large, Count of Champagne, in St. Stephen's at Troyes, was a noble piece of metal work, richly plated with filver and jewelled, independently of the beauty of its enamelling. This was begun about 1 1 80. Perhaps flill richer was that eredled in 1201 or 1202 in the fame church to Thibaut III. It alfo was partly covered with filver plates on a wooden core. The recumbent figure and fmaller lateral ones of members of his family were of copper, richly gilt and enamelled. Thefe tombs were pillaged and defl:royed by the revolutioniflis of 1798. A leaden font, rudely modelled and cafl;, afcribed to the twelfth century, fl;ill exifts in the church of S. Evrouet in Normandy. Not till the thirteenth century, when pointed or fo mis- called " Gothic " architedure prevailed, did the metal work of Limoges ceafe to betray a Byzantine influence. With the development of this purely northern and eminently graceful fl:yle all the fifi:er arts fpeedily complied, although, occafionally, as in the cafe of fculpture, not without certain refl:ri6lions and adaptations to which they were obliged to accommodate themfelves. Thefe had, however, previoufly exifl:ed, the fculpture that had enriched the earlier rounded and tranfitional architedlure having been equally " cabined, " cribbed, confined " by the fpaces allotted to fuch works, and the confl:rained requirements of architedtural rule. A fome- what archaic rigidity of form and figure was the confequence. IntroduBion. clxV that neverthelefs harmonized perfectly with its furroundings, and together formed an admirable whole. But, in the courfe of the thirteenth century, encouraged by the influence of S. Louis, we find a wonderful development of art, and a tendency on the part of fculpture to emancipate herfelf from fuch architedlural trammels, by an effort at more energetic adlion and varied dif- pofal of the drapery, and which, after paffing through a golden age of mediasval excellence unfurpafTed by anything fince the moft perfedl period of Greek art — an admirable material expref- fion of Chrifl:ian thought and fentiment — ere long degenerated into affedled mannerifm. Beautiful iron work was executed, but little of the bronze fculpture, which in larger works was rare as compared to that in fl:one and wood, remains. The fhrine of S. Taurinus in the Cathedral Church of Evreux is an example of metal work of the thirteenth century, and various reliquaries and church veflels, &c. in filver and gilded copper ftill furvive to prove the excellence of the goldfmith's fkill at that period. The tombs of Everard de Fouilloy (died 1222) and Geof- fery d'Eu (died 1236), Bifliops of Amiens, in that cathedral are admirable works ; the figures are caft in high relief upon a flab, which is fupported at the angles and fides by fix lions ; a gracefully decorated niche is above the head, and fmall figures of angels holding cenfers are at the fides. Some others, in fimilar taft:e, were in the crypt of St. Denis. Thefe works appear to have been cafl:, and differ materially from the manner of thofe worked by the artifts of Limoges, who adhered to the method of affixing beaten plates upon a wooden core. Among their larger works may be mentioned the tomb of Alix Duchefs of Brittany (died 1220) and her daughter ; thofe of John, fecond fon of S. Louis (1247), at S. Denis, and of Blanche of France (1243). Perhaps the lateft of the Limoges tombs, ftill preferved to clxvi IntroduBion. France, is that in the Louvre, the recumbent effigy of Blanche de Champagne (1283), wife of John I., Duke of Brittany. It is of beaten and gilt copper plates upon an oaken core, the pillow, &c., enamelled ; the head alfo is repouffe. The tomb of Walter de Merton, Bifliop of Rochefter (1277), was by Johannes Limovicenfis." The tomb of William de Valence, in W^eftminfter Abbey, is alfo fuppofed to be by a French worker of this century (1296). Of the many early monuments in bronze formerly to be found in the cathedrals and churches of France, but few remain ; war, revolution, and fafhion have deftroyed all but fome half-a- dozen. The fine tomb of Thibault d'Heilly (died 1 204) was fold as metal from the Church of the Celeftins at Amiens, by the Prior Houlier in 1 63 5, who faid a mafs for the bifhop's foul, in gratitude for the 47 2 livres which it realized ! That to Jean Chollet the Cardinal (died 1292), in the Abbey of St. Lucien at Beauvais, was fold to repair the church ; the efiigy was of filver. In the cathedral were ten bronze tombs and brafles. In Notre Dame and other churches at Paris ; at Noyon, Angers, Chartres, Beaupre, Braine, Poifiy, Rouen, ^St, Denis, Vendome, Villeneuve near Nantes ; at the Abbey of Chadlis, at La Joie near Hennebon, at the Thaillifer Chapel near Gueret, at Le Puy, Crepy en Valois, Evron and Evreux, Grandmont near Limoges, at Champagne, Fontaine Daniel, Jouy-en-Brie, and at the Abbey of Ourfcamps were fepulchral monuments of enamelled copper, of caft bronze, or incifed brafs, all of which have been pillaged and deftroyed. At the Abbey of Hautecombe is the tomb of Boniface of Savoy, Archbifiiop of Canterbury, 1268, the work of Jean de Cologne. Meanwhile, a ftrong artiftic feeling prevailed among all claffes, and was exhibited on fecular vefTels as much as on the objedls for church ufe. Grotefque figures of animals and ima- IntroduBion. clxvii ginary creations wer'e contorted into the form, or decorated the fpouts and handles, of jugs and drinking vefTels. Specially beautiful was the fculpture in ivory, a material in which that art may be traced and ftudied almoft in unbroken feries from a very remote date.^ The brilliant artiftic period of the thirteenth and early fourteenth century in France was fucceeded by one of war and internal trouble. A diminution of artiftic undertaking, lefs numerous works and thofe of lefs excellence, refulted, and fculpture in fo valuable a material as bronze was com- paratively rare.^ The purer Chriftian art had faded out, and an interval of fmall activity was replaced by the current of the revival, which, encouraged by Charles VIII., Louis XIII., and their courts, flowed in from Italy. That period of tranfition had felt the influence of Flemifli tafte, which continued to hold its fway during the fifteenth century ; but there was but fmall revival of larger undertakings in our material. Of thefe few remain, the iconoclaftic fpirit of religious reformers and political revolutionifts having encouraged fpoliation of what war and the foe had fpared, the enormous wealth in precious and artiftic obje6ts, fo richly adorning the great churches and conventual eftabliftiments of France. The grand altar at Notre Dame, Paris, was a rich piece of metal work, ruthleflly deftroyed. The incifed monumental flab to Marftial Formier, 15 13, is ftill at the Abbey of St. Junien near Rochechouart. At Troyes was a brazen crofs, fome 36 feet high, erefted in 1495, but afterwards broken up. Admirable as had been the development of French fculpture in ftone and in ivory during the thirteenth and earlier years of 1 Confult Mr. Mafkell's Catalogue ^ See Labarte, for.Lifts of the Gold- of the Ivories in the South Kenfing- fmiths', &c. of the 14th centurv. ton Mufeum, and that by Profeflbr Weftwood. clxviii IntroduSiion. the fourteenth centuries, her native artifts were but weak during the fifteenth ; that Flemifh influence, already pre- vailing, continued its power, mingling with the ftream of Italian renaijfance. The new ftyle became fully efta- blifhed through the encouragement given to Italian artifts by Francis I. in the courfe of the fixteenth century. Sculp- ture, moreover, was not fo abundant in the fifteenth as it had previoufly been, and works in bronze were few ; excel- lent woodwork was produced, as choir ftalls, &c., but monu- mental fculpture was for the moft part in marble. During the following century we find an abundant fchool of able artifts working for the moft part on fecular or monumental eredlions, under the powerful patronage of the luxurious court and wealthy nobles of Francis I.'s reign. The influence of Cellini upon Jean Goujon, the leading French fculptor of that period, is diftindly ftiown in the marble group of Diana with the flag, by the latter artift, which is pre- ferved in the Louvre. Germain Pilon, on the other hand, was a follower of Primaticcio's manner. We muft, however, confine ourfelves to bronzes ; of thefe, not all are by native fculptors, although the admirable caftings executed by French founders under the fupervifion of Pri- maticcio are worthy of all praife. By Germain Pilon is a bronze rilievo in the Louvre repre- fenting the dead Saviour mourned by His difciples. By him alfo is the kneeling figure of Rene Biraque in the fame Mufeum. The monument to Henry II. and Catherine de' Medici at S. Denis is an important work by the fame artift (1564- 1583), the kneeling bronze ftatues upon this are admirably modelled, but in a fomewhat conventional manner, as are alfo figures of the cardinal virtues at the angles, afcribed to Ponzio. Fremin Roujfel alfo worked at that monument. Barthelemy Prieur executed the fine bronze figures of Peace, Abundance, and Juftice now in the Louvre, and which IntroduEiion, clxix formed part of the tomb of the Montmorency. By him alfo are two recumbent figures, half-fize, in that coUedlion. From this period we find that France takes an important place in the produdlion of artiftic works in bronze, but the influence of the Italian fchool continues to be felt, although modified by a French manner. Caft from the marble by P. Bontemps are bronze baf- reliefs of battles from a monument to Francis I. Simon Guillain (1581-1658) are three bronze portrait fl:atues in the Louvre, executed about 1648, and repre- fenting Louis XIV., when ten years old, with his father and mother ; they formed part of a monument on the Pont au Change, other portions of which are in that Mufeum. By Guillaume Berthelot, 1640, is a figure of Fame, of life fize, in bronze. There alfo is a fine bronze buft of Pierre Sequier, the Chan- cellor, by Jacques Sarrazin (1588-1660). Various French fculptors were working in Italy under Ber- nini's fchooling, or adopting and exaggerating his meretricious ftyle at home ; of fuch were Pierre Legros^ 'Teudon and others. Franfois Anguier (1604-69) executed the bronze baf- reliefs in the Louvre, that had enriched the bafes of De Thou's and of Henri de Loqueville's monuments. In the Louvre alfo is an equeftrian ftatuette of Louis XIV. Francois Girar don (1628-17 15) — whofe compofitions, like thofe by Pierre Puget, were after Bernini's manner — the finifhed model for the large work that flood in the Place Vendome, and was deflroyed during the great revolution. Finer, however, is that at Windfor Caftle, having the bafe and its fupporting figures. In the Louvre are two bronze groups, models of his large works at Verfailles, the rape of Proferpine and its companion. By Hubert Le Soeur, a Huguenot refugee, who worked and died in England in 1652, is the bronze ftatue of William clxx IntroduBion, Earl of Pembroke, in the pifture gallery at Oxford. To him alfo we owe our fineft equeftrian ftatue, that of Charles I. at Charing Crofs ; caft in 1633. Charles Antoine Coyzevox of Lyons (1640-1720) was an able artift ; he executed the figures of Peace, Fidelity, and Prudence in bronze on the lower part of his great work, the monument to Mazarin, now in the Louvre. The " morceau de reception" reprefenting the Virgin mourn- ing over the body of Chrift, by S. Hurtrelle (1690), is in the Louvre. The well-known horfes of Marly were the work of Guillaume Coujiou (1678-1746), and by his pupil Edme Bouchardon 6g8— 1762) was the equeftrian ftatue of Louis, completed after his death by Jean Baftijle Pigalle, and erected on the Place Louis XV.; it was deftroyed during the Revolution. In the Louvre is a finiflied bronze model of this work ; another is at Windfor (No. 223 corridor). Alfo in the Royal Colledion at Windfor are two clever figures of children in bronze, the one holding a birdcage, the other an apple and a bird, by " Pigalky f, 1784." By Pigalle is a Mercury, in lead, caft from the model of one at Berlin executed in marble. Jean Antoine Houdon (1741-1828), however, did better work ; in the Louvre is a bronze buft of Rouft^eau and a ftatue of Diana, in the fame material, by him. Many of the portrait bufts of this time are chara6leriftic and excellent works, although the enormous wigs and head-drefles of the period of Louis XIV. are ofi^enfive to the fimple dignity of fculpture. At Straftjourg is the bronze ftatue of Guttenberg, with baf- reliefs on the pedeftal, a work by Pierre Jean David (1793- 1856), and one of his beft produdions. The important bronze works executed for the Gardens at Verfailles, thofe after the antique being caftings by the brothers IntroduBion, clxxi Keller, are works of great excellence ; the figures of children, &c. by Aubrey and Roger muft not be overlooked. It is to be regretted that the South Kenfington Mufeum is not richer in the admirable ornamental bronze work, both gilded and dark, that was produced in France fo abundantly during the reigns of Louis XIV., XV., and XVI. We allude particularly to the clock cafes, furniture mountings, candelabra and candlefticks, mountings to vafes of marble, &c., of which fo large and fo choice a colledtion is pofTefTed, and has been fo liberally exhibited by Sir Richard Wallace at Bethnal Green. Very rich alfo in fimilar furniture bronzes, and in groups and ftatuettes of bronze, both Italian and French, is the Royal Colledtion at Windfor. In the Louvre are fome fine examples, removed from St. Cloud and other royal refidences. The ex- cellent modelling and the perfedted technical manipulation of many of thefe works render them examples for the ftudy of the pra6tical bronzift. Good indeed are fome copies of thefe productions, the work of able French metallifts of our own day, and few, if any, fuperior to thofe executed in London by Mr. Hatfield, whofe ability as a cafter and chafer has defcended to his nephew. Many of thefe works have fince pafled for original, although far from the intention of thofe by whom and for whom they were originally made. The Barker Colledlion, lately difperfed, contained excellent examples of fuch modern copies, the work, for the moft part, of a French hand, now no more. Among thofe who produced the originals may be mentioned Andre Charles Boule or Boulle (1642-1732) and his pupil Philippe Caffieri, a ^^fondeur et cijeleur the metal work on whofe cabinets is as important as the inlaying, Martincourt, the mafter, and Gouthiere (born 1740) the admirable pupil, whofe gilt bronze work was never furpaffed. His name. but rarely occurs on his works ; one fine example, a clock cafe, is in Sir R. Wallace's colledion (the Hertford), clxxii IntroduSiion. and figned " Gouthiere, Cifeleur et Doreur du Roi, a Paris ^ Qjiai Pe lie tier, a la Boucle d'or, 1771." His work fometimes occurs in connexion with models by Clodion, &C.J and with furniture by David and Riejener, executed for Louis XVI. and his court. He was followed by Pierre Philippe I'homire (1751-1843), whofe work, though highly finifhed and excellent, is frequently modelled in the dry mock claflic ftyle of the empire. Huet, Raujon, and T oro an Italian, were alfo workers of ornamental and gilt bronze. By " J. P. Cauvet, fculpteur de Monfteur frere du Roy^ 1783," are two fine candelabra in the Louvre, fupported by figures of Minerva and Fame or Victory. F. Dumond was an excellent bronzift of the later years of Louis XIV. 's reign, producing admirable figures and groups. P. Dupetit executed figures of horfes, &c. about 1768, while we find the name of J. C. Delarche on a group in the Royal Colle6lion, reprefenting Louis XV. raifed upon a fhield by Roman foldiers, after the model by J. B. Lemoine} The pfcudo-claflic manner, under the influence of the fchool of David and Chaudet, that rofe upon the aflies of the exag- gerated but vigorous art of the old regime, had neverthelefs dexterous hands to execute what its followers defigned, fome of whom had furvived the political and artiitic viciffitudes of their time. Modelled by the latter artift, caft by Cheret, is a feated figure of Peace, life fize, and of caft filver ; dated 1 806 : it is now in the Louvre. The badly caft reliefs on the column of the Place Vendome were modelled by Jojeph Bojio (176 9- 1845) as was the Quad- riga, that furmounts the triumphal arch of the Place Carroufel. ^ A replica of this group is in the Louvre, and is defcribed by M. Louis Courajod in the " Gazette des Beaux Arts," July 1875. IntroduSiion, clxxiii Perhaps the moft able but fenfuous fculptor of his time was Jaques Pradier, a native of Geneva (1790-1852), many of whofe works have an extraordinary charm, but do not appeal to the higher mental or religious fentiments. By Franfois Rude (1784- 1855) is the clever bronze figure of Mercury in the Louvre. He alfo executed the bronze ftatue to Marfhal Ney, which is at the entrance to the gardens of the Luxembourg, and that to Cavagnac in the Montmartre Cemetery. The ftatue of Henri IV., on the Pont Neuf, which now replaces that ordered by Marie de' Medici, was erefted by public fubfcription in 1818 ; it was caft by Piggiani after the model by Lemot, at a coft of about 13,500/. By Franfois Jqfeph Duret are the very excellent bronze figures in the Louvre of a Neapolitan fiftierman dancing the Tarantella ; executed in 1833 ; notable for modelling as for execution as alfo is its companion figure, a vine-drefler in the ad; of improvifing to a guitar or mandolin accompaniment. Among the more important bronze works executed in Paris within the prefent century are the gates to the Church of the Madelaine, caft. after the models of the late Baron de 'Triqueti by Eck and Durand. Their fize rather than their excellence of art is remarkable. A ftriking and energetic work is the equeftrian bronze ftatue of Richard Coeur de Lion in Old Palace Yard, Weftminfter, not however faultlefs in its adlion or proportions. It was the work of Baron Charles Marochetti, R.A., of French parentage, but born at Turin in 1805 ; nurtured at Paris, fchooled at Rome, he worked in his native city, at Paris, and in England where this group was produced in 1851. His equeftrian ftatues of Wellington at Strath fieldfaye and one for Glafgow were executed in Paris. The ftatue to Lord Clyde in Waterloo Place was his laft work. He died in 1867. clxxiv IntroduEiion. Our fpace does not permit us to do more than allude to the many ftatu^ and other works in bronze, both of large fize and fmall, fome of great merit, that have been executed in France during the laft quarter of a century. Nor can we refer in detail to the excellent ornamental work in varieties of that material, which has been contributed to recent exhibitions by various artifts and producers. IntroduSiion. clxxv CHAPTER IX. Bronze Sculpture in Flanders, the Netherlands, AND Spain. N Flanders and the Low Countries, an early and re- markable development of commercial and produdlive induftry led to an equal activity in the various branches of metal work. The great centre of this induftry, as applied to the manufadlure of bronze and latten, was at Dinant, where large quantities of " grojferie," objedts in that material for ordinary ufe, were produced, and whence many able workers emigrated to Germany and France. Among the more important and early works yet preferved is a curious brafs font in the Church of St. Bartholomew at Liege. Upon this the fubjedbs in rilievo are executed with con- liderable artiftic power, while the artift's name and locality, and the date are recorded by infcriptions, Lambert Patros of Dinant, 1112.^ In the Mufeum at the Porte de Hal, in Bruflels, is another, having figures in relief reprefenting the Baptifm of Chrift, &c., and uncial infcriptions, with the date, 1 149, and the place of produdion, Dionante (Dinant).^ Another, fupported on four figures, is in the Hotel Cluny at Paris. Sculpture in bronze was, however, but little ufed. The noble ftirines of the Virgin, of 12 14, in the Cathedral of Tour- nay, and that of St. Eleutherius, of 1267, were works rather of the goldfmith's than the bronzift's art. 1 Didron, Annales Archeol., t. v., wood. Archaeological Journal, vol. p. 21. xviii., p. 215. 2 Figured and defcribed by Weft- clxxvi IntroduSiion, Abundant as was ftone fculpture in that and in the four- teenth century, but little, comparatively, feems to have been executed in bronze. There is no doubt that the material for all the earlier monu- mental " brafles," fo ably incifed by Englifh hands, was imported from the Low Countries and from Cologne ; although fubfe- quently of native manufadlure. In France after the decline of that admirable native fchool of fculpture which prevailed till nearly the middle of the four- teenth century, Flemifh influence became manifefl:, and retained its power until abforbed into the revival, which fupervened from Italy. Carving in ivory was alfo cultivated with great fuccefs and admirable woodwork was executed. Ironwork alfo attained to the higheft excellence in Flanders. At Tournay was a great fchool of fculptors in ftone. One, Guillaume du Gar din ^ a mafter, was working there in 1341, when John III., Duke of Brabant, gave him the order for his monument, to be eredled in the church of the Francifcans in that city. Ghent and Bruges were alfo great artiftic centres. Flanders and the Netherlands, indeed, produced a large number of the moft able artifts in various branches, many of whom ftill further perfedled their ftudies by a refidence in Italy, fubfequently executing important works in Germany, in France, and elfewhere. Among thofe of the fourteenth century, was Claux Sluter, by whom is the monument to Philip the Bold, now in the Mufeum at Dijon, the Mofes fountain, and other works in that city. Although monumental fculpture in bronze during the four- teenth and fifteenth centuries was comparatively weak, the ufe of incifed " brafles " for fepulchral flabs was much adopted. Some of thefe indeed may almoft be clafled as fculpture, the efiigy of the deceafed being executed in very low relief. IntroduSiion, clxxvii Painting was the more afcendant art, works by fuch mafters as the Van Eycks and Memling declaring to what a degree of excellence it had attained. Among the more important Flemifh bralTes that have been preferved to our days are thole in memory of Guillaume de Wenemaer and his wife, Marguerite Brunen, of about 1325, in the Cathedral at Ghent ; of later date are thofe in Notre Dame at Bruges, of 1575 and 1581. Some brafles of Flemifh workmanlhip occur in Englifh churches, as that of 1349 at St. Margaret's, Lynn, in Norfolk ; one of 136 1 at Newark, in Notts ; and fragments of others which have been re-worked by Englilh artifts on the reverfe fide (palimpfeft brafTes), as thofe in Mawgan Church, Cornwall. At Tongres is a brafs eagle and ftand, the work of " Jo- " hannes des Jqfes de Dyonants,''' 1360, and a candleftick ten feet high by the fame artift. In Louvain Cathedral is a brazen font of the fifteenth cen- tury, with a beautiful iron crane for lifting and fupporting the cover ; alfo a " grille " to the facrament-houfe. At Leau is a brafs font and candelabra. Fine ledlerns of brafs are in fome of the churches, as at Leau, Tirelemont, &;c,, and many others are preferved. In the Church of Notre Dame at Hal, in Brabant, is a brafs ledlern of the 15th century, and alfo a font of the fame ma- terial, caft in 1444 by Guillaume le Fevre at Tournay. Cafts of thefe are in the Mufeum (Nos. '72-63, '72-65). The candlefticks, ewers, fountains, &c. of latten are quaint in form and ably executed. The moft important work in bronze fculpture executed and in Bruges is the monument to Mary of Burgundy, a work by "Pierre de Beckere, orfevre et fondeur de meraux a Bruxelles," began in 1495, finifhed 1502. The effigy of that lady, the wife of the Emperor Maximilian, is of gilded bronze, and is a work of truthful beauty ; it lies upon the black marble farco- B. n clxxviii IntroduEiton. phagus, the fides of which are enriched with enamelled coats of arms, &c. The companion monument to Charles the Bold was the work of Jacques Jongelinck, of Antwerp, in 1558, and is very inferior. The fixteenth century produced many able Flemifh fculptors and bronzifts, one of the moft famous of whom was Gian or Giovanni Bologna, whofe art was developed in Italy, and to whofe works we have referred in the Italian feflion of thefe introduc- tory notes. Pietro Francavilla and others alfo ftudied in Italy, producing works of great ability in that and other countries. At Augfburg are the noble fountains in the Maximilian- ftrafie, quite Italian in defign, and the workmanfhip of Flemifh artifts of the fchool of Giovanni Bologna. The earlieft, that known as the Auguftus fountain, is the grander,, and was caft in 1593 by Hubert Gerhard. It is a noble pile furmounted by the ftatue of Auguftus, and adorned with female terminals, dolphins, river gods and goddefles, &c. in bronze. Hubert Gerhard alfo worked at Munich, where he produced the St. Michael, a coloflal figure on the facade of that faint's church, after a defign by Peter de Witte. A group, now in the bronze foundry at Munich, reprefenting Mars and Venus, was alfo caft by him for the Caftle of the Fuggers at Kirchheim. By Adrian Fries or Fries, an admirable worker in bronze, born at the Hague in 1560, is the fountain of Mercury, exe- cuted previous to 1594, on which the figure of Jove's mefi'enger, the idea of which is derived from the model by his mafter, is arrefted in his upward flight by Cupid, who fetters his right foot. By Adrian Fries alfo was the Hercules fountain, in 1599, a work of greater beauty than the former. It is furmounted by a figure of Hercules, who is flaying the Hydra at his feet ; on the fides of the pedeftal are Naiads holding urns, from which the water pours, while between are children riding and fporting with fwans, which throw water from their bills. A fmaller fountain, on which Neptune is the principal IntroduSiion. clxxix figure, may alfo be a work from the ftudio of Fries, or perhaps by his hand, and is afluredly of the fame fchool. In the Louvre is a group reprefenting Pfyche carried by Mercury, made for Rudolph II. at Prague in 1595 by the fame fculptor, a fomewhat ftrained and elongated compofition. (Caft, No. '65-48.). In the Royal Colledion at Windfor is a baf-relief, the fub- jedt of which is Rudolph II. on horfeback, furrounded by the filler arts, Philofophy and emblematical figures. It alfo is pro- bably the work of Adrian Fries. In the fame colledtion is a fine group, Achilles carrying off Brifeis, figned with a mono- gram compofed of the letter F within an A : it \i probably the work of Franz Afpruck, a goldfmith of Bruffels, who worked at Augfburg about 1 598-1603, Peter de Witte {Pietro Candida) did much work for the Eledtor Maximilian I. in defigning and fuperintending the bronze cafl:ings which were executed by the German cafter, Hans Krumfer of Weilheim, during the firft quarter of the feventeenth century. Of thefe the more important are figures of the Cardinal Virtues in front of the " Refidenz " at Munich, and that of the Virgin on its facade ; the latter a work of confiderable excellence. In the courtyard is the large fountain, about which are many fantaftic animals and fome allegorical figures ably modelled (Cafts, Nos. '65. 85 to 92), and a ftatue of Otto von Wittlefback. A fmaller fountain in bronze is in the grotto, having a fur- mounting figure of Perfeus (Caft, No. '67-55), derived from that by Cellini ; other bronze figures are in the garden. In the Frauenkirche at Munich is the grand monument to the Emperor Ludwig, confifting of a farcophagus, furmounting the original tomb flab already referred to. Figures of Wifdom and Valour guard the imperial crown upon the lid, while youthful angels fuftain fliields of arms at the angles. Four warriors kneel n z clxxx IntroduSiion. beneath in complete armour and holding ftandards, while the bronze figures of Dukes Wilhelm V. and Albrecht V. ftand at the fides of the tomb, which was completed in 1622, Thefe ftatues are finifhed with the greateft nicety of detail, although fomewhat ftiffly realiftic. Alfo at Munich, on a column in the Marienplatz, eredled in 1638, is a fine figure of the Madonna, conceived in the fame fpirit as that on the facade of the palace, and probably by the fame Flemifh modeller, // Fiammingo,'' Francois Duquejnoy ^ was a native of Bruffels (1594-1644), and an artift of great ability. He is particularly excellent in his reprefentation of children, and for the admirable delicacy and foftnefs that he imparted to the flefh. Some figures after his models were produced in bronze, as the well known fountain, the " Manneken-pis " at Brufi"els ; his works in ivory are renowned, and he executed fome large ftatues in marble, as the St. Andrew in St. Peter's at Rome. Martin Defjardins, who worked in France under that name, his true one being Martin Van den Bogaert, was a native of the Netherlands ( 1 640-94). Among other works he executed a fl:atue of Louis XIV., formerly fl:anding in the place des Vic- toires ; the bafe was adorned with baf-reliefs in bronze, which are in the Louvre ; and four figures of captives now at the Hotel des Invalides. In manner they are exaggerated and overftrained, but executed with great care. John Michael Rysbrack, born in Antwerp, 1693, came to England, and, among other works, produced an equeftrian ftatue to William III., which is at Briftol ; he died in 1770. By Laurent Delvaux was the bronze lion, until lately fo confpicuous an objedl on Northumberland Houfe. He alfo made a Venus, in bronze, after the antique, now preferved at Holkham, and other cafi:s in that material from ancient originals. He worked in England about the middle of the laft century. IntroduBion. clxxxi Sculpture in the Low Countries at this period was quite equal in execution to that of the reft of Europe, maintaining her influence, but partaking, at the fame time, of all the meretri- cious manner of the period, and indulging in it to its full extent. Arthur Qjiellinus of Antwerp, a pupil of Fiammingo, had how- ever a feeling for art fuperior to the extreme manner of his day, and did important work in the Town Hall at Amfter- dam and elfewhere. We do not know of works by him in bronze. Excellent ornamental metal work in bronze and brafs was produced in the Netherlands, &c. during the laft century, the ftyle being for the moft part modified by French tafte in defign and ornamentation. We have not fpace to enter into' particulars, nor may we refer individually to works in ftatuary of more recent date, many of which are of great excellence ; thefe modern works may take rank with thofe of the reft of Europe, the pro- duction of Wilhelm Geefs being efpecially noteworthy. Spain. Our information, in refpedl to the native metal workers of Spain, is very indefinite, and the fculpture of that country has yet to be accurately inveftigated and its hiftory written. Much valuable information is fcattered here and there in various works, but more remains to be told. After the Roman power, that extended fo largely in Spain, and her arts had declined, we know little of what prevailed in the Peninfula, or may have preceded the Saracenic oc-cupation of the country, by which Arabian architedure became predomi- nant in its fouthern portion. Other influences had alfo worked in various diftridls, and from a very early period. Her commerce with Phoenicia clxxxii IntroduSiion, in the exportation of tin, copper, &c., and the exiftence of Punic fettlements upon the coafts of Spain, would leave fome mark, lefs diftindl perhaps, than that of Grecian and fub- fequently of Roman art ; thefe again to be fucceeded by that of Byzantium. Perfonal ornaments, &c., in the ftyle known as Merovingian are alfo found in Spain. The earlier Arabian or Saracenic rule was followed by that of the Moors, during which the potter's art was fo fuccefsfully pra<5lifed. Throughout each and all of thefe periods there can be little doubt that admirable work in bronze and other metals was executed in Spain, influenced probably by the immigrant rather than the native artificers. The fifteenth century faw Flemifh and Italian " Renais- fance " as the predominant ftyle, executed for the moft part by Flemifh artifts, while from Germany was introduced that tafte for carved, gilt, and coloured altar pieces, fome of which, modelled with Spanifti fentiment and gorgeous in colour, produce a ftartling, if not fo fatisfadlory an effedl upon the eye, educated in a purer fchool. Enormous wealth had flowed into the country where, more- over, the church was all powerful. Archite6ture and the fifter arts were abundantly encouraged, perhaps none more fo than that of the gold and filver fmith. But here again we find that the moft important workers in thofe materials were the members of a German family named Arphe or Arfe ; the firft recorded of whom, Enrique de Arfe, fettled in Leon about 1470. The more valuable works in thefe materials, and probably fome in bronze, were produced by members of this artlftic family, and by their pupils ; the grandfon of the founder Juan de Arphe y Villafane, being, perhaps, the moft accompliftied artift ; he was born in Leon in 1535. At Seville, in the Univerfity Chapel, is a fine brafs, re- moved from one of the defecrated churches, commemorative IntroduBion. ch'xxiii of Don Perafan de Ribera, 1571, a richly incifed work, perhaps of Flemifh origin. The latter end of the fifteenth and early fixteenth century alfo faw Italian tafte exercifing a leading influence, and Italian artifts working in or for Spain. Leo Leoni undertook com- miflions, and his fon Pompeo pafled fome years in that country. Some native Spanifli fculptors had perfeded their art in Italy during the preceding or early in that century, among whom Alonzo Berruguete is famous -for his works in the Cathedral of Toledo, &c. Again, we hear of thofe by Efteban Jordan ; of Juan de Juni ; of Hernandez; of y^ionzo Cano {1601-1 GGy) ; of Martinez Montanez ; and of Pedro Roldau (i 664-1 700); Spanifli fculptors, all of whom worked, more or lefs, under the influence of the Italian manner, but with a Spanifli fentiment, and, by the artifl:s of later time, not without exaggeration in attitude and exprefllon. But of purely native works in bronze of the fifteenth and fixteenth centuries we know very little. Doubtlefs fome were produced of the fmaller kind, but it is more probable that the produdlions of Flanders and the artifl:ic bronzes of Italy fupplied the demand from that clafs of fociety which was fur- rounded by luxury and fplendour. Admirable arms, plate, and jewellery were wrought by Spanifli hands, and the kindred art of the bronzifl: was furely not unknown, but it feems to have taken a fecondary pofition, and its hifl:ory is, as yet, but little known. Of later time we have on either fide of the high altar in the Cathedral of Santiago, pulpits richly adorned with reliefs and ornaments in bronze, the work of Juan Bautijla Celma, about 1600. The great candelabrum, known there as "el Tene- braijo," in the Cathedral at Seville, was the work of Bartolome Morely who alfo cafl; the large figure of Faith that furmounts the Giralda Tower and afts as a vane. We have already clxxxiv IntroduBion. referred to Torregiand's figure of St. Jerome, a fmall ftatuette jfimilar to which, and perhaps caft from the wax ftudy, is in the South Kenfington Mufeum (No. 251. '64.). Coftly and overloaded ornaments, and veflels of gilded metal, in the moft exaggerated rococo tafte, are met with in Spanifh churches, &c. ; but long continued wars following upon the French Revolution, and an unfettled ftate of government and of fociety fince, retarding the progrefs of commerce and of the induftrial and finer arts, have left that noble country fadly behind her European fillers. Introdu&ion, clxxxv CHAPTER X. Bronze Sculpture, &c. in England. N an earlier chapter we referred to the technical excellence of bronze implements, the produdtions of our prehiftoric forefathers ; thofe chara6teriftics of thorough workmanfhip, high finifh, and accuracy, have fince prevailed in all the metal work of Britifh handicraft or manufadture. In no country have thefe qualities been furpaffed, and in few have they attained an equal perfedlion ; in none where fuch an amount of fuch good work has been produced. But it is of a mechanical, rather than an artiftic excellence that we may boaft, and although our caftings may be perfedl, free from flaw or grit, we may not claim a forward place in the arena of the plaftic arts. They are hardly native to us, and although fome of our painters and engravers have been unfurpafTed in " genre," and in the reprefentation of natural fcenery, fculpture has not attradVed fo many native votaries, nor infpired them with the higheft qualities of invention or of plaflic power. Neither do we believe that works of fculpture are fo attradlive or fo com- prehended by us, as a people ; they do not appeal to us, in fmaller or in larger form, as they do to more fouthern and continental nations ; colour is more to us than form, and painted rather than modelled furface. Probably from its fombre tone, bronze has not been a favourite material in England, and although we are fo rich in royal effigies of that metal, they were, with few exceptions, gilded. Of fculptors in marble we may, however, juflily feel proud of fome few names well forward in the ranks of excellence. clxxxvi IntroduSiion. Notwithftanding the Roman occupation and its civilizing efFe6t during fome four and a quarter centuries, it did not impart to us the art creative fpirit and defire, which that people had adopted from other and more gifted nations. But we had among us good bronzifts and enamellers, and Celtic workers in gold, unfurpafTed even by Etrufcan hands. Some among the rude Saxon hordes, who fwept from before them all that remained of Roman inftitutions, were metal workers of no mean ability. But Ireland alfo had a ftrong influence upon our arts and civilization in poft-Roman times, and before the Norman invafion England had many able workers in the precious metals, whofe craft had been imported or improved through Teutonic and Byzantine influence. The curious and chara6lerifl:ic fculptures of the tenth and eleventh centuries at Chichefl;er Cathedral bear fome imprefs of the antique manner. The font at Winchefter and the reliefs at Shobden, as alfo the Prior's Gate at Ely, are native works in fl:one. Others fucceed, and recumbent figures of knights and church- men were fl-iffly fafliioned in fl:one and Purbeck marble. Except in rarer inftances, monumental efiigies on tablets of metal were engraved or incifed, rather than fafliioned in relief, as was the cafe in Germany, the country where thefe brafles " feem to have originated. In England they were extenfively adopted by all the middle and higher clafles of fociety, and their produdion would feem to have developed to a greater extent than in Germany or even in the Low Countries. The brafs or latten plate, firfl; imported from Germany and Flanders, and known as " Cullen (Cologne) plate," was fubfequently manufadlured in England. In no country are thefe memorials fo numerous as with us, and it is impofllble to rate their archaeological value too highly as memorials of the manners, drefs, architedure, &c. of former times, and their importance as genealogical and hiftorical records, for fometimes " their witnefs lives in brafs," and that alone. IntroduSiion. clxxxvii Their ufe extended from the twelfth century, and has never fince entirely ceafed, a revival having again taken place within the laft few years. We have faid that " brafles " had their origin in Germany ; the enamellers of Limoges, however, produced numerous memorial flabs of enamelled copper in early time, the oldeft yet preferved, being, that to Geoffroy Plantagenet, 1150, already referred to, and now in the Mufeum at Le Mans. The addition of enamelling to monumental effigies and to brafles was not unfrequent, but always upon copper plates. In Rochefter Cathedral was the tomb of Bifhop Walter de Merton (1277), an enamelled work deftroyed by the Puritans. The earlieft " brafs " recorded in England was that of Simon de Beauchamp of 1 208 ; the earlieft ftill preferved is that to Sir John d'Aubernoun (i 277) at Stoke d'Abernon in Surrey; and one other of that century, 1289, to Sir Roger de Trump- ington, at Trumpington, near Cambridge. Perhaps the lateft, previous to the recent revival, is in St. Mary Cray Church, Kent, of 1776. Occafionally it was the habit to ufe brafles a fecond time, without frefli cafting ; the plate was generally turned, the effigy, &c. of the perfon to be recorded being incifed on the reverfe furface, the engraving being adapted to the form. Some fuch are in England, having on the reverfe portions of earlier Flemifh workmanfhip ; they are known as " palimpfeft braffes." Occafionally the original face was ufed, the engraving being altered and adapted for the new claimant for monumental honours. The compofition of a brafs of 1504 on analyfis was found to contain, copper 64*, zinc 29*5, lead 3*5, tin 3*. Englifh brafles are formed of feparate pieces fhaped to the outline of the figure, &c., and inlaid to an even furface on a flab of ftone. Foreign brafles, on the other hand, flaow lefs clxxxviii IntroduSiion. economy of metal ; the large quadrangular plate, formed of pieces neatly joined together, being covered with richly defigned architedlural incifed ornament, furrounding the effigy. The engraving on the larger number of Englifh braffes was certainly the able v/ork of Britifh hands ; but it is a curious fa6l that, with the trifling exception of a few initial letters, no names of individual artifl:s have been recorded by their own chifel. It has been fuggefl:ed that, as the number of thefe works was fo great, they may have been produced by the members of various guilds ; if fo, probably of filverfmiths and thofe who produced the angle plates and clafps for choir books and other kindred objedts for ecclefiaftical ufe. But the names of thefe early artifl:s are not recorded, although it is reafonable to fuppofe that the founders of fome of the royal effigies were alfo makers of brafles; nor 'can we feel affured, although it is probable, that certain bell founders and lateners of the fifteenth, fixteenth, and feventeenth centuries, whofe names we know, were alfo producers of thefe fine incifed memorial flabs. Among them are Roger of Beccles in 141 1 ; Richard Brazier, a bell-founder, of Norwich, who died in 1513 ; Silvanus Crue, 1658; and William Vaughan, 1 671, who exe- cuted the finely wrought bufts of Lady Mary IV[ofl:yn and Lady Sarah Wynne in Gwydir Chapel, Llanrwrfl;, Denbighfhire. Edmund Colfeper figns a work at Pimperne in Dorfetfhire, "fecit, 1694." This lafl: is of great elaboration, denoting a goldfmith's rather than a latener's hand. We have already ventured to exprefs the belief that repre- fentations modelled in relief, or in the round — fculpture — has never been fo highly efl:eemed, nor is it fo native to England as the fifter art of defign, painted, drawn, or engraved repre- fentation on the flat furface ; and the faft that incifed brafles were fo abundantly produced and fo generally adopted for monumental purpofes in England, during the long period of five centuries, in preference to fculptural effigies, and in fo much IntroduEiion. clxxxix larger number than on the Continent, would feem to ftrengthen that aflumption. Some 4,000 Englifh brafles are ftill preferved, while probably at leaft as many more have been deftroyed. In Belgium there are about fixty-three, in Germany perhaps one hundred. As firft obferved by Strutt in his " Dictionary of En- gravers,"^ there is great probability, that, from the finer of thefe incifed brafs plates, rather than from the filvers prepared for niello by later artifts — the admirable goldfmiths of Florence in the fifteenth century — the firft idea of engraving took its rife ; although the happy thought of printing numerous impref- fions from fuch works did not immediately occur to their producers. Ivory carving in England — fculpture in miniature — was comparatively rare ; abundant and admirable as are thofe of the thirteenth, fourteenth, and fifteenth centuries in Germany, Italy, and France, the fame art does not appear to have com- manded much favour in England, for although our mufeums contain examples of great delicacy of fentiment and admirable execution, which may with every probability be afcribed to Englifh hands, they are feldom to be met with. Of early fepulchral effigies in the round, caft in bronze or a kindred alloy, we have in England fome of the moft re- markable in point of art and of hiftorical intereft. Not all, however, are the productions of Englifh fculptors, although native metal and marble workers aided materially in their completion. William of Gloucejier, a goldfmith of the middle of the thirteenth century, caft a filver figure of Catherine, the infant daughter of Henry III. (died 1257), long fince loft from her tomb in Weftminfter Abbey, probably the firft work of the kind executed in England. In 1 27 1 the heart of his murdered 1 Vol. i. p. 16. cxc IntroduEiion, nephew, Henry, was placed in a golden cup by the Confeflbr's fhrine. To Gilbert de Clare was an image of filver in Tewkefbury choir {GougJi). We muft not, however, fail to bear in mind that during the courfe of the thirteenth century, numerous fepulchral effigies of knights in armour, of ladies, and of bifhops were ably executed in Purbeck and other ftone, probably by Britifh hands. The Temple Church, Salifbury, Durham, Winchefter, Gloucefter, and other cathedrals and churches, may be referred to as containing examples of this clafs of fculpture of which probably an even larger number has been deftroyed. Until the clofe of the preceding century the figures were but rudely and ftiffly modelled, but the influence of Henry III. and of the various foreign artifts introduced by him — among whom probably were fome fculptors — for the enrichment of the Confeflbr's fhrine and other works in Weftminfter Abbey, had greatly developed the plaflic and other arts. Thus we find that the tomb of King John (died 1216) at Worcefler is greatly in advance of earlier work, the life-like effigy denoting the chifel of an able hand. The broken and negledled, and fince maltreated tombs of Henry II. (died 1 189) and of Eleanor of Guienne (died 1204) are at Fontevrault, doubtlefs the workmanfhip of French hands. There alfo, is one to Richard of the Lion Heart (died 11 99), whofe other effigy is flill at Rouen ; John's Queen, Ifabella of Angouleme (died i2t8), is alfo at Fontevrault, while that to Berengaria, the Queen of Richard (died 1219), is now in Le Mans Cathedral, brought from the Abbey Church of l/Efpau. It is indeed, much to be regretted, that thefe effigies, from beneath which the royal dull; has long fince been fcattered, fhould have been " reftored " and bedizened with garifh colour, before placing them together in a corner chapel of the now prifon church at Fontevrault. IntroduSiion. cxci The fculpture on the facade of Wells Cathedral, that at Croyland Abbey, at Peterborough, Lincoln, and Lichfield, and the work of William of Ireland and Alexander of Abingdon on the Eleanor croffes, muft alfo be referred to as proving the ability of fome of our native artifts, an excel- lence of ftyle and execution that continued during the earlier half of the following century, during which, and fubfequently, we find alabafter more frequently ufed. The beautiful monument to Queen Eleanor ^ (died 1291) in Weftmlnfter Abbey, around which one hundred wax lights were to burn on every St. Andrew's Eve, is one of the fineft fculp- tures of this period ; the effigy of gilt bronze, a work of great purity and truth in conception and in execution. The head refts upon two cufhions diapered in gilding with the arms of Caftille and Leon, and above is a richly wrought canopy of tabernacle work ; a llab of bronze, diapered with gilding like the cufhions, forms the top of the altar tomb, beneath the recumbent figure, and bears the infcription in Lombardic lettering on its edge ; fhields of arms in metal adorn the fides. The marble or ftone work was executed Richard de Crundale in 1291 ; the bronze effigy was by Majler William 'Torell or 'Torel, goldfmith and citizen of London, for work upon which he received fifty marks in 1291 ; it was completed in the following year. By Torell alfo, and about the fame period, was the effigy of Henry III. (died 1272) in gilded bronze, upon the tomb, richly inlaid with mofaic and with flabs of porphyry and fer- pentine, next to that of Queen Eleanor, a work alfo of great excellence in modelling and technical execution, and like it not entirely in the round. Henry's heart was conveyed to Fontevrault. It has been difl:in6tly ftated that 'Torell was of Italian birth or origin ; but, on the other hand, it has been ffiown that lands 1 Caft in Mufeum, No. '58 . 277. CXCll IntroduStion. were held in Lincolnfhire by one Torel as ftated in Doomfday Book, and that the name Toroldus alfo occurs in reference to holdings in Suffolk and Effex. Again we find one William Torel, fon of William Torel juft deceafed, is recorded in " Excerpta e Rotulis finium " 6th Henry III., 1222, as holding lands in Efl'ex and Hertfordfliire. It may perhaps be inferred that the artift of the tombs in queftion was of another genera- tion, Englifh born, of this fame ftock, of the Italian origin of which the name and the artiftic excellence of his fculpture would be prefumptive evidence. 'Torell alfo executed effigies of the Queen for tombs placed over her vifcera in Lincoln Cathedral, and over her heart in the Church of the Blackfriars in London, both of which were deftroyed. The figures were made after wax models, and caft at the burial ground of the Abbots of Wefl:minfter. The metal, 1,700 pounds, coft ill. ijj. 8^/., and 350 gold florins were purchafed of Lucca merchants for ufe in the gilding. Majler Thomas Hokyntone did the wood work, and the painting was executed by Walter of Durham. Mafter 'Thomas of Leghtone made the ferramentum ; that round Henry's tomb was by Mafter Henry of Lewes. William the Paviour did his portion of the work. Some of the fmall figures for the fides of the Blackfriars and Lincoln tombs were modelled and caft by William of Suffolk. Others were by Mafter Alexander of Abingdon ; and again fome were modelled in wax by Dennynge de Reyns, probably a French- man. The monument to Grofi"etefte, Biftiop of Lincoln (1253) " had an image of brafs over it." Next in date, and the only monument of its kind ftill remaining in England, but not of Englifti workmanftiip, is the tomb at Weftminfter of William of Valence (1296). It is by artifts of Limoges, a ftone altar tomb, furmounted by one of wood, with niches in the fides formerly enriched with ftatuettes. IntroduEiion. cxciii and on which ftill lies the recumbent effigy, of wood, plated with copper, gilt, and richly enamelled, but inferior in model- ling to the work of Torell. We have already referred to the tomb of Walter Merton, Eifhop of Rochefter, the work of Magijier Johannes Limovicenjis, and we know that at that period much enamelled work in veffels, coffers, &c. was imported from France into this country under the influence of the Court, and that Englifh goldfmiths, able of their craft, and much patronized during the reigns of Henry, of Edward II. and III., and Richard II., alfo acquired and practifed the art of enamelling. Thefe men worked not only in the more precious metals, but veflels of various kinds were fafhioned in bronze and latten, and cccafionally infcribed in Lombardic and fubfequently in " Gothic " character. One fuch is infcribed, Vilelmus Augetel me fecit.-^ Edward the Third's (died 1377) tomb in Weftminfter Abbey was probably the work of ToreWs pupils ; the face of the effigy perhaps caft from a mould of the features ; but it has not the excellence of the mailer's work, and the remaining fmaller figures on the fides are ftill lefs admirable. Enamelled copper fliields, blazoned with the royal heraldry, alfo adorn the lower tomb ; on either fide of the effigy are piers with niches con- taining angels and fupporting the rich canopy above the royal head. In Canterbury's glorious Cathedal is the tomb of the Black Prince (died 1376). Thefomewhat ftiff, but ably modelled and highly elaborated caft and gilt bronze figure, in full relief, lies on its table, the face calmly expreffive, the figure in chain armour ; fome of the details are enriched, the crown with jewels, the fword girdle, the fpurs, &c. enamelled, as are the armorial fliields and mottoes affixed upon its fides. We do not know B. ^ Archsologia, 14 ; others in Arch. Journal, &c. o CXCIV IntroduEiion, who was the able bronzift, but the work by feme authorities is fuppofed to be foreign. We next have the tomb of Richard II. and his Queen, Anne of Bohemia, with their iconic effigies, executed during the king's lifetime by Nicholas Broker and Geoffery Prejij copper- fmiths of London, " images, hkenefles of the king and queen, of " copper and laton gilded." Thefe figures, again, are caft in high relief rather than in the round, and are affixed to a bronze flab covering the marble altar tomb. Like the other tombs at Wefliminfter the marble work and ornamentation have been fadly defaced, but the effigies are remarkably preferved. The brafles to Robert de Waldeley (1397) and to Alianor de Bohun (1399) in Weftminfl:er Abbey are noteworthy ; alfo the brafs figures of a man and wife, of life fize, in the chancel at Ingham. Many fine works in alabafter were executed during the courfe of thefe centuries, and it became a favourite material for monumental fculpture in England as in Continental countries. The Lancaftrian houfe did not develop or encourage the higher arts in England, and during the period of its power, native art feems to have been on the decline ; nor indeed until Flemifh influence became dominant, did fculpture and metal work revive from the rigid and coarfely executed productions of their fway. No lack of liberality, however, was fhown in the ereftion of the monument to the fifth Henry, the wooden core of whofe effigy, fl:ripped of its covering filver plates and its maffive head, caft in the fame metal, is all that is left to us by robbers of the time of the Reformation. Perhaps the fineft work in ftone fculpture of this period in England is the tomb to Lady Arundel, at Chichefter, it is, however, of the earlier years of the century. Wykeham's tomb at Winchefter is alfb noteworthy. IntroduSiion. cxcv At Warwick is the grand tomb of Earl Richard Beauchamp, who died in 1439. work of Englifh hands, John EJfeXy the marbler ; William Auftin, the founder ; Thomas Stevens^ the copperfmith ; who engaged to execute the work, on the 13th June 1453, " of the fineft latten," that is, "to caft " and make the image of a man armed," and fourteen em- " bofled images of lords and ladies in divers veftures called " weepers." But, as in too many other inftances, the means and the material were at hand, but the art was wanting ; pre- tentious and grand in defign as this monument was conceived, the modelling and execution of the figures are but poor and carelefs. The gilding and engraving was by Bartholomew Lambefpringy a Netherlander. With Henry VII. we enter the fixteenth century, when the Italian renaiflance was cafting its influence far and wide. His will, dated in 1509, gives full inftru6bions for the eredtion of his monument, the efiigy upon which we have already referred to as the work of Torregiano. The tomb, however, is fur- rounded by a " brafs gate in the manner of a clofure of coper " and gilte," which was begun during the king's lifetime and before the cafting of the effigy. " Humfray Walker^ founder, " and Nicholas Ewen, copperfmith and gilder," were employed, and all this portion may probably have been the work of Englifh artifts. It is adorned with ftatuettes in niches, but of very inferior modelling and workmanfhip to the effigies and ftatuettes upon the tomb, the ftyle of which denote the Italian mafter's hand. We have alfo referred to the beautiful tomb, by the fame fculptor, of Henry's mother, Margaret Countefs of Richmond, in Weftminfter Abbey, the infcription upon which was from the pen of Erafmus. Torregiano is faid to have executed a bronze effigy of the Earl of Derby for Ormskirk Church, Lancaftiire. During the following reigns we find painting and orna- o a cxcvi IntroduSiion. mental defign mainly under the pencil and teaching of Hans Holbein ; fculpture by Florentine artifts already recorded, while fome Flemifh influence fupervenes ; noble tombs were executed in marble and alabafl:er, as that to Sir Giles Daubeny in Weft- minfler ; to the Countefs of Hertford in Salifbury Cathedral ; to Queen Elizabeth (by Maximilian Poutram), and Mary of Scotland, &c.j &c. Brafles were ftill and more abundantly ufed for fepulchral record, incifed for the mofl part by able Englifh hands, who alfo produced good examples in the various forms of the jeweller's and filverfmith's, the worker in brafs and copper, and the fmith's crafts ; but in defign they were, for the molt part, fubfervient to foreign influence. So, indeed, it continued, more or lefs, during the period of the Stuarts and of Cromwell. Infl:ance Le Soeur and Grinling Gibbons, Simon, Van Vianen, &c., &c. By Nicholas Stone, a famous fculptor, are the figures of Sir George Villiers (died 1605) and his fecond wife in St. Ni- cholas' Chapel at Wefl:minfl:er. There alfo, in Henry VII. 's chapel, are two huge monuments, typical of the grandiofe but bad fl:yle of the feventeenth century, the details of which are executed with care and ability. That to George Villiers, Duke of Buckingham, murdered in 1628, was eredled in 1633, ^""^ rich in gilded metal and elaborate marble work above, beneath, and around the recumbent efiigies ; the other, ftill more preten- tious, is in memory of the Duke and Duchefs of Richmond, 1623 ; the gilt recumbent effigies, on a richly ornamented bafe beneath a baldachin of open gilded metal work, fuftained by bronze allegorical figures at the four angles, and furmounted by a gilded one of Fame. By Grinling Gibbons (1648-1721), the celebrated wood carver of Dutch origin, was the bronze ftatue to James II. in Whitehall Yard; it was fet up in 1685. The portico of Drury Lane Theatre is enriched by a leaden figure of Shakfpeare caft by Sir Henry Cheere, " the leaden " figure man at Hyde Park Corner," after a model by his IntroduSiion. cxcvii mafter, Peter Scheemakers (i 691 -1770), by whom alfo was the ftatue in bronze to Edward VI. at Guy's Hofpital. By Cheere alfo were caft fome bronze bufts of eminent fellows of AH Souls' College, Oxford, and the ftatue of Chriftopher Codring- ton, the founder of the library in which they are placed. The equeftrian ftatue of the Duke of Cumberland, in Cavendifti Square, is alfo by Cheere. By Francis Bird (i 667-1731) was the bronze figure of Henry VI. at Eton College. He worked, under Sir Chriftopher Wren at St. Paul's, executing the alto-rllievo in the pediment reprefenting the con- verfion of that faint ; the ftatue of Queen Anne, and other works in ftone. John Van Noft, an Englifliman, but of Dutch family, worked in Ireland from about 1750 to 1787, where he produced the equeftrian leaden ftatues of William III. and George 11. in College and Stephen's Green. William Tallmache or Tollemache, about 1812-18 15, mo- delled fmall figures, groups, &c. for cafting in bronze, having gained the gold medal in 1805 for a group of Prometheus chained to the Rock. Although open to criticifm in the conception and furround- ings of its principal figure, the group in bronze at Somerfet Houfe, by John Bacon, R.A. (1740-17 99), perhaps the moft talented and purely Englifti fculptor of his time, is very ably modelled ; it reprefents George III., with a fine recumbent im- perfonation of Father Thames, and is one of the few fatisfadory monuments in this material with which London is, but fo poorly, furniftied ; the noble ftatue to Charles I. always excepted. By his fecond fon, John Bacon (1777-1859), was the equeftrian bronze ftatue of William III. fet up in St. James's Square in the year 1808. A leaden equeftrian ftatue of George III., caft under the diredtion of Jojeph Wilton, R.A., after a model by Beaufre, was formerly in Berkeley Square. cxcviii IntroduSiion. William Pitts (i 790-1 840) was a clever modeller, who produced many figures, groups, reliefs, and models for filver work, in which he alfo was an able manipulator. Of monu- mental bronzes by him we find no diftindt record. In Cavendifh Square is a bronze ftatue of the Duke of Portland's third fon. Lord George Bentinck, larger than life fize, the workmanfhip of 'Thomas Campbell (1790-1858). The larger number of bronze ftatues erefted in public places of London during the prefent century were works by Wejlmacott and Chantrey. By the former. Sir Richard Wejlmacott (1775-1856), are the Achilles " in Hyde Park, a figure almofb copied from one of thofe antiques on the Monte Cavallo at Rome, known as Caftor and Pollux ; a ftatue to the Duke of Bedford in Ruflell Square; of Ch, J. Fox, in Bloomfbury Square; and that to the Duke of York, furmounting the column at the Carlton Steps ; that to Canning in the New Palace Yard, Weftminfter, was the work of his fon, Profeffbr. Wejlmacott, R.A. By Sir Francis Chantrey (1781-1842) are the bronze ftatue of William Pitt in Hanover Square ; the ill-conceived equeftrian ftatue of George IV., at the north-eaftern angle of Trafalgar Square, and thp: to the Duke of Wellington at the Royal Exchange. Patrick McDowell, R.A., of Belfaft (1799-1870), was an able artift ; by him are the bronze ftatue to the Earl of Belfaft, eredled in that city in 1856; and one to Vifcount Fitzgibbon, for Limerick, in 1858. He produced fome other works in bronze for the Houfes of Parliament, but his marble group, emblematical of Europe, at the bafe of the Albert Memorial, is perhaps his moft important work. The figure of Thetis, a bronze, was the work of William Theed, R.A. (1764-18 17), who produced various models of groups, vafes, &c. for MelTrs. Rundell and Bridge, the filver- fmiths, working for them during the courfe of fourteen years, and exhibiting at the Royal Academy. Ed. Hodges Baily (1788- IntroduSiion. cxcix 1867)5 a pupil of Flaxman's, was alfo employed by that firm as chief modeller. An equeftrian ftatuette in bronze of George IV., at Windfor Caftle, is probably his work. He fubfequently produced the " Eve " in marble, and other well- known figures and monuments in that material. The ftatue of the Duke of Kent, at the top of Portland Place, was by Sebaftian Gahagan, about 18 30, The equeftrian bronze ftatue to George III. in Cockfpur Street was the work of Matthew Coates Wyatt (1777-1862), and although open to criticifm is not without merit. By him alfo was the ungainly ftatue of the Duke of Wellington mounted on his charger, " Copenhagen," that furmounts the arch at Hyde Park Corner. This coloflal figure, more im- portant for- its fize and weight than for artiftic excellence, was commenced in 1840, and was the work of three years; over 100 tons of plafter was ufed for the model, &c. ; it is formed in about eight pieces, fcrewed and fufed together, and weighs fome 40 tons. The dimenfions are, — nearly 30 feet in height; girth of the horfe, 22 ft. 8 in. ; length from nofe to tail, 26 ft. ; length of the horfe's head, 5 ft. ; of each ear, 1 ft. 4 in. It was eredled in September 1846, at a coft of about 30,000/. Would that the ftiades of Verrocchio and Leopardi had infpired the mind and directed the hand that modelled, at fuch coft, a group, fo grand in its heroic fubjedt, fo abounding in material and means of execution ! The bronze ftatue of Lord Herbert, with the baf-reliefs upon its bafe, by Foley, eredled in front of the War Office, in Pall Mall, is an able work. So alfo is that to Sir John Franklin, in Waterloo Place, by Noble. That to Sir H. Havelock, in Trafalgar Square, by William Behnes, cannot be confidered as fuccefsful ; nor can that to Sir Charles Napier, on the fame unfortunate fite, doomed by the fates to modern artiftic cataftrophe ; it was the work of Adams. Central here, in difcordant harmony with its furroundings, rifes the Nelfon Column, grand in dimenfions, and boafting a cc IntroduSiion. brazen capital, while on the four faces of its bafe are rilievo reprefentations in bronze of events in the great hero's life ; northward, the Battle of the Nile, modelled by W. F. JVooding- ton ; fouthward, the death of Nelfon at Trafalgar, by C. E. Carew ; the figures of life-fize, the metallic weight 5 tons ; eaftward, the Bombardment of Copenhagen, defigned by Ter- nouth ; weftward, the Battle of St. Vincent, commenced by Watjon^ finifhed by Woodington. At the four angles are couching lions, modelled by Sir Charles Landjeer, and caft in a mixed metal, faid to be bronze ; but neither as models, nor in beauty of furface or execution, partaking of thofe qualities that are charadleriftic of the capa- bilities and excellences of that alloy as a vehicle for fculpture. Vaft in dimenfions, material, and coft, thankofferings of a willing and grateful people to the memory of our greateft modern heroes, thofe two huge monuments to Wellington and Nelfon, not executed in momentary hafte, but tardily, are fmali indeed and painfully deficient in the one moft needful quality, artiftic worth. Why did the fpirit of creative fculpture ftand coldly by, nor lend her aid for fuch exalted themes, adding untold value to the nation's gift by the immeafurable and deathlefs fl-amp of genius ? She could not have been there ! Our mechanical and manipulative faculties, well exercifed and trained, were ready for the cafting and execution of the metal work, but the mafter artift, fo longed for, was fought in vain. Nor is the " Guards' Memorial " in Waterloo Palace, de- figned by Bell — a group of guardfmen among trophies of cannon, &c., over whofe heads Fame or Honour flings away coronals, all in bronze upon a granite pedeftal — worthy of the brave foldiers it records. Let us hope that the fine Gothic Memorial to Albert the Good may mark the period of a new renaifl!ance. IntroduSiion. cci CHAPTER XI. Concluding Remarks, References, &c. N the foregoing chapters we have endeavoured to give an outline fketch of the hiftory of bronze, with fome account of its ufes and application as an artiftic material ; this notice, without any claim to originality, is by neceffity incomplete, our fpace not permitting a more finifhed pidture. Before quitting the fubjedl, we would, however, wifli to diredl attention to fome of the more excellent and interefting bronzes among thofe defcribed in this catalogue ; referring alfo to other colle6tions, and to fome of the more important works upon this large and interefting fubjed:, one fo intertwined with the hiftory of art in all periods as to demand extenfive and painftaking inveftigation. Of the bronzes in the South Kenfington Mufeum, among figures and groups in the round, the following may be confidered as fpecially noteworthy : — The ftatuette of St. Jerome, No. ^6g<).-c^^, page 15, of the quattro cento period, is of great excellence and rarity. The Infant Saviour, No. 4ii.-'54, p. 14; and Cupid blowing a horn, 3 9. -'67. Both of thefe are attributed to Verrocchio, or at leaft are believed to have emanated from his ftudio, and after his defign. No. 475.-64, a cupid, alfo under the imprefs of Donatella's fchool ; it has been the prominent figure of a fountain. Of later time, but remarkable for its careful execution and artiftic feeling, is the figure of Ceres, No. 8 5. -'65, p. 20. ccii IntroduSiion. Among fmaller objeds, in the round, the little Minerva, No. 257.-64, p. 15, is worthy of ftudy ; as alfo the fragment. No. 7237.-60, p. 12, a dragon engaged with two men. Of later time the figure of a fatyr, that has fupported a tazza. No. 3002.-56, p. 24, is a clever model. Of bufts, the two grand works in the Bernini manner, that of Innocent X., No. 1088.-53, probably by Algardi ; and of Alexander VIII., are full of individuality and power. Among the baf-reliefs of larger and fmaller fize we have a more extenfive field. And here perhaps is the proper place to direft attention, in the ftudy of renaiflance fculpture, to the great excellence and the charadleriftic qualities of that numerous clafs of fmaller baf-reliefs, known as plaques, and by French connoifleurs as flaquettes d'Orpvres, works of the fifteenth and the fixteenth centuries. During that period bronze was fo favourite a vehicle for art, that the great fculptors and goldfmiths of the day devoted their talents to the production of even fmall objedls of utility and ornament in the claffic metal. Lamps, candlefticks, ink- ftands, fmall ftatuettes, medals, were not only defigned but fafhioned and finifhed by themfelves. Thofe fmall baf-relief plaques (of which there are many in this colledtion) difplay compofition and execution that deferve particular attention. They form, indeed, an epitome of the fculpture of their age, parallel to the ivories of the preceding centuries. It is probable that many were originally worked in the precious metals, cafts being alfo taken at the time in bronze. They were defigned for many purpofes, as paxes and tablets for religious ufe, as the reverfe of medals, pommels of fwords, the backs of large watches, panels for cafkets, cabinets, &c. ; fome alfo were caft from feals and engraved cryftals. As in our day, the photographic " carte-de-vifite," and, in the laft century the finiftred miniature, recorded the features of relatives and friends ; fo in the fifteenth and fixteenth centuries. IntroduBion. cciii when art was bounding forward in the revival of claffic tafte and mental culture, the fculptor's fkill was diredled, as in Roman times, to the modelling of medallion portraits of their patrons and the great ones of the land. Italy, ever in the van of arts' advance, took the lead ; Germany and France followed ; and the South Kenfington colledlion attefts to the wealth of artiftic power, and the fkilful application of it to that end, in the period juft named. Thefe admirable portrait medallions, which do not, however, form any part of the fubjedl of this volume, were not ftruck by a die, but modelled with painftaking care, and caft from the wax original with an accuracy that left no want, and which reproduced in the metal the artiftic touch of the mafter's hand. No tooling over with the chafer, fpoiled, as was afterwards too frequently the cafe, the delicate fentiment of the original model. So alfo with thefe fmall plaquettes, on which we find noble com- pofitions and largely conceived defigns, modelled with the greateft fkill and knowledge upon a miniature fcale. The lead- ing fchools and mafters of the renaijjance^ particularly of Italy, are to be recognized, and have left their diftindlive mark on thefe fmall works, whereon the fculpture of that period may be ftudied. It is ftrange how comparatively little known and efti- mated are thefe artiftic productions even among thofe who have given fome attention to the ftudy of Italian art. But they are in relation to fculpture what etchings and engravings are to painting ; and equally among them may be found the works of the great and little mafters. Donatella and his followers, Verrocchio, Pollaiuolo, Riccio, and other clever workers of the Florentine and Paduan fchools ; the able goldfmiths, medal- lifts, &c., pupils of the fchool of Leonardo ; followers of Mantegna, and thofe of Bologna infpired by Quercia^ and by 1 Francia ; the more purely Florentine ; and, yet more numerous, the works of Valeria Vicentino, Giovanni di Caftel Bolognefe, and other engravers ; fuch are among thofe who executed thefe CCIV IntroduBion. fmall and beautiful works, of which the South Kenfington Mufeum has alfo a rich colledlion. We would wifh to dire6l attention to the works in baf-relief generally, without doing more than fpecify a few of the larger and more ftriking objedls. Among fuch are No. 6^10.- 60y p. 29 ; the fine portrait of Rudolph II., by Adrian Fries ; Donatelld's wonderful Mirror, No. 87 17. -'63. p. 58 ; the Depofition, a work attributable alfo to that mafter. No. 8552.— '63, p. 59. The curious fubjed reprefented on No. 474.— '64, p. 61, perhaps by Ghiberti \ No. 7431, at p. 64, is alfo note- worthy. Among the fmaller plaques, note the following : No. 77991 -800/ P- / - I 3fr<; frnm Spal<; r>l VTT X^CllLO llKJlll Kj^AiOy M * -LX. j> 266, P- 48 - St. Jerome. J} 44673 P- 51 - Hercules and Neflus. 5) 74833 P- 37 - Entombment, pi. VIII. >} 25353 P- 62 - Virgin and Child, pi. VIII. JJ 6966, P- 45 - Herod. }) 74743 P- 65 - - Virgin and Child. 3> 4663, P- 37 - Entombment. >) 6979. P- 60 - Entombment. J) 43723 P- 42 - Judgment of Paris. 3> 4481, P- 53 - Sword pommel. }> 4081, P- 40 - Circumcifion. }> 73703 P- 36 - - Virgin and Child, pi. VII. 3J 702, P- 44 - Horfemen. JJ 74983 P- 37 - Cupid, &c. 3J 1078, P- 45 - Arion. 3} 44983 P- 33 - Annunciation. 3} 7426, P- 33 - Cupids, &c. » 7563 P- 63 - - Centaurs andLapitha5,pl.VIII, A quarter of a century fince. thefe beautiful works might have been abundantly gathered at fmall coft, among the petty IntroduSiion, ccv dealers in Italy, but now they are becoming coftly and rare ; the diredlors of public mufeums and private connoifleurs, appreciating their value in the ftudy and hiftory of art, have fecured the more valuable that by good fortune had been faved from the melting pot of the bell-founder or brafs-worker. In Egypt and Aflyria, in Perfia and the Eaft, in Greece and in Etruria, architedlure and architedlural ornament aflumed each its own peculiar ftyle, though more or lefs occafionally modified by foreign influence ; this flyle, both in form and character of ornamentation prevailed in fmaller works, and the details of architedtural mouldings, &c. were repeated on veflels and other objeds for general ufe. In tracing, therefore, the development of architedlural art, and noting its varieties of ftyle and the excellence to which it attained, we may alfo infer that a relative fentiment in defign and quality of execution was applied to minor objects, both in the precious metals and in bronze — objedts and utenfils deftined for perfonal ufe and ornament, as alfo for facerdotal appliance. To this fentiment and influence the ecledtic olla fodrida of our own day ofi^ers a ftriking contraft ; but we find its parallel or equivalent in the indefinite and varied charadler of modern architedlure and decoration, perhaps denoting a tranfitional phafe of art. During the Middle Ages and the fubfequent revival, orna- mental art was abundantly and ably applied upon fuch objects of general utility in the houfes and palaces of the wealthier clafles, directed by the defign and occafionally the handiwork of great architedls, fculptors, and goldfmiths. Many of thefe are indeed admirable, both for invention and execution, and of fuch the South Kenfington Mufeum has a rich colledtion. Among the more charadleriftic and excellent, to fome of which attention is fpecially direfted by photographs or etched illuftration in this volume, are: — The early candlefticks, Nos, 6980, 4074,3602, and 1594, ccvi IntroduSiion. 2566, 1595, figured on PL XII. No. 552, afcribed to Pol- laiuolo, PL XIV. Nos. 2184, 554^ damafcened, PI. XIII. No. 562, Plate XV. The curious early ewers figured on PI. XVI., Nos, 4054 and 147 1. Thofe fo finely engraved, 8429 and 8430, on PI. XVII. A calket, No. 2168, p. 107, covered with gilt copper, and 2084, p. 1 01, of which there is an etching. The quaint lamps, 4701 and 4409, on Plate XV-. ; and 137, on Plate XXII. The inkftands on Plate XIX., Nos. 2089 and 8867 ; and Nos. 5908, page 155 ; and 4673, etching No. 5. The beautiful falvers, 2061 on Plate XIII.; and 5632, Plate XVII. ; and 2058, page 195. The pedeftals, 568, page 179 ; and 188, etching No. 8. The grand knockers, 588, Plate XXI. ; and 573, Plate XX. ; alfo No. 1592, page 157, the fellow to which is in the writer's colledtion. The fire dogs, 8431, Plate XVIII. ; and 301 1. The fpout for a fountain, 7391 ; etching, No. 4. Of falt-cellars, thofe on Plate XXIV. ; and the excellent model. No. 4096, page 182. Of vafes, two fine examples are figured on Plates XXIV. and XXV. The admirable monumental roundel on Plate XXIII. is alfo to be noted. Collections of Bronzes. The Royal colledion at Windfor Cafl:le, although not rich in Italian works of the earlier period of renaiffance art, is eminently reprefentative of the fine French and Italian bronzes produced by able workers of the laft century. In the foregoing pages we have had occafion to refer to fome of the more important and charaderiftic among them. IntroduBion. ccvii The life-fized portrait bufts are remarkable. Thofe of Philip II., Charles V., and Alba have been already referred to ; others are of Marie de' Medici ; of Richelieu ; Henri IV, ; Sully ; Conde ; Turenne ; Charles I. Some of the French figures and groups of the period of Louis XIV. and XV. are very fine. Of these are four noble candelabra in the Green Drawing-room : richly chafed and gilded, the branches rifing above admirable groups of claffic fubjefts in dark bronze. Important alfo are fome contemporary ftatuettes of Louis XIV. and XV., the large works, of which thefe are models, having been deftroyed. A fine work by Adrian Fries, in relief, probably formed portion of the fame monument or defign on which his medal- lion portrait (No. 6920, '60), in the South Kenfington Col- leftion, had been the leading feature. It reprefents the Emperor Rudolph II. on horfeback, furrounded by the liberal arts and other allegorical figures. The rich colledion belonging to Sir Richard Wallace, and which was fo liberally exhibited to the public at Bethnal Green, is particularly valuable in a fimilar clafs of French and Italian works ; befides fome fine examples of an earlier period, and portrait bufts. Among thefe are Conde and Turenne, Louis XIV., Charles IX., and others of doubtful perfonality. The colleftion is very rich alfo in groups and figures of the beft period of the French bronzifts' art, and particularly in clocks, candelabra, and admirably chafed and gilded mount- ings, with which the magnificent furniture is fo profufely ornamented. In the Catalogue, which was by neceffity haftily prepared for the exhibition of the collection, it is probable that more works have been afcribed to an Italian origin, and to the fixteenth century, than might prove to be the cafe on more careful examination ; but of their excellence there can be no doubt. CCVlll IntroduSiion. Many fine bronzes are fcattered about in the houfes of the nobility and gentry of this country, among others we may mention the Dukes of Buccleuch and Hamilton, of Wellington, &c. Mr. John Henderfon has a rich feries of Oriental metal work. The Rev. Montagu Taylor has fome fine antique and cinque cento bronzes. Mr. J. K. Brunei had a noble inkftand, which was figured in No. 219 of the Art Journal ; Mr, Hey- wood Hawkins, Mr. Danby Seymour, Mr. Holford, Mr. Arnold, and many others, poflefs fpecimens of more or lefs intereft. We would not, however, attempt to make even an approxi- mation lift of the principal pofleflbrs. The colledion of antique bronzes in the Britifii Mufeum is very important. The public mufeums of France, Germany, Italy, &c. have frequently been referred to. In Paris, the colledion of Mons. His de la Salle, of Mons. Dreyfus, and of the Baron Ch. Davillier, are among thofe in which admirable works may be found, without referring to the mufeums of the Mefirs. Rothfchild, Sellieres, Bafilewfki, &c. In the Palazzo Strozzi at Florence is a St. John, by Donatello, a fine expreffive work, said to have been made for the baptiftry at Orvieto. Two ftatues in the Medici Chapel at S. Lorenzo are note- worthy ; one by Giovanni Bologna, the other by his pupil, Tacca. By Portigiani, another follower, are bronzes in the Church of St. Marco. At Genoa, Mr. Milius is the fortunate pofleflbr of fome fine bronzes. In the Royal Armoury at Turin is a fword hilt, in bronze, an admirable work, figned by the artift, OPVS . DONA- TELLI . FLO. At Milan, in the Brera, are fome interefting ftatuettes and other fmall works in bronze ; among others a replica of the head of Michel Angelo, afcribed to Daniele da Volterra. IntroduSiion. CCIX At Bologna, in the Univerfity Mufeum, is a bronze buft of Pope Gregory XIII., the work of Menganati ; a buft of Gregory XV. More important is the model figure in bronze, about two feet high, of Neptune, by Giovanni Bologna, (lightly differing from the large work in the arrangement of the beard and other details. A group of St. Michael and Satan, the work of Algardi, is alfo noteworthy ; as are alfo fome fmall bronzes. Certain elaborate groups of figures in private pofieffion at Florence, more curious than excellent in invention and execu- tion, are figned BERTOS • INVENT • et SCVLPSIT. Thefe can hardly be the work of Bertoldo, Donalds affiftant, their manner indicating a later date. Nor can they be by Ghiberti" s father-in-law, Bartolo di Michiele. Works of Reference. Without giving precife references in the introductory chapters to this Volume, we may mention fome of the more important fources of information, whence much of their matter has been derived. C. O. Midler's Ancient Art, the Englifh translation, London, 1852, an all important authority for the antique portion of our fubjedl. The works of, — Winckelmann ; Cicognara ; and Agincourt. Perkins, C. C. ; Tufcan Sculptors and Italian Sculptors, 1864-8. Pliny, N. H., XXXIV., &c. Millin, Mineralogie Homerique. Wilkinfon's Manners and Cuftoms of the Ancient Egyptians. Theophilus' Effay upon various Arts (Englifh Trans- lation), by Hendrie, 1847. Phillips' Manual of Metallurgy, 1854. Ure's Didtionary of Arts and Manufadlures. B. p ccx hitroduSiion, Beckmann's Hiftory of Inventions. Dr. Percy's Metallurgy. Sir J. Lubbock's Prehiftoric Times, &c. Dr. Wm. Liibke's valuable Hiftory of Sculpture (Englifh tranflation by Bunnett, 1872), from which I have borrowed largely in notices of German bronze works. Comte de Laborde's Renaiflance des Arts (1850-5), and other works. Collasand Lenormant's Trefor de Num : et de Glyptiquc (Paris, 1834-43). Lacroix, Le Moyen Age, and other works. Du Sommerard, Les Arts du Moyen Age, &c. Labarte, Hift. des Arts Induftriels au Moyen Age, 1864-66; and his Handbook of the Arts of the Middle Ages. Cahier and Martin's Melanges d'Archeolcgie, &c. Sir Digby Wyatt's Metal Work (1852); the Courts in the Cryftal Place ; and other works. Thefe, among many others, afford valuable information ; much may alfo be derived from various papers in the Archaso- logia, the Archsological Journal, the Gazette des Beaux Arts, the Revue Archeologique, and other periodicals, tranfadlions of focieties, &c. CATALOGUE OF BRONZES. 334.82. Wt. 12603. A C ATALOGUE OF BRONZES. WORKS IN THE ROUND. {Ro7nh' bojc.) BUSTS. ENGLISH. 1295- '54 UST. Bronze, eledlro-depofit. The Duke of Englifh Wellington. EngliHi, about 1850. Defigncd by Marochetti. Manufa6tured by MefTrs. Elkington. H. 2 ft. I in., W. i8| in. Bought, 28/. yj. Habited in an official drefs coat, covered by a military cloak over the fhoulder. 135- '64- BUST. Copper. A head of Pfyche. Prize objed in the Society of Arts Exhibition, i86j, by W. Holliday. Englifh. H., including pedeftal, 11] in., W. 7 in. Bought, 61. A 2 4 Catalogue of Bronzes. 777- '^o- Englijh. T3UST. Bronze. The Duke of Wellington. Modelled \J} by Henry Weigall, in 1851. Englifh. H. 1 ft. 5 in., W. I. ft. pin. Given by Meflrs. Elkington and Co. In civil coftume, wearing the ribbon of the Garter and the order of the Golden Fleece. Infcribed at the back, " Modelled from fittings taken on Auguft 6th, 9th, iith, and November i8th, 1851. H. Weigall, 27, Somerfet Street. Publiflied October loth, 1852." 39- '65- BUST. Bronze. Modelled from the " Clytie " in the Britifh Mufeum. Englifh, by T. ^Nichols. Prize objedl in the Society of Arts' competition, 1864. H W. 9 in. Bought, 15/. 1 155. '68. BUST. Bronze gilt. Portrait of the late Captain Fowke, R.E. Executed by Elkington and Co., after the ori- ginal by T. Woolner. Infcribed, T. Woolner, Sc., 1866. Englifh. H. 25^ in., W. 14^ in. Bought, 50/. 9. '69. BUST. Aluminium bronze. Apollo. Englifh, 1868. Executed by MefTrs. Elkington and Co. H. in. Bought, il. Zs. It is clear that the aluminium bronze, of which this is formed, will not retain its golden colour when fubjefted to a London atmofphere, but becomes covered with a patina which does not promife to be excellent ; lengthened time, alone, would put this to the teft. This little buft is a carefully finifhed reduflion, after the antique model. Bufis. 5 loi. 70. MASK. Copper, repoujfe, or beaten from within. From EngUJ}^. the group of the Laocoon. By G. Deere. Prize obje<5l from the Society of Arts' competition, 1869-70. Englifli. 1869. H. 8f in., W. 8| in. Bought, 7/. 10^. '70. MASK. Copper, repoujfe. A grotefque male head. By R. Tow. Prize objedl from the Society of Arts' competition, 1869-70. Englifh. 1869. H. lof in., W. 4f in. Bought, 3/. 3J. FLEMISH. 1082. 55. BUST. Latten or brafs, originally gilt. The Virgin, or a Flemijh. female Saint. Flemifh. Early 1 6th century. H. 5:fin., W. 4 in. Bought, \is. id. The hands have fupported fomeobjeft originally fixed by a hole feen in front of the figure. The gold from this, as from many other figures, was probably removed by mercury. ITJLO-FRENCH. 239. '66. BUST. Bronze. An armed female, with fnaky hair, robed Italo- in a lion's fkin, and entitled " La Gorgone." The work of the Duchefs Caftiglione-Colonna, caft by Barbedienne, of Paris. About 1865. Italo-French. H. 3 ft. 4I in., W. •2 ft. i-|in. Bought, 105/. A winged dragon on either fide of the head and fnakes entwined in the hair ; fhe wears a fort of fcaly breaft-plate, fecured by a cord, a 6 ue of Bronzes. halo- drapery beneath, and over it a fkin, the paws of which, tied together, fall French, below. A . MARCELLO, the artift's affumed name, is infcribed on the fide of the bafe. This theatrical rendering of an ill-conceived ideal is an example of what ftiould be avoided in the plaftic art. ITALIAN. 7916. '6:j. Italian. TT) UST. Bronze. Portrait of King Henry VII. ; life fize, jL-J afcribed to Pietro Torrigiano, the Florentine fculptor, who vifited England early in the 16th century. H. 1 ft. 4^ in., W. 20 in. Bought, 150/, Probably a cotemporary reprodudlion from the tomb in Wcflminfter Abbey (finiftied 1519), the work of that fculptor. The king wears a cap, turned up at the back, and a hooded gown faftened by a cord to the neck. The fquare pedeftal is ornamented with Gothic quatrefoil panelling, rofes, fleurs-de-lis, maflis, &c. Torrigiano was he, who, when working in the Medici gardens under Bcrtoldo, in a fit of paffion or of jealoufy, broke his fellow pupil, Michael Angelo's no(e, by a blow of his fiflr. He fled to Rome, and thence to England, which he left after finilhing the monument to Henry VII., for Spain, where he modelled the kneeling flatue of St. Jerome in terra-cotta, now in the Buena Vifla Convent at Seville, and for which the ftatuette No. 251. '64 (p. 16) may have been a ftudy. He fell a vi£tim to the Inquifition in J522. 576. '65. BUST. Bronze. Portrait of an unknown perfonage in civil coftume. Northern Italian. About 1 540 to 1 550. H. 2 ft. 4^ in., W. I ft. 1 1 in. Bought (Soulages Colledion), Perhaps a do£lor or profeflx)r of the Univerfity of Padua, whence the late M. Soulages obtained it. He is reprefented in a gown and fquare cap, and with a long pointed beard. We cannot with accuracy afcribe it to any known fculptor, although M. Soulages attributed it to Jacopo Sanfovino. (Cat. of Italian Sculpture, p. 179, No 362.) PLATE TI POPE INNOCENT X. Ascribed to Alessniidro Algardi. About if 40: No. 1088. '53. Bufts. 7 1088. '53. BUST. In bronze. Portrait of Pope Innocent X., Gian. Italian. Battifta Pamfili, of Rome, eledled Pope 1644, died 1655. Italian. 17th century. (Afcribed to Algardi.) H. 3 ft. 3 in., W. 2 ft. 10 in. Bought, 90/. He wears a cope, the border of which is decorated with olive branches entwined in guilloche, enclofing alternately a fleur-de-lis and a dove, emblems of his family. A cap is on the head. This buft, admirable for its truthful imitation of nature, and for the excellence of the bronze cafting and tooling, is in all likelihood the work of Aleflandro Algardi (born in Bologna, i6th September 1602, died 5th January 1654). It was probably executed before Pamfili afcended the papal chair, as no emblem of the tiara occurs on the ornament of the cope. A replica of this buft, in marble, from the original model of which this may have been caft, is in the Palazzo Doria, at Rome. Algardi was much patronized by Innocent X., when Cardinal, and undertook many important works for him, fuperintending and defigning the decoration of his villa at San Pancra%io. By order of the Roman Senate he executed the grand coloflal featcd figure of that Pope, which is now in the Salone Grande of the Capitol. The buft under notice has been afcribed to Bernini, but that artift was out of favour with Innocent until the latter years of his papacy, fo much fo that when defigns were required for the foujitain in the Piazza Navona^ at Rome, Bernini was purpofely excluded from the competition. He, neverthe- lefs, at the fuggeftion of his friend Prince Nicolo Lodovifi, prepared a model, unafked, which was placed in a room of the Palazzo Pamfili, when the Pope was expedled. Greatly pleafed with the defign, he afked the name of the artift, and was told Bernini, who obtained the work, and was thenceforth received into the Pope's favour. (Cat. Italian Sculpture, p. 184.) {See Plate II.) 1089. '53. BUST. In bronze. Portrait of Pope Alexander VIII., Pietro Ottoboni, of Venice, eledted Pope 1689, died 1691. Italian. 17th century. (Afcribed to the fchool of Bernini.) H. 3 ft. 3 in., W. 3 ft. Bought, 90/. 8 Catalogue of Bronzes. The richly decorated cope bears upon the border the figures of St. Peter and St. Paul, beneath which are the arms of the family, and above, on the right fhoulder, are the crolTed keys ; on the left, the papal triple crown. Thefe emblems prove that the buft muft have been modelled after his eledtion as Pope. Giovanni Lorenzo Bernini was born at Naples in 1598, and died at Rome in 1680, at the age of 82, nine years before Ottoboni was eledfed Pope. This work, therefore, although in the manner of Bernini, and probably by an artifl of his fchool, could not have been executed by that mailer's hand. (Cat. Italian Sculpture, p. 185.) 5432. '59. BUST. In copper, repouffe, or beaten work. The portrait of a pope or bifhop. Italian. 17 th century. H. i9in., W. 17 in. Bought, 61. Executed entirely by beating a thin fheet of copper from within. The cope is richly bordered with figures of St. Michael overthrowing Satan, and of St. Anthony ; a large brooch or morfe faflens it in front. This buft may perhaps be intended to reprefent Paul V. (Borghefe), 1605-21. (Cat. Italian Sculpture, p. 183.) STATUETTES. ENGLISH. 4332. '54- STATUETTE. Bronze. Eve; reduftion from the original by John Bell. Englifli. (Meflrs. Elkington.) H. 2 ft. in., W. II in. by 10 in. Bought, ill. \os . She {lands naked, her long hair falling behind the left fhoulder, her right hand, holding the apple, is raifed towards the mouth ; her left refls on the flump of a tree, round which the ferpent twines. Manufadlured by the eledlro-depofit procefs, and well coloured. Statuettes. 9 FRENCH. 5091. '55. TATUETTE. Latteii or brafs. Figure of the Saviour French. detached from a crucifix. French. 13th century. H. 5f in. Bought (Bernal Colledlion), 2/. 8j. Charadteriftic of the period, but of rude worknianfhip. 596. '65. STATUETTE. Bronze or latten. A Fool or Jefter ; probably the hilt of a knife or dagger, or perhaps the top of a fool's bauble ; fald to have been found in the tomb of the fool of Charles VI. of France, French.^ 15th century. H. 2\ i"- Bought (Soulages Colledlion), il. This figure has been buried, the corroded furface covered with a natural patina bearing witnefs to the faft. 8502. '63. FIGURE. Gilt metal, on black wood fland. A figure of Ceres holding a cornucopia, riding on the clouds in a chariot trailed by two ferpents. The triangular bafe enriched with rococo fcroll work, mafks, foliage, &c. French. About 1700. H. I ft. 7^ in,, W, 9^ in. Bought, 24/. A richly gilt and elaborately chifelled work, probably one of a fet of ornaments for the table ; the cornucopia may have fupported a branch for lights or a compotier^ or a vafe for flowers. It is a charaileriftic example of the incongruous and overloaded defigns of the period of Louis XV., which, notwithflanding the bad art they difplay, are gorgeous in efleft, and excellent in workmanfhip. John of Bologna cafl a wind in bronze, here we have golden clouds done like a cruflied chignon, and drapery which could only be of leather, and yet how beautifully are the details finifhed, and what freedom about the whole compofition. lo Catalogue of Bronzes. d>79- 44- French. OTATUETTE. Bronze. Icarus. French. (Modelled \^ by P. Grafs, call by Eck and Durand.) H. 21^ in., W. 10 by 8 in. Bought (French Exhibition, 1844), 10/. 8^. In the attitude of fpringing from the earth and from a rock on which the right foot is raifed, with wings lalhed to his arms he vainly ftrives to lift himfelf in air. 3700. '56. STATUETTE. Bronze. A Neapolitan Improvifatore. French, by Duret. (Barbedienne, Paris.) H. i ft. 10 in., W. at bafe, 10 in. by 8^ in. Bought (Paris Exhibition, 1855), 12/. Crowned with vine wreaths, he refts againft the vintage tub filled with grapes, a guitar in his left hand, the right pointed forward to give action to the words he utters ; his face expreflive of merriment and wit ; a drapery is round the loins. Manufadlured by the mechanical fyftem of redu£lion, by Barbe- dienne of Paris, from the clever original by Durct, whofe name is on the tub. ^2708. '56, GROUP. Bronze. Thefeus combating with the Mino- taur. French (caft by Barye, Paris). H. i ft. 6 in., W. 12 in. by 7 in. Bought (Paris Exhibition, 1855), 9/. 4J. The bull-headed monfter is forced backwards by the left hand of Thefeus, whofe right holds the fword to flay him ; the hair is treated in imitation of the early Greek manner. Harlh in modelling, and carelefs in the finifti. 2709. '56. C"^ ROUP. Bronze. A Combat with a Centaur. French, JT • (caft by Barye, Paris). H. i ft. in., W. 15 in. by 5^ in. Bought (Paris Exhibition, 1855), 9/. 11s. Statuettes. The man is dinging to the back of his adverfary, and is about French. to ftrike him on the head with a club. The attitudes of both are exaggerated. 9071. '63. STATUE. Bronze. Mercury, after the original at Florence, by John of Bologna. French. H. 6 ft, W. 4 ft. Bought, 68/. 17. '64. STATUETTE of a Female, in caft bronze, holding a cornucopia, and intended as a fupport for a lamp. French. H. 5 ft. 2\ 16 in. Bought, 30/. 18. '64. STATUETTE of a Female, in caft bronze, holding a cornucopia, and intended as a fupport for a lamp. French. H. 5 ft. 3^ in., W. 16 in. Bought, 30/. Elongated and eminently French in pofe and expreflion, thefe figures are good fpecimens of modern bronze cafting. 752. '69. GROUP. Bronze. Love confiding in Friendfhip. Defigned by A. Carrier. French. H. 2 ft. 7^ in., diam. of bafe, 12 in. Bought (Paris Exhibition, 1867), 43/. 4^. GERMAN. 630. '64. STATUETTE. Bronze gilt. An aged man draped and German. feated, probably an allegoric figure of the fea. On the bafe is the word Mare. Rhenifh-Byzantine. i 2th or early 13th century ? H. 4I in., W. 2-^- in. Bought, il. Catalogue of Bronzes. German. An interefting little figure, probably the ornament of a fhrine or reliquary, or an allegorical figure from the angle of an altar candleftick. The modelling of the figure and drapery are ably executed, and almofl: fuggeft Italian workmanfhip of the latter end of the 13th century. 7237. '60. GROUP. Gilt copper. Two figures engaged in combat with a dragon, the tail of which interlaces the compo- fition in extended foliations. German. 13th (or Italian, 14th century?) century. H. i\ in., L. 5f in. Bought, 25/. This group, for the beauty of its lines and admirable adaptation of fubje6l to ornament, is worthy of careful flrudy. It reminds one of fome of the figures intermingled with foliage upon the capitals of St. Mark's, and the works afcribed to Calendario. It is probably a fragment, portion of the decorative frieze which may have furrounded a chafie of unufual fize and beauty ; if fo, how admirable mufi: have been the complete work ! STATUETTE. Bronze or Jatten. A Fool or Jefter playing on a bagpipe, and mounted on a hexagonal pedeftal with three legs. Perhaps the ftem of a candleftick. German. 15th century, H. 8 in. Bought (Soulages Collec- tion), i/. This quaint figure is Handing in front of a tree and habited in tight nether garments, a jacket with long hanging fleeves, and a crefl:ed and ear'd hood. 4262. '57. STATUETTE. Bronze. A F'ool or Jefter dancing on a triangular moulded bafe, which refts on three lions, at each fide is the figure of an ape feated on a fmall confole or bracket. German. 15th or early i6th century. H. lif in., W. yi in. This figure may have fupported branches for lights, or a nozzle in each hand; he is clad in a hooded jacket, buttoned clofe, hung with bells, Statuettes, 13 and tippeted below, with hanging fleeves and leggings to match. A German, gibeciire or pouch is girdled to his waift. It is a carefully modelled and finifhed figure. 1150. '64. STATUETTE. Gilt bronze. St. George and the Dragon ; probably a portion of a monftrance or other ecclefiaftical objed. German. About 1460. H. i\ in. Bought, il. 8j. 4076. '57. C^TATUETTE. Latten or bronze. A feated figure of the \Zj Virgin and Child. German, Nuremberg.? End of 15th century. H. 3-^ in., diam. if in. Bought, i/. \is. There is that about this little group which recalls the early manner of Peter Vifcher. It is admirably modelled, with an Italian rendering about the drapery, &c. 1334- '72. FIGURE. Bronze. A nude female holding a cornucopia in her right hand, and comprefling her left breaft with the other. The feet reft on a circular bafe ornamented with raifed mafks. From a fountain, the jets of which proceed from the breaft. German. 17th or early i8th century. H. 12 in. Bought, 5/. An extremely unpleafant, coarfe, figure, ill-imagined and worfe modelled ; an example of a very debafed phafe of art. 2717. '56. GROUP. Bronze. An Indian huntfman with a hunting leopard. German. (Modelled by Albert Meves, caft by Minft, Berlin.) H. 23^ in., L. 16 in., W. 9-I in. Bought (Paris Exhibition, 1855), A work in no way commendable ; the leopard, feemingly, modelled from a fluffed fpecimen. The execution is coarfe and the furface dirty. It is infcribed on the bafe A . MEVES, and on the quiver ftraps " No. 6 . deponirt . 6 . Minft in Berlin 1853." 14 Catalogue of Bronzes. ITALIAN. 411. '54. Italian. Q TATUETTE. Bronze. The Infant Saviour. Italian v-Sj (Florentine). Laft quarter of the 15th century. Attri- buted to Andrea Verrocchio. H. i ft. 7 in., diam. at bafe 7 in. Bought, 20/. The figure is nude and in the a£t of benediP0AeiC6lC. The following Statuettes have at one time decorated obje£ls of utility or ornament : — yiSl- '60. STATUETTE. Bronze. An emperor or warrior in Roman claffical^coftume ; originally on the cover of an inkftand. Northern Italian. 16th century. H. 6\ in., on marble pedeftal. Bought, i/. \c^s. Of great dignity and thoughtful expreffion. The fchool of Angelo is to be recognifed in this fmall figure, poffibly a portrait ftatuette. It is of the fame model as that on the cover of No. 575. '65, an inkftand from the Soulages Colle£tion. 577' '65- STATUETTE. Bronze. Satan overthrown ; probably part of a group of St. Michael overcoming Satan. Italian (Florentine?). i6th century. L. 6-| in. Bought (Soulages Colledtion), lol. A finely modelled and finifhed figure, fragment of a group which may have furmounted a noble inkftand. It would date about the middle of the century. 7934. '61. STATUETTE. Bronze. A child feated and holding a feftoon of laurel between the extended hands ; on green marble pedeftal. Italian. i6th century. H. of figure, 3 in. Bought, i/. ^s. %d. 24 Catalogue of Bronzes, 6988. '60. FIGURE. Bronze. A triton ftruggling with two ferpents ; probably a portion of an inkftand or candleftick. Italian (Florentine). Firft half of 16th century. H. in.^ L. 6 in. by 4f in. Bought, il. %s. 7935' '61 • STATUETTE. Bronze. A child dancing on a tortoife. Italian. i6th century. H. i-| in. Bought, 16s. Has probably furmounted the cover of "a lamp. 543 59- FIGURE of a Dolphin. Bronze. Probably part of the ornament of a fountain, Italian. i6th century. H. 6f in., L. 13^ in. Bought, 3/. iSs. c^d. 300:3. '56. STATUETTE. Bronze gilt. A Pan ftanding on a circular embofled pedeftal (originally the ftem of a tazza). Italian. About 1540. H. 8f in., diam. 4^ in. Bought, 4/. Vigorous in the modelling and admirably chafed ; this fragment is a good example of the artifHc treatment of objefts for table and other domeftic ufe, even in the , bafer metals, which were not deemed unworthy of execution by great artifts in the period of the cinque cento." It may be of Venetian origin, and perhaps by the fame able hand as a falt-cellar in the writer's pofleffion, formed as a triton fupporting a pe£ten, and blowing through a conch fliell. ;868. '61. FIGURE. Bronze, parcel gilt. A lion fupporting an armorial fhield, furmounted by a coronet held by cupids. North Italian. i6th century. H. 4f in., L. c,\ in. Bought. Statuettes. 25 7868^. '61. FIGURE. Bronze, parcel gilt. A lion fupporting an Italian. armorial fhield with coronet held by cupids. North Italian. 16th century. H. 4f in., L. 5^^ in. Bought, 5454. '56. FIGURE. Bronze. A female griffin ridden by an un- draped boy (fragment of a fire-dog). Italian. i6th century. H. \ \\ in., W. 11 in. by \\ in. Bought, 6/. A vigorous defign. Of boys, none other than Cupid could conquer fuch a beaft. 109. '69. STATUETTE. In copper repoufle. A winged dragon. Italian. i6th century. H. ()\ in., L. ijf in. Bought, A clever defign extremely well executed by the procefs of beating from within and finifhing with the chafer. It is probably North Italian, and may have furmounted a font or other interior architedtural ftru6lure. 106. '69. STATUETTE. Bronze. A Bacchic youth bearing a balket of grapes and leaning on a tree ftem, the fupport of a vine, the fruit of which a dog is eating ; on pedeftal. Itahan. 16th century. H. 15 in., W. of pedeftal, 5-| in. Bought, 8/. A coarfe and inferior work. 601. '65. STATUETTE. Bronze gilt. A Cupid playing on a guitar; a furniture decoration. Italian (Florentine). 1 6th century H. 5jin. Bought (Soulages Collection), i6j-. %d. 26 Catalogue of Bronzes. 602. '65. STATUETTE. Bronze gilt. A Cupid playing on a harp; a furniture decoration. Italian (Florentine.''). 1 6th century. H. 5^^ in., W. 3 in. Bought (Soulages Colleftion), i6j. %d. 603. '65. STATUETTE. Bronze gilt. A Cupid playing on a harp; a furniture decoration. Italian (Florentine.^). 1 6th century. H. 4-| in., W. 3 in. Bought (Soulages Collec- tion), i6j. %d. 604. '65. STATUETTE. Bronze gilt. A Cupid playing on a violin; a furniture decoration. Italian (Fl^reiitine .''). 1 6th century. H. 5 in., W. 3f in. Bought (Soulages Colledlion), i6j. 8<^, 605. '65. STATUETTE. Bronze gilt. A Cupid playing on a flageolet; a furniture decoration. Italian (Florentine .''). 1 6th century. H. 5 in., W. in. Bought (Soulages Colledion), i6j. 'id. 606. '65. STATUETTE. Bronze gilt. A Cupid playing on a tambourine ; a furniture decoration. Italian (Floren- tine?). 1 6th century. H. 5 in., W. 3 in. Bought (Soulages Colledion), 16^. 'id. Statuettes. 27 612. '65. STATUETTE. Bronze gilt. A Cupid holding a tor- Italian. toife ; a furniture decoration, and pendant to 603. Italian. 1 6th century. H. 4I in. Bought (Soulages Collec- tion), i/. Varied in pofe, thefe joyous looking amorettes, doubtlefs once em- bellillied an ebony or inlaid cabinet of Tufcan or Northern Italian pro- duftion, furmounting the pilafters or cornice on its architedlural front. They are of the latter end of the fixteenth century. 460. '73. TRITON blowing a fhell trumpet. One of a pair. Bronze. Apparently an ornament from the top of fome objed. Italian. 17th century. H. 7f in., diam. of bafe, 3I in. Bought, 17/. the pair. 460a. '73. TRITON blowing a fhell trumpet. One of a pair. Bronze. Apparently an ornament from the top of fome objeft. Italian. 17th century. H. 7-I in., diam. of bafe, 3f in. Bought, 17/. the pair. 2291. '55. STATUETTE. Bronze gilt. Hercules fupporting the celeftial fphere, and (landing on the lion's hide. Italian. About 1600. H. in., diam. 7 in. Bought (Bernal Colledlion), 7/. 15^. The figure is nude, a circlet binding the hair, the club held in the right hand. The fphere is of pierced work. The conftellations re- prefented as figures cut out of the metal and feverally dotted to indicate the pofition of the flars they enclofe ; they are fuftained or united by the framework of the central belt and the lines marking the degrees of longi- tude. This fphere opens from the centre, and may have contained a lamp or a compafs fufpended from the upper part. It probably is one of a pair 2 8 Catalogue of Bronzes. Italian. °f figures, the other of which fuftained the terreftrial globe. This reprefents that aft of the fecond labour of Hercules, in which the hero for a while relieves Atlas from his burden, on condition of receiving information as to the whereabout of the golden fruit of the Hefperides. The idea of this figure, though difl^erently rendered, was probably taken from the well-known antique, the Farnefe Atlas, now in the Mufeum at Naples, and figured in the Mufeo Borbonico, vol. V. pi. 52. Pafleri wrote a learned difquifition thereon, under the title, " Atlas Farncfianus." It does not, however, reprefent Hercules, as is clearly the cafe with our bronze. 1077- 55- STATUETTE. Bronze. A child habited in a fhirt and fupporting a vafe on its head. Probably North Italian work of the i6th century. H. 5^ in. Bought, i/. 4^. 3^/, Perhaps portion of a lamp or candelabrum. 4533- '58. STATUETTE. Bronze. A boy extracting a thorn from his foot ; a reduced imitation of the antique. Florentine. 1 6th century. H. 7^ in., W. 4^ in. Bought, 5/. A reduftion from the antique flatue in the Capitoline Mufeum at Rome, but reverfed in pofition. It has probably formed portion of an inkftand, the bronze bafe of which was furnifhed with a fhell-fhaped receptacle for the ink. Such an one, in its complete ftate, is in the writer's polTeflion, the tree ftem on which the figure is feated forming a flrand for pens. /ij' Ailrinn Fl ies. 1605. No. 'Co. WORKS IN RELIEF. {Bafjh mid Alto-riluvo) P L A Q U E S, &c. DUTCH. 6920. '60, UST in rilievo. Bronze, on a flab of black Dutch. marble. Portrait of the Emperor Rudolph II. in a richly ornamented cuirafs. Infcribed : RVD : II : ROM. IMP : C^S : AVG ADRIANVS Mr : SV/E : LVII FRIES ANNO . T609 EEC. Dutch. H. 2 ft. 4 in., W. i ft. 8f in. Bought, 89/. 5^. A noble portrait of the Emperor Rudolph II. His rich cuirafs is decorated with rilievos of Hercules, Mars or Bellona, and with maflcs, trophies, and other ornaments. The buft refts upon an imperial eagle with outfpread wings. The order of the Golden Fleece hangs by a chain round his neck, and a fcarf is thrown over the right fhoulder. The pauldron or fhoulder plate is formed as a lion's mafk, beneath which is the infcription. Independently of its artiftic excellence, the cafting and highly finiflied chifelling of this bronze are very remark- able. (Catalogue of Italian Sculpture, p. 167.) Adrian Fries was born at the Hague, in 1560, and died in the firll quarter of the following century. {See Plate V.) 30 Catalogue of Bronzes. i^i/- 55- Dutch. T)LAQUE. Brafs. Repoufle or beaten work ; a tulip J. furrounded with floriated ornament. Dutch or French. 17th century. 3f in. by 1^ in. Bought, i6s. A charming bit of ornamental metal work. ENGLISH. 342- 54- Englifi. 1 ■'IGURE in low relief. A fighting cock in chafed X bronze ; probably a badge to be worn on the hat of a "cocker," or attendant in a cockpit, Englifh. i8th century. H. 2| in.,W. 2 in. Bought, i^. 6d. 150. '65. PANEL. Copper, inlaid with filver ; the defign is a vafe of flowers with two birds, bordered by a running pattern of foliage ; in black frame. Englifli. By E. M. Milward. Prize obje6l in the Society of Arts' competition, 1864. Sight meafure, H. yf in., W. 7 in. Bought, 4/, 856. '68. PANEL. Bronze, chafed. A group of the Virgin and Child (after Donatello). By S. Berefford. Prize objed in the Society of Arts' competition, 1867. Englifh. H, 15! in., W. 13I in. Bought, 15/. 857. '68. PANEL. Bronze, chafed. A group of the Virgin and Child (after Donatello). By T. Nichols. Objea in the Society of Arts' competition, 1867. Englifli. H. 15I in., W. 13'^- in. Bought, 15/. Plaques^ &'c. 858. '68. PANEL. Bronze, chafed. A group of the Virgin and EngUflu Child (after Donatello). By H. C. Hatfield. Prize objeft in the Society of Arts' competition, 1B67. Englifh. Sight meafure, H. 15-^ in., W. 13-^ in. Bought, 16/. \Gs. 864. '68. PANEL. White metal. Engraved with an arabefque de- fign after Lucas van Leyden. By G. Hundley. Prize obje6l in the Society of Arts' competition, 1867. Englifh. H. 4 in., W. 5 in. Bought, il. \os. 256. '69. PLAQUE. Copper. Embofled in low relief with a branch of ivy, in a frame. By C. Atkins. From the South London Working Clafles Exhibition, 1869. Englifh. W. 13! in., H. 5|- in. Bought, 1L. is, FLEMISH. 108. '64. PLAQUE. Gilt bronze, in high relief. The Entombment FlcmiJ}). of our Saviour. Flemifh. Firfl half of 17th century. H. 8 in., W. iii in. Bought, 61. A fine Flemifh work, probably from a defign of the fchool of Rubens or Vandyck. The body is being depofited in the farcophagus by Jofeph of Ari- mathea and two others. Mary holds the left arm tenderly ; the Mag- dalen is behind. The chafing has been executed v^ith great elaboration, and it is richly gilt. (Cat. of Reproduftions in Metal, No. 72. '19.) Price 2/. 10^. 32 Catalogue of Bronzes. FRENCH. 33- '<59- French. T^LAQUE. Bronze. Half-length figure in low relief of JL Louis XIV. in armour ; in wooden frame. French. Laft quarter of 17th century. Sight meafure, H. 17I in., W. 13 in. Bought, 50/. A richly diapered curtain, in part femee with rofes, falls in the back- ground. The half figure of Louis, when young, is advancing to the right, clad in armour and wearing a rich fur-lined cloak femee with fienrs-de- Us ; on his head is a long curled wig, his right arm and hand point downwards to the arms of France and Bourbon, the left refting on his hip ; he is decorated with the fcarf and badge of the order of the St. Efprit. A highly elaborated and fine work. 541. '69. PANEL. Bronze. An allegorical fubjeft in high relief. Signed : PILLON . S . ; THOMIRE . C . ; B . DE . TOTT . F . French. Laft quarter of the 1 8th century ? L. 3 ft. 1-^ in., W. I ft. 7|- in. Bought, 40/. Time is feared away by a young man, with ftar on forehead and ferpent wand, from a group of two female figures, one of whom, fwooning, finks into the other's arms ; the latter is fupported by another male perfonage, alfo having a ftar upon his front. The fignatures would indicate that PILLON was the fculptor or modeller; B . DE . TOTT. the founder; and THOMIRE the chafer. Could it be the work of thefe latter artifts, from a panel modelled by Germain Pilon, for infertion in one of the large monu- ments upon which he was engaged ? One Thomire was the mafter of a bronze foundry in Paris early in the prefent century (Nagler). IT51. '44. PANEL. Bronze. Scroll foliage and vine ; duplicate of part of the architrave of the bronze doors of the church of the Madeleine, Paris. French, about 1845. (Caft Plaques^ &^c. 33 by Eck and Durand, Paris, after a defign by the late Baron French. H. de Triqueti.) H, 5 ft. 4 in., W. i ft. Bought, 14/. A lower fide panel, foliage in gu'illoche with grapes, fruit, and corn fpringing from an acanthus below ; infpired by an antique model, rich, but fomewhat wanting in that freedom and life which is fo charafteristic of clafllc architectural ornament. GERMAN. 4498. '58. LAQUE. Bronze. The Annunciation. German ? or q, Flemifh. Latter end of 15th or early i6th century. H. 5 in,, W. 4 in. Bought, 3/. The Virgin is kneeling at an altar, beneath a rich Gothic arcade or porch ; the angel approaches through a door in a wall, behind which are the flowers and flirubs of a garden. Above, the Eternal Father is feen in the clouds, from His mouth proceed rays which terminate in the Dove of the Spirit defcending upon the head of the Blefied Virgin. AH are nimbed. An interefting and fine work in high relief. Suggeftive of the manner of a wood carving. 7423. '6j. PLAQUE. Bronze ; circular. St. George combating the Dragon. German. Late 15th or early 1 6th century. Diam. 2f in. Bought, 15J. 7426. '61. PLAQUE. Bell-metal. A compofition of two cupids, furrounded by arabefque ornament. German. About 1530. H. if in., W, 2| in. Bought, \os. An extremely elegant ornamental defign in the manner of Aide- graver. B. c 34 Catalogue of Bronzes. 4^53- '59- German. X^LAOUE. Lead. Subjea in relief, the Infant Hercules X ftrangling two ferpents. German. 1 6th century. in. by 3 in. Bought, 15^. 4655. '59. MEDALLION Plaque. Lead. Subjed in relief, the Magdalen (?) feated in an attitude of grief ; architec- tural landfcape background. German. i6th century. (Caft from a lithographic ftone carving.) Diam. 3 in. Bought, I5.r. This figure is probably emblematic of religion or faith. It is caft from one of a fet of admirable carvings in hone fhone (Speckftein), fome of which have been acquired for the South Kenfington Mufeum, from the Trofs Colle£tion. That of the prefent fubjeft is, however, wanting. A (harp caft of it in bronze is in the writer's collection. Nos. 7152-3. '60 are of the fame feries. 7152. '60. MEDALLION Plaque. Bronze, in relief. A draped feated female, to whom Cupid holds a mirror ; archi- ted:ural background. German. i6th century. Diam. i\ in. Given by Mr. J. C. Robinfon. Caft from one of a feries of carvings in lithographic or hone ftone (No. 183. '67), fince acquired for the South Kenfington Mufeum, from the Trofs Colledtion, and perhaps emblematic of prudence. 7153. '60. MEDALLION Plaque, Bronze, in relief. A female figure feated in a landfcape, fupporting a child, while another looks over her ftioulder. German. i6th century. Diam. i\ in. Given by Mr. J. C. Robinfon. Caft from another of the fame feries of ftone carvings (No. 185. '67), and emblematic of charity or maternal love. Plaques^ &^c. 35 BYZANTINE GREEK. i6i5- '55- TRIPTYCH. Gilt bronze ; in the centre the Virgin and Byzan- Child, feated on a throne ; in either wing a ftanding q"^'^^/^ figure of a faint, St. John and St. Gregory. Byzantine Greek, ijth century ? H. 6| in., W. ^'^ in. Bought, 30/. This rare and important triptych was formerly in the Pulfky Col- leftion. In the central compartment, the Virgin, hooded and nimbed, is feated on a throne, above which is infcribed, MP (mother) ©y (of God). The Child is fitting in her lap holding a roll or hour-glafs in his left hand ; the right in the ail of benedidlion. The Virgin's feet are on a footftool, having a feven-arched arcade in the front. On the wing to her right is the ere£l figure of St. Gregory, the theologian, holding a volume ; above is written, — © O r p e H o r A CO p He on her left alfo holds a book, and his right hand raifed as for the benediftion; above is written, (a) o 00 Saint Johannes. In the beginning was the ^ (Chrift, for the Word made God). Both the faints are nimbed. The doors, on the outfide, are each adorned with an elongated crofs in relief, the limbs of which divide the infcription : — N I X V (Jefus Chrifl: the Conqueror). K A A fliield of arms, vair^ is ftamped on the outfide, feemingly that of the Marcello family of Venice. It is extremely difficult to affign an accurate date to Byzantine caftings fuch as this, which may have been moulded from an earlier type. Poffibly it may be one or even two cen- turies earlier in time than we have placed it ; but, on the other hand, we think that it may, with greater probability, be an early example of one 36 Catalogue of Bronzes. Byzan^ of thofe conventional repetitions of a received ideal fo often feen among tine the artiftic objecSts for ufe by the Greek church. Compare the ivory Greek, plaque, No. 215. '66, figured and defcribed in Mr. Mafkell's Catalogue at p. 73, and believed by him to be alfo of the 13th century. (^See Plate VI.) ITALIAN. Northern. 7370. '61. Italian. "P)LAQUE. Bronze. Half-length figure of the Virgin North- J_ and Infant Saviour between two candelabra. North Italian. About 1470. 3f in. by 3I- in. Bought, %s. Half-length of the Virgin, fully draped and wearing a clalTical dia- dem, a fcarf for head-drefs, and nimbed. She holds the Child, who, undraped, looks into her face with an expreffion of love, her's is that of ferenity not free from melancholy ; the Child alfo is nimbed. On either fide is a flaming candelabrum with triangular bafe, the upper portion formed as an angel ; from beneath them a fall of drapery covers a labelled tablet in the foreground. A very beautiful work, perhaps originally ufed as a private devotional tablet. Probably Paduan, and fhowing the influence of Mantegna, or even more of Donatello, it may be afcribed to the artift who executed Nos. 7496. '61 and 7498. '61, and who figns CHRISTOPHORVS . HIERIMIAE. {See Plate VII.) 7496. '61. PLAQUE. Bronze. Two draped figures, Mercury and Flora, or Pomona, clafping hands over a tripod. North Italian. By « CHRISTOPHORVS . HIERIMIAE." About 1470. Square, i\ in. Bought, 7^. This fubjeft occurs without the tripod on the reverfe of a medal in the writer's coUecStion, figned by the artift as above, and having on the obverfe the head of Auguftus, with the legend C^SAR IMPERA- TOR PONT PPPT SEMPER AVGVSTVS . VIR . Plaques^ Mc. 37 7498. '61. PLAQUE. Bronze ; elliptic. Various figures making an Italian^ offering on the Altar of Love. Beneath is infcribed, North- L . CRII. Italian, About 1770. 2-^ in. by 2 in. Bought, 4J. S A fine compofition by the fame artift as Nos. 7496. '61. and probably 7370. '61. The figaature may be another form for the fame name. 4663. '58. PLAQUE. Bronze. The Entombment. Probably a con- temporary adaptation from the engraving of the fame fubjed by Mantegna. North Italian. 15th century. L, 5f in. by 4^ in. Bought, 15/. A compofition of twenty-two figures. In the foreground Mary, fwooning, is fupported by two women ; behind, the body of Our Lord is being carefully placed in a farcophagus, whilil: men, women, and children, all expreffing profound forrow, fill up the group. 7483. '61. LAQUE. Bronze. The Entombment. North Italian. 15th century. H. 3^ in., W. if in. Bought, 8j. By a follower of Andrea Mantegna, or after his defign. Probably ufed for a pax, and (lightly differing from 5411. '59. Tfie feated figure of the Saviour, feen to the upper portion of the thighs, is fupported by St. John. Mary and a young child fuftain the right arm. A good cafl of a fine and pathetic work. {See Plate VIII.) • 541 1- '59- PLAQUE. Bronze. Half-length figure of the dead Chrifl, fupported by the Virgin and St. John. North Italian. 15th century. 2f in. by 2 in. Bought, 14^^. A cafl of the fame fubjed as No. 7483. '61, but varied by the ab- fence of the child fupporting the right arm. Catalogue of Bronzes, 7S7S- Italian. T])LAOUE. Bronze. Chrift ftanding in the fepulchre ; North- J_ originally mounted as a pax. North Italian. icth century. H. 2\ i^-j W. 2 in. Bought, 8j. The half-figure only feen, a cruciform nimbus furmounts the head, a curtain is ftretched behind the figure, the flefh of which has been filvered, the drapery gilt. Of the fchool of Mantegna. 4441- '57- PAX. Bronze. The Virgin and Child under a canopy, with faints. North Italian, About 1480 or 1500. 4^ in. by 2^ in. Bought, 2/. The Virgin and Child, feated in a conchoidal vaulted recefs within a columnar frontifpiece ; children are playing mufic on either fide. In the arched tympanum the Saviour in the tomb and two angels are feen ; outfide the columns are two faints ; mafks, boy angels, falls of wreathage, &c. enrich the whole. Of the fchool of Mantegna. .897- 55- PLAQUE. Bronze. A Roman facrifice. North Italian. 15th century. 2'k i^^- t>y 3 i'"^- Bought, 8j. \d. A boar is about being flain in the foreground of a group of many pcrfons before an arched loggia or arcade. In the manner of the fchool of Mantegna. 54^9- '59- PANEL. Bronze in high relief. The Virgin bearing the dead body of our BlelTed Lord (a " Pieta"). In the background at either fide an angel is ftanding. Originally, perhaps, the door of a tabernacle. North Italian. 15th century. H, 22 in., W. 19^ in. Bought, 5/. los. The Virgin is feated, fupporting the recumbent body of the Saviour on her lap. On clouds in the background are two draped angels in an Plaques^ &^c. 39 attitude of grief ; their wings and the drapery have been gilt. Although lialian. somewhat exaggerated in expreffion, this is a work of deep fentiment, North- and valuable as an example of the influence of Donatello and Mantegna em. on the art of Northern Italy. It may reafonably be attributed to Jacopo Vellano of Padua, a pupil of the former, who worked about 1460- 1480. 4217. '57. MEDALLION Plaque. Bronze. The Flight into Egypt. North Italian. About 1500. (Originally an infertion into a panel of a tomb or altar.) Diam. lo^ in. Bought, 8/. The Virgin and Child, preceded by Jofeph, are feated on an afs followed by its foal. The background of the picture is compofed of a rocky wildernefs with palm trees, &c. Two lions and a griffin peace- fully follow the Holy Family at fomc diftance. The flat furface and fome of the details have been heavily gilt. This bronze is, in all pro- bability, of a northern Italian, perhaps of Brefcian origin. (Catalogue of Italian Sculpture, p. 119.) 7431. '61. LAOUE. Bronze. The Reiin redion. North Italian. 15th century. H. 4^ in., W. 3 in. Bought, Gs. 6d. The Saviour is rifing in a fomewhat forced attitude from the open farcophagus. One foldier ftill fleeps, the others are up and armed, or arming, looking in alarm at the uprifuig figure, who holds a banner in the left hand, pointing upwards with his right. A good fliarp example. By the fame hand as 4081, &c. 7453- PLAQUE. Bronze. The Offering of the Magi. North Italian. Laft quarter of 15th century. H. 3- in., W. afin. Bought, \os. \d. An elaborate compofition ; the proceffion of camels and horfemen is feen defcending the rocky mountain path. In the foreground, the 40 Italian Virgin, feated before a ruftic building, receives the offered crown from North- the aged and bearded king. Jofeph is behind. ern. This example of a fine work, is much rubbed. By the fame hand as Nos. 7421, 4081, &c. 1 080. '55. PLAQUE. Bronze. The Entombment of Our Lord. North Italian. Late 15th century. H. 4 in., W. 2f in. Bought, 8 J. id. Into a farcophagus, enriched with baf-rcliefs, the body of Our Lord is being dcpofited by Jofeph of Arimathca, Mary, and others, feven in all, who cxprefs violent grief. In the diftance a wooded hilly landfcape with Calvary and Jerufalem. By the fame hand as Nos. 4081, 7421, &c. 565. '64. PLAQUE. Bronze, gilt. The Entombment of Our Saviour. North Italian. 15th century. H, 4^ in., W. 2f in. Bought, 2/. This is a replica of No. 1080. '55. 4081. '^7. PLAQUE. ' Bronze. The Prefentation in the Temple. North Italian. Laft quarter of 15th century. 4I in. by 3 in. Bought, 2/. An altar occupies the centre, over which the Virgin hands the Infant Saviour to the high prieft ; two men and two women are at the fides in the background ; a cat and two dogs are in the foreground. The fcene is beneath a groined arcade. A fine example of a fine plaque, probably made for a pax. The treatment of the beards by this artift is charadleriftic. Nos; 1080, 7453, 7421 are by the fame hand. Plaques^ &'c. 41 896. '55- MEDALLION Plaque, Bronze. David with the head Italian. of Goliath ; in the background a nude figure is mea- North- furing the fallen giant. North Italian. About 1 500. Diam. in. Bought, 8j, id. David, eredl and nude, leans his right elbow on an altar, upon which is a figure of Mars. He contemplates the fevered head lying at his feet ; the fling is in his hand and a helmet on his head. An example in the writer's coliedtion is reftangular and without the Mars. We believe this to be by the fame artift as No. 4081, &c., probably of a more advanced period of his art. The foregoing fix plaques, Nos. 7421 to 896, may be afcribed to the fame able hand, probably a goldfmith of Bologna, in the latter half of the 15th century. Other works by him are in the writer's collection ; notably, one of the Flagellation and another of the Crucifixion. This laft is an unufually fharp example of one of his moft chara6teriftic and elaborate compolitions, and on the furrounding moulding the letters F. R. are incifed. The influence of Francefco Francia, or, perhaps, of the Umbrian School, is to be recognifed in thefe admirable miniature baf-reliefs, but we hardly dare to fuggeft that thofe letters may be the initials of Francefco Raibolini. That fcveral of thefe plaques have been made for ufe fingly, as a pax, and that Francia produced many fuch devotional objedls in his workfliop, wc are afl'ured i may not thefe be of them, the work of his pupils after his defigns, if not modelled by his own hands ? 4371- '57- PLAQUE. Bronze gilt, circular, with an allegorical group in relief ; the half of a fword pommel which has been fawn in two (fee No. 4372). Italian. Firft quarter of 1 6th century. By the artift who figns lO.F.F. Diam. 3 in. Bought, 5/. A draped female feated on a dragon, to whom a man ofters a palm branch ; behind her a woman holds a mirror fufpended to a ftafF ; to the right another man carries a helmeted head upon a pole ; beyond, a. ftatue of Diana is feen upon a pedeftal, befide which is a lion. 42 Catalogue of Bronzes. North- ern 437^- 57- Italian. T^LAQUE. Bronze gilt, circular, with claflical group in X relief ; the Judgment of Paris ; the half of a fword pommel which has been fawn in two (fee No. 4371). Italian. Firft quarter of i6th century. By the artift who figns 10 . F . F . Diam. 3 in. Bought, 5/. This is a very admirable compofition. Paris feated on a bank beneath a tree holds the apple which Juno advances to claim. Minerva is behind with fhield and lance, her raifed hand grafping a dragon's head which vomits fire at Cupid floating in the fky. Venus ftands in modeft attitude between her lifter goddefTes. The figures are graceful in pofe and modelling. Replicas of both thefe plaques are in the writer's colleftion, each figned 10 . F . F. Mr. J. C. Robinfon has fuggefted that they may be the work of " the painter Francia," doubtlefs meaning Giacomo Francia, with whofe manner there is confiderable affinity and with whofe initials the fignature would agree. It is, however, poflible that they may be early works by Giovanni Bernardi di Caftel Bolognefe, whofe manner would be influenced by the fchool of Francia ; he firft entered the fervice of Alfonzo of Ferrara, and may have introduced the firft letter F . in the fignature to record the locality of their production. This artift figns frequently and varioufly thus : I . O . — TO . C . B . — lOANNIS . — lOAN . DE . CASTRO . BON.— &c. Thefe plaques may poffibly have been moulded from engraved cryftals. 5748- 59- PLAQUE. Bronze gilt, circular. The Judgment of Paris, probably from a fword pommel. Italian. Firft quarter of i6th century. By the artift who figns lO . F . F . Diam. i\ in. (Soulages Collection.) Bought, i/. A good fliarp replica of No. 4372. '57 5 the initials are indiftin£tly feen below. c 7436. '61. OVER of a Lamp. Bronze. Two fatyrs in crouching attitude, tied by the arms to the central ornament. Plaques^ &^ c. 43 which is furrounded by fcroll work. North Italian. 15th Ita century. H. j^- in., W. if in. Bought, i/. ^° A fine fragment of the bcft period of the art. From the Baron Monville's collei. the 1 6th century. His name is not recorded by Zani. 4467. '58. PLAQUE. Bronze. Hercules and the Centaur NefTus. Signed " O. MODERNI." Italian. Firft half of i6th century. 2f in by 2 J, in. Bought, ?>s. ^d. With diftant landfcape, the colofTeum and another building in the background. A fharp example of one of a feries of fmall plaques by the fame artift, reprefenting the labours of Hercules. 7464. '61. PLAQUE. Bronze. Hercules and the Centaur NefTus. Italian. Firft half of 16th century. H. 2-| in., W. aj, in. Bought, i2s. A duplicate, unfigned, of No. 4467. '58. 7484. '61. POMMEL of a fword, having on either fide a gilt plaque. Bronze. On one a mounted warrior riding over proftrate foes, with the legend DVBIA . FORTVM . ; on the other a warrior offering a facrifice, or the fubjed of Mutius Scasvola.^ Italian. Firft half of i6th century. Diam. 2 1 in. Bought, Gs. Gd. The firft fubjeft is a repetition of the fquare plaque. No. 7459. '61. D 2 52 Catalogue of Bronzes. 7459- '^i- Italian. T^LAQUE. Bronze-gilt. Horfemen overriding fallen foes. North- Italian. Firft half of i6th century. H. 2^ in., W. 2,1 in. Bought, 9^. A repetition of one fide of the fword pommel, No. 7484. '61. 6967. '60. MEDALLION Plaque. Bronze. A lion hunt by armed horfemen. Italian. Firft half of i6th century. Diam. 3-I- in. Bought, 8j. 4479. '58. M EDALLION Plaque. Bronze. Hercules and Cacus ; furrounded by a border of Grecian honeyfuckle orna- ment. Italian. Firft half of i6th century Diam. 4f in. Bought, 2/. Hercules fleeps in the foreground. Cacus, ilTuing from a cave, feizes an ox by the tail. An example in the writer's colle£tion is figned O. MODERNL 1079- '55- PLAQUE. Bronze. Hercules overcoming the Nemean Lion. Italian. Firft half of i6th century. W. 2^ in., H. 2;^in, Bought, Sj. id. A tree is behind, and fufpended to it are his bow and quiver ; his club is on the ground. Rocks beyond. Another of the feries by MODERNI, but not figned. 74^2. '61. PLAQUE. Bronze. Hercules and the Lion. Italian. Firft half of i6th century, 3 in. by 2^ in. Bought, 6s. Gd. Plaques^ &f c. 53 Duplicate of No, 1079. '55. In the writer's colledlion this fubjedl, Italian. without the rocks &c. occurs on one of a fine pair of elongated oval 2*iorth- plaques, the ends filled in with other fubje£ls 3 the companion repre- ^^^^^ fenting the rape of Deianira. 7493. '61. PLAQUE. Bronze. Hercules with the Nemean Lion. Italian. i6th century. H. 3^ in., W. i-f'-^. Bought. An inferior replica of Nos. 7422. '61, and 1079. '55. 4481 '58. PLAQUE. Bronze. Shaped for a fword pommel. An allegorical fubjedl. Italian. About 1 500-1 510. W. 3 in., H. Bought, i6s. A military trophy is reprefented between two feated females ; arms, lliields, &c. The companion of this beautiful work is in the writer's colledlion, and reprefents money (perhaps as ranfom) and female prifoners offered to two feated warriors. Thefe plaques have never been mounted on a fword, and are in perfect condition. 27-2. '64. PLAQUE. Bronze. The Depofition from the Crofs ; in a frame of moulded tortoife-fhell. Northern Italian. Firft quarter of i6th century. H. 5^ in., W. 3f in. Bought, 2/. A compofition of many figures engaged in the a6t of taking down our Lord's body from the crofs, which occupies the centre of the picture. The tortoife-fliell frame is enriched with mafks, fcroU and ftrap work, with terminal figures on either fide ; it is of a later period than the plaque. 534- '64- PLAQUE. Bronze, circular, Vulcan forging armour for Achilles. Italian, About 1500. Diam. in. Bought, 2/. 16s. 54 Catalogue of Bronzes. Italian. A winged genius (Vi6lory ?) holds the fliield, horfes feed in the North- foreground. ern. 7378 '6 1. PLAQUE. Bronze, The execution of a prifoner before a king enthroned. Italian. 16th century. \\ in. by 3-^ in. Bought, %s. The king is giving rewards to archers, by whom a prifoner tied to a tree has been executed ; hindfcapc background. This can hardly be intended for the martyrdom of St. Sebaftian .'' 71:31. '60. PLAOUE. Bronze, oval. Pleads of two children, one laughing, the other crying. Italian.^ i6th century H. 2f in., W., 21 i"- Bought. Probably a caft from an earlier model. 4678. '58. MEDALLION Plaque, Bronze. Mars, Venus, and Cupid (.^), Italian, i6th century. Diam. \\ in. Bought. 7376- '61. MEDALLION Plaque. Bronze. The Converfion of St. Paul. Italian, Second half of 16th century. Diam. i\ in. Bought, 8j. Beneath is the letter P fubfequently incifed. Perhaps modelled for the reverfe of a medal. 267. '64. PLAQUE. Bronze. Neptune rebuking ifclolus (?), with an infcription in honour of Andrea Doria, ANDR . Plaques^ ^ c. 55 PATRIS • AVSPITIIS • ET • PROPRIO • LAHORE • Italian. North Italian. About 1 530-40. .3^ in. by 3 in. Bought, ^^orth- , " cm. 2/. A confufcd and bufy compofition. Over a rough fea Andrea Doria, in armour, holding a trident and imperfonating Neptune (?), is drawn in a car by horfes, one of which fhics at a fea ferpent ; ^olus (or Neptune?) in a chariot is behind in the race ; or this allegory may imply that Doria eclipfes Neptune on his own element. The fea teems with tritons, nymphs, fifh, and marine monfters. Probably a Genoefe work, and by the fame hand as No. 7433. '61. 7433- PLAQUE. Bronze. A Bacchanalian proceflion. Italian. Firft half of i6th century. Square, W. 2^Mn. Bought, il. \os. Bacchus is fupportcd upon the back of a boar, landfcape diftance ; fleurs-de-lys in the upper corners. From the Monville Collcdion, ftamped B.M. -68. '64. PLAQUE. Bronze, efcutcheon-fhaped. The Devotion of M. Curtius. Italian. 16th century. 2^ in. by 2^ in. Bought, 2/. Perhaps an ornament of a fword or fcabbard. 536. '64. MEDALLION Plaque. Bronze. Within a wreath of leafage and fruit a Hydra, one of her feven heads is ftruck off. Italian, About 1520. Diam. 2f in. Bought, 4/. 5J. lod. From the Piot Coliedion. 56 Catalogue of Bronzes. 535- '64- MEDALLION Plaque, Bronze, filvered. A man de- voured by lions, above are two clafped hands and a ribbon, infcribed ANCI . MORTE . CHE . RONPERE . FEDE . (Rather death than break faith.) Italian. About 1520. Diam. 2^ in. Bought, i/. i2J. From the Plot Colle£lion. Perhaps defigned for the reverfe of a medal, and allufive to fome contemporaneous hiftory. 533- '64- PLAQUE. Bronze, bell-fliaped. Mars and Viftory crowning a boy ftanding on an altar, to whom Mars alfo offers armour. Italian. 16th century. H. 3^ in., W. 3^ in. Bought, i/. 8 J. \od. An allegorical fubjedl furrounded by a foliated ftrap-work border fpringing from lion's feet. From the Plot CoUedlion. a/O. '64. MEDALLION Plaque. Bronze. A kneeling aged male faint, an angel pointing to the Virgin in glory. Itahan. 1 6th century. Diam. 2^ in. Bought, 2/. 96. '65. MEDALLION Plaque. Bronze-gilt. The Laocoon group within a wreath ; probably an ancient caft from and perhaps for a hat medallion. Italian. Firft half of i6th century. Diam. if in. Bought, 12^. -73. '64. MEDALLION Plaque. Bronze. The Incredulity of St. Thomas. Italian. i6th century. Diam. if in. Bought, iL A work in high relief, . PlaqueSy &^ c. S7 ^803. '56. PLAQUE. Bronze, elliptic. St. Michael fubduing Satan. '(Italian. Italian. 16th century. 4fin. byjiin. Bought, \6s. North- ern. A rich framing of ftrap work with mafks, &c, furrounds the fub- je6t ; it has been gilt, and probably ornamented a cabinet or caflcet. 4897. 54. PLAQUE. Circular, in beaten copper. St. Mark, feated, with his lion. North Italian. Late i6th century or early 17th century. Diam. 3 in. Bought, jj. III. '6q. PANEL. A circular medallion. Bronze-gilt. The Mar- tyrdom of St. Paul. Italian. Late i6th century. Diam. 19^ in. Bought, 20/. There is an ecledtic look about this work which points to the Bolognefe fchool of the end of the i6th or early 17th century. In the foreground is the executioner, who has juft flruck off the head of the aged faint, fallen in the front. His body is furrounded by two men and three women, one of whom kill'es his feet ; mounted foldiers are in the diftance. The modelling and attitudes are exaggerated, and the whole compofition mannered. 91. '66. PANEL. Bronze, with grotefque ornament in beaten work. Cupid fleeping between Roman wolves in the upper part, and firens mounted on fea-horfes below. A central fl:em, triple malked, fupports the child, above whom is a label. Italian. Late 16th century. Square, W. in. Bought, 30/. Good in defign and executed with great vigour and abiJity. Perhaps Roman. 5 8 Catalogue of Bronzes. ^2,0. '68. FOUR Plaques of gilt bronze with circular tops, mounted in an ebony framing as a triptych. They reprefent, refpeftively, the Agony in the Garden, the Flagellation, the " Ecce Homo," and the Crucifixion, Italian. Firft half of 17th century. Total H. i ft. 4 in., W. 2 ft. in, when open. Bought, 13/. Ably executed in repoujj'e after defigns of the Carracci fchool. ITALIAN. Florentine School. IVorks by Donatello and his Pupils. 8717. '63. Italian. "1\ /T IRROR, of mixed metal, in a bronze cafe, inlaid with Floren- -LVJ- gold and filver. On the back, in relief, is an alle- gorical reprefentation of fruitfulnefs, in which are half-length figures of a fiityr and a bacchante. Florentine. By Donatello. Made about 1450, for the Martelli family, from whofe repre- fentative it was purchafed. 9 in. by y^in. Bought, 650/. At the top of the framing is a fwivel ring for fufpenfion, its attach- ment being ornamented on each face with a mafk of Medufa between two fcrolls ; beneath is another fwivel ring. The baf-relief is an alle- gorical compofition, indicating abundance or fertility. Above, in the central background, a Term or Hermes is reprefented, on either fide of which are pcdeftals bearing vafes, one filled with fruit, the other a wine vafe, offerings to the god of gardens. Drapery and a wreath of foliage hang in feftoons from the Term, at the bafe of whofe pedeftal are placed a fliield, damafcened with palmcttc ornament in gold, a goat's fkin, and a pedum. On the right fide of the centre is the half figure of an aged faun or dryad, crowned with vine or ivy, and draped in a goat's fkin, his right hand clafps a carchefium^ and with his left he points upwards, extending the firft and fourth fingers. A Bacchante faces him, and with her left hand milks her abundant breaft into a rhyton terminated as a griffin, Italian. North- ern. PL,ATE IX . :d;iKROI^ CArtE. By Doiiatelio. Aiou/ i4=,o. No. 8717.. '63. Plaques^ &^c, 59 which fhe holds in her right hand. She alfo is clothed in a goat's hide.' Italian. Each has a thyrfus, and behind are ftems of vine, the branches of Floren- which rife above, Vi^hile, on a ribbon between them, the pandaean and tine. the double pipes are fufpended. Beneath is the full-faced buft of an aged female with open mouth, fupported by a label on which is in- fcribed NA TVRA . FOVET . OVAE . NECESSITAS . VRGET. Many of the details are enriched with gold and filver, as the eyes, the head, and other ornaments, the rims of the cups, &c. Unfortunately no record has been kept of the exadl date when this remarkable work was executed by Donatello for his great patrons the Martelli family, in whofe pofleffion it remained until acquired directly bv purchafe for this mufeum. It was, however, probably produced in Florence fhortly before 1451, when Donato went to work at Padua, and is in his moft developed manner. Since the moft flourifhing period of Greek or Greco-Roman art it is probable that nothing in this claffic material had been produced of fuch varied artiftic excellence ; the largenefs of the manner, the tendernefs of furface, and the exquifite finifh of the details are equally worthy of admiration. In this latter quality it is difficult to conceive that Dona- tello's hand could have executed the minute damafcened ornament and careful tooling, worthy of the practifed goldfmith, of a CaradofTo or of Cellini himfelf, did we not know that fome of Donato's works in marble are elaborated with a nicety, which, as in this cafe, never detradls from the more important qualities of the modelling, and muft have been the painftaking and loving labour of the matter's hand. We know, however, that Donatello had ftudied as a goldfmith, and his love for metal-work is evinced by the numerous fine works in bronze which ftill remain to us. This is covered with a rich but delicate liver coloured patina. (Catalogue of Reprodudlions in Metal, No. '64. 55. Price 4/.) {See Plate IX.) «55^- '63- GROUP. Bronze, in high relief. Subjedl, the Entomb^ ment. Florentine. Attributed to Donatello. About 1420. In black wood frame, inlaid with pietra dura. H. ' Baron H. de Tiiqueti (Fine Arts Quarterly, May 1864) refers to a ftatement iiiaile by Gori in liis delcription of the antique gems of the Medici cabinet, that among them were two antiques reprefenting thefe two figures. It is more than likely that Donato derived the ideal of thefe figures from the antique, as he probably did the " ftiacciato " rilievo which was brought by him to iuch perfe£lion. 6o Catalogue of Bronzes. Italian, (without frame) i ft f in,, W. i ft. \\ in. Bought (Webb Floren Qq\\^^xo\\)^ 140/. tine. A p'teta. Ill the centre and front of the compofition the dead body of Our Blefled Lord is refting upon the lap of the Virgin Mother, who is feated on the ground. On her right the Magdalen with dis- hevelled hair \ on her left St. John, and behind, two female difciples are ftanding in attitudes and with expreffion of extreme grief. A long veil covers the Virgin's head, and all, with one exception, bear the nimbus. This admirable work, of the mafter's earlier manner, was probably defigned or modelled by Donatello and executed by one of his pupils. It has doubtlefs formed one of a feries of fubjefts which originally adorned the panels of a pulpit or altar front, as thofe in the church of S. Lorenzo at Florence and S. Antonio at Padua. {See Plate X.) 6979. '60. PLAQUE. Bronze. Subjedl, in low relief, the Entomb- ment. Italian, Florentine. Second half of 1 5th century. Attributed to the fchool of Donatello. H. 4^ in., W. 6^ in. Boughf, 7/. 4 J. A compofition of many figures. In the centre the body of Our Saviour is borne by St. John, Jofeph of Arimathea, and another, who are in the adl of lowering it into a farcophagus, on which is an infcription. Mary is on her knees, to the right of the beholder ; Magdalen on the left of the group ; other women and men, whofe aftion and countenances exprefs extreme woe, fill up the background ; no lefs than twenty perfons are reprefented. If not modelled by Donate himfelf this excellent work is probably by one of his moft able fcholars from the mafter's defign. A baf-relief in bronze of the fame fubjedl, difi^erently and lefs ably treated, perhaps by his pupil Bertoldo, is in the writer's coUedion. 67. '65. PLAQUE. Bronze, in relief. Vulcan repairing the wings of Cupid, and Cupid inftru6led by Mercury ; Minerva, Mars, and other gods are in the background. Italian, of the Plaques^ ^ c. 6i fchool of Donatello. Second half of 1 5th century. H. 6|in., Italian. W. 9f in. Bought (Pourtales Colledion), 19/. Floren- tine, Poffibly from a defign by that mafter ; it is roughly caft from the wax, and does not appear to have been touched with the chafing tool. The grouping is finely compofed of five and of four figures, having much dignity of pofe and expreffion ; inftance that of Mercury. 4080. '57. PLAQUE. Bronze, rounded above. The Virgin and Child under a fhell-lined arch. Italian, Florentine. Laft quarter of 15th century. H. in., W. 3 in. Bought, i/. ^s. The half figure of the Virgin is in profile to the right, fhe is kiffing the Child on the left cheek, a fcarf covers her head ; both are nimbed. Probably a pax or devotional tablet by an artift who had derived his manner from the fchool of Donato. JVorks of other Florentine Mafter s and Schools. 474. '64. PANEL. Bronze ; probably from a door ; reprefenting in low relief and in double adion an Angel releafing a female faint from prifon. Italian, Florentine. Firft half of 15th century. Afcribed to Lorenzo Ghiberti. H. 17 in., W. 14! in. Bought (Piot Colledion), 104/. The fubjedl: is divided into two fcenes by the wall of the prifon ; within, a female faint is feen lying, from whom an angel (without wings) removes her chains ; fhe is furrounded by fleeping foldiers, feven in number ; decorative feftoons fall from the chamber walls. The other fcene fhows the faint fet free, and guided forward by the angel, who 62 Catalogue of Bronzes. Italian, fuftains her while walking over fliields and arms which ftrew the ground. Flore7i- An architeftural background, fliowing a figure of Mercury in a niche, &c., tine, completes the defign of this admirable work, in which the fpirit, if not the hand, of Ghiberti is manifefl:. This may probably reprefent the miraculous vifitation and delivery from prifon of an almofl: forgotten martyr, Glycera, who finally furthered in the 2nd century at one of the cities named Heraclea ; and if fo is a fubjecSt of great rarity. {See Plate XI.) 7369- '6r. PLAOUE. Bronze, with femi-circuiar top, probably for a Pax. The Adoration of the Magi. Italian. Laft quarter of 15th century, jfin. by 2| in. Bought, %s. A fine compofition, probably Florentine, The Virgin fits on the right of the picture, holding the blefi^ed Child upon her knee, to whom one of the Magi kneels, offering a globular formed vafe ; his crown is on the ground ; the others ftand behind, crowned, and holding their offerings. Jofeph is feen at the back of his cfpoufed wife ; none are nimbed, except the Child. A partly ruined building is in the back- ground, and the flrar (hows large in the fky. This plaque is rare ; in the writer's colledtion is a fine example, and alfo one by the fame able hand, the Virgin and Child with fall of wreathage above. The fentiment of Ghirlandaio is apparent in thefe fmall works. 2535. '56. PLAQUE. Bronze. The Virgin and Child, with two angels; in the background a canopy or baldachino, orna- mented with minute arabefques. Italian, Florentine. Laft quarter of 15th century, i^in. by ig- in. Bought, lis. This little gem is evidently cafi: from a highly elaborated work, probably in gold, and by one of the Florentine goldfmith-painter- fculptors of the 15th century, a Ghirlandaio or a Botticelli. Nothing can exceed the grace and delicacy of the compofition and the ornamenta- tion of medallions and labels in floral and grotefque panellings, with a crowd of boy angels in the upper part. Plaques^ &^c. 63 It may have been defigned for a Pax, or more probably for a fmall Italian. portable devotional tablet, and I am inclined to afcribe it to the fame Ploren- hand as No, 7891^7, '61. {See Plate VIII.) tine. A larger plaque of equally elaborate but different defign is in the writer's colleftion. 7891^/. '61. PLAQUE. Bronze gilt. The Virgin and Infant Saviour, with two boy angels, cherubs in the clouds, &c. Italian, Florentine. Laft quarter of 15th century. H. 2in.,W. i^in. Bought. This caft of a charming compofition has been unfortunately much rubbed, to the deftruflion of its finer details. It is by the fame able artilt as No. 2535. '56, and recalls the manner of Sandro Botticelli. The Pax, No. 4408. '57, has a bronze plaque rcprefenting the enthronement of the Virgin, and enriched with niello, a work of the fame hand, and in which the manner of Botticelli is ftill more apparent. 756. '64. Jp)LAOUE. Bronze. The combat of the Centaurs and ^ Lapithas ; by Poliajuolo. Italian, Florentine. About 1470. Square, W. 2 in. Bought, \os. An admirable and indubitable example of the fmaller works of this too vigorous fculptor. It is worthy of ftudy for the minute care with which the detail of the background is executed, and the power difplayed upon the ftruggling groups in the main fubje£t. {See Plate VIII.) 6977. '60. PLAOUE. Bronze gilt. The Holy Family, within a frontifpiece or tabernacle. Italian, Florentine. 1 6th cen- tury. H. 4'; in., W. 2;] in. Bought, il. A devotional tablet, or a pax. The Virgin, who offers her breaft to the Infant, is feated beneath an architrave which is fupported by pilaflers enriched with arabefque and furmounted by a tympanum on Catalogue of Bronzes. Italian, which the Eternal Father and angels are depidled. Jofeph and the Floren- I'lf^nt St. John are with the Virgin. The bafe is ornamented with tine. palmettes. A more highly elaborated and flightly varied example of this plaque is in the writer's colleftion. 7431. '61. PLAQUE. Bronze, in high relief. A full length figure of Judith holding the head of Holofernes. Italian. About 1520-40. H. 12^ in., W. 8f in. Bought, 12/. Judith draped in the antique ftyle is holding the head of Holofernes in the left hand ; her right clafps the hilt of a fword (which has been loft). This is a figure of much dignity, the drapery finely treated but approaching to heavinefs. It has been attributed, without definite autho- rity, to Jacopo Sanfovino. (Cat. Ital. Sculpture, p. 128.) 7492. '61. PLAQUE. Bronze, circular. The Holy Family, fur- rounded by a gilt raifed edging infcribed PVER • NATVS • EST • NOBIS • (Unto us a Child is born,) Italian, Florentine. 1 6th century. Diam. 4^ in. Bought, 8^. The Child is held by the Mother between her and Jofeph, who fuftains its right arm. All are nimbed, the Child with rays. 1518. '55- BAS-RELIEF. Bronze. The Holy Family. Italian, Florentine. Firft half of 1 6th century. (Attributed to Pierino da Vinci.) H. 13I in., W. 9.^ in. Bought, il. \os. A ripofo. The Virgin, feated on a rock, is holding her beloved Son, fleeping, on her knees. She has a book in the right hand, and from her clofed eyes feems abforbed in thought or prayer. Jofeph fleeps in the background, whilft the youthful St. John, looking at the Holy Child, clafps the crofs to his breaft in an attitude of devotion. Above, a flying angel is ftretching a tent or awning from the trunk of the fig or fycamore tree. The bronze, in low relief, has a highly Plaques^ ^c. 65 finifhed furface and a dark green patina. The original marble, from Italian. which it is prefumable that this bronze has been caft, is in the Louvre Floren- at Paris ; it is however, probably a contemporary work, if not abfolutely, tine. by the hand of Pierino da Vinci (born 1520, died 1554). The cele- brated rilievo by that artift, reprefenting the death of Count Ugolino and his fons, is in terra-cotta^ and not in bronze as ftated by Vafari ; it is now in the pofleflion of Count Welfreddo della Gherardefca, never having left that family, and the writer was informed by him that no fuch work in bronze ever exifted. Two or three contemporary replicas in terra-cotta have been known to the family ; that in their pofleflion is one ; another, in even finer condition, belongs to the writer j and a third, much reflored, was formerly in Florence. (Cat. Ital. Sculpture, p. 156.) 7474. '61. PLAQUE. Bronze. Half-length figure of the Virgin with the Infant Saviour. Italian, Florentine. Firft half of 16th century. 4^ iii. by in. Bought, i/. The Virgin is feen in profile looking to her left, draped and having a fcarf over her head. She holds the Infant Child on her left arm, her left breafl: is uncovered. A fimple nimbus is round her head and a cruciform one round that of the Saviour. This relief is in the manner of Pierino da Vinci, and may with probability be afcribed to that artift, whofe larger work, No. 15 18. '55, fhould be referred to. 5473- '59- PLAQUE. Bronze. Half-length figure of the Virgin, holding the Infant Saviour in her arms. Italian, Floren- tine. Firft half of i6th century. 4 in. by jf in. Bought, 17 J. A replica of No. 7474. '61 flightly varied in the details and not fo well preferved. 23. '69. PLAQUE. Bronze. Circular. Half-length figure of the Virgin holding the Child, with nimbi. Italian, pro- bably Florentine. i6th century. Diam. in. Bought, 4/. E. E 66 Catalogue of Bronzes. 7499. '61. PLAQUE. Bronze gilt. The Virgin and Child, to whom the Infant St. John offers fruit. Italian. i6th century. H. 4-1 in., W. 2f in. Bought, 8.f. Partially cut out to the outline of the group. After the fchool of RafFaelle. 711. '65. MEDALLION Plaque, circular. A female figure, holding on her head a vafe from which water flows on either fide ; young and aged men drink and gather it in jars. Infcribed above, VIRTVS ; beneath, NVNQ^: DE- FICIT. (Soulages Collection.) Italian. About 1550. Diam. ^\ in. Bought, 3/. Fine work, the reverfe of the medal of lANELLVS -TVRRIAN, the architeft of Cremona who firft erected the tower clock in that city. I am inclined to afcribe this to Leo Leoni, of Arezzo, who is believed to have modelled the medal of Michael Angelo, having on the obverfe his head with name and age, AES . ANN . 88^ and figned beneath LEO ; the reverfe has for fubjeft an old man led by a dog and the legend DOCEBO . INIOVOS . V . T. E . IMPII . AD . TECONVER. That medal muft be of the year 1562 as M. Angelo was born in 1474. (Cat. of Reprodudtions in Metal, No. '57, 87.) 67. '66. PANEL. Bronze gilt. The Entombment of our Saviour; a work in high relief, in carved chefl:nut frame of a later period. Italian. Latter half of i6th century. Sight meafure, H. \o\ in., W. 10^ in. Bought, 16/. In the background a cave beneath a tree-crowned rock, Calvary with its Crofs and Jerufalem are feen beyond. Our Saviour's body is being placed in the farcophagus by three men, a group of five women ftanding at the head ; Jofeph of Arimathasa and another approach. The figures are lengthy and the treatment harfh, but fharply chi- felled and in high relief. Probably a Florentine work. Plaques^ Wc, 67 8384. '63. PANEL. Bronze. Elliptic, beaten work in high relief. Italian. Half figures of the Virgin, with the Infant Saviour Floren- and an angel, on a gilt ground ; furrounded by a framework of leafage moulding with ribbon tie above. Florentine. Late 17th or i8th century. 2 ft. 4-| in. by i ft. 11 in. Bought, 24/. CASTS FROM ENGRAVED CRYSTALS, SEALS, &c. ITJLUN. 451 1. '58. MEDALLION Plaque. Bronze, elliptic ; a group Italian. of four figures. Florentine. i6th century. Pro- bably a caft from an antique cameo. H. if in., W. i J in. Bought, AfS. 2yi. '64. PLAQUE. Bronze, elliptic. A head of Plenty, within a fcroll-work border and Latin infcription, with a bifhop's armorial fhield. Italian. 15th century. H. 2 in., W. if in. Bought, il. Seemingly caft from the feal of a biftiop ; an antique intaglio fet in gold. The infcription + HOC . OPVS . E . FRVGES . EFVNDO . COPIA . CORNV . (The horn is filled with the fruits of the earth by labour) furrounds. The ftiield of arms upon the border bears (on an azure field) a lion rampant (or), over all a bendlet (argent) ; and is that of the Barbo family of Venice. 7799. '63. PLAQUE. Bronze, vefica-fhaped, with group in relief of the Virgin and Child with three Saints, others in the background ; below, a fhield of the Medici family, with in- E 2 68 Catalogue of Bronzes. Italian, fcription. Italian. i6th century. H. \\ in., W. 2f in. Bought, i/. 1 5 J. In the foreground the Virgin is kneeling in adoration of the divine Infant, who is fupported by a cufhion on the ground. Behind ftand SS. Peter, Paul and Lawrence, the patron faints of Rome and of the church of S. Lorenzo in Damafo, to the Cardinal Bifliop of which the feal belonged. In the background is an elaborately ornamented arcade, which is filled by the fhepherds, who approach with their offerings. Above the arcade the Father is feen in the clouds, the dove defcending towards the Child. Beneath is a fliield bearing the arms of Medici, over which a cardinal's hat is fupported by two flying angels. The furrounding infcription reads, — INliusTiTulo '$>anai Laurentii IN . DAMafo FresByteR CAR- dinalis DE . MED/aV 'ian£ia: Romance 'Ecclefia VICE-CAN cellarius THVSCItE . BO^onU QuE LEGAT«j. This admirable rilievo is a caft from a feal, that of Cardinal Giulio de' Medici, afterwards Pope Clement VII. He was made Cardinal Biftiop in 1513 ; Legate of Bologna, Sept. 1514; Vice-cancellarius, March 1519; Legate at Florence, May 1519; Pope Clement VII., 1523. It may be conjedturally afcribed to Lautizio of Perugia, who was particularly famed as a feal engraver, and executed many for the cardinals of that period. He probably produced this work about 15 13. (Cat. of Reprodudions in Metal, No. '67. 95.) {See Plate VII.) An equally excellent plaque by the fame hand, reprefenting the Circumcifion, but without coat of arms, is in the writer's colle£tion. 7800. '63. PLAQUE. Bronze, vefica-fhaped, with fubje6t in relief of the Adoration of the Magi ; below, a fhield with armorial bearings, and an infcription. Italian. Firft half of 1 6th century. H. 4.^ in., W. 2f in. Bought, i/. In the foreground the Virgin is feated, holding the Child, who re- ceives a vafe from the elder of the Magi ; the others approach with their offerings ; beyond are the fhepherds playing upon pipes, &c. Jofeph ftands behind the Virgin, leaning upon a ftaff, in a thoughtful attitude. In the diftance above a building, the ftar is feen in the fky. Beneath, fupported by two negroes, is a ftiield of arms furmounted by a cardinal's hat. An infcription furrounds, which reads, — GV lleLmus Raymundus TiTuIi SanSli MARCELLI 'S>an£i(E Ro- mana Ecclefice VRe'i^hyter . CARdinalh DE , VICH. Cafis from Cryftals^ Seals ^ ^c. 69 Guil. Raymundus de Vich, of Valencia, was created Cardinal in Italian. 1517 and died in 1525. He was Protonotary and Cardinal with the title of St. Marcellus, probably of the church dedicated to that faint in Rome. An admirable work, alfo a cafl: of the period from the feal of Cardinal De Vich, and conje£lurally attributed to Lautizio of Pe- rugia. (Catalogue of Reprodu6lions in Metal, No. 67. '94.) {See Plate VII.)* Works by Giovanni Bernardi, of Caftel Bolognese. (b. ?, d. 1555.) 7380. '61. PLAQUE. Bronze, elliptic. The Rape of the Sabines. Signed lOAN . DE . CASTRO . BON • Caft from an engraved cryftal. Italian. About 1530. H. 2-| in., W. 3 in. Bought, Sj'. The caftellated walls of Rome are feen in the background. The engraved cryftal from which this was caft was executed by Giovanni Bernardi di Caftel Bolognefe for his patron Cardinal Ippolito de' Medici at Rome, and is referred to by Vafari in his notice of this artift. 4120. '54. PLAQUE. Bronze, elliptic. The Rape of Ganymede, probably moulded from an engraved cryftal. After a compofition by Michael Angelo. Italian. About 1530-5. H. if in., W. 2\ ill- Bought. (Gherardini Colledtion.) * Cellini, in his interefting treatile on the goldfmiths' art, dates that Matter Lautizio was a goldfmith of Peiugia who excelled in works ot this nature, and was exclufively occupied at Rome about 1525 in making Cardinals' seals, for each of which he received 100 fcudi, equivalent to about 120/. at the prefent time He tells us that these feals are made of about the size of a child's hand of ten years old, and of almond fhape, the Cardinal's title being indicated by the subjeft of the composition and the family Jiemma cut in intaglio (or, more correftly, caft in intaglio from the wax model). 70 Catalogue of Bronzes. Italian. This is the well known compofition by M. Angelo, which has alfo been modelled and caft in bronze of larger fize. Although without fignature we have little doubt that this plaque was caft from a mould taken from an engraved cryftal by Giovanni di Caftel Bolognefe, and one of the feries cut by him for his patron Cardinal Ippolito de' Medici. 6889. '60. PLAQUE. Bronze. The Refurredlion. Italian. Signed I . O . About 1535-40. H. in,, W. in. Bought, 1 8 J. \d. A caft from one of the works executed by Giovanni di Caftel Bolognefe for his patron Cardinal Aleflandro Farnefe, and referred to by Vafari. The upward floating figure of the Saviour, with banner in his left hand, rifes from the tomb, round which the foldiers fleep (that un- true and Pharifaic reprefentation of the hiftory), one has waked and looks upwards in amaze. The fubjedl is in an oval furrounded by a fquared framing filled in with foliated ornament at the angles. See No. 92. '65, a pax in the South Kenfington Mufeum with a replica of this fubjedt in filver. PLAQUE. Bronze. The Entombment. Beneath, on a label, are the words HVIVS . MVORE . SAN ATI . SVMVS . Italian. About 1535-40. Afcribed to Giovanni di Caftel Bolognefe, perhaps after a defign by Profpero Fontana. The name PROS . FONT is engraved. H. 3^ in,, W. i\ in. Bought, 8j. This is evidently by the fame hand and one of the fame feries as No. 688g. '60 ; the fubje£l is furrounded by a fimilar ornamental framing. The infcription PROS . FONT . engraved upon it is a fubfequent addition, probably by fome owner who believed it to be the work of that artift. Cafis from Cryfials^ Seals^ 71 4347- '57- PLAQUE. Bronze, elliptic ; a battle fubjedl, or a fortie Italian. from a town feen in the diftance. Italian. About 1538-40. A caft from an engraved cryftal, by Giovanni di Caftel Bolognefe, whofe initials are upon a fhield in the right hand corner. L. 2f in., W. 2f in. Bought, 6s. This probably reprefents the vi£lory of Goleta (a marine or river deity is in the foreground) or the attack on Tunis, both of which fubjedls were engraved by Giovanni on cryftal for his patron Cardinal Farnefe. 74^4. '61. PLAQUE. Bronze, elliptic. Neptune ftanding in a fhell drawn by four fea-horfes on the fea, in which dolphins and a nymph are fwimming. Italian. About 1540. Signed, lOANNIS or lOAN . 15 (the laft letters illegible). H. 3I in., W. 2f in. Bought, 1 5 Another work by the fame artift, fomewhat exaggerated in aftion, but difplaying great facility of hand. It is after the central group of Marc Antonio's engraving, Neptune fUlling the fea. Works by Valerio Belli, called II Vicentino. (b. 1479, 1546.) The altar crofs, No. 757. '64, is enriched with engraved plaques of cryftal, afcribed to this artift but not figned. 7494. '61. PLAQUE. Bronze, elliptic. The Judgment of Paris. Signed beneath, VALE . VIN . F . Italian. Firft quarter of i6th century. By Valerio Vicentino. H, 2^- in., W. 1 1 in. Bought, \s. %d. Alfo a cafting from an engraved cryftal. Catalogue of Bronzes, 7379. '61. Italian. T)LAQUE. Bronze, elliptic, A hunting fubjeft. Signed X by Valerio Vicentino. A caft from an engraved crystal. Italian. About 1500 to 1520. H. 2f in., W. 3I in. Bought, Mounted horfemen are hunting a lion and a lionefs with dogs. 6968. '60. PLAQUE. Bronze, gilt, elliptic; with handle to form a pax. Subjedl, the Adoration of the Shepherds. A caft from an engraving on cryftal, by Valerio Vicentino. Italian. Firft quarter of the i6th century. H. in., W. 2-| in. Bought, 8j. On the right a group of Jofeph and Mary, fhe kneels to the Child ; the fliepherds approach on the left ; angels are in the fky above \ a loggia in the background. 7371. '6i. PLAQUE. Bronze. The Prefentation in the Temple. By Valerio Vicentino. A caft from an engraved cryftal plaque. Italian. About 1500 to 1525. Square, W. i\ in. Bought, 8j. The group of the High Prieft with the Child and others is in the foreground of a domed temple, on the frieze of which the artifl: has figned his name. 7372- '61. PLAC^UE. Bronze. Chrift driving the Money Changers out of the Temple. By Valerio Vicentino. A caft from an engraved cryftal plaque. Italian. About 1500-25. Square, W. i\ in. Bought, 8j. Here again the fignature is cut on the frieze of the temple. Valerio Belli had no modefty in acknowledging his works ; he was born in Cajls from Cryfials^ Seals^ &^c. 73 1479, ^^^^ ^'^ 1546' Vafari's ftatetnent that at the age of 78 he Italian. could work wonders muft therefore be one of his occafional inaccuracies, 7374. '61. PLAQUE. Bronze, hexagonal. The Entombment. By Valerio Vicentino. A caft from an engraved cryftal. Italian. About 1500-20. H. in., W, 3f in. Bought, The body of the Saviour is on the ground. Mary kneels raifing his right arm. John wraps up the lower limbs ; others furround. The fepulchre is open to the right; a tree in the background. A clever compofition, but mannered in the treatment. 6751, '60, PLAQUE, Bronze, elliptic ; a nude female figure leaning on a vafe; a Ikull, a book, and a fire-pot on the ground. Beneath is infcribed, NOME OLVIDO ELRES EVIDO O Italian. i6th century, H. i\ in,, W, if in. Bought, i/. js. Somewhat in the manner of Valerio Vicentino, and perhaps caft from an engraved cryftal. 523- 54- PLAQUE. Bronze, elliptic. The Fall of Phaethon, ap- parently a caft from an engraved cryftal. Italian. i6th century. H. 2 in., W. i-| in. Bought, jj. 6026. '57. PLAQUE. Bronze gilt, elliptic. Hygeia and Efcula- pius. Probably caft from an engraved cryftal. Italian. 1 6th century. H. if in., W. 1^ in. Bought. 74 Catalogue of Bronzes. 704. '65. PLAQUE. Bronze, oval. The head of a warrior armed with a rich helmet ; a medallion on his fhoulder bears the fubjeft of Hercules ftrangling the lion. Infcribed, SCIP AF . . (Scipio Africanus). Probably caft from a cameo of the 1 6th century. Italian. H. 3 in., W. i\ in. Bought (Soulages Colledion), 3/. UTENSILS AND OTHER OBJECTS IN BRONZE, COPPER, &c. (^Alphabetically arranged.) BELLS. ENGLISH. 289. '64. ELL, of mixed metal. A hand bell, ornamented Engllft). with a frieze of nude dancing female figures, in low relief and filvered, between leafage and key pattern ; gilded bordering. The handle ribbed and enclofing a piece of carnelian. Englifh. Barkentin and Slater. 1864. H. 5-|- in., diam. 2f in. Bought, 10/. loj. The ornamentation of this bell, though feeble, might be approved, had the female figures been drawn to nature and not like elongated fhadows on the wall ; they are, moreover, badly poifed and inelegant in gefture. 804. '64. BELL. Aluminium. A hand bell, ornamented with chafed floral feftoons and leafage border, the turned handle of aluminium bronze. Enghfh (from the Working Men's Exhibition, 1864). H. \\ in. Bought, \l. c^s. Neat, but wanting vigour in the ornamentation. Catalogue of Bronzes. ITJLUN. 4483. '58. BELL. Gilt bronze. A hand bell. The handle formed as a lion. Venetian. Second half of i6th century. 5 in. by 3-! in. Bought il. The lion fits on his haunches ; the body of the bell is decorated with four allegorical figures, with birds, ftars, fun, moon, and wreath of foliage, poffibly of aftrological or cabaliftic import. {^See Etching.) 587- '65. BELL. Bronze. A hand-bell, decorated with acanthus- leaf mouldings, falls of flowers, &c., hanging from maflcs, and beneath, profile heads and a fliield of arms ; in- fcribed round the upper part PVLSV . MEO . SERVS . VOCO . LIPO . MANO . TVOS. Italian. Firft half of 1 6th century. H. 3 in., diam. 3-I in. Bought (Soulages Colledtion), 3/. The fhield of arms bears a bend between two tigers' heads. Infide, in relief, is a marie, probably that of the founder. (Catalogue of Reproductions in Metal, No. '57. 32.) I2IO. '55. BELL. Bronze. Decorated with a band of Greek honey- fuck, ie and leafage ornament. Italian. i6th century. H. 4f in., diam. 3f in. Bought, lis. id. The prefent handle would appear to be a fubfequent addition. SKIVI GILT BRONZE HAND-SELL, HANDLE FORMED BY A LlOM RAMPANX VENETIAN CIMQiJE ■.ENTO VV O R K H J" 1 N S KM (N^^fc^Jj M -SULLIVAs) C I Bells. 77 586. '65. BELL. White bell metal. A hand-bell, decorated with Italian. zones of grotefque and leafage ornament in relief, and with three fhields of arms. Around the upper part is infcribed 10 . JACOBVS . MALHABIA . MDLXL Italian. Dated 1 56 1, H. 4f in., diam. 4 in. Bought (Soulages Colledlion), 3/- Mr. J. C. Robinfon juftly remarks that the ornamentation of this fine fpecimen is of an earlier chara£ter than that of the a£tual date, a peculiarity frequently to be obferved on bells, and probably arifing from the continued ufe of the old patterns and moulds at a later time. (Catalogue of Reproductions in Metal, No. '57. 31.) The fhields bear, on one, (gules,) three fwords in bend finifter ; the creft, a hawk, or eagle difplayed ; thefe appear to be the arms of the Manelli of Florence ; on another, which is between the initials M. B., bendy, on a chief a lion or tiger paflant-gardant ; and on the third fliield, which is placed between Z I and M, is a four-wheeled car, beneath a fleur-de-lys. The two laft we have not been able to identify. The tinctures and metals are not indicated. B BOOK MOUNTINGS. FRENCH OR FLEMISH. 4452. '58. OOK Clafps. (Set of four). Brafs. From the covers French or of a church fervice book. Plain efcutcheons ; the P^^^'^J^' clafps in the form of winged dragons. 13th century. 5! in. by 2 in. Bought, \os. 4453- '58. BOOK Corner Plates. (Set of four). Brafs. From the covers of a church fervice book, fquare, pierced work, each with a dragon holding a branch in its mouth ; on the inner 7 8 Catalogue of Bronzes. French angle a fleur-de-lis, and on the outer a projedling bofs. 13th FleZiJ}}. ^^"^^^"^y- 4fin. Bought, 1 1 J. 8^. 36^8. '56. BOOK Plaque (?). Gilt bronze, embofled and perforated. A plant between two eagles or griffins, in relief, the eyes enamelled. Portion of the mounting of a book cover or cafket. French (?). 13th century. 3f in. by in. Bought, 2/. 3639. '56. BOOK Plaque (?). Gilt bronze, embofled and perforated. Two griffins among fcroll foliage. Portion of the mounting of a book cover or caflcet. French (?). 13th cen- tury. 3 1 in. by li in. Bought, il. 3630. '56. BOOK Plaque (?). Gilt bronze, embofled and perforated. Upright, two griffins, one with a human head, enamelled eyes and fliuds. Portion of the mounting of a book cover or cafket, French (?). 13th century. 3^ in. by i-^- in. Bought, 2/. 3631- '56. BOOK Plaque (?). Gilt bronze, embofled and perforated. A plant between two griffins with enamelled eyes. Portion of the mounting of a book cover or cafket. French (.''). 13th century. 3f in. by in. Bought, 2/. Four fragments from the fame fource. Though fomewhat coarfely executed the bold defigh and clever arrangement of thefe early clafps, plaques, and corner plates are worthy of study, the adaptation of the ornament being in perfe£t accordance with the praftical objeft of the mountings. It is difficult to affign them accurately ; they may be Flemifh. Book Mounts. 79 or Flemijh. 4455- '58- BOOK Corner Plates. (Set of four.) Bronze or brafs. French From the covers of a church fervice book, with central feneftral piercing and circular holes arranged as quatrefoils, and with a high fquare projeding bofs at the outer angle. 14th century. 6 in. by 5f in. Bought, \os. 4454. '58. BOOK Corner Plates. (Two.) Bronze or brafs. From the covers of a church fervice book. Square. De- figned as a flower, which fprings from a projedling ftud between the angle mouldings and within two knotted rods, thefe united, form the inner fides. Flemifh or German (?). 1 5th century. 65- in. by 5f in. Bought, \qs. 4659- '59- BOOK Clafp. (A fragment.) Bronze. Engraved with an elegant diaper of leaf ornaments in fquares. 15th century, if in. by if in. Bought, ds. 4777- 59- BOOK Mounting. (A fragment.) Brafs. Engraved with a {lag and foliage. Flemifii. 15th or early i6th century. i\ in. by 2 in. Bought, 6j. ITALIAN. 61 1, 61 la. '64. BOOK Clafps. A pair. Bronze gilt, chifelled with ftrap- Italian. work, cherub's heads, &c. Italian (Venetian t'). About 1 530-40. L. 6 in. Bought, 3/. 4^. 8o Catalogue of Bronzes. 4465. '58. Italian. T]) OOK Corner Plate. Brafs. Square. In the centre a X-J circular bofs furrounded by a border of pierced and chafed repoulfe leaves. Italian. i6th century. i\ in. by 2f in. Bought, 7 L 6^/. BOSSES. 4657- 59- Antique. OSS or Ornament. Bronze. In the centre a buft of a J__J faun, or of Silenus, with filver eyes, projedling from a circular patera. A fragment. Ancient Roman. Diam. i\ in. Bought, i/. There is much charadler in this head ; it has probably ornamented a piece of furniture. 4090. '57. BOSS or Bulla. Bronze. Circular, ornamented with belts of advancing and receding leafage, and beaded mould- ing, a central rofette of acanthus rifing from a fluted cavetto. Ancient Roman. Diam. 6 in. Bought, i/. lis. An ornament from the panel of a door or door architrave of a large building. 7895. '61. BOSS, A mafic. Bronze. Of grotefque form, furmounted by two leaves ; perhaps an ornament from a fountain. Ancient Roman (?). Diam. 3 in. Bought, i/. is. 6d. This may be antique, but has an Italian cinque-cento chara6ter. Boffes. 8i 4658. '59. BOSS, Efcutcheon, or other Ornament, Gilt copper. A quatrefoil engraved with Gothic foliage. 15th century. 3i i"- by 3i in. Bought, 6s. A buft of a man, in full face, has been attached to the centre. ITALIAN. 591- '65- BOSS or Efcutcheon, Gilt bronze, elliptic ; perhaps a Italian. watch or key holder (?). Within a frame of ftrapwork ornament, figures, mafks, &c. is a half figure of Judith with the head of Holofernes. Italian. i6th century. H. 3 in., W. 2^ in. Bought (Soulages Colledion), i/. The hook attached to the lower part may have been a fubfequent addition, utilizing what had been an ornament on a cafket or piece of furniture. 5718. '59- BOSS ; a mafk. Bronze gilt ; a nail head for furniture decoration. Italian. i6th century, in. by i-| in. Bought (Soulages CoUedlion), i/. 6853. '60. BOSS or Medallion. Embofled copper, circular. In the centre I.H.S. ; above, a fleur-de-lys, and beneath, a crofs, furrounded by a cord moulding and alternate straight and wavy rays. North Italian or Venetian. 17th century. Diam. 16 in. Bought, 10s. Probably the central ornament for the front of an altar. B. 82 Catalogue of Bronzes. BOWLS. DUTCH JND FLEMISH. 2,Sl2. '56. Dutch T3 OWL or Box, with Cover (Tobacco box ?). Bell metal, Flemijh '^"^ circular, with foliated fcroll work, malks, &c., in relief. Dutch. About 1600. H. 5^ in., diam. 6 J in. Bought, 4/. 1 6 J. ^174. '55- BOWL and Cover. (Tobacco pot T). Bell metal, circular, with a frieze of muficians, and drinking and dancing peafants in relief round the fide ; on the lid two men are hunting and fhooting deer. Flemifh or Dutch. 17th century. H. 7 in,, diam. 8^ in. Bought (Bernal Colledion), 21/. ITALIAN. 5807. '60. Italian. T3 OWL. Copper, with fwing handle, gadrooned ornament JL^ in repoufle or beaten work. Italian. i6th century. H. 12 in., diam. 8 in. Bought, i/, ioj". (Schools.) BRACKET. 155. '65- Englijh. W RACKET of beaten brafs ; pattern of fcroll foliage. Englifh, by Julius Zobel. Prize obje6l in the Society of Arts' competition, 1864. H. ii|-in., W. 10^ in. Bought, 3/. Buckets. BUCKETS (SITULA OR STOUP). FLEMISH OR GERMAN. 602. '64. BUCKET for Holy Water. Latten or Brafs. Inverted flemijh bell-fhaped, the foot pierced with openings placed five q°^^^^ together, in the form of a crofs, with fwing handle of Gothic cufped arch form. German or Flemifh. Early 1 5th century. H. 4|- in., diam. in. Bought, i/, 'is. Probably for church fervice, and ufed to contain the holy water and brufli for fprinkling, carried by an acolyte in attendance on the officiating prieft. ITALIAN. BUCKET. Bronze. Circular, engraved with grotefques, Italian. &c., with fwing handle. North Italian. About 1520- 30. H. 5f in,, diam. 10^ in. Bought, 15/. This is a fine example of the elaborate engraved ornamentation applied on bronze veflels in the north of Italy. It confifts of zones of grotefques, battle and hunting fubjedts, interlacings of foliation, &c., among which are two fliields of arms, bearing a hound rampant and collared. Thefe are the bearings of Caftracani of Lucca, but the field ought to be azure and not gules, as, perhaps erroneoufly, indicated by the engraver. The decoration would indicate that this ftoup or bucket was for lay rather than for clerical ufe. 619. 65. BUCKET, with fwing handle. Bronze, engraved with belts of foliated mouldings and with oval medallions F 2 84 Catalogue of Bronzes. Italian, bearing river gods, between grotefque animals, &:c. ; a fhield of arms on each fide. Venetian. About 1530. H. 5^ in., diam. 10^ in. Bought (Soulages Colledlion), 10/. The armorial bearings may be thofe of the Baglioni family, but the colours are not indicated. 7874. '61. BUCKET (Situla for Holy Water?). Copper. Beaten work of foliated ornament and an armorial fhield, furmounted by an epifcopal hat ; on the other fide the letters G. B. North Italian. 1 6th century. H. in., diam. 4^ in. Bought, il. The arms would feem to read per fefs, or, and argent, in chief a fword in bend finifter, point upwards. no. '69. BUCKET (Situla for Holy Water ?). Copper, ornamented with foliage, mafk, and efcutcheon in beaten work. Italian. Latter half of i6th century. H. i\ in., diam. \\ in. Bought, \6s. 7787. '63. BUCKET (Situla for Holy Water ?). Elliptic. Copper, ornamented with animals, birds, and foliage in re- poufi"e work. Italian. Second half of i6th century. H. 2\ in., diam. in. by in. Bought, i/. \ \s. 6d. The fwing handle, which had been attached to the fides by eyelets, is wanting. Mr. J. C. Robinfon fuggefts that the larger of thefe buckets may have been ufed for handing rofe water to the guefts at banquets, in like manner as the plateaux and ewers were applied, and indeed fpecially adapted for that purpofe. That they were frequently ufed as fitulce for Buckles. 85 containing holy water is certain, but it is at the fame time remarkable Italian. that the larger number of them are decorated with fubjefts, having no allufion to facred hiftory, and, as in the inftances of Nos. 3650. '56 and 619. '65, have hunting fubjefts and battles with grotefques and fimilar fancies engraved upon them. That thofe of the larger fize and flatter form were fo ufed as ftoups for containing holy water at the entrance of churches is proved by their a£lual appliance at the prefent time in fome of the churches at Cologne and elfewhere. It becomes, there- fore, a difficult queftion to decide with certainty as to which of thefe velTels may have been fafhioned for clerical and which for lay purpofes. BUCKLES. 4536. '58. BUCKLE and Tongue for a lady's girdle-ftrap. Gilt bronze. The tongue engraved with figures of the Virgin and Child and St. Andrew. German. About 1490. 5^ in. by i\ in. Bought, 8/. 4040. '56. BUCKLE. Gilt bronze. A waift buckle, chafed in relief with malks and animals fighting. Swifs (?). 17th century. 2)\ in. by 2-| in. Bought, 1 5^. BURNER. 1653. '56. BURNER for perfume or incenfe (?). Gilt copper, beaten and chafed. Shaped as an oviform vafe, with fpreading foot, the lower half of the body pierced ; the handles 86 Catalogue of Bronzes. Italian formed as terminals. Italian. Latter half of i6th century. H. lof in., W. 7I in. Bought, 8/. It is decorated with elegant fcroll foliage, fruit, malks, &c. The top is wanting. CANDELABRA. ENGLISH. 1294. '54. Eng/ijh. ANDELABRUM. Bronze, in imitation of the antique. V-x Defigned by Jeanneft. Englilh. 1853. (Elkington and Co.) H. 2 ft. 11 in. Bought, 18/. i8j-. A foot compofed of three griffins fupports a fluted ftem with foliated branches, furmounted by a draped female danfeufe. FRENCH. 8030. 31, '63. French, ANDELABRA. Gilt metal ; for five lights, a tripod V«-/ stand, on the top a flork with wings spread. French. (MefTrs. Barbedienne.) H. 2 ft. 'j\ in. Bought (Inter- national Exhibition, 1862), the pair, 24/. The tripod bafe, lion-headed and footed, with conventional leafage between, fupports a female buft, crowned with pine, on which refts the column, fuftaining a lamp-like vafe with five branches, each having a nozzle. On the raifed centre a ftork is perched, with open wings and beak, as though fcreeching at fome imaginary hawk in the mid air. In manufa£lure they are good, but the lines are hard and angular, and a certain rigidity pervades throughout. Candleftich. 87 CANDLESTICKS. ENGLISH. ^"^77- ^55- CANDLESTICK. Latten or brafs ; a hand or flat can- EngHJh. dlefl:ickj the handle enriched with allegorical figures, mafks, &c., cafl; in relief ; the pan with engraved and punched ornamentj among which occurs the acorn, the trefoil, and the fleur-de-lis. Englifli or Flemifh (?). 1 6th century. H. 2\ in., L. II in. Bought (Bernal CoUedlion), 1/. A good fuggeftive model which might be modified to produce an excellent chamber candleftick. FLEMISH, 3602. '56. CANDLESTICK. Turned latten or brass, with broad Fkmijh. foot and flender fl;em, terminating in a focket. Flemifli. 14th or early 15th century. H. 5f in., diam. 3^ in. Bought, i/. lOS. With openings at the fides of the focket to extradt the candle end, a Flemifh peculiarity. Gaunt and fpare, with a fomewhat auftere fpirit in the outline, this candleflrick, not devoid of elegance, is very charadteriftic of the period and country of its produflion. ^073- '55- DOUBLE Candleftick. Bronze. A male figure in coftume of the period, holding a nozzle in each hand. Flemifh or Englifli Q). i6th century. H. 9^ in. Bought (Bernal Colledion), il. 88 ' Catalog-ue of Bronzes. 2098. '55. CANDLESTICK. Latten or brafs lacquered. An altar pricket candleftick, with domed foot, expanding fconce, and central knob on the ftem, embofled with bulbed and ga- drooned ornaments. Flemifh (?). About 1520. H, 11 in., diam. 5-|- in. Bought (Bernal Colle6tion), 3/. ^s. 2099. '55. CANDLESTICK. Latten or brafs lacquered. An altar pricket candleftick, with dome-ftiaped foot, central bofs on ftem, with bulbs of beaten work, and double lozenge ornament. About 1520. H. 14 in., diam. 6 In. Bought (Bernal Colledlion), 2/. i8j-. 2171^. '55. CANDLESTICK (Pricket). In lacquered latten, caft and turned, with balufter ftem on fpreading bafe fup- ported on three corded ball-feet, and furmounted by the patera and pricket (the latter reftored). Flemifti or Italian. 17th century. H. 15 in., diam. 6 in. Bought (Bernal Colledlion), 4/. IOJ-. 644 to 644;/. '^2. CANDLESTICKS. Fourteen. Latten or brafs; with wide and deep circular fconces, balufter ftems, and circular bafe. Three (of the original fet) are engraved with ftiields of arms, and dated 1613 ; the others are more modern. They belong to the rood-loft of the cathedral at Bois-le-Duc, Holland, which is now ereded in the Eaft Court of the South C andlejlkh, 8 9 Kenfington Mufeum. Flemifh or Dutch, Early 17th century Flemijh. and later. H. 20 in., diam. of top, 12 in. Bought, 35/. The writer has vainly endeavoured to trace thefe arms, w^hich he thought might be of a Brabant dynafty. The quarter or canton bears the four lions paffant gardant of Hainault. FRENCH. 4501. '58. CANDLESTICK. Latten or brafs. (One of a pair.) French. With fquare fluted pillar and fquare pedeftal, chafed with raifed foliage, dolphins, and fleurs-de-lis. French. About 1640. H. 6\ in,, W. of bafe, 4|- in. Bought, 3/. 4502. '58. CANDLESTICK, Latten or brafs, (One of a pair,) With fquare fluted pillar, and fquare pedeftal, chafed with raifed foliage, dolphins, and fleurs-de-lis. French, About 1640, H. 6^ in,, W, of bafe, 4^ in. Bought, 3/. The ornamentation on thefe is noteworthy ; at the angles are fleurs- de-lis, feparated by a bunch of lilies from two intertwined and crowned dolphins, which form the central ornament to each fide. The fame defign, flightly modified, is applied on an upper projecting ridge. Thefe emblems may pollibly allude to one of the Dauphins of France. CANDLESTICK. Brafs ; a hand candleftick ; the handle with mafk and leafage in relief, the pan and fconce with mouldings. French or Flemifli. Early i8th century. H. 2f in., L. 6 in. Bought (Bernal Colledion), 18/. 90 Catalogue of Bronzes. c GERMAN. 1595- '55- German, ANDLESTICK. Latten or brafs ; in form of an ele- phant bearing a caftle. German. 1 2th or 13 th century. H. 5-| in., L. 4 in. Bought, 8/. The artift who defigned this quaint piece was no naturaHft, his ideal of an elephant muft have been derived from dreams or clouded remembrance of monkifli travel tales. The architedture has a Rhenifli- Romanefque look. The original pricket had been replaced by a modern fconce, which has been removed. {See Plate XII.) 2566. '56. CANDLESTICK (Pricket). Brafs ; in form of a centaur, the tail continued in foliated ornament is held over the flioulders, and terminates in the flower-formed fconce. Ger- man. 13th century. H. 5f in., L. 5 in. Bought, 5/. 11s. Another of thofe quaint fancies of the Byzantine Rhenifli artifts. {See Plate XII.) Some remarkable candlefticks of the 12th and 13th centuries are in the National Mufeum at Munich. Cafts from fome of them are in the South Kenfington Mufeum. 4074- '57- CANDLESTICK (Pricket). Bronze ; the triangular bafe and knop of open foliated work, with dragons at the angles. German (Byzantine). 13th century. H. 6 in., diam. 3^ in. Bought, 7/. 2694. '55. CANDLESTICK (Bracket or Branch). Latten or brafs. The bracket arm decorated with Gothic tracery. Ger- man. About 1500. W. of bracket, 18 in., H. of ftandard, 2 ft. Bought, 7/. io.f. Candleflich. 91 2695- '55- CANDLESTICK (Bracket or Branch). Latten or brafs. German. The bracket arm decorated with Gothic tracery. Ger- man. About 1 500. W. of bracket, 1 8 in., H. of ftandard, 2 ft. Bought, 7/. 10^. c 4437- 57- ANDLESTICK (Pricket). Bronze, with tall knobbed ftem, the triangular foot formed as three dragons. with foHated tails. German (?). 1 2th century. H. 1 1 W. 4f in. Bought, 5/. m. HALIAN. 6980. '60. CANDLESTICK (Pricket). Copper. On a triangular bafe Italian. ftanding on lion's tongue feet, with twifted ftem, central knop and flower-fhaped fconce, with ball termination ; the fur- face, which has been gilt, is engraved with conventional foliated ornament. Italian (?). 13th century. H. 7^ in., W. 3f in. Bought, 8/. A well preferved example, in its entirety, with the exception of the gilding. 1594- '55- CANDLESTICK (Pricket). Latten or brafs. Formed as a grotefque bird, furmounted by foliation, terminating in the flower-like fconce and pricket. North ItaHan or German. (Byzantine.) 12th or 13th century. H. 9I in., W. 6 in. Bought, 9/. Very quaint and cleverly imagined ; probably for ufe on a fmall private altar, or before a devotional picture. Compare the fancy with that of the celebrated albero of Milan Cathedral, a caft of which is in the Mufeum. {See Plate XIL) 92 1588. '55- CANDLESTICK. Latten or brafs ; on tripod feet formed as rude figures of Jions. H. 1 1 in., diam. 5f in. Bought, il. los. An extremely coarfe piece of workmanfliip of doubtful period and place. '55- CANDLESTICK. Bronze ; with bell-fhaped foot and patera, chafed with intertwined and foliated fcrolls ; a fhield of arms on either fide of the foot. Italo-Arabian. 15th century. H. 4 in., diam. i^'m. Bought (Bernal Col- ledlion), 2/. is. We cannot affign the arms, per fefs, argent (?), and paly. ^og^a. '55. CANDLESTICK. Bronze ; with bell-fhaped foot and patera, chafed with foliation, among which are birds and animals which have been plated over with filver ; gold has alfo been ufed upon fome of the leafage ; a fhield of arms on either fide. Italo-Arabian. 15th century. H. 6 in., diam. 3|- in. Bought (Bernal Colledlion), 2/. is. If Oriental thefe were made for the Venetian market, but the queflion arifes whether they were not really produced at Venice, and perhaps by Venetian workmen during the 15th century. The arms are thofe of Scolari of Florence (PafTerini), or Contarini of Venice (bendy, argent, and azure). Other candleflicks of more purely Arabian origin will be defcribed under the Oriental fedtion. 2079. '55- CANDLESTICK. Latten or brafs; with cupped bell- fhaped foot and tall flem, engraved with narrow bands of grotefque ornament (thefe ornaments of recent date). Candlefticks. 93 About 1500. H. \\\ in., diam. 5 in. Bought (Bernal Italian, Colledlion), j/. 5^. This candlefticlc has been afliduoufly fpoilt by the painftaking en- graver of the grotefques, which he has executed with high finifli. 2438, 39- '56- CANDLESTICKS. Bronze ; with bell-fhaped foot and patera chafed with intertwined foliation and fhields for arms. Italo- Arabian or Venetian. Latter end of 1 5th or early 1 6th century. A pair. H, 6|- in., diam. 4 in. Bought, 7/. each. The fliields have been fubfequently engraved with monograms. These are of the fame clafs as Nos. 2095, 2095 a. '55. 430 i- '57- CANDLESTICK. Bronze ; with broad domed bafe and balufter ftem, entirely covered with engraved arabefque pattern, in imitation of Perfian or Morefque. Italian (Vene- tian). Firft half of i6th century. H. 7^ in., diam. 6 in. Bought, 111. The form of the bafe and the ornamentation are derived from eaftern originals, but the Italian element is apparent in the balufter ftem. This ecle£ticifm is obfervable on all renaifiance obje£ls until they afTumed a diftinft and marked character of their own. The writer has a fine pair of candlefticks of fimilar ftyle and period. This example has been reproduced in ele£tro-depofit by M. Franchi. (Cat. Reprodudtions in Metal, No. '65. 63.) 2184. '55. CANDLESTICK. Bronze, with ogee expanding bafe, patera, and vafe-(haped ftem, chafed and damafcened with belts of intricate interlaced arabefque work. On the ftem are two ftiields of arms. Venetian, i6th century. H. 6;^ in., diam. 7 in. Bought (Bernal Colledlion), 10/. 5^. Companion to No. 2184^7. '55. {See Plate XIII.) 94 Catalogue of Bronzes. 2184^. '55. Italian. /'^ ANDLESTICK. Bronze, with ogee expanding bafe, \^ patera, and vafe-fhaped ftem, chafed and damafcened, with belts of intricate interlaced arabefque work ; on the ftem are two ftiields of arms. Venetian. i6th century. H. 6f in., diam. 7 in. Bought (Bernal Colledion), 10/. c,s. A fine pair of candlefticks, which have, however, fuffered on the furface from over cleaning or carelefs wear. The ornamentation has been executed with painftaking minutenefs, the filver lines following throughout the defign muft, when in good condition, have greatly added to the efFedl. Bafed upon Moorifh or Arabian defigns, modified to the renaifi^ance fentiment, thefe are in all probability the produ£tion of native Venetian artifts, working in the manner of their oriental inftrudlors. One of the fliields bears a double-headed and crowned eagle, hold- ing an efcutcheon, barry, gules (?), and argent. The other is alfo barry, gules, and argent, in chief three rofes or cinquefoils. Thefe arms are probably of a member of the Di Carpi family of Venice, as fliown on the monument of Marco Pio in the church of S. Nicolo di Carpi. (Litta.) 553- '^5- CANDLESTICK. Bronze; with wide domed bafe and patera, furmounted by balufter-fhaped ftem. The whole damafcened in filver, with ftrapwork interlacing engraved floral and foliated diapering ; on the ftem a fliield of arms. Venetian. About 1530-40. H. 7f in., diam. of bafe, 7|- in. Bought (Soulages Colledion), 20/, Companion to No. 554. '65, 554- '^5- CANDLESTICK. Bronze ; with wide domed bafe and patera, furmounted by balufter-ftiaped ftem. The whole damafcened in filver, with ftrapwork interlacing engraved Candlefiicks. 95 floral and foliated diapering ; on the fl:em a fhield of arms. Italian. Venetian. About 1530-40. H. yf in., diam. of bafe 7-|- in. Bought (Soulages Colledion), 20/. This is a fine pair and in excellent prefervation, but not lb intricate and careful in the execution of the ornamentation as Nos. 2184, 21 84.7, '55, which are in a more purely oriental ftyle and with greater elaboration of pattern. They are alfo probably fome years earlier in date. The arms, which we cannot affign, are, quarterly, i and 4 fable or purpur, a lion rampant ; 2 and 3 argent. {See Plate XIII.) 555- '65- CANDLESTICK. Bronze ; with domed and ogee bafe and patera, furmounted by a balufter-Ihaped ftem. The furface damafcened in filver, with ftrapwork interlacing an engraved foliated diaper pattern ; a ft^ield of arms on the ftem. Venetian. About 1540. H. 6f in., diam. of bafe, 6 in. Bought (Soulages Collection), 20/. Companion to No. 556. '65. 556. '65. CANDLESTICK. Bronze ; with domed and ogee bafe and patera, furmounted by a balufter-fhaped ftem. The furface damafcened in filver, with ftrapwork interlacing an engraved foliated diaper pattern ; a fhield of arms on the ftem. Venetian. About 1540. H. 6f in., diam. of bafe, 6 in. Bought (Soulages Colledlion), 20/. Another pair ; the arms may be thofe of the Baglioni family. CANDLESTICK. Bronze; with domed and ogee bafe and patera, furmounted by a balufter-fhaped ftem. The furface damafcened in filver, with ftrapwork interlacing an Catalogue of Bronzes. Italian, engraved foliated diaper pattern ; a fhield for arms on theftem. Venetian. About 1540. H. 6f in,, diam. of bafe, 6 in. Bought (Soulages Colleftion), lol. Companion to No. 558. 558. '65. CANDLESTICK. Bronze ; with domed and ogee bafe and patera, furmounted by a balufter-fliaped ftem. The furface damafcened in filver, with ftrapwork interlacing an engraved foliated diaper pattern ; a fhield for arms on the ftem. Venetian. About 1540. H. 6f in., diam. of bafe, 6 in. Bought (Soulages Colledlion), 20/. The laft and this pair are fine examples of the fame pattern and in an excellent ftate of prefervation. 551- '65- CANDLESTICK. Bronze ; with wide circular bafe and baluftered ftem, furrounded by mouldings, and decorated with interlaced ftrapwork, mafks, garlands, andfhields. Italian. About 1480. H. 10 in., diam. of bafe, 8^ in. Bought (Sou- lages Colledtion), 125/. Companion to No. 552. The bafe is a reftoration of a more recent period. 552, '65. CANDLESTICK. Bronze ; with wide circular bafe and baluftered ftem, furrounded by mouldings, and deco- rated with interlaced strapwork, mafks, garlands, and fhields. Italian. About 1480. H. 10 in., diam. of bafe, %\ in. Bought (Soulages Colledlion), 125/. This is in its original ftate. The wide circular bafe, of the characEleriflic form of the lafl half of the 15th century, is richly CA>:DLEsriCJl. / laluiH, Fifteenth Ceiilu) y. No- 552. "65. 97 adorned with bold mouldings of wreaths and leafage ; between them Italian. grotefque mafks and fhields are placed alternately, and connedted by maffive falls of flowers and foliage. Thefe fhields have probably borne filver efcutcheons, with the armorial bearings executed in niello ; they are now, unfortunately, wanting. The ftage, or patera^ above is covered with interlaced foliated ftrapwork. The ftem is divided into three parts by bold projecSling mouldings ; goats' heads and fcrolls adorn the lower ftage, whence rifes a balufter, bearing acanthus leaves, and fur- mounted by the focket, which is enriched with foliated mafks and a modification of the Greek honeyfuckle or palmette ornament. The vigorous defign and fharp decifive modelling of No. 552 are unufually excellent, and denote the handiwork of one of the great goldfmith fculptors of the palmy period of the " RenaifTance " in Italy. It is in excellent condition. The other, No. 551, does not entirely correfpond in the details of its ornamentation, and the grounding or flat furface has been ftippled or punched ; we have no doubt, however, that its ftem is that of the companion candleftick to No. 552, but it has been broken at the foot, and the bafe is certainly the work of an inferior hand of more recent time. The name of Riccio, of Padua, immediately fuggefts itfelf on ex- amining a candleftick of fuch high artiftic excellence, and there is much in the defign that connects it with the fchools of Northern Italy ; neverthelefs, we do not hefitate afcribing it to a Florentine artift. In the handling of the ornamental details there is much that recalls the work of Pollaiuolo on the tombs of Popes Sixtus IV. (1471-84) and Innocent VIII. (1484-92) in St. Peter's ; the candelabra removed from the latter, and particularly the bronze doors which enclofe St. Peter's Chains in the facrifty of S. Pietro in Vincoli at Rome. A certain vigour and bufy profufion of ornament agree alfo rather with the manner of that artift than with the more claflic feeling of Verrocchio, the only cotemporary Florentine to whom we could venture to afcribe a work of fuch merit. It is to be remarked that, notwithftanding the ftiarpnefs and admirable rilievo of the ornamental details, fome of which are much undercut, no fign of the chafing or finiftiing tool can be obferved on this or other bronzes of this period, which are of fimilar artiftic excellence. The whole care of the modeller was beftowed upon the wax, directly upon which the mould was built up, and the carting carefully effedted (a la cire perdue) . The original thought and handiwork of the artift is thus directly tranfmitted to us in the bronze, free from the too often weakening effe£t of fubfequent chafing. All elaboration was effe£ted by the mafter's B. r. Catalogue of Bronzes. Italian, hand on the wax model, which the metal merely replaced. Hence every piece differs more or lefs in the details from others by the fame hand, which rebelled againft a fervile repetition, and, accordingly, each feparate work is a true original, not one of many grofs, made mechani- cally for the trade after a painfully elaborated and over finiftied type. They were the works of the Itudio rather than of the fa£lory. Rarely, indeed, do we meet with ancient objects for domeftic ufe fo artiftically excellent as one of thefe (No. 552), and the writer may be pardoned for a feeling of pride in poffeffing two candlefticks of the fame period, equally beautiful, but differing in defign both from each other and from this. The treatment of the ornamentation of one of them fo precifely correfponds with that on the doors enclofing St. Peter's Chains, that there can be no hefitation in afcribing it to Pollaiuolo. (Cat. Reproduaions in Metal, No. '57. 36.) {See Plate XIV.) 559- '65. CANDLESTICK. Bronze, caft. Three boys, kneeling on a triangular bafe and connedted by garlands, uphold a vafe-fhaped foot, pillar and nozzle, decorated with malks, ftrapwork &c. Italian. About 1570-90. H. 9 in., W. 6 in. Bought (Soulages Colledlion), 15/. Companion to No. 560. 560. '65. CANDLESTICK. Bronze, caft. Three boys, kneeling on a triangular bafe and connedled by garlands, uphold a vafe-fhaped foot, pillar and nozzle, decorated with mafks, ftrapwork &c. Italian. About 1570-90. H. 9 in,, W. 6 in. Bought (Soulages Colledion), 15/. Although not highly finiftied thefe candlefticks are of a good defign, which feems to have been more than once repeated. A fimilar pair is in the writer's poffeffion, and others exift. They have, moreover, been " reproduced " in cafting by modern imitators, to the confufion and the miftake of old and young colledors. They are probably North Italian rather than Florentine. Candlejlich. 99 561. '65. CANDLESTICK. Bronze, caft. The upper part, vafe- Italian. fhaped and adorned with mafks, is fupported on three terminal figures of boy tritons with dolphins' tails, connedled by hanging firings of beads. North Italian. About 1570-90. H. 7 J in., diam. 6^ in. Bought (Soulages Collection), 15/. An equally or even more elegant defign, which was alfo a favourite, the model of the bafe having alfo been adopted to fupport an ink vafe. This varied adaptation of fimilar defigns was not unufual among the bronzifts of that as of our own day, but did not apply to works of ex- ceptionally artiftic excellence, as No. 552. Mr. J. C. Robinfon fuggefts the probability of their having been caft from models carved in wood. (Cat. Reprodudlions in Metal, No. '57. 34.) 56^. '65. CANDLESTICK. Bronze. Statuette of a cupld bearing a vafe on his flioulders, and Handing on a triangular pedeftal ornamented with cherubs' heads and sea-horfes. Italian. About 1570-90. H. 10^ in., W. 6f in. Bought (Soulages Colledlion), 15/. A good and more unufual model, fomewhat careleffly executed. ( Cat. Reprodudtions in Metal, No. '57. 35.) [See Plate XV,) 116. '69. PRICKET Candleftick or Candelabrum. Bronze. With triple terminal foot and tall ftem, on which are three boy angels holding the inftruments of the PafTion. Italian. Late 1 6th century (?). H. 2 ft. 3|- in., W. at bafe, 7 in. Bought, 12/. The tripod foot is formed as three half figures, terminating in fcroU work ; from this the ftem rifes in two ftages, the firft, vafe-fhaped, bears three projedting heads of cherubs above three winged boy angels, who hold inftruments of the Paffion ; they fit upon a projedting member, whence rifes the higher ftage, balufter-fhaped, with acanthus foliage, and fupporting the fconce and prickets. G 2 lOO Catalogue of Bronzes. iiy. '69. PRTCKET Candleftick, Bronze. On tripod foot, formed by three half figures, terminating in fcroU work ; above are three winged boy angels bearing inftruments of the Paffion. Italian. Late i6th century (?). H. 2 ft. 2,^ in., W. of bafe, 7 in. Bought, 12/. Companion to No. 116. Thefe are coarfe and inferior (perhaps recent) cafts from earlier and better models ; their chief merit being in their effefl at a diftance. The boy holding the column is a fubfequent reftoration. 118. '69. CANDLESTICK (Bracket). Bronze. Half figure of an angel, with hands croffed on the breaft, fupporting a foliated prick fconce on his head ; his lower limbs terminate in fcrolls on either fide, between which hangs a feftoon of fruit ; behind, a foliated limb for attachment terminates in a mafk. North Italian. Latter end of 1 6th or early 17th century. H. 19^ in. Bought, 10/. 119. '69. CANDLESTICK (Bracket). Bronze. Half figure of an angel, with hands crofied on the breaft, fupporting a foliated prick fconce on his head ; his lower limbs terminate in fcrolls on either fide, between which hangs a feftoon of fruit. Behind a foliated limb for attachment termmates in a ma{k. North Italian. Latter end of i6th or early 17th century. H. 19^ in. Bought, 10/. The companion to No 118. They are of coarfe workmanfliip and were probably for church ufe. SKM Candlefticks. lOI 569. '65. CANDLESTICK (Bracket or Branch). Bronze. The hal figure of a fyren, terminating in an acanthus leaf fcroll, fupports the nozzle. Italian. About 1570. H. 19 in., W. 7 in. Bought (Soulages Colledlion), los. 570- '65. CANDLESTICK (Bracket or Branch). Bronze. The figure of a fyren terminating in an acanthus leaf fcroll. Italian, About 1570. H. 19 in., W. 7 in. Bought (Soulages Colledlion), \is. Companion to No. 569. Thefe branches are of a very excellent model. 571- '65- CANDLESTICK (Bracket or Branch). Bronze. Half figure of a boy terminating in acanthus fcrolls and holding a cornucopia with fpreading patera and pricket for candle. Italian. About 1570. H. 20 in,, W. 7 in. Bought (Soulages Colledion), ill. \os. CANDLESTICK (Bracket or Branch). Bronze. Ter- minal figure of a boy, holding a cornucopia with pricket for candle, Italian. About 1570. H. 20 in., W. 6 in. Bought (Soulages CoUedlion), 12/. los. Companion to No, 571. Thefe alfo are of a good model, (See Etching.) 102 Catalogue of Bronzes. 2074- '55- CANDLESTICK. Bronze; with dome-fhaped foot of pierced and engraved fcrolls and flowers ; patera above and balufter fl:em with pierced bofs. Italian. Latter half of 1 6th century. H. 7 in,, diam. 5I in. Bought (Bernal Colledlion), 5/. 12s. 6d. Companion to No. 2074 a. CANDLESTICK. Bronze; dome-fliaped foot of pierced and engraved fcrolls, patera above, and balufter ftem, pierced bofs. Italian. Late i6th century. H. 7 in., diam. 5f in. Bought (Bernal Colledion), 5/. 1 2s. 6d. The earlier form is here retained ; but the ornament is of a later charadter, and not an improvement, perhaps even of the earlier quarter of the 17th century. Recent copies of thefe are alfo made. 4363. '57. CANDLESTICK. Latten or brafs ; with fpreading foot embofTed with pear-fhaped boftes ; the ftem fimilarly ornamented. Italian. 17th century. H. 5f in., diam. 5f in. Bought, 2/. los. 4264. '57. CANDLESTICK. Latten or brafs ; with fpreading foot embofted with pear-ftiaped bofles ; the ftem fimilarly ornamented. Italian. 17th century. H. 5f in., diam. 5f in. Bought, 2/. 10s. Companion to No. 4263. C andlefiicks. 103 4857- '58. CANDLESTICK. Bronze ; with incifed ornament of Italian. foliated and other mouldings ; on the balufter is a fhield of arms. Venetian. About 1560. H. 75- in., diam. 6 in. Bought, 8/. The engraving of the fliield is much rubbed ; itfeemsto be quarterly, I and 4, five ftars on a bend, 2 and 3, the half figure in profile of a man ? in civil coftume. The colours cannot be traced. 7487. '61. CANDLESTICK (Pricket). Brafs. With turned foot and patera, balufter ftem, and expanding fconce. Italian. Late i6th century. H. 6| in., diam. at bafe, i\ in. Bought, IS, Sd. 7488. '61. CANDLESTICK (Pricket). Brafs. With turned foot and patera, balufter ftem, and expanding fconce. Italian. 17th century. H. 6^ in., diam. at bafe, 2^ in. Bought, is. 8d. The companion to No. 7487. 5439' '59- CANDLESTICK. Brafs ; circular, turned bafe. Italian (Florentine). 1858. H. 5^ in., diam. 4^ in. Bought, 7 J. 2d. 5440. '59, CANDLESTICK. Brafs ; dome-fliaped foot, patera and balufter ftem. Itahan (Florentine). 1858. H. 5|-in., diam. 4J in. Bought, ys. id. I04 Catalogue of Bronzes. CAPITAL OF A COLUMN. ITALIAN. 4012. '52. Italian. APITAL of a Column. Gilt bronze (probably a por- tion of a fhrine). Italian. Late 14th or early 15th century (?). H. if in., W. 2 in, by if in. Bought, 2/. An elegant defign of ftrawberry leaves and fruit, modelled and chifelled with great delicacy. CARTOUCHE BOX. ITALIAN. 2201. '55. Italian. /"^ARTOUCHE Box. Bronze, gilt, femi- cylindrical, caft and richly chafed with the fubjed of the Judg- ment of Paris, in a rich ftrapwork border ; on the cover is a lion's malk. The back, diapered with interlacing arabefque. Italian or French (?). i6th century. H. 5-^ in., L. 3 in., W. 2 in. Bought (Bernal Colledion), 15/. This is a moft elaborate an.d highly finifhed piece of metal work. The fubje£t is pidtured in a rich landfcape ; Paris and Mercury are habited as mailed warriors, both elderly bearded men, the former re- clining on the ground. The ftrapwork border with Cupid mafks, the diapering at the back, and the mafk upon the lid are treated with the greateft care ; it muft have been the handiwork of an able goldfmith working for a noble patron. Cajkets, CASE FOR A M I S S A L. ITALIAN. 634. '65. CASE for a MifTal. Bronze, gilt. In the form of a Italian. book ; engraved on the fides are fhields of arms, furrounded by cartouche-work and a border of arabefque diaper. Faftened by two clafps. Italian. About 1530, L, 5f in , W. 4 in. Bought (Soulages Colleftion), 5/. Very elegant. One of the efcutcheons feems to be of the fur known by heralds as vaii-^ or it may be intended for (argent) three bendlets wavy (azure) ; this would be the fhield of Falcucci di Mugello. The other, party-per-fefTe, in chief an eagle difplayed and crowned, in bafe a caftle ; perhaps that of a branch of the family of Giovio di Como, to whom Leo X. granted the right of quartering the Medici pellets. (Litta.) CASKETS. ENGLISH. 1298. '54. CASKET. Bronze. Defigned and modelled by Jeanneft. EngUJh. Englifii. About 1853. (Elkington and Co.) H. 6 J in., L. 8^ in., W. G\ in. Bought, 6/. xis. j\d. The lid is furmounted by the figure of a ftiepherd holding a dead fawn ; foliated enrichment, and ribbon mouldings, with medallions of centaurs, rams' heads at the top angles, and lions' feet complete a pretty defign. FRENCH. 3627. '56. ASKET. Covered with blue velvet, mounted in gilt French. bronze ; the lid is femicircular ; pilafters at the angles c io6 Catalogue of Bronzes, French, ''•''^d applique medallions of profile bufts between ; the cylindrical puzzle lock with moveable letters is furmounted by Cupid holding a fhield ; a foliated handle on the lid fprings from two malks. French. i6th century. H. 5^ in,;, L. 7 in., W. 5-| in. Bought, 10/. 1 130. '64. CASKET or Small Coffer. With arched cover ; cane bafket work, with lock, hinges, angle plates, &c., in brafs, pierced with foliated fcroll ornamentation. French. Latter half of 17th century. H. in., L. i2f in., W. %\ in. Bought, 15/. The bafket work is in a diapering of dark brown and light colour. The maflive metal mountings fuggefts a more folid material, but the general effedl of the piece is fatisfactory. GERMAN. German, ASKET fcrolls. 846:3. '63. Brafs. Engraved, between ralfed ribs, with animals, and infcriptions in Gothic charader, containing the names of the three Kings, Gafpar, Melchior, and Balthafar. German. 1 5th century. H. 2\ '^'^-3 L. 6\ in., W. 5^ in. Bought, 5/. The infcriptions read thus : — Iio t ♦ i The laft is difficult to explain, and may have fome private or fome myftical fignificance, or be an invocation. The names of the three kings of the Eaft, the Magi who brought their offerings to our BlefTed Lord at His Nativity, were ufed as a charm againft various evils. They were believed to fhield and guard him who had them infcribed upon his ring, his girdle, or other objedt, againft the perils of travel and of fudden death. Their ufe in a Cajkets. fimilar way was alfo believed to be efficacious againft epilepfy, and the German, more fo if afTociated with the emerald fet in a finger ring. To each name a prophylactic value was attached, and each, moreover, reprefented a different remedial agent ; thus Jafpar, or Gafpar, reprefented myrrh ; Melchior, frankincenfe ; Balthafar gold ; their feveral offerings. Many ' rings, fibulae, girdles, and other obje£ls occur, dating from the latter end of the fourteenth century to more recent times, upon which thefe names are written. 2806. '56. CASKET or CofFer. Iron and gilt brafs, pierced and engraved with lions rampant and birds over a ground of crimfon filk ; on the cover an engraving of a caftle ; an elaborate iron fpring lock infide throwing eight bolts. German or Flemifh ? i6th century. H. in., L. 2f in., W. 1^ in. Bought, il. %s. ITALIAN. 2168. '55. CASKET. Wood, covered with ftamped and gilt copper, Italian. and bound with twifted brafs bands and clamps ; between thefe lozenge-fhaped bofles, reprefenting a crowned and full-faced buft of a woman, alternating with the winged lion of St. Mark. Probably Venetian. 14th or early 15th century. H. 5f in,, L. in., W. 6f in. Bought (Bernal Colledion), 24/. I OS. This cafket, oblong fquare in fhape, and with flat lid, is formed of wood, covered with beaten gilded and punched copper, ftrengthened by angle plates and corded ribs expanding into rofettes ; between thefe, and alternating, are lozenge-fhaped boffes ftamped in relief, with a crowned lady's buft in full face, and with the lion of St. Mark ; thus producing a diaper of alternately raifed and funken panels, the effect of which is excellent. Scrolls of brafs, perhaps not the original, form the feet ; io8 Catalogue of Bronzes. Italian, a fquare fwing handle with central knob is faftened on the lid by lions' or dogs' heads ; a lock, the hafp of which has been replaced, is on the front. When blazing in its original gold it muft have had a very rich effeft, the play of light and ftiade upon the well-defigned and varied furface harmonizing and fofcening the whole. 3084. '55. CASKET. Bronze, gilt, with arched hd; arabefque and other ornament, and the legend of Orpheus in relief. Italian. About 1 530. H. 3 in., L. \\ in., W. 2f in. Bought (Bernal Colledion), 9/. 15^-. The cover is enriched with figures of cupids among foliage ; the fides and ends have the ftory of Orpheus charming the brutes, all in rilievo ; thefe fide fubjedts occur as plaques, and we may infer that many fuch were ufed for cafkets and other fmall objefts of this nature. At each angle is a female terminal figure of a Syren, and it is fupported on feet formed as grotefque mafks. This elegant cafket is remarkable for its graceful defign and excel- lent workmanftiip. {See Etching.) 2085. '55. CASKET. Bronze, gilt, with perforated ftrapwork panels, on ground of crimfon velvet ; caryatid pilafters at the angles; refting on four cherubs' heads. Italian. i6th cen- tury. H. 5 I in., L. 'i\ in., W. 5^ in. Bought (Bernal Col- ledion), 17/. On an iron or fteel foundation, covered with crimfon velvet, the orna- ments of gilded bronze are applied ; the pilafters and projecting edgings having been firft riveted to the fteel. An elaborate lock throwing eight bolts is arranged within the lid which has a fwing foliated handle. 396. '64. CASKET. Gilt metal, repouffe and chafed with foliated fcroll ornament, furrounding oval, odlagonal, fquare, and Chandeliers. other fhaped panels fet with plaques of jafper agate. Italian Italian. or Saxon ? 17th or early iSth century. H. 6f in., L. ci\ in., W. 6 in. Bought, 16/. A rich looking cafket, but of uncouth form, and badly accentuated in its lines ; weak at the angles, the bafe, and the infertion and elevation of the lid. Such models fhould be {hunned. Neverthelefs there is fome good arrangement of fcroll ornament about the panels. CHANDELIERS. FLEMISH. 2398. '55- CHANDELIER. Brafs or latten. Eight foliated branches Fkmijh. beneath fpring from the larger and lower divifion of the ftem, and four above ; on the top an angel holds a fliield bearing a crofs ; below, a lion's head with a ring. Flemifh or German. About 1480. H. 3 ft. 3 in., W. 1 ft. 9 in. Bought (Bernal Colledlion), 13/. 10^. 613. '65. CHANDELIER. Brafs or latten. With fixteen pen- dent S-formed branches in two tiers fpringing from a baluftered centre, with large globe below. Flemifti. 17th century. H. 4 ft., W. 4 ft. 4 in. Bought (Soulages Collec- tion), 15/. no Catalogue of Bronzes. CISTERN OR COOLER. ITALIAN. 1591- '55- Italian. ISTERN or Cooler. Copper, elliptic ; the furface or- namented with belts alternately of raifed and funken elongated oval flutings in repouffe or beaten work ; lion's head and ring handles. Italian. 1 6th century. H. ii\ in., L. 1 ft, 4 in., W. I ft. II in. Bought. 10/. The defign of this piece is worthy of attention, conftru£live orna- mentation being cleverly fubordinated to give ftrength with great lightnefs and capacity, as well as beauty of outline and furface decoration. 593- '72. CISTERN or Cooler. Beaten brafs or latten ; circular, on raifed and fpreading foot. The body gadrooned beneath a band of running Greek honeyfuckle ornament ; the foot expanding and alfo gadrooned. In the bottom of the bowl is a fhield of arms, bearing a lion rampant and the initials LB. Italian. i6th century. H. io-|- in., diam. 20 in. Bought, 10/. This alfo is a fine model for a veffel of the kind ; the ornamenta- tion is bold and ferves to ftrengthen the form, which alfo is excellent and full of character. It may be the armorial fhield of the Boni family of Florence, but the tindtures are not made apparent. Ewers. Ill COFFEE POT. ENGLISH. 470. '64. COFFEE POT. Bronze ; with repoufle pattern of fruit Englijh. and flowers. Englifh. About the middle of the i8th century. H. 10 in., W. 5 in. Bought, il. A good model, elegant in form and ornamentation, which is wrought with as much nicety and care as it could be upon filver. EWERS. 3039- '53- EWER. Bronze. The lower part of the handle decorated Antique. with a palmette ornament. Ancient Greek. H. 9! in., W. 7|- in. Bought, i/. c^s. This vefTel may be clafled under the fomewhat generic name cenochoe. By fome authorities it is confidered to be a fmall variety of the prochoos.) although Dr. Birch concludes that that veflel was without a handle. It agrees in form with the guttus of the Romans, as repre- fented on ancient monuments, and was varioufly ufed for facrificial obfervance, for pouring water over the hands, and for anointing with oil at the bath. FRENCH. 4233. '57- T"^ WER or Hanap. Bronze. Cylindrical, with foot French. J — ^ and fquare handle, the fpout ornamented with a gro- tefque mafk. French, About 1570. H. 5f in., W. 7f in. Bought, 3/. The body is of beaten work, the fpout is caft and foldered on. 112 Catalogue of Bronzes. 4363- '57- Flemijh. I ^ WER or Tankard. Latten or Brafs. Plain cylindrical J ^ body with handle and fpout. French. Early 17th century. H. 8^ in., W. 'j\ in. Bought, 4/. 163, 163^. '51. EWER and Bafin, for rofewater. Copper plated, Arabic ftyle. French. (Marrel, Freres, Paris). Ewer, H. 15I- in., W. 9} in. Bafin, H. 4f in., diam. \i\ in. Bought (Exhibition of 1851), 16/. GERMAN. 1471. '70. German. "T^ WER or Aqua Manile. Caft bronze, in part richly gilded, part plated with filver, and with borderings and patterns in niello ; in form of a dragon, the tail, divided into three branches, terminates in foliated fcrolls. German (or North Italian.''). 13th or early 14th century. H. 7|- in., L. 8^ in. Bought, 100/. This is a very remarkable and rare objeft, of admirable fancy and careful produftion. The cafting, itfelf moft ably executed, has been fupplemented, firft by elaborate and highly artiftic tooling, by maffive gilding on fome parts, and by filvering, or rather plating with filver, over others. Borderings and pattern on the wings, incifed to receive it, have been filled in with niello., a very unufual mode of decoration on objedls of this clafs. Again, the chafing tool, the graver, and the punch have been affiduoufly applied to complete the finifh of the work by dotted edgings and artiftic touches here and there. It muft have been a labour of love to the artift who executed it, one of thofe able workers in metal . whofe names we know^ not, but who executed the admirable reliquaries and other church plate of the 13th and earlier years of the 14th centuries. This nondefcript beaft has a dog's head and eagle's or lion's claws ; with carefully drefTed mane falling in locks on either fide of its knotted Ewers. or beaded fpinal line ; the tail branching beneath to form a third fup- German. port, and upwards, as an opening (the lid is loft) into which might be poured the liquid for which its body was the recipient, forward again, with palmette growth refting on the top of the head, and down on either fide in beautifully turned volutes to complete the firmly fuftained handle. It is, moreover, richly diapered upon its clofe fet wings, within an almoft fhield- formed edging of fippets or leaflets arranged for the moft part in groups of four, and in a pattern confifting of alternating triangles of gold and niello placed bafe to bafe, the former incifed, each with three fpots and graver lines. A beard, and a foliated golden frill, bordered by belts of filver, with raifed beaded central lines, fall down the breaft. The open mouth afts as a fpout to this curious veflel, which was probably ufed for pouring water over the hands of the officiating prieft. In all refpefts it is worthy of careful obfervation. {See Plate XVI.) 560. '72. EWER or Aqua Manile. Veflel for water. Brafs or latten. In form of a lion, with a tubular fpout pro- jedting from the mouth, and a ferpent handle over the back, Ufed for pouring water over the hands of the officiating priefl:. German. 13th or 14th century. H. 11^ in., L. 11^ in. Bought, 25/. Lefs elaborately chafed than No. 4054 ; this is a good fpecimen and in excellent condition. 561. '72. EWER or Aqua Manile. Veflel for water. Bronze. In form of a lion, with a tubular fpout projeding from the mouth, and lizard handle over the back. Ufed for pouring water over the hands of the officiating priefl:, German. 13th or 14th century. H. 6^ in,, L. yf in. Bought, lol. Smaller ; the lion's mane curling like waves in the manner of the Archaic Greek or Etrufcan, and as feen on the lion's mafic door handles of the Carlovingian period. . B. H Catalogue of Bronzes. 4054. '56. German. T"^ WER or Aqua Manile. VefTel for water. Bronze ; caft A > and chafed ; in the form of a grotefque lion ; the handle, a woman holding a fword. German. 13th or 14th century. H. 10 in., L, 13 in. Bought, 10/. The handle is formed as a draped female figure holding a fword, her feet reft againft the animal's tail, her body is bent backwards the head touching the lion's. The fpout ifluing from the mouth is alfo in figure a female (now broken) who is being gorged by the beaft. A lid covered the opening in the lion's head, whofe mane ftands out in tufts of relief, and recalls the Etrufcan manner and again that of the period of Charle- magne. The eyes are centred with black enamel ; a tatooing of fprays ending in a fleur-de-lis covers each limb ; from between the damfel's feet a dragon iffiies poifed upon the lion's tail, which terminates in leafage. A fine example of thefe fingular veflels, and in very good condition. Thefe are of a remarkable clafs of curious and quaint early water ewers, probably, though not perhaps exclufively, made for church ceremonial rather than for fecular ufe. They were known under various fpellings and names, as lavacro^ lavator'ia^ hydriola^ aqua manile^ vand karren^ pots-lavoirs. Sec. Such were ufed at the celebration of the Mafs, being carried, together with a bafin, by the fub-deacon, who poured the water thence over the hands of the officiating prieft or biftiop. (See Dr. Rock's " Church of our Fathers," vol. iii. p. 34 and note 99.) Of their precife date it is extremely difficult to decide, the mode of treatment upon fome even refembling that of the period of Charlemagne ; this is particularly noticeable in the curled wave-like faftiion of the lion's mane, but which may alfo be obferved on works of the 12th century. Their form alfo varies confiderably, more ufually they affiime that of a lion, as thofe defcribed, with or without accefiTories. Others are in form of a mailed knight on horfeback, one of the fineft of which is in the Britifti Mufeum ; it was found near Hexham in Northumberland. Of this form glazed earthenware veflels have alfo been occafionally difcovered in Eng- land. In the fifteenth volume of the Journal of the Royal Archaeological Inftitute one is figured, pp. 280 and 362, fliaped as a unicorn ; it was faid to have been found near Chiavenna. Another fuch is preferved at Molde, near Drontheim. One, ftiaped as a mounted knight, belonged to Dr. James Kendrich, of Warrington, and again another, both of which are figured in the volume for 1857 °f Journal of the Archaeological Ewers. AlTociation, at p. 130. The firft of thefe, and another of lion fliape, German. ridden by a nude figure, both of which are now in the Britifli Mufeum, are alfo figured in Labarte's Handbook of the Arts of the Middle Ages, &c., pp. 396-7. One is in the Copenhagen Mufeum, and others of various forms have been found in Helgeland, in Iceland, and various northern localities. One in form of a horfe is at Prague, and others of lion fhape in various mufeums throughout Germany. It is probable that they were of Suabian fabrication, perhaps made at Augfburg. They are but rarely alluded to in inventories ; that of Fynchale Priory, Durham, of 1397, being perhaps the earlieft ; another in 1411, thus, " lavacrum eneum et aliud in forma equ'i" Although, as ftated above, the ftyle of fome of them might fuggeft a more remote antiquity, it is quite probable that they were produced during the 13th and 14th centuries ; the earlier ones being perhaps thofe of more fimple lion form, fome of which may even be of earlier date. (5^^ Plate XVI.) 4423. '58. EWER or Flagon. Brafs or latten ; caft and turned, with globular body, elongated foot and neck, with grotefque lizard handle and fpout formed as a double-headed eagle ; the hinged cover furmounted by a Gothic finial fleur-de-lys. A fhield of arms is engraved on the foot. German or Flemilh. 15th century. H. 19 in. Bought, 10/. Thefe flagons, of charafteriftic and quaint form, may have been made for fecular purpofes, but were more probably ufed, like thofe formed as animals, for the ceremonial waftiing of hands during the cele- bration fervices of the Church. Among the rare obje£ls acquired by the South Kenfington Mufeum from the SoltykofF Collection is a flagon or lavacrum^ of fimilar form, but made of filver ; it is numbered 7914. '62. Nearly fimilar veflTels are to be obferved depicted on the panels of the early Flemifh mafters. The arms are, argent, two bars lozengy (?). 539- '69- EWER or Flagon, with Cover. Latten or brafs ; the handle formed as a lizard or winglefs dragon ; the fpout as an eagle. German or Flemifli. 15th century. H. i2:^ in., diam. (y\ in. Bought, 1 5/. H 2 ii6 Catalogue of Bronzes. Of precifely the fame form, handle and fpout, as No. 4423. '58, except that the eagle fpout has but one head. The finial knop has been loft, and there is no coat of arms on this piece. 538. '^9- EWER or Flagon, with Cover. Latten or brafs ; the handle and fpout formed as two monfters. German or Flemifh. 15th century. H. 12^ in., diam. 6^ in. Bought, 15/. Another of the fame general model, and, if for fecular ufe, of the fame fervice ; on the cover is a fimple knob ; the fpout is fingle. 540. '69. EWER with Cover. Latten or brafs. The handle formed as a lizard ; the fpout as a feated lion. German or Flemifli. 15th century. H. 9^ in., diam. 5|- in. Bought, lo/. A ftill fmaller ewer of the fame form. The cover has been loft and replaced, and it is poffible that the lion fpout, although an old one, may have replaced the original eagle. 1593- 55- EWER or Flagon. Latten or brafs. The fpout as an eagle ; the handle of dragon form. The lid wanting. German or Flemish (.?). 15th century. H. 9^ in., L. 6 in. Bought, 4/. Of the fame defign and fet as the foregoing. 583- '65- EWER, with Cover. Bronze or latten. The fpout formed as a fitting figure of a lion, and the handle as a ferpent. Ewers. 117 German or Flemifh. Early 15th century. H. 9 in., W. 5f in. German. Bought (Soulages Colledtion), 3/. This is of the fame form as No. 4423. '58 and its congeners, buV with lion fpout and fnake handle. ITJLUN. 461. '73. EWER (or Aqua Manile ?). Bronze, modelled and caft Itaiian. in form of a chimera fitting on its haunches, with upturned head and open mouth. Northern Italian or German 15th or 1 6th century. H. in. Bought, ill. los. We are uncertain as to whether this may have been for ufe as a lavacrum^ or merely a quaint ornamental vafe of the North Italian renaiflance. A pair of nearly fimilar model were in the Bernal Col- lection ; thefe were gilded, and each engraved beneath with a cardinal's fliield of arms. But the occurrence of Aqua Manile in pairs is not ufual, one only being required for the ceremonial wafhing. The pre- fent fpecimen has no fhield of arms ; it is covered with a coarfe black patina, which may have been applied to it after the thickly laid gold had been waftied off by mercury, a crafty pra£lice which has injured or de- ftroyed fo many choice objedts of ecclefialtical and other metal work, &c. 578. '65. EWER. Copper tinned ; with trefoil Hp and S handle ; the furface covered with an interlaced pattern derived from an Arabic damafcened defign. Venetian. About 1500- -30. H. 10 in., diam. 65- in. Bought (Soulages Collection), 10/. The form is purely Italian, derived from the Greek cemchoe of antiquity ; the furface pattern approaches to that on the candleftick No. 4301. '57, but is even more purely oriental. 128. '64. EWER. Latten or bronze ; oviform, ornamented with mafks beneath the elongated leaf-fhaped fpout and ii8 Catalogue of Bronzes, Italian. S-formed handle. Italian. Firft half of i6th century. H. \i\ in., W. 7 in. Bought, il. los. The form of this ewer is extremely elegant, the handle only is perhaps a little weak. Probably produced in the Venetian mainland. Thefe ewers have a marked Italian renaiffance character bafed upon the antique. 580. '65. EWER. Latten or bronze ; oviform, caft and turned, with trefoil lip and S handle, terminated in a flower ; the body divided by fimple mouldings. North Italian or Venetian. Firfl; half of i6th century. H. 11 in., W. in. Bought (Soulages Colledion), 4/. 581. '65. EWER. Latten or bronze ; inverted pyriform ; apparently caft and turned, with S handle, beneath which is a mafk. North Italian or Venetian. Firft half of i6th century. H. 1 1 in. Bought (Soulages Colledion), 4/. 582. '65. EWER. Latten or bronze ; oviform, caft and turned, with long pointed leaf-fhaped fpout and recurved edges, the handle of fcroll work. North Italian or Venetian. Firft half of i6th century. H. i5|in. Bought (Soulages Colledllon), 5/. The foot has been enlarged. 584. '65. EWER. Brafs or bronze ; oviform, with turned belts of light mouldings; the fpout of pointed-leaf ftiape. Ewers. 119 North Italian or Venetian. Firft half of i6th century. Italian, H. 12^ in. Bought (Soulages Colledlion), 5/. The foot and neck have been mended, and the handle is a modern reftoration. Thefe are good examples of a very elegant clafs of ewers, probably of North Italian manufadlure, and w^hich have been generally ufed for rofe water, or merely decorative of the credenza or fide-board. The correfponding plateaux are rarely met with. 6854. '60. EWER. Bronze ; oviform, the lip engraved with a mafk. North Italian or Venetian. i6th century. H. 12 in., diam. 5 in. Bought, i/. ^s. 7850. '61. EWER and Cover. Bronze ; chafed with a diaper pattern. Italian (?). 14th century. H. i ft., diam. 7 in. Bought, 4/. 8429. '63. EWER. Gilt bronze. Oviform, with trefoil lip and foliated S handle, terminating in a flower. Engraved and chafed with a frieze of a battle fubjedl, foliation, grotefques, &c. North Italian or Venetian. About 1540. H. iiiin.,W. 6;^ in. Bought (Soulages Colledlion), 75/, An elegant veflel of the oenochoe form, which appears to have been decorated with engraving by an artift, who was not himfelf a founder of thefe vafes. Taken apart from the engraving it is one of the ufual caft and turned pieces, having rough foliation on the handle. The en- graver has afliduoufly covered the body with rich ornament divided into zones ; a battle fubjeft occupying the more important place. (Cat. of Reprodudions in Metal, No. '57. 24.) {See Plate XVII.) 1 20 Catalogue of Bronzes, 8430. '63. Italian. 1 WER. Bronze. Oviform, with leaf-fhaped fpout and 1 \d lateral fcroll work. The handle formed as a dragon on a cornucopia ; engraved with various claflical fubjedls, the figns of the zodiac, and heads in medallions, with explanatory in- fcriptions. North Italian or Venetian. About 1540. H. 12 in., W. 7 in. Bought (Soulages Colledtion), 60/. This is a very fine ewer, evidently the entire work, caft by or after his defign, and fubfequently engraved and chafed by the artift. Its furface is loaded with claflical bufts and fubjedfs, divided by ftrapwork, and treated in the peculiar manner of the day, not remarkable for archaeological or hiftorical accuracy ; thus we have a view of the Colifeum behind Mutius Scaevola. The drawing is ably executed in the true fpirit of the cinque-cento and the whole decorative motif is fimilar to that of the maiolica of the fame period. On the neck, among trophies, is a fhield of arms of the Cicogna family of Venice, bearing azure, a fwan rouflant (?). ^ ^■t' <- """he fignature of the artift Horatius Sibenici is engraved beneath ^L^'^Y^ i the foot. Another mafter of this defcription of engraved metal ^^(^^v ' '*^^'^ work was '•'■Horatio Forezza^ i533 " who thus figned a plateau formerly in the Bernal Colleftion, now in the Britifh Mufeum. Another in the fame Mufeum is figned by Nicolo Rugina. (Cat. of Reproduaions in Metal, No. '57. 30.) {See Plate XVII.) 7785- '63- EWER. Copper, repoufle. Oviform ; the lower part fluted, the upper half emboffed with monfters fupport- ing an oval medallion, tongue and dart moulding, &c. Pointed ipout and fcroll handle. Italian. i6th century. H. 71^ in., diam. 4 in. Bought, 2/. 10s. Of elegant form and ornamentation, and in its original ftate. E S79' '65- WER. Copper. Oviform, with notched fpout and fnake handle, beaten and chifelled. The body encircled by Ewers. 12 1 belts of repoufTe foliated fcroll work. North Italian or Vene- Italian. tian. Firft half of i6th century. H. 12 in., diam. 5 in. Bought (Soulages Colledlion), 8/. 5426. '59. EWER. Copper. Oviform, embofTed with mafks and foliage. A fhield of arms on the front. North Italian. i6th century. H. 9^ in., diam. 4f in. Bought, 8/. The original lip, fpout, and handle are wanting. The fhield bears the device of three hillocks, on the central one a palm tree, on which is a dove, on the dexter a crofs faltire formed of rough wood. Poffibly of the Colombini family. 4893. '58. EWER. Copper, filvered. Oviform, with projedting lip and ftrapwork handle ; the furface covered with foliated fcrolls, mouldings, &c., with mafks, and a coat of arms in repoufTe and chifelled work. North Italian. About 1540. H. 10^ in., W. 6^ in. Bought (with falver), 5/ 5J-. The foot and handle are modern reftorations, and the hinder lobes of the mouth have been ftraightened. [See 4891. '58. Salver.) 77' '64. EWER. Copper. Oviform, with fpout, loop handle, and cover ; ornamented with belts of foliated fcroll work in beaten work. Italian. i6th century. H. 9^ in., W. 6f in. Bought, 4/. The original fpout has been broken and replaced by a dog's head ; the foot alfo has been replaced, and the handle broken and careleffly mended. 2583. '56. EWER. Copper. With fpout, cover, and S handle ; decorated with mafks, and fcrolls in beaten work. 122 Catalogue of Bronzes. Italian. Italian, i6th century. H. 12 in., diam, 7 in. Bought, 3/. 4^. This has been cleaned and much reftored ; the cover, fpout, and, perhaps the handle, being modern additions. In all probability its original form has not been materially altered. 2584. '56. EWER. Copper. Oviform, with fnake handle and fpout, ' fcale pattern and leaves in beaten work. Italian. i6th century (?). H. 1 2^ in,, diam, 6^ in. Bought, 6/. Probably of more recent date, or has been fired, beaten out, and reftored. FEET OF COFFERS, &c. 516- '54. Antique. TTOOT. Bronze. In form a tiger's claw. The upper part JL winged and decorated with a palmette. Ancient Greek or Etrufcan. L. 5^ in,, W. 6f in. Bought, i/. c^s. Probably from a large cijla or other fimilar vefTel. FOOT of a Cista. Bronze, in form of a clawed foot, fur- mounted by a harpy. Ancient Etrufcan. jf in. by if in. Bought, i2J. Gd. Feet of Coffers^ &'c. 123 IT J L UN. 372^' '59- FOOT or fupport to a coffer or cabinet. Bronze gilt. Italian. The half figure of a grotefque griffin holding a bird in its claws. Italian. i6th century. H. 3 in., W. j^- in. by if in. Bought (Soulages Colledion), i/. 57^1- '59- FOOT or fupport to a coffer. Bronze gilt. A mermaid twice tailed, fupporting them backwards by her arms. Italian. i6th century. 2|- in. by in. Bought (Soulages Colledion), i/. 5747- '59- FOOT or fupport of a cabinet or coffer. Bronze gilt. An eagle's head, with foliated fcrolls on either fide, upon a fiiaped and moulded bafe. Italian. Late i6th century. H. i\ in,, W. 3^ in. by 2| in. Bought (Soulages Colledlion), I/. 607 to 610. '65. FEET or fupports to a coffer. Bronze. In form of winged fyrens terminating in acanthus foliage. Italian. 1 6th century. Each, H. 4f in., W. 3 in. Bought (Soulages Colle6tion), each i ^s. Admirably modelled and finiftied with great fkill ; thefe are worthy of ftudy as fanciful adaptations of the human form, and for the beauty of their lines. They have probably been richly gilt, and wafhed for the fake of the precious metal. I 24 Catalogue of Bronzes. 614 to 617. '65. Italian. 1 T'EET or fupports to a coffer or cabinet. Bronze gilt. -L In form an eagle with outfpread wings. Italian. i6th or early 17th century. Each, H. 5i- in. Bought (Soulages Colledtion), each \os. Fine vigorous figures, boldly executed and richly gilt. FENDER. ENGLISH. 355^' '5^- Englijh. 1 RENDER. Brafs. Pierced work of foliage, amongft X which are birds, &c., with undulating fcroll top moulding. Englifh. Early i8th century. H. 6 in., L. 4 ft. 5-| in. Bought, 61. los. FIRE DOGS. FLEMISH. 443^' 4433- '^7- Flemijh. TTIRE Dogs. A pair. Two foliated goat's feet fupport X a terminal bearded male figure, who bears on his head a vafe furmounted by a hawk. Flemifh or German. iVIiddle or latter half of i6th century. H. 3 ft. 8 in., W. 15 in. Bought, 1 5/. L.'. I'l- X'.'l.i FIRE DOG. Italian. Sixtc'cHt!i Century. Fire Dogs. 125 1440, 1440^7. '70. FIRE Dogs. A pair. Brafs, with figures in rilievo, Plemijh. on funk compartments, and infcriptions indicating the perfons reprefented ; on the foot is the date 1 549. Said to have belonged to Long Melford Abbey. Flemifh ? H. 3 ft. 4I in., W. of foot, 15-!^ in. Bought, 10/. lOJ. the pair. Above is Samfon flaying the lion, beneath which are cherubs' heads ; next, David playing the harp, and Samfon carrying the gates of Gaza ; then, the crucified Saviour between his Mother and Mary Magdalene ; beneath are Adam and Eve plucking the forbidden fruit. The arched bafe, or foot, bears a feated lion in high relief, a mafk, dolphins, and the date. Thefe appear to be cafts of quefl:ionable origin, probably moulded from pieces of old Englifli or Flemifli wood carving, and fixed upon a foot faftiioned for the purpose. The model may have been of the date 1549, but not fo the caftings. ITALIAN. 843I' 8431^. '63. FIRE Dogs. A pair. Bronze. The pedeftals of open Italian. ftrap or cartouche work, with figures of fatyrs, cupids, &c. ; refpedively fupporting ftatuettes of Venus and Adonis. North Italian or Venetian. About 1570. H. of each, 3 ft., W. 9f in. Bought (Soulages Colledion), 300/. The lower portion of fpreading ftrapwork centred by a terminal figure of a Satyr ; on the next ftage two nude boys are feated, fupporting a ftiield bearing the double-headed and crowned eagle, on the breaft of which is an ill-defined efcutcheon. Thefe may be intended for the arms of Barberigo, of Zuftegnan, or of Di Carpi. A triangular pedeftal rifes above, on which are placed a figure of Venus holding a mirror, with Cupid at her fide, on one ; and of Adonis with his dog upon the other ; the fpear is wanting from his left hand. Few finer can be feen than thefe, which appear, like moft of their clafs, to be of Northern Italian rather than of Florentine origin. (Catalogue of Reprodudlions in Metal, No. '57. 28.) (6'^^' Plate XVIII.) 126 Catalogue of Bronzes. 3011, 301^. '57. Italian. 1 7 IRE Dogs. A pair. Bronze. Ornamented with fes- X toons, mafksj terminal figures, &c., and furmounted by ftatuettes of Neptune and Venus ; infcribed at the back, " Jofeph Di Levi in Verona mi fecet." North Italian.. Second half of 1 6th century. H. 3 ft. 6 in., W. 1 ft. Bought, 151/. The compofition is arranged in four ftages ; on either fide of the bafe are two griffins, between which is a fhield ; on them reft three terminal figures borne by hippocampi, and furrounding a triangular focle enriched with feftoons, mafks, &c., which is again furmounted by an oviform vafe bearing on its fides three female termini ; above this, three sphinxes furround what forms the bafe to ftatuettes refpedlively of Neptune and Venus. Thefe are boldly, but not finely modelled, rich in ornament almoft to overloading, yet fomewhat weak in the bafe. They are important from their fize, and the fignature of their maker, but very inferior in beauty of defign or execution to thofe numbered 8431 and 843 itf. 8432^ 8435^. '63. FIRE Dogs. A pair. Bronze. At the bafe a large mafk between iron ftrapwork fcrolls, above which are cupids furrounding a triangular plinth, which fupports a vafe, furmounted by a ftatuette of Cupid. Italian. About 1560. H. of each, 3 ft., W. \'^\ in. Bought (Soulages Colledlion), 100/. Thefe are ftated to have been brought originally from a palace of the Counts Brancaleoni. 423, 423^. '69. FIRE Dogs. A pair. Iron. Framing of ftrapwork enriched with mafks, fatyrs, bulls' heads, and other figures in relief, of bronze, and furmounted by ftatuettes of Mars and Bellona. Italian. i6th or 17th century. H. 2 ft. I if in., W. at foot, 18 in. Bought, 60/. Probably a compofition of fragments, and much repaired. Fire Dogs. 127 FIRE Dogs. A pair. Bronze, parcel gilded. A fcroll Italian. work bafe with central lion's mafk ; the upper part fur- mounted by a female fphinx, in bronze, reclining on a gilded bank with fruits and flowers. Italian (Venetian). About 1720. H. I ft. I in., W. 8 in. Bought, 5/. FIRE GUARD. ENGLISH. 3038. '5^. FIRE Guard or Couvre Feu." Brafs. Half-dome EngUjh. fhaped, with fquare handle and embofTed with bor- dering of guilloche mouldings, oak leafage, acorns, &c., and engraved with two groups of St. George and the Dragon. Probably Englilh or Flemifh, made for the Englifh market. Late 1 6th century. H. 18 in., W. 14 in. Bought, ill. This is the Curfew alluded to by Shakefpeare, and by Gray in the " Elegy." The 8 o'clock bell " tolls the knell of parting day," and warned all citizens that their fires be extinguifhed by the couvre-feu or curfew. FIRE PANS OR BRAZIERS. ITALIAN. 151. '69. FIRE Pan, Stand for hot alhes, or " Braciere." Copper, Italian. beaten; with fcroll work and mafks, and perforated. 128 Catalogue of Bronzes. Italian. In front an armorial fliield, furmounted by a bifliop's hat. (The cover is wanting.) Italian. i6th century. H. 4f in., diam. of bafe, 7|-in. Bought, 2/. \os. The fhield bears on a chief paly (?) three fleurs-de-lys ; a bend between two dogs courant bendwife. 132, 132a. '64. I MRE Pan, " Braclere," or " Calderaio." Copper, repoufle. X Oval, ftanding on four lions' paws ; lateral fwing handles fall from lions' heads. A tray, for afhes, with two handles fits within. Italian. 1 6th or early 17th century. H. 12 in., L. 25-! in., W. in. Bought, 12/. The fides and neck are enriched with foliated fcroll work, fanciful ma(ks, and fliaped panels ; at the bottom, infide, is an armorial fhield. This utenfil probably ferved a double purpofe ; with the tray as a brazier in the winter's cold ; without it as a cooler for wine in the fummer's heat. The fliield bears what may be intended for the Bifcia of the Vifconti, or a crowned dolphin. 7845-' 61. COVER of a Fire Pan or Brazier. Copper, repoufTe. Bell-fliaped, ornamented with perforated fcroll foliage, fefloons, &c., between maflcs of fatyrs. North Italian. i6th or early 17th century. H. 12 in., diam. i4-|-in. Bought, 3/. The lower portion is a reftoration of recent date. 7867. '61. FIRE Pan or Brazier. In beaten copper, with curled fl:rap- work handles and refting on lions' feet. The body gadrooned, the neck with chain, corded, and bead mouldings ; fcroll handles. North Italian. 17th century. H. in., W. 23 in. by i8f in. Bought, 2/. This is of good form. Fire Pans or Braziers. y6. '64. COVER of a Fire Pan. Brafs. Ornamented with open- Italian. work, and an engraved defign of a vafe of flowers. Italian. 17th century. Diam. iif in. Bought, i/. 555- '69- FIRE Pan, or Stand for hot afhes, on pedeftal. Copper. With hammered ornament of gadroons on the vafe, and imbricated fcales on the pedeftal. Italian. 17th century (?). H. 2 ft. I in., diam. of lip, i4-|in. Bought, ill. Coarfely worked with the hammer, bad in form, and only remark- able for uglinefs. The pedeftal feems to have been made up of odd fragments adapted and foldered together ; it is poffible that the lower part and the upper vafe may have originally belonged to each other and that it was fubfe- quently raifed by an awkward addition of the intervening portion. 74. '64. FIRE Pan or Brazier. Bronze, tazza-vafe fhaped. Re- poufle, or beaten in gadroon ornament, with openwork, and fwinging handles of ftieet bronze. Italian. 17th century. Diam. 8^ in. Bought, 2/. 2391. '55, FIRE Pan or Brazier. In caft and chifelled bronze, octa- gonal . Ornamented with fcroll openwork and angle pieces, fupported on a ftand or ftem with tripod feet. Italian. About 1700. H. 2 ft. 8 in., diam. i ft. 10^ in. Bought (Bernal Colledlion), 33/. B. I 130 Catalogue of Bronzes » FIRE POT OR SCALDINO. ITALIAN. 7786. '63. Italian. 1 MRE Pot or " Scaldino." In beaten copper, on three X foliated lions' claw feet ; with handles and a domed cover, furmounted by a pine cone and pierced with holes. The furface is enriched with leafage, grotefque malks, &c. North Italian. i6th century. H. 8f in., diam. 8 in. Bought, 5/. 1 7 J. ()d. 7851. '61. FIRE Pot or "Scaldino." Copper; bowl-fhaped, with acanthus and other foliage, gadroons, &c., in beaten work; the cover perforated. Italian. 1 6th century. H. 9 in., diam. 1 1 in. Bought, il. %s. 5866. '59. FIRE Pot and Cover (Scaldino). EmbofTed brafs. The cover perforated and furmounted by raifed bars ; a loop handle. The ornamentation is in the ftyle of the early half of the 1 8th century. Italian. H. 1 in., diam. y-^ in. Bought, i/. \is. FLAGSTAFF HEAD. ENGLISH. Englijh. 17 LAGSTAFF Head. Openwork, of gilt brafs. EnglilK. X iSth century. L. 6\ in. Given by the Rev. R. Brooke. Flajk — Fountain, 131 FLASK. ITALIAN. 642. '65. FLASK or Scent Bottle. With fcrew ftopper, copper gilt. Italian. Italian (?). 14th or 15th century. L. 4f in. Bought (Soulages Colledion), i/. FOUNTAIN. FLEMISH. 618. '65. FOUNTAIN, or Ciftern, for fufpenfion. Caft brafs Flemijh. (latten). In form, a caftle or clufter of turrets on a bracket, in front of which a half figure holds a fhield of arms. At the angles of the fquare central tower are places for two ftatuettes, now wanting. Flemifh or German. 15th century. H. i6f in., W. 10 in. Bought (Soulages Colledlion), 15/. This is an unufually fine example of the ornamental ciftern or fountain for holding water for drinking, and which was attached to the wall of the dining parlour. They are frequently feen reprefented in paintings of the early Flemifh and German mafters. It reprefents a caftle of German architecture with fquare central tower, the high pitched roof of which forms the lid, and to which three circular " tourelles " are appended ; beneath is a fuftaining bracket of very elegant defign, with rich Gothic mouldings, lions' heads, and a half figure holding a fhield which is charged with two fleurs-de-lys feparated by a line of impalement. The conical roofs and battlemented walls group admirably, and the whole defign is remarkably harmonious and worthy of ftudy. Two fmall gilded figures, probably replacing the original, had been attached at the canted angles of the fquare central tower, but, being of more recent date and incongruous, have been removed. (Cat. Repro- du£lions in Metal, No. '57. 25.) I 1 132 Catalogue of Bronzes. FOUNTAIN SPOUT. FRENCH. 530. '69. French. TT^OUNTAIN Spout or Jet. Bronze. Tubular, fpringing X from acanthus leafage, and terminating in a dragon's head. French. End of the i6th or early 17th century. L. 15 in. Bought, 4/. ITALIAN. 739^' '6o- Italian. \ i OUNTAIN Spout or Jet ; in bronze, caft " a la cire X perdue." A lion's head mafk, furrounded by twifted ribbon and cord border, from the mouth of which projects a tubular fpout formed as the neck and head of a dragon, on which two lizards are fighting. Formerly in the ducal palace at Lucca. Early i6th century, L. 18 in., diam. 13^ in. Bought, 80/. This is a work of very high merit. {See Etching.) 88. '66. FOUNTAIN Spout or Jet. Bronze. The head of a triton or marine deity. Italian. i6th century. H. ii-|in., W. II in. Bought, 25/. With dripping beard, lateral foliation, and fcroUs above where it has been broken away from other portions of a grand defign. It is admirably modelled. Fra, 133 FRAGMENTS. 42^4- 57- FRAGMENT. Bronze. Ornamented with a lion's head, Antique. or that of a chimera, having a pointed beard and mane, goats' ears and horns. Probably a portion of the armour from a cololTal ftatue. Ancient Etrufcan or Greek. 5 in. by i\ in. Bought, il. 1 3 J. \d. FRAGMENT. Bronze. Ornamented with a chimera or lion's mafk, having the beard and mane pointed, goats' ears and horns. Probably a portion of a colofTal ftatue. Ancient Etrufcan or Greek. 5^ in. by 2^ in. Bought, 2/. 1 3 J. ^d. 42z6. '57. FRAGMENT. Bronze. Enriched with a mafk of the Indian Bacchus, with pointed beard and rams' horns, fur- mounted by an acanthus ornament. Ancient Etrufcan or Greek. 5 in. by 3 in. Bought, 2/. 13J. Of fine modelling and finifh ; thefe are fragments of fome noble ftatue. 4488. 58. FRAGMENT of Ornamental Edging. Bronze. Pal- mette or Anthemion. Portion of an architedtural enrichment. Antique Greek or Roman. H. 7-^ in., W. 4f in. Bought, i/. 1 6s. 134 Catalogue of Bronzes. 4489. '55. Antique. T ETTER p. Bronze, formerly gilt. Antique Roman. J / From a monumental infcription. H. in. Bought, 8j. FRAGMENT. Bronze. Two crefcents filled in with tracery and fcrolls are united by a central ring without opening. Antique Gallo-Roman (?). 2fin. by-|in. Bought, 4^. j\d. Of doubtful ufe and origin, but poflibly a faftening to a garment. ITALIAN. 7461. '61. Italian. TT RAGMENT. Bronze. Of quadrant form, with foliated X ornament in relief, and engraved with degrees, a table, &c. ; apparently a portion of an aftrolabe or other inftrument. Italian. 15th century. 5 in. by in. Bought, 4J. FRAMES. FRENCH. 5028. '55. French. TT^RAME, for a miniature. Bronze, gilt and chafed. X French. Latter end of 17th century or about 1700. H. 9in., W. 5f in. Bought (Bernal Colledion), 15/. 15^. This very elegant frame is furmounted by a bafket of flowers fupported by fl:rap and fcroll work with feftoons of leafage and a fleur- de-lys ; on either fide are terminal figures, and beneath, a label with the words, " Pour la plus Belle " caft in relief. Frames, 135 141. '65. RAME. Copper gilt, in beaten work. Shell and fcroll French. patterns with leafage in the ftyle of Louis XIV. French (?). 1 8th century, H. 10 in., W. 7|- in. Bought, 3/. A bold but rather heavy defign. HALIAN. 7444. '60. FRAME. Metal, parcel-gilt, elliptic ; with allegorical Italian. figures, angels holding the Sta. Veronica napkin, &c. Italian. About 1580. H. 8^ in,, W. 6 in. Given by Sir James Hudfon, K,C,B. A central oval, furrounded by cherubs' heads is contained within a fhaped border of ftrapwork ; above, two angels fupport the Veronica, and below are two reclining male figures ; cherubs' heads and flowers in the angles ; all the figures are in relief. It is filvered and parcel gilt ; a rich defign and of fine workmanfhip. 7877. '61. FRAME. Copper gilt, repoufle or beaten work. Italian. 17th century. H. iif in., W. 9^ in. Bought, i/. Richly decorated in relief with falls of flowers and fruit fuftained by cupids ; rams' heads are in the lower angles and a cherub's above and below. 2087. '55. FRAME for a Miniature. Gilt copper, repoufle or beaten work. Itahan or French (?). Firft quarter of i8th century. H. in., W. \\ in. Bought (Bernal Colleftion), il. An architedtural facade, fupported by cupids, fuflains a crown on the top ; beneath is engraved, " Maria . Clementina , M , Britan . Franc . et Hibern Regina ; " by which we learn that this frame was made to contain a contemporary portrait of Clementina Sobieski, the wife of the Old Pretender. 136 Catalogue of Bronzes. GIRDLE ORNAMENT. GERMAN. 2304- '55- German. IRDLE Ornament. A pendant of gilt metal, richly ornamented with pierced tracery, fheaf ornaments, a cupid, fcrolls, &c. German. 1 6th century. L. 4^ in., W. i in. Bought (Bernal Colledlion), 5/. c^s. GRATINGS. ITALIAN. 5805. '60. GRATING. Copper gilt ; with openwork and punched ornament ; perhaps the door of a ciborium or taber- nacle. Italian (Venetian). 15th century. 2 ft. by i ft. 8;^ in. Bought, i/. The pattern is of Gothic charailer, a diaper of four-pointed ftars or lozenges, with cufped fides and central quatrefoil piercings, united to each other by the points, and leaving oval open fpaces between them. It is very elegant. 5806. '60. GRATING. Copper gilt ; with hinges and bolt ; fcrolls and foliage fpringing from a central ftar ; perhaps the door of a ciborium or tabernacle. Italian (Venetian). i6th century, 16^ in. by i4f in. Bought, 1/. Hammer Head — Handles, 137 HAMMER HEAD. ITALIAN. 136. '65. HAMMER Head. Bronze. In form a dragon's head, Italian. with projeftion from the mouth ; a collar of acanthus foliage encircles the neck ; medallions on either fide bearing a half figure of a horfe, and on the top a cherub's mafk ; above the claw is a fhield of arms furmounted by a bifhop's hat. Italian. Early i6th century. 2f in. by 6|- in. Bought, 8/. The ftiield is impaled ; on the right fide, in chief dexter a crofs of Jerufalem, finifter, a lion rampant and crowned ; in bafe two fimilar lions ; the left fide is divided per pale, but the metals or tindlures are not indicated. According to Ciacconi (pp. 878, 1097, and 1127) thefe are the arms of the Corneli family. One Francifcus Cornelius Venetus, Epifcop. Brixienfis, is recorded. This was probably made for ceremonial ufe, perhaps on the occafion of breaking through the Porta Santa on the Chriftmas Eve of the year of Jubilee. The hammer now ufed by the Pope is made of filver, but this was for a Cardinal's or Bifhop's ufe, and made, therefore, of a bafer metal. A hammer, faid to have been defigned by Michel Angelo for Pope Julius III. on the occafion of the Jubilee of 1550, is preferved in the Bavarian National Mufeum at Munich. A caft of it is in the South Kenfington Museum. HANDLES. ANTI^E. 1348. '55. HANDLE of a Vafe. Bronze. Looped and with ex- Antique. tending arms fpringing from a palmette ornament. Ancient Roman, in. by 5^ in. Bought, \od. 138 Catalogue of Bronzes, 1349- 55- Antique. TT ANDLE of a Vafe. Bronze. Goats above, palmette X X beneath. Ancient Greek or Etrufcan. 7 in. by 5 J in. Bought, lod. . 1350- '55- HANDLE of a Vafe. Bronze. Snakes above, palmette beneath. Ancient Greek or Etrufcan. 6f in. by 4 in. Bought, \od. 1351- '55- HANDLE of a Vafe. Bronze. Of fquared loop form. Ancient Etrufcan or Roman. 4|- in. by 3 in. Bought, \od. 1352- '55- HANDLE of a Vafe. Bronze. The fwing handles attached to the rim of the vafe by a fhield of palmette form. Ancient Greek. 11 in. by 6 in. Bought, lod. 1353- SB- HANDLE of a Cover or Vafe. Bronze. Plain looped bands of metal with button centre. Ancient Etrufcan or Roman. Sin. by if in. Bought, lod. 3330- '5^- HANDLE of a Vafe. Bronze. Terminating in a child's full-faced mafk, with filver eyes. Ancient Greek or Etrufcan. L. 5^ in. Bought, lis. 6d, Handles. 139 3331- '56. ANDLE (fragment) of a Vafe. Bronze. A female Antique. tragic mafk with long trefles. Ancient Greek. in. by if in. Bought, 12^. 6d. A fine model. 3332. '56. HANDLE of a Cifta or Vafe. Bronze. Formed as a nude male figure bent backwards, and refting on the hands and feet. Ancient Etrufcan. 3^ in. by in. Bought, \is. 6d. HANDLE of a Vafe. Bronze. In form of a goat's head. Ancient Greek or Etrufcan. 2f in. by if in. Bought, 12^. 6d. 3334- '56. HANDLE of a Patera (fragment). Bronze. The end ornament in form of the head and fhoulders of a greyhound. Ancient Greek or Etrufcan. 2|- in. by i\ in. Bought, 12/. 6d. '56- HANDLE or fpout of a Patera (fragment). Bronze. In form of a lion's head. Ancient Etrufcan, H. 2 in., diam. i^ in. Bought, 12^. 6d. 3336. '5^. HANDLE of a Vafe (fragment). Bronze. In form of a 'clawed foot, with Greek honeyfuckle ornament. Ancient Greek or Etrufcan. 2 in. by ij in. Bought, lis. 6d. 140 Catalogue of Bronzes. 4091. '57. Antique. T T ANDLE of a Lamp. Bronze, a fragment. Formed as XX a palmette, or Greek honeyfuckle ornament, beneath which is a ring for the finger. Ancient Greek or Roman. 4f in. by 2\ i"- Bought, %s. 2758. '55- HANDLE of a Mirror or Patera. Bronze. With tranf- verfe turned mouldings and longitudinal flutings. Ancient Greek or Roman. L. 4^ in. Bought, 6j. 5757- 55- HANDLE, Bronze, chifelled. In form of a ram's head ; terminal ornament, to the handle of a patera or other objedl. Ancient Greek or Roman. 1 in. by 1 in. Bought, \os. 515- '54- HANDLE of a Vafe. Bronze. Foliated and termina- ting in a female mafk. Ancient Greek or Etrufcan. L. 5^ in. Bought, i is. 517- '54- HANDLE of a Vafe or Situla. Bronze. Attachment for a fwing handle, with a head of Medufa. Ancient Greco-Roman. 3f in. by 2^ in. Bought, i/. 5.;. 302. 54- HANDLE of a Patera or Strainer. Bronze. Formed as a fymmetrically difpofed nude figure, with hands Ha?idles. 141 upraifed to fuftain a modified honeyfuckle or palmette orna- Antique. ment ; the feet reft upon another. Ancient Creek or Etrufcan, 8f in. by 4^ in. Bought, il. 14J. 899. '55- HANDLE of a Vafe or Ewer. Bronze. The upper fpreading extremities terminating in two rams' heads, the lower one with honeyfuckle or palmette ornament. Ancient Greek or Etrufcan. 5f in. by jf in. Bought, 121". 4548- 58- MASK, Bronze. A fragment, forming the fpout and attachment for the double fwing handle of a fitula. Ancient Greek. 2^ in. by i \ in. Bought, 75. dd. No. 4549 is the other attachment from the fame fitula. 4549- '58. MASK. Bronze. A fragment forming attachment for the handle of a fitula. Ancient Greek. i\ in. by i-| in. Bought, ^s. 6d. 3343- '56. HANDLE of a Hydria or Water Vafe. Bronze, fluted. With palmette fcrolls upon the fiiield. Ancient Greek or Greco-Roman. L. 6^ in. Bought (Rogers Col- ledlion), 19.;. 3344- '56. HANDLES, from the fides of the fame Hydria as No. 334J, (a pair). Bronze, fluted. Loop-fliaped, fwelling to the centre and fpreading to the attachment at the ends. Ancient Greek or Etrufcan. 3f in. by 2 in. Bought (Rogers Col- ledlion), 5J. 142 Catalogue of Bronzes. 358. 54- THE doubJe fwing Handles of a Situla or Water Bucket, with the attaching loops formed as Bacchic mafks, one of which has ferved as a fpout to the veflel. Ancient Greco- Roman. 10 in. by 6 in. Bought, i/. \qs. 3^3- 54- HANDLE of a Veflel. Bronze. A loop terminating in heart-fhaped leaf ends. Ancient Greek or Etrufcan. 6 in. by in. Bought, is. 6d. 3^4- 54- HANDLE of a Vafe. Bronze. A loop fwinging from a cylinder terminating in horfes' heads. Ancient Greek or Etrufcan. in. by 4 in. Bought, is. 6d. 518. '54. HANDLE. Bronze. A loop, with beaded edges, fpring- ing from a Gorgon's mafk. Ancient Etrufcan. in. by 3f in. Bought, i/. ioj. In a finely preferved ftate. 511- '54- HANDLE of a Vafe. Bronze. Terminating above in two fitting lions and a lion's mafk, below in palmette ornament. Ancient Etrufcan. 5f in. by 4|- in. Bought, 15 5i^- '54- HANDLE of a Vafe. Bronze. Terminated by a ram's head above; the lower end by a rilievo of a man Handles. 143 and a bull (Thefeus and the Minotaur?). Ancient Greek or Antique. Etrufcan. 7 in. by 3 in. Bought, 6s, 513- 54- HANDLE of a Vafe. Bronze. Of loop form, with central knob fpringing from a palmette. Ancient Etrufcan or Greco- Roman. 4 in. by in. Bought, 9^. 54 HANDLE of a Vafe. Bronze. Fluted and terminated by a palmette ornament. Ancient Etrufcan or Greco- Roman. 4^ in. by 3 in. Bought, ^s. ITALIAN. 253- '^4- ^TANDLE or Door Ring. Bronze. A lion's head, Italian. L X from the mouth of which a circular channelled ring is fufpended. North Italian. 15th century. Diam. of ring, 4|-in. Bought, 4/. Simple and ftern, but admirable for proportion and chara£ter. Thefe rings fometimes ferved as knockers. 5751- 59- MASK, probably the handle of a Drawer. Bronze. Italian (Florentine). Early i6th century. 2^ in. by 2-^ in. Bought (Soulages Colledtion), i/. A good model carefully executed. 144 Catalogue of Bronzes. 6894. '60. Italian. "T^XOOR Handle. Bronze. Stirrup fhaped. Two gro- X ' tefque dolphins fufpended by the tail, a fluted and knobbed bar between. Italian. i6th century. 7^ in. by 6 in. Bought, 1 8 J. \d, A quaint compofition. 894. '44. HANDLE, Twinging. Bronze. A cherub's head between two female terminals. Italian. 1 6th century. 4-|in. by 2\ in. Bought. 7400. '60. HANDLE. Bronze. For turning the latch of a door. In form of the Medici diamante-in-punta ring. Italian (Florentine). About 1500. 8 in. by 4 in. Bought, i/. lis. A fine bold model. 590. '65. HANDLE (?). Bronze. Figure of a firen ; probably a handle or decorative mounting to a piece of furniture. Italian. i6th century. H. ^^'m., W. 3^ in. Bought (Sou- lages Colledlion), 2/. Very excellent in the modelling and adaptation of the limbs. 597' '65- HANDLE to a fire utenfil. Bronze. A terminal figure of a boy. Italian. i6th century. H. 7 in., W. 2 in. Bought (Soulages Colledion), i/. Companion to No. 600. Handles. 145 598. '65. HANDLE to a fire utenfil. Bronze. A terminal figure. Italian. Italian. 1 6th century. H. 7 in., W. in. Bought (Soulages Colledlion), i/. 599- '65. HANDLE to a fire utenfil. Bronze. A youthful ter- minal figure. Italian. i6th century. H. in., W. Bought (Soulages Colledion), i/. 600. '65. HANDLE to a fire utenfil. Bronze. A terminal figure of a boy. Italian. i6th century. H. 7|- in., W. i-|in. Bought (Soulages Colledtion), i/. Companion to No. 597. Modelled with artiftic feeling and knowledge, thefe are charadleriftic of the ornamental fpirit of the period, the middle of the i6th century. 4703- 59- HANDLE of an Ewer or Vafe. Bronze. In form a winged female figure holding flowers, and termina- ting in leaf work. Italian. i6th century. 4^ in. by i\ in. Bought (Mufeum of the Collegio Romano). 588. '65. HANDLE of a Tap. Bronze. Reprefenting a grotefque dragon or chimasra in the round. Italian. i6th cen- tury. 6 in. by in. Bought (Soulages Colledlion), 2/. B. K 146 Catalogue of Bronzes. 4856. '58. DOOR Handle (?). Bronze. A winged Cupid, fupported on fcroU work, with palmette above, and flower orna- ment below. Florentine. Late 1 6th century. L. 11 in. Bought, 14/. This is a very elegant model, good alfo for adaptation as a knocker. It feems to have been faftened by dovetailed projeiting pieces, perhaps for attachment to ftone. A portion is broken from above, and it is poffible that a branch may have fpread forwards fuftaining a candle fconce, and that it is in fa£t the lower portion of a wall candleftick or torch-bearer. The loop is, moreover, awkwardly contrived for ufe as a handle. 5733- '59- DOOR Handle or Knob. Bronze. In form of a gro- tefque projecting head of a fatyr. Italian. 16th century. 6 | in. by 4 in. Bought (Soulages Colleftion), i/. 5734- '59- DOOR Handle or Knob. Bronze. In form of a gro- tefque projeding head of a fatyr. Italian. i6th century. 6f in. by in. Bought (Soulages Colledlion), i/. This pairs with No, 5733. 5735 to 574^. '59. HANDLES for Doors or Drawers (eight). Bronze. In form the buft or projeding head of a child or youthful perfon. Italian (Florentine). Late i6th century. 2\ in. by i\ in. Bought (Soulages Colledlion), los. each. Somewhat carelefs in defign and execution. Handles. 147 5743^05745- 59- HANDLES for Doors or Drawers (three). Bronze gilt. Italian. Formed as a buft; of a boy emerging from acanthus leafage, and holding a book. Italian (Florentine). i6th cen- tury. 3^ in. by if in. Bought (Soulages Colledtion), ijj'. \d. each. 8876. '61. DRAWER Handle. Bronze. Formed as a finger ring, the diamante-in-punta, hanging from a malk efcutcheon. Italian. i6th century. 4^ in. by 2\ in. Bought, i/. 8876^, 8876c. '61. DRAWER Handles ; a pair. Bronze. With a lion's malk as efcutcheon ; a finger ring with pointed ftone hanging from the mouth. Italian, 16th century. 2^ in. by if in. Bought, \os. each. 8876^/, 8876^. '61. DRAWER Handles ; a pair. Bronze. With a comic malk as efcutcheon, from the mouth of which is fuf- pended a finger ring fet with a pointed ftone. Italian. i6th century. i\ in. by i-i in. Bought, los. each. They are modelled after the ring fet with the diamante-in-punta^ the emblem of the Medici ; fee alfo Nos. 7400, 8876, &c. The defigns of thefe, as of many other of the Renaijfance handles, are very excellent and worthy of confideration and adaptation. 8876^, 8876/: '61. DRAWER Handles ; a pair. Bronze. With a lion's malk as efcutcheon, from the mouth of which hang K 2 148 Catalogue of Bronzes. Italian, two dolphins uniting in a fhell. Italian. i6th century. 3 in. by in. Bought, 15^. each. 8876^. '61. DRAWER Handle. Bronze. With a mafk as efcutcheon, from which hangs a ring formed of fcroll work. Italian. 1 6th century, if in. by i-| in. Bought, \os. 8870, 8870a. '61. DRAWER Handles ; a pair. Bronze. The efcutcheon in form of a malk ; the fwing handle of fcrolls uniting in a winged mafk. Italian. i6th century. 6f in. by 4-| in. Bought, i/. 5 J. each. 8871, 8871a. '6[. DRAWER Handles ; a pair. Bronze. The efcutcheon in form of a malk ; the hanging ring as fcroll volutes uniting in a female malk. Italian. i6th century. ^\ in. by 2\ in. Bought, i/. each. 887^, 887^^. '61. DRAWER Handles ; a pair. Bronze. A horned mafk efcutcheon, from the mouth of which hangs a ring of fcroll work centred by a fleur-de-lis. Italian. i6th century. 4f in. by i\ in. Bought, i/. each. 8873. 8873a. '61. COMIC Mafks ; a pair. Bronze. The efcutcheons of drawer handles. Italian. i6th century. 2)\ by i\ in. Bought, 15J. each. Handles. 149 8874. '61. MASK, foliated. Bronze. The efcutcheon of a drawer Italian. handle. Italian. i6th century, j-^ in. by 2-| in. Bought, 15^. 8875. '61. SWING Handle for a Drawer. Bronze. Two lions, face to face, running towards each other among foliation, fcroUs, &c. Italian. 1 6th century. 3^ in. by 2 in. Bought, Of coarfe workmanftiip. 7893. '6i. SWING Handle for a Drawer. Bronze. In form two foliated female figures, united by the wings above, and by a ma^k beneath. Italian. 17th century. H. 3^ in., W. 3 in. Bought, \is. \od. 7857 to 7857^. '6^. DRAWER Handles ; fix. Bronze gilt. A female mafk between two dolphins ; the efcutcheon in the form of a human face. Italian. 17th century. in. by 3f in. Bought, 8 J. each. The efcutcheon is a grotefque mafk, from the mouth of which two dolphins are fufpended to form the ring, holding between their jaws a female face. 8869 to 8869^. '61. DRAWER Handles ; fix. Bronze. Formed as two young tritons holding a comic mafk ; their foliated 150 Catalogue of Bronzes. Italian, termination Twinging from the efcutcheon, alfo in form of a mafk. Italian. 17th century. 5f in. by 4f in. Bought, 1 7 J. (>d. each. 2802. '56. HANDLE. Bronze. In form of a mermaid, with two tails, which fhe holds in her hands. Italian. Late 1 6th century. H. 4^ in., W. 4 in. Bought, il. Probably a down-pull bell handle. 6^31, 6^2. '65. HANDLES of a Stopper to a Flalk ; two. Copper, beaten work, parcel gilt. Reprefenting an eagle's head. Italian. i6th or 17th century. H. 4f in., W. 3 in. Bought (Soulages Colledlion), \os. each. 5746. '59- HANDLE, or decorative mounting of fome article of fur- niture. Bronze. Half figure of a female, holding a vafe. Italian. i6th or early 17th century. 4I- in. by 4 in. Bought, (Soulages Colledion), il. 7238, 7239. '60. HANDLES for a Drawer ; a pair. Bronze. A wreath- like oval ring hanging from the mouth of a foliated malk of Pan. Italian or French. i6th or 17th century. H. 7f in., W. 5 in. Bought, 6/. each. 575^- '59- HANDLE of a Stiletto or Knife for a lady's etui. Gilt bronze. In the form of a crowned fyren, with double Inkjlands, tail ending in fleurs-de-lis held by her hands. Italian. 17th Italian. century. L. if in. Bought (Soulages Colledion), i/. The creft of the Mirabilis family of Milan is a figure in this guife ; it was, however, a fancy varioufly adopted, as with the handle. No. 2802. '56. A pair of candlefticks fo formed are in the writer's pofTellion, one of which bears the fhield and initials of Agoftino Chigi, the friend and patron of RafFaelle. A fmall tortoife-ftiell and filver the ftiletto and knife in which have fimilar handles, is alfo in the writer's colledtion. 7858. '62. HILT of a Small Sword. Gilt bronze. Figures of fatyrs, with goats in relief on the guard, cupids on the pommel, &c. Italian. 17th or i8th century. 6 in. by 4 in. Bought, 4/. Of inferior ftyle and execution. INKSTANDS. ITALIAN. 3089. '55. INKSTAND. Bronze, Circular, enriched with mafks, Italian. feated lions and foliated ornament in relief, fupported on three feet formed as foliated terminals. Italian. Second half of 15th century. H. 3^ in,, diam. 6 in. Bought (Bernal Colledion), 15/. 5^-. The defign is admirable ; the graduation of the outlines and the judicious application and arrangement of the ornamentation, fo well combined with the fupporting terminal feet, are worthy of fludy. The modelling of the details has not been executed with great care. In motif it is very fimilar, and the defign was probably by the fame hand as the inkftand from the Soulages Colleftion, No. 575. '65. It alfo has great affinity with the noble candleftick, No. 552. '65, fo 152 Catalogue of Bronzes. Italian, much fo indeed, that we can have little doubt it emanated from the fame ftudio, if not abfolutely modelled by the fame artiftic hands. The cover is unfortunately wanting. {See Plate XIX.) 575- '65. INKSTAND. Bronze. Ornamented with mafks, garlands, &c. The cover, furmounted by a ftatuette of a Roman emperor, is apparently of later date and adaptation. Florentine. About 1470. H. lof in., W. 6 in. Bought (Soulages Col- ledlion), 20/. This fine inkftand is circular, in two flages, and fupported on three mafic feet rifing into leafage and ftrapwork, between thefe are other horned mafics ; on the upper ftage falls of flowers are feparated in pairs by three ftrapwork fcrolls. The whole is modelled with great ficill, and more fharply executed than No 2089. '55, which is probably by the fame hand, as perhaps alfo the candleftick, No. 552. '65. An engraving of this inkftand, with the cover, is given to illuftrate fuch obje£ls in Waring's " The Art Treafures of the United King- dom," 1857. The cover and its furmounting figure, fuppofed to reprefent Hannibal counting the rings, have been applied to the inkftand without belonging to it ; they are of later date, and the figure is a replica of that defcribed as a ftatuette under No. 715 i. '60. (Cat. of Reprodu£tions in Metal, No. 57. '33.) 8867. '61. INKSTAND. Bronze. In part damafcened with filver and chafed with foliated renaiflance ornament ; fupported on three rams' heads. Italian. Firft half of i6th century. H. i\ in., diam. \\ in. Bought, 4/. A very elegant piece. A pan-ftiaped vafe centre is fupported on fcrolls beneath rams' heads. The body, divided by turned mouldings, is chafed with foliated ornamentation in ftiaped panels, fome of which have been damafcened with filver. The cover is wanting, but the central opening is encircled by a belt of foliage, with heads in medallions. This is evidently the careful work of an able goldfmith, and is a charming model. {See Plate XIX.) Inkfiands. 153 3624. '56. INKSTAND. Bronze. In the form of a cafket, fupported Italian. on four claw feet. The cover decorated in relief with a Medufa's head encircled by a wreath, and flanked by two cupids holding ribbons. A honeyfuckle border furrounds it. The fides are enriched with foliated ornaments, dolphins, &c. The defign is in the manner of Donatello. Italian. Circa 1500. L. 8^ in., W. 5^ in. Bought, 5/. An inferior and much reftored example of a well-known model ; the hinge, the feet, and internal divifions are modern. 4673- '58- INKSTAND. Bronze. In form of a cafket. The cover decorated in relief with acanthus leaves, a grotefque mafk, whence iflue cornucopias. The fides with foliated ornament fpringing from mafks. It refts on four lions'-claw feet. The interior of the lid has leafage and a fhield of arms bearing two lions' paws erafed, in faltire. Italian. Firft half of T6th cen- tury. H. 3f in., L. 8f in., W. 5 in. Bought, 16/. This is quite in its original ftate, without any refloration, and a good example of an uncommon model. The arms may be thofe of the family Rafponi, of Ravenna, in which the lion's paws are azure, erafed gules, on a golden field. {See Etching.) 8983. '63. POUNCE Box (from an inkfliand). Bell metal. Shaped as a truncated cone. A belt of ornament in relief rofettes alternating with armorial emblems, a lion, an eagle on a branch, and a plant in a vafe, between fimple and ogee mould- ings. North Italian. Late 15th or early i6th century. H. 2^ in., diarn. of bafe, 3 in. Bought, i/. 4;. Seemingly the workmanftiip of a bell carter, who has ufed fome of the moulds for reliefs with which he adorned his hand bells. 154 Catalogue of Bronzes. 254. '64. INKSTAND. Bronze. A feated figure of a boy clad in a goat's fkin, holding a tub in his arms and refting it on his lap. Italian. i6th century. H. 2f in., W. if in. Bought, 4/. This is probably a reduced copy, carefully finifhed. It is a charming little bronze. Other examples occur of larger fize, which may have been caft from an antique original in terra-cotta. One fuch is in the writer's colledlion. 8982. '63. INKSTAND. Circular, bronze. Supported on three lions, and ornamented with mouldings and a belt of rich foliated work in relief, with two mafks and a plain fpace, which has pro- bably been intended for a fhield of arms. Italian. Firft half of 16th century. H. in., diam. 5 J in. Bought, 5/. A good model. 6904. '60. POUNCE Box (from an inkftand). Bronze. A figure of a frog fupporting a murex fhell. Italian (Florentine). 1 6th century. H. 2 J in., W. 3^^ in. by in. Bought. 4702. '59. INKSTAND (?). Bronze. In form of a grotefque elephant. Italian (Florentine). Late i6th century. H. 3|- in., W. in. by 2^ in. Bought (Mufeum of the Collegio Romano). The probofcis broken ; fome objedl has been attached to the faddle but is wanting. Inkjiands. 155 566. '65. PEN Holder (?). Bronze. Balufter fhaped, enriched with Italian. acanthus foliage in relief, and refting on three open fcrolls, the neck with a chain moulding. Italian. About 15 80-1 600. H. 5f in., W. 2\ Bought (Soulages Colledion), 3/. It is difficult to fay whether this is complete in itfelf or was origi- nally intended as part of a candelabrum ; if a penholder a moift fponge muft have partly filled it. 5908. '^9. INKSTAND and Cover. Bronze, triangular. Three cupids fupport the body of the inkftand, which is deco- rated with malks and falls of drapery ; the bafe with fcroll work and goat mafks, &c. The cover, having mafks at the angles, is furmounted by a figure of Hope, holding an anchor. Italian (Florentine). About 1580-90. H. iif in., diam. at bafe, 6| in. Bought, 55/, A fine model, which has been feveral times repeated, but almoft always differing in fome of the details. It is fo with No. 567. '65. Another is in the writer's collection ; the lions at the angles terminate in fcrolls, the mafk between them differs, and the cover is furmounted by Cupid holding fruits and flowers in lieu of Hope ; the compofition is altogether perhaps more harmonious. 567". '65- INKSTAND. Bronze, triangular. Supported on three lions holding fhields. The cover furmounted by a ftatuette of Hope. Italian (perhaps Florentine). About 1580-90. H. 9^ in., W. 6 in. Bought (Soulages Colle6tion), 10L A triangular central vafe, decorated with mafks, beading, volutes, and falls of drapery, is fupported on three feated lions holding fhields on Catalogue of Bronzes. Italian, a triangular bafe with mafks between. At the angles of the cover are female mafks, a figure of Hope with an anchor furmounts it. Of fimilar defign to No. 5908, but differing in the feet. 565. '65- INKSTAND. Bronze. The lower part formed as a gadrooned vafe upheld by three terminal winged tritons, on a triangular plinth. The cover, ornamented with mafks, is furmounted by a ftatuette of Fame. Italian. About 1570- 1600. H. 14 in., W. 7-|- in. Bought (Soulages Colle6tion), 25/. A large and fhowy example of an abundant clafs of coarfely executed works of the fame ftamp, doubtlefs produced by the bronze workers of the day to fatiffy the general demand. 16. '69. INKSTAND. Bronze. Atlas fupporting a globe, on which is feated the infant Hercules in the adl of ftrang- ling the ferpents. Italian. Late i6th century. H. 9f in., W. of bafe, in. Bought, 8/. Atlas is feated on an odtagonal bafe, partly fupported by his right hand, but finking backwards under his burden. Young Hercules, hurling one of the ftrangled ferpents from him, is feated on a drapery which refts upon the globe. The modelling is able but carelefs, and the call: has probably been made dire£tly from the wax, without finifli from the chafing tool, except upon the Hercules. It is covered with a flight liver- toned patina, and is probably a Florentine work. J E S T E R'S BAUBLE. 611. '65. Italian. T T EAD of a Jefter's Staff. Bronze. Reprefenting a X X bearded head with a hinged hood or capuchon. Italian. Knockers. 157 14th or early 15th century. H. 3 in,, W. if in. Bought Italian. (Soulages Collecflion), i/. An object of confiderable archaeological interefi: and rarity. It is probably the top of a jefter's bauble or " marotte." A fimilar one is defcribed and figured in the Archeeological Journal, vol. xx,, pp, 181, 182. One of carved boxw^ood vi^as in Lord Londefborough's polTeffion, and is figured in the Collectanea Antiqua by Mr. Roach Smith, vol. vi., pi. 22, p. 201, accompanied by valuable notices. Another of box- wood is in the Sauvageot Collection in the Louvre. Alfo confult Mr. Douce's Illuftrations to Shakefpeare, vol. ii., p. 209. A fool's bauble of filver with ivory handle is in the Doucean Mufeum at Goodrich Court, KNOCKERS. ENGLISH. 854, '68, KNOCKER. Brafs, Hammered work, Efcutcheon of Englijh. open fcroll foliage, the knocker of ftrapwork, fur- mounted by a grotefque animal's head. Copied from a wrought-iron German knocker in the South Kenfington Mufeum. By E. Millward. Prize objedl in the Society of Arts' competition, 1867. Englifh. H. 13 in., W. 8 in. Bought, 3/. IOJ-. A clever piece of workmanfhip ably copying the original. K ITALIAN, 1592. '55- NOCKER. Bronze. In the centre a draped female Italian. half figure, emerging from a fhell, with extended arms, holding the head of a lion on each fide ; their hind legs and 158 Catalogue of Bronzes. Italian, tails unite in fcroll work ornament above. North Italian. About 1540. H. lO;^ in., W. 9 in. Bought, 8/. A fine bold and well compared defign, and ably executed. 573- '65- KNOCKER. Bronze. In the lower part two mermaids or fyrens are embracing ; their extremities enriched with foliation unite over a crofTbar at the top and form the framework of the compofition. On the fhoulder of one ftands an amorino, filling the centre of the group, and on either fide an undraped boy clings to their foliated extremities. North Italian. About 1550 or 1560. H. 14^ in., W. 13 in. Bought (Soulages Colledtion), 80/. This was the No. 359 of the Soulages Catalogue. It has been attributed, but with no particular reafon, to John of Bologna ; and is in every way worthy of as great an artift. Indeed, few finer examples of highly artiftic modelling as applied to obje6ls of every day ufe have been preferved to our time. Still fewer are to be feen on the palatial doors for which they were defigned in pairs. A few years fince fome of extraordinary beauty were yet to be feen on the portals of Reggio, Bologna, and Venice, the fineft known to the writer being in the former city ; it reprefented a full length figure of Venus, ftanding on her ftiell, and fupported by dolphins, cupids, and the like. The cities of Northern Italy were richer in thefe grandiofe martelli di porta than thofe of Tufcany or the Central States. Fine as this is, we however prefer No. 588 in point of defign ; the execution of both is equally mafterly. (Cat. of Reprodudlions in Metal, No. 57. '29. {^See Plate XX.) 588. '53- • KNOCKER. Bronze. From a mafk of Medufa two dolphins extend to form the fides of the compofition, their heads uniting on a male tragic mafk beneath ; each is entwined by a ferpent and fupports a fatyr, whofe truncated arms, ending in curled fcrolls, are hooked into a blank es- PLATE XX. KKOCKEK. Italian. Sixtt'ciith Century, No. 573. '65. Knockers. cutcheon, which occupies the centre of the group. North Italian. Italian or Venetian? About 1 550-1 570. H. I4in., W. 11 in. Bought (Webb Colledlion), This noble martello was originally on one valve of the huge portone of the Palazzo Martinengo-dobblo at Brefcia, where the companion was hanging on the other fide in 1861^ — we hope it is there ftill — one of the few remaining in the place for which it was defigned and fafliioned. It is of the moft vigorous and artiftic of thofe grandiofe appendages to the huge doors of the larger Italian palaces, which, pon- derous as they feem, harmonize perfeftly with the proportions and architedture of the buildings for which they were defigned, in many inftances, by the great architedls themfelves. {See Plate XXI.) 13. '69. DOOR Knocker. Bronze. Two boldly modelled dol- phins, fufpended by the tails from an efcutcheon, fuftain a fhell, from which rifes a terminal half figure of a woman. North Italian. Middle or fecond half of i6th century. H. 12 in., W. 9f in. Bought, 8/. Alfo a fine vigorous model. 14. '69. DOOR Knocker. Bronze. An inverted cornucopia hangs from its foliated fcroll end, on it fits a female fphynx. North Italian. i6th century. L., including ftaple, i2\ in. Bought, 8/. 15. '69. DOOR Knocker and Efcutcheon. Bronze. Sufpended from a foliated mafk are two lions' heads united by the necks ; from their Ikins, extending right and left, a loop of ftrapwork falls, and is centred by a fix-lided knob. i6o Catalogue of Bronzes. Italian. Second half of i6th century. L., including ftaple, 1 1 in., W. of handle, 5 J in. Bought, 4/. Two handles of fimilar defign, rams' replacing the lions' heads, are in the writer's poflellion ; may be from the fame portal. 6i:j. '64. KNOCKER. Bronze. The efcutcheon formed as a lion's head in high relief ; the ring of foliated fcrolls uniting beneath in a fatyrefque maflc. North Italian. About 1560. H. 9 in., W. 6 in. Bought, 6/. 66. '65. KNOCKER. Bronze. Two mermaids or fyrens, em- bracing, and fufpended by their elongated tails uniting upon a mafic ; a curled leafage rifes In front beneath. Italian. Middle of i6th century. H. 10 in., W. ']\ In. Bought (Pourtales Colledlion), lol. An inferior and weak rendering of the fame idea as that on the grand example, No. 573. 89. '65. KNOCKER. Bronze. Formed as two dolphins hanging by the tails and holding In their mouths a fhell, on which a fwan or goofe, with beaded necklet, is feated ; below is an efcallop (hell. North Italian or Venetian. i6th century. H. 7i in., W. 6 In. Bought j/. The bird may probably be an armorial or other family emblem. 3010. '57. KNOCKER. Bronze. In the centre an efcutcheon of arms furrounded by three cuplds ; beneath Is a fatyr's Ladle. mafk flanked by two winged female terminal figures, and Italian. another cupid feated on a (hell below. North Italian. Second half of 1 6th century. H. \ \\ in., W. 15 in. Bought, 50/. The tindlures of the arms are not indicated ; the bearings are a chevron, in chief two cocks, refpe6ting. This knocker is of an overloaded and confufed defign, coarfely executed, and probably of the later years of the century. 432. '69. KNOCKER. Bronze. Above, a fhield of arms is fup- ported by two boys, who ride the foliated extremities of two dogs ; in the centre is a half terminal female figure, beneath whom is a horned mafk with recurved foliated beard. North Italian. Laft quarter of 16th century. H. \\\ in., W. 10 in. Bought, 20/. A good bold defign, but careleflly executed, and probably of the later years of the century. The fliield bears a bend, but of what metal or colour and on what field we are not able to decide. 3652- '55- KNOCKER. Bronze. In the centre an eagle difplayed within an oval frame of ftrapwork ornament ; a mafk in the lower part, and a fhield of arms above. Italian. Lafl half of i6th century. H. iif in., W. yf in. Bought, 9/. Alfo a bold model, but rather coarfely executed. The fhield bears barry or barry-bendy of five, a fleur-de-lys at the fefs point. LADLE. 971- '54- LADLE for meafuring Wine. Bronze. Cylindrical, the Antique. handle enriched with foliated ornaments, terminating B. L l62 Catalogue of Bronzes. Antique, in a mafic, and with two ftorks' heads at the fhoulders. Beneath it is the fkull of an ox. H. in,, W., including handle, 1 1 in. Ancient Greek or Roman. Bought, 4/. 4^. The beauty and accuracy of the fine turned lines of moulding on the body, and the delicacy and high finifh of the handle, prove to what a degree of fkill and refinement the cafters and workers of thefe ordinary domellic vefTels had attained in claffic times. Their ufe and name in antiquity have long been doubtful, although it had been concluded by fome Italian and French archasologifts that they could be none other than antique cajferoles., or ftew pans, the parents of thofe in ufe at the prefent day. See a notice by Sig. Caterino, and engraving of fuch in the " Mufeo Borbonico," vol. V. tav. Iviii. They have been found on various fites of Roman occupation, and, although agreeing in general chara£fer of form, they vary in lize and in materials, bronze is the more ufual, of filver fome have been occafion- ally found, and one inftance is recorded of fuch a veflel, formed of bronze and covered with champleve enamel, which was unearthed at Pyrmont, in North Germany, in 1864, We owe to Mr, Edmund Oldfield, a more probable explanation of the ufes of thefe obje£h, in- ferred by him from the agreement of their liquid contents with multiples of the Roman cyathus ("08 of our pint, or i"6 ounces). Thefe views he has explained in detail by an able paper publilhed in the 41st vol, of the Archaeologia, at p, 325, defcriptive of five fuch velTels in bronze, of various fize, difcovered together in 1856 at Stittenham Hill in Yorkfhire. He arrives at the conclufion that they were ufed for meafuring the relative quantities of wine and water to be mixed in the crater ; thofe of bronze being for fecular ufe at the banquet j thofe of filver, frequently votive, for libations to divinities. But of the corredl Greek or Latin name for this veflel we are yet in doubt, Mr. Oldfield fhowing that neither '•'•fimpulum " nor " cyathus " are applicable thereto. LAMPS. BYZANTINE. 578. '7^. Byzan- T AMP. Bronze, In form of a lion, with two burners pro- tine. J — ^ jeding from its breaft. An opening on the head for Lamps, 163 filling the oil, and a loop above the tail for fufpenfion, or for Byzan- attaching the trimming tools. Byzantine. 6th or 7th cen- tury. L. 8f in., H. 5 in. Bought 10/. A curious and unufual lamp of early date. ITALIAN. 137- '^5- LAMP. Bronze. In the fhape of an ancient galley, on the Italian. fides of which are groups of fea gods and medallions in low relief ; on the cover a ftatuette of cupid mounted on a dolphin. The ftand is of Spanifh broccatello marble. Italian. End of 15th or firft quarter of i6th century. H, 5 in., L. 8 J in. Bought, 163/. This is an unufually ornate example of the fanciful lamps of the cinque cento., the idea of which was borrowed, for the moft part, from the antique. It is formed as a navicella., or galley, covered with reliefs ; beneath, floral and mafk- terminated projections, partly broken, ferved probably as fupports ; the fides, adorned with imbricated and other patterns, alfo bear belts of baf-relief, reprefenting tritons and other marine ideal creatures, and central fubje£t medallions ; grotefque termi- nal figures, heads, &c. fill the angles. The cover is furmounted by a dolphin with foliated fins, &c. ridden by Cupid. It is the work of a very able artift and modelled with great fpirit. But few have defcended to our days fo well preferved. It was purchafed at the fale of Lord Cadogan's colleftion. One, lefs elaborate, and unfortunately lefs perfect, is in the writer's colle£tion. {^See Plate XXII.) 4701. '59. LAMP. Bronze. A grotefque, horned, female fphinx, with ftrapwork and foliated enrichment, from whofe breaft a fnail protrudes to form the nozzle. Italian. 1 5th or early 1 6th century. H. 4^ in., W. f-^ in. by 2^ in. Bought (Mufeum of the Collegio Romano). L 2 164 Catalogue of Bronzes. Italian. This is a fine bronze of the earlier years of the i6th, or perhaps the laft decade of the 15th century, and may be Northern Italian. There is that about it which recalls fome of the figures on Riccio's candelabrum at Padua. {See Plate XV.) 743^. '61 LAMP. Bronze. Formed as a male winged fphinx, from whofe breaft the beak protrudes ; on the bearded head is a cap, from beneath which a loop extends and is attached to the back to form a handle ; curling pointed wings are at the fides. From the Monville Colle6lion. Italian. About 1500. H. 8f in., L. 9^ in., W. 3I in. This is alfo a quaint but fine model. Thebafe is a modern addition, and a portion of the tail has been reftored. 4409. '57. LAMP. Bronze. In fhape a grotefque dragon, the mouth of which forms the burner. On a bafe of antique fer- pentine. Italian (Florentine). i6th century. H. 5], in., W. 6 in. by 3 in. Bought, A queer eccentric fancy, ably modelled and worked in bronze. The tail, which has been broken and reftored, curls over the back to form the handle. {See Plate XV.) 180. '66. LAMP. Bronze. Formed as an afT's head, round the neck of which a dwarf, with Phrygian cap, is clinging ; the handle a twifted vine ftem, which alfo garlands the brute's head ; on pedeftal of ftained wood. Italian. 1 6th century. H, 3 in,, L. (>\ in. Bought, 10/. This is probably after an antique model in terra-cotta. The fame, fomewhat varied, not unfrequently occurs in colle£lions ; two, both diff^ering from this, are in that of the writer. This is a good example. Lamps. 165 2,62,1. '56. LAMP, with Cover. Bronze, after the antique. The Italian. handle is formed as a fhell between two dolphins ; on the cover is a baf-relief, reprefenting a facrifice to Hermes ; the fides are enriched with a fringe of tritons, &c.; the beak formed C I C as a fiiell. Underneath is the infcription joMS ' ^^^^ ^ laurel leaf above and below. Italian. Early i6th century. H. I in,, L. 5f in., W. 2^^ in. Bought, il. ^s. L 4700. 59. AMP. Bronze. Formed as an efcalop fhell, furmounted by a feated figure of Vulcan blowing a bellows at the flame ; his anvil, hammer, and tongs are by his fide ; beneath the beak, is a mafk and fall of wreathage ; the attachment to the pillar and foot (now wanting) is in form of a dolphin. Italian (Florentine). i6th century. H. 5^ in., W. 5 in, by 3 in. Bought (Mufeum of the Collegio Romano). This is a clever model by an able hand, vigoroufly touched ; the head of the figure has been loft and is reftored in wax. 4410. 57. LAMP. Bronze. The lamp boat-fiiaped, furmounted by a fl:atuette of a cupid, it is fupported on a baluflier-formed fl:em decorated with foliated and fcale ornament, and rifing from the union of three lions' paw feet. Italian (Florentine). End of 15th or early i6th century. H. ii\ in,, W. 6^ in. by 6 in. Bought, 3/, 10s. The lamp is boat-fhaped with a burner at either end ; it is enriched with acanthus foliag;e and furmounted by a figure of a nude boy. » • 1 66 CataloQ-ue of Bronzes. Italian. Here again it is hard to fay whether the ftem and the lamp originally belonged to each other ; they are of the fame time, workmanfhp, and patina ; but a member feems wanting between the balufter and the lamp, which are now attached by an iron fcrew replacing the old. This is a fair example of the model, now rarely met with in its entirety. One fuch, but not fine, is in the Florentine Colledtion. A better belongs to the writer. 574- '^5- LAMP. Bronze. A negro's head furmounting a balus- tered pillar, enriched with mouldings, mafks, &c., with triple root-like foot on which lizards crawl. Florentine. End of 15th or firft quarter of i6th century. H. 9^ in., L. 8^ in. Bought (Soulages Colledlion), 15/. With the exception of the hinged cover this appears to be in its original entirety. The balufter ftem is enriched with birds, &c. in relief ; the root-like foot has a lizard on each of its three members. It is an uncommon model, but doubtlefs derived from an antique original; the negro's head from a terra-cotta or bronze lamp. 4584. '57. LAMP. Bronze, mounted on an eagle's claw. The head of a satyr with foliated beard and eyebrows, whofe mouth forms the burner ; a hinged cover to the oil hole is on the crown. It has been attached to an eagle's claw foot of dif- ferent workmanfhip. Italian. i6th century. H. 8j in., L. 7f in., W. 6 in. Bought, 6/. This lamp is of a well-known type, derived from the antique, but more carefully finifhed than is ufual. LAMP. Bronze. The pedeftal ornamented with terminal figures, garlands, &c. ; the lamp formed as a dragon Lamps. 167 with a murex fhell on the point of its tail. Italian. About Italian. 1570. H, 13 in. Bought (Soulages Colledlion), 15/. The lower part forms a candleftick, and confifts of a triangular pedeftal, with female winged terminals at the angles, terminating in leafage and ftrapwork and connedled by falls of fruit and flowers. A vafe-fliaped ftem rifes from a ftage above thefe, and is decorated with whole length figures alternating with goats' heads. This was, perhaps, originally furmounted by the nozzle of the candleftick, which has been replaced by the figure of a dragon, of earlier workmanftiip, the tail of which, bent to the purpofe, now fup- ports a murex fhell, which originally belonged to an inkftand, and is of a different coloured bronze. It is to be regretted that this lamp, which has manifeftly been made up of fragments alien to each other, fhould have been felefted to illus- trate this clafs of objeits in bronze, in the " Gems of the Art Treafures Exhibition at Manchefter." No. 564 is the companion, imperfedl:, a candleftick, fimilarly furmounted by a lamp of different form. 564. '65. LAMP or Candleftick. Bronze. The pedeftal ornamented with terminal figures, garlands, &c. ; the upper part formed as a grotefque figure of a firen. Italian. About 1570. H. 14 in., L. 5 in. Bought (Soulages Colledlion), 18/. The lamp is formed as a firen or mermaid, the tail rifing over the back in S form, and having a loop at the top for fufpenfion, a projecting beak extends from the breaft. The candleftick portion is precifely fimilar to that of No. 563, into this the lamp has been inferted by foldering a piece of brafs beneath. 4858. '59. LAMP. Brafs. Vafe-ftiaped, with four burners. Aiding on a high ftem which rifes from a circular foot and with handle above ; fnuffers, &c. are fufpended from the ftem by chains. Modern Italian, after an old pattern. H. 24I- in., diam. of bafe, 5f in. Bought, 8j. %d. Thefe elegant lamps are in general ufe throughout Italy. i68 ue of Bronzes. 5441- '59- Italian. T AMP. Brafs. With three burners, extinguifher, fnuffers, _1 J and cleaning wire attached by chains to central ftem. Modern Italian, after the ancient pattern. H. 24 in., diameter of bafe, 6 in. Bought, yj. id. 5442. '59. LAMP. Brafs. With two burners, and projedling hook in fhape of a ferpent grafped by a hand. Ancient pat- tern. Modern Italian. H. 22 in., diam, of bafe, 5 in. Bought, yj. id. 1276. '72. LAMP. Brafs, bronzed. Of flattened globular form, with three projedling burners furmounted by swans' heads, and having bearded mafks beneath. On the top are figures of Minerva and Cupid ; on the fides claflical fubjects in relief. H. 2-| in., diam. \\ in. Given by Mr. A. S. Drey, Munich. A modern Italian or German imitation of the renaijfance. LANTERNS. DANISH. S37- '69- Danijh. T ANTERN and Cafe. Folding, portable. Brafs, open- J work and engraved ; with planes of talc ; at the top of each fide is the crown, monogram, and fupporters of King Chriftian VII. of Denmark. The cafe is of iron, brafs mounted. Danifli. 1766-1808. H. 9I in., diam, 6f in. Bought, 10/. Lanterns. 169 The lantern is fexagonal, compofed of brafs plates enclofing panes Danijh. of talc or mica^ and ornamented with pierced and engraved work of foliage, and the royal monogram fupported by lions and furmounted by the crown. An inner top of openwork is covered by a hinged lid engraved with figures of Hope and a female bearing a yoke, and infcribed beneath " GEDULT." The fides, bottom, and top are all hinged, faftening together with hooks or folding up to be placed in the outer cafe. This latter, made of iron mounted in brafs, has an arched cover ftiutting with a fnap. FLEMISH. 4672. '58. LANTERN. Brafs. Of hexagonal form, decorated with Flemijh. Gothic openwork tracery ; and engraved with figures of four faints, infcribed refpectively S. PETRVS . S. GLLE . S. QUATELINA . S. PAVLLVS. A pointed window in the front. Fiemilh. About 1500. H, 10^ in., W. 4I- in. Bought, 5/. I c^s. This curious lantern is in a perfeitly original ftate, except that clean- ing has rubbed down the engraved defigns. FRENCH OR ITJLIJN. 150^- '53- LANTERN. Brafs. Cylindrical, furmounted by a domed French cover pierced with holes, and rins; handle. The fides ^ ^f. .... . Italian. are divided into eight panels by turned pilafters connedled by arching, three of which are glazed and the remainder pierced with holes ; a door opens behind, and like the lid is hinged. French or Italian (Venetian.?). Late 17th century. H. II in., diam. 5 in. Bought, 3/. 13^. 6d. lyo Catalogue of Bronzes, LECTERN. FLEMISH. ^759- ^53- Flemljh. J ECTERN or Reading Defk. Caft brafs. Of bracket J — ^ form, the defk perforated with fcroll work of inter- twined and fymmetrically arranged foliage, and fuftained by a corded arm. FJemifh. 17th century. H. i ft. 7 in., W, I ft. (i\ in. Bought, il. c^s. LOCK PLATES, ESCUTCHEONS, &c. ENGLISH. 5405- '59- Englijh. T OCK. Engraved brafs. Foliated fcroll openwork over J ^ fteel plate. Signed " Johannes Wilkes de Birmingham fecit." Englifh. Firft half of i8th century. L. 7^ in., W. 4|-in. Bought, 6/. Nos. 5403-4 are the hinges of the fame door furniture. 5403- '59- HINGE. Brafs, engraved, and worked in open floral fcrolls in relief, laid upon a blue fteel ground. Englifh. Firft half of i8th century. lof in. by 5 in. Bought, 3/. 5404. '59. HINGE. Brafs, engraved, and wrought in floral fcroll openwork, mounted on a fteel plate. Englifh. Firft half of 1 8th century. lof in. by 5 in. Bought, 3/. PORTION OF LOCK ESCUTCHEON [N GtLT AND CHli'ELLED BRONZE ITALIAN -CTN^^UE-CENTO WORK .(SOULAGES COLl.) 6M<>M. (5750) T? t, STEVENSON Teed Escutcheons. 171 4013- '55- LOCK Plate, Door Handle, and pair of Efcutcheons. EngUJh. Gilt brafs. From a door at Somerfet Houfe. A medal- lion head of George III. on' the fwing guard of the keyhole ; the efcutcheon for the handle, furrounded by wreaths and fcroUs of leafage, is furmounted by the crown ; the knob handles of oval form are enriched with moulding patterns. Englifh. About 1770-8. L. of handle, 6 in., efcutcheon, 7 in. by 6 in. Transferred by the Board of Works. ITJLUN. 5750. '59- LOCK Efcutcheon. The lower portion. Bronze, chifel- Italian. led and gilt. Italian. i6th century. 4f in. by 3|- in. Bought (Soulages Colledion), i/. Centred by a female ma(k fupporting a bafket of flowers, and fur- rounded by ftrapwork foliation, &c. elegantly arranged. [See Etching.) 4817, 4817^. '57. ESCUTCHEON Plate and Hafp for a Lock. Bronze. The plate ornamented with two recumbent figures and trophies, mafks, vafes, &c. ; the hafp with a female figure bearing flowers caft in rilievo. Italian. i6th century (?). Plate, 7 in. by 7 in. ; hafp, 8^ in. by in. Bought. From a good model, perhaps of earlier date than this cafting, which has not been chafed. ^437- '5^- ESCUTCHEON Plate and Hafp for a Lock. Gilt bronze. With trophies and allegorical figures in relief. Italian. 1 6th century (?). lof in. by 7 in. Bought, 7/. Duplicate of No. 4817. '57, and probably alfo a furmoulage of an earlier original. 172 Catalogue of Bronzes. MIRRORS. HAL I AN. 4242. SI- :e of polifh( or 1 6th century, i ft. 10 in. by i ft. 6 in. Bought, Italian. IRROR. A plate of polifhed metal, Italian. 15th 111. y^^y- '61. MIRROR. Burnifhed metal, on which is executed a painting in oil of the Temptation of Adam and Eve, Italian. i6th century. H. loj in., L. 12 in. Bought (Soulages Colleftion), 5/. Like the ancients, the Italians of the 15th and i6th centuries re- tained the ufe of mirrors made of a burnifhed mixed metal. Looking- glafles were a later fafhion. [For the Martelll Mirror by Donatello, fee has reliefs^ p. 58.) MONUMENTAL TABLETS. ENGLISH. 5781. 59- Englljh. IGURE. Brafs, engraved. The monumental effigy of a knight in armour, his feet refting on a dog, a fword by his fide, and a collar of SS. round his neck. Englifh. About 1445. H. 2 ft. 8 in., W. 10 in. Bought, 12/. FLEMISH. 4447. '58. Flemljh. HIELD of Arms. Champleve engraving on brafs ; kly within a quatrefoil. Flemiffi. 15th century. (From MONQMENTAL ROUNDEL. Cerinnn. About 1500. No. 7796- '63. Monumental Tablets. 173 a fepuJchral brafs from the neighbourhood of Malines.) Diam. Flemifh. 4I in. Bought, I2J. The arms are, quarterly, ift and 4th, five mullets in crofs, on the ift an efcutcheon in the dexter chief ; 2nd and 3rd barry piiy ; the tints are not indicated. 4448. '58. SHIELD of Arms. Champleve engraving on brafs ; within a quatrefoil. Flemirti. 15th century. (From a fepulchral brafs from the neighbourhood of Malines.) Diam. 4J in. Bought, lis. The fhield is divided per fefs, in chief a demi-lion rampant charged with a ftar ; in bafe three round buckles, placed two and one. GERMAN. yyg6. '63. MONUMENTAL Roundel. Bronze ; painted and German. gilt. In the centre a figure of an angel holding two armorial fhields ; around the border an infcription in German ; black and gold frame. German, probably Nuremberg. About 1500. Diam, without frame, 14^ in. Bought, 21/. In the centre, framed by a quatrefoil, the angles of which are filled in with Gothic foliage, is the figure of a boy angel in high relief, draped in a red robe, and with curling golden hair ; the face and hands are coloured after nature. He holds a fhield of arms by each hand, that in the right bears, per pale or and purpure, three fifties naiant counter- changed. The fliield in the left hand is charged, on a field fable a chevron terminated at the point by a crofs Maltefe, between three ftars of fix points or. The outer edge has a corded moulding, between which and the quatrefoil is a band of infcription in Gothic character, which reads : i3art|)Olomr^ . ?lKl>trIftcrg ♦ tlSoUemelt ♦ unli ♦ ©rietiua . epu . fljcfje . t)U0 . fiiiuluf . Don * dFraurfefurt . 174- Catalogue of Bronzes. German. A well preferved and good example of a fingular clafs of local monumental works, frequently remarkable for their elegance of defign and the fkilful manner in which the metal work has been executed. In this fpecimen the cafting has been effected with great fuccefs ; the high finifli of the detail and the elaborate under-cutting are alfo excellent. {See Plate XXIII.) 191. '66. TABLET. Brafs. A fepulchral tablet, engraved with the figures of the Virgin and Child, St. Peter, Solomon, or David and a prieft. Armorial bearings and dedicatory in- fcription beneath. German. Dated 1535. H. 1 ft. ^\ in., W. I ft, \o\ in. Bought, 20/. Mary and her Child, who holds a crofs, are beneath a canopy, on which figures are depicted reprefenting the Annunciation ; on her right St. Peter, on her left a king, Solomon or David ; a prieft kneels in front. Beneath is a ftiield of arms hanging from a vafe ; the charges, partly enamelled, are a chief paly, argent, and noir ; on a mount in bafe an ox proper (?). An infcription in Gothic letters reads — ^tftifrcit 1)cnriru0 <©0ikfU0 (jTantor rt (JTiittouifue Ijuiu0 tttXt^xt liinn Diurrrt ovatr pro ro ®\iixX autrm anno donnni miUr^uno autngentr^tnio Crf0frfmo (luinto ate Ufio nltiino :NIonenfiri0. his being tranflated reads — OsKENS Henry (Hoskins ?) precentor and canon of this Church WHILE HE LIVED, CAUSED ME TO BE MADE ; PRAY FOR HIM. He DIED A.D. ONE THOUSAND FIVE HUNDRED AND THIRTY-FIVE, REALLY ON THE LAST DAY OF NOVEMBER. MORTARS. GERMAN. 1 166. '64. German. '\ /f ORTAR. Bronze. With two fquare loop handles. It is ornamented with reliefs of the Virgin and Child, M J^ORJAf^ . BELL MET/VL . GfEr\H/Nf orTLEj^lSM . \5L5 . >(,6^ii-ii (BE^NiyvL COLL) CN* 2,|•7^•-'^5) W, W,jvlsc:Ar\TY, TEC IT Mortars. 175 and the Crucifixion, beneath Gothic cufped arched canopies ; German a row of mafks round the bafe. German, Firft half of 1 5th century. H. 8-| in., W., including handles, 8|- in. Bought, 2/. ^s. An early example of unufual height compared to its diameter. 5176. '55. MORTAR and Peftle. Bell metal. The mortar has two fquare hoop handles, and is decorated with belts of foliated Gothic and beaded moulding, and with figures re- prefenting the Martyrdom of St. Sebaftian, the infant St. John, Sufanna and the Elders, and the Magdalen. On the outer edge of the lip is the infcription in Gothic charadler, ** (I^ttO ♦ \)tVt ♦ rufttn* * ban ♦ iKngcI . me . fieri . fecit ; beneath which aegebimis; ♦ ftatiseren ♦ me ♦ feeit . ano ♦ Um ♦ m ♦ ♦ jl'I/* German or Flemifh work. Dated 1540. H. 7^ in., diam. g\ in. Bought (Bernal Colledion), 5/. 2175- '55- MORTAR. Bell metal. Decorated with Gothic leafage moulding, a fliield fupported by two angels, and monfter-headed handles ; it bears round the rim the infcription in Gothic charader, ^nxt Bluaill ©OrOtftea tana . . 199 2294. '55 Do. 200 2 3 04. '55 Girdle ornament I J 2391. '55 Fire pan I 29 2398. 55 Chandelier 1 09 2437. 56 Efcutcheon 171 2438.-39 .'56 Candleiticks . 93 2454. '56 Figure . n C 20 2521. '48 Salver . 109 2535. '56 Plat^ue . . . 62 2S66. '56 90 2571. '56 Statuette ^9 2583. '56 Ewer 121 2584. '56 UO. 122 2617. '56 Mounting . • 2620. •55 Snuffers ... I 98 2621. '56 2626. '55 ocatueiLe . . 1 7 2694. '55 Pan Jlfil-I/'l'- v^anuieincK. . . 90 2695. •55 JJO. 9^ 2700. '56 Statuette . 1 2701. '56 Vale 200 2702. '56 \J0. 2o6 2703. '56 JJO. 200 2708. '56 Group . 10 2709. '56 UO. . , . I 2717. '56 Uo. 13 2757. '55 rianuic . . 1 40 2758. '55 140 2759. '55 Le<5lern . , I 70 2802. ■56 Handle ... I jO 2803. '56 Plaque . 57 2806. •56 Ca/ket . 107 2812. '56 Bowl 8z 2995'. '56 Salver , , 191 3002. '56 Statuette . , 24 3010. '5? JCnoclcer , , I 00 3011-12 •'57 fire dogs , , I 2 D 3o38. 56 rue guard 127 3039. 'S3 Ewer . . T I I 333o. 56 rianaie , 13s 333i. 56 UO, , . . 139 3332. '56 Do. . i3q 3333. 56 Do. . ! 3334- '56 Do. . 139 3335- '56 Do. . 139 3336. '56 Do. . 139 3337. 56 Foot 122 3343. '56 Handle . 141 3344. 56 Do. . 141 3345. 5i Vafe . 204 355i. 56 Fender . 124 Regifter Number. Objedl. Page. 3553. '56 Kire dogs • . 3602. '56 Candleftick . , 87 3624. '56 Inkftand i53 3625. '56 Plaque . 1 77 3627. '56 Ca/ket . io5 3628. '56 Book plaque . 78 3629. '56 Do. 78 363o. '56 Do. 78 363i. '56 Do. 78 365o. '56 Bucket 83 3652. '55 Knocker 161 4012. '52 Capital . 1 04 4013. '55 Lock plate 171 4028. '53 Stove front 202 4029. '53 Do. 202 4o3o. '53 Do. 202 403 1. '58 Vafe . 2o5 4040. '56 Buckle . 85 4054. '56 Ewer 1 14 4074. '57 Candleftick . QO 7 4076. '57 Statuette i3 4080. '57 Plaque . 61 4081. '57 Do. . 4.0 4082. '57 Med. plaque . 4090. '57 Bofs 80 4091. '57 Handle . 140 4096. '57 Salt cellar 182 4120. '54 Plaque . 6q 4214. '55 Warming pan . 210 4217. '57 Med. plaque . 37 4223. '57 Ewer III 4224. '57 Fragment i33 4225. '57 Do. i33 4226. '57 Do. i33 4442. 'S7 Mirror , , 172 4262. '57 Statuette , , 12 4263. '57 Candleftick . 102 4264. '57 Do. 1 02 4284. '57 Lamp 166 4288. '57 Urn . 204 T 4301. '57 Candleftick . q3 4316. '57 . Salver I q6 8 4332. '54 Statuette 4347- '57 Plaque . 7 1 4363. '57 Ewer 112 4366. '57 Pediment 180 4371. '57 Plaque . Al 4372. '57 Do. *r~' 4409. 57 Lamp 164. 4410. '57 Do. . i65 4423. 58 Ewer 115 4430. 58 Mounting 177 4432-3. '57 Fire dogs 124 4437- 57 Candleftick . 91 4439. 58 Statuette 18 4441. 57 Pax 38 4447- 58 Shield . 172 4448. 58 Do 173 4452. 58 Book clafps . 77 Table of Reference. 227 Regifter Number. Objeift. Pa Re. Regifter Number. Objeft. Page. J. 58 Corner plates , 77 5440. '59 i^anciieiticK. lOi 58 Do. 79 544 « • '59 Lamp , 105 Uo. 79 5442. '59 '59 UO. . 105 aa6 5 58 uo. 00 5469. r^anei. ■J 9 44-66. '58 Plaque . 48 5473. '59 Plaque , . r- 05 AA67 '58 L/o. . c , J I 5632. '59 Salver 194 /I A7 Q 58 IVled. plaque . 52 5718. '59 ijOIS 9 T 5 I aa8 I . 58 Plaque . J J 5720. '59 Foot . . • 4482. 58 47 5721. '59 '59 UO. . . , 1 2 J 58 nell 70 5727. Salt cellar i«7 4488. 58 Fragment . . I J J 5729. '59 Pediment . . ISO aa8q 55 LiCLLer t . . 134 5730. •59 LJOt , . 1 I AAQO. 58 Plaque . . . 47 5731. '59 Tin 1 9 T A AO 8 58 Fin ■ 33 5732. '59 uo. , T 9 Y I I 4501 . 58 v..an{j leiLicK . 9n *9 5733- '59 nanuic , . 140 4502. 58 uo. 5734- '59 UO. . . • 140 45 I I . 58 IVled. plaque . . 07 5735-42 '59 I~Iandles . . 147 4526. 58 xiucKie ... 9 C J 5743-5. '59 Do 1 47 4533. 58 Statuette 25 5746. -'9 nanuic . , . 58 iviaiK 141 5747- ' "In 1 00 L . a 1^3 58 uo, . 141 574*- ^59 Plaque . 4-z 46S2. 5q -'y Med. plaque . 34 5749- '59 rigure , . I7S 4653. 5q -•y Plaque . 1 A 5750. 59 Efcutcheon . 171 a6?7 4U3 7. tsols 00 575i. ■59 j VI a IK. . 143 4658. ^y uo. , 9 T 8 I jJjZ. ■>9 nanuic . . « I 30 4659. -'9 Book clafp 79 5704. -'9 Salver . , 1 9rt 109 4663. 58 Plaque . ^7 5765. '59 UO, . , . I 90 A 67-? 58 Lantern 1 09 5766. '59 UO. I 90 /1 673 407 J. 58 Inkftand w C "7 ID^ 5781. '59 Figure . 172 A678 58 Med. plaque . 54 58o5. ■60 Grating I io 4699. jy Statuette 15 58o6. '60 uo. I 5q -^y Lamp , . ID? 5807. '60 IjOwI . . , 9-> 52 -y Do. 5866. '59 \ ire pot , 4702. 5q -■y Inkftand 154 590S. •59 Tn (1-1 11 A '5o -•y Handle . . • 145 6026. '57 Plaaue . , /I 77 7 iy Book mounting 79 6751. •60 Do 73 4/01). 'aS 4° Tazza . « c 20j 6762. '60 ^/^ed. plaque 40 4856. '58 rlanaJe . 140 6853. •60 Eofs 9 T I 4337. 4S5S. '58 v_anulelticic I 03 6854. '60 119 59 Lamp 107 6866. '60 otatuccce p . 22 4869*. '58 Snufteis 199 6889. '60 70 4817—17 a '1:7 Eicutcheon, 8cc. 171 6890. '60 Do. A fx 4b 4891. '58 Salver . I 90 6894. '60 lianaie . , . 144 '58 Ewer 121 6904. '60 Pounce box 154 >i 9n7 4397. ■'4 Plaque , 6920. '60 Bas— relief , , 29 5403. '59 Hmge , 170 6961. '60 Tap 2o3 5404. '59 uo. I 70 6966. '60 ih^ed. plaque . . 4!) 5405- '59 Lock 1 70 6967. '60 UO, • . j2 54' I- '59 Plaque . 37 6968. '60 Plaque . 72 5412. '59 Do. CO 6975. '60 Stirrup . 201 5420. '59 Statuette 18 6976. •60 Do. . 201 5422. '59 Buft . 8 6977. '60 Plaque . 63 5426. '59 Ewer 121 6979. '60 Do. . . . 60 5431. '59 Figure . 24 6980. '60 Candleftick . 9t 5432. '59 Group . 22 6988. '60 Figure , 24 5435. '59 Water pot 211 6992. '60 Plaque . 47 5437- "59 Do. 211 7121. '60 Do. . 54 5438. '59 Do. 212 7140. ■60 Pediment 182 5439- '59 Candleftick . io3 7i5i. '60 Statuette 23 P 2 2 28 T'ahle of Reference. Regifter Number Objed. Page. Ohjeft. Page. 7i52. '60 Medallion 34 7786. '63 Fire pot 1 30 7153. '60 Do. 34 7787. '63 Bucket 84 ■JXZ!). '60 Vafe . 2o5 7796. '63 Mon. roundel 173 7237. '60 Group . 12 7799. '63 Plaque . 67 7238-9. '60 Handles I So 7800. '63 Do. . 68 7346. '61 Plaque . 46 7801. '62 Salver . 193 7369. '61 Do. . 62 7842. '61 Do. . 188 7370. '6i Do. . 36 7844. '61 Do. . 192 7371. '61 Do. . 72 7845. '61 Cover . 128 7372. '61 Do. . 72 7846. '61 Mortar . 176 7373. '61 Do. . 70 7847. '61 Do. . 177 7374. '61 Do. . 73 7848. '61 Do. . 177 737S. '61 Do. . 38 7850. '61 Ewer 119 7376. '61 Do. . 54 785i. '61 Fire pot 130 7377. '61 Do. . 49 7857-57"=. '62 Handles 149 7378. '61 Do. . S4 7858. '62 Do. . i5i 7379. '61 Do. . 72 7867. '61 Fire pan 128 7380. '61 Do. . 69 7868. '61 Figure . 24 7381. '61 Med. plaque . 44 7868'. '61 Do. . 25 7391. '60 Fountain fpout I32 7874. '6i Bucket . 84 7400. '60 Handle . 144 7875. '61 Statuette 21 7421. '61 Plaque . 39 7877. '61 Frame . 135 7422. '61 Do. . 52 7878. '61 Efcutcheon 178 7423. '61 Do. . 33 7879. '61 Do. 178 7424. '61 Do. . 71 7891'. '61 Plaque . 63 742S. '61 Med. plaque . 43 7892. '61 Bofs 80 7426. '61 Do. 33 7893. '61 Handle . '49 7431. '61 Plaque . 64 7916. '62 Buft . 6 7432. '61 Lamp . 164 7933. '61 Statuette 22 7433. '61 Plaque . 55 7934. '61 Do. . 23 7434. '61 Do. . 44 7935. '61 Do. . 24 7435. '61 Do. . 43 8030-1. '62 Candelabra 86 74.36. '61 Cover of lamp 42 8384. '63 Panel . 67 7440. '60 Figure , 20 8429. '63 Ewer 119 7444. '60 Frame . 135 8430. '63 Do. . 120 7453. '61 7459. '61 Plaque . Do. . 39 52 8431."!,, 8431'. r Fire dogs 12S 7466. '61 Med. plaque . 50 8432. i Do. 126 7461. '61 Fragment 134 8432".} 63 7463. '61 Plaque . 47 8462. '63 Cafket . 106 7464. '61 Do. . 5i 8S02. '63 Figure . 9 7474. '61 Do. '. 65 8552. '63 Group . 59 7476. '61 Med. plaque . 45 8717. '63 Mirror . 58 7483. '61 Plaque . 37 8867. '61 Inkftand l52 7484. '61 Pommel 5i 8868. '61 Plaque . 48 7486. '6r Plaque 46 8869-69^ '61 Handles 149 7487. '61 Candleftick . io3 8870-70'. '61 Do. . 148 7488. '61 Do. io3 8871-71". '61 Do. . 148 7491. '61 Med. plaque . 4S 8872-72'. '61 Do. . 148 7492. '61 Plaque . 64 8873-73". '61 Do. . 148 7493. '61 Do. . 53 8874. '61 Do. . 149 7494. '61 Do. . 71 8875. '61 Do. . 149 7496. '61 Do. . 36 8876. '61 Do. . 147 7497. '61 Med. plaque . 49 8876/to f.'6i 8876s. '61 Do. . 147 7498. '61 Plaque . 37 Do. . 148 7499. '61 Do. . 66 8982. '63 Inkftand 154 7533. '60 Do. . 43 8983. '63 Pounce box . 153 7697. '6i Mirror . 172 9071. '63 Statue . 1 1 7785. '63 Ewer 120 22g NAMES OF ARTIST'S. A. Abbon, page clxii. Abondio, Antonio, 50. Adams, cxci'x. Agafias, Ixix. Ageladas, liv, Iv, Ivii. Agefander, Ixvii. Agoracritus, lix. Akragas, Ixxv, Albanus, Fabius, Ixxxiii. Alborghetti, Alfonzo, cxvii. Albrizio, Horazio, cxxxv. Alcamenes, Iviii. Aldegraver, 33. Alexander of Abingdon, cxcii. Algardi, Aleff., cxxxiv, ccix, 7. Aloifio, Guido Gonzaga di, cxx. Amadeo, cxiii. Ammanati, Bartolomeo, cxxviii. Angelo. {See Michel Angelo.) Auguier, Francois, clxix. Antigonus, Ixviii. Antiphanes, Ixi. ApoUonius, Ixvii, Ixix. Aretino, II Car. {See Leoni.) Arcefilaus, Ixix. Arphe or Arfe, family, clxxxii. Arifteas, Ixxiii. Arifton, Ixxvi. Ariftocles, liv. Ariftomedon, liv. Ariftogeiton, Ixvi. Ariftodemus, Ixvi. Ariftonidas, Ixvii. Arnolfo, xcvi. Afpetti, Tiziano, cxvii, Afpruck, Franz, clxxix. Athenodorus, Ixvii. Atkins, C, 31. Aubrey, clxxi. Augetel, Vilelmus, cxciii. Auftin, William, cxcv. Averulino, Antonio, civ. B. Bacon, John, cxcvii. Bailey, E. H., cxcviii. Baldu, Johannes, 44. Bandinelli, Baccio, cxxviii. Barbedienne, 5, 10, 86, 206. Barifanus of Trani, Ixxxvii. Barkentin and Slater, 75. Baroncelli, Giovanni, cxxi. Baroncelli, Nicolo di, cxxi. Bartolo. {See Michiele.) Bartolomeo, Giov. di, cvi. Bartoluccio, cviii. Barye of Paris, 10. Beaupre, cxcvii. Beckerr, Pierre de, clxxvii, Behnes, Wm., cxcix. Bell, John, cc, 8. Belli, Valerio, 71, et feq. Belli, Giovanni, cxxvi. Beruelin, clxiii 230 Names of Artijls^ Mc. Beresfoid, S., 30. Bermim, clxiii. Bernardino of Lugano, cxiv. Bernard!, Giov.,42, 69. Bernini, Lorenzo, cxxxiii, clxix, 7,219. Bcrrugueto, Alonzo, clxxxiii. Bertuccius, cxv. Bertoldo, ciii, ccix. Berthclot, Guill., cxlix. Beuch, cxxix. Bicci di Lorenzo, ci. Bindelli, cxxi. Bird, f'rancis, cxcvii. Biffi, Andrea, cxxv. Blafer, Guftav, clviii. Boedas, Ixv. Boethus, Ixvi, Ixxv, Bogaert, Martin van den, clxxx. Bologna, Jolni of, ixxiii, cxxix, clxxviii, ccviii, ccix, li, 22. Bolognini, Giobattifta, cxx. Bonnano, Ixxxvii. Bontemps, P., clxix. Bofelli, Pietro, cxxxiii. Bofchi, G., cxxxvi. Bofio, Jofeph, clxxii. Botticelli, A., cix, 62, 63. Bouchardon, Edme, clxx. Boule, A. C, clxxi. Brazier, Richard, clxxxviii. Brambilla, Fras., cxxv. Briofco, Andrea. (See Riccio.) Broker, Nicholas, cxciv. Brunellefchi, Filippo, xcvi, xcvii, c, ci, cxxi. Buzio di Biaggio, xciv. c. Caffieri, Ph., clxxi. Caius, Ovius, Ixxi. Caius, Ponipeius, Ixxi. Calainis, Iv. Calcagni, Antonio, cxxxii. Gallon, liii, liv. Callimachus, Ivii. Cambio, Arnolf:) del, xci. Campionefe Sculptors, cxiii. Camelio. {See Gambello.) Campana, Girolamo, cxvii. Campbell, Thomas, cxcviii. Cantucci, Andrea. [See Sanfo- vino. ) Canova, cxxxiv, cxxxvi, clvii. Canachus, liv. Candido, Pietro. {See Witte.) Cano, Alonzo, clxxxiii. Caradoflb, Ambrogio, cxiv, cxxvi, 59. add. and corr. Carew, C. E., cc. Carinoj Giov., cxx. Carracci, fchool of, 58. Carrier, A., 11. Cafignuola, Jacopo, cxxv. Cafignuola, Tomafo, cxxv. Cataneo, Danefe, cxx. Cauvet, J. P., clxxii. Celino di Pifa, Antonio, ciii. Celino di Pifa, Giovanni, ciii. Cellini, Benvenuto, xiv, xxii, cxiv, cxxvi, cxxvii, cxxx, clxviii, 59^ 69. Celma, Juan Bautifta, clxxxiii. Cephifodotus, Ixi, Ixiii. Chantrey, Sir Fran., cxcviii. Chares, Ixv. Chadet, clxxii, Checre, Sir Henry, cxcvi, cxcvii. Cheret, clxxii. Chriftofle, 207. Chriftophorus, Hierimis. {See Geremia.) Names of Artijls^ &^c. Clone di Michclc. {St'd Vcrroc- chio.) Clearchus of Rhegium, xlix, liv. Clcomenes, Ixix. Climenti, Bartolomco di, cxxi. Climenti, Profpero di, cxxi. Clodion, clxxii. Cluflenbach, Martin, and George von, cxlv. Coalbrooic Dale Comp., 105 Colonna, Duchefs Caftiglione, 5. Colle, Simonc da, xcvii. Colotes, lix. Colpeper, Edmund, clxxxviii. Comacine, Sculptors, xci, cxiii. Conti, Nicolo di, cxvii, Copronius, Ixxi. Cortona, Urbano da, xcv, Cofunati family, xci. Couftou, Guill., clxx. Coyzevox, Ch. Ant., clxx. Cozzarelli, Giacomo, xcv. Credi, Lorenzo di, cvii. Crefilas, Ivi. Cfitias, Iv. Crue, Silvanus, clxxxviii. Crundale, Rich, de, cxci. D. Daippus, Ixv. Danti, Vincenzo, cx, cxxxi. David, P. J., cxxxiv, clvii, clxx, clxxii. Daedalus, liii, Ixi, Ixix. Deere, G., 5. Decius, Ixxi. Delarche, J. C, clxxii. Delvaux, Laurent, clxxx. Dello Delli, civ. Demetrius, Ivii. Denavi, Julian, 177. 231 DeiHiyngc de'Reyns, cxcii. Defidcrio di Scttignano, c. Defjardins, Martin, clxxx. Diclman, clix. Dini, Pietro, cxiii. Diodorus, Ixxvi. Dionyfius, liv. Dipsenus, liii. Donatello, xv, Iviii, xciv, xcvi, xcviii, c, cii, ciii, civ, cv, cxv, cxvi, cxix, cxxxiii, cl, ccviii, 14, 36, 39)58, 153) 176, 179) 207. Donner, G. Ralph., clvii. Drake, Fred., clviii. Dumond, F., clxxii. Dupctit, P., clxxii. Duquefnoy, Francois. (^Sce Fiam- mingo.) Duraiid, clxxiii, 10, 32. Diirer, Albrecht, cxlvii, clii. Duref, Fr. Jo., clxxiii, 10. Dyonants, Jo. des Jofes de, clxxvii. E. Eck and Durand, clxxiii, 10, 32, 189. Eckard, Mafter, cxliii. Elkington, Mcflrs., v, 3, 4, 8, 86, 105-^ Eloy, St. (Eligius), clxii, clxiii. Endaeus, liii. Erizzo, Fr. Anton., 45, 46. ElTex, John, cxcv. Eunicus, Ixxvi. Euphranor, Ixiii. Euftathius, Ixxxiii. Euthycratcs, Ixv. Eutychides, Ixv. Ewen, Nicholas, cxcv. 232 Names of Artifts^ &^c. F. Falloife, Liege, 204. Fanelli, Francefco, add. and corn, (ccvii). Federighi, Anton., xcv. Fernkorn, clx. Fevre, Guill. de, clxxvii. Fiammingo, II, clxxx, clxxxi. Figarola, Guglielmo and Nicola da, Ixxxvii. Filarete. {See Averulino.) Flaxinan, John, Ixxvi, clvii, cxcix. Flavius, Largonius, Ixxi. Foley, cxcix. Fontana, Antonio, cxxv. Fontana, Annibale, cxxv, 20. Fontana, Profpero, 70. Forezza, Horazio, 120, 194. Francia, Francefco, 41. Francia, Giacomo, 42. Francavilla, Pietro, cxxx, clxxviii, 20. Francifi, Jhonnis, 44. Fries, Adrian, cxxx, clxxviii, clxxix, ccvii, 29. G. Gahagan, Sebaft., cxcix. Gambello, Vittore, cxvi. Gardin, Guill. du, clxxvi. Gafl'er, Hans, clx. Geefs, Wilhelm, clxxxi. Geremia, Chriftoforo, 36. Gerhard, Hubert, clxxviii. Ghiberti, Lorenzo, xcii, xciv, xci-c, ciii, cv, cvi, cviii, cxx, cl, 6x. Ghiberti, Vittorio, xcii, c. Ghirlandaio, 62, Giardoni, cxxxv. Gibbons, Grinling, cxcvi. Giorgio, Fran, di, xcv. Girardon, Frans., clxix. Gitiades, liii. Glaucus, xxxix, liii, liv. Glycon, Ixix. Godl, StefFen, cliv. Gonzate, Filippo de', cxxi. Gonzate, Giacomo, cxxi. Gonzate, Damiano, cxxi. Gottfried, cxxxix. Goujon, Jean, clxviii. Gouthiere, clxxi, clxxii. Grafs, P., 10. Groven, Laurens, civ. Gruden, Nicolaus, civ. Guillain, Simon, clxix. Guarnerio, Pietro d'Angelo di, xciv. Gvidvcivs, Francifci, 176. H. Hack, Jacob, clvi. Hack, Hieronymus, clvi. Hahnel, Ernft, clix. Hardman & Co., 205. Hatfield, Mr., clxxi. Hatfield, H. C, 31. Hecataeus, Ixxvi. Hegefias, Iv. Henry of Lewes, cxcii. Hernandez, clxxxiii. Hllger, Wolf cxxxiii, civ. Hiram of Tyre, xlvii. Hokyntone, Thomas, cxcii. Holliday, W., 3. Hoole & Co., 202. Houdon, J. A., clxx. Huet, clxxii. Names of Artifts^ &^c, 233 Hundley, G., 31. Hurtrelle, S., clxx. Hypatodorus, Ixvi. I. Ifogonus, Ixviii. J. Jacopino, cxiii. Jakobi, clvii. Jean de Cologne, clxvi. Jeanneft, 86, 105. Johannes, Limovicenfis, clxvi, cxciii. Jongelinck, Jacques, clxxviii. Jordan, Efteban, clxxxiii. Juni, Juan de, clxxxiii. K. Katzheimer, Wolfgang, cxlviii. Keller, Brothers, xv, clxxi. Khoch, Hans, 192. Kifs, Auguft, clix. Koln, Hans von, civ. Krafft, Adam, cxlvii. Krebs, Hans, cxlviii. Krumfer, Hans, clxxix. L. Labenwolf, Pankraz, cliii. Labenw^olf, Georg, civ. Ladetto, Francesco, cxxxvi. Lainiinger, Peter, cliv. Lamberti, c. Lambefpring, Barth., cxcv. Lando, Lorenzo. {See Vecchietta.) Landini, Taddeo, cxxxii. Landseer, Sir C, cc. Laureti, Tomafo, cxxix. Launitz, Eduard von der, c. Lautizio, 68. Laufenenfis, Albertus, and Petrus, Ixxxix. Learchus. Clearchus.) Legevinus Hatiferen, 175. Legros, Pierre, clxix. Lemoine, J. B., clxxii. Lemot, clxxiii. Leochares, Ixii, Ixiv. Leonardo da Vinci, cvi, cviii, cxiv. Leoni or Lioni, Leo, cxxv,clxxxiii, 66. Leoni, Pompeo, cxxv, clxxxiii, 17- Leopardo, Alefl'., evil, cxv, cxvi. LeroUe, 206. Levi, Jofeph di, 1 26. Limoufin, Leonard, clxiv. Lombardi, Antonio di Pietro, cxxxii. Lombardi, Pietro, xv, cxv. Lombardo, Girolamo, cxxxii. Lotto, Lorenzo, cxxiv. Ludolf and Heinrich, of Brunf- vs^ick, cxliv. Lycias, Ivi. Lyfippus, xlix, Ixii, Ixiii, Ixv, Ixix, Ixxiii (f note), xcix. Lyfiftratus, Ixv. M. Maglioli. (See Sperandio.) Maier, Chriftof., 200. Maitano di Lorenzo, xciii. Maitano, Lorenzo di, xciii. Malhabia, Jacobus, 77. Mamurius, Vetturius, Ixxi. Mantegna, Andrea, cix, cxv, cxix, cxx, 36, 39. Manno, cxx. 2 34 Names of Artijls^ ^c. Mantagazza, Antonio, cxiv. Mantova, Alfonzo di, cxx. Marcello, cxxxv. Marc, Antonio, 71. Marchesi, cxxxvi. Marcetco, A. {^See Colonna.) Marefcotti, cxxi. Mariodti, Julian, 177. Marochetti, Baron Ch., clxxiii, 3. Martincourt, clxxi. Maferano, Ph., 44. Mafo di Tolomeo, cvi. McDowell, Patrick, cxcviii. Menelaus, Ixix. Menganti, or Mcnganati, AleiT., cxx, ccix. Mentor, Ixxv. Meves, Albert, 13. Michel Angelo, Iviii, Ixvi, Ixix, c, cxi, cxxii, cxxiii, cxxviii, cxxix, cxxxiii, civ, 6g, 137, 184. Michel Angelo riformato od inco- gnito. {See Menganti.) Michelozzo di Bartolomeo, c, ci, civ, cvi. Michiele, Bartolo di, xcvi. Milward, E. M., 30, 157. Minft of Berlin, 13. Minio, Tiziano, cxx. Mocchi, Francefco, cxxxv. Moderni, O., 51, 52. Montanez, Martinez, clxxxiii. Montelupo, Bart., cx, cxxiv. Morel, Bartolome, clxxxiii. Mofca, cxx. Muller, F. v., clx. Mufchgat, Joerg, cliv. Myron, xiii, liv, Iv, Ivi, Ivii. Mys, Ixxv. N Naucydes, Ix. Neidthard, Wolfgang, clvi. Niccola of Arezzo, xcvii. Nichols, T., 4, 30. Nini. {See Pifano, Andrea.) Noble, cxcix. Noft, John van, cxcvii. Novius, Blefamus, Ixxi. Novius, Plautius, Ixxi. o. Odeiifius, Ixxxvi. Omodeo. {See Amadeo.) Onatas, Iv. Orcagna, xcvi. P. Papias of Aphrodifias, Ixxiii. Parrhafiius, Ixxv. Paris, Domenico di, cxxi. Parthenius, Ixxvi. Paftis, Matteo di, cxvii. Patros, Lambert, clxxv. Pheidias, liv, Ivii, Iviii, lix, Ixi, Ixxv. Phvromachus, Ixviii. Piacenza, Uberto and Picro di, Ixxxviii. Pigalle, J. B., clxx. Piggiani, clxxiii. Pilon, Germain, cxxxii, clxviii. Pi lion, 32. Pifano, Nicola, Ixxxix, xci, xcvi. Pifano, Giovanni, Ixxxix, xci. Pifano, Andrea, Ixxxix, xcii, xciv. Pifanello, cxvii. Names of Artifis^ &^c. 235 Pitts, William, cxcviii. Pollaiuolo, Antonio, xv, xcviii, c, cviii, cx, cxxx, 63,97, 207. Pollaiuolo, Pietro, cix. Polydorus, Ixvii. Polycleitus, xiii, xlix, liv, lix. Polyphobus, Ixxxiii. Ponce or Ponzio. [See Trebatti.) Porta, Guglielnio della, cxxiv. Porta, Giacomo, cxxxii. Porta, Tomafo, cxxiv. Portigiani, Zanobi, cxxix, ccviii. Portigiani, Domenico, cxxx. Pofeidonius, Ixxvi. Poutram, Max., cxcvi. Pradier, Jacques, clxxiii. Praxiteles, Ixi, Ixii. Preft, GeofFery, cxciv. Prieur, Barth. clxviii. Primaticcio, Fran., xv, cxxviii, cxxxii, clxviii. Publius, Cincius Salvius, Ixxi. Puget, Pierre, clxix. Pugin, 205. Pythagoras, Iv. Pytheas, Ixxvi. Quellinus, Arthur, clxxxi. Querela, Giacomo della, xciv, xcvi, ci. R. Raftaelle, Iviii, cxxiv, cxxxii, 66, 151- Rauch, Chriftian, clviii. Raufon, clxxii. Reichel, Johann, clvi. Rhighetti, F., cxxxvi. Rhoecus, xxxviii, xxxix, liii. Riccio (Andrea Briofco), xv, cxviii, 97, 164. Ricciarelli, Dan., cxxiv, ccviii. Ricfencr, clxxii. Rietchcl, Ernft, clix. Riquinus, cxli. Rizzo, cxv. Robbia, Luca della, cv, cvi, 207. P.occatagliata, Nicolo, cxvii. Roger, Ixxxvi, clxxi. Roger of Beccles, clxxxviii. Rogers, Randolph, clx. Roldau, Pedro, clxxxiii. Roffi, Maeftro, xci. Rouflel, Fremiti, clxviii. Rovezzano, Benedetto di, cxi,cxii, cxxiii. Rubens, Sch. of, 31. Rude, Francois, clxxiii. Rughesee, Nicolaus, civ. Rugina, Nicolo, 120. Ruftici, Gio. Fran., cviii, cxiv. Ryfbrack, John Michael, clxxx. S. Sano, Turino di, xcv. Sano, Giovanni di, xcv. Sanlavino, Andrea, cx, 16, 17. Sanfavino, Jacopo, cx, cxvii, cxxviii, cxxxiii, 6, 64. Sarrazin, Jacques, clxix. Sartor, Lorenz, cliv. Savii, Paolo, cxv. Scalza, Lodovico, cliv. Schadow, clviii. Scheemakers, Peter, cxcvii. Schluter, Andreas, clvii. Schwanthaler, Ludwig, clix. Scopas, Iviii, Ixii. Scyllis, liii. Sefllfchreiber, Gilg., cliv. 236 Names of Artifts^ ^c. Sibenici, Horatius, I20. Sigefried, cxlv. Silanion, Ixiii. Simon of Pavia, cxxvi. Simone, ci, civ. Simone di Germano, Giovanni, cxxvi, Sluter, Claux, clxxvi. Smilis, liii. Soeur, Hubert Le, clxix, cxcvi. Soldani, iVIax., cxxxv. Sperandio, cxvii, cxx. Squarcione, cxv. Staurachios, Ixxxv. Staurentius, Ixxxv. Stefane, Giov. di, xcv. Stevens, A., 202. Stevens, Thomas, cxcv. Stone, Nicholas, cxcvi. Stofs, Veitt, cxlvii. Stratonicus, Ixviii, Ixxvi. Strongylion, Ivi. Styppax, Ivi. Sugar, clxii, clxiii. Sykes, Godfrey, 205. Syrlin, Jorg, cxlvi. T. Tacca, Pietro, cxxx, cxxxi, ccviii. Tatti, Jacopo. {See J. Sanfavino.) Taurifcus, Ixvii, Ixxvi. Telicles,^xxxix, liii. Ternouth, cc. Teucros, Ixxvi. Teudon,"clxiXi Thaletius, Ixx. Theed, William, cxcviii. Theodoros, xxxviii, xxxix, liii. Thomas of Leghtone, cxcii. Thomire, P. P., clxxii, 32. Thorwaldfen, clvii. Timarchus, Ixiii. Timotheus, Ixii. Titius Gemellus, Ixxi. ToUemache, or Tallmache, Wm., cxcvii. Torell, or Torel, William, cxci. Toro, clxxii, cxxxvi. Torre, Giulio della, cxviii. Torregiano, Pietro, cxi, cxii, clxxxiv, cxcv, 6, 16. Tott, B. de, 32. Tow, R., 5. Trebatti, Paolo Ponzio, cxxxii, clxviii. Tribolo, cxxix. Triqueti, Baron de, clxxiii, 33, 59. Tubal Cain, ii. u. Urbano di Cortona, ciii. V. Valenti, Fraf., ciii. Valdambrini, xcvi. Vannini, Pietro, cxiii. Vannini, Lorenzo, cxiii. Vaughan, Wm., clxxxviii. Vecchietta, xciv. Vellano, Jacopo, cvii, cxviii, 39. Venafca, Gio. Paolo, cxxxvi. Verrocchio, Andrea, xv, cv, cvi, cvii, cviii, cxv, cxvi, cxxx, 14, 207. Verzelli, Tiburzio, cxxxii, cxxxiii. Vignola, cxxviii. Vinci, Pierino da, cxxv, cxxix, 64, 65; Vitali, Giobattifta, cxxxiii. Vittoria, Aleflandro, cxvii. Vifcher, Hermann, cxliv, cxlviii. Names of Artifis^ &'c. 237 Vifcher, Peter, cxlviii, cxlix, cli, cliii, cliv, 13. Vifcher, Hermann, jr., cxlviii, clii. Vifcher, John, cliii. Volterra, Daniele. (See Riccearelli.) Vlocrino, 48. Vries. (^See Fries.) Vulcanius of Veii, 1. w. Walker, Humfray, cxcv. Walter of Durham, cxcii. Watfon, cc. Webfter, G., 188. Weftmacott, Sir R., cxcviii. Weftmacott, Profeflbr, cxcviii. Wiefe of Paris, 189. Widnmann, clx. Wilkes, Johannes, 170. William of Suft'olk, cxcii. William the Paviour, cxcii. William of Gloucefter, clxxxix. Wilton, Jofeph, cxcvii. Witte, Peter de, clxxviii, clxxix. Woodington, W. F., cc. Wohlgemuth, Michael, cxlvii. Wolff, A., clix. Woolner, T., 4. Wren, Sir Ch., cxcvii. Wurzelbauer, Ben., clvi. Wyatt, M. C, cxcix. z. Zenodorus, Ixxii, Ixxiii(note), Ixxv. Zobel, Julius, 82. Zoffoli, Giov., cxxxv. Zopyrus, Ixxvi. Zotmann, Hans and Laux, cliv. Zuano delle Campane, Pier, cxv. 238 MONUMENTS, OBJECTS, A. Aix la Chapelle, Ixxxiv, cxxxviii, cxl, cxli, cxlii, cxliv, clxii. Albert Memorial, cxcviii, cc. Amalfi, Ixxxv. Amatrice, cxiii. Amiens, clxv. Arona, cxxxv. AfchalFenburg, cl, clii, cliii, clvi. Atrani, Ixxxv. Augfburg, cxli, clvi, clxxviii. B. Bamberg, cxlvii, cxlviii. Bafle, altar front, Ixxxiv. Bauble, g, 157. Beneventura, Ixxxvii. Bergamo, cxxvi. Berlin, cxliv, cliii, clvii, clviii. Bologna, cxx, cxxiii, cxxix. Breflau, cxlii, cxlix, clviii. Bronzes of Siris, xii, Ixxv. Bruges, clxxvii, clxxviii, clxxx. Brunfwick, cxxxix, cxlii, cxliv. Bufts, Ivi, Ixxi, Ixxii, cxx, cxxvi, cxxvii, cxxxi, cxxxiv, clxix, clxxxviii, cxcvii, 3, 4, 7, 8. Byzantium, column at, Ixxxii. c. Canofa, Ixxxvi. Canterbury, cxciii. Caffe), clvi. &c., AND LOCALITIES. Charlemagne, his fv/ord and crown, clxiii. Chriftian VIl. of Denmark, his lantern, 168. Clement V^., his crucifix, xcii. Coburg, clvi. Colbcrg, cxliv. CollecSlions of bronzes, ccvi. Colleilions, private, objedls in, DaviUier, Baron Ch., cxix ; Dreyfus, M., clii (note) ; Drake, Sir William, Ixxvi ; Fortnum, C. Drury, Ixiii, Ixxiii, Ixxvi, Ixxxi, c, cv (note), cxix, cxxiv, cli, ccvi, 16, 34, 36, 41, 42, 46, 53, 60, 62, 63, 65, 68, 93, 98, 151, 154, i55> 160, 163, 164, 166, 179, 184, 186, 218 ; Franks, A. W., Ixxxi, 190 ; Gherardefca, Ct. W., 65 ; Haw- kins, Mr. Heywood, Ixxvi ; Hollond, R., cxxxv ; Hovingham Hall, cxxx ; LaHille, His. de, ciii, cxix ; Seymour, H. Danby, cxxxiv ; Stroganoff, Ixviii, Strozzi, ccviii ; Wallace, Sir R., ccvii ; Windfor Caftle, cxxxv, cl\^iii (note), clxix, clxx, clxxi, clxxix, ccvi. Cologne, cxxxix, cxlv. Conftantinople, Ixxxv. Cortona, li, lii. Corvey, cxxxix. Cracow, clii. Monuments^ ObjeSis^ &'c, 239 D. Dagobert, his chair, Ixxxii, clxii. Denis, St., clxv, clxviii. Dijon, clxxvi. Doria, Andrea, plaque, 55. Dublin, cxcvii. E. Edinburgh, cxxx. Emmerich, civ. Erfurt, cxl, cl, civ. Eflen, cxl. Eugenius IV., his mitre, c. Evreux, clxv. Evrouet, clxiv. F. Ferrara, cxxi. Florence, Ixxxix, xcii, xciii, xcvii, xcix, ci, cii, ciii, civ, cv, cvi, cvii, cviii, cx, cxxvi, cxxix, cxxx, cxxxi. (^See Mufeums.) Fonts, clxxv, clxxvii. Frankfort-on-Oder, cxiiv. Freiberg, cxxxiii. G. Ghent, cxii, clxxvii. Gnefen, cxli. Goodrich Court, bauble at, 157. Goflar, cxl. Groups, Iv, Ivi, Ivii, Ix, Ixi, Ixii, Ixiii, Ixiv, Ixvi, Ixvii, Ixviii, Ixix, cviii, cxxvi, cxxxiv, clix, clx, clxxix, cxcvii, cc. Gritti, Doge Andrea, portrait of, 47- Guaftalla, cxxv. H. Halberftadt, cxli. Hal, clxxvii. Halle, cxliv. HalicarnafTus, maufoleum, Ixii. Hildeflieim, cxl, cxli, cxlii, cxlviii. I. Innfbrucic, cli, cliv. J. Julius n.. Pope, hammer defigned for, 137. Juftinian, his column, Ixxxii. K. Kiel, cxliv. Komburg, cxli. L. Leau, clxxvii. Lefterns, clxxvii. Leghorn, cxxxi. Leyden, li, lii. Liege, clxxv. London, cxi, cxc, cxcii, cxcvi, cxcvii, cxcviii, cxcix, cc. (See Mufeums.) Loreto, cxxxii, cxxxiii. Louvain, clxxvii. Liibeck, cxliv, civ. M. Madrid, cxxv. Magdeburg, cxl, cxli, cxlii, cxlvi, cxlix. 240 Monuments^ ObjeEis^ ^c. Mans, Le, clxiv. Mantua, cxx. Martinengo Dobblo Palace, 159. Martin V., Pope, his mitre, c. Mayence, cxli, cxliv. Medals and feals, Ixxx, 36, 44, 45, 66, 68. Merfeburg, cxli, cliii, civ. Milan, Ixxxiv, ixxxvii, ixxxviii, cxiii, cxiv, cxxv. Mithridates, his bronze vafe, Ixx. Monreale, Ixxxvii, Ixxxviii. Monte Caffino, Ixxxv. Monte Gargano, Ixxxv. Monuments, ci, cii, cviii, cxi, cxii, cxiii, cxv, cxviii, cxxiv, cxxv, cxxxii, cxxxiii, cxxxvi, cxli, cxiii, cxliii, cxlvii, cxlviii, cxlix, cl, cli, clii, cliii, cliv, civ, clvi, clvii, clviii, clix, clxiv, clxv, clxvi, clxvii, clxix, clxx, clxxvii, clxxviii, clxxxiii, clxxxvii, clxxxix, cxc, cxciii, cxciv, cxcv, cc, i73> 174- Mofkirch, cliii. Munich, clvii, clx, clxxviii, clxxix. (See Mufeums.) Mufeums, public, objefts in : Berlin, lii, Ix, Ixv, Ixxvi, cxlv, cli, clix ; Britifli, xxxv, xxxviii, xxxix, xli, xlvi, 1, li, lii, liv, Ivi, Iviii, lix, Ix, Ixv, Ixviii, Ixxiii, Ixxv, Ixxvi, Ixxxi, Ixxxiv ; BruflTels, clxxv ; Dijon, clxxvi, Edinburgh Nat. Gal., cxxx ; Florence (Uffizi), 1, li, lii, Ix, Ixi, Ixvli, Ixxxi, c, cxxxv ; (Bargello), xciv, xcvii, xcix, cii, cvii, cix, cxxvi, cxxx, cxxxv ; Leyden, li, lii ; Munich, Iv, Ivi, Ixi, clvii, clviii, cxlviii, 90 ; Naples, Ixv, Ixxvii ; Paris (Louvre), lii, lix, Ixix, Ixxxi, cxix, cxxiv, cxxvi, cxxx, cxxxii, clxv, clxviii, clxix, clxx, clxxii, clxxiii, clxxix, 65, 157 ; (Hotel Cluny), clxxv ; Perugia, lii ; Peterfburgh, Ixxv ; Rome (Ca- pitol), 1, Ixvi, Ixviii, Ixix, Ixx, Ixxii, ixxiii, Ixxiv, cxxiv, cxxxiv ; (Collegio Romano), lii, Ixxi ; (Lateran), Ivi, Ixxxii ; (Vatican), li, lii, Ivi, Ix, Ixi, Ixii, Ixiv, Ixvii, Ixix, Ixx, Ixxx, Ixxxi, Ixxxiv ; Venice, Academy, cxvi, cxix ; Vienna, Ixxvi, cii, cxxvi. N. Naples. {Sec Mufeums.) Nelfon, Lord, his farcophagus, cxi. Nelfon Column, cxcix, cc. Novgorod, cxli. Nuremburg, cxliv, cxlv, cxlvii, cxlviii, cxlix, cl, cliii, clvi, clviii. o. Orvieto, xciii. Ofnaburg, clviii. Olympia, liv, Iv. P. Padua, cii, ciii, cxviii. Paris, cxxviii, clxxii, clxxiii, clxxv, clxxx. (See Mufeums.) Parma, cxxi. Parthenon, Iviii. Pavia, cxiii, cxxv. Perugia, lii, xci, xciv, cxviii, cxxxi. Peterfburg, St. {See Mufeums.) Piacenza, cxxxv. Pifa, Ixxxvii, xciii, cxxx, cxxxi. Plantagenet, Geoffrey, clxiv, clxxxvii. Prague, cxli, cxlv. Prato, civ. 241 R. Ratifbon, cl. Ravello, Ixxxvii. Regj^io, cxxi. Rome, Ivi, Ixiii, Ixvi, Ixviii, Ixix, Ixxii, Ixxvi, Ixxx, Ixxxi, Ixxxv, Ixxxviii, cii, civ, cviii, cix, cx, cxxiv, cxxv, cxxvii, cxxxii, cxxxiv, cxxxv. S. Sacramental vefTels, Ixxxi. Salzwedel, civ. Santiago, clxxxiii. Sens, clxiii. Seville, cxii, clxxxiii, clxxxiv. Shield of Achilles, xlii, lii. Shield of Wellington, xlii. Siena, xciv, xcv, xcix, ci, cii, civ, cix. Sigmaringen, cxlviii. Statues, iconic, li, Iv, Ivi, Ivii, Ixiv, Ixv, Ixvi, Ixvii, Ixix, Ixx, Ixxii, Ixxiii, Ixxiv, Ixxxi, Ixxxii, Ixxxiii, xc, cvii, cx, cxiv, cxvi, cxviii, cxx, cxxi, cxxiii, cxxv, cxxxii, cxxxv, cxl, cl, cliii, clvi, clvii, clviii, clix, cix, clxix, clxx, clxxii, clxxiii, clxxix, clxxx, cxcvi, cxcvii, cxcviii, cxcix. Statues, ideal, xlix, 1, li, liii, liv, Iv, Ivi, Ivii, Iviii, lix, Ix, Ixi, Ixii, Ixiii, Ixiv, Ixv, Ixviii, Ixix, Ixxii, Ixxiii, cviii, cx, cxxx, cxxiii, cxxiv, cxxvi, cxxviii, cliv, clxiv, clxx, clxxii, clxxiii, clxxx, cxcvii, cxcviii. Steudal, civ. T. Tongres, clxxvii. Torcello, cxiv. Tournay, cxliv, clxxv, clxxvi. Trani, Ixxxvii. Treves, cxli. Troja, Ixxxvi. Troyes, clxiv. u. Ulm, cxlvi. V. Venice, Ixxxiv, Ixxxv, cvii, cx, cxi, cxv, cxvi, cxvii, cxviii, cxix. Verden, cxlii. Verfailles, xv. Verona, cxix. Vienna, cxxxvi, clvii, [See Mu- feums.) Volterra, lii. w. Warwick, cxcv. Waftiington, cix. W eftminfter Abbey, cxi, cxci, cxcii, cxciii, cxciv, cxcv, cxcvi. Windfor Caftle. {See Colkaions, private.) Wittenberg, cxliv, cl, clii, clviii. Wolgaft, civ, Wiirtzburg, cxliii, cliii, clvi. B, 2/\.2 GENERAL INDEX. A. • Aes, i, xiv ; Corinthiacum, xi, xii, xiii (note) ; Deliacum, xiii ; Demonnefium, xii ; Hepatizon, xii. iEgina, fchool of, liv. Albata plate, xviii. Alcinous, palace of, lii. Alms difhes, igo. Altar fronts, &c., Ixxx, Ixxxiv, civ, cvi. Aluminium bronze, 4. Ambrofius of Milan, referred to, xvii. Aqua manile, 112, 114. Argos, fchool of, lix. Armorial bearings on objedls : Ba- glioni, 84 J Barberigo, 125; Barbo, 67 ; Boni, 84 ; Carpi di, 94, 125; Caftracani, 83 ; Cicogna, 120 ; Colombini, 121 ; Contarini, 92 ; Coronelli, 192 ; Cornell, 137 ; Dandolo, 181 ; Erizzo of Venice, 196 ; Fal- cucci, 105 ; Giovio di Como, 105 ; Gritti, 181 5 Mirabilis, 151 ; Manelli, 77; Mofto of Venice, 192 ; Marcello, 35 ; Rafponi, 153 ; Rucelai, 191 ; Scolari, 92; Zuftegnan, 125. Armorial ftiields in bronze, cxlviii, clvi. Arts, Society of, prize objects, 3> 4, 5, 30> 3^ 82, 157, 188. Afl'yria, xxxiii. Atreus, treafury of, xlviii. Athos, mount, Ixxxiv. Attic School, lix. Attalus and Eumenes, conqueft of Gauls, Ixvii. Aurichalcum, v, xiv, xvii, xviii, Ixxxiv. B. Barocco ftyle, clvii. Battery works, xix. Bell-rnetal, xvi. Bells, ufe of, in churches, Ixxxi. Bells, by Aloifio, cxx. Bernward, Bifliop, cxl. Black Jack. {See Zinc, ores of) Blende. [See Zinc, ores of.) Bois-le-Duc, rood loft from, 88. Boyle, Robert, referred to, xvii. Brafs, its compofition, &c., xviii, xix ; manu failure of, xix. Brafies, their origin in Germany, cxli, clxxxvi ; various, cxlvii, clxxvi, clxxvii, clxxxiii ; works on, cxlii (note) ; in England, clxxxvi, clxxxvii, cxcvi ; firft idea of engraving, clxxxix. Britannia metal, xviii. Bronze, its compofition and nature, i, ix, x, xii ; its early hiftory, i, xxxii ; its early and continuous ufe, ii, iv, x, xxxi ; preceded that of iron, xxxii ; ancient varieties of, ii, vi, xi, xii, xiv, XV ; Byzantine, xvii ; cafting General Index, 243 &c.,xxi, xxxix ; finifhing, xxiv ; hammered, xxv ; colouring of, xxvi ; fculpture, early ufe in, xi ; figures formed by cafting, xli, liii ; figures formed by beating, xli, xlix, liii, clxiii ; circum- ftances of their production, xlii ; both methods ftill in ufe, xliii ; is rare during the 13th or 14th centuries, cxlv ; in Egypt and Aflyria, xlv ; Etruria, xlvii ; Greece, lii ; Rome, Ixviii ; mediaeval, Ixxviii ; Italy, Ixxxvi ; Germany, cxxxvii ; France, clxi ; Flanders, &c., clxxv ; Spain, clxxxi ; England, clxxxv ; weapons, prehiftoric, xxx, clxxxv 5 exhibition of, xxxi ; compofition, xxxii ; mode of produftion, xxxv ; localities of, xxxii ; variety of, xxxvii ; chronology of, xxxvii ; weights of, xlvi ; furniture and utensils of, li ; mirrors of, li ; gilded, works of, Ixxii, Ixxiii, Ixxxi. Brooke, Rev. R., objedt given by, 130. Byzantine art, Ixxix ; its advance in Italy, Ixxxiii, Ixxxvi. c. Cadmia, v, xiii, xvii. Calamine, vi, xiii, xiv (note), xvii, xix. Campanile, firft built, Ixxxi. Cafting, xxxviii ; hollow, xxxix ; Cellini's graphic defcription, cxxvi. Cafts from the living model, Ixv. Caucafus, the cradle of bronze, xxxii. B. R. Cefnola, General, his difcoveries at Cyprus, xxxiii. Caelatores, Ixxvi. Chalcetis, v. Champion, firft zinc works, xviii. Charles VI., figure found in the tomb of the fool of, 9. Chrift, portrait of, Ixxix. Chriftian, early art, Ixxix ; emblems, Ixxx. Church doors of bronze, Ixxxv, Ixxxvi, Ixxxvii, cv, cx, cxiii, cxv, cxxx, cxxxii, cxxxvii, cxl, cxli, cxlii, clxxiii ; utenfils, &c., Ixxxiv, cxxxix, cxlii, cxlv, Cire perdue, mode of cafting, xxiii. Ciftas, lii. Collections, objed^-s obtained from, Bernal, 9, 27, 82, 87, 88, 89, 92, 93) 94, 102, 104, 107, 108, 109, 129, 134, 135, 136, 151, 175) 19I) ^93) 195, 196, 198, 200, 201 ; Cadogan, 163 ; Collegio Romano, 15, 145, 154,163, 165; Gherardini, 69 ; Monville, 43, 44, 50, 55, 164; Piot, 14, 47, 55, 56, 61, 207 ; Pourtales, 18, 20, 61, 160 ; Rogers, 141 ; Soulages, 6, 9, 12, 17, 19, 23, 25, 26, 27, 66, 74, 76, 11, 81, 84, 94, 95, 96, 98, 99, loi, 105, 109, 117, 118, 119, 120, 123, 124, 125, 126, 131, 143, 144, 145, 146, 147, 150, 151, 152, 155, 156, 157) 158, 166, 167, 171, 172, 178, 179, 181, 183, 184, 185, 186, 187, 194, 195, 197, 203; Trofs, 34, 49; Webb, 60, 159, 217. !onftantine builds bafilicas, &c., Ixxx. 244 General Index. Contrefcyn of Agricola, xvii. Copper, early ufe of native, iii, xxxi ; value in the arts, iii ; for coinage, iv ; ores of, and lo- calities, V, vii, xvii ; weapons of, xxxi, xxxiii ; Englifti mines worked by the Romans, vi ; ingots of, found, xxxvi ; methods of reduftion, vii ; works upon, referred to, vii ; grained copper, xiv, xix ; gilding of, xv ; its ufe for church vefTels, &c., xv ; more malleable than its alloys, xxv ; colouring of, xxvi. Corinthian fculptors go to Italy, xlviii. Corinthian metal, xviii. Corinthian capital, invention of, Ivii. Corneli, Bifhop Francifcus, 137. Courajod, M. Louis, referred to, clxxii (note). Crimea, objects found in, Ixxv. Cryftals, engraved cafts from, 67, et feq. Cyprus, weapons from, xxxi, xxxiii. Curfew, the, 127. D. Damafcening, Iii. Davy, Sir H., his compofition of bronze, xvi. Demetrius, his " latten " works, xix. Diamante - in - punta, Medici Emblem, 144, 147. Diamond eyes, Iii. Dinanderie, xix, 188. Dinant, metal work of, cxli, clxxv, 188. Drey, M. of Munich, objeft given by, 168. E. Egypt, early ufe of bronze and iron in, xxxiii, xxxvii, xlv. Eledtrum, xviii. Elizabeth, Oueen, grants rights, xix, Emblemata, xxxix, Ixxv. Empaeftic or Sphyrelata, liii. Empire, ftyle of the, cxxxiv, clvii. Enamelling on bronze, xxxvii, clxii, clxxxvii. England, bronze weapons made in, xxxiv. Englifti working men's exhibition, 75- Engraving, firfl; idea of, clxxxix. Ephruffi, M. Ch. referred to, cliii (note). Epithema, xxxviii, Ixxvi. Etruria, trade of, with Spain, &c., xxxiv; bronze fculpture in, xlvii ; flratues in the cities of, xlix. Etrufcans, workers in bronze, xxxviii, xl, xlviii ; objedls found in their tombs, xli, xlviii ; works on, referred to, xli. Hi ; taken to Rome, 1 ; their jewellery, Iii. Evans, Mr. John, referred to, XXXV, xxxvi ; Mr. Thomas F., referred to, vi. F. Farnefe, Aleflandro, Card., 70. Finati, Giov. Bat., referred to, Ixxxiii. Fiorillo, referred to, xi. Flanders, metal work in, cxli. Flight, Mr., his analyfis of wea- pons, xxxiii. General Index. 245 France, bronze fculpture in, clxi ; introduflion of its cafting, clxiii ; deftru£tion of monuments in, clxiv, clxvi, clxvii ; decline of art in 14th century, clxvii ; Italian and Flemifli influence, clxvii; fchool of, the 1 6th cen- tury, clxix ; ornamental bronzes of, clxxi. G. German filver, xviii. Germany, early inhabitants of, cxxxvii ; advance of Chriftianity into, cxxxvii ; early ufe of bronze in, cxxxvii ; Byzantine influ- ence in, cxxxviii ; excellence of bronze cafting in, cxxxix ; plaftic art in, cxlvi. Giotto, his influence, xcii. Glanzgold, xviii. Glycera, the martyr, 62. Goleta, fiege of, 71. Gori, referred to, 59 (note). Gothic, ftyle in Italy, Ixxxix ; France and Germany, cxliii, clxiv. Greece, the art of, its influence, xlvii ; its zenith, Ivii ; declines after the death of Alexander, Ixvi ; enflaved by Roman con- queft, Ixviii ; fculptors from, in Italy, xlviii ; ftatues in the cities of, xlix ; bronze sculpture in, lii. Gun-metal, i, xvi. Guttus, ewer, 1 1 1. H. Hadrian, revival of art under, Ixxii. Harty ifland, hoard found at, xxxv. Henckel, referred to, xvii. Herculaneum, difcoveries at, Ixxii. Hiero of Syracufe, Iv. Holofphyrelata, xxxix. Homer, referred to, lii. Hone ftone, carvings in, 34. Hudfon, Sir James, objects given by, 20, 135. Humphrey, Wm., brafs maker, xix. I. Iconic ftatues, their abundance, Ixxix. India, copper w^eapons found in, xxxi, xxxiii. Ireland, copper weapons found in, xxxi. Iron, its early ufe, xxxiii. Ifidore of Seville, referred to, xvii. Italy, early peoples of, xlix ; bronze works in, Ixxxvi. Ivory, fculpture in, Ixxxiv, cxxxix, clxvii, clxxxix. K. King, Rev. C. W., referred to, xiii (note), Ixxiii (note). Kufli, copper from, xlvi, L. Labarte, referred to, clxvii, 115. Laiton, Latone, Latten, xviii. Lamps, of bronze, Ixxxi, Ixxxiv. Lapides aerozi, v. Lafalle, M., Hist, de, obje£l given by, 43- Lavacrum. {See Aqua Manile.) Lead, ufed to adulterate bronze, xi, XV. 246 General Index. Limoges, enamel of, clxii, clxiii. Louis, St., encourages art, clxv. Liibke, Dr., referred to, cxlviii. Luther, M., his name on a falver. 190. M. Magi, the prophylaftic ufe of their names, 107. Marcellus, plunder of Syracufe, Ixx. Marfgraf, referred to, xvii. Martelli, Ruberto, protefts Dona- tello, ci ; mirror by Donatello, cii, 58. Mafkell, W., referred to, Ixxxiv, clxvii, 36 ; objefts given by, 198. Medals, alloy for making, xvi ; cafting, ftamping, and colour- ing, xxvi ; portrait, their excel- lence, cciii. Medici, Card. Ippol. di, 69. Megiddo, battle of, xlvi. Menelaiis, palace of, lii. Merovingian art, clxi. Modelling for cafting, xxi. Model of 1 6th century, xxi (note). Mofaic gold, xviii. Moulds for weapons, xxxvi. Mufeo Borbonico, referred to, Ixxxiii, 162. Mutianus, plunders Greece, Ixx. N. Nero, removes ftatues from Olym- pia, liv ; his raid on Delphi, Ixx. Nickel, xviii. Nickel filver, xviii. Nuremberg, fculpture in, cxliv j brafs difhes of, 190. o. Oldfield, Mr. E., referred to,' 162. Orichalcum. {See Aurichalcum.) 'Ofdxa.'kKai; {See Aurichalcum. ) Or-molu, xviii. Ouen, St., referred to, clxii. P. Pantaleone of Amalfi, five bronze doors, Ixxxv. Paracelfus, referred to, xvii. Patuia, xxvii, xxviii. Peloponnefian war, its efFedl on fculpture, Ixii. Percy, Dr., referred to, vii. Perkins, Mr. Charles, referred to, xcvii, cxvi. Pergamus, fchool of, Ixvii. Phillips, Mr. J. A., referred to, vii, X, Phoenicia, not the fource of bronze weapons, xxxiv; trade of, with Spain and Britain, xxxiv ; ob- jedls from, xlvi (note). Pinchbeck, xviii. Plaques (plaquettes d'orfevres), ccii, cciii, 29. Pompeii, difcoveries at, Ixxii. Porta Santa, hammer ufed for breaking, 137. Primafius, referred to, xvii. Prices, paid for works of art, Ixxv. Princes metal, xviii. Pyrites, iron and copper, xvii. Q. Queen, H. M. the, objeds on loan from, 218. General R. Reach Fen, hoard found at, xxxv. RenaifTance in fculpture, Ixxxix, xc, xcvi, cxlvi, cxxi. Repouffe or beaten work, xxv, 5, 8, 25, 30. Retables, carved, cxliv, clxxxii. Rhodes, fchool of, Ixvii. Robinfon, Mr. J. C, objeds given by, 34 ; referred to, Pre- face. Rock, Dr., referred to, 114. Rome, removal of ftatues from, Ixxxii. Roman art, after Auguftus, Ixxi ; its rapid decline, Ixxviii ; low ftate of, in fifteenth century, cxiii. Roman dominion, its fal), Ixxviii. s. Samians, xxxviii. Scaurus, his colleflion of ftatues, Ixx. Schliemann, Dr., weapons found by, xxxi. Sculpture, its decline, Ixxviii, xci ; its revival, Ixxxix ; in England, not efteemed, clxxxv ; early works in ftone, clxxxvi, cxc, cxci. Sequin, Bifliop of Sens, clxiii. Shutz, Chriftopher, brafs maker, xix. Sidon, arrow heads from, xxxiv. Siena, fculptors of, xciii, xciv. Silver, gilding of, xv ; its ufe in bell-metal, xvi j early Chriftian obje£ts of, Ixxxi. Similor, xviii. Simpulum or cyathus, 162. Index. 247 Smith, Mr. Roach, referred to, 157- Sobiefki, Clementina, frame for her miniature, 135. Soldering, not of early ufe, xli. Solignac, monks of, clxii. Spain, influence of foreign art in, clxxxi. Specchi or mirrors, li. Speltrum, xvii. Spelter, xviii. Speculum metal, xviii. Sphyrelaton, xxv, xxxix, xli, Ixxiv. Stanley, Hon. W. Owen, referred to, vi. Statues in bronze, earlieft, xlix, liv ; their abundance in antiquity, Ixv ; in Roman temples, Ixxi ; brought from Greece, Ixx, Ixxii, Stiacciato, low relief, ciii, 59 (note). Sylla, his plunder of Greece, Ixx. T. Theophilus, referred to, xiv, xvi, cxxxix. Tin, known to the ancients, ores and localities, modes of redudlion, a compound of bronze, viii, ix. Tomback, xviii. Torentic work, xxv, Ixxiv. Tripedaneae, 1. Tufcany, bronze fculpture in, xc. Tufcania figna, 1. Turner family, brafT-workers, xix. Tyrrhena figilla, 1. u. Una, infcription of, xlv. Ure, Dr., referred to, vii. Uzielli Colledtion, catalogue of, referred to, 186. 248 General Index. V. Van Swab, reduces zinc, xvii. Vafari, G., referred to, 70. Veii, ftatues taken from, xlix. Venice, bronze carters at, xcii ; Andrea Pifano at, xciii ; San- favino at, ex. Venetian oriental work, g^t. Volfinii, ftatues at, xlix. w. Wallace, Sir R., his colle£tion, clxxi. Waring, Mr., referred to, 152, 167, 195. Weale, Mr., referred to, 190. Weftminfter, Duke of, obje£ls on loan from, 220. Weftwood, Profeflbr, referred to, Ixxxv. White copper, xviii. Wood-carving in Germany, cxlvi. Wooden models, cafts from, 99. Wolfey, Cardinal, his tomb, cxi. Works of reference, ccix. z. Zinc, imperfeftly known to the ancients, viii, xvi ; ufe of, xiv ; added to bronze, xv ; its nature and ores, xvii, xviii ; referred to by Paracelfus, xvii ; firft works in England, xviii, xix ; modes of redudtion, xviii. ADDENDA ET CORRIGENDA. Page xxxvi, line i'i,for " I " read We. „ 11, laft word./or " I " read We. Ixxxvi, line 10, for " Skilly " read Sicily. ,, xcix, line 6 from bottom, /or " Novella " read Nuova. ,, „ line 3 from bottom, dele Sta. Croce and. ,, cxxiv, line 4 et seq. This figure is now thought to reprefent Jafon. ,, cxiv, " Ambrogto Caradosso." The Milan pax has been afcribed, but is not certainly known to be his work. The inkftand was of gilded filver. The fubjefts of the plaques were, according to Ambrogio Leone (^De mbilitate rerum, Venice, 1 525), Ganymede carried away by the Eagle ; Hercules and the Lion ; Hercules and Cacus ; and the Centaurs and Lapithae. ,, cxxv, lines 7 and 9 from bottom. The Altar and Tabernacle are alfo afcribed to Criftoforo Solarii and others. „ cli and foot note. For further information on thefe works fee an able article by Dr. Von Liibke in the " Beilage Zur Allgemelnen Zeitung" for the 3oth May and the " Academy" for the 12th Auguft 1876. ,, ccvii, line 5. This bronze buft of Charles I. was the work of Francefco Fanelli, a Florentine (1600-1649 ?) ; other replicas exift. (Walpole, Anec Painting, ed. 1849, p. 398.) „ 4, Nos. 777, and 1155, yi/- "bronze" read bronzed eleftro-depofit. „ 16, line i,for "Torrigiano" Torregiano. ,, 36, Nos. 7370. '61, 7496. *6i. " Criftophorus Hierimiae " or Criftoforo Geremia was a Neapolitan by birth who worked about 1470, and from his manner would feem to have been a follower or pupil of the fchool of Mantegna. ,, 40, No. 4081, yir " Prefentation " read Circumcifion. ,, 63, No. 756. '64. Agreeing in opinion with Mr. Robinfon, this plaque has been afcribed to Pollajuolo. Further inveftigation has, however, led to the belief that it may have been by Caradoflb, and a bronze replica of one of the rilievos with which his celebrated inkftand was enriched. The faft that a fimilar compofition occurs among the baf-reliefs on the ' Porta della Stanga ' of Cremona, would warrant the alTumption that it is the work of Northern rather than of a Tufcan hand, [-vide ante, err. p. cxiv.) ;, 208, Vafes, Nos. 843, 843a. '70. In the " Livre de Vafes invente par M. Stella chevalier et peintre du roy." Franjoife Bouzounet fculp. fol. Paris, 1667. On plate 18 thefe vafes are reprefented. Their execution and modelling after Stella's defign was probably the work of French hands; the defigner's name, however, would indicate that he was of Italian origin. A pair of quaint vafes nearly fimilar to that on plate 16 of Stella's book, are in the Royal CoUeftion at Windfor. LONDON: Printed by George Edwarp Eyre and William Spottiswoode, Printers to the Queen's moft Excellent Majefty. For Her Majefty's Stationery Office. [ •— 7S0'— 9/76-] if: ■ 15193 DRURY (C.) et E. FORTNUM. A descriptive catalogue of the bronzes of European origin in the South Kensington Museum. London, 1876, grand in-8, relie demi-chagrin de I'editeur. (210 + 248 pages). 30 planches hors-texte de reproductions de bronzes europeens dont 5 planches en photogravure et 25 planches en photographie.