THE J. PAUL GETTY MUSEUM LIBRARY Digitized by the Internet Archive in 2016 with funding from Getty Research Institute https://archive.org/details/illustratedcatalOOgove C. & E. CANESSA ANTIQUAIRES NEW YORK ONE WEST FIFTIETH STREET PARIS NAPLES 125, AVENUE CHAMPS ELYSEES PIAZZA DEI MARTIRI \ ILLUSTRATED CATALOGUE OF THE CANESSA COLLECTION — OF RARE AND VALUABLE OBJECTS OF ART OF THE EGYPTIAN, GREEK, ROMAN, GOTHIC AND RENAISSANCE PERIODS DESCRIPTIVE MATTER BY MR. ERNEST GOVETT, Greek and Roman Objects MISS STELLA RLJBINSTEIN, Gothic and Renaissance Objects PROF. ARDUINO COLASANTI, Renaissance Objects NEW YORK: PRIVATELY PRINTED FOR C. & E. CANESSA 1919 I 'f NOTE Ancient Greek art has always taken, and must always hold, the first place in the history of art, and hence no collection of objects fashioned by artists of the period can be presented to the public with- out attracting the deepest interest. In America such collections are extremely rare, and indeed, outside of the Museums, important examples of Greek sculptured art are so few and far between that it is questionable whether they number a score all told. It is to be observed that all the great periods are represented in this collection; the late Archaic by several bronze statuettes, Nos. 22 and 23; a fine tripod. No. 21; and other examples; the time of Phidias and his pupils by a bronze statuette, No. 28; and the era of Praxiteles and his immediate successors by a superb marble head. No. 4(5, a remark- able figure of the faun Marsvas, No. 29, and some others of lesser importance. There are, further, a few important marble groups and statues of the last two centuries B.C., Nos. 47. 48 and .>0, and some beautiful silver and miscellaneous objects of the second and third centuries B.C., Nos. 87 and 88. The other ancient objects comprise examples of Etruscan, Roman and Egyptian art, each section including some notable pieces, among which may be specially mentioned two fine Roman portrait busts, Nos. 55 and 57. and a bust in rock crystal of an Egvptian king of the eighteenth dynasty. No. 19. (It should be stated that there is scarcely a single isolated Greek sculptured head, or even a torso, in existence, to which it has been possible to assign an artist beyond all question, and the attributions so frequently suggested by modern German critics have usually only succeeded in confusing the problems to be solved.) ( Signed) E. Govett. f CATALOGUE V EGYPTIAN BRONZES AND FAIENCE STATUETTES 1 — Bas-relief in Chalk. Egyptian. XI Dynasty Found at Abvdos. It represents the profile of a man looking to the right, with a short, tightly curled wig. Necklaces on the chest. Traces of color. In a wooden frame. Height , without frame , 7 inches; length , 7 inches. From the Borelli Bey Collection of Alexandria. 2 — Statuette in Bronze. Egyptian. XYII1 Dynasty It represents a king standing. He is walking with his hands in front of him, the fingers facing each other. He has a rayed cap surmounted by the symbol of Uraeus, and is dressed in a shenti. On a wooden base. Height , without base, 7% inches. From the Borelli Bey Collection of Alexandria. 3 Statuette in Bronze. Egyptian. X VI 1 1 Dynasty Figure of Osiris, seated. An unusually fine example of bronze work, and in perfect condition. On a red marble base. Height, 5t/o inches. 4 — Small Figure in Blue Faience. Egyptian. XVIII Dy- nasty, XY Century B.C. Blue faience figure representing Nofertum seated in a chair. Height, without base, inches. From the Samuel H. Austin Sale. 5 — Small Statuette in Granite. Egyptian. XIX Dynasty Statuette of a seated scribe, the “Overseer of (?) Khonsu the Justified.” Hieroglyphic inscription in front. On wooden base. Height , 3% inches. 6 — Bronze Statuette. Egyptian. About Dynasty Figure of a man holding a bowl in each hand. THE XXVIT Size, 3 l/> inches. 7 — Small Figure in Blue Glaze. Egyptian, Saitic Period. X Century B.C. Small figure representing Horus, the child. Very fine modeling. Height, 21/9 inches. No. 7H0 of the Samuel H . Austin Sale. 8 — Figure of the Cat-headed Goddess “Bast,” in Egyptian Green Glazed Faience. Saitic Epoch. X Century B.C. From the Samuel H. Austin Sale, No. 7 70. Height, 3 inches. 0 — Small Statuette of the Cat-headed Goddess “Bast” in Bronze. Saitic Epoch. X Century B.C. The goddess has a sistrum in her right hand, the a?gis of Bast in her left and a basket over her arm. Height, 3 I /4 inches. No. 871 of the Samuel II . Austin Sale. 10 — Statuette in Bronze. Egyptian Period Re] (resenting the young H orus seated. The young god is entirely nude and carries the Flame of Youth. He is coiffed serre-tete with the orna- ment of Ur;eus. The frontal U rams, the Flame, the eyes and the neck- laces are in gold. At the bottom is a hieroglyphic inscription. Upon a wooden base. Height, without base, 5 inches. From the Borelli Beg Collection of Alexandria. 11 — Small Statuette in Bronze. Egyptian (?) Period Small figure of Harpocrates, the god of Silence, nude, the right fore- finger held toward the lips. On the head the royal wig of Ur a us and head-dress and loop at the side for taking the curl; on the back of the head-dress is engraved a human-headed hawk representing the Soul. Found at Sakkara. On alabaster plinth. Height, zvithout base, 4% inches. No. 2298 of the F. G. IHlton Price Collection of London, England. 12 — Statuette in Bronze. Egyptian Period Representing Isis nourishing Horus. Isis is seated, with a head-dress surmounted by the symbol of Uncus, with horns and a disk. Horus’ head is dressed serre-tete with the symbol of Uncus and carries the FI amc of Youth. Hieroglyphic inscription at bottom. Mounted on a wooden base. Height, without base, 10 inches. From the Borelli Beg Collection of Alexandria. 13 — Statuette in Granite. Egypto-Boman Representing God Ptah of Memphis. On base of blue-inlaid green faience, inscribed: “Give Life, Oh Ptah, Beloved in Memphis.” LI eight, 4*1/4 inches. 14 — Figure in Brilliant Blue Glazed Faience. Egyptian Period Egyptian ushabtie, made for Hern, a priest of Amen. Found at Deir- el-Babri, Egypt. Height, without base, 4l/o inches. From the F. G. Hilton Price Collection, London, England. 15 — Granite Urn. Egyptian Period With two handles and cover. Height. 15 Eh inches. 16 — Amphora in Bronze. Egyptian Period The top of the neck is turned back and ornamented with a dentelled frieze. The two handles are attached to the body in the form of leaves. The foot is fluted. Height , 20 inches. From the Borelli Bey Collection of Alexandria. 17 — Canopic Vase in Alabaster. Egyptian Period In the usual form; the cover representing a human head with much character. Height, 18 inches. From the Borelli Bey Collection of Alexandria. 18 — Sistrum in Bronze. Egyptian. Ill Century B.C. A fine example of this curious musical instrument, and in perfect preser- vation. It is surmounted bv an image of the Cow-goddess. The sistrum was used (shaken by the hand) in Egyptian sacred ceremonies for two or three thousand years, by queens and priestesses, for the purpose of driv- ing away evil spirits; and in later times it was also brought into service for accompanying ceremonial dances. Length , 8 inches. 19 — Statuette in Rock Crystal. Egyptian. XVIII Dynasty It represents in half bust a king; be has the appearance of a warrior and wears upon his helmet the symbolical serpent. It is difficult enough to find a sculpture in quartz of these dimensions, but its rarity becomes even greater considering that, very probably, it was part of a complete statue wrought entirely from this very hard and precious material. The quality of the quartz used by this unknown Egyptian sculptor is more beautiful because, in its limpid transparency, it has magnificent red re- flections. Found at Karnak, near the famous temple. Height, without base, 10 inches. From the Borelli Bey Collection of Alexandria. ( Illustrated) No. 11 ) — Statuette in Rock Crystal. Egyptian. XVIII Dynasty GREEK AND ROMAN BRONZES 20 — Three Bronze Sculptured Disks. Etruscan. About VII Century B.C. The disks are adorned with fabulous animals in relief, the largest of them having also two human figures. The character of the work indi- cates the very earliest Etruscan relief sculpture known to us, and it must be dated not later than the seventh century B.C., though we have nothing absolutely definite to guide us upon the history of art in Etruria at this period. It is probable that the disks were used to adorn a chariot, the largest at the front, and the others at the sides. They are exceedingly rare examples of an almost forgotten stage of art. Sizes, 12 inches, 9 inches and 8 inches, respectively. ( Illustrated) 1 — Thipoij in Bronze. Archaic Greek. VI Century B.C, The tripod is mounted on the paws of a lion, and is of the regular archaic type seen on early Greek painted vases, in representations of Hercules fighting for the Delphic Tripod. It is ornamented with small nude male figures. Similar tripods, but less fine in execution, are in the British Museum and at the Vatican. Found in the vicinity of Rome. Height, 24 inches. From the Ke-rkirian Collection. ( Illustrated ) No. wl— TkJI'OD IX lJjiONZE. AlO Votive Statuette of Athena in Bronze. Archaic Greek. Late VI Century B.C. The goddess stands attired in a close-fitting peplos fastened over the breast, and falling to the ground. She wears a helmet with high crest, ornamented with the sacred serpent. Some parts of the figure are miss- ing from the ravages of time, but the principal parts of the head and form are retained, the whole representing an exceedingly rare and pre- cious example of archaic Greek art. On a lapis-lazuli base. Found in Greece. ( Illustrated) Height, 1 5 I/O inches. —Statuette in Bronze. Greek. Early V Century B.C. The figure represents Hercules crouching, with one knee on the ground, in the act of drawing the bow. He wears a cuirass ending in leather flaps, and a pair of gaiters. A lion’s skin is drawn over the top of his head, and hangs down at the back, the ears of the animal being worked in gold. This form of head-dress is uncommon in Greek sculptured figures, hut it had a strange celebrity in Roman times because Commodus adopted it when he had himself sculptured as Hercules. The form is also found in representations of the demi-god on Greek coins, and in one or two marble reliefs. The countenance of the figure wears the well- known Archaic smile, and this, with the general design, places it in the period shortly before the great development initiated by Calamis and Myron in the fifth century B.C. Found at Nigrita, Thasos. On a porphyry base. Height , ()l/> inches; length, 5% inches. ( Illustrated) No. 23 — Statuette ix Biionze. Greek. Early 24 — Three Feet of a Casket in Bronze. Archaic Greek. V Century B.C. They represent the paws of winged lions, surmounted by three atldetes ; of the very finest execution ; beautiful emerald patina. Very rare pieces. Height, 4 l/> inches. From the Borelli Bey Collection of Alexandria. ( Illustrated) 25 — Mirror Handle in Bronze. Greek. V Century B.C. The mirror handle is in the form of a caryatid. The figure, which is apparently intended for Apollo, is modeled with the simple rigidity of form characteristic of the late Archaic period, and is a good example of this work. Found at Girgenti, Sicily. Height, ()■'*/[ inches. ( Illustrated) 2(1 — Statuette in Bronze. Umbrian. IV Century B.C. It represents an acrobat who arches his body by firmly pressing his hands to the ground, previous to turning a somersault. The singularity of the attitude, which requires the tension of every muscle, has given a very wide scope to the sculptor, who, following the natural tendency of Etruscan art, has shown every anatomical detail. Beautiful emerald patina. Probably the handle of a vase. Porphyry base. Height, without hose, 414 inches. From the Borelli Bey Collection of Alexandria. ( Illustrated) 7 OiNOciiOE in Bronze. Greek. V or I V Century B.C. The vase is of olpe shape with trefoil mouth. Barns’ heads ornament the handle at the base, and crouching lions at the top. Finder the handle is a palmetto. This form of oinochoe is exceedingly rare in bronze, and the example is in fine condition. Found in Sicily. Height, !)V> inches. 28 — Statuette of a Hero ix Bronze. Greek. Early IV Cen- tury B.C. From the general attitude of this figure, and from the position of the folded hands which seem to have held a sword and scabbard respectively, the statuette appears to represent Aristogiton, who with Harmodius killed the tyrant Hipparchus. Statues of the tyrannicides in bronze were made by Antenor, and subsequently by Critius and Nesiotes. In these works, and in others in relief and on coins, as well as on early Greek painted vases, Aristogiton was always represented holding a sword and scabbard in much the same attitude as in this statuette, except that the right arm was held down, and the left thrown out with a chlamys falling over it. The moment of action differs also, for whereas in the other representations the hero was proceeding with a martial stride to fulfil his mission, the position of the left foot in this statuette suggests that the last stride has been taken, and he is about to strike. It may be observed that, in the ancient group of the tyrannicides at Naples, the face of Aristogiton is clean shaven as in the figure on the old painted vases, but the head of the hero in the Naples group is a modern sub- stitution for the original, which was missing when the group was un- earthed. In all the early sculptured groups, Aristogiton was shown bearded as in this statuette. The change in the pose of the figure from the more formal type in the group of Critius and Nesiotes is consonant with the advanced character of the form in this statuette, which belongs, of course, to the best period of the art. Found in the Tiber. On a green marble base. ( Illustrated) Height , 10% inches . No. 28 Statuette of a Hero in Bronze. Greek. Early I\ Century B.C. —Statuette oe Marsyas in Bronze. Greek. Early III Century B.C. The Faun stands with the weight of the body resting mostly on the right foot, the left being brought up on the toes. The upper part of the body is bent forward, and the eyes are directed toward the ground a short distance away. The arms are missing, but the position in which they were held is obvious. The left was thrown out almost straight from the shoulder, while the right was brought forward at the level of the breast, both elbows being bent and the hands open. The work, which is of considerable importance, was executed toward the beginning of the third century B.C. The general type is of the school of Praxiteles, but the artist has departed from this in the ac- centuated faun character of the countenance, and the strength of the head and neck, which latter features remind one of the manner of Lysippus. There is, however, nothing of the formality of this sculptor about the supple figure, and the realistic flesh folds of the torso. The proportions of the figure are perfect, and the workmanship is supreme as in most bronzes of the period. The figure of Marsyas is represented in a moment of action in a legendary incident popularly known at the time the sculpture was made. Athena, having invented the twin pipes, was one day playing them near a crystal pool, when she noticed from the reflection in the water that her checks swelled out from the action of blowing, and the supreme beauty of her countenance was consequently marred. In her disgust she threw down the pipes, announcing that a curse would follow whom- soever picked them up. But the faun Marsyas had been listening to the harmony of the blue-eyed maid, and started with amazement when she threw down the pipes, subsequently picking them up notwithstanding the curse, with the well-known result that later on he challenged Apollo to a musical contest, and was flayed alive as a punishment for his pre- sumption and defeat. The incident must have been a favorite with artists in the fifth century B.C., for there are still remaining represen- tations of it in relief, on painted vases, and even on a coin of the time, while one of the finest ancient statues extant is the marble figure after Myron in the Vatican, showing Marsyas starting with surprise from the action of Athena. The artist of the bronze figure under discussion has taken for his action the same moment that was adopted by Myron, and which is represented in all the fifth century works dealing with the legend. Mar- syas has half leaped in amazement, and holds himself in the attitude indicated, with both arms held up, as lie stares at the pipes on the ground. [ Continued No. ’29 -Bronze Statuette of Marsyas. Eari.y III Century B.C. Greek. [No. 29 — ('on fin tied] It is observable that in the fifth-century representations of the incident, the faun is shown bearded, whereas in tins case he is a young man without beard. This is a natural consequence of the action of Praxiteles in representing all of his beautiful faun figures in the vigor of early manhood, with smooth cheeks. These sculptured fauns were celebrated throughout Greece, and must have become established types from which a wise artist would not have ventured to depart, at least while the memory of the great sculptor was fresh in the minds of men. This figure is apparently the only existing ancient bronze statuette of the young M arsyas in this attitude, of importance, and nearly 1700 years were to pass before another was made to our knowledge. This is the fine figure by Pollaiuolo in the Frick Collection, New York. Bel- lano also modeled a figure of the Startled Faun, the attitude of which is very similar to that of the Greek bronze, except in the position of the left foot. No other serious representation of the legend in modern times is known, beyond a painting by Piero di Cosimo, showing Marsyas seated on the ground, and about to play the pipes in the presence of Athena. Found at Carthage. Mounted on a red marble base. Height , 18 inches. 30— H andle of Water Urn in Bronze. Etruscan. Ill Cen- tury B.C. The two ends of the handle finish in the form of lotus flowers. Two figures are seen seated, in the act of making libation from a vase placed in the center. Coming from the Barberini Collection, this handle of a water urn formed part of the richest treasure-trove in the line of house equipment brought to light in the excavations of Palestrina, the greater part of which was acquired recently by the Italian Government, for the Villa Giulia Museum, Rome. (See the illustrations of Alessandro Della Seta in the Art Bulletin of the Minister of Public Instruction, 1911, also for the bibliography.) Length, 9 inches. 31 — Bronze Hand Mirror. Greek. Ill or II Century B.C. Engraved in outline with a design representing the Judgment of Paris. Length, 10 inches. 32 — Applique in Bronze. Alexandrian. II Century B.C. The head of a faun turned slightly to the left, and looking up. In the hair are bundles of grapes and leaves of ivy. Found at Elis. Height, f>lA inches. From the Borelli Bey Collection of Alexandria. 33— Statuette in Bronze. Etruscan Re] ircsenting a victorious warrior. He bears a helmet on his head, carries in his left hand a lance, and in the right a crown. On red marble base. Height, 5 14 inches. ;34 — Axle Cap in Bronze. Greek. Early II Century B.C. The cap, which is from a chariot, lias the disk ornamented with a head of Medusa in strong relief, the eyes being in silver. An interesting feature is a geometrical pattern inlaid in silver around the base of the cap. On either side of the cylinder are holes through which the cap was fastened to the axle. In the period when the bronze was made, chariots were only used in the public games, and ornament often played a considerable part in their design. The preservation of this rarity is nearly perfect. Found near Rome. Height , 1 inches; diameter , 6 inches. Ove similar is in the Metropolitan Museum of Art. 3 5 — Situla in Bronze. Greco-Roman The situla is pear-shaped, with two handles. The spout is formed of the head of a wolf, and a head of Aphrodite is applied on the opposite side. In fine condition. Height, 7' 1/4 inches; greatest diameter, (ibo inches. 36 — Statuette oe Zeus in Bronze. Greco-Roman The god stands holding the thunderbolt in his right hand, while the left is carried full out from the shoulder. Judging from similar figures of the period, it is evident that the left hand originally held a scepter. The example is exceptionally fine. On a marble base. Height, 4 % inches. 37 — Statuette in Bronze. Roman. I Century B.C. The figure represents a man nude, except for a waist cloth, and a lacerna thrown over his left shoulder. He wears a Parthian conical hat with a leather band, the ends of which come down over the shoulders. Both arms are bent up from the elbows. An exceedingly rare model in fine condition. Found near Rome. On a red marble base. Height, 9 inches. 38 — Vase in Bronze. Roman. I Century B.C. Bi •onze vase, with elongated spout. On the handle is seen the figure of a putto (Eros?) and a grotesque face of Silenus. The most flourishing period of Roman art is indicated by the elegance of the execution. Height, 7I/4 inches. 39— Helmet in Bronze. Roman. I Century B.C. Life size. 40 — Statuette oe Victory in Bronze. Early Imperial Roman She stands on a sphere, and wears an unusual form of chiton which ter- minates below the breast, and is held up by cords carried over the left shoulder; the wings are missing. On a marble base. Height , 5 I/O inches. 41 — Statuette of an Orator in Bronze. Roman. I Century A.D. He stands attired in senatorial costume, and is represented in the act of speaking. On a red marble base. Height, 3 inches. 42— Small Head and Bust of Jupiter in Bronze. Roman. I Century A.D. A tine piece of work from a wax cast. This form of household god was very popular in the time of early Imperial Rome. On a marble base. Height, C/\ inches. 43 — Statuette of Silenus in Bronze. Gallo-Roman. II Cen- tury A.I). Silenus is standing with a cup in his left hand, while the right, which probably held a wine .jug, is held up. He is nude save for a chlamys falling over his left shoulder. The figure is in good condition, and has a rare water patina. On a red marble base. Height, 5 inches. From the Borclli Beg Collection of Alexandria. 44 — Statuette in Bronze. Gallo-Roman Figure of a woman, semi-nude, in a running attitude. The right arm is missing. On a wooden base. Height, 3i/o inches. 4.3- — Bronze Statuette of Athena. Gallo-Roman. II Cen- tury A.D. The goddess stands attired with a peplos, and wearing a helmet. A very rare type of model, and in good preservation except that the arms are missing. On a red marble base. Height, 7 inches. I GREEK AND ROMAN MARBLES 46 — Head of a Poetess in Marble. Greek. IV Century B.C. This fine head is evidently an idealized representation of a poetess, probably Sappho or C'orinna, since these were the only poetesses whose celebrity, at the time the work was sculptured, would appear to have war- ranted the execution of a statue at the hands of a great master. For this head is clearly the work of one of the first artists of Greece. It is instantly recognized as an example of the school of Praxiteles, sculp- tured near his time, and embodying most of the high qualities of form and expression which we are accustomed to associate with his work. The perfection of the separate features with the gradual and imper- ceptible transition from one to the other, the details of the eyes and mouth, and the delicate protuberances above the eyebrows to emphasize the quality of nobility in expression, are all characteristics of the Praxi- telean ideal. In fact, were we to consider the countenance separately, the ideal is so complete that the representation might be taken for that of a divinity, were it not for the arrangement of the hair; but as it is, and in the absence of any attribution associated with a Muse, we must assign the head to a poetess. The hair is dressed en cotes dc melon ( the origin of which expression is obvious), and the style is known as Boeotian from the fact that variations of it are common in Tanagra figurines. This coiffure is found oidy on three or four other existing life-size heads in marble, the best known of these being at the Glyptothek, Munich. This head is strikingly similar in general form to the one under discussion, and a great deal of attention has been given to it by critics, a few of them ascribing it to Praxiteles; others, including Furtwangler, to the school of this artist, while Reinach takes it out of the period and refuses to accept it as an original work. Unquestionably Reinach is right. The Munich head has been much restored, but the restoration cannot be responsible for the line of depression above the upper lip on either side of the nose, which tends to destroy the suggestion of an ideal, and could not possibly be present in an original work of a great artist of the fourth century. The Canessa head differs from the others referred to in an important detail. This is in the manner of applying the Boeotian mode of coiffure. It will be observed that the binding coil of hair which cuts off the melon pattern encircles the whole back of the head, and the remainder of the hair is neatly finished off in the form of a pad. In all the other heads with this style of coiffure, and in the Tanagra figures, this coil is re- duced to a comparatively small size, so that the remaining hair must necessarily taking the form of a nob or ball, thus removing from the head [No. 46 — Continued ] the severity of form which should accompany a fourth-century work of this kind. For this and other reasons, in considering the principal heads allied to the one under discussion, we can only come to the conclusion of Reinach, who, in referring to the whole series, said of the Canessa ex- ample: “C’est, si je ne me trompe, la premiere tete de cette serie dont on puisse affirmer la provenance grecque” ( Gazette cles Beaux- Arts, April, 1914). It is necessary to add that the several attributions of these heads, or any of them, to Silanion is founded on no evidence at all beyond the fact that this artist is known to have executed statues of Sappho and Corinna; and while the Canessa head bears a certain similarity in style to a head attributed to Euphranor, yet the ground of this attribution renders it as nebulous as the other. The Canessa head may be by Silanion, but we can only say with surety that it is a magnificent work of the second half of the fourth century B.C., from the hands of one of the first masters, who has wholly absorbed the influence of Praxiteles. Found at Thasos. On a marble base. Height, without base, 11 inches. Illustrated in Mitchell's “ History of Ancient Sculpture," 1905; and the "Gazette dcs Beaux-Arts," April, 1914. See Statue by Silanion, Viren el Museum, Com piegne. ( Illustrated) No. 46 — Head of a Poetess in Marble. Greek. IV Century B.C. No. 46 — Head of a Poetess in Marble. Greek IV Century B.C 47 — Group of the Three Graces in Marble. Greek. Ill Cen- tury B.C. The Graces stand nude, joined together by their hands on each other’s shoulders. On each side of the group is a high vase with drapery hang- ing gracefully over it. An arm is missing from each figure, and the heads are modern restorations. The design of this group is well known from the existence of a similar one (but without the vases) which was found in the fourteenth century during the excavations for the Siena Cathedral, in which edifice it now stands. This work suggested to Raphael the marvelous painting of the Graces now at Chantilly, in which, indeed, the grouping is scarcely varied at all from that of the sculpture. The extension of the base of the sculpture by the addition of vases is an admirable device, and the absence of these from the Siena group seems to indicate that it is a later work than the Canessa example. The principal feature in the group is the remarkable rhythmic harmony presented in the pose, the design almost suggesting that the figures are about to move together in a dancing step. This is brought about by an exquisite adjustment of the figures to the respective posi- tions they occupy, and a perfect balance of expression in the forms. The torsos are built up on ideal principles, subject to natural modifications necessitated by the character of the grouping, the whole work being a fine example of beautiful form and technical skill. Found at Capua. Height , 3 feet (5 f/C inches ; width, 3 feet 1 inch. ( Illustrated) N °- — (iiforr OF THE Three Graces in Marufe. Greek. Ill Century ICC. 48 — Statue of Aphrodite in Marble. Greco-Roman or Early Imperial Roman The goddess stands at ease, with the right knee bent, and the weight of the body resting mostly on the left foot. She is attired in a long chiton of thin material, fastened on the right shoulder, and falling down loosely from the left, uncovering the breast. The right arm is held out and bent up from the elbow, the hand lightly holding a fold of the drapery. In the left hand is the apple awarded by Paris. The head and extremi- ties of the limbs are sixteenth century restorations. This figure is an ancient reproduction of the statue known as Venus Genetrix, of which a life-size example is in the Louvre. The origin of the design has not yet been settled. The Louvre figure is usually regarded as a reproduction of “Aphrodite of the Gardens” by Alcamenes, but this attribution was given to it by Furtwangler without any material evidence. Others give the original to Calamis, and others again claim that the Louvre statue is an original by Arkesilaos, an early Imperial Roman sculptor, though agreeing that the general type belongs to an earlier period. It is obvious, from the nobility of the design, the type of the head, and the character of the drapery, that the Louvre figure must be based upon a work of the latter part of the fifth or the early fourth century B.C., even if it be not a direct reproduction of a work of this period, but it is scarcely likely that the point will ever be settled. The statue under consideration is an excellent reproduction of the celebrated figure. It is clearly of the Greco-Roman or early Imperial Roman period, and must be placed as one of the best existing examples. The chief feature of the sculpture is the skilful management of the clinging drapery. Height, with ha.se, 8 feet 8 inches. The statue is from the collection of Cardinal Altemps. When this collection was sold, most of the pieces were acquired by Pope Leo XIII for the Vatican, and four were bought by the late Mr. J. P. Morgan and are now in his library. ( Illustrated) No. 48 — Statue of Aphrodite in Marble. Greco-Roman or Early Imperial Roman 49 — Two Bas-reliefs in Marble. Greco-Roman These reliefs are sections of a frieze. Each represents a group of msenades taking part in a Dionysiac procession, the action being most skilfully rendered. Height, 20 inches ; length, 30 inches. From the Borelli Beg Collection of Alexandria. ( Illustrated ) No. 49 — Two Bas-reliefs in Marble. Gr eco-Roman 50 — Head and Bust of Aphrodite in Marble. Greco-Roman An excellent ancient reproduction of a fourth-century B.C. sculpture of the goddess. The nose is partly restored. Height, 21 inches. 51 — Table in M ARBLE. II Century ICC'. Found at Boscoreale. Rectangular shape. Oblong top of Pavonazzo marble, supported by a l)ust of a winged lion in white marble resting on a Pavonazzo marble base, on either side. Height , 2 feet Ifl/o inches ; length , 4 feet 2 1 '■> inches; width, 1 foot 1114 inches. .52 — Statuette in Marble. Roman. 1 Century B.C. Standing figure representing Triptolemus. He is attired in a short tunic, and his hair is dressed with wheat ears, while his right hand holds a bunch of wheat stalks (broken off short). At his feet is lying a boar. A very excellent sculpture bv a Greek artist, and in unusually fine con- dition. Found in Sicily. Height, 31 A/k inches. ( Illustrated ) No. 52 — Statuette of Triptolemus in Marble. Roman. I Century B.C. 5.3 — Head of Aphrodite in Marble. Greco-Roman A fine reproduction of an early fourth-century type of the goddess, and in fair condition execept that some tresses of hair at the back, and part of the nose, have disappeared, conditions which are common with nearly all ancient marbles when excavated. On a marble base. Height, 11 inches. 54 — Head of a Woman in Marble. Greek. II Century B.C. The back part of the head is gone, and the nose slightly injured, while the surface has suffered, though evenly, from sand erosion. Neverthe- less the head is of high beauty, and a rare example of the sculpture of the period. It seems to be a reproduction of a fourth-century head of the school of Praxiteles. Pound in Sicily. Height, 8 inches. Two similar heads in the Palermo Museum from the excavation at Selinunto. 55 — Bust of a Boy in Marble. Roman. I Century A.l). An excellent sculptured portrait head, somewhat similar in the style of work to the head of the boy C'aius in the Vatican. The right ear is restored. Found in Spain. On a marble base. Height , 1214 inches. .56 — Fragment in Marble. Greek. II Century B.C. Representing Eros, nude, standing near a column and holding a bird. A good sculpture of this period. Modern head. Found in Greece. Height, 29 inches. 57 — Bust in Marble. Roman. I Century A.D. Portrait bust of Julia Titi. Light drapery covers the breast and loses itself in an acanthus leaf which forms the base. Though differing in design, the hair is dressed in the same style as in the other busts of the lady at the National Museum, Rome, and the Uffizzi, Florence. The sculpture is of a high order, the artist having produced as near a re- semblance to a living personage as is possible in marble. It is unfor- tunate that we can seldom or never connect the names of portrait artists of this period with particular works, but this bust must clearly be as- signed to the first rank in Roman portraiture. Found at Rome. Height, 23 inches. From the Lelong Collection, Paris. ( Illustrated) No. 57 — Bust in Marble. Rom an. I Century A.l). 58 — Head and Torso of a Young Bacchant in Marble. Greco- Roman The head is dressed with a wreath of vine tendrils and grapes, and a flower tendril passes down the body from the left shoulder on which hangs a wine skin (partly broken away). The figure is an excellent piece of sculpture executed in the Greek manner. Found at Rome. Height, 14 Yi inches. No. 75 — Hvduia. Greek. Ill Century B.C. GREEK AND ROMAN GOLD AND SILVER OBJECTS 78 — Gold, Silver, Hard Stones, Bronze, Etc. Greek. VI Century B.C. TREASURE FOUND IN THE REGION OF THE CAUCASUS This treasure is made up of numerous pieces of gold, bronze, silver, etc., from the province of Kuban in the Caucasus, a part of Southern Russia, which at the time of Herodotus was called Scythia. This region has yielded many antiques, but this is the only collection to be found outside the Museums of Petrograd, Moscow and Tiflis. Hence, the pieces herein described are very rare and exceptionally interesting. ( See book, “Scythians and Greeks,” by E. H. Minns, and Metropolitan Museum Bulletin, Yol. XIII, No. C, p. 135.) The collection consists of: (a) Gold and Silver Pieces; (b) Bronze Pieces; (c) Miscellaneous Pieces. LOT A: Gold diadem of four round gold leaves; in center, rosebuds outlined in filigree. Diadem in gold, three rosebuds. Four fragments of gold leaves stamped. Rods in electrum (a mixture of gold and silver). Small gold bracelet. Various fragments in gold. Small gold disk-button. Fragment of a diadem in gold with designs in filigree. Traces of white enamel. Gold bracelet, one end a ram’s head. Ring, gold, engraved with a sphinx. Two gold rosettes. Four stamped plaquettes, gold, rectangular in form. On each one is stamped the head of a fantastic animal. Scabbard of a sword with two stamped gold plaquettes; tiger’s head and ornament. Fragment of sword with chasing in gold and silver. Gold pendant, with three chains in braided gold; at the ends, flowers. Bracelet of twisted gold. Pair of round gold earrings with small round drops. Pair of round gold earrings with small round drops. [ Continued No. 78 — Shirt with Gold Ornaments. Greek. VI Century B.C. [No. 78 — Continued ] Pair of gold earrings in form of vases, with filigree ornamentation. Pair of gold earrings in the form of small roses. Gold earring, three drops, one in electrum, one in gold and the third in hard stone. Small gold vase. Gold ring. Bracelet in twisted gold. Shirt or smock with gold ornaments of various forms. A series of small plates, representing deer and winged lions. Others, varied ornamentation and small rosettes. The original shirt exists, hut in pieces. Six silver pendants, an earring with eight round silver drops, a small silver bracelet and two silver ornaments. Two silver buckles. Silver bowl engraved with lion and ornaments. Period of the Saeae. Small casket in wood with gold ornamentation. On top, heads of deer and small doves in gold. Buckle in bronze covered with gold, representing a warrior delaying the head of an enemy whom he had decapitated. LOT B: Six arrow-points in bronze, three lance points, an axe, a casse-tete in bronze and another in granite. Six disks in bronze, of different sizes, representing mirrors and ornaments of harness mountings. Seven pieces in bronze representing bridles for horses. Two bronze clasps with designs in relief. Mirror in bronze, four pins, two pendants and three bracelets in bronze. Bird carrying a fish, bronze; three pendants in bronze. Various ornaments in bronze from harness; buttons, pendants, buckles, etc. Fragments in bronze, ornaments for harness or armor. LOT C: Fragment of a vase in terra-cotta, black ground, red figures. Stone mold for gold work. Ten pieces of terra-cotta, of which eight represent buttons with head of Medusa in relief. Seven pieces of hard stone and one fragment of ivory with engraved designs. Four necklaces in composition of glass and hard stones. Bracelet, blue glass. A small glass head. Bowl in terra-cotta, cream ground with figures in black and red. Woman seated playing the lyre. 70 — Bracelet ix Silver and Gold. Greek. IV Century B.C. Silver bracelet with ends in the form of calves’ heads in gold. Diameter , 2% inches. 80 — Bracelet in Silver and Gold. Greek. IV Century B.C. Same as preceding. 81 — Pair of Earrings in Gold. Greek. IV Century B.C. The earrings are composed of rosettes in gold, with little chains sus- pended with stones and pearls. In the middle are two enameled cocks. From the Borelli Bey Collection of Alexandria. 82 — Ring in Gold with Engraved Carnelian. Greek. Ill Century B.C. The engraving, on stone, represents Hercules carrying a bull upon his shoulders. The mounting is Roman. From the Borelli Bey Collection of Alexandria. 83 — Charm in Gold. Roman. II Century B.C. A gold charm in the form of a cylindrical box, with a lion’s head in relief on either end, and a gold plate inside with the inscription in Latin, say- ing, “Do not abandon me while my enemies live.” Length , 2 '/j inches. 84 — Earrings in Gold. Roman. II Century B.C. A pair of earrings in gold, with pendants representing sphinxes, in gold. 8.j — E arrings in Gold. Roman. II Century B.C. One gold earring, with pendant in the form of a bull. 80 — Small Vase with Cover in Silver. Alexandrian. II Century B.C. The surface is decorated with representations of two-horse chariot races. Found at Boscoreale, Italy. Height , 3 '/> inches. 87 — Bowl in Silver. Greek. Ill Century B.C. The bowl is decorated in fine relief with Bacchic vintage scenes in which satyrs gather in and tread out the grapes, a statue and a term of Bacchus varying the strong action indicated. The work is firm and delicate, and the bowl generally is in excellent condition. Excavated in Greece. Diameter, G : >4 inches. 88 — Small Vase in Silver. Greek. II Century B.C. The outer surface of the vase is decorated with Bacchic scenes, masks, etc., in relief. The sculpture is of a high order, and the vase is a gem of Greek silver work, rarely matched for beauty and condition. Found in Magna Graecia. Height, 2% inches. 89 — Statuette of Aphrodite in Silver. Roman. I Century A.U. The goddess stands nude in a resting attitude, holding a mirror in her right hand and another toilet article in her left. The hair is dressed with a sphendone. On a lapis-lazuli base. From the Borelli Bey Collection of Alexandria. Height, 434 inches. 90 — Small Vase in Silver. Roman. I Century B.C. Small vase in silver, lip three-lobed, handle of twisted grape-vines, decorated with a small grotesque mask, having t lie head of a satyr. An inscription indicates the name of the owner of the vase: M. LVCIANVS, PI. Brought to light in the neighborhood of Laroche (Yonne) during June of 1913, near tine excavation of a Roman villa. Height , 5*4 inches. 91 — Small Vase in Silver. Roman. I Century B.C. Small silver vase, spout three-lobed, the counterpart of the one previ- ously described and brought to light contemporaneously in the same locality as the preceding. Only the inscription is brief here, being composed solely of the letters V. P. I. Height , 5 l/i inches. 92 — Bowl in Silver. Roman. 1 Century B.C. Silver bowl wrought in raised effect with decorations of flowers and stems in relief. It belongs to the same group of objects of the gold- smith’s art of which the two small vases, previously described, form part, and it was found together with them. Underneath there are repeated the letters PI in addition to the mark of the weight. Diameter, inches. 93 — Statuette in Silver. Alexandrian. II Century A.D. The figure represents a dancer attired in a long single flowing garment, girdled at the waist. Her right foot touches the ground lightly, the left being poised in the air. The whole action is exceedingly graceful. On a base of red Greek marble. H eight, 8 inches. From the Borelli Bey Collection of Alexandria. BYZANTINE OBJECTS 94 — Figure of a Baby in Porphyry. Byzantine The baby sleeps on a cushion on a rectangular base; probably the por- trait of a baby of some great family. Charming composition. Very rare specimen. Length , 22 inches; width , 11 inches. 95 — Plaque in Gold. Byzantine In the middle sits the Eternal Father; on either side the twelve Apostles are arranged in groups of two. Geometric design in border. Gold repousse work. Length , 7 inches; width, 1 V> inches. 96 — Cameo in Jasper: The Crucifixion. Byzantine. XI Cen- tury Nailed to the Cross hangs the body of the dead Christ. A halo is arou nd His 1 lead and on either side is the sun and moon. The Virgin is seen to the left. She wears a long dress and a full mantle which covers her head, and is draped over her garment. To the right is St. John with a draped mantle over his gown. He is holding a book in his left hand while his right is placed over his heart. The influence of Greco-Roman art is still noticeable in this representation, espe- cially in the figure of St. John. It probably originally formed a binding of a missal Height, 2y 2 inches; -width, 21/> inches. From the Guilliou Collection of Bayonne. 97 — Two Stirrups in Iron, Chased in Gold. Spanish-Moorish. XII Century The warrior who captured these stirrups from the enemy hammered out the name that was cut in the border and substituted his own. Height, 8 I /4 inches; width, 7% inches. NOTE This collection of Gothic and Renaissance art objects has been formed by C. & E. Canessa, whose name is associated with acquisi- tions made by the greatest museums and private collections, as well in Europe as in America. The quality of the objects ranges the collection among the ones of greatest importance. The various nature of the objects represented enhances the more its value and interest as they represent rare specimens of two great periods in art. the French Gothic and the Italian Renaissance. The French Gothic productions are represented by some masterly examples in sculpture, in champleve enamels, in carved ivories and in furniture. The figure in wood supposed to represent St. Louis (Xo. 120) is one of the finest pieces of sculpture in wood extant from the thir- teenth century, and shows in a charming fashion the direct influence of the best sculptures of the Rheims Cathedral. Among later groups there is one of the fourteenth century, also in wood, representing the Virgin and Child (Xo. 121), which is a fine example showing the evo- lution and transformation of Gothic sculpture in France. In this group the Virgin unites the human qualities which make her a real mother with the idealistic conception of the sculpture of the cathedrals. Various other groups are good illustrations of further development and changes taking place in the evolution of French medifeval sculp- ture when, under the Burgundian influence, the search for life and expression superseded the essential qualities of the sculptors of the cathedrals — idealism and great sense of beauty. Though there are but a few examples of Limoges enamels in- cluded in the collection, they are of great importance. The reliquary showing the Virgin and Child seated on a throne is one of the best examples in genre now in existence (Xo. 115). Owing to its value and importance, a special study was devoted to it in the June issue of the International Studio. The chasse of about the same period (No. 114) also admirably shows the beautiful workmanship of the Limoges champleve productions. Sculpture in ivory is represented by several interesting examples of fourteenth century workmanship, and furniture by a dresser (Xo. 175) and a cabinet (No. 204) of the greatest interest. Passing from the French productions of the Gothic period to the Renaissance productions of Italian origin, we see a most valuable ensemble in its various phases and aspects. The collection of sculpture is represented by examples ranging from the early fourteenth to the sixteenth century and showing the evolution and transformation through which it passed. There is a Madonna and Child (No. 131) from about 1320 of the School of Giovanni Pisano; there is a “Putto” in Bronze (No. 27.1) of unusual interest and beauty by Andrea del Verrocchio; four marble busts in profile representing personages from the Court of Milan (No. 138) by Benedetto Briosco; a small bust in marble by Gian Cristoforo Ro- mano (No. 143) and many others of like importance and interest. The collections of furniture and majolica are of the finest. There is a Medici porcelain plate (No. 252) of the late sixteenth century of the greatest rarity, as there are not more than about thirty-six pieces extant. Of great interest is also the Casa Pirota plate (No. 245) representing the Coronation of the Duke of Parma by Pope Paul III. Goldsmith work is well represented by a cup in rock crystal (No. 318) mounted in gold and enamel, by Benvenuto Cellini, whose in- fluence is also seen in an agate bowl (No. 319) mounted in enameled gold and fine stones and in a cross in rock crystal (No. 334). There is also a large reliquary in silver (No. 335) representing the art of Valerio Belli Vicentino; a small statuette representing St. John the Baptist (No. 327) which seems to be the work of Nicola da Guardia- grele, etc. The collection of jewelry, formed of pieces well known to ama- teurs and collectors, comes from the famous Spitzer Collection and from the collection of Guilhou, Bayonne. Most of them are Italian of the sixteenth century and they belong to the finest productions of the time. This short introduction can give but a very feeble idea of the importance of the collection. Its idea has been merely to indicate in a general way its scope, and, therefore, no attempt has been made to mention each object and to bring out its interest. Most of them have been omitted, and among them are some of great importance. (Signed) Stella Rubinstein, Docteur de VUniversite de Paris. IVORIES OF XI, XII, XIII, XIV, XV, AND XVI CENTURIES 98 — Plaquette in Ivory: St. George Killing the Dragon. Byzantine. XII Century St. George in a short mailed garment is seated upon a horse. Back of his head is a halo. He holds the reins in his right hand while in his left is a long spear. This he is thrusting into the mouth of the dragon which is lying on the ground under the horse. In a red velvet frame. Height , 2 inches; width, 1% inches. There are similarities with the plaquette in the Maurice Kann Collec- tion representing the same subject and reproduced in the catalogue under the number 22(5. \ 11 Ay j ■ h 1 \'£\ ILy Hi ' - wi tUA 1 ! ’ J : 111 #1 m 1 i H N f; y * w m f |[hi^ tMi 99 — Plaquette in Ivory. Byzantine. Late XII Century - The plaquette is divided into twelve sections. The subjects represent, beginning with the upper row at the left: The Annunciation; The Nativ- ity; The Presentation in the Temple; The Baptism; The Transfigura- tion ; The Entry into Jerusalem ; The Crucifixion ; The Apparition of Christ to the Apostles; The Apparition of Christ to Mary Magdalen; The Ascension; The Pentecost; The Death of the Virgin. Above each representation are illegible inscriptions. In a red velvet frame. Height , 2% inches ; width, 2 inches. 100 — Diptych in Ivory. Romanesque Period: Rhenish. XI- XII C ENTURY Under rounded arches separated by columns are four figures standing on low pedestals. To the left are the Christ and the Virgin; to the right, two Saints. They all wear long gowns, pleated, and ornamented with passementerie borders, and over the gowns are full draped mantles. Nimbi are behind their heads, and it is interesting to notice that they all show crosses, for, as we know, it was generally only the privilege of the Christ to have His nimbus crossed. Their feet are shod, except those of the Christ, who is always represented barefooted. The shoes show the characteristic style of those worn in the tenth, eleventh and in the beginning of the twelfth centuries. In the upper part is seen an architectural background composed of houses. In a red velvet frame. Height, 5^/2 indies ; length, 6^/2 inches. Analogies in architectural background and columns can also be found with another Rhenish plaque corning from the Spitzer Collection and reproduced in Molinier: “ Les Ivoires p. 117. There are also some analogies with types and decorative details shown in several Rhenish plaques of the twelfth century in the British Museum, reproduced in catalogue of the Ivory Carvings of the Christian Era in the British Museum, pi. XXXIII, Nos. 63, 66, 67, 68. ( Illustrated) No. 100 — Diptych in Iyory. Romanesque Period: Rhenish. XI-XII Century 101 — Liturgical Comb in Carved Ivory. French: Carlovingian Period. IX Century A row of teeth is on each end of the comb, one small, the other large. In the center is a decoration of the finest quality with a motif of ram- pant stags. At that time these combs were used by the priests to arrange their hair before performing the Mass. The opinions con- cerning their periods are divided. Some think them to be of the sixth, seventh and eighth ; others, like Molinier, ascribe them to the ninth, tenth and even eleventh century. Length , 11% inches; width, 4% inches. There are analogies with the liturgical comb of St. Loup, Sens, repro- duced in Molinier : “ Histoire des Arts applique a Vindustrie : Les Ivoires p. 148, and with a comb in the South Kensington Museum coming from the Spitzer Collection, reproduced in Griggs: “ Port- folio of Ivories and in the Spitzer catalogue, I, pi. TV, No. 9. ( Illustrated ) No. 101 -L iturgical Comb in Carved Ivory. French: Carlovingiax Period. IX Century 102 — Leaf or a Diptych in Ivory: The Crucifixion. French. XIV Century Nailed to the Cross with outspread arms hangs the dead Christ. On the left is standing the Virgin in a draped mantle over her dress; on the right, St. John wearing a full mantle over his gown. Both are in profound despair and hold closed books in their hands. Above are trefoiled arches and other architectural details. Below is a circle which probably originally enclosed a coat-of-arms. In red velvet frame. Height, V/g inches ; width, 2% inches. There arc titan// analogies with several leafs of diptychs in the Berlin Museum reproduced in Vogc: “Elfenbein BUdwerke," pi. 34, X os. 127, 130, 132. 103 — Leaf of a Diptych in Ivory. French. Second Half of XIV Century Under three trefoiled arches imitating Gothic architecture of the four- teenth century is seen in the center a tree on which is seated a Cupid hold- ing an arrow in each hand and directing them toward two young couples, seen on either side of the tree. The one to the right is a young lady dressed in the fashion of the time, before whom a young man is kneeling declaring his love. At the left the young man is caressing the lady’s chin. The influence of the literature of the time is obvious in this represen- tation taken from civil life. Scenes of this kind and others, also inspired by the literature of the period, can be seen on mirror cases, toilet boxes, combs, etc., and it. is interesting to observe the feminine influence in these art productions. In a red velvet frame. Height . 3% inches; width, 2% inches. There is a very similar leaf of a diptych in the Berlin Museum reproduced in Yoge: “Elfcnbein Bildwerlc pi. 32, No. 99. 104 — Group in Ivory: Virgin and Child. French. Beginning of XIV Century The Virgin wearing a simple dress over which is draped a full mantle is seated on a low seat. Over her hair falling loosely to her shoulders is a veil and a crown. On her lap the Infant is standing, with His arms around His Mother, and He is smiling at her. His hair is curly and His expression charming. The Virgin also smiles, and while supporting the Infant with her left arm she is preparing to nurse Him. On a red velvet base. The type and costumes of the Virgin and of the Child show analogies to the Virgin and Child of the Schewitch Collection, reproduced in catalogue No. 150. Height , without base, 5 inches. From the Mannheim Collection. The representation of the Madonna nursing the Child teas known in the Catacombs of Priscilla, in the second century, but was gradually superseded by the Madonna triumphant . This theme was again sup- planted by the more human representations in the French cathedrals in the thirteenth century, and the workers in ivory, following closely the sculptors, adopted the same system of representation. 105 — Pastoral Staff in Carved Ivory. French (?). XIV Century The stem of the staff is decorated with vine leaves. In the volute is represented, on one side the Crucifixion showing the dead body of the Christ nailed to the Cross with St. John and the Virgin on either side of Him. On the other side is seen the Coronation of the Virgin by the Christ, who is seated next to her. Below the volute is a kneeling angel with outspread wings in the attitude of prayer. The knot is formed by Apostles standing in niches which are decorated with Gothic tracery and pinnacles. Height , 10% inches. There is great similarity to two crosses in the Spitzer Collection repro- duced in Sale Catalogue , Nos. 127 and 128. Many analogies can also he found with a cross in the Cluny Museum in Paris which shows a similarly kneeling figure below the volute. It is reproduced in Molinier: “ Les Ivoires p. 191. Many points of resemblance also exist with four pastoral staffs in the South Kensington Museum reproduced in Griggs: “ Portfolio of Ivories .” Also with a pastoral staff in the Berlin Museum reproduced in Voge : “Elfenbein Bild- werke pi. 35. 106 — Diptych in Ivory. French: Gothic Period. XIV Cen- tury The diptych, divided into eight parts, represents scenes from the life of the Virgin and of the Christ, under trefoiled Gothic arches. The first of the scenes, beginning at the bottom and at the left, shows the An- nunciation. The angel, with short curly hair, wearing a full draped mantle and with outspread wings, holds a scroll in his left hand. He is saluting the Virgin in bringing her the holy Message, which she re- ceives shyly, standing, in a simple dress over which a mantle falls. The Holy Spirit in the form of a Dove is bending over her head. The second scene represents the Nativity. The Virgin, dressed in the same way, is reclining on a couch and nursing the Infant. The tradi- tional ox and ass are seen below. To the right, looking down on the Mother and Child, is seated St. Joseph, and above are two shepherds listening to the angel who is giving them the wonderful news. The third scene shows the adoration of the Magi. The Virgin is crowned and seated, holding the Infant, who is standing on her lap, and is taking the gift which the oldest of the Three Kings, kneeling, is giving to Him. The two others stand behind holding their gifts and assisting at the scene. The fourth scene shows the Presentation in the Temple. The Vir- gin, wearing a full mantle over her robe, is presenting the Infant to the Priest Simeon, seen to the right, supporting the Child standing on the altar. The fifth scene represents the Flagellation. The Christ, naked ex- cept for His loins, is attached to the pillar. Two scourgers in short gowns are torturing Him. The sixth scene represents the dead Christ hanging on the Cross. To the left is standing the horrified Virgin, bending back in despair; to the right is St. John turning away from the horrible spectacle, his head leaning on his hand. The seventh scene shows the Descent from the Cross. Joseph of Arimathea receives in his arms the body of the dead Christ, while the Virgin in profound despair is supporting and caressing one of His arms, and St. John is holding the other. The eighth scene shows the Entombment. Joseph of Arimathea and Nieodemus, each holding an end of the shroud on which reposes the body of the dead Christ, are lowering it into the tomb. Several person- ages are seen behind, one of whom is holding an ointment box. In red velvet frame. This diptych is a very fine example of ivory carving of the fourteenth century in France. Many of them have come down to ns, and we are able to admire in them the deep religious feeling, rhythmic lines, simplicity and very skilful execution. Height , 7^4 inches; width , 8 inches. This diptych shores very great analogy with a diptych reproduced in the catalogue of the Schewiteh Collection, where most of the scenes of this diptych are represented in the same way. It is interesting [ Continued No. 106 — Diptych in Ivory. French: Gothic Period. XIV Century [No. 106 — Continued ] also to compare it with the dipt yell in the Carrand Collection re- produced in “ Les Arts," 1904, No. 32, p. 22; with two dipt ychs in the Chappey Collection, Nos. 1682, 1683, and with one in the collection of Maurice Kami, Nos. 217, 219. ( Illustrated) 107 — Group in Ivory: Tpie Virgin and Child. French. First II ALF OF XIV c entury. (School of Champagne) The Virgin is standing and wears a long gown girdled at the waist over which is draped a mantle. Over her loose curly hair is a veil ; in her right hand she holds a flower. The Infant is on her left arm, wearing a long gown and holding a bird in His hand. The Mother and Child are smiling at each other. On a red velvet stand. Height, 7% inches. There are many points of resemblance in the draperies, the pose and the arrangement of the hair of the Virgin to the Virgin of the An- nunciation from the Doistau Collection. The draperies and pose are also similar to those of the Virgin from the Timbal Collection now in the Louvre. The draperies, the pose and the way she holds the Child resemble another Virgin in the Louvre from the middle of the fourteenth century. (See Vitry et Brie re: “ Documents de Sculpture franpa ise du Moyeudge," pi. 94, Nos. 3 and 5, and pi. 95, No. 8). The Child and the way it is held are similar to the group from the Troyes Cathedral reproduced in Kocchlin et Marquet de Vasselot : “La Sculpture a Troyes," p. 6, fig. 5. ( Illustrated) No. 107 — Group in Ivory. The Virgin and Child. French. First FI ALE OF XIV Century. (School of Champagne) 108 — Pax in Gilded Bronze and Ivory. French (?). XIV Century The Pax is in gilded bronze with filigree foliage set with jeweled stones in the lower part. The Virgin and Child are in ivory in applied relief. She is seated on a throne wearing a full mantle over a closely fitted di’ess. On her curly hair is a veil on which is a jeweled crown. She holds with her right hand the Infant Jesus, who is standing on her lap in a long gown with passementerie around the neck. His hair is curly and with a smiling expression He is looking down to the apple which He holds in His right hand, while with the left He is taking His Mother’s veil. The Virgin also looks smiling down while holding a flower in her left hand. Height , 81/4 inches; width, if , 4 inches. From the Guilhou Collection in Bayonne. There is in the Bavarian National Museum in Munich a group in ivory almost identical with it. The Virgin shows the same type, pose and draperies : the Infant, also, is very similar, hut instead of holding an apple in His right hand He is taking a bird from His Mother's hand. The group has no Pax. It is reproduced in the “ Katalog des Bayerischen Nationalmuseums,” vol. VI, No. 1374. 109 — Two Statuettes in Ivory. Rhenish. First Half of XVI Century Two nude female figures are standing on low hexagonal bases. Their elaborate hairdresses are covered with veils, the ends of which they are holding in their hands. A small dog is seen on each base. Very rare specimens. Heights, 3 and 3 V> inches. There is in the Louvre a statuette of Psyche reproduced in Molinier: “Lcs Ivoires," p. 219, showing great similarity to our statuettes. There are also two statuettes in boxwood, coming from the Spitzer Collection and reproduced in Sale Catalogue, Nos. 2302- 2303, very similar to them. 110 — Baby in Ivory. Spanish. XVI Century One piece of ivory carved to represent a baby sleeping. Length, 9 inches. Ill — B arge Base of a Cross in Ivory. French. XVI Century Base carved with bas-reliefs representing the Scene of the Passion. In the center, below, a pelican and its young ones. Height, 7 inches; length, 9 inches. ■tow* 112 — Pax in Carved Ivory and Gilded Silver. French. Pe- ginning of THE XVI C ENTURY Representing the Descent from the Cross. In the center a plaque in ivory represents the Descent from the Cross. The drooping body of the dead Christ is supported by Joseph of Arimathea and Nicodemus. At the foot of the Cross is the fainting Virgin, looking up in despair, supported by St. John, and Mary Magdalen, kneeling with her arms around the Cross. To the right and to the left are many other person- ages assisting at the scene, and on either side of the Cross is a thief. The Pax itself is in gilded silver, decorated with small rosettes and showing on top a fronton formed of leaf work and on the bottom a scrolled design and a frieze of leaves. Height , 5 inches ; width, 3*4 inches. From the collection of E. Gnilhou of Bayonne. 113 — Pox in Ivory. Portuguese. XVI Century Wooden box, covered with ivory plaques engraved in a beautiful Sara- cenic design with birds and other motifs. Ball feet. Silver mountings. Length, 9% inches; width, 7% inches; depth, 3% inches. CHAMPLEVE AND TRANSLUCENT ENAMELS 114 — Reliquary Chasse in Champleve Enameled Bronze. French: Limoges. Late XIII Century Dark blue enamel on copper, decorated with gilded foliage, forms the background. Incised and engraved angels with outstretched wings seen to the waist are enframed in turquoise medallions with white enameled and gilded borders all around the reliquary. The nimbi are in blue, white and gold. The lock is fashioned in the form of a fantastic animal. Height, 9 inches ; width, 8%. inches. From the collection of Prince Baucina of Palermo. There is an almost identical reliquary reproduced in the Sale Catalogue 1914 of the Societe Seligman, No. 51, decorated in exactly the same way. The only difference consists in the cresting. There is also a chasse in the Church of Lamonjoie, in France, in the department of Lot et Garonne, exhibited in Paris in 1900 under the number *2469, which shows many analogies to this reliquary . Another one in the Blanche! Collection reproduced in the catalogue by Migeon, p. *26, shores a similar decoration and execution. ( Illustrated in Color) No. 114 — Reliquary Chasse in Champleve Enameled Bronze. French: Limoges. Late XIII Century 115 — Reliquary Statuette in Cast Bronze and Champleve Enamel: Virgin and Child. French: Limoges. Late XIII Century The Virgin is seated on an elaborately ornamented throne. She wears a dress in the fashion of the time, girdled at the waist with passemen- terie; also at the neck, wrists and the bottom of the garment. The same elaborate border is seen on her mantle, which covers her head, shoulders and a part of her dress. On her head is a crown with an in- cised pattern. Seated on her lap is the Infant in a long gown falling down in harmonious folds. His exquisite little head, with curly hair, is turned toward the apple which His Mother holds, and which He is taking with His right hand, while in His left He is holding a closed book. The Virgin looks down smiling. Both the Mother and Child are very slender and modeled in such harmony as could only be found in the sculptures of the Gothic cathedrals and in the finest ivories of the time. They are in cast bronze and of the finest quality. The throne on which the Virgin is seated also belongs to the best Limoges productions of the thirteenth century. It has a blue enameled background on which a conventionalized pattern of leaves and flowers is incised and enameled. Under trefoiled Gothic arches are standing figures similarly incised on the enameled background. On the sides are represented the Virgin and the Angel of the Annunciation; on the back, the figures of St. Peter and St. Paul. The nimbi are in blue enamel with golden circles. The front of the seat shows the same incised and enameled foliage, but without figures; and on top of the seat on the sides and in back is a cresting with keyhole pattern. Underneath in the center is an opening for the relics. This reliquary was found in a wall of a convent in Toulouse, about three years ago, where it was probably hidden during the great French Revolution. At that time every object of art in copper that could be found was melted, owing to the need of that metal. The reliquary is in perfect condition and it is of great importance in the history of goldsmith work in France. Height , lfil/o inches; width, fif/i inches. Published in the “International Studio ,” June , 1918. There are great analogies with several reliquaries of the same hind , especially with one coming from the Seilliere Collection reproduced in Giraud : “Les Arts du metal a Vex position de V Union cent rale des Beaux Arts," 1880, pi. VIII; with one in the Albert Oppcnheim Collection; one in the Clung Museum , and with many others in different cathedrals, museums and private collections. ( Illustrated ) Throne in Champleve Enameled Bronze. French: Limoges. Late XIII Century No. 115 — Reliquary Statuette: Virgin and Child French : Limoges. Late XIII Century 116 — Side of a Reliquary in Champleve Enameled Bronze. French: Limoges. Late XIII Century Representing the Virgin and Child. In an elongated oval of turquoise enamel, decorated with incised and enameled foliage, the Virgin is stand- ing. She wears a loose mantle, with a passementerie border, around her shoulders, and beneath are seen the graceful folds of a long dress deco- rated with a wide border. On her left arm is the Infant similarly dressed, and giving the benediction with His right hand. The heads of both the Mother and Child are in high relief. Around the oval on a dark blue enameled background are incised and enameled leaf patterns. The bor- der is formed of gilded quatrefoils incised on blue and red enamel. Height, HfL inches; width, 3 1 /* inches. There are analogies with a plaque in the Museum of Chartres exhibited in Paris in 1900, and reproduced in the official catalogue, page 84. 117 — Episcopal Cross in Champleve Enameled Bronze. French: Limoges. Early XIV Century The scroll decorated with a conventionalized pattern in red enamel on a white ground is made up of a serpent biting the tail of a lion, in bronze, which occupies its center. On the knot in red enameled circles, bordered with gold, are represented busts of angels in blue garments with gilded wings. The stem below shows a decoration of foliage in blue and white enamel on a red ground. Height, 9 (f inches. From the Castellani Collection, Home. There are many crosses of very similar workmanship, one of which is in the Soissons Museum, one in the treasury of Treves, one in the Louvre, one in the Cathedral of Maurs ( Cantal ), two in the Spitzer Collection, and many others. They are reproduced in Unpin: “L'CEuvre de LimogesT pp. 551-563, and in the catalogue of the Spitzer Collection, vol. 1, Nos. 62 and 63. (Illustrated) 117 118 — Aiguillettes in Silver and Translucent Enamel French. XV Century Two female figures are standing under trefoiled arches. They wear green garments, closely fitting over-dresses and elaborate hair dresses. Above in rosettes are seen gilded stars on shields. On top are fleurs-de- lis and on the sides gilded foliage. At this time aiguillettes were attached to long cords running through holes in the clothing and served to keep the garments together instead of buttons. ( Illustrated) Length, .'114 Inches. 119 — Plaque in Translucent Enamel on Copper. Italian: Florentine. XV Century A lamb with a banner is represented in the center on blue enamel. Above are seen fleurs-de-lis in squares. Height, 4^ inches. This emblematic plaque is said to have been given to the delegates of the Wool Weavers fraternity. The only other specimen is found in the Carrand Collection in the Bargello, Florence. SCULPTURE IN WOOD: XIII, XIV, XV AND XVI CENTURIES 120 — Statuette ix Poeychromed Wood: St. Louis. French. XI 11 Century He is standing on a low wooden base in a simple gown, painted in blue and girdled in the fashion of the time. A gilded mantle with a white collar is fastened on the side near the right shoulder. In the King’s right hand must have been a scepter, now destroyed. On his left arm, the hand of which is missing, is draped one end of the mantle. His hair is wavy and cut short just below the ears, and on his head is a jeweled crown. The figure of the King is of beautiful workmanship and the face of the greatest fineness. It would be of great interest to know in just which part of France this master- piece was produced, and if we try to determine to which school it belongs, many points of resemblance can be found in comparing it with some of the angels and other statues of the Cathedral of Rheims: the same search for expression, the same smile and fineness are seen in them. Though small in proportions this figure, in its supreme elegance, is of a really monumental character. In minor art we only occasionally find specimens of such accomplishment. There is, however, very similar to it, a small figure in goldsmith’s work, called the “Roi de Bourges,” which was found in a house in Bourges and which was exhibited in Paris in 190V. It shows the same exquisite finish and the same monumental qualities, but differs somewhat in the expression. It is nearer the character of the sculpture in Chartres and Amiens, while this one shows the characteristic search for expression of the angels of Rheims. It is interesting also to compare the head of our figure with the bust of St. Louis, after the reliquary in gold of the Ste. Chapelle in Paris, destroyed in 1793, and repro- duced in Jaequemin: “Iconographie du costume civil et militaire du IV an XIX siecle,” pi. 40. ( Illustrated) Height , If) inches. No. 120 — Statuette in Poi.vchromeu Wood: St. Louis. French. XIII Century No. 120 — Statuette in French. Polychromed Wood: XIII C 'extury St. Louis. 121 — Statuette in Wood: Virgin and Child. French. XIV Century The Virgin is standing on a low octagonal base, her body slightly thrown to the left. On her closely fitting dress, falling down in loose folds, is draped a full mantle, which exposes her bodice, and which is held up in front by her right arm; the ends of her shoes show beneath the mantle. The Infant, clothed in a long loose dress, is seated on her left arm; His hair is curly and His features of great fineness. Smiling, and looking up at His Mother, He caresses her with His right hand, while holding up in His left an apple. The head of the Virgin is of the same delicacy and elegance, and she also looks down smiling at her Child, holding up to Him a pear which she has in her right hand. Her hair which falls down loose on her back in curly waves is uncovered, and is a sign of new traditions in the religious representation, for the head of the Virgin, until the second half of the thirteenth century, was always covered. Height , 20 inches. From the Molinier Collection. The Virgin in wood in the Lou-v re , reproduced in “Les Arts 1909, slimes great analog// with this one in her pose, draperies, and in the way she is holding the Child. There are also analogies with the Virgin and Child in the Metropolitan Museum of Art, coming from the Morgan Collection, and with a Female Saint in the Aynard Col- lection, reproduced in the Sale Catalogue, No. 237. ( Illustrated ) No. 121 — S TATUETTE IN W ood: Virgin and Child. French. XIV Century 122 — Statuette in Gilded and Painted Wood: Virgin and Child. French. First Hale of XIV Century The Virgin wears a closely fitting dress buttoned in front over which is thrown a mantle covering her back and shoulders and draped on her knees. She is seated on a low chair showing in the upper part a frieze, and below a tracery of Gothic windows. On her left arm was seated the Infant Jesus, now almost completely destroyed. Her curly hair is parted in the middle; a veil and a crown cover her head; the bottom of her dress leaves uncovered the pointed ends of her shoes. The head of the Virgin is charming, and the expression is that of innocence, youth and timidity. The pose of her body thrown to the left shows the characteristic method of the French sculptors who em- ployed if in the representation of the Virgin holding the Child, of which the oldest example seems to be the famous Virgin of the Cathedral of Amiens, called the “Golden Virgin.” The Virgin here reproduced is a charming type of the fourteenth century French workmanship with all its fineness and frankness. Height , 21 inches . 1*23 — Statue in Wood: St. Martin (?). Franco-Flemish. Sec- ond Half of the XV Century The Saint, stands on an hexagonal base. He is wearing a short pleated gown with wide sleeves, and girdled at the waist. Over it is a full mantle with a broad collar. It is fastened on the right shoulder and one side is thrown back and draped over his left arm. On his curly hair, cut just below the ears, rests a high hat with the rim turned up. He is holding in his right hand a sword and in his left is a closed book m a cover, the end of which is in the form of a sack. Book covers like this were in great use in the fifteenth century. Cahier, in his book, “Caraeteristique des Saints,” p. 498, reproduces St. Lambert, the Bishop of Liege, with just the same kind of book, and gives the information concerning it. There is also in the Amsterdam Museum a female saint in wood, holding a book with a similar cover, and reproduced in Vogelsang: “Holzskulpturen in den Nieder- landen,” 11, pi. 29, No. 17. Height , 43 inches. The costume , as well as the shoes and the hat , shows striking similarity with the figure of Philippe le Bon (?), Duke of Burgundy, in the Amsterdam Museum, made in bronze by Jacques de Gerines which Humbert in “ La Sculpture sous les dues de Bourgogne p. 139, thinks to reproduce a composition of some sculptor of Antwerp. 124 — Bust ot a Young Lady. Painted Wood. Italian: Perugia. XV Century The lady is represented full face. Her features, painted in natural colors, are of unusual beauty and delicacy. Her hair is gilded and arranged in ringlets around her head and on either side of her forehead. Her finely shaped ears show through. The bust is in an exceptionally fine state of preservation and of the greatest rarity. The beautiful workmanship and the most carefully executed details would point to a very skilful goldsmith-sculptor as author. On a gilded base. Height, 11 inches. ( Illustrated ) No. 124 B rsi of a Young Lady. Painted Wood. Italian: Perugia. X Y Century 125 — Group in Painted Wood: Virgin and Child. Andrea del Verrocchio (Follower of). Italian. Second Half XV Century The Virgin is seated facing to the front. She wears a gilded brocaded gown girdled at the waist. Her curly hair, parted in the middle, frames her beautiful girlish face. She is supporting with both hands the Infant Jesus, who sits erect on her knees in front of her. He is wearing the same kind of gown as His Mother and He looks smilingly before Him. H is right arm and left hand are missing. This group, of exquisite beauty, seems to have been made by a North Italian imitator both of Verrocchio and Leonardo da Vinci. It stands in close relationship to Verrocchio’s productions and also to those of his pupil Leonardo. Several portrait busts in marble by Verrocchio bear evidence of this relationship. One of them is the bust of a Lady in the Bargello, Florence; another is in the Edmond Foulc Col- lection; another, supposed to represent Medea Colleoni, is in the Gustave Dreyfus Collection in Paris (see Maud Cruttwell: “Verrocchio,” pi. 23, 25). It is also inter- esting to compare it with a silver point drawing by Verrocchio in Dresden represent- ing “A Study for a Madonna” and with Leonardo’s design of a young lady in Windsor (see Jens Thiis: “Leonardo da Vinci — The Florentine Years of Leonardo and Verrocchio,” p. 117; p. 59). ( Illustrated ) Height , 28 inches. No. 125 — Group in Painted Wood: Virgin and Child. Italian. Second Half XV Century. By a Follower of Andrea del Verrocchio 126 — Statuette in Wood: A Monk Reading. Rhenish. Late XV Century The monk is standing on a square base of gilded wood, decorated with a flowered pattern. He wears a long loose gown showing shoes with broad tops. Over Ins gown is a monk’s habit with a hood. His hair is thick and curly and tonsured on top. His head, thrown back, shows a round, expressive face of a middle-aged man. He is reading from an open book which he holds in his left hand while his right is raised. Height, 26 inches. '/'here are some analogies with a figure of St. Stephen from the Fig dor Collection, and with the fgure of St. Leonard in the Wilczek Col- lection, both reproduced in Leisching : Figurale Holzplastik I, pi. 50 and pi. 51, So. 108. There are also some analogies with a figure of a monk (?) in the Benoit 0 ppenheim Collection , reproduced in Catalogue, pi. 21, No. 65, and given as South German about 1500. f 127 — Bust of the Yukon. Painted Wood. Flemish. Early XVI Century The \ irgin is facing to the front. Her blue dress with a red guiinpe is partly visible. On her shoulders is a gilded mantle attached in front; and in her hair, parted in the middle and elaborately arranged over her ears, is a gilded crown. On a painted base. Face and flesh painted in natural colors. Height, 17 inches. A bust showing many analogies was formerly in the Spitzer Collection. (See Sale Catalogue, No. 77-t.) 128 — Statue in Wood: St. Barbara. Alsatian. Second Hale of XV Century The Saint is standing on a low base, wearing a long dress over which is an over-dress fastened in front and forming a mantle. Her loose hair falls to her shoulders. She is holding in her left hand an open book from which she is reading; while in her right hand is a palm. To the right is seen a Gothic sanctuary surmounted by a high tower. Height, 36^4 inches. There are similarities in drapery and pose with the figure of St. Catherine in the Utrecht Museum, reproduced in Vogelsang : “ Holzskulpturen in den Niederlan-den , ” Vol. I, pi. VII, No. 26, which is, however, given as Lower Blienish, fifteenth century. 129 — Statue in Wood. Flemish. XV Century Representing an archbishop in his robe and mitre, holding in his left hand a crosier; at his feet to the right, two books. Height, 4 feet. 130 — Statuette in Wood, Polychromed. Italian. XVI Cen- tury Rep resenting St. John the Baptist, in the act of baptizing. II eigh t, 1 9 14 inch es . SCULPTURE IN MARBLE AND STONE: XIV, XV AND XVI CENTURIES SCHOOL OF GIOVANNI PISANO, PROBABLY BY TINO DI CAMAINO 131 — Group ix Marble: Madonna and Child. Italian. About 1320 The Virgin is standing, her body slightly thrown forward. She wears a gown girdled at the waist with a jeweled belt fastened in front. On her shoulders is a mantle trimmed with a border and fastened in front. A veil covers her head and on it is a jeweled crown. Seated on her right hand is the Infant Jesus in a long gown over which is draped a mantle. He is holding a closed book in His left hand, while with His right He puts the crown on His Mother’s head. Height , 20 inches. The composition is imitated from the group by Giovanni Pisano in the Cathedral of Prato which shows, however, more slender proportions and which is of finer quality. Many analogies can be found in com- paring it with the Virgin and Child in the Berlin Museum attributed by Bode and Justi to Giovanni Pisano ( Jalirbuch der Kgl. Prcuss. Kunst. 1885, p. 211, and 1903, p. 252) but given by Venturi to Tino da C amain o. See also figures from tomb in Composanto, Pisa, attributed to Tino. ( Venturi : Storia dell' Arte Italiana IV, pp. 259 and 256.) ( Illustra ted ) No. 1 31 — Group ix Marble: Madonna and Child Italian. About 1320 132 — Door Arch in Marble. Italian. XIV Century Door arch in carved marble; in the center in high relief the head of Frederick II as it is seen on his gold coins minted in Sicily. The rest of the ornamentaton represents large sword hilts, garlands, and two dogs rampant, forming the details of the royal coat-of-arms. This door arch comes from a government building of the reign of Frederick II in Sicily. Out side measurements: Height, 9 feet 8l/o inches; •width, 5 feet 2i/ 2 inches. Note: Door arches of this type were sometimes built in honor of the memory of a notable personage or an historical event. ( Illustrated ) No. 132 — Door Arch in Marble. Italian. XIV Century 133 — Relief in Marble: Tiie Virgin and the Apostles. French (?). About 1400 Modeled in a depression forming a frame is seen, to the left, the Virgin wearing a closely fitting dress over which is draped a mantle covering her head, shoulders and the lower part of her dress. Both of her hands are held up in a gesture of astonishment. Next to her, St. Peter is standing. He has short curly hair and a round beard, and wears over his gown a mantle draped in the Roman fashion and he holds a key in his right hand, while in his left is a closed book. To the right is St. Paul, dressed similarly and holding in both hands a closed book. His hair is cut short and liis beard is long. Behind are seen the heads of three other personages whose bare feet also show behind those of the Apostles, which are also bare, while the Virgin’s are shod. On the top is a frieze, showing in the center a cross on a shield, and at the right the letters S. M. The letters at the left are missing. There is in the Martin le Roy Collection, reproduced in catalogue I., pi. 27, an applied relief in gilded copper of the thirteenth century, Limoges workmanship, of which the representation is identical with this hut without frame. It is possible that it served as model for it; it is also possible that both reproduce an unknown minia- ture or book-cover. Though this relief is identical to the Martin Le Roy group, which is of the thirteenth century, it is not possible to assign it to the same period owing to the inscription on it, which is of the late fourteenth or the beginning of the fifteenth century. Height, 19 ] /o inches; width, 121/4 inches. ( Illustrated) No. 133— Relief in Marble: The Virgin and the Apostles. French (?). About 1400 134 — Medallion in Marble., in Enameled Terra-cotta Frame. Italian. Pietro Lombardi (1440-1.512) It represents the profile portrait, head and shoulders, of a noble Vene- tian lady. This model is always compared with the works of Carpaccio. Frame in enameled terra-cotta with decoration of leaves and fruit, from the factory of Della Robbia. Medallion-. Diameter , 7 Vo inches. Frame: Diameter , 15 inches. From the M olinier Collection. 135 — Bas-relief in Marble. Venetian. XV Century Representing - the portrait of a man seen in profile; frame of gilded wood. Marble : 15 V. inches high; 9 inches wide. Frame : 25 V> inches high; 1 5 '/j : inches wide. 136 — Small Bust in Marble. Donato d’Angelo — called Bra- MANTE (1444-1514) Small marble bust of a man in bis prime, crowned with laurel. The attributing of this to Bramante, in the absence of any other sculptural work of the great and much gifted artist of Urbino, is rendered plausible by the points of comparison that may be made between this bust and those that Bramante loved to depict in the decoration of the first architectural works done by him in Lombardy (for instance the Pani- garola House in Milan). In consonance with Bramante’s style, also, is the markedly classic type of the small bust, the inspiration for which was derived probably from some antique coin. On marble base. Height , without base, 8^4 inches. 137 — Statuette in Limestone: A Mourner. French. School of Burgundy. XV Century Standing on an octagonal base and facing to the front is the mourner. His head with hair cut short is bent forward. He wears a large full mantle with a hood, and with a flap of this garment, which covers his right hand, he is drying his tears. His left hand is missing. This figure, so full of character and of interest, comes probably from one of the tombs of the dukes of Burgundy, of which so many are now in museums and private collections. Comparing it to the ones in existence, we find it almost iden- tical with one of the mourners from the tomb of Philippe le Hardi, Duke of Bur- gundy, who died in JtOt, now in the Museum of Dijon, and to another mourner in the Cluny Museum in Paris, both reproduced in Vitry: “Documents de sculpture francaise au moven age,” pi. 109, Nos. 1 and 9. There are also many similarities to a mourner from the tomb of Jean sans Peur who succeeded his father, Philippe le Hardi, and who died in 1419, reproduced in Humbert: “La sculpture sous les dues de Bourgogne,” pi. 28. Height , 17^4 inches . BENEDETTO DI ARDIZOLO BRIOSCO or DEI BRIOSCHI Active about 1483-1506. Worked in Milan, Pavia, Cre- mona. Influenced by Amadeo and Cristoforo Romano. Lombard School. 138 — Four Marble Busts in Profile The first of the busts seems to represent Gian Galeazzo Sforza, nephew of Ludovico il Moro and son of Galeazzo Maria Sforza who was killed in 14T6. Two reliefs of Gian Galeazzo, one of which is in the Gustave Dreyfus Collection, Paris, and the other in the Archaeological Museum in Milan, seem to confirm this attribution. (See F. Malaguzzi-Yalen : La Corte di Ludovico il Moro, pp. 36 and 404.) The second bust is probably that of his wife, Isabella of Aragon, daughter of the King of Naples, Alfonso of Aragon. She married Gian Galeazzo at the age of seventeen, when he himself was only twenty years old. It is interesting to compare it with a youthful design of her in tlie Cffizi and with her portrait in a medallion in the Sforza Palace, at- tributed to Luini (F. Malaguzzi-Valeri : La Corte di Ludovico il Moro, pp. 38, 39). The third relief possibly represents Catherine Sforza, Countess of Imola and of Forli, daughter of Galeazzo Maria, and sister of Gian Gale- azzo. She married first Girolamo Riaro in 1477 and when he was killed in 1488 she married Giacomo Feo di Savona in 1490. He in his turn having been killed in 1495, Catherine married Giovanni dei Medici. It is inter- esting to compare the bust with her portrait by Marco Palmezzano in the Forli Pinacotek and with one in the Cffizi, Florence. ( La Corte di Ludovico il Moro, pp. 522, 523.) The fourth and last bust shows great resemblance to medals repre- senting Alfonso of Aragon, tbe King of Naples. It may also possibly portray Galeazzo Maria Sforza, the one mentioned above, who was killed in 1476. (See F. Malaguzzi-Valeri : La Corte di Ludovico il Moro, p. 16 and p. 40.) All these personages belonged to the court of Milan and were closely associated with Ludovico il M oro himself. We know through accounts of the time that Briosco worked at the Dome of Milan between 1482-1492. It is probably about that time that he executed the reliefs. Later, when he went to work at the Certosa of Pavia, he executed for the “Porta della Sagrestia vecchia” and for the “Porta della Stanza del Lavabo” the same kind of portrait-busts, representing Dukes and Duchesses of Milan. (See Alfred Gotthold Meyer: “Oberitalienische Fruhrenaissance,” pp. 160-161, and F. Malaguzzi-Valeri : “G. A. Ama- deo,” pp. 92-93.) Average height . 18 inches. ( Illustrated) No. 1 98 — Marble Profile Bust of Gian Galeazzo Sforza. Italian. XV Century. By B. A. Briosco No. 138 — M arble Profile Bust of Isabella of Aragon. Italian. XV Century. By B. A. Bkiosco No. igg — M arble Profile Bust of Catherine Sforza. Italian. XV Century. By B. A. Briosco No. 138 — Marble Profile Bust of Alfonso of Aragon ( ?) Italian. XV Century. By B. A. Briosco ' 139 — Bas-relief in Marble. Italian. Andrea Sansovino (1460- 1529) It represents the Virgin ; half the figure is shown and she holds the Infant Jesus, who is playing with the little St. John. This charming composition shows the influence of Raphael even though the artist has found a new way of treating the difficulty of depicting the two children together — the problem which cost the painter of Urbino so much weary- ing thought. The subject is represented in a simply decorated frame and appears as if in a window. Height, 141/2 inches; width, 1 1 14 inches. ( Illustrated) 140 — Bas-relief in Marble. Italian. Late XV Century Representing an Italian Princess under the features of Diana. A well- known plaquette, probably a reduced copy of this marble, may be seen in Molinier’s “Plaquettes,” No. 44, p. 23. In a wooden frame. Height, 13^4 inches. From the Borghcse Collection. No. 139- Bas-relief in Marble. Italian. XA^ Century By Andrea Sansovino GIOVANNI ANTONIO DE AMADEI— called AMADEO ok AMODEO Born in Pavia in 1147, died in Milan in 1522. Influenced first by Michelozzo and later by Mantegazza. 141 — Statuette in Marble: The Virgin of the Annuncia- tion (?) Italian The figure is standing on a low base, her right knee slightly bent forward. She wears a gown girdled at the waist with sleeves slashed at the sides. A mantle, the ends of which she is holding in her left hand, covers her back and left shoulder and is draped in front. Her hair falls loose on her back in long curly waves. On her nude feet are sandals. The statue seems to have been made about 147.5 at about the same time that Amadeo worked at the Colleoni Chapel in Bergamo. It belongs to his first manner when influenced by Michelozzo and some of the productions of the Milan Cathedral. The Colleoni Chapel, which so clearly brings out the characteristics of his first manner, shows two figures standing on pedestals of the same style and workmanship as this statue. (See F. Malaguzzi- Valeri: “G. A. Amadeo,” pp. 44, 45.) Height , 37 inches . ( Illustrated ) No. 141 — Statuette ix Marble: The Viugix of tete Annunciation (?) Italian. XV Century. By Giovanni Antonio de Amadei “MASTER OF THE MARBLE MADONNAS” Active in Florence and in Urbino ; influenced by Antonio Rossellino and Mino da Fie, sole. Second half of Fifteenth Century 142 — Bas-relief in Marble: Virgin, Child and Angels. Floren- tine The Virgin, facing to the front, is seen in half figure. She wears a gown girdled at the waist, with a passementerie border around her neck and wrists. A mantle covers her shoulders and is draped in front serving as a support to the Infant Jesus, who is lying naked, holding a bird in His right hand. The Virgin, with hands crossed on her breast, adores Him, while two winged angels with floating draperies around their bodies are putting a jeweled crown on her head. Modern frame. The relief shows all the characteristics of a large number of works which have been grouped under the name of the “Master of the Marble Madonnas.” The bodies of the babies are plump, the eyes are almond-shaped, showing circles underneath, with eyelids somewhat swollen. The thin-lipped mouths are smiling. The expression of the faces as a whole, so typically in the manner of the unidentified Master, is derived from the art of Antonio Rossellino, while the treatment of draperies and hair shows clearly Mino da Fiesole's influence. His reliefs in Bargello and St. Stefano in Florence, in Urbino, in Berlin, etc., clearly show the same characteristics. For comparison, see Virgin and Child in the Church of Del Sacro Eremo in Camaldoli, another in the Gainbier Parry Collection and several in Berlin (reproduced in Bode: “Denkmaler,” pi. 423 and 424, and in Frida Schottmiiller : “Die italienischen und spanisehen Bildwerke der Renaissance,” Nos. 156-159). All these works show the same characteristic shape of the eyes, mouth and hands, and garments similarly draped and the same particular way of modeling the wings of the angels. Height , 18 inches ; width , 15 inches . ( Illustrated ) No. 142 — Bas-relief in Marble: Virgin, Child and Angels. Florentine. XV Century. By the “Master of the Marble Madonnas” GIAN CRISTOFORO ROMANO About 1465-1512. Pupil of his father Isaia and of An- drea Bregno. W orked in Rome, Pavia, Ferrara and Mantua. Official sculptor at the Courts of Ferrara and Mantua. 43 — Small Bust in Marble. North Italian School Rust of Francesco Gonzaga (?). The bust represents a young man. He wears a tunic buttoned in front. A cross, probably the Cross of the Malta order, is suspended on a double chain. Plis long hair is parted in the middle, falling down on his neck and covering his ears. On a wooden base. The workmanship of the bust shows the same qualities and characteristics as the host of Beatrice d'Este now in the Louvre, and made by Cristoforo Romano about 1490. It closely resembles medals of the youthful Gian Francesco Gonzaga, who later became Duke of Mantua under the name of Gian Francesco II Gonzaga, and who married in 1490 the elder sister of Beatrice d'Este, the famous Isabella. It also resembles his portrait in the fresco in the “Sala degli Sposi” by Mantegna, where Ludovico Gonzaga is represented with his sons and two grandsons, one of whom is Francesco. Cristoforo Romano did not arrive in Mantua before 1498 to be officially attached to the court of Gian Francesco II Gonzaga, and as at that time the Duke was over thirty years of age, this bust probably was made from the painting of Mantegna or from a youthful medal of Gian Francesco II Gonzaga. Height, without base, 1 2 1/5 inches. From the Eduard Aynard Collection, in which catalogue it is repro- duced, p. 182, No. '277. ( Illustrated ) No. 1 13 — Small Bust in Marble. North Italian School. XV Century. By Gian Cristoforo Romano 144 — Statuette in Painted Stone: Virgin and Child. French. End OF XV or Beginning of XVI Century The Virgin is standing, in a closely fitted and gilded dress, over which is thrown a full mantle of the same color, lined with blue. Her hair is parted in the middle and arranged over her ears. On her head is a crown. On her left arm, covered by the folds of her mantle, is seated the Infant, His naked body covered only with a drapery. His left arm is missing and with His right He is holding the Virgin’s dress. His hair is curly and His expression is smiling. The Virgin holds in her right hand a branch and on it is a bird with head missing. Height, 20 inches. There are some similarities with the Virgin of St. Giraud de Vatu r in Bourbonnais, reproduced in Vitry: “ Michel Colombe et la Sculpture fran^aise de son temps,” p. 309. ( Illustrated) No. 144 — Statuette in Painted Stone: Virgin and Child. French. XY-XVI C 'enter y ATTRIBUTED TO TIBERIO CALCAGNI 1532—1565 (Pupil of Michelangelo) 145 — Bust in Marble: The Virgin of Sorrow. Italian She is represented facing the front with closed eyes and the head slightly inclined toward the right. A veil covers her head and shoulders. Small marble base. The I mst strongly resembles in type the Michelangelo Virgin from the Pieta in St. Peter's Cathedral, Rome; and another Virgin by him in Brussels (see Franz Knap]): “Miehaelangelo,” pp. 8, 17). Its attribution to Tiberio Calcagni seems very plausible. The bust is strongly influenced by Michelangelo’s productions mentioned above. Calcagni, according to Vasari and other contemporary writers, worked with Michelangelo and even completed two of his works left unfinished. One of them is the “Entombment” (?) in the Dome of Florence, which Michelangelo intended for his own tomb, and in which the figure of Joseph of Arimathea portrays himself; the other is the bust of Brutus in the National Museum in Florence. (See Vasari, Edition Mihtnesi, Vol. VII, pp. 243-24-4, and Fritz Knapp: “Miehaelangelo, pp. 125, 141.) Height , 1 4 inches From the Colonna fa milt). ( Illustrated ) No. 145 — Bust in Marble: The Virgin of Sorrow. Italian. XVI Century. Attributed to Tiberio Calcagni ALESSANDRO VITTORIA 1525 — 1608 146 — Large Bust in Marble. Italian Bust of Vincenzo Alessandri, Venetian patrician, and Secretary of the Republic, as is clearly indicated in the following inscription, which ap- pears on the plinth : VINC- ALEXANDRAS s A SECR • SER- JE TJE REIP V- All the plastic power, the acute, psychological penetration, the breadth in decoration, the life-like characteristics that have made Alessandro Vittoria’s work the choicest in all the museums of the world are found in this bust, which may be compared advantageously with the most noted and most happily conceived of the works of the celebrated Venetian portrait sculptor and above all with the bust of Grimani, in the Berlin M useum. Height, 2 feet 7 V7 inches. ( Illustrated) No. 14(5 — Large Bust in Marble. Italian. XVI C 'entuiiy. By Alessandro Vittoria GIAN LORENZO BERNINI 1598—1680 147 — Large Bust in Marble. Italian Portrait of the Cardinal Gian Carlo dei Medici. The personage rep- resented was the son of Cosimo II, Grand Duke of Tuscany, and his portrait formed part of a collection of busts of the house of Medici. Of th ese, two at present are in the Berlin Museum; another, that of the Cardinal Leopoldo, perfect companion copy of the bust in this collection, is in the Louvre Museum, Paris. All these portraits are from the col- lection of Signor Bardini, who acquired them from the family of the Marchese Covoni, Florence, living in the palace on via Cavour that belonged formerly to the Capponi family. The magnificent head, with its long and sharply-pointed mustache, is entirely worthy of the chisel of Gian Lorenzo Bernini, an artist whose best works show a union of acute psychological penetration and a genial broadness in the decorative art. ( Illustrated) Height , 3 feet 4 inches. No. 147 — Large Bust in Marble. Italian. XVII Century. By Gian Lorenzo Be RNINI 1598 — 1680 1-18 — Large Medallion in Marble. Italian Portrait of Doria Colonna. She is represented in a profile half-bust, which conveys the effect of her being richly attired ; on her head is a draped veil of generous size, which falls over the shoulders. On the breast is seen a papal decoration (she was the only woman decorated by the Pope). What is extraordinary about this medallion is the skill with which the difference in the weaves of the stuff’s used in the costume is represented. Doria Colonna was the patroness of Bernini. Height, .‘3 feet; width, 2 feet .*3 inches. From the Villa Colonna at Capodimonte (Naples). GIAN LORENZO BERNINI 149 — Statuette in Marble. Italian. X VI Century Representing St. Peter standing in the costume of a monk holding keys in his left hand. Very unusual costume. Height , 20 inches. 150 — Tabernacle in Carrara Marble. Italian. X Y Century In the middle opens a small door with frontispiece, flanked by two small pilasters surmounted by capitals. In one medallion is the characteristic monogram of Christ: IHS. Below is seen the coat-of-arms of the donor and the inscription which preserves his memory reads: PETR VS BATA DE EENIS. Height , .‘14 inches ; width, 201/k inches. ANTONELLO GAGINI 1478 — 1536 151 — Bas-relief in Marble. Italian Marble bas-relief of two angels holding in their hands a medallion set within a laurel crown. This represents the Pasch of the Hebrews. In the center, below, a cherub’s head. Length, 27 inches; height, 1 6 bo inches. 152 — Vase in Alabaster. Florentine. X V I Century Beautiful quality of alabaster with two carved masks, one on either side ; bowl part in the form of fluted shell, molded base. There is a similar one in the Pitti Palace. Very rare specimen. Height, 11 inches; length, 2214 inches. From the Martinis Pucci Collection, Florence. TERRA COTTAS AND STUCCOS XV AND XVI CENTURIES 153 — Pieta: Painted Stucco. North Italian or German. XV Century (By an imitator of Benedetto Bonfigli) The Virgin is seated, wearing a pleated gown girdled at the waist and a mantle covering her head and shoulders and draped in front. On her knees is the body of the dead Christ. He is naked except for His loins. On His long hair is a crown of thorns. His eyes and mouth are half open. The Virgin looks down on Him with profound suffering. The group is obviously inspired by the Pieta of Benedetto Bonfigli in St. Peter’s Church in Perugia. The gown of the Virgin and the way her garments are draped can also be observed in other paintings by Bonfigli. As a whole, however, the group shows many analogies with sculptured groups representing the same subject in various German museums and private collections. There is, for instance, a Pieta in the Berl in Mu seum showing striking similarity as well in the composition as in the character of the personages. (See Wilhelm Voge : “Die deutschen Bildwerke und die der anderen Cisalpinen Landern,” p. 26, No. 55.) Among other Pietas showing great similarity are two groups in the National Bavarian M useums (Hugo Graf: “Catalogue des Bayer- isehen Nationalmuseums,” pi. VIII, No. 338, and pi. IX, No. 337) and one group in the Schniitgern Collection, reproduced in the Catalogue by Fritz Witte, pi. 39. ( Illustrated ) Height, 22 inches. No. 153 Pieta: Painted Stucco. North Italian or German. XV Century LORENZO GHIBERTI 1381 — 14*55 154 — Alto-relief in Polychrome Terra-cotta. Florentine, XV Century The half-length figure of the Virgin, clothed in a red robe and blue mantle tvith frilled border, holds in both her arms the Infant Christ, pressing Him closely to her side with maternal love. He is clothed in a single linen garment and rests His left hand on His Mother’s arm and His right on her right hand, pressing His chubby cheek closely to her face. On a molded, gilded and painted base of wood and placed in a wooden tabernacle. Note: Though most of Ghiberti’s existing work is in metal (he was a gold- smith and the son of a goldsmith), there are many terra-cotta and small works, according to Sir J. C. Robinson, which are known to be from his hand. Height of terra-cotta , 28% inches ; width, I 8 I 4 inches. ( Illustrated) No. 15-1 — Alto-relief in Polychrome Terra-cotta. Florentine XV Century. By Lorenzo Ghiberti MICHELOZZO MICHELOZZI (MICHELOZZO DI BARTOLOMEO DI GHERARDO), Schooi, of 155 — Group in Terra-cotta: The Virgin and Child. Floren- tine. XV Century The half-length figure of the Virgin is seen standing, her body slightly thrown to the left. On her right arm is the Infant Jesus in a long sleeveless gown. The Virgin herself wears a gown girdled at the waist and a mantle covering her head and shoulders and draped in front. Curly hair parted in the middle frames her face, which has both a serious and pensive expression, while that of the Child is smiling. On a modern wood base. The group clearly shows the direct influence of Michelozzo. It may have been made in his atelier or by an artist influenced by his work. It is interesting to com- pare it with the Virgin and Child in the Berlin Museum and with a marble relief from the Aragazzi tomb in the Dome of Montepulciano. (See Bode: “Denkmaler,” pi. 173, Kid.) Height , without base , 28 inches. ( Illustrated) No. 155 — Group in Terra-cotta. The Virgin and Child. Florentine. XV Century. School of Michelozzo Michelozzi LORENZO VECCHIETT A 1412 14.80 156 — Bas-relief Statuette in Terra-cotta. Italian Representing St. Jerome standing. The head inclined to the right, with an expression at once sweet and contemplative, regards a skull which is held in the right hand. A very beautiful terra-cotta, polychromed, and of uncommon modeling. Height, 2 feet 6 inches ; width, 11 inches. LUCA DELLA ROBBIA 1400 — 14*82 157 — Statuette in Terra-cotta: A Shepherd in Adoration. Italian Model executed by the master before lie invented the enamel on terra- cotta. This statuette is seen reproduced in bis bas-reliefs and served as a model also for his pupils. The modeling is broad and free; every detail shows the mark of a sure and practised hand. Height, 2 feet 4 inches. ANTONIO llOSSELLINO 1427—1478 158 — Bas-relief in Painted Stucco. Italian Representing the Virgin seated, holding in her arms the little Jesus. In a very beautiful tabernacle, finely decorated. In a wood frame. Height, 2 feet 8t/o inches; width, 1 foot 5% inches. ( Illustrated ) No. 158 — Bas-relief in Painted Stucco. Italian. XV Century. By Antonio Rossellino BENEDETTO DA MAIANO 1444 — 1497 159 — Bust in Stucco. Italian Representing the portrait of an old man. The man is bald, has a pronouncedly aquiline nose and the expression of the face denotes much energy; on the breast is drapery, but the neck is uncovered. Traces of polychrome. The bust expresses character and, examining attentively its outlines, one finds in the execution of the concept, unmistakably the manner of treatment employed bv Benedetto da Maiano. On original wooden base. As regards the subject of the bust, it may be said to be Giovanni Gioviano Pon- tano (1426-1503), poet and secretary to His Majesty, the King of Naples, Ferdinand I. There is a bust in bronze of him in Genoa at the Palazzo Bianco; it is published in “Schubring in Die Plastik Sienas in Quattrocento,” p. 193. This bust in stucco is approached in strength and character of modeling only by Donatello’s bust of Nicolo da Uzzano, to be found in the Bargello Museum, Florence. Height , 1 foot 7 inches; width , 1 foot 7 inches. ( Illustrated ) No. 159 — Bust in Stucco. Italian. XV Century By Bi JNEDETTO DA M AIANO ANDREA DELLA ROBBIA 1435—1525 160 — Bas-relief in Enameled and Polychromed Terra-cotta. Italian Virgin and Child. Against a blue background the Madonna is rep- resented in half figure wearing a gown girdled at the waist over which is draped a mantle. She is standing behind a balustrade and supports the naked Infant Jesus, who stands in front of her holding a bird in His right hand, while with His left He holds on to the ends of His Mother’s girdle. Nimbi are behind their heads. The figures are enam- eled in white. Modern frame. The group belongs to the third manner of Andrea Della Robbia, extending from about 1.500-152.5. In this period his productions show broadly treated draperies and a style both simpler and heavier than his second manner. The Child is generally represented naked, with His hip projected, and holding a bird in His hand. Height , 1 foot 1 1 >/o inches; width, 1 foot 3 inches. Formerly in the collection of Marquis Spinola , Genoa. Comes from the Ferroni Collection, Home. lie produced in Allan Marquand: “ Della llohbias in America ,” pi. XV. For analogies, see “ Madonna of the Architects ” in the National Mu- seum, Florence ; Virgin and Child in Santa Maria Nuova; Relief in the Boston Museum coming from the Share Collection ; relief in the Berlin Museum coming from the Simon Collection, etc. ( Illustrated in Color) NO. 160— Bas-relief in Enameled and Polychromed Terra-cotta. Italian XV c 'ext UR Y By Andrea Della Robbia VINCENZO DANTI 1530 -1570 161 — Bust in Terra-cotta: A Scourger. Italian It is the model in terra-cotta made by the artist for his large statue found in the doorway of the Baptistry, Florence, in the group repre- senting Christ in the midst of the scourgers. In this terra-cotta one recognizes, beyond a doubt, the hand of the great artist, who knew how to impart such an intense lifelike impression and expressiveness to his work. On a marble base. Height , 18 inches. LEONE LEON I 1509—1590 162 — Group in Terra-cotta. Italian Model of a monument, which by order of Charles V was to be erected at Brussels to commemorate the conquest of Flanders. Alexander Far- nese, the famous general to whom was due the success of the fortunate campaign, is standing on the banks of the Scheldt, while the personifica- tion of Flanders appears in chains, and a Victory waves the standard. On terra-cotta base in the model of a Venetian well of the sixteenth century. Group: Height , 17 inches. Base: Diameter, 8 inches. (Illustrated) No. 1(52 — Group in Terra-cotta. Italian. XVI Century. By Leone Leoni PAINTINGS OF THE XV, XVI, XVII AND XVIII CENTURIES 163 — Painting on Wood. Madonna and Child. Florentine. XV Century. By a follower of Fra Filippo Lippi The Virgin is seen against an architectural background formed by a marbled niche and decorated with garlands and flowers. She is repre- sented half len gth, wearing a red grown girdled at the waist over which is draped a blue mantle. Her blond hair is parted in the middle and is partly covered with a white scarf which is draped in front and around her shoulders. Her head is bent toward the Infant sitting in her arms and embracing her. In a modern gilt tabernacle frame. This charming little picture is obviously inspired by Fra Filippo Lippi. The Virgin has much similarity with the picture in the Louvre ascribed to Fra Filippo Lippi and representing the Madonna and Child with Angels. She shows the same elongated face with a long and pointed chin and the nose is similarly shaped. The same resemblance can be observed in comparing it with a picture- in the National Gallery in London repre- senting the Virgin and Child with an angel ascribed to Fra Filippo Lippi. The type of the Virgin is the same and the head is bent similarly. The Infant Himself resembles Infants by Fra Filippo Lippi as well in type as in expression. Height , 24 l/o inches ; width , 1 7 % inches . Note: This picture was for many centuries in the castle of the Counts dell’ Acerra, near Naples. Mr. Bernard Berenson (see “Catalogues of a Collection of Paintings and Some Art Objects,” Mr. J. G. Johnson’s Collection, Philadelphia, 1914, Vol. I, p. 23) attributes many paintings, ascribed to the followers of Filippo Lippi, to the Master of the San Miniato Altarpiece; for instance, one in San Miniato, one in the Minneapolis Museum, one in Detroit, Michigan, one in the Johnson Collection, another in Oldenburg, etc. All these paintings mentioned closely resemble the picture in this collection. ( Illustrated ) NO. 163 — Painting ox Wood. Florentine. XV Century. By a Follower of Fra Filippo Lippi 164 — Painting on Wood. Venetian. XV Century The painted front of a large chest, in three panels, the one at the right representing a cavalier in an expectant attitude awaiting the bark that should bring his bride; the center panel shows a cavalier following a nymph ; the left one a combat between a cavalier and a warrior. This picture will shortly he published by Prof. Frank .T. Mather, in his work on Cassone Panels. Length, 70% inches; width, 19 inches. 165 — Painting on Canvas. Venetian. XVI Century Representing an old man studying with geographical instruments, prob- ably the portrait of a geographer of this period. Height, 4 feet 7 inches; width, 8 feet 9 inches. GIROLAMO BEDOLO MAZZUOI A CALLED MAZZOLINO Parma : 1570 166 — Painting on Wood. Italian Representing the Adoration of the Shepherds. The picture is treated in the usual manner of sacred pictures in the Italian art of the Renaissance, and together with the Virgin, the Child, St. Joseph and the shepherds, there are represented several other persons. In the midst of these last- named, the figure of a noble lady in the background, with a striking face and costume, takes the eye; very probably it is the portrait of the lady to whose order the picture was created, as a votive offering. In original gilded wood frame. Painting-. Height , 10 1/2 inches; width , 30 inches. 167 — Painting on Canvas. Dutch School. XV I Century Representing the portrait of a lady, full-face view, in a black dress with a small collar. The figure, powerful in its conception, stands out boldly from the dark background, a strong, vigorous piece of work. The em- broidery that adorns the sleeves of her simple costume and the gold jewelry with which she is so generously adorned are painted with that niceness of skill which seems properly to belong to the Flemish and Dutch artists of that period. In original wood frame. Height. 30 inches; width. 21 inches. 168 — Painting on Panel. Flemish. XVI Century Representing a domestic scene with three women and men preparing food, around a table. Nice composition. In a gilded wood frame. Height. 19l/o inches; length, 26 inches. ALESSANDRO ALLORI— called IL BRONZINO 1535 — 1607 109 — Painting on Wood. Italian Portrait, life-size, of Bianca C'appello, Grand Duchess of Tuscany, wife of Francesco de’ Medici; she is dressed in a rich costume, light in color, and has by the hand a baby boy who is holding a carnation. In this portrait is seen all the strength of the artist, of which such striking proof is given in the color and the execution of the figures, so delineated that they seem to be living before you. In its original gilded wood frame. Height , 4(i inches; width, 35 inches. ( Illustrated) No. 169 — Painting on Wood. Italian. XVI Centura By Alessandro Allori 170 — Painting on Panel. Flemish. XVI Century Representing the Virgin seated, holding the Child; near them the por- trait of an archbishop in his robes in adoration. Black wood frame. Height , 2114 inches; width, 1 inches; width, 18 inches. 181 — Walnut Chair. Umbrian. XVI Century Sgabello type. Shield-shaped back, and top carved witli voluted scrolls, tbe center with acanthus leaves and fluted fan. Front support carved with dolphins and honeysuckle. Octagonal molded and carved scat and shaped hack support. 182 — Six Walnut Chairs. Italian: Umbrian. XVI Century Sg ahcllo type; with carved scrolled panel hacks; carved apron panel; seat with carved ornamentation on ends; carved side supports for hack finished w ith acanthus-leaf finial ; straight legs and stretchers. 183 — Pair of Tuscan Walnut Chairs. Italian. XV L Century Sgabello type. Triangular-shaped backs, the sides carved with scrolled acanthus-leaf volutes set at an angle, the tops with voluted acanthus leaves, the centers with molded vertical ribs. Molded octagonal seats on square pedestals, shaped front supports and shaped back supports. 184— Walnut Armchair. Italian. XVI Century Straight square back, with carved and gilded finials. Straight arms on turned supports, straight square legs and carved front rail. Seat and back covered with red velvet. 185 — Four Chairs in Walnut. Italian. XV I Century Square back with square carved side supports, shaped back rail carved with rosettes and scrolls, horizontal carved splat with turned spindles, straight legs, square wooden, molded scat. 186 - Two Chairs in Walnut. Italian. XVI Century High straight back, with carved vase-shaped finials, the head-rail and horizontal splats carved and pierced in scroll pattern, and having a central panel inlaid in a lighter-colored wood. Square wooden seat ; straight square legs. ] 87 — Two Chairs. Wood. Late XVI Century The composition as well as the decoration is in the Mediaeval Gothic style. The quatrefoils decorating the chairs are made after Andrea Pisano, who sculptured scenes relating to the story of St. John the Baptist and of which some are here reproduced. It is impossible to identify satisfactorily the coats-of-arms seen on the chairs. One of them, however, shows the arms of a noble family of Verona, and another a noble family of Dalmatia. Much restored. 188 — Walnut Chair. Florentine. XVI Century Sgabello type. Shield-shaped back, the sides carved with voluted acan- thus leaves, the top with scrolls and pointed leaves, the center with escutcheon of coat-of-arms. Square pedestal, front support carved with voluted acanthus leaves and fluted base. Octagonal molded seat with shaped back support. 189 — Bureau in Walnut. Italian. XV 1 Century Bureau with three drawers, the front of each one divided into small panels; the center decorated with a carved mask. Side ornaments with carved cherubs’ heads and foliage. Molded base. Height , 3 feet 214 inches; length , 4 feet 9 1 •_> inches; depth. 1 foot 1 1 ; >4 inches. 190 — Walnut Cabinet. Florentine. XVI Century Rectangular shape. Oblong molded cornice top and carved frieze, which forms two small drawers. Below, the front is divided into two panels (forming hinged doors, with bronze door pulls) by three fluted and astragalled Ionic pilasters. The base below is molded. The ends are paneled and flanked by pilasters matching those on the front. Height , 3 feet 6i/o inches; length, 6 feet; depth, 2 feet 3 inches. 191 — Cabinet in Walnut. French: Gothic Style. XV] Cen- tury The cabinet is rectangular shape, with chamfered ends; flat molded hinged top. The front and sides are composed of two rows of carved paneling separated by projecting moldings. In the middle of the upper row in front is a hinged door with a beautiful Gothic iron lock. In the lower paneling is a drawer. The cabinet is supported on four carved legs. Above the cabinet is an upright back piece divided into four carved panels, surmounted by a carved and pierced frieze. This is surmounted by three carved angels. On the top and sides are the coat-of-arms of a Savoie family. Very rare shape. (Restored.) Height, 8 feet 3 inches; width, 3 feet 9 inches; depth, 2 feet 1 inch. 192— Mirror Frame in Walnut. Italian: Florentine. XVI Century The frame is decorated partly with a conventionalized Greek pattern and partly with a pattern like a carved chain. A row of pearls is seen on the lower part. On the top is a human mask, bearded, with heavy garlands on each side of its mouth. On the sides are masks of young women wearing head-dresses decorated with plumes. Ex- ceptionally fine work. Height, 26 inches ; width, 18 inches. There are analogies with several frames, one in the Benoit Oppen- heim Collection, reproduced in Catalogue, No. 109; one in the Hainauer Collection; one in the Kunstgewerbe Museum, Berlin, both reproduced in Guggenheim-. “Le Cornice Italiane,” pi. 81 and 89. The masks on sides show similarities with a mask on a frame in the Guggenheim Collection, Venice; and is reproduced in the same book, pi. 99. ( Illustrated) No. 192 — Mirror Frame in Walnut. Italian: Florentine. XVI ( ENTURT 193 — Walnut Cassone. Florentine. XVI Century Rectangular shape, with hinged lid. The paneled front is carved all over in a scrolled foliage design. In the center, two sirens holding a coat-of-arms. At the ends of the panel are carved lions’ heads and bunches of grapes. The base is elaborately carved and molded, and rests on paneled feet. The lid has a carved border. In the middle of side panels are iron handles. Height , 2 feet; length , 5 feet 7 inches ; depth, 1 foot 10 inches. ( Illustrated) 194 — Walnut Cassone. Florentine. XVI Century Rectangular shape, with hinged lid. The paneled front is carved all over in a scrolled foliage design. In the center, two sirens holding the coat-of-arms of the Castelli family. At the angles are female caryatides. The base is elaborately carved and molded. The lid has a carved border. All is supported on lion’s paw feet. In the middle of side panels, iron handles. Height, 1 foot HR/o inches; length, 5 feet 3 inches; depth, 1 foot 1 1 1/b inches. ( Illustrated ) 195 — Walnut Cassone. Amiuzzo, Italy. XVI Century Rectangular shape, with hinged lid, bordered with carving. The front and side sunken panels are surrounded by a molding carved in leaf pattern, and have in the center a contemporary lock ornament and key. The base on the front and sides is boldly carved in a fruit and foliage design. The angles are formed by female caryatides ending in volutes. The feet are lion’s paw feet on circular bases. II eight, 1 foot 10 inches; length, 4 feet 10 inches; depth, 2 feet. 196 — Walnut Cassone. Florentine. XVI Century Rectangular shape, with hinged lid molded and carved. The front panel is molded and carved on either side of a central carving of a child’s head with two rectangular designs, an oval in the center surrounded by foliage. Beneath this is a deep carved panel in oval designs ; all supported on a heavily molded base. The side panels have iron handles. Rare shape. Height, 2 feet 3 inches ; length, 5 feet (1 inches; depth, 2 feet. ( Illustrated ) 197 — Walnut Cassone. Florentine. XVI Century Rectangular shape, with hinged lid. The front very beautifully carved with two sirens and Eros holding a wreath enclosing a coat-of-arms. The sides are heavily carved in a foliage pattern. The domed lid is molded and the feet are formed as lion’s paws. There is an incurved base which is gadrooned. Very beautiful carving; Florentine bronze patina. Height, 2 feet 2 inches; length, (5 feet; width, 2 feet. ( Illustrated) 198 Walnut Cassone. Florentine. XVI Century Companion lo the preceding. 9UI 199 — Bookcase. Venetian. XVI Century Walnut bookcase ornamented with carved and gilded and colored side pieces and a pediment with a winged bull symbolizing an evangelist. The bookcase is divided into two sections with two glazed doors in each section, lined with green silk. The side panels open and are fitted with small shelves. There are two narrow drawers at the bottom. See Good Furniture , September, 1917. Height , 8 feet 9 inches; length, 5 feet 8 inches; depth, 17 inches. ( Illustrated) 200 — Doorway in Carved and Gilded Wood. Florentine. XVI Century There is a fluted column on either side, with Corinthian capital sup- porting a lintel carved and gilded and polvchromed in scrolled design and cherubs’ heads. The columns are on molded bases with gilded eoat-of- arms. Height, 11 feet 1 inch; extreme width, 9 feet; depth, 10 inches. No. 199 — Bookcase. Venetian. XVI Century 201 — Large Center Table in Walnut. Italian. XVI Century Heavy oblong top, with molded edge. The lyre-shaped legs are ex- ceptionally heavy and richly carved with hold acanthus-leaf volutings, enclosing molded panels and terminating in lion’s paws. The longi- tudinal brace is elaborately carved. Height, 2 feet 8 inches; length, 6 feet IQ 1 /* inches; width, 2 feet 9 inches. ( Illustrated) No. 201 — I iARGE Center Table in W alnut. Italian. XVI Century 202 — Table in Walnut. French: Bachelier be Toulouse. XVI Century The table is of carved walnut, decorated with little window-like spaces between the columns. It has small medallions inscribed inside of or- naments in intaglio, cherubs’ heads and swans. Attributing this to Bachelier cle Toulouse, who followed a course of instruction under Michael Angelo in Italy, is justified by comparing it with other pieces of furniture by the French artist, now in the Cliiny Museum and in the South Kensing- ton Museum, London. Length, I feet 11 inches; height, 2 feet inches; width, 2 feet 7 l/o inches. ( Illustrated ) No. 20 2 — Table in W a lx tit. French. XVI Century. By Bachelier de Toulouse *203 — Bench in Carved Wood. Florentine. XVI Century Bench in carved walnut with back in balustrade effect. On the arms are seen small cherubs’ heads, supported on four large voluted brackets on molded bases. Height, 3 feet 7 inches; length, 8 feet 2 inches; width, 1 foot 7 inches. ( Illustrated ) 04 — Cabinet in Oak. French : School of Lyons. Second Half of XVI Century The cabinet is single bodied. It lias two doors and two drawers in front profusely decorated. The decoration, as in most of the productions of the School of Lyons, consists of hat ornamental designs composed of foliage scrolls, rosaces, garlands, grotesque masks and female heads. Height , .‘3 feet 6 inches; width, 5 feet 8 inches; depth, 2 feet 4 inches. From the Bardini Collection. Illustrated by Bode: “ Italicnische Hausmobel dcr Renaissance ” p. 73. The cabinet at first sight seems Italian. A more attentive exami- nation, however, shows its close relationship to the productions of Lyons, relieve French workers were well acquainted with Italian productions and with works of antiquity. The same elements of decoration are seen, among others, in a cabinet and chest in the Musee des Arts Dccorcitifs, Baris ( Met man et Brieve: La Musee des Arts Dccorcitifs. Le Bois, Vol. I, pi. 55); in a chest and cabinet in the Metropolitan Museum of Art; in a cabinet from the Aynard Collection; in a dresser from the Chabricre Arles Collection. ( Giraud : Exposition retrospective de Lyon, 1877, pi. 19, 32), etc. ( Illustrated ) o ( cv^H$> ; ’ 205 — Walnut Cabinet. Florentine. XVI Century Rectangular shape. Oblong molded cornice top, with carved frieze. The front is divided into three panels, in the middle of each a bronze lion’s head, and has a fluted and astragalled Ionic pilaster on each end. The base is heavily molded ; the sides are paneled and Hanked by pilasters, corresponding to those in front. The whole rests on four lion’s paw feet. Very rare shape. Height . 3 feet 0 C inches ; length , 5 feet 9 l/o inches; depth, 2 feet I inches. ( Illustrated ) No. 205 Walnut Cabinet. Florentine. XVI Century 206 — Two Stools in Walnut. Florentine. XVI Century Of Sgabello form. The supports are carved in a design of bold scroll- ings enclosing a carved mask. Lion’s paw feet. Molded seat. Height, 1914 inches. ( Illustrated ) 207 — High Pedestal in Gilded Wood. Italian. XVII Century Of Sgabello form. The two side pieces support square molded tops, are carved with bold volutes enclosing pendants of husk design below which are oval medallions and grotesque masks, and are supported on lion’s paw feet. Entirely gilt on brown background. Height, 4 feet 2 inches. ( Illustrated ) 207 a — High Pedestal in Gilded Wood. Italian. XVII Cen- tury Same as preceding. (Illustrated) 208 — Two Armchairs. Venetian. XVII Century Square back, wooden frame consisting of inlaid panels decorated with circles and rosettes in gilt ; the center of back is cane. The seat is cane surrounded by a similarly treated wooden frame. Beneath is an apron piece with the same decorations. The arms are slightly bent. The legs are molded at the top and taper toward the bottom. Antique red damask cushions. 209 — High Pedestal in Gilded Wood. Italian. XVII Century Of Sgabello form. The two side supports, which terminate in a square molded top, are carved with hold volutes at the sides enclosing pendants of husk design, are further decorated with cherubim heads, rosettes and shells, and rest on lion’s paw feet. The entire design is gilt with a black background. Height, 4 feet. 210 — Savonarola Chair in Beechwood. Italian. XVII Cen- tury Curved sides and base, formed of eight interlacing square supports, pivoted at their intersections so as to form a folding chair with square seat. Shaped back-rail, with incised monogram, front with incised deco- ration, straight arms with ball and molded ends and straight base-rails. 211 — Savonarola Chair in Beechwood. Italian. XVII Cen- tury Curved sides and base, formed of seven interlacing square supports, pivoted at their intersections so as to form a folding chair with square seat. Shaped back-rail, with incised monogram, front with incised deco- ration, straight arms with molded ends and straight base-rails. 212 — Two Armchairs in Walnut. Italian. XVII Century High square bark, with carved and gilded acanthus-leaf finials. Straight molded arms on square supports, square legs and square side-rails. Cov- ered with old leather secured with large brass-headed nails. MAJOLICAS OF THE XV AND XVI CENTURIES A large part of the majolicas described hereafter are from the collection of Miss Walters Cacciola of Taormina, Sicily, and other famous collectors. They represent the first period of Italian ma- jolicas — that epoch when the artists went to Spain to learn the art of majolica working, and returning to Italy, executed specimens in Spanish-Moorish style, adding portraits, figures and style details absolutely Italian. Some of the pieces have been signed on the back with the date, the name of the fabric or the artist’s name. 213 — Bowl in Majolica. Central Italy. Beginning of XV Century I)i the center, a Siren crowned, and holding two lilies in her hands. On her breast and on her limbs are seen three coats-of-arms granted to the majolica workers by the civic authorities. The color scheme is extremely quiet, because the effect is obtained solely by the use of manganese and a very little copper-green. Only specimen of its kind; obtained in the excavations of the wells of Orvieto. Diameter, 10% inches. 214 — Bowl in Majolica. Milanese. Beginning of XV Century Majolica bowl with four handles, decorated in the center by a tree with a coat-of-arms. Belonging to the notable number of rare majolicas of the Sforza family. Diameter, 10 inches. From the collection of Miss Walters Cacciola of Taormina, Sicily. 215 — Vase in Majolica. Florentine. XV Century In the form of a small column with two coats-of-arms of the Medici family. Height, 8% inches. 216 — Large Bowl of Majolica. Central Italy. Beginning or XV Century The decoration, obtained by employing copper-green and manganese, represents a Queen giving unicorns a drink. Very rare example; speci- men of the first products of the ceramic art in Italy ; brought to light in the excavating of the wells of Orvieto. Diameter, 12% inches. From the collection of Miss Walters Cacciola of Taormina, Sicily. 217 — Plaque in Majolica. Mantuan. XV Century Plaque in majolica, with decoration cut in with a stick and in bas- relief, representing the Virgin with the Child Jesus and a cherub’s head. Height, 16 inches; width, 1()14 inches. From the collection of Miss Walters Cacciola of Taormina , Sicily. 18 — Tile. Okyieto. Early XV Century Representing a falcon. Square, 9 inches. 19— Tile. Orvieto. Early XV Century With a coat-of-arms among branches. Square, 9 inches. 20 — Plate in Majolica. Mantuan. XV Century Majolica plate, with decoration in relief of yellow on a manganese ground. In the center, coat-of-arms of a Mantuan family. This very rare specimen was made in the factories of the Dukes of Mantua. Diameter, 9j4 inches. From the collection of Miss Walters Cacciola of Taormina, Sicily. 21 — Water Jar in Majolica. Pavia. XV Century Water jar of majolica, with portrait of noble lady, work cut in with stick. Height, 8 inches. From the collection of Miss Walters Cacciola of Taormina, Sicily. 22 — Plate in Majolica. Florentine. Beginning of XV Cen- tury Majolica plate, decorated in the center with a griffon and diversified ornamental motifs. The style still showing the influence of Oriental art, and the technique in the decoration, in relief, blue on a white background, carries back this unique, magnificent exemplar of the beginning of the art of majolica-making in Florence to the early years of the fifteenth century. Diameter , lOj/} inches. 223 — Vase in Majolica. Caitaggiolo. X V Century Cylindrical shape, with incurved sides and annular rim. Decorated, on a white ground, in blue and green with touches of manganese, with two bands of pointed-leaf scrolls between borders of lines. Height, 7y§ inches. 224 — Holy Water Font in Majolica. Faenza. XV Century The vessel intended to contain the consecrated water leans on a bracket supported by an eagle. Above, in two heart-shaped shields, are seen the coat-of-arms of the family of that Avogadro who was court poet to Cosimo de’ Medici, the elder. In the middle is a bas-relief done with a stick, representing the Virgin and the Child. Unique specimen of great decorative beauty in the lines, in the choice of ornamental motifs, and in the color scheme carried out in a harmonious blending of green and blue. Height, 2 feet 1 inch. 225 — Large Vase in Majolica. Florentine. XV Century White vase, with decorations in blue and manganese. The type of the majolica, the technique and the decorative motifs show that this vase is one of the first specimens made by the Florentine artists of the fifteenth century. Height, 9% inches. 226 — Plate in Majolica. Florentine. XV Century In the middle, kneeling on a raft that is rocked gently on the sea where a fish appears in transparency, is the portrait in caricature of the famous maker of medallions, Sperandio, indicated humorously by the inscription: SPERO-INDIO. Bordering it is a simple decoration in Spanish-Moorish style which attests the great antiquity of this very rare specimen, obtained from the collection of Prince Baucina of Palermo, Sicily. Diameter, 9V inches. 227 — Pharmacy Vase: Caffaggiolo. X V Century Incurved cylindrical shape with two looped and twisted handles. Deco- rated with the name of the drug, scrollings and zigzag in blue and yel- low on white ground. Height , 8% inches. 228 — Vase in Majolica. Faenza. XV Century Vase in majolica, form of small column, with representations of a dog and a snail. Below runs a brief inscription, whose import is unde- cipherable. Beautiful specimen from the factory C'asa Pirota. Height , 7% inches. From the collection of Miss Walters Cacciola of Taormina , Sicily. 229 — Sculpture in Enameled and Polychromed Majolica. Faenza. XV Century Majolica, with great predominance of manganese and copper green, representing the “Flight into Egypt.” Very rare specimen. Height , 18 inches ; width, 13 inches. From the collection of Miss I Valters Cacciola of Taormina. Sicily. 230 — Vase in Majolica. Faenza. XV Century Vase in majolica, with decoration of peacock’s feathers on a yellow background. In the center may be read the following inscription: IERA EX INVENTIONE. Very rare specimen. Height, 7'l/o inches. From the collection of Miss Walters Cacciola of Taormina, Sicily. 231 — Plate in Majolica. Florentine. XV Century In the center the scene of the “Judgment of Paris” is represented, with the ancient city of Florence in the background. Unique specimen of great artistic importance and historical as an authority on Florentine topography. Diameter, lQl/j. inches. From the Castellani Collection of Nome. 232 — Plate in Majolica. Florentine. XV Century Majolica plate, decorated with a tree and the coat-of-arms of Pietro Soderini, last Supreme Magistrate (Gonfaloniere) of the Florentine Republic. Diameter, 13 inches. From the Molinier Collection, Paris. 233 — Decanter in Majolica. Florentine. XV Century Majolica decanter, three-lobed, with the coat-of-arms of the Panciatici family of Pistoia. Done in blue, yellow, green and manganese. Under the handle is the mark of Faenza. Height, 7j/o inches. 234 — Plaque in Majolica. Faenza. XV Century In relief, representing the apparition of Christ to St. Francis; red re- lief, white ground, yellow frame. Height, 19 inches; width, 13 inches. 235 — Vase in Majolica. Florentine. XV Century M ajolica vase, three-lobed, decorated with a scene of hunting the wild boar, recalling perhaps the myth of Meleager. Height, 9 '/^ inches. From the collection of Miss Walters Cacciola of Taormina, Sicily. 236 — Plate in Majolica. Faenza. X V Century Plate of majolica, decorated in the center by the figure of an ass, with the inscription: LASSAME CHEL FARO. Border of leaves and dif- ferent ornamental motives. Diameter, 13l/o inches. From the Molinier Collection, Paris. 237- — Vase in Majolica. Faenza. XV Century In the form of a jug, decorated in the center with a medallion having a leonine head. Height, 7 inches. From the collection of Miss Walters Cacciola of Taormina, Sicily. 238 — Vase in Majolica. Florentine. XV Century In the form of a small column with twisted rope-like handles. In the center the eoat-of-arms of the Chigi family. Very rare specimen. Height, 9 inches. 239 — Vase in Majolica. Faenza. XV Century Spherical form, with four handles ; all of the body decorated in blue on a white ground with flowers and foliage. Very rare specimen. Height, W/o inches. 240 — Dish for Holding Eggs in Majolica. Faenza: Italy. XV Century Very rare form in the shape of an escutcheon. The top and bottom in a beautiful design of blue on white ground, all lustered. Length, 8 inches; width, 6^4 inches; height, 3 inches. From the collection of Miss Walters Cacciola of Taormina, Sicily. 241 — Plate in Majolica. Urbino. By Andreioli Salimbene. XV Century Lustered plate decorated with scene of Parnassus. On the back is the signature of the artist: A. S. [Andreioli Salimbene]. Very rare speci- men. Diameter , 1 01/. inches. From the collection of Miss Walters Cacciola of Taormina , Sicily . Back of Plate 242 — Plate in Majolica. Urbino. By Maestro Giorgio. XVI Century Lustered plate decorated with a scene of inscription with the signature of the artist : 4 de Otobre 1523 IM. Giorgio da Ugubio. Very rare specimen. war. On the back is an Diameter , 1 1 l/i inches. Back or Pi. ate 243 — Vase in Majolica. Faenza. Early XVI Century This very rare vase comes from the famous “Casa Pirota” and is most artistically decorated in the style of the celebrated master, Valerio Belli. The entire surface is ornamented with scrolls, masks, cornucopias, human figures and bands of ornament. Its dark blue coloring is greatly en- hanced by the design of the coat-of-arms of the Colombini family for whom it was made. The two side handles add character to its artistic shape. Very rare specimen. Height, 14 inches. From the collection of Prince Baucina, of Palermo, Sicily. ( Illustrated in Color) No. 243 — Vase in Majolica. Faenza. Early XVI Century 244 — Plaque in Majolica. Faenza (Casa Pirota, 1.529) Majolica plaque representing the “Arrival of the Magi.” To the right, in front of the grotto, the Virgin is seated with the Child, and St. Joseph is standing with an expression of wonder and reverence on his face; in the background are the shepherds. To the other side is the landscape and the star is shown that guided the Magi on their journey to Bethlehem. The artist has treated this so-oft-repeated subject in a manner all his own, which brings back to our mind the pictures of primitive Italian art. On the back of the plaque, within a coat-of-arms, is the inscription: “IN DEO SEMPER”; below J. S. MDXXYIIII N. PISAVRI. The work is done in very beautiful colors, light blue predominating; characteristic of the Casa Pirota. Height , 8l/o inches ; width, 4^4 inches. From the collection of Miss Walters Cacciola of Taormina, Sicily. These plaques are very rare; another such is in the Carrand Collection in the Bargello Museum. 245 — Plate in Majolica. Casa Pikota: Italian ( 1537 ) Round plate, with blue and yellow decorations. The scene represents one of the reception rooms of the Vatican. In the center is seen Pope Pan 1 III (Fa rnese) sitting on a throne, with the Papal tiara, surrounded by cardinals, artists and others of his court. Many of the personages standing seem to represent artists of the period, notably the second one on the right, who has much resemblance to the portraits of Michael Angelo, who received from Pope Paul III the charge to build St. Peter’s. The Pope is represented in the act of crowning his son Pietro Luigi, who subsequently became Duke of Parma. Diameter , 8l/o inches. This unique and historical plate is also interesting on account of the portraits and the mark of the fabric on the back. In a very fine state of preservation. ( Illustrated in Color) Maiik on Back of Pi.ate No. 245- Plate in Majolica. Casa Pirota: Italian (1537) 246 — Plate in Majolica. Pesaro. By Fra Giron j mo. XV I Cen- tury Plate decorated with scene of war between the Israelites and Philistines near Bethulia. On the border of the plate is seen Judith cutting off the head of Holofernes. On the back is an inscription with the signature of the artist: “Come Juditha ammazo Oloferne fate in Pesaro in mia bottega. 1542. Fra Gironimo” (How Judith killed Holofernes made in Pesaro in my workshop. 1542. Fra Gironimo). Very rare specimen ; beautiful coloring. Diameter , 1 414 inches. From the collection of Miss Walters Cacciola of Taormina , Sicily. 247 — Large Plate in Majolica. Fratta. XVI Century In the center is represented the Crucifixion with two Saints, surrounded by an inscription and medallions in which are the busts of sixteen saints. Decorated in green and yellow. Probably inspired by a By- zantine plate. Diameter, 15 inches. 248 — Plate in Majolica. Florentine. XVI Century In the middle, on a beautiful dark blue background in white and blue, a decoration representing the Ascension. A large blue border with masks, cherubs and scrolls. Diameter, 10 inches. 249 — Large Vase in Majolica. Italian. XVI Century The body is ornamented with musical instruments, shields, armor, etc., in white on a blue ground. In front a beccuccio , beneath which is a circle with masks and other motifs. Height, 18 inches. 2.50 — Vase in Majolica. Hisfano-Moresque. XVI Century Spherical form; gold drawing on blue ground. Metallic iridescence. Height, 6 Vi inches. 251 — Vase in Majolica. Hispano-Moresque. XVI Century Similar to preceding. 252 — Medici Porcelain Plate. Florentine. About 1580-1600 Round plate, white ground, blue decoration of flowers, foliage, two hunters, representations of sun and moon. On the back six sprays of flowers in blue and the mark of the fabric (the Dome of Florence and the letter “F”), the signification of which is interpreted in two ways. Some think that it refers to the Grand Duke Francis I: others that it refers to Florence, where Francis I established the first known fabric of European porcelain. In a very good state of preservation. The Medici porcelain, so called, because some of the specimens have the Medici arms painted upon them, is now very scarce, not more than about thirty-six pieces being known. They are scattered in museums and private collections such as: The South Kensington Museum, the Sevres Museum, the M. C. Drury E. Fortnum Collec- tion, the Alessandro Castellani Collection, the Collection of the King of Portugal, the Baron Davillier Collection, the former Spit/.er Collection, the Baron Gustave de Rothschild Collection, etc. From the Funchini Collection of Arezzo. ( Illustrated) Back of Plate No. 252— Medici Porcelain Plate. Florentine. About 1580-1(500 253 — Plate in Majolica. Fkatta. End of XVI Century Representing a theatrical scene with the public looking on. Diameter , 14- inches. 254 — Large Plate in Majolica. Castelli. XVI Century Representing a musical concert. Border with flowers and putti. Diameter, 1(5 inches. 255 — Vase in Majolica: A Bf.ccuccio. Italian. XVI Century With two handles; on the front the coat-of-arms of the Piccolomini fam- ily. The body is decorated with yellow ornaments and figures on a blue background. Height, 16^4 inches. 256 — Plate in Majolica. Urbino. XVI Century On a white ground, decorated in yellow and brown in Raphaclesque man- ner; in the center two coats-of-arms ; on the top two sirens holding a medallion with bust of Eros. Probably made for the marriage of the two families represented by the coats-of-arms. Diameter, 8% inches. 257 — Plate in Majolica. Urbino. XVI Century Representing the portrait of a lady in yellow on a dark blue ground, with a ribbon about the shoulders bearing the inscription ‘‘Gentile Bella.” This kind of a plate was often made as a gift to ladies. Diameter, 7% inches. 258 — Group of Enameled and Polychromed Terra-cotta. Ur- bino. XVI Century Representing the Adoration of Christ in a grotto; on each side two angels playing music; on the top a group of three angels. Beautiful coloring. Very rare specimen. Height, It) inches. BRONZE PLAQUETTES OF THE XIV, XV AND XVI CENTURIES 259 — Bas-relief in Bronze. Italian. Michelozzo Michelozzi (1396-1470) Molded in the form of a Tabernaeolo frame with crocheted Gothic arched top and “poppy” finial, paneled pilasters and molded base. Occupied by a three-quarter-length figure, modeled in low relief, of the Virgin supporting the Child on her left arm. Above are two flying angels holding a crown over her head. [{eight, 7 inches; width, 4 inches. From the Bar dim Collection . Other examples are in the Louvre and Berlin Museum*. Illustrated, Berlin Catalogue, pi. XLII. 260 — Bas-relief in Bronze. Pisan. XV Century Shaped as a t refoiled and pointed-arched panel flanked by two Gothic buttresses, surmounted by a pointed crocheted gable and pierced and modeled, in low relief, with a figure of Christ on the cross with the Virgin and St. John on either side. Height, 3 V, inches; width, 2 inches. From the Bardini Collection. Another very similar example in the Berlin Museum. Illustrated, Cata- logue, pi. XXXV IF 201 — Plaquette in Bronze. North Italian. X V Century Rectangular shape, with molded frame. Modeled, in low relief, with a “Deposition in the Tomb.” The disciples and Holy Women laying the body of Christ in the tomb. In the distance is Golgotha, crowned with crosses. Completely gilded. Height , -U/i inches; width, b 1/j inches. From the Bardini Collection . 262 — Plaquette in Bronze. North Italian. I l Moderno. XV and XVI Centuries Rectangular shape, with molded frame. Modeled, in low relief, with a subject of a “Pieta.” The upright, undraped body of Christ shown to the waist and supported by Mary Magdalene and St. John. Flanked by two candelabra supporting, bv a festoon tied with scrolled ribbons, a tablet with the Sacred Monogram. Below, the sculptured front of the tomb forms a dado. Height, 3^4 inches; width, 21/p inches. From the Bardini Collection . Another example is in the Berlin Museum. Illustrated. Catalogue, P l. L. 263 — Plaquette in Bronze. North Italian. School oe Mo- derno. XVI C ENTURY Rectangular shape, with raised frame. Modeled, in low relief, with a subject, “A Roman Triumph.” Armed men, some bearing trophies, while others on horseback are issuing from the gate of a city. Height, 2 inches; width, 3 inches. From the Bardini Collection . Other examples are in the Louvre and Berlin Museums. Illustrated. Berlin Catalogue, pl. LIV. 204 — Bronze Plaquette. Paduan. XV Century By a Paduan master influenced by Mantegna. Rectangular shape, with round-arched top. Modeled, in low relief, with a figure of the Virgin looking to the left and holding on her la]) the undraped Child Christ, surrounded by cherubim. Mounted as a Pax in a Tabernacolo frame, with pointed pediment surmounted by a figure of the Deity holding an orb and flanked by figures of St. Gabriel and the Virgin. Frieze in- cised with an Ave Maria inscription and supported by two cylindrical Doric pilasters. Broken base and plinth incised with Latin inscription. At the sides are panels of niello work. Partially gilded. Height , 6 inches. From the Bar dim Collection. ( Illustrated ) No. 264 — Bronze Plaquette. Paduan. XV Century 265 — Plaquette ix Bronze. Paduan. XV Century Rectangular shape, with molded frame and scrolled cresting with ring for suspension. Modeled, in low relief, with a full-length figure of the \ irgin surrounded by Angels. Holding the Child Christ in her arms, she stands on a terrace with an ornamented balustrade. Behind her is an architectural niche, while two of the angels, standing on columns, hold a double floral festoon above her head. By a Paduan influenced by Mantegna. Height, 5 V inches; width, S^/o inches. From the Bardini Collection . Other examples arc in the Louvre, Victoria and Albert, and Berlin Museums. Illustrated, Berlin Catalogue, pi. XLVI. 266 — Plaquette in Bronze. Italian. Il Sansovino (1486-1570) Rectangular shape, with molded frame. Modeled, in low relief, with a \ irgin seated under a canopy on a throne seat, with a vase of lilies beside her, a closed book m her right hand and with her left holding on her lap the Child Christ. Standing at her side and looking upward is the infant St. John the Baptist. Height , 6 h) inches; width, 4'k inches. From the Bardini Collection . Other examples are in the Louvre and Berlin M useums. Illustrated. Ber- lin Catalogue, pi. LA All . 207 — Plaquette in Bronze. Paduan. Andrea del Briosco — called II Biccio (1470-1532) Rectangular shape, with raised frame. Modeled, in low relief, with a figure of St. Roch standing in a landscape, with buildings and figures in the distance. He holds a Pilgrim’s staff and hat in his left hand, and with the right he points to the plague spot on his thigh. Height, 3 inches ; width, 21/4 inches From the Bardini Collection . Molinier gives this plaque unhesitatingly to Vlocrino, whom he identifies with Biccio. Other examples are in the Louvre and Berlin Museums. Illustrated. Berlin Catalogue, pi. LXI. 268 — Plaquette in Bronze. North Italian. Il Moderno. XV- XVI Centuries Rectangular shape. Modeled, in low relief, with a round-arched niche, in which is seated the Virgin holding on her lap the Christ Child, with boy angels on either side and a decorated pedestal below. Height, 3 inches; width, 2 V ( inches. From the Bardini Collection. Another example is in the Loirere Museum. Illustrated, Xo. 185, in Molinier' s “ Fla q nett es." 269 — Plaquette in Bronze. Florentine. X V Century Modeled, in low relief and without background, with the seated figure of the Virgin with her right hand upraised. She supports on her lap the Child Christ, who holds in His hand some fruit He lias taken from a dish presented to Him by an infant St. John the Baptist. Height , f inches. From the Bor dim Collection. 270— Plaquette in Bronze. North Italian. Il Moderno. XV- XVI Centuries Rectangular shape, with raised frame. Modeled, in low relief, with an elaborate architectural niche, occupied by a seated figure of the Virgin holding the Child Christ. Above are flying angels and festoons and below is a sculptured sarcophagus flanked by nude figures. Height , 23,4 inches; width , 2V| inches. From the Bardini Collection . Other examples are in the Louvre and Berlin Museums. Illustrated. Ber- lin Catalogue, pi. L. SCULPTURE IN BRONZE OF THE XIII, XV AND XVI CENTURIES 271 — Candlestick in Bronze. Franco-Fleminh. Early XIII Century Mounted on a lion is a young cavalier dressed in a long gown trimmed with a border and opened in front. He is bent forward and with both hands is opening the jaws of the animal whose head is turned toward him. On his shoulders rests a candlestick with an incised design. The tail and the candlestick are new. Height , 8l/o inches. From the Bcirdac Collection. There is on almost identical candlestick in the M a see “des Antiquites de la Seine inf erica re ” which figured in Paris at the “ Exposition retro- spective dc Part fraiyais " in 1900 under the number 413. There arc also two candlesticks coming from the Spitzer Collection and reproduced in Girand : “ Les Arts du metal it /’ exposition de V Union centra! des Beaux Arts 1880,” pi. 14, Nos. (5 and 8, which show many analogies with this candlestick. In the Albert Oppenheim Collection reproduced in catalogue , pi. (5(5, and in the Martin le Boy Collection in its catalogue , Vol. Ill, pi. No. are also shown si jnilar candlesticks. In a copy in bronze, published by Dr. \V. Bode, in bis work on Italian bronzes, it is classified as a work by Antico. This group being a casting in lead, certainly represents the first idea that the artist, representing Charity with the child, wished to convey, while in the copies in bronze, the detail of the child is omitted. Height, 8 inches. 272 — Grout in Lead. Paduan. XV Century Group representing Charity — a woman seated, with the head covered by a veil; near her a child standing, with folded hands. Only specimen. On a red marble base. 27.‘{ — Bust in Bronze. Florentine. XV Century Portrait bust of Alfonso I d’Este, third Duke of Ferrara. Of sueli expression and character as to warrant attributing’ it to one of the greatest Florentine artists of the end of the fifteenth century. On red marble base. Height , 1 4 14 inches. ANTONIO AYER UNO ( ?)— called IL FIEARETE 1110—1470 Sculptor of the famous bronze doors of St. Peter's in Rome 274 — Bas-relief in Bronze. Italian Bas-relief representing Baptistina de Campofervoso, wife of Jacob III, Prince of Piombino. Bust to left, the hair waved over a velvet ribbon; the face is young and smiling. Under the neck, the inscription: BAPTISTINA. DE. CAMPO. FERYOSO IACOBI. III. PLUMBINI DNI. YXOR. It is the only portrait known of the Genoese “Belle.” Frame in carved and gilded wood. Baptistina de Campofervoso or Campofregoso was the daughter of Janus of Campofregoso, Duke of Genoa in 1447. Jacob III took the title of Prince in 1457 and died the 22d of March, 1474. Height , 2 feet 3 inches; width, 1 foot 7 inches. ANDREA DI MICHELE CIONE DEL VERROCCHIO Born in Florence 1435; died in Venice 1488. Active in Florence, Rome, Venice. — Bronze Putto. Italian Standing with one foot on a hemisphere, the body of the boy is leaning forward with an unusual lightness and balance. His right arm is raised and he was holding in it originally a long trumpet which he was blowing and which is indicated by the puffing of the checks. The model for this statuette, of such unusual interest and beauty, is in the Gustave Dreyfus Collection in Paris. It is in terra-cotta and is acknowledged by all writers on Verrocchio as his authentic work. (See Bode: “Denk- maler,” p. 142, pi. 440; Hans Mackowskv : “Verrocchio,” p. 21, fig. 15; Maud Cruttwell : “Verrocchio,” p. 70, pi. 13.) It was probably in- tended for a fountain, as seen in another putto by Verrocchio, the famous boy of bronze, squeezing a fish, which he made for Lorenzo dei Medici for his villa at Careggi, now in Palazzo Vecchio, and of which Vasari and all other writers speak with the greatest enthusiasm and appreciation. Both putt'i show the same lightness and marvelous work- manship characteristic of Verrocchio’s best productions. Vasari, in his work on the most famous artists of his time, Vol. Ill, speaks of other putti by Verrocchio, not yet identified, and of which one, made for the clock of Mereato Nuovo, had a movable arm and struck the hour on a bell with a hammer. Its pose must have been very similar to the putto here reproduced. Height, 2 feet 2 1 / A inches. ( Illustrated) No. 275 — B liONZK Putto. Italian. X\ C'entery. By Andrea di Michele C'ione del Verrocchio ALESSANDRO LEOPARDI 1480 — 1540 6 — Bas-relief in Bronze. Italian In the not very crowded ranks of Venetian sculptors anterior to Vittoria (in Venice the plastic art does not now, and did not then, flourish vigor- ously) Alessandro Leopardi is the one who, more decisively than the others, stepped aside from purely decorative sculpture to meet and suc- cessfully solve some of the arduous problems of the great art. This bas-relief, representing the left profile-view of a warrior accoutered in helmet and cuirass, is the portrait of Capilliata Colleoni, as is indicated clearly by the following inscription on its base: CAPIL. C OL. C. F. BERG. COP. SSRE. d. syp. IOH. BOCACH. PRO. C I O C C FLO RIOT TEMPOR IS MEMO RIA SEMP. VICTOR. F.S.P.Q.F.LEG.II. P. L. M. CLXVII In a gilded wood frame. Capilliata Colleoni, son of Galeazzo Carpiglione and of Riccarda Colleoni, was, as recorded in the inscription given above, Captain-General of the Roman church under Urban Y, at whose obsequies he assisted in 1371. Ancestor of the widely- renowned military leader, Bartolomeo Colleoni, who was the inspiration of the most beautiful of Andrea Verrocchio’s statues, he was lord of the stronghold of Brivio, situated near Bergamo, and later conquered and destroyed by the Duke of Milan. The inscription to the portrait attests the friendship which hound Capilliata Colleoni to one of the greatest Italian writers, Giovanni Boccaccio, the famous author of the “Decameron." Indeed, Boccaccio twice went as Ambassador from the Florentine Republic to the court of Urban V, where he certainly had opportunity to know Colleoni. When it is recalled that Alessandro Leopardi, by order of the family, executed in 1495 the magnificent base of the equestrian statue of Bartolomeo Colleoni in Venice, it will seem very probable that the bas-relief with the portrait of Capilliata was originally intended to decorate that base. Height, 2 feet 7 inches ; width, 1 foot 7 inches. 'There is an analogous marble bas-relief in Paris, in the Jacqnemart Andre Museum. ( Illustrated) — No. 276— B AS-RELIEF TX BrONZE. ItALIAX. Bv Alessandro Leopardi XV Cent fry. 277 — Two Statuettes in Bronze. Italian. Style of Jacopo Sansovino. End of XV Century Two andirons in bronze, with dolphin feet, surmounted by the figure of Venus standing upon a sphere. Height, 1 foot fil/o inches. 278 — Two Statuettes of Horses in Bronze. Paduan. End of XV Century Two horses in the act of walking, heads high, mouths open. Each has a collar decorated with a head and some flowers. The high-spirited pose of the horses, the powerful modeling, the accuracy in detail, justify file attributing of these pieces to the school that flourished in Padua at the end of the fifteenth century, after Donatello had executed his won- derful decorations in bronze in the church of St. Anthony. On green marble bases. Each, 10 inches high. 270 — Two Lions in Bronze. Venetian. X V Century They are sitting upright on their hind legs; probably from a Venetian stairway where they held banners or coats-of-arms. Very remarkable character of the period. Height, 15 inches. 280 — Bust in Gilded Bronze. Italian. XV Century Representing Francesco Sforza of Milan. The comparison with the few other busts of “II Filarete” extant (see Antonio Munz e Michele Lazzaroni, “II Filarete,” Rome, 1910) and with the small globes that may be seen in the bronze doors of tbe Basilica of St. Peter’s, Rome, executed by Averlino, justify attributing to him this small bust, a mem- ory of the sojourn which “II Filarete” made in Milan and of his rela- tions with the Sforza family, for whom he made many pieces in the Castle. On a wooden base. Height, 7 inches. 281 — Gilt Bronze Frame with Plaque in Green Enamel: Vir- gin and Child. Venetian. XV I Century The Virgin is seated wearing a dress with passementerie around the neck, wrists and waist. On her head is a draped scarf which falls to her shoulders. A full mantle is draped on her knees. The Infant naked, except for a scarf, stands, giving the benediction, on the lap of H is mother, who is supporting Him with her hands. The frame is in gilded bronze decorated with scrolls, leaf work, flowers, fantastic animals, arrows, quivers and ribbons, displayed in the most charming fashion over the surface. This charming little picture shows clearly the style of Jacopo Sansovino. It is in all probability a proof executed in Venice from a plaque by him. Height , 101/j inches ; width . 9 t/h inches . SCHOOL OF GIOVANNI DA BOLOGNA 1524 — 1608 282 — Group in Bronze. Italian Representing Hercules overthrowing the Nemean Lion. The hero, en- tirely nude, is in the act of striking the beast with his club. The upper part of the body is bent markedly backward, the feet seem rooted in the earth, all the muscles of the huge body are tense in the supreme gathering together of his prodigious strength to give irresistible force to the blow. The artist lias been pleased to give proof of his ana- tomical knowledge showing all the minute details of the admirable body and seemingly all tbe momentary developments of the powerful feat. On a porphyry base. Height, 2 feet 4 inches. From the Cardinal cVAltems Collection, Home. ( Illustrated ) No. 282 — Group in Bronze. Italian. XVI Century. School of Giovanni da Bologna •283 — Statuette in Brox t ze. Italian. Elia Candied. About 1570 Representing Perseus. The mythological hero, so dear to the Italian sculptors of the Renaissance, is represented standing, completely nude, with the head covered by a characteristic helmet. In the right hand he clasps tightly the hilt of a sword, while the left arm is raised. The beautiful statuette, with its skilful, forceful modeling, is the perfect counterpart in form, in technique, and in the equipoise of the superb figure, with the other statue of Eolus, found in the collection of Francis I de’ Medici at Florence, and published in the review, Les Arts (1911, No. 110, p. 7). On green marble base. ( Illustrated ) Height , 1 foot 10 (4 inches . 2N.‘3 — Statuette in Bronze. Italian. About 1570. Bv Elia Candido ALESSANDRO VITTORIA 1525—1608 284 — Group in Bronze. Italian Representing Venus playing with Cupid, the goddess entirely nude, with a bouquet of flowers in the right hand, and with the little Cupid who is mounted on a tree trunk. On porphyry base. Together with the other very tine group in this collection representing Venus in the act of burning the arrows of Cupicl, who, is weeping, this hronze belongs to that series of delightfully pagan dreams to which Alessandro Vittoria was pleased to give tangible reality in the form of small groups so much sought for and so rare. Convincing comparisons may be made with the two figures of the ,T. P. Morgan Collection, published by Bode in his work on “Bronze Statuettes” (p. 23) — Unpublished Model. ( Illustrated ) Height, 22 inches. ALESSANDRO MTTORIA 1 525 — 1608 285 — Group in Bronze. Italian Representing Venus and Cupid. The goddess, half-draped, is burning the arrows of Cupid, who is weeping. On porphyry base. The same may he said of this little group as has been said of the other bronze representing Venus playing with Cupid, even with respect to the opportunity of comparing it with the two figures of the Morgan Collection, published by Bode in his work on “Bronze Statuettes.” — Unpublished Model. Height, 1 foot 9^4 inches. ( Illustrated) No. ‘284 — Bronze Group. Italian. XVI Century. By Alessandro Vittoria No. 285- Bronze Group. Italian. XVI Cexteky. By Alessandro Vittoria 286 — Bronze Mortar. Italian. XVI Century Cylindrical shape, with curved spreading sides, molded rim, body deco- rated, in low relief, with monastic monogram (A. P. C. surmounted by a cross) and two projecting handles shaped as lions’ heads. Height , 14 inches; diameter , If inches. 287 — Group in Bronze. School of Michelangelo. XVI Cen- tury Representing Hercules with the lion gripped between his knees and in the act of rending the lion’s mouth. Vigor and strength are here represented with the masterly skill which the great teacher knew how to impart to his pupils. Only exemplar of this subject. Height , 1 foot 2 V inches. 288 — Bas-relief in Bronze. Italian. XV I Century Representing the portrait bust of a lady with an interesting headdress. Velvet background, in a small wooden tabernacle. Height , inches; width, 7 inches. 289 — Statuette in Bronze. Italian. XVI Century Representing Hercules running with a club. On a C'ipollino marble base. Height, without base, 121/k inches. 290 — Bronze Ewer. Florentine. XVI I Century Ovolo-shaped body, with incurved rim and molded foot, fixed scrolled and molded over-handle springing from satyr masks, and straight spout supported by winged Grecian sphinx-head with shaped escutcheon be- low. Height , 30 inches. 291 — Statuette in Bronze. Italian. XVII Century Representing Venus, nude with the right arm raised holding a fruit. On a marble base. Height , 15 inches. 292 — Two Small Busts in Bronze. French. Louis XVI Busts in dull black finish, representing Achilles and Ajax. Bases in small column style in white and yellow marble. Heights, ITl/fi and 191/0 inches. 293 — Two Gilded Bronze Wine Bottles. Venetian. XV I Century Glass bottles covered with gilded bronze cases pierced in beautiful design. On each side two lion masks holding a chain. On the cover a put to. Glass in one bottle broken. Very rare specimens. Heights, 1 (ifh tn,, l 18^4 inches. From Taylor Collection , Loudon. GOLDSMITH’S OBJECTS The goldsmith objects that follow are from the Spitzer, the Guilhou, the Castellani and other famous collections. Among these pieces are a rock crystal cup, very probably executed by Benvenuto Cellini himself, and an agate bowl and a rock crystal cross which undoubtedly came from his atelier. The gold enameled tumbler is an exceptionally rare piece. The twenty-four pendants, with precious stones and real pearls, most of which are Italian, sixteenth century, belong to the finest production of the time. The collection as a whole, in size and rarity, can he compared only with that of the Pitti Palace, of Baron Ferdinand Rothschild of Lon- don, of Baron Gustave Rothschild of Paris, of Mr. J. P. Morgan in New York and of Mr. C. P. Taft of Cincinnati. 294 — Pendant Reliquary in Rock Crystal, Ivory, Gold and Translucent Enamel. Italian. XVI Century In a rock crystal case mounted in gold and translucent enamel, on verdure, in a half kneeling position is seen St. Jerome, carved in ivory. He is naked except for his loins. In his left hand he holds a Crucifix with the crucified Christ, and in his right a stone. Next to him, on the ground, is seen a dog. 295 - — Pendant in Gold, Enamel and Precious Stones. French. XVI Century Jewel representing a cock, in enameled gold, set with diamonds and rubies. 296 — Pendant Reliquary in Carved Wood, Gold, Enamel and Pearls. Italian. X V I Century In a rock crystal case, mounted in gold and translucent enamel with a column on either side, is a wood carving. One side of the carving represents Christ carrying His Cross, and the Crucifixion : the other side represents the Ascension. Three pearls are suspended below. 297 — Pendant in Enameled Gold and Precious Stones. Italian XVI Century A fantastic animal enameled in green with wings in gold and diamonds is suspended on a chain of enameled gold set with pearls and other pre- cious stones. Three pearls are suspended below. FRANCESCO RAIBOLINI CALLED IL FRANCIA 1450 — 1518 298 — Statuette jn Gold and Translucent Enamel: St. Roch. Italian The Saint is standing, wearing a short gown in red over which is a green mantle. His hair is long and blond, and his head is raised. He is holding up his right hand, and in his left is a staff. Height, 2l/> inches. This statuette served probably as a model to his painting. It shows an almost identical representation of St. Roch against a land- scape background. The picture is reproduced in Venturi-. “Storia dell' Arte Italiana vol. 7, part 3, p. 909. 299 — Pendant in Gold, Enamel and Precious Stones. Italian. Venetian. XVI Century The pendant represents a Venetian galley. It is in gold, enameled in white and set with rubies, diamonds, pearls and emeralds. Galleys like this are said to have been offered to the Doge of Venice on the occasion of the feast in honor of the Wedding of Venice to the Sea. From the Guilhou Collection , Bayonne. There are analogies with a similar kind of pendant coining from the Spitzer Collection , and reproduced in Sale Catalogue , No. 1820. 300 — Pendant in Gold and Enamel and Precious Stones The camel, enameled in white and mounted in gold and enamel, is set with diamonds and rubies. His legs are drawn under him, and beneath is suspended a pearl. An exceptionally tine and rare piece. 301 — Pendant in Gold, Enamel and Precious Stones. Spanish. XVI Century A small Amorino is suspended on a chain. His body is enameled in white; his hair, wings and drapery are in gold. A jeweled ornament enameled in blue and set with pearls around a ruby forms the upper part of the pendant. 302 Pendant in Peake and Gold. Italian. XVI Century A lion, part of whose body is formed of pearl and the rest of gold, is suspended on a chain. There is an almost identical pendant corning from the Spitzer Collection and reproduced in Sale Catalogue , A T o. 1848. 303- -Pendant in Mother-of-pearl, Gold and Precious Stones. Italian. XVI Century Frog. Mother-of-pearl forms the center. It is mounted in gold and set with rubies and emeralds. The chain hangs from emeralds mounted in gold. A pear-shaped pearl is suspended below. 304 — Pendant Medallion in Gold, Enamel and Precious Stones. Italian. X VI Century Against a landscape background painted in translucent enamel on gold, on a white horse is sitting St. Martin in a short green and red garment in translucent enamel. In his right hand he holds a sword with which he is dividing his red mantle, the end of which is held in his left hand. Below is seen the beggar half naked. Rubies and diamonds, mounted in gold, decorate the surface. 305 — Pendant in Enameled Gold and Precious Stones. Italian. XVI Century On a fantastic dragon in enameled gold set with rubies and emeralds is seated a young cavalier. Two pear-shaped pearls are suspended above and below. It is interesting to compare it with a pendant reproduced in Burlington Fine Arts Club , 1897 : “ Illustrated Catalogue of European Enamels,'” pi. 07 . 30(5— Pendant in Gold and Enamel and Precious Stones. Italian. XVI Century In an architectural niche, Jupiter is seated. He is accompanied by his eagle, and is caressing a nymph, seated next to him. Around the central representation is enameled foliage and flowers, set with emeralds. Three pear-shaped pearls are suspended below. An exceptionally fine and rare piece. From the Spitzer Collection , and is reproduced in Sede Catalogue . No. 1838. There are two very similar pendants: one in the collection of Baron Ferdinand de Rothschild , another reproduced in the Burlington Fine Arts Club, 1897 : “ Catalogue of European Enamels pi. 66, No. 214. 307 -Pendant in Gold, Enamel and Precious Stones. Italian XVI C ENTURY On a camel in enameled gold is seated the God of Love, holding in his hand a bow and arrow. On the body of the animal are rubies, diamonds and emeralds. Pear-shaped pearls are suspended from his feet and tail. Chain of crosses set with rubies. From the Spitzer Collection , and is reproduced in Sale Catalogue, No. 1 827. 308 — Pendant Reliquary in Glass, Gold, Enamel and Pearls. Italian. XVI Century The pendant reliquary is formed of a long tube of glass. It contains some bone relics and has an elaborate framework of three hoops splen- didly enameled in red and blue. At each end of the cylinder is a convex cover richly decorated, and showing on one side a hand in gold, on the other a pearl. The chain is set with pearls. A large pearl hangs down from an ornament, and below is seen a smaller one. It is interesting to compare it with a pendant reliquary reproduced in the Catalogue of the Loan Exhibition in the South Kensington Museum under the number 1.31. .309 — Pendant in Gold, Enamel and Precious Stones. Augs- burg ( ? ) . XVI Century In the lower part is represented a horn of plenty set with rubies. Above, a young man is standing. He is in hunting equipment and has a dog on either side of him. The chain is decorated with crosses set with rubies. Six suspended pearls complete the decoration. Its form shows analogies with two pendants coming from the Spitzer Collection and reproduced in Sale Catalogue, Nos. 1842-1843. 310 — Locket in Agate, Gold and Enamel. Italian. XVI Cen- tury The locket is oval in form, of agate, mounted in a wreath of gold leaves with enameled berries. The inside shows on one side Hippolvte, the Queen of the Amazons, in a short tunic, enameled in blue and gold. She is sitting near a fountain, also enameled in blue and gold. In her hands she holds the girdle which was the ninth labor of Hercules to bring to Eurystheus. In the other half of the locket is seen Lucretia, standing, piercing her heart with a stiletto. Her face and part of her body are in enamel, and she wears a golden dress and her golden hair falls loosely on her shoulders. ( Illustrated ) 311 — Pendant in Gold, Enamel and Precious Stones. Augs- burg. XVI Century In a circle of gold set with rubies is seen, enameled in white, a pelican feeding its little ones, which are around it in a nest. The pendant is mounted in gold and set with pearls and rubies. Three pearls bang down : the back is enameled in black. From the Spitzer Collection and is reproduced in Sale Catalogue , No. 1831. ( Illustrated ) 312 — Pendant Medal in Gold, Enamel and Precious Stones. Augsburg. XVI Century On one side is represented the bust of Maximilian, Count Palatine of Bavaria, wearing the emblem of the Order of the Golden Fleece. The following inscription is around: Max :D :G :C'0 :Pa :RH :YT :BA :D :S :R : IrElector. On the reverse is the coat-of-anns of Bavaria, with the same emblems of the Order of the Golden Fleece. The pendant is mounted in gold, enamel and rubies. Three suspended pearls complete the decora- tion. ( Illustrated ) 311 3 1 3 — Pendant in Gold and Enamel and Precious Stones. It alian. XVI Century In an architectural niche is seen Diana (?) playing a musical instru- ment. Behind her is seen a stag in white enamel with golden horns. All around it are scrolls in gold and enamel. There are also rubies and diamonds mounted in gold. Two pearls hang on the sides and three in the lower part. 314 — Pendant in Gold and Enamel and Precious Stones. Italian. XVI Century Filigree, in gold and enamel, frames a center in which is seen a ruby mounted in gold. On the top is seen an Amorino blowing a trumpet. Eleven suspended pearls complete the decoration. 315 — Pendant in Gold, Enamel and Precious Stones. Italian. XVI Century On a bull is seated a young man holding the head of an animal with one hand and opening its jaws with the other. The decoration consists of rubies, emeralds and six suspended pearls. There is some analogy with a pendant in the Louvre, reproduced in Jan- net a-z and Fontenay : “Diamants ef pierres preeienses p. 425. 316 — Pendant in Rock Crystal and Enameled Gold. Italian. Late XVI Century The pendant is in rock crystal and enameled gold. On the sides two caryatides sustain an oval with a frame of gold, enameled in blue, red and black. A pear-shaped emerald is suspended below. From the Guilhou Collection , Bayonne. There is a similar pendant in the Karl Beauchamp Collection, repro- duced in the catalogue of the Loan Exhibition, 1873 , in South Kensington, under the number 166 . 317 — Pendant in Gold, Enamel and Precious Stones. Augs- burg. XYI Century A crowned eagle representing the Order of Charles V forms the prin- cipal representation. It is in gold, enameled in black, showing on the breast a large emerald. The chain, composed of gold, enamel and rubies, is suspended on an enameled and jeweled ornament surmounted by a crown. A hanging pearl is seen in the upper part and seven in the lower part. From the Spitzer Collection and is reproduced in Sale Catalogue, No. 1828. There are analogies with a pendant showing an eagle, and reproduced in Giraud: “ L’Art du Metal a VExposition de VUnion Cent rale des Beaux- Arts," 1880, pi. 22, No. 0. ( 111 ust rated) No. •> 1 7 — Pendant in Gold, Enamel and Precious Stones. Augsburg. XVI Century BENVENUTO CELLINI 1500 — 1571 318 — Cup in Rock Crystal. Italian The cup is in the form of a sea-shell mounted in gold and enamel. It is decorated on the lip and the standard with gold hands and trans- lucent enamel, showing birds, branches, leaves and a conventionalized pattern. Height, 6^4 in c h es . The cup has been attributed by Bode to the School of Augsburg, but it seems impossible to give it any other but an Italian origin; it can in all probability be considered as executed by Benvenuto Cellini. Its similarity to the cup of the Medici in the Pitti Palace in Florence is evident. There are also analogies with a cup in rocJe crystal mounted in gold, from the Spitzer Collection, repro- duced in the Sale Catalogue, No. 2599. ( Illustrated) iSo. -31 S — Cep ix Rock Crystal. Italian. By Benvenuto Cellini U9 — Bowl in Agate. Italian: School or Benvenuto Cellini. XVI Century Agate bowl with mounting in enamel, gold and fine stones, brilliants and rubies. At two sides, two sirens, symbolizing the Bay of Naples, are poised on the rim. They are in enameled gold, have baskets of fruit on their heads and around their arms are twisted serpents. Very rare piece. Height , 6% inches; width , 9^4 inches. There is a vase in the Naples Museum reproduced in Eugene Plon : “Ben- venuto Cellini pi. 37, •which shows a very similar siren in enameled gold , and of which the mounting is also similar. It was attributed to Benvenuto Cellini , but Plon in the work mentioned does not find in it enough of the characteristics of Cellinis art. and gives it to the Italian school of the sixteenth century. Similar mounting in the d. P. Morgan Collection, Metropolitan Museum. ( III ust rated) — Bowl in Agate. Italian. X\ I Century School of Benvenuto Cellini No. 319 320 — Biberox in Jasper. French. XVI Century The biberon is in the form of a fish with open mouth and fins forming the decoration of the cover. It is mounted in gold and enamel and is set with rubies and diamonds. Very rare specimen. It seems that it was the custom of the time for the people to offer these alle- gorical biberons to a new-born crown prince. Height, 7 inches. From the Alessandro Castellani Collection, Home. Great similarity in composition is seen in comparing it to a drageoir in the Louvre Museum, reproduced in Barbet de Jouy: “ Gemmes et Joyaux de la Couronne," pi. 46, where it is said to be of the six- teenth century. Period of Henri II. One similar in form in rock crystal in J. P. Morgan Collection in the Metropolitan Museum. ( Illustrated ) No. 320 — Biberon in Jasper. French. XVI Century 321 — Tumbler in Enameled Gold. Flemish. End of XVI Century The enameled coats-of-arms belong to each of the Provinces which formed the United Provinces. Of Holland, red lion: of Zealand, red lion coining out of the waves: of Utrecht, two white crosses and two red lions: of Frisia, two spotted lions on blue: of Over-Yssel, red lion with blue sash: of Groningen, eagles and hearts: of Guelder, two lions stand- ing on their hind feet. At the bottom there is the medal of Albert of Austria, Governor of the Pays-Bas with the inscription, “Albertus, Dei Gratia, Archidux Austriae, Dux Burgundiae Brabantiae, Comes Flan- driae, Dominus Frisiae,” signed “Mont,” signature of Jean de Mont- fort, sculptor and engraver of the beginning of the seventeenth century, who was medal engraver at the Antwerp Mint in 1602. His best- known works are those of the Archduke Albert and his wife, Isabella of Spain. The Archduke Albert, son of Maxmilian II (1559-1621), was brought up at the Royal Court of Philip II of Spain. He was Archbishop of Toledo, but at the death of the Archduke Ernest he took charge of the government of the Pays-Bas in 1596. He renounced his religious career and married the daughter of Philip II. This tumbler was given by the Archduke to the noble Spinola of Genoa, Italy, who was tlien serving in Spain and commanding with great success the Army of the Pays-Bas against the United Provinces. It was also through him that the Archduke could close the famous armistice of twelve years. From the Marquis of Spinola , Genoa. Height , 3 V inches. {Illustrated in Color) No. 321- Tumbler in Enameled Gold. End ok XVI Century Flemish. RELIQUARIES AND CHURCH ORNAMENTS 322 — Cross in Wood covered w ith Silver. Italian. Early XIV Century On one side on each arm of flic Cross is seen an Angel in Adoration. In the center is a cross and above it the monogram of Christ. On the other side, the Eternal Father is seen at the top, and on either side the arms are St. Paul and St. Peter. Height , without base , - 1 inches . 323 — Cross in Silver, Translucent Enamel and Rock Crystal Plaquettes. Italian: Sienese. Late XIV or Begin- ning of XV Century On one side of the Cross, in enamel, is seen in the upper part the body of the dead Christ hanging on the Cross. The symbols of three evangelists, the eagle, the lion and the ox, are represented in plaquettes of rock crystal, while in the fourth plaquette is engraved the monogram of Christ. The busts of the Virgin and of St. John are seen in enamel oj] the arms of the Cross, and on the stem is the figure of St. Stephen. Below is the kneeling figure of a bishop in the attitude of prayer. On the other side of the Cross, in enamel, are represented the symbols of the four evangelists and a figure of a bishop. On a red velvet base. Height, without base, 9 : Y\ inches. There are analogies with two crosses coming from the collection of Giza de Kdrdsz, reproduced in the Sale Catalogue, pi. I A and X; and with a cross from the Spitzer Collection, in silver, partly gilt, with translucent enamel in relief, and reproduced in the Sale Catalogue, No. 28(5. 324 — Box for Consecrated Oil in Silver and Enamel. French. XIV Ci SNTURY The box forms a small tower. On the top is a thumb symbolizing the way in which the oil was used. In the upper part of the front is the coat-of-arms of the Moet family of Reims, showing in red enamel two gilded lions back to back, and with the heads turned toward each other. Below is a shield with two red bands. On the other side of the box, in a position corresponding to the coat-of-arms, is another coat-of-arms. Half of this shows the same gilded lion on a red enamel background, and the other half shows the arms of an unidentified family with whom a member of the Moet family, in all probability, contracted a marriage. It is to be assumed that this box belonged to a clergyman of the Moet family who would place in front the arms of his paternal ancestor, and on the back the arms of his father and mother. The Moet family seems to have been associated with many prominent officials of the Reims Cathedral. Height , 5 inches. From the Guilhou Collection, Bayonne. 325 — Pax ix Gilded Bronze with a X iello in Center. Italian. Late XV Century The Pax, in gilded bronze, is in the form of an architectural com- position. The tympanum of the pediment shows on a niello the Eternal Father with outstretched arms. In the center, another niello shows the Ecce Homo, standing up in His Tomb, on which is seen the inscrip- tion SOLIMA. On the base are coats-of-arms within shields in the form of hearts, and the inscription: PACTS FUND AMENTUM. Height , 51/4 inches ; width, 3 G inches. This Pax comes from the Spitzer Collection ( reproduced in Sale Cata- logue \ Xo. 337), to which it came from the Cicognara Collection. It is also re produced in Mali nice: “ Histoire dcs Arts appliques a Vindustrie : L'orfcrrcrie p. 265. 326 — Reliquary Bust in Marble with Bronze Mounting. French. XV Century Small reliquary bust of St. Martin. The saint is wearing a tiara which shows a painted and gilded design. The same design is seen on his cloak, which has a high collar. A jeweled stone is pinned to his breast. The base is in polychromed wood and the mounting is in bronze and enamel, showing Gothic tracery on the side of the upper part. At the back is the inscription, “St. I. like IA MARTYR.” Below, in front, is an enamel with a conventionalized pattern ; corresponding on the hack is a jeweled stone. Height , 8% inches; width , SfA inches. There is in the Louvre a reliquary bust decorated with translucent enamel and coming from the Church of St. Martin of Soudeilles ( Corrcze) which is identical with this one, except for the material, which is gilded silver. It was given to the Louvre by J. P. Morgan in 1911. 327 — Reliquary Statuette in Silver. Italian: Scliool of Abruzzo. Nicola di Guardiagrele. First Half of XV Century St. John the Baptist. On an hexagonal base, decorated with rosettes in goldsmith work, is standing the saint. He wears an animal skin on which is a draped mantle. His right arm, his legs and feet are bare. IJ is hair is long and curly, his beard and mustache short. A book sur- mounted by a lamb is on his left arm. The work of Nicola di Guardiagrele, the head of the Abruzzo School, is well known for its crosses, chalices, ostensoria and for other objects used in the liturgy of the Roman Church. Statuettes like this, entirely in relief, are extremely rare. Height , 1 5 '/t inches. It is interesting to compare it with the figures in the celebrated silver' altar service preserved in the Cathedral of Terarno. Sec , also, in the “ Connoisseur ,” 1906, pp. 8-12, on the Exhibition of Abruzzese Art at Chieti. 328 — Case eoh Consecrated Water in Gilded Silver. Italian: Florentine. Late XV or Early XVI c ENTER Y The surface is divided into sections. The decoration, consisting of various motifs, is composed of foliage, of fantaistic animals eating fruit or drinking at the fountain, and of cupids seated on branches or stand- ing at the fountain. In the center is the coat-of-arms of the Cardinal d’Altems, in a garland of the style of Della Robbia, and in each corner is a cherub’s head. On the cover, below which is a cresting, is a similar decoration, consisting of foliage, leaves and heads of fantastic animals. On the top is seen the body of the dead Christ nailed to the Cross. The whole workmanship is of exquisite fineness and illustrates admirably the spirit of the Renaissance productions in its highest development of beauty and decorative qualities. Height , 9t/o inches. From the Guilhou Collection of Bayonne. 329 — Pax in Silver, Niello. Italian. Late XV Century The Cross, to which is attached a ladder, is seen against a landscape background composed of hills and trees. At the foot of the Cross, in a full mantle over her head and shoulders, is seated the Virgin. On her knees is the body of the dead Christ with a crown of thorns on His head. The Virgin, with folded hands, is looking down at him in profound despair. Height, 7% inches; width, 3l/o inches. This Tax once formed port of the Castellani Collection, and Inter of the Aynard Collection. 330 — Osten soriu m in Gilded Bronze. Italian: Sienese. XV Century On a base decorated with gilded scrolls and leaf work is a tower with the inscription: VENITE GENES ET ADORATE LOCUISTUM QM. DNUS REQUIESCIT IN EO. There are six glass windows in round arches with columns on the sides. On top is a cross. Height, 1 5 f4 inches. 'This ostensorium comes from the Prince Baucina Collection, Palermo, and was exhibited in Siena in 1 904. 331 — Reliquary Bust in Gilded Silver and Enamel. Italian: Venetian. Late XA r Century Small bust of a female saint. The saint wears a bodice gathered and fastened in front, showing the upper part of a chemisette. A mantle covers her shoulders. The saint’s face, neck and ears are enameled in white, while her bail - is gilded. On an antique red velvet base. Height, 7V> inches. 332 — Large Reliquary in Gilded Bronze, Rock Crystal, Enamel and Stones. Sicilian. XV I Century Large reliquary in gilded bronze, with plates of rock crystal and decoration in enamel and stones, carnelians, topazes and pearls. Over the upper part, the statuette of the penitent St. Jerome, kneeling, ab- sorbed in prayer, and with gaze fixed on the cross, closely clasped in the right hand. At the sides, two cherubs’ heads. Height , 22% inches ; width , 16% inches . 333 — Casket in Wood and Composition, with Gilding and Poly- chrome. Sicilian. XV Century The decorations, consisting of sirens and fantastic animals in the middle of scrolls and arabesques, repeat a motif that is seen in the older ivory caskets. An inscription, evidently of an amatory char- acter, but of difficult interpretation, is repeated along the four sides. This is an object of great rarity and of marked importance for its fineness of execution and its state of preservation, which, here and there, permits a glimpse of the preparation for the gilding and the polychrome, while, at the same time, the design seems to have retained all its fineness and freshness. Height , 6 inches ; length , 11% inches ; depth , 7% inches . 334 — Cross in Rock Crystal and Gold. Italian : School of Ben- venuto Cellini. X V I Century The Cross of rock crystal rests on three lion’s claws, and is mounted in gold, enamel and precious stones. It shows the influence of Benvenuto Cellini. Very rare specimen. Height, 19t/o inches. From the Guilhou Collection, Bayonne. Many similarities in workmanship can he found with a cross coming from the Spitzer Collection and reproduced in Catalogue, Vol. V, pi. II . This latter cross, however, shows the body of the dead Christ nailed to the Cross. ( Illustrated) No. 334 — Cross ix Hock Crystal axd Gold. Italian. School of Benvenuto Cellini XVI Centu I! y. ATTRIBUTED TO VALERIO BELLI MCENTINO 335 — Reliquary in Gilded Silver, Crystal, Hard Stones and Goi.d. Italian. XVI Century In the upper part stand two angels in long dresses, over which are draped mantles. They are supporting an oval frame in lapis-lazuli, in the center of which are two plates in rock crystal ( Eglomisiers ) representing on one side the Ascension, on the other the Coronation of the Virgin. On top is the relic case, supported by two cherubs. The lower part shows a base reposing on three winged sirens. On it are seated three figures. One of them is Pope Paul III, with his left hand on his breast; to the right is St. Peter holding the keys, and to the left a Prophet with a scroll of paper in his hand. Around are the coats-of-arms of the Farnese family. Above are two winged sirens holding garlands and reposing on horns of plenty. Valerio Belli Vicentino, known as an engraver and goldsmith, enjoyed the patronage of two successive popes, Clement VII and Paul III, and it is possible that he made this reliquary for the latter, representing him between St. Peter and a prophet. Height, 231/2 inches. From the collection of Prince Ban chin, of Palermo. ( Illustrated) No. 335 — Reliquary in Gilded Silver, Crystal, Hard Stones and Gold. Italian. XVI Century. Attributed to Valerio Belli Vicentino 336 — Pax. Painting under Glass (Verre Eglomise). Italian. First Half of XVI Century The Descent from the Cross. Against a golden landscape background, the Virgin in a dark blue mantle, over a brownish dress, is supporting the body of the dead Christ, holding Him by tbe head. The three Marys are around Him, one holding his right arm, the other His left, both in a kneeling position; the third at His feet looks up to H im. All three wear mantles draped over closely fitting dresses and their hair is falling loosely over their shoulders. St. John, repre- sented as a youth with long and curly hair, is standing next to the Virgin and is wiping his eyes. Two elderly personages, with long beards and uncovered heads, stand on either side looking at the scene in despair. With old wood frame of the period. Height , without frame, 11 inches; width , 5% inches. There is in the Louvre a Tax in gilded silver, in the center of which is a painting under glass, re presenting Calvary, which shows analogies to this one. There is also in the Altman Collection a Pax showing the same technique. It is interesting to compare it, too, with several paintings under glass and under rock crystal, repro- duced in the catalogue of the S pit ::er Collection. ( Illustrated) 337 — Pendant Medallion. Painting under Hock Crystal (Verre Eglomise). Italian. XVI Century The Boy Christ Preaching to the Doctors in the Temple. In the upper part is seated the Christ, wearing a reddish gown with a blue mantle laid on his knees. Below are seated the two Doctors. To the right are seen the Virgin, St. Joseph and the prophetess Ann. Christ turns to them while pointing to the numerous people on his left. Mounted in gilded bronze. Height, 2l/o inches. No. 336 — Pax. Painting under Glass (Verre Eglomise). Italian. First Half of X^ Century 338 — Miniature on Vellum. Italian. Late XVI Century Above an altar in marble is an architectural composition. Enclosed in it is the Virgin in a blue dress and mantle, her long blond hair falling down loose on her shoulders. She holds in both her arms the Infant, who wears a blue dress, and who is putting His arms around His mother’s neck. In the margin, enframing the central portion, are golden scrolls, leaves, and flowers on a dark blue background, against which are seated two Kings playing the harp. A landscape is seen on either side of the architectural framing. On the borders are painted in medallions the busts of six Prophets. Small naked and winged Amorini are supporting candelabra on which is an emblem con- sisting of a hand in flames. In the lower part two winged Amorini are holding a shield showing a golden crown in which are seen two green palms. All around, on an alternating blue, green, red and golden background, are scrolls, foliage and flowered branches. Various inscriptions addressed to the Virgin are seen: DEI MATER ALMA; FUNDA NOS IN PACE; FELIX C'OELI PORTA. In a modern wood frame. It is curious to observe that though the manuscript is distinctly of Italian work- manship, tlic figure of the Virgin and Child are Flemish, in the style of Roger Van der Weyden. Were there two painters, one Flemish, the other Italian, who worked on this manuscript, or was it simply an Italian artist who copied for his central repre- sentation a Flemish Madonna? We know how many Flemish painters worked in Italy and how close sometimes the association was between them and the Italian painters, as, for instance, between Justus of Ghent and Melozzo da Forli. Height , 14 inches; width, 10 inches. 'I' his miniature comes from the Spitzer Collection and is reproduced in their Side Catalogue, No. 8262. No. 338— M iniature ox Vellum Late XVI Century Ita li an 339 — Cameo in Chalcedony: Head of Jove. Italian. Attributed to Valerio Belli Vicentino. XVI Century The root of emerald is mounted in silver and hard stone. In the center enframed in a heavy garland of leaves is represented the head of Jove, with thick curlv hair and a short and full beard. Similar cameos are preserved in Florence among the treasures of the Pitti Palace. Height, 7 ] /t inches; width, 3 inches. 340 — Necklace in Enameled Gold and Precious Stones. Span- ish. Late XVI Century The necklace is formed of delicate flower-like stars in white and gold, each one showing in the center a ruby mounted in gold. From the center is suspended on a chain a pendant representing an eagle enameled in white. On its breast is an emerald mounted in gold. Suspended above the eagle’s head is a pearl. Three others are suspended below. Length, without pendant, 29 V> inches. 341 — Powder Box in Enameled Bronze. Italian: Venetian. XVI Century On enameled bronze is engraved a conventionalized pattern and flow- ered branches. In the center are paintings under glass representing on one side a female figure holding a vase; on the other side, a young man equipped for the hunt. This kind of lady’s box was filled with cannon powder and taken when they went hunting. Diameter , 2% inches. From the Prince Baucini Collection, Palermo. A very similar box coming from the Spitzer Collection is reproduced in Eugene Muntz'. “ Histoire de VArt pendant la Renaissance, ” III, p. 71(5. MISCELLANEOUS OBJECTS 342 — Gold Watch. French. Louis XIV On the back a miniature representing an affectionate farewell, framed all around with diamonds. Signed: Dufalga a Paris. Very rare speci- men. Very good state of preservation. 343 — Gold Watch. French. Louis XVI The back decorated with gold repousse work ; in the center a design in diamonds. Face surrounded with a row of diamonds. Signed: L’Epine a Paris. Very good state of preservation. 344 — Gold Watch. French. Louis XVI The back enameled representing boys with a dog (after Greuze) sur- rounded with a frame of diamonds; a ruby on top of stem; face sur- rounded with rubies and diamonds. Signed : Marchands fils a Paris. Very good state of preservation. 345 — Gold Watch. French. Louis XVI On the back enamel representing a portrait of a lady; surrounded by work in different colored gold; the whole surrounded with diamonds. Signed: Abraham-Colomby. A ery good state of preservation. 346 — Gold Watch. French. Louis XVI The hack in gold repousse work representing a lady standing with Eros in an arch, decorated with diamonds. Face surrounded with diamonds. Signed : Berthoud a Paris. Very good state of preserva- tion. 347 — Gold Watch. French. Louis XVI The back is openwork; in the center a miniature portrait of a lady, all decorated with gergoni. Signed: L’Epine a Paris. Very rare specimen. Very good state of preservation. 348 — Watch in Gold. English. Style of I ate is XV In a double case; hack repousse work, representing a garden party. Barwise & Sons, Makers. Very good state of preservation. 349 — Gold Watch. French. Louis XVI The back is openwork, decorated with gergoni. Very good state of preservation. 350 — Gold Watch. French. Empire Period The back in dark blue enamel, representing a boy standing between a lady and a fountain; all decorated with diamonds. Signed: Jn. Fazy & fils. Very good state of preservation. 3.51 — Gold Watch. Empire Period The back enameled in a beautiful dark blue, representing a young lady with a scroll manuscript ; some gold relief ; a border of sky-blue enamel, and all surrounded by a row of pearls. Signed: Freres Nei- gncur a Geneve. Very good state of preservation. 3.52 — Gold Watch. French. Empire Period On the back a beautiful blue enamel representing a lady with two children holding birds. At the top in gold a winged figure. The whole surrounded with a row of pearls. Very good state of preservation. 353— Gold Watch. French. Louis XVI On the back a rosette in diamonds and rubies on a dark blue enamel ground. The face surrounded with a row of rubies and diamonds. Signed : Herbeau a Paris. Very good state of preservation. 354 — Watch in Gold and Enamel. French. Empire Period The back in a beautiful dark blue enamel with a border of sky-blue enamel. Very good state of preservation. 355— Watch in Gold. French. Louis XVI The back, repousse work representing a temple, profusely decorated with diamonds; diamond push button to open. Marked: Nasson a Paris. Very good state of preservation. 356 — Strip of Embroidered Linen. Sicilian: Gothic Style. XVI Centltry Strip of linen embroidered in Gothic style, in small point, with birds and inscriptions, in yellow, green and red coloring. Narrow silk and silver fringe; red silk lining. Length , 7 feet 6 inches; width , 7 inches. 357 — Large Lace Table Coyer. Venetian Gothic. Early XVI Century Large table cover in lace, edged with lace, needle point. Yellow lining. Length, 6 feet 11 inches; width, 4 feet 3 inches. 358 — Linen Table Cover with Lace Insets. Venetian. Early XVI c 'entury Linen table cover with four circular insets and strips of Gothic needle- point and an edging of the same lace. Splendid design and an unusual piece. Length, 3 feet 11 inches ; width, 3 feet 3 inches. 359 — Flounce of Lace. Large scroll design. Venetian. XVII Century Length, 4 yards; width, 6 fA inches. 360 — Table Cover with Linen Center and Lace Edging. Venetian. XVII Century Large linen table cover, with heavy lace edging five inches wide. Length, 7 feet 11 inches; width, 7 feet 4 inches. 361 — Large Flounce of Lace. French. XV 1 1 Century Large flounce of “point de Paris”; splendid design in arabesques, ani- mals and flowers. Very rare specimen. One similar can be found at the C'luny Museum, Paris. Length , 4 yards 8 inches; width, 2 feet 5 inches. 362 — One Piece of Lace Banding. Venetian. XVI 1 Century Lace in foliage design. Length, 3 feet 9 inches; 2% inches wide. 363 — Strip of Lace. Venetian. XVII Century Lace in flower design. Length, 6 feet 11 inches; width, 2 inches. 364 — Towel in Embroidered Linen. Sicilian. XVII Century Linen towel embroidered in red, in Renaissance design. Length, 4 feet, ; width , 1 foot 11 inches. SIXTEENTH AND SEVENTEENTH CENTURY EMBROIDERIES 365— Damask Portiere. Genoese. XVI Century Portiere of green brocaded damask. Length , 7 feet 10 inches; width, 7 feet 8l/o inches. 366 — Cut Velvet Small Table Cover. Genoese. XVI Century Cover of red on an ivory ground cut velvet ; plain red velvet border and fringe. Red silk lining. Length, 4 feet 3 inches ; width, 2 feet 6 inches. 367 — Cut Velvet Small Table Cover. Genoese. XVI Century Red cut velvet in small all-over pattern. Silver galloon. Red silk lining. Length, 3 feet 4 inches; width, 2 feet 11 inches. 368 — Strip or Cut Velvet. Venetian. X V I Century Velvet with white ground, red relief. Very beautiful design in Oriental style; silver galloon. Length, 5 feet 9 inches; width, 22 inches. 369 — Strip oe Cut Velvet. Venetian. XVI Century Velvet with old-gold background and green relief. Plain red velvet bor- der. Red silk lining. Length, 5 feet 9 inches; width, 17 inches. 370 — Small Piece or Cut Velvet. Venetian. XVI Century Velvet in red and green coloring, jardiniere pattern; border of silver gilt galloon. Mauve silk lining. Length, 2 feet 6 inches; width, 2 feet 2 1 /? inches. 371 — Strip of Cut Velvet. Genoese. X V I Century Old-gold ground with red relief. Red and gold fringe; striped silk lining. Length, 6 feet, KU/k inches; width, 15 inches. 372 — Four Strips of Velvet. Genoese. X V I Century Beautiful ruby-red velvet. Length, 6 feet 8 inches; width. 20 inches. 373 — Strip of Velvet. Plain red velvet. Genoese. XVI Century Length , 3 feet 5 inches; width, 25 inches. 374 — Small Table Cover of Velvet. Italian. End of XVI Century Plain red velvet with gilt galloon. Red silk lining. Length, 4 feet 3 inches; width, 3 feet 1 1 V inches. 375 — Large Damask and Embroidered Table Cover. Floren- tine. XVII Century The center is of crimson damask. The border executed in Italian gross point stitch in rich varicolored silks on a zigzag ivory background. An undulating rustic stem runs from corner to corner and holds inanv scrolled and trailing sprays of conventionalized flowers and foliage, among which occur butterflies; narrow outside border of a stem and leaves. Length . 9 feet 4 inches; width , 8 feet. 376 — Statuette in Bronze. French. XVIII Century Statuette in dull bronze representing “Ariadne Forsaken.” It rests on a rectangular base done in marqueterie of bronze on tortoise-shell. The model of this bronze in wax, executed by Poussin from the marble in the Vatican, Rome, is found in the Louvre Museum. Height, 15 inches; length, 23 inches; depth, 10 inches. 377 Two Large Wall Candelabra in Gilded Bronze. 1 rench. Louis XVI Period The candelabra are branched and finely engraved. These are^ of a design not found elsewhere and are very richly decorated. line French work. Height, 3 feet 1 inch; projection, 2 feet 6 inches. 378 — Two Large Candelabra in Bronze, Black and Gold. French. Empire Period Winged Victories bearing in their hands the candelabra. Triangular feet; very richly ornamented. Very fine workmanship, attributed to Thomire. Height, 4 feet 8 inches. From the Count Galanti Collection, Naples. I COMPOSITION. PRESSWORK AND BINDING BY X 45 7 8 GETTY CENTER LIBRARY N 5220 C16 1)10 c -i Govett. Ernest. Illustrated catalogue of the Canessa col MAIN 3 3125 00226 5888