l iff w m»i. ' i i . ' V ' .v< ¥* ' uc-nhlf B M SfiH IbS CATALOGUE OF THE UZIELLI COLLECTION. BEtlCEify LIBftARY OMJVMSITr Of CAUKMhHA \_Privately Printed. CATALOGUE OF THE W7\ Wml l^arious [|^orks of ^grt FORMINC; THE COLLECTION OF MATTHEW UZIELLI, Esq, OF HANOVER LODGE, REGENTS PARK, LONDON. By J. C. ROBINSON, F.S.A. MEMBER OF THE ACADEMY OF FINE ARTS OF FLORENCE^ SUPERI NTENDENT OF THE ART COLLECFIONS OF THE SOUTH KENSINGTON MUSEUM. LONDON: I'UlNTfcD BY JOSEPH CLAYTON, 17, BOUVERIE STREET, FLEET STREET i860. NKss-o PREFACE. «iAi-% HE numerous additions made to the Colle ftars, circles, ^c. — produced by mingling fmall cylindrical pieces of various coloured filagree glafs, cut from thin rods, with the melted mafs from which the veflels are blown. *' Schmelze^ and " Schmehe-Avanturiney The former of thefe varieties is a femi-opaque glafs of a rich variegated brown, green, or bluifti colour, which, when feen by tranfmitted light, takes a deep blood-red tint. Patches or globules of gold, fome- times feen on the furface of this kind of glafs, conftitute the '' Schmelze-Avanturiney ■ The Avanturine is obtained by mingling metallic filings or levigated leaf gold with the melted glafs, in the mafs of which it is feen fufpended in the fliape of brilliant particles. Eroded or crackle glafs is another chara^leriftic variety. In Germany, in the fixteenth and feventeenth centuries, enamel .^^^- GLASSWARES. ..*j^< 3 painting on glafs wares was much pra£tifed. The large cylindrical drinking veffels are the mod charafteriftic pieces : they are deco- rated with a great variety of defigns, armorial bearings and infcriptions. Cutting and engraving were firft prominently pra£tifed in Germany (Bohemia), not much earlier than the latter part of the feventeenth century, coincident with the increafed purity and beauty of the material, which had gradually been made to rival the brilliancy of cryftal, and naturally fuggefted facet cutting for its mod effeftual difplay. '4AlT3Mn B 2 m^ifu b^i!',.j,i. ^ili."!!;!!*!;; L' CATALOGUE. L— VENETIAN AND GERMAN GLASS WARES. No. I. ;H ALICE-SHAPED GOBLET, the ftem in blue glafs, ribbod or fluted, the lower part of the bowl enriched with waved flames or pointed rays, alternately in blue enamel and gold ; the margin, Esf^., furrounded by gilt zones, picked out with pearls or jewels, in white, red, and blue enamels. This piece was probably intended as a wedding gift. Date — circa 1500. Height, y\ in. (RouflTel Colleftion.) No. 2. IIMILAR CHALICE -SHAPED ENAMELLED GOBLET, blue ribbed ftem, the bowl enriched with diamond-fliaped compartments, formed by raifed canes, which are filled in with rofettes in green, red, white, blue and yellow enamels ; the margin furrounded by a wreath of green foliage, broken by four rofettes ; the lip gilded and ftudded with raifed pearls in enamel. Height, 6\ in.. Date — end of the fifteenth century. GLASS WARES. 5 No. 3. . ... .......... . .... . ..'Aff ,WER OF GLOBOSE FORlilf tfti" ftpVbnSpretfei W' form the fpout ; plain recurved handle, the body of the piece painted with an enamelled fhield of Arms within a wreath, decorated with gilding and jewel-work, ribbons. Elf f . ; at the fides are painted four winged cherubs in enamel. The neck of the piece is furrounded with a zone of imbricated ornament in gold, enriched with enamelled jewels. Quattro-cento period. Height, 8 in. . Nos. 4 and 5. , ^ , V . ||){AIR OF TAZZE, nearly identical in defign. The J^ under fides enriched with raifed oblique, radiating ^j;^ gadroonsj the outer margins furrounded by deep bands of gilded fcale work and pearls in enamel, and in the centre of each is a fhield bearing the Arms of Pope Leo X., furmounted by the papal tiara and crofs keys. Circa 15 lo. Diam., 9^ in. ; height, 3 in. I- ,;ji.o;-:.. No. 6. - ' ARGE FLASKJ OR PILGRIM'S BOTTLE, enriched on each fide with an enamelled fliield of Arms, fur- mounted by a prelate's or cardinal's hat, within a wreath of gilded foliage, hfc. ; the neck and margin of the piece fur- rounded by fimilar wide gilded wreaths. The Arms are thofe of the Pucci family. Circa 1530. Height, 14^ in. No. 7. ^g^WER OR '' burette;' the body globular; tall, ftraight neck, the lip furrounded with a raifed crefl or i . crown of projecting Vandyked points ; elegant curved 6, I.— VENETIAN AND GERMAN handle, and long fpout. This beautiful piece is entirely covered with vertical columns of laticinio work, alternately of plain white and interlaced ^/^^rff ftripes. Its fhape refembles that of the '■'•burettes^' in metal, fo much ufed in the fourteenth and fif- teenth centuries. Height, 1 1 in. Date — probably firft half of the fixteenth century. ^oon ari' i , ita iii nUrvjih \ MnMnu \vi\\\-i"n^'m\ '\< No. 8. JVIFORM EWER, with compreffed trefoil lip and raifed handle, the lower extremity of the latter terminating in a moulded mafk. The piece is entirely covered with vertical columns of laticinio work of an open reticulated pattern. The columns or canes are in juxta-polition ; fo that the entire furface is filled in. The fhape, derived from the Antique, is very elegant, and is identical with that of the Venetian engraved brafs rofe-water ewers, of circa 1540. Entire height, lo in. N08. 9, 10, and II. i ^HREE FUNNEL-SHAPED GLASSES, OR GOBLETS on tall ftems, varioufly ornamented with bulbs, balls, bofTes, '<3'c. Thefe pieces are grotefques, perhaps intended to hold flowers, but more likely merely " tours deforce " of glafs-blowing ; they illuflrate the inexhauflible fancy of the Venetian artifls in glafs, and their great manual fkill. Heights, refpeftively, 10 in., io| in., and 11 in. Seventeenth century. , ,.^-^4 ^^, No. 12. ALL GOBLET, OR "HANAP," with cover, in plain blown glafs of black or fmoky tint. The bowl funnel- fliaped. Tall, balufler flem. The fimple elegance of GLASS WARES. 7 this piece is very noteworthy, all the forms being well contrafted and of great purity. Seventeenth century. Height, 1 5 in. No. 13. RUNNEL-SHAPED GLASS, on taU, elaborately wrought Hem; pale, fmoke-tinted glafs. The lower part of the bowl ornamented with raifed ribs and finall knobs or bofles. The flem is enriched with a rofette or ftar, contained within an open ring formed by a fpiral cane, the outer margin fi-inged with radiating points. Seventeenth century. Height, 13 J in. No. 14. ;ARGE WINE-GLASS OR GOBLET on tall flem, the bowl plain. The item forming a heart-lhaped com- partment of involuted cord, the outer margin of which is enriched with wing-mounts. The cord of the flem enclofes threads or filets of red, blue, and yellow glafs. Seventeenth century. Height, 1 1 ^ in. No. 15. ARGE WINE-GLASS, of very fimilar defign— the corded flem enclofing red and white filets; the wing- mounts in blue glafs. Seventeenth century. Height, i o| in. No. 16. I'^^EEP FUNNEL-SHAPED GOBLET, OR WINE- ^BjSjft GLASS, on low flem. The bowl enriched with 4feC^ oblique fpiral lines of laticinio. The flem or knob moulded with lion's head, mafks, and garlands of pendent pearls 8 I.— VENETIAN AND GERMAN in relief. The colour of the glafs, black or '■'• enfume'' Six- teenth century. Height, ii|in. No. 17. ;^7; INE-GLASS of fimilar form — the bowl furrounded with 'J) fpiral bands of laticinio. The knob in the flem, enamel gilded. Sixteenth century. Height, 9 in. No. 18. ^CYLINDRICAL BEAKER, enriched with vertical co- lumns of laticinio, alternately plain and filled in with \^ filagree work. In the centre of the glafs are attached four grotefque mafks in relief, heightened with gold, and four fmaller projefting bolTes, each with a fmall bead of turquoife glafs in the centre. Sixteenth century. Height, 7 J in. No. 19. u t io ^Jaiii lu ^^^:;OBLET in ''Vitro de trina "—the bowlfluted or hexa- ^ foil fhaped, the under part formed by four fuperpofed % flattened bulbs. A circular bofs or knob on the ftem. The " laticinio " filets form lozenge-fliaped compartments, and the oval air-bubbles lie under the points of interfeftion of the threads. An exquifite fpecimen of Vitro de trina^ of great tech- nical intereft. Height, 7I in. No. 20. UP, OR GOBLET— the bowl of an elegant calyx or bell (hape — Vitro de trina, of the fame pattern as the previous piece. Sixteenth or feventeenth century. Height, 5 1 in. J diam., 5§ in. GLASS WARES. No. 2 I. ^miBE FUNNEL-SHAPED GLASS, on tall balufter Isl^B ftem, which is decorated with delicate, lateral, winged, or " cock's-comb " mounts, in blue and white glafs. Seventeenth century. Height, 7 in. Tit No. 22. 'UNNEL-SHAPED WINE-GLASS— the lower part expanding into a fpherical bulb, with handles attached to the bowl. Low moulded flem in blue glafs. Seventeenth century. Height, 6^ in. No. 23. ALL FUNNEL-SHAPED WINE-GLASS— the ftem ^? in open-work, formed by a twijfled cord of colourlefs ^C^ glafs, with an involuted wing-fcroU ornament, in blue glafs, attached to it at right angles. A fpecimen of elegant and unufual defign. Sixteenth or feventeenth century. No. 24. ^|lNE-GLASS, on balufter-fhaped and fpiral moulded' ftem, with lateral " cock's-comb " mounts in plain glafs. The bowl beautifully moulded or involuted near the lip. Six- teenth or feventeenth century. Height, 7 in. No. 25. OBLET, OR TAZZA, on moulded balufter ftem— the bowl plain, the ftem enriched with lion's-head mafks in relief, cartouches^ gadroon ornaments, ^r. ; the glafs black or fmoke-tinted. Sixteenth century. Height, 6 in. ; width of bowl, 6 in. lo I.—VENETIAN AND GERMAN No. 26. jEXAFOIL, OR FLUTED GOBLET— the bowl fur- rounded in the lower part with a horizontal band of laticinio work ; moulded and gilded balufter ftem, enriched with griffins' heads and firings of pendent pearls; fmoke-tinted glafs. Sixteenth century. Height, 4 J in. ; width acrofs bowl, 4^ in. No. 27. MALL BELL-SHAPED GLASS on low flem, with c] blue handles or wing-mounts affixed to the bowl. Six- teenth or feventeenth century. Height, 5 in. - - ^:- No. 28. fiLL-SMPED GOBLET, on ribbed, bulbed, or balufter ftem, the bowl of dark purple, and the foot in white or colourlefs glafs. Sixteenth century. Height, 6 in. No. 29. ^gVAL RIBBED GOBLET, OR WINE GLASS, on ^^& tall twifted ftem. Yellowifh enfume glafs. A fpecimen of elegant and unufual defign. Sixteenth or feventeenth century. Height, 6 J in. - No. 30. '\ '■'•' \KULK^ the bowl ribbed, and refembling in fliape the ex- panded calyx of a flower; plain balufter-fliaped ftera. Fifteenth century. Height, 5^ in. ; diam., 5 J in. ^^^^j GLASS WARES. i>. No. 31. OTTLE, OR FLOWER VASE, the lower part form- ing a flattened or deprefled bulb, the neck or bowl above, ribbed and beil-fhaped. The material of this glafs, of great rarity, refembles the Schmelze-Avanturine. The ground, however, is a rich opaque yellow glafs, mottled or marbled with deep crimfon brown, plentifully interfperfed with gold Avanturine. The intention has been to imitate tortoife-fhell. Seventeenth or eighteenth century. Height, 5f in. No. 32. jASE, OR BOTTLE, in dark blue glafs, the lower part oi the elongated bulbous body diamond or bulb- moulded ; the neck expands again into a funnel ihape, the lip cut and Vandyked ; the recurved handles are affixed near the neck in white glafs ; the foot alfo is in white or colourlefs tranfparent glafs. A rare and remarkable piece. Height, 8 J in. No. T^T^. i^*^«- JUNNEL-SHAPED WINE-GLASS, on beaded and fpiral-ribbed balufler ftem, with tranfverfe wing mounts in white and blue glafs. Seventeenth century. Height, 7I in. No. 34. '' ;ELL-SHAPED GOBLET, on raifed balufler ftem, the lower part of the bowl furrounded by a tranfverfe raifed filet, and by raifed gadroons and projefting points, or knobs. The ftem enriched with lion's-head mafks, ftrings of pendent pearls, Iffc. Sixteenth century. Height, 7 in. 4 12 I._VENETIAN AND GERMAN No. 7,s- JMALL BOTTLE, the body forming a flattened bulb, with a raifed tranfverfe bead or moulding furrounding it. The body is in froiled or crackled glafs. Slender neck in plain glafs, comprefled lip, and two tranfverfe handles. Sixteenth century. Height, 4 in. ; width, 4 in. ^d ,hmm% > iijiw boidiiun ?AZZA GOBLET on low ftem, the bowl richly oma- ^^ mented with radiating or vertical canes of laticinio, dif- ^^♦riCciS pofed in a waved or undulating manner by alternate broad white (tripes and interlaced filagree work. A rare and beautiful fpecimen, both as refpefts defign and manipulative fkill. Sixteenth or feventeenth century. Height, 4 in. j width, 7 in. huH lu'i m\ arb No. 37. .mi _ I OTTLE with cup-fliaped cover and winged handles — ^& Vitro de trina. Seventeenth century. Height, 5I in. No. 38. ^. OTTLE of the fame ihape, ornamented with vertical % columns of minute y?/^^r^^ laticinio work. Seventeenth century. Height, 6 J in. No. 39. I^OTTLE OF SIMILAR DESIGN. The centre of the ■ ^ ^ ^ bulb of the bottle and the cover are each furrounded with a band of interlaced work in blue glafs, in relief, GLASS WARES. 13 betwixt raifed beaded filets ; wing handles, in blue and white glafs, and etched floral ornaments in the ^'-fiacon'' part. Height, No. 40. ^SOTTLE OR FLOWER-HOLDER, the neck bent ^^1 obliquely ; margin edged with blue glafs ; lateral wing handles in blue. Seventeenth century. Height, 6^ in. No. 41. ^EMON, with two leaves and a flower attached, in W^ Venetian glafs of the natural colours. Seventeenth or eighteenth century. Entire length, 6 in. Nos. 42, 43, and 44. HREE ORNAMENTAL BALLS, OR GLOBES, of Probably eighteenth century work. Height of each, 9 in. ; diam., 4^ in. No. 45. ^!CE CUP AND STAND, in opaque black glafs, richly ^^ mottled with gold Avanturine. Eighteenth century. Height, 3I in. No. 46. LOBULAR BOTTLE, with tall, twifted neck, enriched with raifed filets, vertical and tranfverfe, in blue glafs. Sixteenth or feventeenth century. Height, 8| in. 14 I.— VENETIAN AND GERMAN •rn:, '* No. 47. ^rrr .^Jdt» OBLET, OR WINE-GLASS, in ''Vitro de trina;^' the flem mended in gilt bronze at an ancient period. Sixteenth century. Height, 7I in. ..r/piklo F^fi^fi AZZA on balufler ftem, the centre of the bowl enriched ~ ^ ^*' with laticinio work, and with two tranfverfe bands of the axTS^'5 fame, midway betwixt the centre and the margin. The ftem has minute vertical filets of laticinio. Sixteenth century. Height, 5 in. ; diam. of bowl, 6 in. No. 49. ^^Tr^l AZZA on low ftem, the margin of the bowl turned over ^C^l/^ffl fo as to caufe it to aflume a quadrangular shape f5cv«*a3 Columns of open fpiral laticinio work radiating from centre to margin of the bowl. Height, 5 in. "'i No. 50. MALL DIAMOND-MOULDED JUG, OR " C RUCHE ^'^ in blue glafs. Seventeenth or eighteenth century. Height, 4 in. No. 51. ^^MALL RIBBED GLASS on balufter ftem; three W^M detached pendent rings hang from loops fixed to the bowl. Height, 3 J. GLASS WARES. »5 No. 52. MALL OVIFORM EWER, OR BURETTE, with '^^i^ handle and fpout, the fides furrounded with raifed boffes ; maiks in relief, '<3'c. Sixteenth century. Height, 7 in. No. 53. ss^^:| UNNEL-SHAPED GLASS, compreffed laterally, fo as to aflume an oval fliape ; the lower part of the bowl frofted or crackled ; a beaded knob near the foot. Sixteenth century. Height, 7f in. No. 54. ]UNNEL, OR BELL-SHAPED WINE-GLASS, on balufter-fliaped ftem — the bowl, in the lower part, is of 5!?iXS9 purple glafs, and, near the margin, colourlefs, as though partly filled with wine. A mofl curious fpecimen. Sixteenth or feventeenth century. Height, 7 in. No. 55. the bowl furrounded with a band of raifed Guilloche work in blue. ^I?LAT TAZZA No. 56. fiNE-GLASS, with bell-ihaped bowl — the lower part SS enriched with raifed gadroons ; balufter-fhaped ftem. Seventeenth century. Height, 5I in. No. 57. MALL CYLINDRICAL GLASS, on balufter-fliaped ^ ftem* At the fides are four loop or wing-handles, from ,6 L— VENETIAN AND GERMAN two of which hang loofe detached rings of blue glafs. Seven- teenth century. Height, 6 in. No. 58. JTATUETTE in Venetian glafs. The youthful Bac- chus feated aftride a barrel, holding a flallc of wine in one hand and a goblet in the other. The figure is partly blown and partly moulded. The body is of tranf- parent ruby glafs, and the head, legs, and arms of opaque milk- white glafs. Seventeenth or eighteenth century. Height, 8 in. No. 59. [LD BOHEMIAN CRYSTAL GLASS— boat or fhell- {haped bowl on facet cut ftem. The bowl richly engraved with fluted-fliell ornaments and interlaced Louis Quatorze arabefques. Probably a falt-cellar. Circa 1700. Height, 5 J in. No. 60. MALL GLASS SALT-CELLAR, of fimilar defign— ! engraved with elaborate ftrap-work ornament, flowers, and bearing the motto, " Redlech Wertb Ewig.'' Circa 1700. Height 4 J in. Nos. 61 and 62. ^^^AIR OF FUNNEL-SHAPED CHAMPAGNE % ^^ GLASSES. Old Bohemian cut elafs. On each Vr'j.^y^jk fide, in front, is a raifed oval applique medallion, con- taining an emblematical device of Cupid fighting with a cock, in etched gold ; the border furrounding this is fet with fmall applique facet-cut garnets — the centre cartouche enriched -with GLASS WARES. 17 foliated fcrolf-work. Height ' of each piece, 8 in. Date — firft half of the eighteenth century. No. 63 (a). ^CYLINDRICAL, OR PAIL-SHAPED, BEAKER— enamelled Venetian glafs. Circa 1490. The entire furfece of the glafs is covered with a continuous frieze — a pattern of a Triton flanking a candelabrum fupporting a car- touche^ on which is perched a fpread eagle, alfo accompanied by beautiful fcroll foliage. The enamels are of the moft varied and brilliant colours. Purchafed in Rome, 1859. No. 64 (a). 1?^.^^INIATURE PICTURE ON GLASS— Italian r ^ Wi 5 work. Circa 1490. The fubje£l of this interefting Si3&iy and rare work is the prefentation in the Temple — a crowded compofition of many figures in the flyle of a miflal painting, and in all probability executed by an artift accuftomed to work on vellum. The painting is executed in diflemper at the back of the glafs ; the draperies and acceflbries, however, are all put in in gold leaf, the folds and details being produced by etching with a needle through the film of gold down to the glafs, and afterwards filling in or backing the entire defign with a coat of dark colour. The effeft of the dark lines of the etching on the gold furfa.ce is fomewhat analogous to that of niello-work on filver. Height, 5 in. ; width, 3^ in. .,..,,> .MX ..,-^1 iDi'O .?j^p^ tiLilJi: . . ANTIQUE GREEK AND ROMAN hiu, bvh.y i; GLASS WARES^''^ ^^ ^^ ERFECTLY preferved fpecimens of Antique Glafs Wares are found only in tombs, where they are depofited along with vafes in terra cotta and bronze. But fi-agments of the more coftly varieties are alfo found beneath the foil of ancient cities, efpecially of Rome. Glafs veffels in the antique ages were probably proportionately more coftly than thofe of painted terra cotta; hence, very few fpecimens of importance have been preferved to us in the tombs — the celebrated Portland Vafe, found in a marble farcophagus in Rome, is a rare and Angular exception. Small phials, unguent aria ^ ^c., veffels of funereal ufe, and, in the Roman Imperial ages, large globular or oviform urns in coarfe glafs, of little coft, are thus almoft the only perfeft fpecimens of ancient glafs manufaftures now extant. The mutilated fragments found in the ground, however, reveal the exiftence in ancient times of works of a far higher clafs — indeed, in perhaps no branch of induftrial art were the ancients in reality more expert than in glafs-working. Every colour of the material, and almoft every procefs in ufe in modem times, feem even to have been known and carried out to degrees of perfeftion never fmce attained. The furface of many fpeci- GLASS WARES. 19 mens of antique glafs exhibits the mod brilliant pearly or iri- difcent luftres. This is owing to the fuperficial decompofition or exfoliation of the material. Perfeftly developed and beautiful examples of this accidental " irifation " are much efleemed by connoiffeurs, and, confequently, have confiderable value. c 2 CATALOGUE. II.— ANTIQUE GREEK AND ROMAN GLASS WARES. No. 63. 5JLASK, with handle — dark greenifli glafs ; the bulb, or [Ig body, furrounded with oblique fpiral flutings, produced }td^J^ by the piece being blown into a mould. The handle of this flaik is particularly worthy of notice, from the ikilful manner in which the molten material has been made to aiTume beautiful curves, irregularly balanced, but full of artiflic feeling. — Roman work. Nos. 64, 65, 66, 67, and 68. igj^^IVE ROMAN ''LACHRYMATORIES;' OR " UN- ^ffi® GUENTARI^" in common glafs, of various fhapes, ^^Sx^ all richly irifated. The prefent fpecimens are all perfeft : many fimilar ones, however, are found fufed and contorted ; fometimes as many as three or four being found attached together, in a half melted flate. This has refulted from their having been burnt with the corpfe on the funeral pyre. Thefe fmall bottles were formerly believed to have been intended to contain the tears of the mourners ; they are now, however, with more likelihood, fuppofed to have contained perfumes. GLASS WARES. 21 No. 69. ^''^MALL ''PHIALE;' OR ''LACHR7MAT0Rr /' a fplendid fpecimen of iridifcence. Roman work. Length, 3 in. Nos. 70 and 71. wo SMALL BULB-SHAPED PHIALS, with ftraight necks, in plain glafs. Roman period. Pro- bably lachrymatories^ or unguentaria. No. 72. JLOBULAR BOTTLE, in light, greenifli-tinted glafs, with two fmall loop handles, through which are paffed brafs rings, which in turn hold a bronze bucket or fwing handle, formed from a flat ftrip of bronze. Roman period. A rare and remarkable fpecimen. Diam., 3 J in. No. 73 and 74. wo SMALL PHIALS, in light blue glafs. Roman ^ period. No. 75. IMILAR SMALL PHIAL, in light blue glafs, fur- rounded by a fpiral cord of opaque white glafs. The lip, or upper part of the neck, fraftured. No. 76, 77, 78, and 79. :OUR SMALL CIRCULAR CONVEX GLASS BUTTONS, refpeftively in blue, opaque yellow, pearl white, and light greenifh glafs: with bronze {hanks. Roman period, Diam., | in. 22 II.— ANTIQUE GREEK AND ROMAN No. 80. iMALL GLOBULAR, OR BULB -SHAPED PHI ALE,'' with flraight neck. Dark purple glafs. Roman period. No. 81. JMALL, GLOBULAR, AMPHORA - SHAPED FLASK, OR ''PHIALE;' with two fmall loop handles, near the neck. The ground of dark blue glafs furrounded with a wide belt of zigzag ornament, in light greenifti turquoife and yellow, and with feveral bands of opaque yellow ; the lip edged with turquoife glafs. Antique (Greco- Egyptian .?) manufacture, in fine prefervation ; probably an unguentarium. Height, 2| in. ; diam., 2 in. No. 82. JMALL GLOBULAR FLAGON, of nearly fimilar defign to the preceding. The ground of blue glafs, with an elaborate zone of zigzag ornament. The fur- face eroded and irifated. Height, 2| in. ; diam., 2| in. Greco- Egyptian."* No. 83. jMALL EWER, with handle, and compreffed trefoil lip, in dark blue tranfparent glafs, furrounded by bands, or filets of opaque yellow. Surface (lightly eroded. Height, 3 J in. Greco-Egyptian glafs. No. 84. ^"^^YLINDRICAL PHIALE, OR '\ALABASTR0N;' with trefoil lip. Dark blue glafs, covered with a zig- zag pattern, in opaque white and yellow. The furface fomewhat eroded and irifated. Length, 4§ in. Greco-Egyptian. GLASS WARES. ^3 No. 85. I MALL PHI ALE of fimilar ftiape to the preceding piece, with two finall loop handles attached. The ground dark greenilh blue, femi-opaque glafs, with a deep belt of parallel zigzag bands in turquoife and yellow. In perfeft prefervation. Length, 3^ in. Greco-Egyptiaa;;, ^nn^y,.^ ]iiji[r^rn -.ivi lo tiflon No. 86. ,..->,,..,,. .....nr.-rr ^A:-\ \HIALE OR ALABASTRON, elongated bulb-fliaped, The ground tranfparent blue glafs, covered with waves or imbricated ornaments in opaque white and yellow. Length 4| in. Greco-Egyptian. a wii; No. 87. JERY SMALL GLOBULAR PHIALE, the fides flightly compreffed, and with two fmall loop handles; a filet of opaque yellow round the lip, and a large circular fpot or dot in the centre, on each fide. Height, i ^ in. ; width, I Jin. Pi/^, femi-opaque blue. Antique (Greek?). No. 88. ^4i;^INUTE EWER, with handle in blue glafs, furrounded with zigzags in opaque yellow; the ground black, or dark blue opaque glafs. Probably an omameat for a necklace. Greco-Egyptian. Height | in. jmiifr-nih oJ No. 89. JTYLUS, for writing, in 'tranfparent blue glafs, orna- mented with zigzags in white. Length, 6 in. An- tique Greek work. An unique ? and moft curious fpeci- men in perfeft prefervation.. 24 II.— ANTIQUE GREEK AND ROMAN No. 90. iEMISPHERICAL, OR INVERTED CONOIDAL- SHAPED BOWL. Diam., 6J in. ; height, 3^ in. Antique Roman " Millefiore" glafs. This re- markable fpecimen, one of the mofl important of its clafs now extant, although broken into numerous pieces, is complete — i.e.^ none of the fragments are miffing. The ground is a brilliant light, bluifti-green tranfparent glafs, mainly filled in with radiating ftars of yellow, white, t^c. In addition to thefe, however, there are numerous (harp, angular patches, inferted in the manner of a " breccia^'"' of blue, white, orange, and gold-powdered glafs, and alfo long pipes or canes of laticinio work. The margin is bordered by a narrow filet of pale lilac-coloured tranfparent glafs. The greater part of the furface is flill covered with its iridifcent oxydated patina, a fmall portion only, on one fide, having been poliihed to difplay the original brilliant colour. Purchafed at Rome in 1859, but originally brought from Naples. No. 91. jLACON, OR PERFUME BOTTLE, in the fliape of a dried date. Length, 2 in. Antique Roman glafs. This very remarkable fpecimen is an imitation in glafs of the dried fruit. Both in colour and form it is truthful, even to deception, and, in all probability, was moulded on an actual date. Purchafed in Rome in 1859. No. 92. ICE, in antique blue glafs ; irifated. GLASS WARES. 25 No. 93. JMALL CIRCULAR TRAY, OR LID ' OF A PTXIS, in femi-opaque glafs, of mottled or marbled brown and yellow tint, in imitation of onyx or jafper. Roman. Diam., 2 in. No. 94. 55MALL SqUARE TESSERA, of blue glafs, in which is inlaid or incrufted a figure of a hawk, in glafs of various colours, imitative of the natural plumage of the bird. It is very difficult to defcribe this moft rare and admirable fpecimen of the ancient glafs- workers' Ikill; nothing analogous has ever been executed in glafs in modem times, and the exaft method by which the various-tinted glafles have been inferred into the blue mafs, is by no means quite obvious, though the general principle is known. The prefent fpecimen is, to all appearance, a flab, or lateral fegment, fawn oif a thicker piece — probably a cube or long prifm. Thefe cubes, or prifms, were pro- duced by encrufting fmall rods, or filets, of various coloured glafles, arranged in the requifite juxta-pofition, in a mafs of uniform coloured glafs. In this manner, as may have been obferved in fl:icks of children's fweetmeats, every lateral feftion, or piece broken off", exhibits the fame pattern. The execution of fuch a complex and minute defign as the prefent, however, is a marvel of manipulative fkiU and ingenuity. Diam., | in. No. 95. MALL OVAL SLAB, OR TESSERA, probably originally fet in a ring, | by | ; blue glafs, with an encruft:ed figure of a parrot in natural colours. The 26 IL—ANTIQUE GREEK AND ROMAN method of executing this fpecimen is altogether different from the preceding piece, and is ftill more interefting. The body of the thin glafs flab is of two layers — the lower one opaque white, the upper one dark tranfparent blue. By fome unexplained method, a cavity, or intaglio^ has been funk in the upper layer, of the exaft fliape of the bird ; this cavity has then been edged or lined round with a thin filet or wire of gold, and the various markings of the wings, and other details, likewife executed in the manner of a cloifonne enamel, with the fame gold filet. The fpaces thus formed have then been filled in with enamel or glafs pafle, of varied colours, fufed in the furnace, and finally the fur- face rubbed down and poliihed, the refult being a true cloifonne enamel, executed in a bed or matrix of glafs. On another fup- pofition, the gold filets, or cloifons^ have been firfl arranged flat on the white under layer ; and the blue upper layer forming the background of the defign, as well as the tints of the bird itfelf, filled in and fufed at the fame time. . .^j.; No. 96. ^MALL SQUARE SLAB, fimilarly encrufled with a figure of a parrot. In this fpecimen, the enamels, of varied green, yellow, and red tints, are well preferved, but the gold filet has difappeared. ' wloj No. 97. ;MALL oval plaque, fet in gold as a ring. An- tique encrufled glafs. A palmette ornament and a bird, in red, white, and yellow, on blue ground. From the Hertz Colleftion. N.B. — In addition to the fpecimens of antique glafs, here fpecifically noticed, the CoUeftion contains a feries of feveral GLASS WARES. 27 thoufand fragments of antique veffels, lining flabs, or tiles, mofaic tejfera^ and numerous other objefts in glafs. Thefe fragments exhibit a very great diverfity of materials, proceffes, defigns, and colours. The patterns of the '■'• millejiore^'' '-'• tapete^'' or " molaic " glaffes, as they are varioufly called, are far too nume- rous for fpecific defcriptions. Specimens of brilliant and beautiful irifation likewife abound, and there are many fpecimens of cameo- glafs fragments of veflels, fimilar in work to the Portland vafe, and alfo of examples of moulded and engraved glaffes. This feries of fragments, moilly from " Scavi" in the neighbour- hood of Rome, was purchafed in that city in the fpring of 1859, and comprifed almoft every fpecimen of note, then in the hands of the Roman dealers. III. MAJOLICA WARES. AJOLICA, formerly called '' Raffaelle Ware" or " Faenza Ware," is an Italian enamel glazed earthenware. It is fuppofed to have derived its origin from a very fimilar ware made by the Moors in Spain, from an early period of the Middle Ages, and to have taken its name from the Spanifh ifland of Majorca, from whence the firft fpecimens were probably exported to Italy. During the fifteenth and fixteenth, and, in a lefs degree, the feventeenth century, its manufacture was exten- fively carried on in Italy, efpecially in the central distrifts, where Faenza, Gubbio, Pefaro, Caflel-Durante, Urbino, and other neighbouring towns, gained great reputation for their fine pro- duftions. Artifts of celebrity not only furnifhed defigns, but un- doubtedly, in fome inftances, aftually painted the more important pieces. The Italian princes and nobles were the zealous patrons of ceramic artifts, and the founders of manufaftories in their feveral territories. There were, in the flouriftiing days of the art : firftly, private manufaftories (^^ botteghe"), producing on the ufual induftrial conditions, and generally aggregated in certain great centres of manufifture; fecondly, manufkftories attached to the courts, caftles, or villas of princes and nobles, producing works of fpecial III.— MAJOLICA WARES. 29 value for their patrons ; and, thirdly, artifls unattached — i.e.^ working on their own account, and frequently changing their places of abode. The manufafturers, as a rule, repeated in grofs the regular patterns which were their refpe^live copyrights ; whilfl an infinity of unique defigns were executed on all hands by the painters who worked on their own account, or for noble patrons ; fo that, in reality, Majolica, not lefs from the high artiflic excellence dif- played than from the faft of this frequent independence of the ufual commercial conditions, may be juflly regarded as a develop- ment of fine art. With refpeft to the compofition and methods of fabrication of the Majolica Wares, the pdte^ or body, is a mere common day or terra cotta^ ufually of a browniih or yellowifh hue. WTien the pieces are finilhed on the wheel, and have taken their appointed fhape, they are firft thoroughly dried, and then fired or burnt in the furnace ; in this flate, the ware is technically called bifcuit {bifcoito). The glaze is applied generally by immerjion — i.e., the fubftances compofing it being reduced to a fine powder, and mixed with water to the confiftence of cream, the piece to be covered is dipped into this liquid contained in a large vefTel. The porous nature of the bifcuit ware fpeedily caufes the moiflure to be abforbed, and the glazing material then fimply adheres to the piece as a foft coating liable to be removed by the flighted touch ; on this furface the painting is executed, with the enamel colour fimply ground up or diluted with water. It is here that the wonderful executive facility of the Majolica painter is dif- played, as the nature of the ground requires the work to be done at once ; the outlines, for infbmce, mufl be drawn at a fingle flroke, and not a touch can be erafed. The furface is fo abfor- bent that, if the point of the brufh charged with colour be allowed to reft on it, for even the briefeft inftant, an unfightly blot enfues. After the execution of the painting, the piece is fired a fecond 30 III.— -MAJOLICA WARES. time, being on this occafion enclofed in a cafe or ''^faggar^^ of terra cotta^ to proteft it from the direft aftion of the flames. In the furnace, the crude pulverulent covering fufes into a glofly enamel ; whilft the painting, executed on its furface, fmking in and becoming indelibly incorporated with it, affumes at once a degree of power and brilliancy of tint very different to its pre- vious crude, raw afpeft. The moll remarkable variety of Majolica is the iridifcent luftre ware, which reflefts metallic luftrous tints, of various colours, according to the angle at which the light flrikes its furface. The fecret of the ruby luftre, which appears to have been ufed prin- cipally at Gubbio, was loft even in thefixteenth century. Giorgio Andreoli, known as "Maeftro Giorgio," was one of the moft fuccefljFul artiftic manufafturers of the luftred wares; he lived between 1470 ? and 1552 ? The oldeft date as yet noticed on any piece of Majolica is 1475. Generally fpeaking, the Majolica may be faid to have firft attained prominence as an artiftic manu- fafture during the fifteenth century ; it would, perhaps, be right to aflume that its great extenfion was during the fecond half of that century. Its period of perfeftion may be faid to extend from the beginning to the middle of the fixteenth century, after which time, although, down to the laft, many admirable examples were exceptionally produced, the art rapidly declined, gradually loft its artiftic charafter, and fell to its loweft point, with the decadence of art in general, at the end of the feventeenth century. Imita- tions of Majolica Ware are now produced both in Italy and in England. CATALOGUE. IIL— MAJOLICA WARES. No. 12 0. ^-^^EEP TAZZA PLATE. White ground. Ornaments Mfr^Ji outlined, and fliaded in blue, and richly luftred. S2StS^ Gubbio ware, the work of Maeflro Giorgio. Date, Gubbio ware, the work of Maeflro Giorgio. In the centre of the plate is a female profile buft por- ^519- trait, with the initials " M. A.," the "M." tranffixed by an arrow. The border is decorated with four large apples or oranges, full-grounded, in deep gold luftre, the intervening fpaces being filled in with foliated ornaments in gold, and deep, cupreous, ruby luftre. The drapery, hair, and head-drefs of the figure are in luftre colours. The reverfe decorated with concentric lines, and the date 15 19, in ruby luftre. In the date may be recog- nifed the handwriting of M. Giorgio. A fplendid fpecimen of the luftre colours. Intended as a gift plate. Diam., 9I in. No. 121. I LATE, with deep funk centre, and wide border. Gubbio ware, by Maeftro Giorgio. Unfigned, but dated 1531. In the centre is a flying Amorino^ in olive grifaille tint, but with hair, wings, and drapery grounded in 32 III.— MAJOLICA WARES. ruby luftre. The figure is detached, on a field of full ruby luftre. The border is grounded in dark blue, and has the ufual ^'- palmette'' pattern, with dolphins, l5^c.^ in gold and ruby luftre. A fine fpecimen of a well known and favourite defign. Reverfe decorated with detached fcrolls and interlaced ornaments. In centre, the date, 1531. Diam., 9I in. No. 122. jLATEAU, with raifed medallion centre. Gubbio, or Deruta ware. Circa 1500-20. The ground of this piece is white, the ornaments ftrongly outlined, and ihaded in blue, and filled in with gold and ruby luftre. In the centre is a patera or rofette, in luftre colour, and the border is enriched with a feries of pine cones and fmall knobs or fruit in relief. The defign is completed with painted leaves, hufks, and ftalks arranged obliquely ; the border has a ftring of pearls, or jewels, alternately round and lozenge ftiaped. This piece is very richly luftred, with intenfe golden yellow and pale ruby. Re- verfe, concentric lines of gold luftre. Diam., 1 1 in. No. 123. (MALL DEEP PLATE, with ornaments in relief, richly luftred. Gubbio ware. In centre, a cherub's head, with fix wings. White ground ; border, alter- nately parfley or acanthus leaves, and griffins flanking a vafe. The ornament outlined in blue, and fiilled in with gold luftre and deep ruby. Circa 1520-30. Diam., 7I in. No. 124. [^^'OWL TAZZA PLATE. Gubbio luftred ware, by J3 M. Giorgio. Dated 1520. Diam., 9J; in. In the f^\ centre, within a ihield-ftiaped compartment, is a buft Plate 2. No. 1 24. Majolica. lAiftrcd Ware Plate. Iiy Maeftro Giorgio, of Giibbio. III.— MAJOLICA WARES. ^^ of St. Jerome ; the reft of the furface filled with an exquifite com- pofition of arabefque foliage, formed by the recurved and interlacing tails of two griffins, or fphynxes with women's heads, and two terminal female Amorini. Above the head of St. Jerome are two label fcroUs, on which are refpeftively infcribed "S. Jeronimo" and " 1520." The ground of the centre compartment, on which is delineated the half figure of the faint, is dark blue ; whilft all the reft of the furfece is grounded in gold luftre. The outline and modelling of the tints are executed in blue, flightly toned with pale orange, and touched with white. The hair of the figure is in pale tranfparent orange, and the drapery and other details in full ruby luftre. Reverfe, concentric lines in ruby. This exquifite piece is one of the moft important works of the early and beft period of the mafter. Diam., 9^ in. (See engraving.) No. 125. ^MALL PLATE — Gubbio luftred ware. Circa 15 10. White ground — the defign outlined and fliaded in blue, and filled in with luftre colours. In centre, a band or cartouche^ with the name " Marggarita^'''' furrounded with imbri- cated work. The border decorated with pointed rays and balls, or fruit, in ruby and gold luftres. Reverfe, concentric lines. Diam., 9 in. No. 126. WO-HANDLED VASE. Gubbio luftre ware. Circa 1520-30. This beautiful vafe is of refined and well- Kx^^i^ contrafted form, derived from the antique. It offers a fine example of the force of effeft obtained by the ufe of luftre colours, the furface being almoft entirely covered with thefe pigments. The ground of the piece as ufual, is white ; but little D 34 ' III.— MAJOLICA WARES. or none of it is left vifible. The ornaments are heavily outlined and (haded in vivid dark blue, and are filled in with gold and ruby luftres. The neck is furrounded by a bold palmette pattern, and the fhoulder by a band or moulding of acanthus leaves ; the belly of the vafe being alfo decorated with oblique radiating gadroon ornaments, and the foot with acanthus leaves. This pjpce is either by Maeflro Giorgio or the mafter figning with an " N," and who is fuppofed to have been Giorgio's fucceflbr in the Gubbio "^0/^^^." Entire height, lo in. No. 127. S^JLATE, with wide border and deep funk centre. Early Faenza ware. Circa 1515-20. Attributed to the manufaftory of " Cafa Pirota.'" This exquifite plate is a fpecimen of the beft time and moft refined '■'- technique''^ of the Majolica. It is painted with all the fpirit and delicacy of miflal painting. In the centre are two Amorini^ feated, with a fwan, a drum and a book on the ground near them. The figures are relieved on a ground of pure yellow ; the wide border is grounded in deep blue, the ornaments faved or wiped out in white, and then tinted in proper colours. The centre fubjeft is furrounded by a band or collar linked together by a chain, on which is infcribed the motto, in carefully drawn Roman characters, '"'' Auxilium Meum a Domino.'''' In the border are four large circular medallions grounded white, two of which contain fhields of Arms, one furmounted by a biftiop's mitre, and the others, a device of a double head, with the motto, as before, repeated on a fimilar collar, or linked band. The ground is filled in with cornucopias, cherubs' heads, lions rampant, birds, flying Amorini, feftoons of drapery, ^c. The colours, efpecially the blue and orange, are of the mofl vivid and beautiful tints. Reverfe, richly decorated with an entwined or knot pattern in blue and orange. Diam., 9^ in. (See engraving.) Plate 3. No. 127. Majolica Plate. Early Faenza Ware, circa 1515-10. / IIL— MAJOLICA WARES. S5 No. 128. )LAT TAZZA PLATE, Faenza, or Ca^el Durante. Circa 1520. In the centre is a fmall funk medallion, containing a cameo profile portrait, in grifaille^ on a bright orange ground. Around this is a firing of large pearls The reft of the plate is covered with a pattern of interlacing branches of oak foliage in relief, in yellow, on a dark blue ground — a beautiful variety of a well-known defign. The oak branch was an '■'• imprefa^'' or badge, of the Delia Rovere family, Dukes of Urbino, the great patrons of the Majolica manufa£hire. Diam., 9I in. No. 129. -ATE. Faenza ware. Circa 1520. This fine piece is undoubtedly of the fame fabrique^ and probably painted by the fame hand as No. 127. In tlje centre, within a medallion furrounded by a ftring of pearls, is a fhield of Arms, bearing an '■'■ Agnus Dei,'' ftanding on three monticules, on a field, " or ; " above is a prelate's or Cardinal's hat, and on the fcroU the motto, '■'■Dominus illuminatio mea'' Round this is a band of honeyfuckle ornament in white, and the wide border is grounded in deep blue, with elaborate arabefque ornaments, wiped out and tinted in colours. Thef§ confift of winged and foliated " Mafcheroni,'' dolphins, trophies, foliated fcrolls, '<5fc. The whole painted with great finnnefs and fpirit. Reverie, rich decoration in orange and blue, and the ufual monogram of the ^^ botega,'' a circle interfered by crofs-bars. Diam., io| in. Nos. 130 and 131. AIR OF SMALL DEEP PLATES. Faenza ware. Circa 1515-20. Apparently of the fame ^^fabrique" as Nos. 127 and 129. In the centre of each piece is D 2 36 III.— MAJOLICA WARES. a fliield of arms quartering Medicis, upheld by two Amorini^ relieved on a dark blue ground. This is furrounded by a firing of large pearls picked out in orange, around which, again, is a band or zone of white. The border is painted with arabefques of fimilar defign to thofe of the previous piece, in grifaille, on dark blue ground. Reverfe fimilar to preceding fpecimen, but without monogram. Diam., 9 in. No. 132. ^TMALL TAZZA, OR BOWL PLATE. Faenza ware. Circa 1510-20. In the centre, within a y medallion, is a rofette of oblique radiating gadroons. Surrounded by a feries of light yellow flutings, filled in with palmette or leaf ornaments, and edged round with wide filets of deep blue. Encircling this, again, is a wide zone of rich tranfparent orange, pencilled with a palmette ornament in black. Reverfe, decorated with interlaced knot-work, in blue and orange. The colours of this beautiful piece are extremely brilliant, and the glaze is of the mofl luflrous and perfeft defcription. Diam., 8iin. , No. 133. f(^if/^^l M ALL PLATE, with deep-funk centre. Urbino or ^^^^' Cajiel Durante ware. Circa 1540. Probably from ^^^^. the hotega of Guido Fontana. Subjeft, Eve offering Adam the forbidden fruit. On the reverfe is infcribed, " Adamo et Heva^ Glaze and colours very brilliant. An excellent fpeci- men of this fabrique and period. The figures are unufually well drawn, and carefully painted. Diam. 6| in. III.— MAJOLICA WARES. ^^ No. 134. ^MALL PLATE — companion to the preceding — by the fame hand. Deucalion and Pyrrha, throwing the (tones over their heads. Reverie infcribed, " Deoca- leon e Pirray A bright and perfect little fpecimen. Diam., 6i in. No. 135. PLATE. Urbino or Cq/iel Durante ware. 1530. " Majolica ijioriatu'' The fubjeft, ^^^^ which fills the entire furface of the plate, reprefents Ino and Athamas deftroying their children. This brilliantly painted piece is an early and very fine fpecimen of Francefco Xanto; executed before 1531, in which year he adopted the plan of figning and dating all his works. Above, in front, is fuf- pended a fhield of arms, bearing three crefcents, conjoined on a field azure. Reverfe infcribed, " t)e Ino e Athamate i furiate^ fabular Colours and glaze very brilliant. Diam., 10.^ in. No. 136. \pPFA PUERPERA;' or caudle cup, with flat cover, complete. Urbino ware. Circa 1530. A complete and beautiful fpecimen of an utenfil feldom found perfeft. The flat cover, which is intended to ferve feparately as a falver or plateau, is painted with a bedroom interior subjeft — a lady, near her accouchement^ is attended by the nurfes ; whilll an Aflrologer, holding a celeflial fphere, is confulting the ftars, which are feen through an open arcade. The border is furrounded by a raifed moulding, and a painted wreath of green leaves. The bottom of the cup has a fubje£l: of 38 , III.— MAJOLICA WARES. nurfes clothing the new-born babe. This latter painting is fur- rounded by an elegant border of interlaced work, in white enamel. The centre of the cup is alfo decorated in white, with interlaced fcroll-work, and the foot and lip are furrounded with wreaths of green leaves. Probably the work of Guido Durantino. Height, 4^ in. ; width, yf in. It fliould be obferved, that it was anciently the cuflom, in Italy, to prefent decorative caudle cups, in Majolica ware, to ladies after their accouchement. No. 137. ,UP, OR GOBLET, probably a " Coppa puerperal' without the cover. Deruta ware. Circa 1510-20. Decorated with bold arabefque ornaments. Dolphins, Mafcheroniy palmettes^ ^c.j in dark blue outline, on white ground. Height, si in. ; diam., si in- No. 138. i^:./. IQUARE FLASK, OR JAR. Incifed Majolica ware. ^^ Majolica Sgraffato." Circa 1500. Richly deco- rated with fcroll foliage, animals. Armorial bearings, Esfr., and with fcrolls bearing the motto, " Procul ejie prof am.'''' The locality of manufacture of this charafteriftic variety of pottery is unknown, and the technical procelTes of fabrication are entirely diiferent to thofe of the ordinary Majolica wares. The ground or body of the ware is of red or brown clay ; whilfl flill unfired, a thin coating of white clay is fpread over the furface, and the delign is then fcratched or engraved, with a fteel inftrument, through this fuperficial layer, down to the brown clay beneath. The piece is then fired, and a tranfparent vitreous glaze, which revives or deepens the colour of the clays, is afterwards added. III.— MAJOLICA WARES. 39 and ftifed by pafling the piece a fecond time through the furnace, tranfparent coloured ei^amels being floated into the glaze at this operation. Height, 8 in. ; width, 4 in. No. 139. ARGE CIRCULAR PLATEAU. Deruta ware. Circa 1500-20. Diam., 15^ in. This very original i tlJS^ M piece is decorated with a fubjeft of the Annunciation, within an interior of Italian quattro-cento architefture. This is again enclofed within an archite^onic framework, combined with beautiful fcroU ornament, covering the reft of the furface. The colour fhows a predominance of rich tranfparent orange, relieved by deep blue. The flat furface tints, or grounds, are alternately white, blue, and orange — the white being made to tell with increafed brilliancy by being '•'- pique,'' or diapered with ftars and points in white enamel. Reverie, yellow enamel. No. 140. TARGE PLATEAU. Faenza, or Deruta ware. Circa 1490. Diam., 14I in. In the centre, a bufl portrait of a warrior in armour. Border painted in compartments divided by radiating lines, the compartments filled in with peacocks'-feather pattern, and fcroll foliage, on rich orange ground. Diftinguifhed by extreme depth and brilliancy of the blue and orange pigments. Reverfe, decorated in orange and blue. A rare and remarkable early fpecimen. No. 141. EEP TAZZA, OR BOWL PLATE. Faenza ware. Circa 1500-20. Diam., io| in. In centre, conjoined hands on a deep blue ground, furj-ounded 40 III.— MAJOLICA WARES. "^ by radiating gadroons^ grounded alternately deep blue and rich golden yellow. This is in turn encircled by a band of orange. The border is grounded light blue, and pencilled with a delicate palmette pattern in white, touched with orange and green. Re- verfe decoration in blue and orange, and with a well-known manufafturer's mark, confifling of a barred circle. In depth, intenfity of colour, and perfeftion of glaze, this piece cannot be furpafled. No. 142. ^LATEAU, with raifed medallion centre. Faenza ware Circa 1500-20. The medallion painted with a female profile portrait, and a fcroll, infcribed ^'- Pulifena -/^ this is furrounded by zones of foliated ornament, on a vivid orange ground. The narrow margin of the plate alfo decorated with a fimilar zone. Reverfe covered with decoration in blue and orange, and, in centre, the monogram of the artift — an " M " — ^with a tranfverfe interfering bar, or '•'- parapheT This piece is a beautiful fpecimen of an early mafler, many of whofe works are extant. Diam., \7.\ in. No. 143. Majolica of Savona. Seventeenth Height, 10 in. ; diam. \\ in. Pale bluifh white enamel glaze, rudely painted with flowers, Esfr., in blue. Underneath the foot, a manufacturer's mark, confifling of a fliield of arms painted in blue. The beautiful form of this piece is worthy of the befl epoch of the Majolica, and was evidently originally defigned at an earlier period. The coloured glaze and decoration refemble thofe of the contemporary yiz^r/^'w^ of Nevers. III.— MAJOLICA WARES. 41 No. 144. ;,EEP BOWL-SHAPED PLATE. Gubbio ware, by Maeftro Giorgio. Circa 1520—30. Decoration in relief of oblique gadroons. In the centre, the facred monogram, "LH.S.," alfo in relief, and furrounded with rays, copioufly enriched with gold and ruby luftres. Reverfe, con- centric lines in gold luftre. Unfigned. Purchafed at La Fratta, near Gubbio, in April, 1859. No. 145. ^^^MALL CUP, OR BOWL-SHAPED PLATE. ^^g^i Faenza ware. Circa 1 5 1 o. The centre painted with i^^^i a (landing figure of St. Sebaftian, tied to a tree. Border of exquifite arabefques, on brilUant orange groimd, and with filets or firings of pearls. Exterior, decorated with scale pattern in orange and blue. This beautiful piece is one of the mofl perfeft fpecimens known of the mailer of the fignature "I. P." Purchafed in Florence, April, 1859. No. 146. ^^ARGE CISTERN, with fcroll handles. Diam., 16 ^^^5 ill- '■> height, 9 in. Shape polygonal (of twelve £i £L ^ fides), (landing on a plinth or pedeftal of grotefque maiks in rehef. The margin encircled by a boldly modelled egg- and-tongue moulding. The decoration of this rare and important piece is in blue, and a warm olive grifaille tint. The bottom of the cidern is painted with a fpirited mythological compofition of four figures, within a landfcape apparently after Giulio Romano. The fides, within, are decorated with a beautiful fret or arabefque diaper, in grifaille and white, on blue ground ; and the 42 III.— MAJOLICA WARES. exterior is alfo diapered with blue and white. The entire afpeft of the piece is very original, and unlike any fpecimen hitherto obferved. It is, probably, to be referred to the manufafture of Viterbo. Circa 1540. Purchafed in Florence, 1859. No. 146 (a). -^''IRCULAR PLATEAU, with raifed medallion centre ((land for the ewer). Diam., 16 in. Majolica of Urbino (or Pefaro?). Circa 1540-50. This beau- tiful fpecimen is of the finefl period, and technique of the Majolica manufafture. It is painted " Sopra bianco " — i.e.^ on a ground of white enamel, with zones of fpirited grotefques, in the ftyle of Giovanni da Udine. The umbilicus^ or medallion in the centre, filled in with a compofition of St. John, the Evangelift, writing his gospel, executed in blue canaieu^ and encircled with elegant decorated mouldings. The reverfe is ornamented in the fame way, with grotefques. Purchafed in Florence, 1859. No. 147. ^^^MALL BOWL-SHAPED TWO-HANDLED ^^^ VASE, OR SALT-CELLAR. Majolica of Urbino. r^r^T Circa 1560. Painted with grotefques ('■^ Sopra bianco "). The interior grounded blue. Purchafed in Rome, in May, 1859. No. 148. 5iARGE SQUARE PAINTED PLAQUE,, with W^^^ moulded border. Height, 17I in.; width, 15I in. Vjfi^Q Majolica of uncertain fabrique. Signed on the reverfe i with a " C." or " G.," and date, 1 57 1 . Subjeft, the angel fainting III.— MAJOLICA WARES. 43 the Virgin. In the upper part, the Almighty, in clouds, with the Holy Spirit, as a dove. Vigoroufly painted, in the manner of the Zuccaro family. Purchafed in Florence, 1859. 16^ in. No. 149. 'ARGE BOWL-SHAPED PLATE. Diam., Subjeft, a combat of two knights on horfeback, in full armour, with three Turks, armed with fcymitars and bows and arrows. A remarkable fpecimen of uncertain manu- fe^hire of circa 1500-20. IV. PERSIAN ENAMELLED POTTERY. C^FJIENCE DE PERSEr) HE fpecimens of this beautiful pottery, which^ during the laft few years, have efpecially attrafted the attention of Colleftors, are all apparently found in Italy, mingled with the Majolica wares, and in the various iflands of the Mediterranean, They appear to have been imported into Italy in the fame manner as the Hifpano-Morefco wares ;* and the date of their produftion, from many indica- tions, may be afcribed mainly to the fecond half of the fix- teenth century. This ware is diflinft from the Majolica, and is, in faft, more nearly allied to porcelain. There is great fimila- rity in the defigns, which are of charafteriflic Oriental types, principally floral and geometrical patterns — the Perfian tulip, and a variety of pink or carnation, with long ferrated leaves, being of conftant occurrence. The enamel colours are, generally fpeaking, of mofl brilliant tints, and fome, efpecially, a bright orange red, and a greenifh tranfparent turquoife colour, of great beauty, are peculiar to this ware alone. The glaze is likewife of the mofl lufbrous and beautiful quality. * It has been recently aflerted that Lindus, in the ifland of Rhodes, was the principal centre of manufadture of this pottery. This aiTertion, however, awaits further corroboration. CATALOGUE. IV.— PERSIAN ENAMELLED WARE. No. 150. r^^ARGE JUG, OR EWER, with handle. Ancient ^ Perfian enamelled faience. White ground, painted M with conventionalized rofes or carnations, and Perfian tulips outlined in black and filled in with blue, green, and orange enamels. Height, 1 1 f in. No. 151. ^^^^^ARGE BOWL, of the fame ware; painted, infide S ^^^ ^^d ^ut, in ornamental compartments, alternately ^^ssr4y grounded white and dark blue, and with rofes and tulips, arabefque ornaments, ^r., in turquoife, and two tints of green and dark purple. This is one of the largeft fpecimens of this beautiful ware known to exift. Height 11 in. ; diam. i7i in. V. "PALISSY WARE." HE pottery known as "Palifly Ware," is effentially the product of one individual artift. The life and labours of Bernard PalifTy are well known, and his romantic hiflory has even become a favourite literary theme. He was born about the year 1509, and died a prifoner in the Baftille, in Paris about the year 1589. He was originally brought up as a glafs painter. About 1538, after many wanderings and defultory labours, he fettled in the town of Saintes, and (hortly afterwards, whilfl brooding over vague fchemes of invention, chance threw in his way an enamelled earthenware cup, of fome foreign manufafture, the endeavour to imitate which at once decided his vocation as a ceramic artift. A deeply interefting, and, indeed, dramatic account of his trials and labours henceforth, is given in his own eflay, entitled "The Artift; in Earth." Palifly was poor, and years of unaided experiments brought him to extreme diftrefs. At laft, how- ever, fuccefs followed his unceafmg efforts, and he gradually perfected for himfelf a fpecies of pottery of an entirely novel and original defcription. His wares may be arranged in three general divifions : Firft, his fo-called " ruftic pieces " — the fpecimens decorated with reptiles, ftiells, plants, ^r., in relief; fecondly, v.— PALISSY WARE. 47 thofe with relievi of figure fubjefts ; and, thirdly, pieces decorated with purely ornamental motives. The firft is, in all probability, the primitive variety, and, from its quaintnefs and originality, will always, perhaps, attraft the greateft fliare of attention ; but the conventionally decorated fpecimens are thofe on which his claims as an artift muft mainly reft. The fpecimens of PaliiTy ware now met with, it ftiould be obferved, are not all from the hand of the mafter — inferior reproduftions of his wares having been manufactured long after his death by his defcendants and imitators. Very recently alfo, imitations have been produced in great numbers, both in France and England ; and it is now often not an eafy matter to decide on the genuinenefs of fpecimens purporting to be Palifly wares. CATALOGUE. v.— PALISSY WARE AND GERMAN ENAMELLED STONEWARE. ,; No. 152. JVAL PLATEAU. In the centre is a funk pool, grounded with fplajQied enamels of green, blue, and mulberry brown tints ; from this, a double row of radiating flutes, or fmkings, tend, towards the margin, connefted by bands, or firings, of Guilloche work. The inner range of flutes is grounded white ; the outer, mulberry ; and the Guilloche work, blue. The lip, or margin, of the piece is cut into Van- dykes. A fine and rare fpecimen of the mofl tafleful variety of Palifly's pottery. Length, 18 J in. ; height, 9I in. No. 153. TLINDRICAL C RUCHE, with pewter cover. Ger- man enamelled ftoneware. Circa 1590. This ele- gant piece is of the variety called '^ Franconian" or Nure?nberg, ware. The ground is a light, cool drab grey, and the ornamentation confifls of fquare cartouche compartments, with Amorini, animals, and large mafks, in relief; picked out in red green, white, black, and brown enamel tints and gold. In the cartouche, in front, is a monogram, or houfe-mark, compofed of an " H S," with a crofs, or vertical bar. Height, 7 in. ; diam., Ah in. VI. ENAMELS (ON METAL). ^T"^^^^j\^IJ Y the term Enamel is underftood a vitreous fubftance, capable of being applied, in various ways, to the furfaces of metals, and, when melted by heat, of covering them with a glaffy coating or crufl. There is no effen- tial difference betwixt enamels on metal and the glazes and enamel colours applied to pottery. Enamelling on Pottery or Terra Cotta we know to have been praftifed in remote antiquity, both by the ancient Egyptians, the Affyrians, and the Greeks. It is ftill, however, a difputed point, whether thefe nations were acquainted with the application of fufible enamels to metals. In the cafe of the Greeks, it is probable that they praftifed the art, to a certain extent, in goldfmiths' work; but the procefs does not feem to have had any great vogue ; whilft there is no direft evidence that the Romans were acquainted with the procefs. Neverthelefs, enamelling is believed to have been known, during the period of the Roman domination, to certain barbarous nations, or .tribes, of tranfalpine Gaul (France, the Rhine pro- vinces, and England) ? and probably from the beginning of the third century, when we have the firft authentic notice of its exiftence, it never ceafed to be praftifed in thofe countries ; until E so VI.— ENAMELS. at laft, in the Middle Ages, it attained to its greateft development in France. On the other hand, there is every reafon to believe, that the flender and dubious thread of this art was handed down from the ancient Greeks to the artifts of the Byzantine Empire, and that from thence, always preferving certain evidences of its original parentage, it fpread, in the Middle Ages, into Italy and the Weft. In the Eaft, again (China, India, and, perhaps, Perfia), enamelling, judging from all appearances, is a procefs of very ancient date. The varieties of proceffes in enamelling are very numerous, but may all be brought under three main heads, viz, : — I St. Cloifonne, 2nd. Champleve, 3rd. Painted enamels. The firft of thefe varieties {cloifonnS enamels), fo ftyled from the French word, '•'- cloifon^'' a partition, is charafterifed by a method of executing the forms, or details, of a defign with narrow filets, or bands, of metal, generally gold or filver, which are bent into the required form, and foldered down to a plate of metal, thus projefting from the furface, and forming, as it were, parti- tion walls betwixt the various fpaces of the patterns. Thefe fpaces are then filled in with the enamels — the filets, or cloifons^ ferving to keep each tint diftincH: and feparate — whilft the thin lines of metal formed by the thickness, or edge, of the filet, form the outline of the compofition. Of this variety are the early Greek, and many mediaeval Byzantine, Italian, and Oriental fpecimens. The Champleve enamels are differently executed, although the refult is very fimilar. Inftead of forming the defign by foldering filets of metal on the ground, a thicker plate of metal is taken, and the fpaces, or cavities, required to receive the enamels are hollowed out of the mafs — the filets, or outlines, of the defign VI.— ENAMELS. 51 being left (landing, as in a wood-cut. The ancient " Gallo- Roman," early Limoges enamels, and many Italian, modem, and Chinefe varieties, are of this kind. Finally, the Painted enamels are analogous to paintings on any other material, except that the defigns are executed in vitrifiable colours, on a prepared ground of enamel. In Europe, the latter variety had its origin, probably, not earlier than the fifteenth century. E 2 CATALOGUE. VI.— ENAMELS. No. I 80. gpqUARE PLAQUE. Centre piece of a triptych. Subjeft, The Entombment. Early Limoges enamel. Circa 1500. Enamel ^'■fur paillonj'' heightened with gold. This fplendid plaque is one of the finell fpecimens extant of the earlieft painted Limoges enamels,'*and is probably the work of Nardon Penicaud. The figures have a peculiar individualized charafter — fhort in proportion, and homely in type, but of the utmofl brilliancy in colour, and perfeft execution. Reverfe, dark violet enamel. Height, io| in. ; width, 9I in. No. 181. [RCHED, OR CIRCULAR-TOPPED PLAQUE, in its original gilt bronze frame, enriched with knot ornaments, let into an outer leather frame, damped with fleurs-de-lys, forming a complete '•'• pax^ Enamel on '■'•pail- lonil'' !^eightened with gold. Circa 1 480-1 500. An early fpeci- men of the Limoges painted enamels, executed like the previous piece. The fubjeft — Chrift in the houfe of Simon the Pharifee, the woman anointing his feet with the box of ointment. Entire fize of the pax., 7^ by 6\. VI.— ENAMELS. S3 No. 182. (MALL CIRCULAR-TOPPED PLAQUE. Same period as the preceding piece. Chrifl on the knee of the Virgin, with St. John and Mary Magdalene. School of Nardon Penicaud. Reverfe, tranfparent violet enamel. Height, 3I in. ; width, 3 in. No. 183. X^RCHED, OR CIRCULAR-TOPPED TRIPTTCH. Complete; early Limoges enamel. Circa 1500-20. The centre compartment has the fubjeft of the Nati- vity — the Virgin, kneeling, adores the infant Saviour ; Jofeph, with a lantern, (lands near, whilft fliepherds are feen kneeling, and looking through a doorway. The "i;o/^/," or door on the left, has a prophet, or one of the magi, kneeling, and two figures behind him, with a fantaftic background of archite£hire — the Virgin and Child appearing above in the iky. The other volet has two richly-dreffed female figures in an attitude of adoration — probably fybils foretelling the birth of Chrifl. The plaques are mounted in the original painted wood frame. Height of centre plaque^ 9I in. ; width, 7 in. Entire width of triptych^ opened, including frame, 20 in. This fpecimen, important from its fize and genuine flate, is of the period of the early Penicauds, but coarfer in execution than the known productions of the older members of that fmiily. No. 184. ^^^MLAQUE, reprefenting an angel Handing on clouds. ^ J=^^ The figure, painted in grifaille, is on a deep crimfon Ka«^Sc brown or black enamel ground ; the clouds are wafhed with tranfparent enamel purple ; the flefh flightly tinted in colour, 54 VI.^ENAMELS. the hair light brown, and the wings pink, purple, green, warm light brown, and blue. The hem of the drapery is flightly touched with gold. The defign of this figure is effentially Italian, and has fomething of the fculpturefque character of the mafters anterior to RafFaelle. Height, 9^ in; width, 7 in. Reverfe, reddifti brown tranfparent enamel. Limoges enamel. Circa 1530-40. ^ No. 185. 'i^'^^^,LAQUE^ ^'■enfuite'' with the preceding. An angel ^ ^Tr^ feated on clouds, with back turned towards the |K»*^^!-. fpeftator, and pointing upward with one hand. Black, or purple-brown ground. The drapery wafhed with a light, tranfparent, warm, hair-brown tint ; the wings coloured pink, purple, and blue. This piece, like the preceding one, is clearly of Italian defign. ^jf?* No. 186. \LAQUE, by the fame hand as the preceding ; tinted in the fame manner. Subjeft, St. Chriftopher carrying the infant Saviour over the ftream. Infcribed, " S. Chrijlofler In every refpeft fimilar in ftyle and technique to the preceding piece. Height, 9 in. ; width, 7 in. It is probable that thefe three pieces are early works of P. Courtois. They are un- figned, but have many points of refemblance to the known works of that mailer. The colouring, efpecially in the predominance of cold violet purple tints, is identical. They were mofl likely painted before 1550. tio ^iiibiiidi L No. 187. ^^JQUARE PLAQUE. Sinon captured, and brought K }sSm^!>{ \^^q Troy. Figures in grifaille. Landfcape tinted with cold green ; the iky, blue. Very delicately VI.— EMAMELS. 55 painted, and, from the manner of execution, and peculiar fombre grey tint, moft likely of the early time of P. Courtois. Reverie, colourlefs enamel. 6 in. fquare. Circa 1550. No. 188. 'f^^^LJQUE. Defcent from the Crofs, in '^ grifaille^'' ^^^-^^^ {lightly tinted and heightened with gold. By Pierre mm cc ^^f^-^jl Courtois. Circa 1550-60. This beautiful plaque may be taken as a perteft fpecimen ot the mafler. The fome- what cold, yet harmonious and tranfparent colour, gives an air of folemnity, quite in harmony with the fubjeft. The compofition difplays an acquaintance with the great Italian fcholars of M. Angelo, fomewhat influenced, in addition, by the fchool of Fon- tainebleau, and may pofTibly be original. This piece is of very finiihed execution. The frame, in ebony, is of the feventeenth century. Height, 6 in. ; width, 4} in. No. 189. jARGE OVAL DISH, OR PLATEAU. Grifaille enamel, flightly tinted with colour, and enriched with elaborate arabefque gilding. By Pierre Courtois. The fubjeft, which fills the entire centre of the difli, reprefents Noah and his family, and the animals, iffuing from the Ark, copied from a print by "Marc Antonio," after Raifaelle. This is furrounded by a double border of arabefque ornament. On the reverie of the piece, is painted a cartouche of maflive flrap-work, with bold maiks, Is'c. In the centre, Noah facrificing. The piece is figned, " P. Curteys," and has, in addition, the mono- gram of Marc Antonio. On the front of the piece is alfo painted a fhield of arms, within a circular wreath. Length, 19 in, ; width, 14 in. 56 VI.— ENAMELS. No. 190. 'BLONG PLAQUE. The Trojans dragging the horfe into the city. Grifaille. The flefti flightly tinted. A compolition of much energy, highly finiflied. Probably by P. Courtois. Circa 1550-60. Length, 7J in. ; width, 4J in. This plaque probably formed part of a coffret. No. 191. f BLONG PLAQUE. Grifaille, touched with gold. The flefh flightly tinted. Phaston, driving the car of Phoebus. Length, 6 in. ; width, 3I in. Plaque from a coffret. iirr<%-.» No. 192. ^LAQUE, apparently of fimilar deftination. Phseton thrown out of his car. Not figned, but mofl likely by P. Remond. Plaque from a coffret. Reverfe, reddifli brown tranfparent enamel. No. 93' LATE, in grifaille. Subjeft, The Temptation : Adam i>(^i? g^^'^S -^^^ ^^ forbidden fruit. Underneath is written, " Genefe iii." Beautiful border of cartouche fcrolls and maiks. On the reverfe, is a medallion, in which is in-, fcribed, P. Corteys, furrounded by maflive cartouche work, pen- dant wreaths, lions' heads, and fatyrs' maiks in colours. Rich border of arabefques, in gold. Black, or purple brown ground. A fuperb and mofl brilliant plate, from the Bemal Colleftion. Diam., 8^ in. Circa 1550-60. VI.— KNAMELS. 57 No. 194. r5;MALLER PLATE. The ornamentation of fimilar pattern to the preceding. In centre, a fubjeft of a lover and his miftrefs. By P. Courteys. Reverfe, cartouche ornaments and maiks. Margin of rich arabefque gild- ing. Diam., y\ in. Nos. 195 to 200 inclufive. ^^^ERIES OF SIX SMALL PLATES. Grifaille. The flefti tinted. The work of P. Courteys. Sub- Ajfes^ii jeft, allegorical reprefentations of the months (April to September), copied trom engravings by Etienne de I'Aulne, interfperfed with beautiful arabefque gold pencilled ornaments, animals, birds, Isfc. The reverfes decorated with interlaced flrap- work, alternating with arabefques, animals, fmall cameos, Eff^., in gold. Each piece has the initials, "P. C," in gold, on the reverfe. A mofl beautiful and perfe£l feries. No. 201. OZENGE-SHAPED PLAQUE. An ideal female head in colours. Infcribed, " Helena ^ Length, 7^ in. ; width, 6J in. An early work of Leonard Limolin, intended as an infertion into fome article of furniture. No. 202. IMILAR PLAQUE. Head. Infcribed, ''Pantajiler Same fize. By Leonard Limofm. No. 203. QUARE PLAQUE. Three-quarter figure of a richly S^iii dreffed female, within a circular wreath. Enamel, in 58 VI.— ENAMELS. tranfparent colours, richly gilded. On a riband fcroll is infcribed, '■'■ Sybila Cumana.'''' By Leonard Limofin. Circa 1540. No. 204. flMILAR PLAQUE. Infcribed, '' Sybile Europay No. 205. (IMILAR PLAQUE. Infcribed, ''Sybila richea:' Thefe plaques are fome of the moft charming fpecimens of the early time of Leonard Limofm. They are mofl brilliant and harmonious in colour, and, although mannered in drawing, are full of graceful elegance of flyle. No. 206. 'e^^^LAQUE. The ftem of Jeje. The Patriarchs are re- ^ J>pjy prefented each with a fceptre in his hand, and a fcroll V^^&jI infcribed with his name. In the upper part of the plaque., the tree terminates in a lily, on which, within an oval nimbus, furrounded by a wreath, (lands the Virgin, with the Child in her arms. Enamel, in colours, richly gilt. In the light, clean, brilliant ftyle of colour of Leonard Limofm (by whom it was, doubtlefs, painted). Height, 9^ in. ; width, 7 in. No. 207. ^.LAQUE. Same feries. The death of the Virgin. Circa 1550? Same fize. In the upper part of the compofition is the Virgin kneeling, and being crowned by God the Father, and the Saviour, the Holy Ghoft, as a dove, defcending. Alfo by Leonard Limofm. VI.— ENAMELS. 59 No. 207 (a). u'.. ii..... .„ij ^.;.>_ LAQUE. Same feries. The Annunciation. In the upper part, the Almighty defcending, furrounded by cherubim. Signed with the initials of Leonard. Height, 9^ in. ; width, 7 in. No. 207 (b). ^9^^^ LAQUE. Same feries. The Virgin feated at the gj V>^ ^^^^ ^^ ^^^ Crofs, with the dead Chrift on her l*2ir-'^5>^ knees, accompanied by St. John and Mary Magdalene. Six fwords are pointed to the Virgin's bofom, and above, on a label fcroU, is infcribed, " Tua ipjius anima pertranfihit gladiusT Height, 9 J. ; width, 7 in. No. 208. |VAL PLAQUE. Nude figure of Diana, with a bow and arrow. She is reprefented as drawing an arrow from a quiver over her flioulder. A ftag (lands by her fide ; in the background, a forefl, with a ftag hunt. Under- neath is infcribed, " Silvarum Ciutrix Cajiijfima ; " and, in an oval cartouche beneath, " Virgo Diana eji." On a fquare ftone in the foreground, the monogram L. L. (Leonard Limofm), and date, 1573, in bold characters. The figure, which is of great elegance, and powerfully drawn, is evidently from a defign by one of the Italian artifts of the Fontainebleau fchool. 1 1 in. by8 in. No. 209. '^f^r^^ LAQUE, with the comers cut off. Tranflucent enamel, Sipvn^ in colours, on ^^paillon^' richly heightened with gold. ti!^^ In a corner is the fignature, J. L. (Jean Limofm). 6o VI.— ENAMELS. Circa 1570-80. A charafteriflic piece of this rare mafter. Sub- jeft, the Laft Supper. Height, 10 J in. ; width, 7I in. No. 210. ^^fi^'iAZZA, on low ftem. By Jean Courtois. Circa ^^ ^ 1570-80. In the interior of the bowl is painted tS^^. the fubjeft of the Ifraelites crofling the Red Sea. Grifaille, flightly heightened with gold, the flefli tinted. The exterior of the piece is decorated with fine cartouche flrap- work, terminal figures, mafks, ^^., and rich arabefque gilding. The foot painted with arabefques, chi?nera^ l^fc. The initials, I. C, are painted on the exterior. A highly finiftied and mag- nificent piece. Diam., 10 in. ; height, 4 J in. Purchafed from the Bemal Colleftion. ^1 ' No. 211. t^EDESTAL SALT-CELLAR, on balufter-ihaped ftem. w^ The flelh of the figures tinted. Enamel, by Jean i^i^ Courtois (figned "LC"). Circa 1570. The bowl is painted with a profile head, and the exterior with grotefque tritons, Amorini^ ^c. The centre knob, or bofs, is decorated with terminal figures and feftoons of fruit, and the foot is care- fully painted with Amorini^ baiting a bear, and with a (hield of arms. (From Mr. Utterfon's Colleftion.) Height, 5! in. No. 212. iIRCULAR PEDESTAL SALT-CELLAR. Enamel in colours, on "/»^/7/o«," by Jean Courtois. In the bowl is a fmall clafilcal profile head. The exterior is decorated with Amorini and grotefques ; the foot painted with a frieze of nymphs and fatyrs, equeftrian figures, ^<:., with land- VI.— ENAMELS. 6i fcape background. Height, 4^ in. Underneath the foot, the initials, " I. C." No. 2 13. IQUARE PLAQUE. Subjeft from the " iEneid." Enamel in tranflucid colours, richly heightened with gold. The compofition, although in the flyle of the French illuminators of circa 1500-20, is, nevertheless, appa- rently the work of Pierre Remond, and is probably not earlier in date than about 1540. The feries of which this plaque formed a part, feems to have been often repeated. In the South Ken- fmgton Mufeum, the Britifh Mufeum, and the Colleftion of H. Magniac, Efq., are various fpecimens belonging to this fet. Height, 9 in. ; width, 7I in. No. 214. ^AZZA, on low ftem. By Pierre Remond. Gri/aille, the flefli tinted ; the bowl painted with the Adoration of the Shepherds. A fine compofition, of the fchool of Fontainebleau, with a margin of gilded arabefques. Reverie, cartouche fcrolls, a wide wreath of fruit and mafics, and gilded arabefque ornaments. The reverfe of this piece is fmgularly fine. The foot is painted with pendent garlands of fruit, cherubs' heads, and with two oval cartouches^ in one of which are the initials, "P. R.," and, in the other, the date, " 1573-" In the bowl, the initials, "P. R.," are repeated. Diam., 10 J in.; height, 4 in. No. 215. AZZA, on tall flem. By Pierre Remond. Enamel in grifaille ; the flelh tinted. The bowl is painted with Abraham oflfering up Ifaac. The reverfe decorated 62 VI.— ENAMELS. with ftrap-work ornaments, cherubs' heads, rich gilding, and border of egg-and-tongue moulding. The knob in the ftem painted with cameo medallions. On the ftem is a fubjeft of (hepherds with their flocks. Diam., 7 in.; height, 5^ in. On the foot is alfo painted a {hield of arms, with blazon, in proper colours. Circa 1560-70. This, and the preceding fpecimen, are of the higheft beauty and perfeftion of finifti, of the grifaille enamels of Limoges. No. 216. J^j"?^^ LATE, in s:ri faille ; the flefti tinted. The centre ^ Y^^ painted with nymphs bathing within a bath-room ; ^^S-^l probably a fubjeft from the hiftory of Pfyche. At the bottom, the fubjeft is numbered, " VIL ; " border of fcroll arabefque, with jimorini, comucopise, ^c. Reverfe, cartouche fcrolls, cherubs' heads, arabefque gilding, and border of fcroll- work. By Pierre Remond. Initialed in front, " P. R." Diam., 9 J in. No. 217. LATE, " en fuite^'' with the preceding. Venus in the fea, furrounded by nymphs, tritons, l^c. Infcribed, " Venus — XVL" Same reverfe as preceding. No. 218. SQUARE PLAQUE. Enamel, in brilliant colours, on paillon. Chrift's Agony in the Garden. Richly heightened with gold. In the foreground, the in- fcription, ^^Vigilate et or ate ^' and the initial "S" three times repeated. A magnificent fpecimen, of powerful and brilliant colour. Painted by a female artift, Sufanne de Court. Circa 1570. 9i in. by 71 in. VI.— ENAMELS. 6^ No. 219. gACK OF AN OVAL MIRROR. Enamel on ''pail- M /., " Remember ") — the margin of the ftone bevelled and furrounded with a raifed filet. This gem, though of flight execution, is touched with great fpirit, and the manner in which the peculiarities of the ftone are made account of is very intereft- ing. It will be remarked, on looking at the gem by tranfmitted light, that the natural marks in the upper layer of the ftone reprefent the panther's fpots. The Ancients were extremely ingenious in thus appropriately adapting their materials to the required fubjeft : ft ones of fymbolical or fuggeftive colours being conftantly adopted for certain reprefentations. i3/i6ths bly I o/i 6ths. 78 VII.— ANTIQUE AND OTHER No. 258. ^J^^J*AMEO of long, oval ihape, in pale fardonyx of two ^r^^^ layers. A Greek infcription, encircled by a raifed filet. fj^^a Margin of the (lone bevelled — NIKHSa "Nikefos MENESTPATOT Son of Meneflratos nEPFAMENH the Pergamenian " — moil likely the name of the original poffefTor of the ring. It is not improbable that thefe infcribed camei were fet in funeral rings and burned with the poflelTor, thus ferving as a permanent record of the defunft alhes. i in. by 9/i6ths. No. 259. AMEO. Onyx of two layers. Greek infcription within I a raifed filet. Margin of the (lone bevelled — ETTT inANI No. 260. r^p|NTAGLIO of long oval fhape, in dark brown ftriped ^^ %i^ fard. A draped nymph or Greek lady in a walking jf^ fard. A draped nymph or Greek lady in a walking 'S^J^^ attitude. The figure, feen in front, is as it were, in the aft of walking out of the field of the ftone. This fine intaglio is of the higheft period of Greek art. Although of expeditious workmanfliip, the figure is characterized by a grandeur of defign refembling in every refpeft the works of the era of Phidias. i4/i6ths by 6/i6ths. ENGRAVED GEMS. 79 No. 261. (^^SfpfyNTAGLIO in golden brown fard. Achilles, wounded ^ ^ in the heel by the arrow of Paris, is crouching down and endeavouring to withdraw the miflile. On his left "^rm he bears a circular {hield, the umbo of which is formed by a Gorgon's head. This gem, executed in the period of pure Greek art, is an excellent fpecimen of a defign very often reprefented on engraved ftones. The figure is fkilftilly compofed, and engraved with great maflery in a large and facile ftyle. ii/i6ths by 8/i6ths. No. 262. y'^I^^NTAGLIO in Oriental onyx of three layers. Hercules ^ri J^ fliooting the Stymphalian birds. The engraving, of 'it3^^ - minute but grand charafter, occupies only a fmall part of the centre of the ftone, which is of exquifite beauty. The upper layer, in which the engraving is executed, is of fine tranf- parent hair brown. This is furrounded by a zone of bluifti white of perfect regularity, and the under layer or ground is of beau- tiful deep brown tint. Fine Greek work, i i/i 6ths by 9/1 6ths. No. 263. jNTAGLIO on golden fard. The Greeks defcending fi-om the Trojan horfe. Early Greek work. The horfe is reprefented within the walls of Troy, on which, or above, are feen temples, towers, ^r. The Greeks are emerging from a fquare door in the horfe's fide, and defcending by means of a ladder. One of their number is opening the gate of the city, whilft a figure on the fummit of a tower of the wall, probably Caflfandra, appears in the aft of giving the alarm. The horfe is drawn and executed with great 8ci VII.— ANTIQUE AND OTHER delicacy, in cln extremely low ftyle of incavo, peculiar to many early Greek gems, and is of archaic defign. A fragmented gem of very fimilar defign is figured in Winckelmann's " Monu- menti inediti" pi. 140. No. 264. 5NTAGLIO in Syrian garnet. Gorgon mafk, or head of Medufa. The (lone cut " en cabochon." The malk three-quarter face — deeply cut ; the back of the ftone hollowed out to admit of the engraving being well feen by tranfmitted light. Although executed with the utmoft expe- dition as an objeft of commerce, this fmall intaglio is as grand in charafter as would -have been a coloiTal buft. The art difplayed in this work of trivial perfonal decoration is in faft the fame in quality as that of the great fculptures of Phidias and Praxiteles. 9/i6ths by 7/i6ths. No. 265. J^^^NTAGLIO, " en cabochon.'' Carbuncle or Syrian garnet. Eros or Cupid. Winged profile buft. Greek ^* work. This gem, of fine character and good workman- fhip, is of well-known type. Cupid is here reprefented as a youth of thirteen or fourteen years old. The frequent occurrence of fine gems on Syrian garnet or carbuncle evidently denotes that this ftone had a higher value in antiquity than it now poflTefles. The ancient garnets are moftly very inferior ftones, clouded and full of flaws — whilft at the fame time they are nearly always hollowed out at the back to allow of the engraving being well feen by tranfmitted light. The carbuncles now ufed in modern jewellery are generally much freer from thefe defers, and are doubtlefs obtained from a different locality. It is worthy of note that the ancient garnets are almoft invariably cut " en cabocbon^'' ENGRAVED GEMS. 8i which of late years alfo has been the exclufive mode of difplaying this beautiful ftone. i i/i 6ths by i i/i 6ths. No. 266. NTAGLIO on amethyft. Full-faced Silenus maflc. Greek or Greco-Roman work. A beautiful gem. 8/i6ths by 7/i6ths. No. 267. ^[^^^' AMEO — onyx of two layers. Ideal head : Achilles or ^y^A" ^^^^^^^^- Th's fmall work is probably of the Ptole- r%^?*sS[ maic period. The head is executed with a degree of delicacy unufual in a material of fo little value — the ftone in this inftance being a very ordinary one. 9/i6ths by 8/i6ths. No. 268. AMEO — Oriental onyx of two layers. Two mafks refpe6lively of Bacchus and Silenus crowned with vine leaves, placed fide by fide in the long oval field of the gem. Executed in low relief. Greco-Roman work, i in. by 9/i6ths. No. 269. |AMEO — pale fard. A ram's head executed in high relief. The head, which occupies nearly the entire field of the ftone, is of unufual dimenfions, and indeed in this refpeft quite enters the domain of fculpture. It affords a ftriking example of the great talent of the ancient artifts in their reprefentation of animals, i i/i 6th by | in. No. 270. ^AMEO — Oriental onyx of two layers. A feated faun careffing a goat — iurrounded by a raifed filet. This beau- si VII.— ANTIQUE AND OTHER tiful gem recalls many compofitions painted on the walls of Pompeii : it is probably of fimilar Greco-Roman origin. No. 2 71. .jjJKm aufT<)! ' ' flHiTiK no OIJUA'? JNTAGLIO, "^« cabochony Dark golden fard. A nude female figure, feen in front, holding in one hand a bird with a worm or ferpent in its beak. This gem, though of fmall dimenfions, is executed with wonderful delicacy and finifli, in a low flat ftyle peculiar to antique glyptic art, .and of moft difficult execution. The engraving is highly polijfhed, and all the details, notably the extremities are touched with a truth and firmnefs, which feem little lefs than miraculous, when the extreme minutenefs of thefe details is taken into account. It is probable that this exquifite figure reprefents fome famous antique flatue. It is undoubtedly the work of a Greek artifl, probably of the Auguftan period. The figure is Venus and the bird, mod likely a fparrow — ^her well-known emblem. Mfdl^) -ry^ ^ No. 272. NTAGLIO. Oriental onyx of three layers — " en cabochony A minute male figure, with a voluminous mantle, carries a vafe or amphora in his arms. A well- jfinifli^d work. Greco-Roman period. 9/i6ths by 7/'i6ths. Lj'jbni hnr; in\U' -.rhr.i - ' ;^q^ ^73. AMEO — onyx of three layers. Head or tKe young Hercules clad in the lion's fkin. Of coarfe yet very efieftive work. The ground layer of the ftone is of flate grey of great thicknefs, and left rough at the back : the head of brilliant opaque white cacholong, which afiliimes a vivid orange red in the lion's fkin. The profile of the head is deeply <-i> , ENGRAVED GEMS. 83 under cut ; fo as to detach itfelf in the moft ftriking and efFeftive manner from the ground by cafting a deep fhadow. Everything denotes that this cameo was intended as an infertion into fome objeft of utility, and was not intended as a perfonal ornament. i\ in. by i4/i6ths. No. 274. I NTAGLIO in light fard. Three female portrait heads. This fmgular gem is executed on a flat ftone of irregular fliape, apparently left as it was fawn from the pebble. The heads are arranged without any regard to fymmetry — one, of larger proportions than the other two, has a wreath of corn round the head and a pendant veil, and fomewhat refembles the buft of Li via in the charafter of Ceres. The two other heads, apparently of girls, are regardent and placed at right angles to the previous one. This fmgular arrangement and the irregularity of the (lone, give the gem the appearance of a trial or work executed for praftice. From the irregularity of the flone and its fize, it can never have been fet. The ftyle of the work is rude yet charafterftically antique (Roman work.) i in. by | in. .,i,r..|,,.. „_• No. 275.. ^ ^ NTAGLIO in red fard. The god Pan holding an ear of com in his hand. Roman work, i i/i 6ths by 8/1 6ths. No. 276. i NTAGLIO in aqua marina. A female figure in a walking attitude, clad in a mantle and carrying in her arms a fmall animal. An exquifite work of the Au- guftan period. The ftone, which is a moft beautiful one, is of unufual ftiape, oblong with the corners rounded, and is facet cut o 2 84 VII.— ANTIQLTE AND OTHER ' round the margin. The figure probably reprefents Diana returning from the chafe — the lithe and llender proportions of the goddefs of the chafe being clearly recognifable, although the entire defign is of very unufual type. | in. by | in. No. 277. NTAGLIO on nicolo. Venus drinking from a patera — near her, on the ground, is a vafe with a palm branch. Roman work. 7/i6ths by 6/i6ths. No* 278. (NTAGLIO in aqua marina. Head of Auguftus ? wearing a crown of rays — of fine work. The maffive gold enamelled fetting is a beautiful fpecimen of Italian cinque-cento defign. The gem is probably of Afiatic-Greek origin, the crown of rays generally appearing on the Greek colonial coins of this emperor, i i/i 6ths by 9/1 6ths. No. 279. f NTAGLIO on red porphyry. A female imperial por- S trait head wearing a veil or tiara — probably Livia. Roman work. This gem offers a rare inftance of the employ- ment of porphyry in the glyptic art. i i/i 6ths by 9/1 6ths. No. 280. ^MALL CAMEO. Oriental onyx of three layers. A Capricorn of minute dimenfions furrounded by a raifed filet — the margin of the ftone widely bevelled. The Capricorn was adopted by Auguftus as his device or emblem, and was thereupon univerfally afFefted by his numerous adherents. ENGRAVED GEMS. 85 This gem is in all probability one of thefe ancient badges of partizanihip. 8/i6ths by 7/i6ths. No. 281. NTAGLIO, on Oriental onyx of three layers. A comic aftor in a walking attitude, wearing a mafk and holding a pedum or ftaif in one hand. Roman work. | in. by i o/i 6ths. No. 282. ^M INUTE INTAGLIO in red fard. A panther holding a &^l thyrfus. Roman work, executed with great dexterity. This fubjeft is a well-known dionyfiac fymbol or emblem of Bacchus. 4/i6ths by 3/i6ths. ^/ iiLi: No. 283. NTAGLIO — pale fard, with a white band or ftripe acrofs the field. Conjoined portrait bufts of an emperor and emprefs, probably Claudius and Agrippina. Roman work. I in. by i i/i 6ths, No. 284. NTAGLIO on deep golden fard. An imperial, laureated bufl: — apparently Claudius. Roman work. No. 285. ^ "'^^^^^^^ NTAGLIO on fapphire. Imperial buft portrait — Hadrian. The margin of the ftone and the reverie elaborately facet cut. It is worthy of notice that facet cutting, which is of rare occurrence in antique gems, is generally confined to the aqu.^i marina and the fapphire. In this example. 86 VIL— ANTIQUE AND OTHER contrary to the general cuftom, the engraving is very imperfectly poliftied. This is owing to the extreme hardnefs of the ftone. The head, which is well iiniflied and mallerly in flyle, mufl have neceflitated great labour, and it is rare to find engravings on fap- phire carried to this degree of finifli. | in. by 6/i 6ths. No. 286. mrfh^ NTAGLIO on aqua marina. Imperial bufl portrait — Domitian ? Spirited and beautiful Roman work. The gold fetting, enriched with black enamel, is an exquifite fpecimen of Italian cinque-cento art._ 7/1 6ths by 6/1 6ths. No. 287. ^^ NTAGLIO on red fard, or cornelian. A portrait head, refembling the buft: of Cicero, Roman work of good flyle and period. 1 in, by 6/i6ths, " ' No. 288. ^K NTAGLIO, on Syrian garnet. Roman portrait head, 1^1^ This piece has confiderable refemblance to the preceding, and is probably an idealized portrait of Cicero, 9/i6ths by 7/1 6th iS. fo-^ tp' No. 289. ' NTAGLIO in aqua ?narina. Buft of Harpocrates. Roman work, i o/i 6ths by 8/1 6ths. No. 290. NTAGLIO, on cornelian. Head of Socrates, Roman work, 9/i6ths by 8/i6ths, ENGRAVED GEMS/x~-.lJV ' 87 li.T'^vo; No. 291. >/f-rrA >fmf[ pNTAGLIO on nicolo. A grotefque compofition of a human maik, a ram's head, a vulture or eagle, and an eagle devouring a ferpent. Compofitions of this nature, judging from the number and variety which have come down to us, mufl have been very popular with the Ancients. They are nearly always of the Roman period, and Ihould probably be regarded as enigmas or charades expreffing certain qualities pof- feifed or affefted by the oVner of the gem. They are varioufly termed in conventional nomenclature " chimera^'' ^'■grylli,'' or '•'■ capricciy .fj d Wo. 2Q2. ''ci' '>' »iHui,»y K» viuj,ti(jK| NTAGLIO on red fard. Two Amorini in a boat, one rowing, the other filhing with a rod and line. A filh is fufpended at the prow of the boat. Early ? Roman ? work. 8/i6ths by 7/i6ths. No. 293. m :hm> "i [NTAGLIO in bloodflone. A dolphin or other marine animal. This gem is in its original antique bronze fetting. It is probably an early Chriftian reprefenta- tion ; the ftyle of the intaglio agreeing exactly with works of that period. The fifli, the dolphin in particular, was a well-known device of the early Chriflians, and is frequently found on en- graved ftones. I o/i 6ths by 8/1 6ths. No. 294. CTAGGNAL INTAGLIO on brown fard. Late Roman work. A chimera with a lion's head furrounded with rays. The lower part terminating in a ferpent pr 88 VII.— ANTiqUE AND OTHER the body of a reptile furrounded with zodaical and other myflical figns. Above the head of the chimera are feveral obfcure Greek letters. This gem is the work of the Gnoftics, a feft of heretics, who leceded from the early Chriflian church. Gems of this defcription were ufed as talifmans. i3/i6ths by 7/i6ths. No. 295. JNTAGLIO on lapis-lazuli^ in its original antique gold ring fetting. A Triton — the lower extremities formed by two fifties' tails ; holding in one hand a trident — in the other a peacock. Above his head is the fun or a ftar; beneath him, a crefcent or half moon. Like the preceding gem, probably of Gnoftic origin. 8/1 6ths by 6/1 6ths. No. 296. JAMEO, in Oriental onyx of three layers. A veftal or mourner, clad in a dark mantle, is feated before a flaming tripod, and with one hand offers a libation with a patera and in the other holds a wreath. Near the tripod is a cippus with an urn. This moft beautiful cameo is figned, in minute Greek charafters, PErA. The work, though conceived and executed entirely in the ftyle of the antique, is in all pro- bability the work of fome talented Italian artift of the lalt century. I i in. by I in. No. 297. AMEO in jafp — onyx of two layers. Dancing faun with a lion's iTcin and thyrfus. A fpirited work in the ftyle of the antique, probably of the laft century. \\ in. by fin. ENGRAVED GEMS. 89 No. 298. NTAGLIO on cornelian. An athlete anointing himfelf. Signed, AIOII 111102. A moft beautiful lafl-century Italian engraving in the ftyle of the antique. i5/i6ths by ii/i6ths. No. 299. C^jg^NTAGLIO in cornelian. Chiron and Achilles. Signed, r^^^ ^/^ rPT^aXOS EnoIEl — i.e., '^ The work of Tryphon." An Italian work of the beginning of the prefent century, in imitation of the antique. From the Poniatowfki CoUeftion. i^in. by |. No. NTAGLIO on cornelian. The Virgin and Child. In 300. The Virgin and Child. 6ecv. j^ fcribed with monograms in Greek, fignifying Marep .^^&L '' Mother of God," and with the word XAIPE, or " Hail ! " Byzantine or medieval Greek work of uncertain date. i2/i6ths by io/i6ths. No. 301. cTSH^ffiNTAGLIO on Oriental onyx of three layers. In the ^-^i ^^ centre of the ftone is a fiill-feced buft portrait of the youthful Auguftus ; on the left, Julius Csefar with the lituus or augur's rod ; and on the right, Marcus Agrippa with a vafe. Thefe are furrounded by a beautiful wide border of oak leaves and acorns, in which over the head of Auguftus is his fymbol the Capricorn, a globe, and horn of plenty. This rare and moft important gem is of fine work, and executed in a moft exquifite and precious onyx, the beautifully contrafting colours of 90 VII.— ANTIQUE AND OTHER / which greatly add to the value and intereft of the work. This gem was evidently cut immediately after Auguftus' attainment of power, i^ in. by i3/i6ths. {See engraving.) No. 302. ; ". rwglg^ NTAGLIO on red fard. Othryades, who has funk ^^ ^M '^V^^ ^^ ground, writing the news of viftory on his iS^^SS fhield with his own blood. Greek or early Roman work. This extraordinary compofition, offering almoft every technical difficulty of which the glyptic art is capable, was fre- quently repeated by the Ancients. The extreme depth of fome parts of the engraving is efpecially remarkable, i i/i 6ths by 7/i6ths! No. 303. jj^l^f^^i NTAGLIO on red fard. An aged faun is examining %k the wounded foot of a younger one. In the centre of the compofition is a column fupporting a vafe, and on either fide are two vines, the branches of which encircle the field of the gem. The expreffion of the heads of the two figures is very admirable — the pain of the younger one, and the ferio-comic expreffion of the elder being mofl truthfully rendered. Roman work. i2/i6ths by 9/i6ths. (See engraving.) No. 304. NTAGLIO on flriped brown fard. A galloping centaur with a bow and arrow. The fign Sagittarius. Early Roman work. 8/i6ths by 6/i6ths. bar. ENGRAVED GEMS. 91 No. 305. iMALL INTAGLIO on red fard. A fcorpion, two fifties, M and two crabs — the figns, Scorpio, Cancer, and Pifces. Roman work of finiflied execution. y/i6ths by 6/i6ths. No. 306. H^ NTAGLIO on red onyx of three layers, " en cabocbon.'' 1^1^ Cybele in her car drawn by two elephants. Roman work. io/i6ths by 9/i6ths. is^^l .^y No. 307. NTAGLIO on jacynth. Conjoined bufts of a bearded philofopher and a bacchante. Highly-finiflied Roman work. io/i6ths by 9/i6ths. No. 308. NTAGLIO on red fard. Head of Vefpafian. On one lide is an ear of com, and underneath, the name " Vefp." Contemporaneous Roman work, i i/i6ths by 9/i6ths. No. 309. ^ MALL CAMEO in fardonyx of three layers. Winged ^ bufl of Cupid or Eros. Greek work. The expreflion of the head in this charming little gem is exquifitely true. io/i6ths by 6/i6ths. No. 310. ^AMEO AND INTAGLIO CONJOINED— mottled S^ ^'ght red fard. This fmgular gem is probably a buckle h^ or fibula complete in itfelf. The intaglio part confift^ 92 VIL— ANTIQIJE AND OTHER of a large oval ftone (lightly convex on the furface, engraved with a tree, from the branches of which two mafks are fufpended ; leaning againfl; the trunk of the tree is a pedum. At the back is attached a large tragic mafk in fall relief wrought in the mafs of the ftone and forming as it were a handle, which would enable the gem to be conveniently ufed as a feal. The maik is hollowed out, and the eyes and mouth are pierced. It is not unlikely that the large aperture of the fhell-fhaped mouth of the mafk was perforated in order to allow of a firing paffing through, by which the wearer's mantle may have been faflened. The lower part of the field of the intaglio part is wanting. Roman work. Height of the gem when complete, 1 1 in. ; width, 1 4/1 6ths ; depth, from back to front, J in. t -'■■'A :'T No. 311. ^BLONG UPRIGHT PLAQUE in rock cryflal— en- graved in intaglio. The work of Valerio Vicentino. The fubje£l of this engraving is uncertain. A draped and bearded figure probably a prieft or augur, is ilTuing from a clafTical portico, and prefenting an apple or other fruit to a figure in Roman military coflume, who is kneeling and receiving the fruit in a patera. Behind him are three other figures in Roman armour witnefTmg the ceremony. Background of clafTical architecture. On a frieze is infcribed, in bold charafters, " Valerius Vi — F." There can be little doubt but that this plaque was originally the panel of a caiket, fuch as the famous ones defcribed by Vafari in his life of this artifl. Height, 3I in. ; width, 2^ in. No. 312. i^^;ii V: " - {in XT -^^^^ No. 315. ^NTAGLIO on nicolo. A fliepherd tending his flock. %& On the right, an aged, bearded man fliands leaning on iX his flaff or crook. Two flieep lying down in the fore- ground, and behind them a third, browflng. Roman work. 8/1 6ths by 7/1 6ths. No. ^16. NTAGLIO — antique green opaque glafs paflie. Viftory driving a biga. In the front of the field of the gem is placed an altar or modius. Minute and fpirited Roman work. 7/i6ths by 5/i6ths. No. 317. NTAGLIO on red fard. Grotefque compofition of three conjoined heads of animals — viz., of a bull, a ram with two ears of com in its mouth, and a hare. Deeply-cut, early Roman work. 7/i6ths by 6/i6ths. , Ho tfrjm:>'/fm No. 3 I 8. :.-> INUTE INTAGLIO. Buft of Jupiter Serapis, wearing on his head the modius or com meafure. Oriental onyx, the margin of the fl:one widely fplayed or bevelled. Roman work. 5/i6ths by 4/i6ths. ENGRAVED GEMS. 95 No. 319. NTAGLIO on brown fard. Head of a youth wearing a i chain or necklace. This gem evidently belongs to the clafs of Roman portrait intagli. There is no clue to the perfon- age reprefented. 6/i6ths by 4/i6ths. No. 320. JSflp^ NTAGLIO on red fard. Roman buft portrait. Perfon- o^ ^« age unknown. This charafteriftic head is probably of iCjM^i the Auguflan period; it has confiderable refemblance to that of Julius Caefar, but the emblems which ufually accom- pany the portraits of Csefar are wanting, and the refemblance is on the whole too uncertain to warrant a decided attribution. 9/i6ths by 6/i6ths. No. 321. gfSfip^NTAGLIO on red fard. Daedalus fabricating wings for ^^ J^ Icarus. Dcedalus, reprefented as an aged man, is feated on a circular ftool or cippus, with a table before him, fupporting a large wing, which he is manipulating with a tool. Behind the figure, in the field of the gem, are the initials " C. A." (probably thofe of the original owner). This fubje6l has been noted as a favourite glyptic reprefentation ; it is, however, a rare and interefting one. The gem is moft probably of early Roman work. 5/i6ths by 4/i6ths. No. 322. ALIl CABOCHON intaglio on plafma. In the centre of the ftone is a {landing figure of a Mufe, lean- ing on a column or cippus. In one hand Ihe holds a gS VII.— ANTIQUE AND OTHER ^ mafk, and in the other a wand or fpear, with which fhe touches or points to a buckler on the ground, near her feet. Behind her, Cupid, or a winged genius, holds up an olive branch, and in front {lands a nude male figure, holding a cornucopia in one hand and in the other a patera, with which he appears to be offering a libation to the Mufe. Roman work. 5/1 6ths by 4/1 6ths. No. 323. NTAGLIO on pale fard — the flone fquare, with the corners rounded. A female profile mafk of tragic or heroic charafter. Greek or Greco-Roman. Of expeditious but very artiftic work. 5/i6ths by 4/i6ths. No. 324. j^l AMEO in precious fardonyx of three layers. The Virgin and Child feated under a rich " gothic " canopy. Highly finifhed work, probably German or Flemifh. Circa 1490. This fplendid cameo is one of the few fpecimens extant of mediaeval glyptic art. It was formerly fet on the fummit of the cover of the jewelled cup, No. 6^6 in this Colleftion, where it had been for at leaft two hundred years; originally, however, it was moft likely fet as a pendent jewel. The ftone is the fined antique fardonyx, and probably originally had a Greek or Roman engraving, which was effaced to admit of the prefent reprefentation. i^ in. by i. (See engraving.) No. 325. MALL ONYX CAMEO of two layers. *Roman work. Head of the young Hercules ; the nofe fraftured^ ENGRAVED GEMS. 97 No. 326. ^l NTAGLIO on cornelian. Head of Omphale, clad in the nebris or lion's fkin of Hercules. A beautiful gem, of fine Greco-Roman work, of the Auguftan period, i in. by i i/i 6ths. No. 327. jEAD OF APOLLO, crowned with a myrtle wreath. If ^ Intaglio on a deep, brown red fard. This exquifite little gem is of the very higheft ftyle of Greek glyptic art. It is undoubtedly by one of the great antique artills. The execution is finiihed to the utmoft point of elaboration, and yet with a freedom and decifion of manipulation, which is little lefs than miraculous. The ftone is of great beauty and rarity. | in. by | in. No. 328. UBOCHON INTAGLIO on fine dark brown fard. A {landing draped figure leaning againft a column, hold- ing up two ears of com in one hand, and one in the other hand hanging downwards. Doubtlefs the Goddefs or Genius of Abundance. Fine Roman work. ^ in. by 5/1 6ths. No. 329. pNTAGLIO on dark hair-brown fard. Upright oblong or fquare, with the corners rounded. Early Greek or Etrufcan work of unufual delicacy. Hercules feated on a rock, his head leaning on his hand, the other hand refting on his club. In front, three circular objefts with a ribbon or filet hanging from them, or elfe the ftalk or branch of a tree. Around the head of the figure, following the (hape of the ftone, is an infcription of fix letters in ancient Greek or Etrufcan cha- racters, the import of which is not certain. It is pofTible that the three circular objefts to the right may reprefent the golden apples H 98 VII.— ANTIQUE AND OTHER of the Hefperides, in which cafe, the fubjeft of the gem would be Hercules repofing after he had fucceeded in obtaining the coveted fruit. The ftone is furrounded by the ufual early flriated border. I in. by 7/i6ths. No. 330. ;INUTE INTAGLIO on red fard. A draped female figure feated on an ear of com. This truly wonderful little gem muft have been engraved almoft entirely with the point of the diamond ; the figure, though not more than one- eighth of an inch high, is exquifitely finifhed and full of beauty. Gems of this extreme minutenefs are of great rarity, and were evidently " tours de force " of the glyptic art. Roman period. 9/32nds by \ in. No. 331. 'J^Py AMEO in very high relief. Bull of a female holding a ^^^^ tragic mafk in her hand. Probably the Mufe Thalia. Roman work. Fine fardonyx of two layers. J in. by J in. No. 332. AMEO in low relief. A half draped nymph feated on a rock. Perhaps a fragment of a larger compofition, reduced to an oval fhape in recent times. Sardonyx of two ftrata. 9/1 6ths by 6/1 6ths. No. 7,7,7,. •f^ NTAGLIO. Nude walking figure of Omphale, carrying the club of Hercules — the lion's fkin thrown over her (boulders. Fine Roman work on red fard. J in. by | in. No. 334. NTAGLIO. Head of iEfculapius. A fplendid Greco- Roman gem. Red fard. f in. by | in. ENGRAVED GEMS. 99 i^. IfNTAGLIO. The Three Graces. Roman work on ftriped fard. | in. by | in. No. 336. [NTAGLIO. '■'■Gryllus^'' compofed of a full-faced portrait head of a young man, to which two other heads in profile, apparently of philofophers, are conjoined ; over the head of the young man are the head and wing of an eagle, and beneath his neck, forming the buft, are a lion's and a ram's head conjoined. In the field of the gem is a lyre, the club of Hercules, and a trident, round which a ferpent is twined. Roman work. Splendid brown fard. i in. by ^ in. No. 337. NTAGLIO. Portrait head, fomewhat refembling Maecenas. A fine Roman portrait gem. Unfortunately the ftone (originally a red fard ?) has been fpoilt by the a£Hon of fire. J in. by J in. No. 338. ^S NTAGLIO. Vulcan feated on a chair, with a hammer in !^^ his hand ; before him a pillar trophy of arms. Roman work, on a beautiful cornelian. J in. by | in. No. 339. NTAGLIO. Head of Priam. Onyx or chalcidony. Fine Roman work, i^ in. by | in. H 2 loo VIL— ANTIQTJE.AND OTHER No. 340. -•^'r AMEO. Head of Minerva, wearing a helmet with a high plume or creft. Splendid fardonyx of two layers. This magnificent gem was found in Sicily ; it is of the purefl Greek work. The upper or cacholong layer of the ftone has unfor- tunately {lightly fuffered from fire. Height, i-9/i6ths; width, 1 1; in. (See engraving.) No. 341. I'AMEO. Head or bull of Ariadne. Over the fhoulder is thrown the Ikin of a faun, and the hair is bound with a filet of ivy. Sardonyx of three layers. Although compofed in the fpirit of the antique, this cameo is moft likely an Italian work of the feventeenth or eighteenth century. Height, 1 1 in. ; width, i| in. No. 342. ^AMEO. A bearded male head, wearing a hood and a wreath of olive leaves. Onyx of two layers. Roman work. Height, i-3/i6ths; width, Jin. No. 343. JAMEO. Laureated head of Auguftus. A fragment. (The upper part of the ftone only, containing the head ; the lower part with the neck and buft broken away.) Coarie white onyx of two ftrata. A contemporary work of very ftriking character; the workmanftiip precife and mafterly but flight, the cameo having probably never been entirely terminated. When complete, this cameo muft have meafured nearly 3 inches ENGRAVED GEMS. loi high by 2 inches wide. Somewhat more than half of the flone only remains. Purchafed in Rome in 1859. No. 344. ^AMEO. Bacchus, a (landing nude figure, embracing a draped Ariadne. This group is compofed fomewhat in the ftyle of the Cupid and Pfyche of the Capitol. Roman work. Onyx of two layers — the lower one colourlefs and tranfparent. Height, i| in. ; width, i i/i6th. No. 345. J AMEO, A nude figure of a nymph or bacchante in an elegant walking attitude, holding in the left hand a bunch of grapes ; the head upturned, flanked on each fide by a large lily or other flower growing ereft on a fliort ftem, and nearly equal in height to the figure. Onyx of two layers — the ground black and opaque, the upper layer brownifli white and femi-tranfparent. Roman work. Height, i J in. ; width, I in. (See engraving.) No. 346. jjAMEO. Buft portrait of a Roman youth. Splendid fardonyx of two layers — the lower one fine tranfparent brown fard, the upper one of pure white cacholong. The head, entirely worked in the white ftratum, is in very high relief. Found in Sicily. Height, i| in. ; width, i in. (See engraving.) No. 347. ARGE CIRCULAR CAMEO. A lion's head in high relief, the margin of the flone furrounded by a raifed ^ border of egg-and-tongue moulding. This important I02 VII. -ANTIQUE AND OTHER cameo is carved in the moft precious Oriental fardonyx of three ftrata, and is 35 inches in diameter. It is of bold and ftriking Roman work, and was probably a bofs or ornament of a horfe trapping. Purchafed in Rome in 1859. No. 348. ir^SJRAND CAMEO. Heftor reproving Paris. Com- aT^Si^ pofition of five figures in high relief. Antique onyx of iS^^^ two ftrata — the lower one of tranfparent chalcidony. Length, 4 J in. ; height, 2| in. Both the material and the ftyle of art difplayed in this important cameo are apparently antique (of the Roman Imperial period). The fubjeft, it is true, has feldom or never been found in ancient glyptic art, and is therefore oftenfibly fuggeftive of a recent origin. The internal evidence of the work itfelf is, however, entitled to more weight than this fingle fa£t of the rarity of the fubjeft portrayed. The cameo, in any cafe a work of very great value, is faid to have been found in Sicily. Acquired in Genoa, in 1859, from the reprefentatives of a Neapolitan prince then an exile. (See en- graving.) No. 349. RAGMENT OF A LARGE CAMEO OR BAS RELIEF in onyx. A horfe's head in high relief; near it a bundle of liftors' rods, the ftiafts of two fpears, hfc. Roman work. This remarkable fragment is apparently a portion of a fquare tablet relievo, which, judging from the proportions of the horfe, cannot have been lefs than a foot fquare, and may have been much larger. The compofition of which it formed part was apparently a procelfion or triumph of an emperor or conful ; from the arrangement of the bridle the ENGRAVED GEMS. 103 horfe would appear to have had a rider rather than to have been yoked to a chariot. The fragment is of irregular triangular (hape, its largefl dimenfions being 3 J in. by 3 J in., and, mea- fured diagonally, 4^ in. The material, of one ftrata only, has been fubjefted to the aftion of fire, and has alfo apparently lain in the ground in contaft with fome bronze objeft, which has com- municated a green (lain to the ftone. No. 350. ^AMEO. Buft portrait of the Monk Savonarola. ^ (j^^^^ Contemporary Florentine work, identical in defign, and f%:^2L probably by the fame hand as the well known intaglio in the Collection of the Uffizj. As a cameo of moft beautiful workmanihip and fine material, it is a work of greater importance than the gem alluded to. Purchafed in Florence in 1859. Oriental fard, pommele of two bluiih white layers. Height, t|in. ; width, ij in (See engraving.) No. 351. ^UST in fiill relief {^'■ronde bojfe") of Cupid or the infant Bacchus, in femi-tranfparent bluiih chalcidony. (From the Hertz Colleftion.) Height, 3I in^ No. 352. ^UST OF THE EMPRESS JULIA. The margin of the ftone furrounded by a raifed filet. An exquifite and moft highly-finiflied contemporary Roman cameo. Sardonyx of three layers. (Hertz Colle£tion.) Height, i - i/i 6th ; width, J in. I04 VII— ANTiqUK AND OTHER No. 353- NTAGLIO. Bufl of Ariadne. A fplendid engraving on Oriental onyx of two layers. This beautiful gem has unfortunately been expofed to the aftion of fire. Purchafed in Rome in 1859. Height, i| in. ; width, ij in. No. 354. DRAPED FEMALE FIGURE carrying a bowl or patera. Perhaps the veftal virgin, Tuccia, carrying water from the Tiber in a fieve. Onyx of two layers. Height, | in. ; width, I in. No. 355. S'^WO REGARDANT COMIC MASKS OF FAUNS ^^ OR SATYRS. Cameo, in onyx of two layers. Length, I in. ; height, 9/i6ths. No. 356. ULL FACED BUST OF CUPID. An exquifite Roman work. Cameo, onyx of two layers. Height, 9/1 6ths ; width, | in. No. 357. EAD OF THE YOUNG TIBERIUS. An admirable contemporary Roman work. Cameo in fardonyx of two layers. Purchafed in Rome, 1859. Height, | in. ; width, J in. ENGRAVED GEMS. 105 No. 358. lANA LUCIFERA in a walking attitude, elaborately draped, with torches in her hands ; the lower part of the ftone wanting. Cameo, onyx of two layers. Roman work. Height, I in. ; width, | in. No. 359. EAD OF A NYMPH OR ARIADNE? Greek work in low relief, the lower part of the ftone wanting. Cameo in fardonyx of two layers, found in Sicily. Height, ^ in. ; width, ^ in. No. 360. g EAD OF ANTINOUS. Cameo. Onyx chalcidony of two layers. Roman work. Height, i in. ; width, 1 3/1 6ths. No. 361. YOUNG BULLOCK. Cameo. Oriental onyx/>o;7/;«^// of two ftrata, the lower one femi-opaque white, the upper one, in which the animal is fculptured, of a warm tranfparent yellow brown colour. Roman work. Length, I in. ; height, | in. No. 362. jENTAUR carrying a young fir-tree over his ftioulder, and holding in the other hand a cup or cantharos^ which he is lifting to his lips. Cameo. Oriental fardonyx pommels of two ftrata, the lower one tranfparent and colourlefs, the upper one opaque pure white cacholong. Roman. Length, i3/i6ths; height, ii/i6ths. io6 VII.— ANTiqUE AND OTHER No. 363. ULL-FACED COMIC MASK. The head bald, the 11 mouth fhell-fliaped. Cameo. Sardonyx of two ftrata. Roman. Height, f in. ; width, | in. No. 364. IgAUN SEATED. Near him a tree, on which is lul- &^S pended a Pan's pipe. Cameo, fardonyx of two layers. Roman work. The figure beautifully drawn and modelled, and vigoroufly executed in mezzo-relievo. Length, J in. ; height, | in. ^s^^iS* No. ^65. |UPID SEATED—his foot caught in a trap. Cameo, pale or light-coloured onyx of two layers. Roman work. Length, J in. ; height, ^ in. No. 366. |ffi|lNUTE CAMEO. A ram's head. Oriental fardonyx J:>^tl of three ftrata. Roman work. Length 5/i6ths; height, I in. No. 367. BALD-HEADED AND BEARDED COMIC MASK. Cameo, pale onyx of two layers. Height, in. ; width, 3/1 6ths. Roman work. No. 368. AMEO. A raven or other bird perched in the branches of a tree, a fwan ftanding beneath. Cameo. Oriental fardonyx of two ftrata. Length, f in. ; height, | in. ENGRAVED GEMS. 107 No. 369. HERCULES DRAGGING FORTH CERBERUS ^i FROM THE MOUTH OF A ROCKY CAVE. Pale onyx of two flrata. Cameo. Roman work. Length, I in. ; height, J in. No. 370. ^AMEO. On the left of the ftone is a butterfly hovering over the mouth of a two-handled crater or cantharos; on the right, a comic (hell-fhaped malk, pofed on a Pan's pipe, which ferves as a pedeflal. Betwixt thefe emblems are two flutes, croflTed at an acute angle. Roman work. Pale onyx of two flrata. Length, i i/i 6ths ; height, 9/1 6ths. No. 371. ^^ UPID STANDING, holding a large bearded comic maik, ^^Sc An exquifitely fpirited work on a fmall fcale. Cameo in pale onyx. Height, | in. ; width, 5/1 6ths. No. 372. \ UPID, his hands raifed towards a butterfly. The lower part of the ftone wanting. Cameo. Roman work. Sardonyx of two layers. Height, 9/i6ths; width, | in. No. 373. ^HE fame fubjeft as the preceding, the lower part of the ^' ftone alfo wanting. Cameo. Roman work. Sardonyx of two layers. Height, 5/1 6ths ; width, 7/1 6ths. io8 VII.— ANTIQUE AND OTHER No. 374. IMALL CAMEO. A quail. The ground of the ftone is white cacholong. The upper layer in which the bird is fculptured is reddifh, mottled with white and black, the accidental markings of the ftone being made available to fmiu- late the plumage of the bird. Roman work. Diam., | in. No. 375. SYREN, in a walking attitude, playing on the Ijrre. Cameo in onyx, the lower ftratum white or flefli- coloured cacholong; the upper one orange red, and flefti colour. The human head and body of the fyren are Ikilfully fculptured in the flefti-coloured portion of the ftone, whilft the wings, legs, and the lyre are in the orange-red tint. Roman work. Height, f m. ; width, 7/1 6ths. No. 376. wo QUAILS OR PARTRIDGES AND A TREE. Cameo, onyx of two layers, the lower one opaque white cacholong ; the upper, in which the birds are executed, dark hair brown. Roman. Height, 5/1 6ths ; width, | in. No. 377. ASE OR BASKET OF FRUIT. Cameo, pale far- i donyx of two layers. Height, 7/1 6ths ; width, 7/1 6ths. No. 378. AN or a fatyr, in a walking attitude, holding a ftafF or thyrfus. Cameo, pale fardonyx of two layers. Roman work. Height, 9/i6ths; width, | in. ENGRAVED GEMS. 109 No. 379. INUTE CAMEO. A tragic maik in profile, nicolo. Height, I in. ; width, 3/i6ths. No. 380. PINUTE CAMEO. Grotefque or caricature head of a bearded, bald-pated man. Onyx of three ftrata, the ground white cacholong ; the fecond layer brilliant orange red ; the upper ftrata greyifh or flefti-coloured. The hair and beard fkilfiilly wrought in the grey upper layer. Roman. Height, ^ in. , width, 3/i6ths. No. 381. ;INUTE CAMEO. Cupid feated playing on a lyre. Cornelian of two ftrata, the upper one, in which the figure is fculptured, in very low relief, produced by fuperficially burning the ftone, fo as to give a thin layer of opaque white, in imitation of cacholong. Roman work. Width, | in. ; height, I in. No. 382. ^«^ROFILE HEAD OR BUST OF THE YOUNG ^ ^^ HERCULES, the ftioulder bound round with the iSii^Si! nebris or lion's ikin. A highly finiftied Roman cameo, in beautiful Oriental onyx of three ftrata. Height, 9/1 6ths ; width, J in. No. 383. ROFILE BUST PORTRAIT OF A YOUNG MAN. Roman work of the Auguftan period. Cameo in no VII.— ANTIQUE AND OTHER fine Oriental fardonyx of two layers. Height, | in.; width, iin. No. 384. I^ROFILE HEAD OF AN UNKNOWN ROMAN ?^^l LADY, probably an emprefs. A beautiful Roman portrait cameo, pale onyx of two layers. Height, | in. ; width, •| in. (See engraving.) No. 385. ROFILE PORTRAIT OF A ROMAN LADY. A fine Roman portrait cameo, pale onyx of two ftrata. Height, I in. ; width, | in. (See engraving.) No. 386. IMrOFILE portrait of a ROMAN LADY. i^^^- Cameo in fardonyx of two layers. Height, ^ in. ; width, f in. (See engraving.) No. 387. '^^^AUREATED head of an emperor. Cameo. ^^ Splendid Oriental onyx of three layers, the lower part of the ftone wanting. Height, | in. ; width, i i/i6ths. No. 388. ^INUTE CAMEO, a hippopotamus attacking a crocodile. Onyx of two layers, the lower one tranfparent, the upper one dark greyifti brown, fimulating the colour of the animals. A mod truthful and remarkable work. Length, I in. ; height, ^ in. (See engraving.) ^^ '7 I-L .5 i^ 668 A- W.'i'^ H. o«Wkdrt &l.«r 733 A '/II Anuque atii oflier Engraved Gems im ENGRAVED GEMS. m No. 389. I^ULL-FACED LAUREATED BUST, in full relief, of 3^^^ a bearded man, apparently an heroic perfonage. Cameo in chalcidony, the nofe fraftured. A Roman work of the Au- guftan? period. Height i in.; width, ii/i6ths. No. 390. ^PUST PORTRAIT OF A YOUNG ROMAN, fome- ^ffil what refembling the portrait of Virgil. A highly finifhed cameo in pale onyx of two ftrata. Height, ^ in. ; width, 9/1 6ths. No. 391. I ARSYAS bound to a tree. Onyx of two ftrata. A beautiful Italian cinque-cento work in the ftyle of the antique. Height, i in. ; width, ^ in. No. 392. ^ll^ WO AMORINI, one playing the lyre, the other with ^^ ^5 ^^ inverted torch. The compofition is furrounded with tKyrVy^ a fmgular raifed border following the ftiape of the ftone. Cameo, pale onyx or chalcidony of two ftrata. Height, | in. ; width, 9/1 6ths. (See engraving.) No. 393. [OMPOSITION OF THREE FIGURES. In the centre a warrior, armed with fword and fliield, has funk down on his knees, as if wounded, whilft two other warriors are fuftaining him, and apparently exhorting him to make 112 VII.— ANTIQUE AND OTHER an efFort to raife himfelf again. Cameo. Roman work in fard- onyx of two layers. Length, | in. ; height, | in. No. 394. INUTE INTAGLIO. Buft of a philofopher, fcratched J^. or engraved in outline on a cornelian, the furface of which has been blanched by fire. Roman work. Height, 5/1 6ths ; width, 3/i6ths. No. 395. A Greek infcription, as follows : — DAAAAAI " Palladiiis ETTTXI profper AMEO. METAEIE POKAIHS with Hieroclea." Nicolo, in a filver fetting of the Italian cinque-cento period. Length, J in. ; height, f in. No. 396. AMEO. A maiTive olive wreath tied with a ribbon. Within it, clafped hands, a (Iring of pearls and the in- fcription OMONOAO — i.e., " Concord." A circular onyx of two layers. Diam., i in. No. 397. LASPED HANDS, with the infcription OMONOAO— "Concord" — above. Onyx of two layers. No. 398. ll^AMEO. A two-handled bulbed-ftiaped urn or vafe. Oriental onyx of two flrata (brilliant black and bluifli white cacholong), in its original antique gold locket ENGRAVED GEMS. 113 fetting. The margin furrounded by a twifted cable filet in gold wire. Height, i in. ; width, J in. fvtJSr^/ No. 399. ^ AMEO. A ftar-fliaped rofette. Red fard, the furface ^/^^^ or upper layer blanched artificially. Roman. Length, i in. ; height, f in. No. 400 (a). FRAGMENT OF A COMPOSITION. A nude female reclining on a couch is apparently converfing with a warrior whofe legs and a portion of his lliield only remain. Fragment of a large cameo in pale onyx of two layers. Roman work. When complete this cameo muft have been upwards of two inches long. Length of the fragment, i| in. ; height, f in. No. 401 (a). . EAD OF HADRIAN. Intaglio, red fard. Height, i f in. ; width, J in. r No. 402 (a). ROMAN PORTRAIT HEAD, probably Maecenas. Intaglio in red fard. Height, J in. ; width, | in. No. 403 (a). ;^,NTAGLIO on a circular difc of beautiful fafciated fard- onyx. A nereid riding on a dolphin. Diam., | in. 114 VII.— ANTiqiTE AND OTHER No. 404 (a). (SSYRIAN CYLINDER, engraved with various figures and three zones of cuneiform. A fplendid fpecimen in flriped fardonyx, defcribed in the Hertz catalogue as "A man {landing adoring a deity, who holds a fword ; be- tween them two men holding vafes and bafkets, and three lines of curfive Babylonian cuneiform ; the name of the poiTeflbr and addrefs to the deity." Length, i| in. ; diam., 9/i6ths. No. 405 (a). "^-^^EAD OF AUGUSTUS? Cameo. Sardonyx of two ftrata. Height, ij in.; width, i5/i6ths. From Lord mi Northwick's CoUeftion. No. 406 (a). ;UST OF VENUS OR AMPHITRITE ? The bread and fhoulders elegantly draped ; in the field of the gem a wand, round which is coiled a fmall dol- phin. Cameo. Sardonyx of three ftrata. Height, i i/i 6ths ; width, ^ in (From Lord Northwick's Colleftion.) No. 407 (a). ;ULL-FACED LAUREATED BUST OF AN EMPEROR in high relief, probably Auguftus ; the neck and lower part of the gem wanting. Cameo. Onyx of two layers. Size of the fragment, height, ^ in. ; width, J in. From the Northwick Colleftion. No. 408 (a). ROMAN PORTRAIT HEAD OF A MAN, executed in high relief, the features having feme refem- ENGRAVED GEMS. 115 blance to a negro's. Cameo in onyx or nicolo. Height, | in. ; width, I in. From Lord Northwick's CoUeftion. (See engraving.) No. 409 (a). CONSUL OR EMPEROR, feated on a rock, being crowned by Victory. At his feet fits a female in an attitude of grief, typical of a conquered province, and behind her ftands a trophy of arms. Roman work. Cameo, pale onyx of two ftrata. Length, i| in.; height, | in. From Lord Northwick's Colleftion. No. 410 (a). || EATED FAUN. Oriental onyx of four ftrata. Intaglio M Height J in.; width, | in. From Lord Northwick's Collection. No. 4 1 1 (a). f/!rf|jNTAGLIO. Heftor reproving Paris in the prefence of ^^ Helen. Oriental onyx of two layers, the lower one L^ femi-tranfparent, the upper one dark hair brown. This fine intaglio, although in a material which, from its beauty and rarity, (liould be decidedly claffed as antique, is neverthelefs to all appearance a modern Italian work of the laft century. Length, 3^ in. ; height, 2^ in. From Lord Northwick's CoUeftion. No. 412 (a). |S|aRS and VENUS AND A SATYR playing the I f:>^4S Pan's pipes. An Italian feventeenth century work. Cameo, onyx of two layers. Height, | in. ; width, ^ in. I 2 ii6 VII.— ANTIQUE AND OTHER No. 413(a). i^gUPID SEATED ON A COUCH, holding a large J^SSl comic malk, underneath it a pedum. Cameo, onyx of two layers. Roman work. Length, | in. ; height, J in. No. 414 (a). iSpINUTE CAMEO. Viftory driving a biga. Oriental e^'^ onyx of two layers, or nicolo. Moft fpirited work. (From the Hertz Colleftion.) Length, | in. ; height, ^ in. No. 415 (a). MAN SACRIFICING A RAM AT AN ALTAR, at which ftands a woman, with a malk in her hand, flrewing barleycorns into the flames ; behind her Silenus playing on the double flute. Cameo. Sardonyx of brown and white ftrata. Width, 7/i6ths; height, 5/i6ths. (Hertz Colleftion.) No. 416 (a). HE DRUNKEN SILENUS LEANING ON A ^ YOUTHFUL FAUN, whofe neck he clafps with one arm ; beneath is a flute. A fplendid Roman cameo. Sardonyx of two ftrata. Height, ij in.; width, J in. Hertz Colleftion. (See engraving.) No. 417 (a). miEAD OF HERCULES. A fplendid gem on fine H^^ jacynth. Intaglio. From the Hertz Colleftion. Height, i| in. ; width, | in. ENGRAVED GEMS. 117 No. 418 (a). JSffi^NTAGLIO. Head of Vulcan wearing the pileus ; ^-riP|l^ behind it, in the field, a hammer. Infcribed, 20A0N0S l:;:^,'!^!^ C Solonos "). Nicolo. From the Hertz Collea:ion. Height, I in. ; width, i i/i 6ths. There can be little doubt but that this fine gem is aftually from the hand of the celebrated antique gem-engraver whofe name is affixed to it. No. 419 (a). n^n \ EAD OF DOMITIA. A fine engraving on nicolo. '^ Intaglio. Hertz CoUeftion. Height, | in. ; width, | in. No. 420 (a). J^^l^^AMEO. Head of an Egyptian queen or goddefs. w v^-^ Oriental onyx of two layers, the lower one white ^*^^^^^^' cacholong — the upper one, in which the head is exe- cuted, dark brown. A beautiful Greco-Roman work. From the Hertz Colleftion ; defcribed in the catalogue as a " Head of Cleopatra." Height, ^ in. ; width, J in. No. 42 1 (a). ^|! NTAGLIO. Standing figure of a Perfian king holding ^ a flower in one hand. Splendid Oriental onyx of three layers. Height, 1 1 in. ; width, | in. No. 422 (a). ^^^UPID SEATED, having the head of a bull, finging to l<^& the lyre; behind him a club, on which Pfyche, in the m8 VII.— antique and other form of a butterfly, is refting. Intaglio in ftriped fardonyx. Roman work. Height, 7/1 6ths ; width, 5/1 6ths. No. 423 (a). gAMEO. " Eros" (Cupid) winged at the heels, carries in his right hand the thunderbolt of Jupiter : in his left the cornucopia of Pluto; on his head is the modius furrounded by the rays of Helios. A Pantheiftical reprefentation. On the reverfe of the flone is engraved in intaglio Dionyfos (Bacchus) with the fceptre in his right hand, and an apple in his left, perhaps in allufion to the pomegranate of Proferpine. A mofl beautiful highly-finiflied Roman gem. Sardonyx of brown and white firata. Height, | in. ; width, | in. (See engraving.) No 424 (a). jjNTAGLIO, in its origina antique Roman gold fetting, which, befides the engraved gem, is enriched with two fmall cabochon garnets. The flone is a remarkable ftriped or fafciated cornelian. The engraving reprefents various emblems ; in the centre is a lignet-ring, within the hoop of which is a rabbit, above it a figure drawing a quadriga. On the left is a head or buft wearing a helmet; on the right a circular difc or patera, at the bottom a grafihopper, and alfo the initials " C. N." Roman work. ■ No. 425 (a). ^^^ AMEO in nicolo. A Greek infcription, fet in an antique 5q^?s^ gold ring. The infcription is — EITXI " Profper ETSEBI Eufebius." ENGRAVED GEMS. 119 No. 426 (a). ^^AMEO. A fragment of a large and interefting com- pofition. The piece, probably about half of the (lone, contains three figures and part of a fourth. The fubje<5l reprefented is the Phrygians binding the fleeping Bacchus. A highly-finiflied Roman work in high relief, in pale onyx of two ftrata. Size of the fragment : height, i -3/1 6ths ; width, | in. (See engraving.) No. 427 (a). JWeAD and neck of an ass, with a :^'^M round its neck, an ear of corn in its mouth, red fard. Length, | in. ; height, 5/1 6ths. bell tied Intaglio, No. 428 (a). ! EAD of an eagle. Intaglio on fine banded fard. The flone circular, and " ^« cabochony Diam., 7/i6ths. No. 429 (a). lOMEDES AND ULYSSES mangling the body of 'W^ Dolon. A fine early Greek or Etrufcan intaglio in red fard, with a ftriated border. Height, | in. ; width, 7/1 6ths. No. 430 (a). '^C^Tf^^ARRIOR kneeling on one knee (feen in front, the legs i^^m. f'^reiliortened). He has a fliield on the right arm, and v^!Wx2j&: holds a flone, which he feems to have picked up from the ground, in the other hand. In the field of the gem is a curious mark or monogram. Greek work. Intaglio, on pale brownifli yellow fard. Height, "| in. ; width, 9/i6ths, I2P VII.— ANTIQUE AND OTHER No. 43 1 (a). |MLYSSES and his dog. In the field of the genr l^^a two palm branches. Intaglio on beautiful red fard. Greek or early Roman work. Height, | in. ; width, 5/i6ths. No. 432 (a). ^RAPED FEMALE FIGURE, holding a ftafF or fceptre, feated on a car. On her lap is a nude male figure, feated or reclining. Probably Ceres and Trip- tolemus. In front a draped female yoked to the car. Cameo. Roman work. Pale onyx of two layers. Height, ^ in. : width, 9/1 6ths. ; yfj'l No. 433 (a). ^^^ AMEO. Fragment, the upper part of a female laureated l^^:^ head of grand charafter (broken acrofs underneath the mouth). Sardonyx of three ftrata. Greek work. Size of cameo when complete about ij in. by i| in. if^ No. 434 (a). |SRAGMENT OF A HEAD OR BUST OF LIVIA, ^^^ full-faced, in high relief. Cameo in plafma. Fine contemporary work — the flone hollowed at the back. Size when complete about i| in. by i| in. No. 435 (a). ^'{d^k ^^EO, fragment. A female idealized head, the lower v^^^^ part of the flone broken away. Greek work. Onyx of two ftrata. Size of ftone when complete, height, 1 1 in. ; width, ^ in. ENGRAVED GEMS. 121 No. 436 (a). ^? RAGMEN T. A male bearded head, the front part or face only, and part of the neck. Roman work. A portion of a cameo probably about 2 J in. high, by i| in. wide, when complete. No. 437 (a)- ^^SAMEO. Fragment of a head of the young Bacchus. Onyx of black and white ftrata. Height when complete. li m. width, I in. No. 438 (a). FRAGMENT OF A HIGHLY-FINISHED MALE ROMAN PORTRAIT HEAD. The margin of the i^J.C^ ilone furrounded by a raifed border or wreath of olive leaves. At the back of the ftone is a Iketch of another head. Cameo, in fine Oriental onyx of feveral ftrata. Size when com- plete : height, i J in. ; width, i in. ij AMEO, fragment. Antique glafs pafte, of black and white ftrata. Head of Ariadne. Size when complete, ^^ about i^ in. high by i in. wide. No. 470 (a). SJAMEO. Antique glafs pafte of green and white ftrata. Two ftanding nude female figures, one of them pouring water from a vafe into a bowl-fliaped bath or crater, the other drying herfelf with a towel after the bath. Height, I in. ; width, 9/1 6ths. No. 47 1 (a). jjAMEO. Antique glafs pafte of three layers, in imita- tion of fine Oriental onyx of dark brown and bluifti- white ftrata. A helmeted head of Minerva. This remarkable pafte cameo, unfortunately confiderably fractured, is a moft deceptive imitation of a fine onyx, and was apparently executed on the wheel, like a real ftone cameo. Height, 1 1 in. ; width, i^ in. No. 472 (a). ^^^^AMEO. Antique light-blue opaque glafs pafte. Head ^^^^. of a nymph, crowned with a chaplet of rofes. Height, I I in. ; width, i| in. No. 473 (a). Jl^oAMEO, fragment. Antique glafs pafte of black and white ftrata. The upper half of a draped female figure. ENGRAVED GEMS. 129 of fine Greek defign, apparently in a flying attitude. Size when complete, i§ in. by i in. No. 474 (a). ^^^ AMEO, fragment. An Egyptian female head. Glafs ^^^1 parte of brown and white ftrata. A fragment of a Roman cameo vafe, probably of the age of Hadrian. No. 475 (a). ^pNTAGLIO. Blue antique glafs pafte. Venus Vitrix i^^i writing on a fliield. Height, i^ in. ; width, ^ in. No. 476 (a). ^@ NTAGLIO. Light green antique glafs pafte. Full-faced s^MIj buft of a female. An idealized perfonage, probably Ceres. Height, f in. ; width, | in. No. 477 (a). ^fpJi NTAGLIO. Antique pafte in imitation of brown fard. 1^ A veiled head of Ceres. Fine Greek work. Diam.^ ^ in. No. 478 (a). I AMEO. Antique blue glafs pafte. Full-faced head of '£ Medufa. An ornament for horfe trappings. Diam., 1 1 in. No. 479 W- ^S NTAGLIO. Antique glafs pafte — an imitation of nicolo. ^MM A laureated female idealized head. Height, | in. ; width, ^ in. 130 VII.— ANTiqUK AND OTHER No. 480 (a). NTAGLIO, fragment. Antique blue glafs pafte. A dying warrior leaning on his fhield. A compofition of the pureft Greek period. Unfortunately much eroded and frac- tured. Height, I J in. ; width, | in. No. 481 (a). ^^5 NTAGLIO. Antique glafs pafte, in imitation of ^^jM brown fard. A Greek amphora, with the infcription, AAMIEQN. Diam., | in. No. 482 (a). S^ NTAGLIO on a fcarabeus-ftiaped ftone. A roaring lion, ^^> furrounded by a minute ftriated border. Early Greek work. Chalcidony or fapphirine. Length, | in. ; height, 9/i6ths.* (See engraving.) No. 483 (a). ^ NTAGLIO on a fcarabeus. A charioteer driving a biga ; within a ftriated border. Early Etrufcan. Cornelian. Length, | in. ; height, f in. No. 484 (a). I NTAGLIO on a fcarabeus. A fow ftanding with a litter '^ under her. Etrufcan. Length, j in. ; height, J in. * The gems defcribed from No. 482 (a) to No. 812 (a) inclufive, were pur- chafed at the fale of the "Hertz Colleftion," in 1859. The prefent defcrip- tions are bafed on thofe of Dr. W. Koner, of Berlin, and of Profeflbr Edward Gerhard, given in the " Hertz Catalogue." ENGRAVED GEMS. 131 No. 485 (a). fEAD OF CYBELE. Intaglio in red jafper. Roman work. Height, f in. ; width, f in. No. 486 (a). § UPITER SEATED ON A THRONE, with a glory of pointed rays round his head, holding a fceptre and patera in his hands ; at his feet an eagle. Intaglio on fard. Height, 7/i6ths; width, § in. No. 487 (a). rt- ^ [JUPITER WIELDING A THUNDERBOLT. In U front of him an eagle, the outfpread wings of which ^j^^ conceal the lower part of the figure of the god. The eagle grafps a wreath and a palm branch in his claws. Intaglio m fard. Width, 9/16 in. ; height, 7/16 in. No. 488 (a). Ji?) ANYMEDE, holding in his hand two fpears, carried off by the eagle. Intaglio, fard, J in. high ; | in. wide. No. 489 (a). j^EDA STANDING, embracing the fwan. Green antique ^^^; pafle, with violet and white ftripes. Intaglio. Height, I i/i6ths ; width, 7/i6ths. No. 490 (a). lANYMEDE, feated on the ground, holds a patera on his t knee, from which the eagle of Jupiter is drinking. Cameo, fardonyx of three ftrata, A circular gem, ^ in. diam. K 2 132 VII. —ANTIQUE AND OTHER No. 491 (a). jEAD OF NEPTUNE. Cameo, violet antique parte. Width, I in. ; height, 9/1 6ths. No. 492 (a). ,, DOLPHIN, with a raifed border round the margin of the ^1 ftone. Cameo, onyx of four ftrata. Width, | m, height, J in. No. 493 (a). ^^ HIPPOCAMPUS, OR SEA HORSE. Cameo, onyx of two ftrata. Width, i i/i 6ths ; height, ^ in. No. 494 (aj. INERVA, armed with a hehnet and a ftiield, leading a facrificial bull. Cameo, Oriental onyx of two ftrata. Width, J in. ; height, | in. No. 495 (a). NTAGLIO on a fcarabeus. A combat betwixt a lion ^ and an Arimafp. In the very ancient Greek ftyle ; #-5 of fimilar work and origin to the fcarabei recently found at Tharros in the ifland of Sardinia. (From Dr. Nott's Colleftion. Reproduced in the " Impronte di Monumenti Gem,'' Cent, i. No. 14.) Green jafper. Width, | in. ; height, f in. (See engraving.) No. 496 (a). ;9^ NTAGLIO on a fcarabeus. A ftanding warrior v^ith a ^3^^ lance decorated with tenia, and leaning his right hand on a fliield. Black jafper. Height, i i/i6ths; width J in. ENGRAVED GEMS. 133 No. 497 (a). t^ 2 fM NTAGLIO on a fcarabeus. A naked warrior, bending h forward, in the aft of drawing his fword from its Iheath, Fine Etrufcan work, with a ftriated border. Cornelian. Height, ^ in. ; width, | in. (See engraving.) No. 498 (a). NTAGLIO on a fcarabeus. A kneeling warrior, with a ^ fhield and lance. Etrufcan work. Cornelian. Height, I in. ; width, | in. No. 499 (a). NTAGLIO on a fcarabeus. A kneeling warrior pro- tefting his body with a Ihield, and holding in his other hand a leaf-fhaped fword. Etrufcan work. Cornelian. Length, 7/i6ths; height, 7/i6ths. No. 500 (a). NTAGLIO on a fcarabeus. A dying warrior armed with a (hield, dropping on his knees. Fine Etrufcan work on a (triped onyx. Height, ^ in. ; width | in. (See engraving.) No. 501 (a). 1^ LUTO SEATED ON A THRONE, with the modius C^^ on his head, and the fceptre in his hand ; at his fide (lands Cerberus. There is the obfcure circumfcription EPMHSIPN. Intaglio, red jafper. Height, | in. ; width, | in. (See engraving.) No. 502 (a). ERES SEATED ON A THRONE, holding a patera ^ and a cornucopia. Intaglio, plafma. Height, p/idths ; width, I in. 134 VII.— ANTIQUE AND OTHER No. 503 (a). jCEANUS, with the claws of a lobjfler on his head, is feated on the back of a crab. He holds in one hand a trident and in the other an oar. A beautiful Roman (Reproduced in the " Impronte^'' Isfc.^ of the Roman Archaeological Inflitute. Cent. 5, No. 69.) Very dark brown fard. Height, | in. ; width, J in. (See engraving.) No. 504 (a). EAD OF NEPTUNE. Onyx of brown and white ftrata. Height, | in. ; width, 9/1 6ths. No. 505 (a). CONJOINED HEADS OF NEPTUNE AND THE BEARDLESS BACCHUS, accompanied by their refpeftive fymbols a trident and ar thyrfus ; above is an eagle, and beneath are a flar and a fea-crab, with the infcription AIH. Intaglio fard. Height, 9/1 6ths ; width, 7/1 6ths in. No. 506 (a). EPTUNE STANDING, with his left foot on the prow of a veffel, and holding a trident. Intaglio — brown antique parte. Height, | in. ; width, 7/i6ths. ■s?i No. 507 (a). UM EPTUNE STANDING, with his left foot on the prow of a vefTel. Intaglio — yellow antique pafle. Height, I In. ; width, | in. ENGRAVED GEMS. No. 508 (a). '35 ^M MPHYTRITE, borne through the waves by a fea-horfe. ^^^ Afplendid gem, on a magnificent hyacinth-coloured lard, but unfortunately broken, and a portion wanting. Intaglio. Width, I in. ; height, ^ in. (See engraving.) No. 509 (a). ^^^ MPHYTRITE, in flowing garments, holding a dolphin in ^^) her right hand and a trident in her left, is feated on a fea-goat. Intaglio, fard, flightly blanched by fire. Height, 9/i6ths; width, I in. (See engraving.) No. 5 I O (a). ^^ MPHYTRITE, feated on a lea-horfe, holding a ihield in S^^ her right hand ; in the field of the gem are the letters " T. E." Intaglio, fard. Width, | in. ; height, f in. No. 5 1 1 (a). 1^^ EPTUNE, oiFering a flower to Amymone, who is feated Wks> on a rock. Intaglio, fard. Height, ^ in. ; width, | in, (See engraving.) No. 512 (a). CAPRICORN, with the infcription " C. TALONI." ^ Intaglio, cornelian. Width, | in. ; height, 5/i6ths. No. 513 (a). ^ WINGED FULL-FACED HEAD OF MEDUSA, ^ encircled by two dolphins, carrying two wheat-ears 136 VIL— ANTIQUE AND OTHER laid crofs-wife and a ftar ; moll delicately wrought in low relief. Cameo, onyx of three flrata. Height, ^ in. ; width, ^ in. No. 514(a). ^ENUS, feated on a rock, holding the peplos^ which is falling from her (houlders. Cameo, fardonyx of two flrata. Height, | in. ; width, ^ in, No. 515 (a). ^ffiENUS SEATED, chaftifmg Cupid, who (lands on her -^^I knee. Cameo — violet antique pafle. Height, 9/1 6ths ; width, 7/i6ths. No. 5 1 6 (a). ^WO KNEELING WARRIORS, apparently wounded. ^ Cameo, fardonyx of three flrata. Width, ii/i6ths; height, 5 ; 8 No. 517(a). UPID, feated on the ground, holding the ferpents of the caduceus in his hand. Cameo. Antique pafle of violet and white flrata. Height, | in. ; width, J in. No. 518(a). UPID STANDING, bound to a pillar. Cameo, fardonyx of brown and white flrata. Height, 9/i6ths; width, 7/1 6ths. No. 519(a). in a (hip with fprei ^' iardonyx of three flrata. Width, | in. ; height, | in. ^ WO CUPIDS, in a fhip with fpread fail. Cameo. Fine ENGRAVED GEMS. 137 No. 520 (a). UPID holding a butterfly in his right hand, mournfully drooping it over a flame of fire. Cameo, fardonyx of brown and white fbrata. Diam., ^ in. No. 521 (a). NTAGLIO on a fcarabeus. The luilration of an Ephebus. From Dr. Nott's Colledlion. (See " Impronte di Monumenti G^/;/," Cent, i, No. 2>7-) Cornelian. Height, ^ in. ; width, 7/i6ths. No. 522 (a). ULL-FACED HEAD OF MEDUSA. A circulai- i light green antique glafs pafte. Cameo. Originally an ornament to a horfe trapping. Diam. ^^ in. No. 523 (a). ^ NTAGLIO on a fcarabeus. Neptune Handing, holding ^ in one hand a dolphin, and in the other brandifhing a trident. A very early Greek work in green jafper, fimilar to the fcarabei of Tharros. Height, 9/i6ths; width, | in. (See en- graving.) ■ No. 524 (a). NTAGLIO on a fcarabeus. A kneehng fatyr drinking from a cylix. Highly-finifhed Etrufcan, or early Greek work, on an Oriental onyx of three flrata. Height, ^ in. ; width, § in. 138 VIL— ANTIQUE AND OTHER No. 525 (a). ^ NTAGLIO on a fcarabeus. A faun with a lyre in his hand, breaking with his foot an amphora, which (lands behind him. Etrufcan work. Cornelian. Height, | in. ; width, I in. (See engraving.) No. 526 (a). llNERVA HASTENING TO THE COMBAT, carrying a lance and a fliield. Intaglio. Yellow antique pafte. Height, 7/1 6ths ; width, 5/1 6ths. No. 527 (a). ^PfTNERVA, completely armed, haftening to the combat. Intaglio — redjafper. Height, 7/i6ths; width, 5/i6ths. No. 528 (a). i;lNERVA STANDING, with the helmet and lance ; holds a double flute in her outftretched hand. A mag- nificent Roman gem on a beautiful cabochon hyacinth. In the field is the infcription, TEVKTOV — apparently the figna- ture of the artift. Intaglio. Height, f in. ; width, | in. No. 529(a). HE YOUTHFUL MARS, feated on a rock, with his ^ fword refling againft his knee ; looking upwards. The lower part of the ftone fraftured. Intaglio — cornelian. Height, I I in. ; width, | in. ENGRAVED GEMS. ^39 No. 530(a). ARS GRADIVUS, before a burning altar, carrying a :g^ lance and a trophy on his fhoulders. Intaglio — fard. Height, ^ in. ; width, | in. No. 531(a). ARS GRADIVUS, with the lance and trophy. Intaglio. Splendid Oriental onyx of three ftrata. Height, | in. ; width, I in, No. 532 (a). -^1 ARS FIGHTING WITH A GIANT, who is lying on i^^fei the ground, and near whom is a ferpent. Intaglio — black antique pafte. Height, 9/1 6ths ; width, 7/1 6ths, No. 533 (a). HE THREE GRACES. Antique glafs pafte cameo of ^' green and white ftrata. Height, i^ in. ; width, i in. No. 534 (a). u-^j~^ POLLO, with the lyrej ftanding in front of Marfyas, ?^^^' who is feated on a rock, and with his flute is about to commence the combat with the god. Cameo. Sardonyx of two ftrata. Height, | in. ; width, J in. No. 535 (a). MUSE, ftraining the ftrings of a lyre ; behind her, on an ^ altar, is a fmall ftatue in flowing garments. The lower part of the ftone fractured. Cameo. Sardonyx of two ftrata. Height, I in. ; width, J in. 140 VII.— ANTIQT.IE AND OTHER No. 536 (a). ERCURY, as the god of herds, with the purfe and caduceus ; before him four rams. Cameo. Burnt onyx of two ftrata. Diam., ^ in. No. 537(a). IHE YOUTHFUL BACCHUS, riding on a panther. Beneath is the infcription or fignature, " TAVOCO." A mofl exquifitely wrought cameo, on a very minute fcale. The margin of the flone furrounded by a raifed border. Onyx of black and white ftrata. Width, | in. ; height, 5/1 6ths. No. 538 (a). HALF FIGURE OF ARIADNE, holding a bunch of ^ grapes. Sardonyx — cameo of two ftrata. Height, I i/i6ths; width, | in. No. 539(a). EAD OF A FAUN. Cameo — ^fardonyx of two layers. Height, J in. ; width, | in. No. 540 (a). NTAGLIO on a fcarabeus. Cadmus ?, holding in his hand a ferpent ; at his feet an amphora. Greek work. Garnet. Height, 7/1 6ths ; width, 5/1 6ths. No. 541 (a). NTAGLIO on a fcarabeus. Capaneus erecting a ladder in order to ftorm Thebes. (Early Greek.) Cornelian. Height, 7/i6ths; width, i| in. (See engraving.) ENGRAVED GEMS. 141 No. 542 (a). ^ NTAGLIO on a fcarabeus. Hercules, with uplifted club, if* leading Cerberus. (See '■'• bnpronte di Monumenti G^w," ^f., Cent. I, No. 17.) Cornelian. Height, 9/i6ths ; width, 7/i6ths. No. 543(a)- ^ NTAGLIO, fawn from a fcarabeus. Hercules kneeling on one knee, bending his bow (fhooting the Stympha- lian birds) ; on the ground at his fide lies his club. Sard- onyx. Blanched by fire. Height, | in. ; width, | in. No. 544 (a). NTAGLIO on a fcarabeus. Hercules, with the club in his hand, kneeling on the back of the Msenalian hind. Striped onyx. Height, | in. ; width, | in. No. 545 (a). ?fli|^ NTAGLIO on a fcarabeus, Hercules crowned by a bii^isi winged genius. Cornelian. Height, 9/1 6ths ; width, ^- in. (Sec engraving.) No. 546 (a). NTAGLIO on a fcarabeus. Diomedes throwing the ftone at ^neas. (See '-'• Invpronte di Monumenti Gem^'' ^r., Cent. 5, No. 39.) Cornelian. Height, 9/i6ths; width, ^ in. (See engraving.) . No. 547 (a). NTAGLIO, fawn from a fcarabeus. A hero ftanding holding with both hands a human head over a fhield, which is placed on the ground near him — perhaps 142 VIL— ANTIQUE AND OTHER Tydeiis with the head of Menalippus. In the field of the gem is an illegible infcription in Etrnfcan charafters. Cornelian. Height, § in. ; width, ^ in. No. 548 (a). I NTAGLIO on a fcarabeus. Diomedes ftealing the EM Palladium. In front of him is the ftatue of Venus. The crefcent moon and flar above him are allufive to the nofturnal undertaking. Striped onyx. Height, i i/i 6ths ; width, J in. No. 549 (a). P@ NTAGLIO on a fcarabeus. Achilles falling on the loiMi ground, wounded in the heel by an arrow. Striped onyx. Width, 7/1 6ths ; height, | in. No. 550 (a). ^^^ UPID bending his bow. Intaglio — fard. Height, 7/1 6ths ; ^^^:h width, g in. No. 55 1 (a). ^^^ UPID, carrying a thunderbolt in his uplifted right hand i^^s and a club in his left. Intaglio — violet ruby. Height, ^ in. ; width, 5/1 6ths. No. 552 (a). ^^^5 UPID, carrying a game cock in his arms. Intaglio — 1^^ cornelian. Height, | in. ; width, 7/1 6ths. (See en- graving.) ENGRAVED GEMS. 143 No. 553 (a). UPID kneeling, with the palm of viftory in his hand, is fetting a cock, whfch he holds on his knee, to fight againft another cock. Intaglio — Oriental onyx of two ftmta. Width, 9/i6ths; height, 7/i6ths. No. 554 (a). I^j^ wo CUPIDS, one of whom carries a palm of viftory, ^^ exciting two cocks to fight. Intaglio — red jafper. Width, ^ in. ; height, | in. No. 555 (a). UPID in a car, drawn by two fwans. Intaglio — dark '^^^x fard. Width, 7/i6ths; height, 5/i6ths. No. 556(a). (UPID, riding on a fantaftic animal. The head that of a horfe, its cheft is formed by a bearded man's head, and its body by a ram's head with a caduceus in its mouth. Beneath is another Cupid, riding on a dolphin, and guiding an animal exaftly like the one above. Intaglio — red jafper. Height, § in. ; width, 7/1 6ths. No. 557(a). NTAGLIO, in its original antique gold fetting as a ring. ^ Cupid, with a whip in his hand, riding on a dolphin. Red jafper. Width, 5/1 6ths ; height, 3/1 6ths. 144 VII.— ANTiqUE AND OTHER No. 558 (a). BACCHANTE, with a bunch of grapes and wheat-ears in her hands, riding on a goat. On the reverfe of the flone, a head of Auguflus. Probably a work of the cinque-cento period. Cameo — fine onyx of two layers. Height, U in. ; width, 9/1 6ths. No. 559 (a). ^^M^ ICTORY advancing, with a palm in one hand and a )^kt§S wreath in the other. Cameo. nienti width, I- in- ; No. 560 (a). IE AD OF MEDUSA. A fine engraving on black jafper. Intaglio. Height, i3/i6ths ; width, 9/i6ths. No. 561 (a). NTAGLIO on a fcarabeus. A giant, whofe lower extremities are formed by two ferpents, carrying a block of ftone on his (houlder. (See " Impronte di Monu- Gem,'' Cent. 5, No. i.) Cornelian. Height, J in.; f in- No. 562 (a). NTAGLIO fawn from a fcarabeus. A feated fphynx. Cornelian of deeply-cut early Greek work. Length, height, ^ in. (See engraving.) No. 563(a). jAMEO, fragment. Viftory, with mighty wings, borne by the four horfes of a quadriga, of which flie holds the reins. Behind her an outftretched arm. Above is an ENGRAVED GEMS. 145 eagle flying, with a wreath in its beak. Burnt onyx of two ftrata. Height, | in. ; width, | in. Size when complete about 2 in. long by i ^ wide. No. 564 (a). If^ ERCULES ftrangling the Nemean lion. Cameo, 2 executed in a very ancient ftyle. Onyx of white and rj3©i black ftrata. Height, g in. ; width, i i/i 6ths. (See engraving.) No. 565 (a). J NTAGLIO. Head of Ifis or Canopus on a fine 0;-iental onyx of three ftrata, in a beautiful Italian cinque-cento enamelled gold fetting as a thunib ring. Height, ^ in. ; width, | in. No. 566(a). ARPOCRATES, carrying a cornucopia, and leaning with his right arm on a cippus ; at his fide fits a dog, raifing one of his fore-paws, as if to interrupt the meditations of the god. Intaglio — black jafper. Height, | in. ; width, ^ in. - No. 567(a). ^ NTAGLIO. Eros (Cupid) ftriking a dog with a pedum, whilft another Eros holds it by the tail. Sard. Width, 7/i6ths; height, | in. 4^ ix-.-, _ No. 568(a). UPID carefllng a hound, which ftands before him. Intaglio — fard. Width, i i/i 6ths ; height, 9/1 6ths. (See engraving.) 146 VII.— ANTIQUE AND OTHER No. 569 (a). I^^S UPID teaching a lion to beg. Intaglio — dark brown fard. Width, | in. ; height, | in. No. 570(a). UPID, with a palm of viftory in his left hand, holding up it a hare by the tail with his right, at which a hound is fpringing. Intaglio — redjafper. Height, f in. ; width, 7/1 6ths. No. 571(a). UPID, feated on a rock, fifliing, carries on his arm a baiket, wherein to place the fifti. Intaglio — fard. Height, in. ; width, 5/1 6ths. No. 572 (a). ShREE EROTES (CUPIDS) feated in a boat with a mafl and fail ; the firft plays on the fyrinx, the lecond on the double flute, and the third on the lyre. Intaglio — white and red parti-coloured fard. Width, ^ in. ; height, 7/i6ths. No. 573(a). WM wo EROTES in a boat with a maft and fail ; the one ^ rowing, the other fifhing. Intaglio — fard. Height, 5/1 6ths ; width, f in. No. 574(a). wo EROTES feated in a boat with a maft ; the one hoifts a fail, while the other cafts a net. On a rock is feated a third Eros fiftiing. Intaglio — fard. Width, | in. ; height, I in. PL. e. 3'5 2_- VII Antit^e and otlier TSagi-avei G°ins ENGRAVED GEMS. 147 No. 5 75 (a). ?UPID, with a torch in his hand, leaning on the lower rim of an urn or amphora, which contains a pahn of viftory ; oppofite to him, a Ikeleton is bending over the rim of the veffel. (From Dr. Nott's Collection. See " Impronte di Monumenti Gem^'' ^c.^ Cent. 2, No. 58.) Onyx. Height, ^ in. ; width, 7/1 6ths. (See engraving.) No. 576 (a). ION carrying a winged genius, who holds a wreath in his right hand, and with his left arm encircles the neck of the heart. Intaglio — ^fard. Width, | in. ; height, 9/i6ths. (See engraving.) No. 5 77 (a). ROS AND ANTEROS erefting a trophy. Intaglio— fard. Height, 7/i6ths; width, | in. No. 5 78 (a). ^UST OF PSYCHE, with a veil on the back of her head, and her hand grafping a butterfly. Intaglio — ^fine Oriental onyx of two ftrata. Height, ^ in. ; width, 7/1 6ths. No. 579 (a). & NTAGLIO. Helios borne through the clouds on a quad riga. On the bevelled edge of the ftone are the twelve figns of the zodiac. Cornelian. Width, J in. ; height, I i/i 6ths. L 2 148 VII.— ANTIQUE AND OTHER No. 580 (a). ^^^AMEO. Head of Marcus Agrippa — the back part of ?^^^' the head broken away. Onyx of two ftrata. Height, I in. ; width, | in. No. 581 (a). A.D, three-quarter W- Cameo — white onyx. Height, if in. ; width, | in. I ORTRAIT HEAD, three-quarter face, in nearly full relief. No. 582 (a). itUST OF AGRIPPINA THE YOUNGER. Cameo, in fplendid Oriental onyx of four ftrata. Height, i-9/i6ths ; width, i-3/i6ths. No. 583 (a). if ALF-LENGTH FIGURE OF AN EMPRESS, with a veil on the back of her head and a cornucopia in her hand. A magnificent cameo in fplendid Oriental onyx of three ftrata. Height, i| in. ; width, i|; in. (See engraving.) No. 584 (a). W^M POLLO, clad with the chlafiiys, carrying the lyre on his K^^M. left arm ; at his fide a lighted tripod placed on a cippus. Intaglio — cornelian with a white layer. Height, i in. ; width. No. 585 (a). RAGMENT. A Scythian, who, by order of Apollo, is on the point of flaying Marfyas. Intaglio — fard. Height, 7/i6ths ; width, ^ in. >i lENGRAVED GEMS. 149 No. 5 86 (a). ^1^^ MUSE, feated on a four-legged (tool or couch, with a lyre iC%^ in her hand. Intaglio — cornelian. Height, | in. ; width, ^ in. No. 587 (a). MUSE, feated in front of a malk of Pan, which is placed on an IthyphaUic column. Intaglio — fmoke-coloured chalcidony. Height, | in. ; width, ^ in. No. 588(a). I^^l ELPOMENE, feated on a rock, holding a tragic malk in >^M^ her hand. Intaglio — fplendid hyacinthine fard. A frag- ment completed in gold. Height, 1 in. ; width, | in. No. 589 (a). SS^ERPSICHORE, leaning againfl a pillar, ftraining the g^ firings of her lyre. Intaglio — plafma. Height, 1 5/1 6ths ; width, 1 i/i 6ths. No. 590(a). BEARDED PROFILE HEAD. Cameo— antique is pafle, in imitation of fine Oriental fardonyx of three llrata. Worked on the wheel. Height, i i/i6ths ; width, f in. No. 591 (a). AMEO. Bull of a man with a coat of mail, on which is the head of Medufa ; furrounded by a raifed border. I50 VII.— ANTIQUE AND OTHER Oriental onyx of two ftrata. Italian, feventeenth or eighteenth century work. Height, i in. ; width, ^ in. No. 592 (a). ^^^ UPID, holding a bow and arrow in his left hand, and in ^^^^r his right a butterfly. Intaglio-— fard. Height, ^ in. ; width, 5/i6ths. No. 593 (a). ^3 FOOT, covered with a winged fandal ; alfo a caduceus. M Intaglio — fard. Width, 7/1 6ths ; height, | in. No. 594 (a). YGIEIA. Intaglio on fard. Height, | in. ; width, f *"• No. 595 (a). \ ASK OF THE BEARDED BACCHUS crowned with \ ivy. Intaglio — fard. Height, 9/i6ths; width, | in. No. 596(a). liiULL-FACED MASK OF THE BEARDED BAC- CHUS. Intaglio — nicolo. Height, i3/i6ths; width, 9/1 6ths. No. 597 (a). 'HE BEARDED BACCHUS, in flowing garments, hold- ing the cantharos in his right hand, and the thyrfus in his left. Intaglio — chalcidony. Height, | in. ; width, | in. ENGRAVED GEMS. 151 No. 598 (a). EAD OF THE YOUTHFUL BACCHUS, crowned with grapes; front face, on a beautiful lozenge-ftiaped emerald — facet cut at the back. Intaglio. Diam., f in. No. 599(a). HE THREE NYMPHS OF NYSA, Handing in front W^ of the infant Bacchus, who is feated on the ground. Intaglio — ftriped fardonyx. Height, J in. ; width, | in. (See engraving.) No. 600 (a). jEUCOTHEA, holding a drinking veffel in her hand, out of which the infant Bacchus, who is feated on a rock, beneath a tree, is drinking ; beneath the tree is a priapus herme. Intaglio— fard. Height, 7/1 6ths ; width, 5/1 6ths. (See engraving.) No. 60 1 (a). ^p ACCHUS, his left arm leaning on a cippus, holding an ^* conochoe in his uplifted right hand, and a bunch of grapes, at which a fquirrel is jumping, in his left. Intaglio — cornelian. Height, 9/1 6ths ; width, | in. No. 602 (a). ^ HE DRUNKEN BACCHUS, holding the thyrfus in his ^^ right hand, and a cantbaros in his left. Intaglio — nicolo. Height, i in. ; width, § in. 152 VII.— ANTIQUE AND OTHER No. 603 (a). |EAD OF ARIADNE; front face. Intaglio— black jafper In its original gold fetting as a ring. Height, 5/1 6ths ; width, ^ in. No. 604 (a). SILENUS MASK. Intaglio— fard. Height, 9/i6ths; width, I in- No. 605 (a). |ILENUS feated, feen in front, holding in his hand two ^l^jg (licks ; near him on the ground a double flute. Intaglio. Onyx of two flrata. Height, | in. ; width, 7/1 6ths. No. 606 (a). ^^^ILENUS, feated, crowned with ivy, holding in one hand ^^^M a thyrfus, and with the other raifing a patera to his lips. Intaglio — fard. Height, 9/1 6ths ; width, | in. No. 607 (a). RUNKEN SILENUS, with the thyrfus on his ftioulder, riding on an afs, which is led by a faun, who alfo carries a thyrfus. A mod exquifite minute intaglio on a fine ilriped fardonyx. Width, 9/1 6ths ; height, 7/1 6ths. No. 608 (a). , BACCHANTE, with a thryfus, facrificing at a low burn- ing-altar. In front of her ftands Silenus, holding in his ENGRAVED GEMS. 153 uplifted hands a cantharos and grapes. Intaglio — light fard. Width, \ in. ; height, 7/i6ths. No. 609 (a). I N front of a burning altar, ornamented with wreaths, (lands an athlete, facrificing from a patera ; on the ground behind him is an anocboe. Cameo — ^fardonyx of two ftrata. Height, I in. ; width, i i/i 6ths. No. 610 (a). OUR THEATRICAL MASKS, arranged in pairs, be- twixt which is the name ETPIHIAHS. Cameo — onyx of two layers. Height, i-3/i6ths; width, ii/i6ths. No. 6 1 1 (a). BALD-HEADED COMIC MASK. Cameo— light green antique pafte. Height, ^ in. ; width, 7/i6ths. No. 6 1 2 (a). BEARDED SILENUS MASK. The margin of the Hone iurrounded by a raifed border. Cameo — fardonyx of two ftrata. Height, 9/1 6ths ; width, ^ in. No. 6 1 3 (a). |RUNKEN SILENUS, riding on a goat, at which a dog is barking. Intaglio — ^blue antique pafte. Width, 7/1 6ths ; height, ^ in. No. 614 (a). ,^j EARDED FAUN, feated on a hide, which is fpread on the ground, holding two poppies in his hand. Intaglio — brown and red fpotted jafper. A circular gem. Diam., 9/i6ths. 154 VIL— ANTIQUE AND OTHER. No. 615 (a). SS ^^ FAUNS, holding and beating another bearded faun. ■^^ (See " Impronte di Monumenti Gem" Cent. 6, No. 9,) Intaglio — ftriped fardonyx. Height, | in. ; width, f in. . No. 6 1 6 (a). AUN STANDING, with croffed legs, his fhoulder clad with the nebris, holding a pedum in his right hand and a drinking veffel in his left. Intaglio — violet antique paile. Height, i3/i6ths; width, | in. No. 617 (a). i^ AUN, with a thyrfus, (landing bent forwards, and ftretch- ing out the fingers of the right hand as if to play the game of mora. Intaglio — ftriped onyx. Height, 9/i6ths; width, 7/i6th8. No. 618(a). ^AUN, clothed in a fkin, pouring wine from an (snochoe I into a patera, which he holds in his left hand. Intaglio — fard. Height, ii/i6ths; width, | in. No. 619 (a). ?AUN, with a wine-fkin on his flioulder, pouring out its \ contents into an amphora which (tands in front of him. Intaglio — fard. Height, | in. ; width, ^ in. No. 620 (a). AUN, ftanding with two fticks in his hands. A ftriated border round the margin of the ftone. Intaglio — ftriped onyx. Height, J in. ; width, | in. ENGRAVED GEMS. 155 No. 62 I (a). lEAD OF PAN in profile. Intaglio— ford. Height, * ^ in. ; width, | in. No. 622 (a). ASK OF PAN, crowned with ivy. Deeply cut on a red jafper. Intaglio. Height, f in. ; width, | in. No. 623 (a). AN (feen front fece), his back covered with a hide, feated on a rock, and playing on the fyrinx. Intaglio — ftriped onyx. Height, 7/1 6ths ; width, | in. No. 624 (a). AN (landing, carrying the pedum. Intaglio on amethyfl. Height, I in. ; width, 5/1 6ths. No. 625 (a). WOMAN facrificing at a burning altar, in front of a priapus herme, which ftands on a column ; behind is Silenus playing on the flute. The margin furrounded by a ftriated border. Intaglio — cornelian. Width, ^ in. ; height, 7/1 6ths. No. 626 (a). ICHLY-ORNAMENTED HELMET, funnounted by a lofty plume. A fragment. Cameo — fardonyx of three layers. Height, i in. ; width, i^ in. 156 VII.— ANTiqjJE AND OTHER No. 627 (a). RAZING BUCK — the lower part of the ftone wanting! Cameo— fardonyx of three ftrata. Width, i3/i6ths; height, 7/i6ths. No. 628 (a). ^Ej BRIDLED HORSE. Cameo— nicolo— in its original t-Ss^ antique Roman gold-ring fetting. Width, ^ in. ; height, 7/i6ths. No. 629 (a). ^^^AMEO. A grazing horfe. Sardonyx of three layers. l^^ Width, 1 5/1 6ths ; height, | in. No. 630 (a). g DOG lying down — feen from above. Executed in very high relief in a fine fardonyx of three layers. Width, f in. ; height, 7/1 6ths. No. 631 (a). OG lying down — feen from above. Cameo in fine red fard on a flratum of white chalcidony. Width, 1 1 in. ; height, f in. No. 632 (a). ^^WAN STANDING. Pale onyx of two layers, }^^ Cameo. Height, | in. ; width, 5/1 6ths. No. 633 (a). P WO MICE drawing a biga, on which is a cock, holding ^ the reins. Cameo — nicolo. Blanched by fire. Width, 7/i6ths; height, 5/i6ths. ENGRAVED GEMS. 157 No. 634 (a). ICTORY, {landing on the globe, with a palm in one hand and a wreath in the other. Intaglio — onyx of brown and white ftrata. Height, i3/i6ths; width, ^ in. No. 635 (a). ICTORY, with a wreath and a palm, (landing on the prow of a Ihip, at the extremity of which is the globe. On the (liip is a band with the infcription in Latin charafters, " Div. ivi. F." Intaglio — fard. Height, ^ in. ; width, ^ in. No. 636 (a). OMAN EMPEROR ON HORSEBACK; before him marches Viftory, with a palm ; he is followed by a Roman foldier, bearing a legionary flandard or eagle. Intaglio — (Iriped onyx. Width, i i/i 6ths ; height, J in. No. 637 (a). ICTORY, with the palm in her hand and her foot upon the globe, holding a circular fhield over a fmall female figure, which fits on the ground ; on the other fide an eagle. Intaglio — cornelian. Height, 9/1 6ths ; width, 7/1 6ths. No. 638 (a). I ICTORY, in the armour of Minerva, (landing on a globe, l^ and holding an owl in her (Iretched-forth right hand. Intaglio — fard. Height, | in. ; width, J in 158 VII.— ANTIC^E AND OTHER No. 639 (a). ■ONUS EVENTUS, with the fcales and palm, (landing; his left arm fupported on a pillar. Before him is a dog ; there is alfo the circumfcription, L . D . VIRILI. (From Dr. Nott's Colleftion. Compare '•'' hnpronte di Monu?}ienti Gem,^' Cent. 2, No. 38.) Intaglio — fard. Height, 9/i6ths; width, 7/1 6ths. No. 640 (a). ^g TRIQUETRA, formed by a Gorgon's head and three '^^M human legs — the head ornamented with three wheat-ears. This lingular device is an emblem of Sicily. Intaglio — fard. Height, I in. ; width, 7/1 6ths. No. 641 (a). ROMETHEUS CHAINED; before him the vulture. Intaglio — yellow fard. A circular gem. Diam., | in. No. 642 (a). PIMETHEUS, fitting, opening the box of Pandora. M Intaglio — yellow antique pafte. Height, | in. ; width, No. 643 (a). ||EAD of the young HERCULES. Intaglio— Sii cornelian. Reftored in gold. Height, 7/i6ths; width, No. 644 (a). Head of the young HERCULES. Fragment. (From Dr. Nott's CoUedtion. See " Impronte di Monu- ENGRAVED GEMS. 159 menfi Geniy" Cent, i, No. 6y.) Intaglio. Height, 9/i6ths; width, I in. No. 645 (a). ^'^^^^UDE FEMALE FIGURE Handing in front of a cippus or fountain column, on which fhe leans with her right hand; with her left fhe is bathing her right foot, which refts upon a rock. The lower portion of this compofition is wanting. The margin of the flone furrounded with a raifed border. White onyx of two ftrata. Cameo. Height, i in. ; width, § in. No. 646 (a). ;:j AMEO. Byzantine Greek work, of uncertain period. The Angelic Salutation, with the ufual infcription in Greek characters. Splendid onyx of three ftrata. Height, i-5/i6ths; width, 1 in. No. 647 (a). H NTAGLIO. Venus Anadyomene, borne by two dolphins ; there is the infcription. NICOMC. A beautiful gem, of the cinque-cento period. Golden fard. Height, i in. ; width, |i„. No. 648 (a). ^HALIA, feated on a rock, with a comic mafk. Modem ?■ work. Intaglio — fplendid onyx of three ftrata. Height, I in. ; width, A in. No. 649 (a). NE OF THE NYMPHS OF NYSA, carrying the infant Bacchus. Modern work on an antique Hone. i6o VII.— ANTIQUE AND OTHER Intaglio on a fplendid onyx of three ftrata. Height, 1 5/1 6ths ; width, I i/i 6ths. No. 650 (a). HE DRUNKEN SILENUS, bending forwards, and leaning on the youthful Bacchus. Modern work. Intaglio. Striped fardonyx. Height, 1 3/1 6ths ; width, J in. No. 65 I (a). "^HE YOUNG HERCULES STRANGLING THE ;h SERPENTS. He is feated on a pedeftal, in front of which is a large bowl garlanded with ivy. Intaglio — fard. Height, 7/1 6ths ; width, ^ in. No. 652 (a). B ^^ERCULES, clad in his lion's fkin, with the club on his {boulders, pacing about in a ftate of drunkennefs. The m& 8 flone is furrounded with a ftriated or granulated border, and has probably been fawn from a fcarabeus. Intaglio — corne- lian. Height, 9/1 6ths ; width, ^ in. No. 653 (a). ERCULES SHOOTING THE STYMPHALIAN BIRDS. The ftone is furrounded with a llriated border. Intaglio — golden fard. Width, i i/i 6ths ; height, ^ in. No. 654(a). I ERCULES, clad in the nebris, holding the club in his left SH hand, and the Herculean fcyphus in his right ; infcribed with the name of the artift, A AM"*'N. Intaglio — cornelian. Height, J in. ; width, 9/i6ths. ENGRAVED GEMS. i6i No. 655 (a). HANATOS, reprefented as old and bearded, and with ^^' great wings, (landing behind the finking Hercules. In- taglio — ilriped onyx. Height, i in ; width, ^ in. No. 656 (a). ^ELLEROPHON RIDING PEGASUS, in combat with ^ the Chimera, at whom the dog Mera is barking. In- taglio — cornelian. Height, J in. ; width, 9/1 6ths. No. 657 (a). 1^ ELLEROPHON RIDING PEGASUS, in combat with S^^ the Chimera. The edge is granulated. Intaglio — flriped onyx. Height, i i/i 6ths ; width, I in. No. 658 (a). HE CHIMERA. Intaglio— chalcidony. Width, f in. ; %. height, 9/i6ths. No. 659 (a). ADMUS AT THE DRAGON-GUARDED SPRING. Intaglio — ^brown fard. Width, | in. ; height, ^ in. No. 660 (a). SITTING SPHYNX, with a double body— feen from the front. Intaglio — cornelian. Width, | in. ; height, No. 661 (a). rINGED FEMALE SPHYNX, the upper part of her body and arms of human form, feated on the ground before a jewel cafket, from which ihe has taken a M fin. i6a VII.— ANTiqUE AND OTHER ftring of pearls ; on the other fide is a vafe. Intaglio — cornelian. Height, | in. ; width, f in. (See engraving.) No. 662 (a). TEOCLES AND POLYNICES, the fons of (Edipus, armed with fwords and ihields, expiring on the ground. Intaglio — blue antique pafle. Width, 7/1 6ths ; height, 5/1 6ths. No. 663 (a). ^J^T&^ASON, {landing before a column, round which is coiled ^^^ (^ a Colchian dragon, and on the top of which fits the tfr^^^^iM magic bird Tyn, which Jafon had received from Medea ; at the foot of the pillar is the ram of Phryxus. Intaglio — fard. Height, J in. ; width, f in. No. 664 (a). 'aJ^ RPHEUS, feated on a rock, playing the lyre. Intaglio on garnet. Height, 7/i6ths; width, | in. No. 665 (a). P^'HESEUS, his right arm refting on a rock, contemplating (^ a fword which he holds in his left hand ; near him )^^ a club. (See " Impronte di Mo?iumenti Gem^'' Cent, i. No. 69.) Intaglio — cornelian. Height, J in. ; width, | in. (See engraving.) No. 666 (a). fYCURGUS, King of the Edonians, hewing down with his axe the vine of Dionyfus. Ancient Greek work, with a flriated border. Intaglio — brown and white banded fardonyx. Height, 1 3/1 6ths ; width, 7/1 6ths. (See engraving.) ENGRAVED GEMS. 163 No. 667 (a). ^1^^ ELEUS, inclined backwards, wringing out his wet hair over i"SS a bafm; with the infcription, IlEAE. Early Greek work, with a ftriated border. Intaglio — ftriped onyx. Height, I i/i 6ths ; width, | in. (See engraving.) No. 668 (a). '0^^ RGOS, (landing in an inclined pofture, with one foot on ^^M the ftem of his fliip. With a ftriated border. Intaglio — cornelian. Height, | in. ; width, ^ in. (See engraving.) No. 669 (a). g^HE CITY OF TROY, with Achilles dragging the corpfe ^Mi of Heftor round the town. Intaglio — amethyft. Width, I i/i 6ths ; height, | in. No. 670 (a). gpHETIS PLUNGING THE YOUNG ACHILLES, ^^^ whom (he is holding by the heel, into the waters of I Styx. Intaglio on garnet. Height, 9/i6ths; width, 7/i6ths. No. 671 (a). iWgpLYSSES AND DIOMEDES FLEEING, after having fcSi^ ftolen the Palladium. Beneath is the fignature of the artift, SftSOKAE. An exquifite intaglio on hyacinth-coloured fard. Poffibly a modem Italian work. No. 672 (a). ^RIAM AT THE FEET OF ACHILLES, of whom he is fupplicating the corpfe of Heftor, whilft Brifeis com M 2 164 VIT— ANTiqUE AND OTHER paffionately raifes him up. Near the group is a column. In- taglio—cornelian. Width, I in. ; height, ^ in. No. 673 (a). §^^ GRILLES KNEELING ON THE GROUND, extraft- i ing the arrow from his heel. Intaglio. No. 674 (a). ECTOR SPRINGING ABOARD THE GREEK ^1 SHIPS. (From Dr. Nott's Colleftion. See " Impronte di Monumcnti Gem,'^ Cent, i, No. 82.) Intaglio — cornelian. Height, 7/1 6ths ; width, f in. No. 675 (a). IK F^l^METED HEAD OF AJAX, with the fignature of iHl the artift, APIITOM. A fplendid Greek intaglio on jacynth. Height, 9/1 6ths ; width, i in. . No. 676 (a). t^flOMEDES KNEELING ON THE CORPSE OF IS THE SLAIN DOLON, whofe fevered head he holds in his hand. Surrounded by a ftriated border. Striped onyx. In- taglio. Height, ^ in. ; width, | in. (See engraving.) No. 677 (a). % lOMEDES, carrying the Palladium in one hand, and in 'y^ the other the torch which lights him in his nofturnal expedition. Intaglio— fard. Height, 7/i6ths; width, 1 in. No. 678 (a). BEARDED WARRIOR, probably Odyffeus, with the head of Medufa on his breail-plate, kneeling on the ENGRAVED GEMS. 165 ground, holding his Ihield before him. Intaglio — cornelian. Height, f in. ; width, | in. (See engraving.) No. 679 (a). '^M BUST OF ODYSSEUS, covered with the pileus—wkh ^S. the fignature of the artift, KPOMOT. Splendid dark brown fard. Intaglio. Height, ^ in. ; width, 9/1 6ths. No. 680 (a). 5>||^CYLLA DRAGGING A COMPANION OF ODYS- ^^^ SEUS DOWN INTO THE WAVES ; above her ^.^wSil head fhe fwings a rudder, in order to annihilate her viftim. A magnificent intaglio ; the lower part reftored in gold. (From Dr. Nott's CoUeftion, See " Impronte di Monumenti Gen^' Cent, i. No. 93.) Intaglio — cornelian. Height, g in.; width, I in. (See engraving.) No. 681 (a). I EAD OF LAOCOON. Intaglio in red jafper. Height, I in. ; width, 9/i6ths. No. 682 (a). THRYADES, who has funk upon the ground, writing the ^^ news of viftory on his ihield with his own blood. In- taglio — pale yellow fard. Diam., 9/i6ths. No. 683 (a). THRYADES, (landing and writing the meffage of victory on his ihield. A beautiful early Greek gem, with a llriated border. (From Dr. Nott's Colledion. See i66 VIL— ANTIQUE AND OTHER '•'' Impronte di Monumenti Gem^^ Cent, i, No. 99.) Intaglio — ftriped onyx. Height, 9/i6ths; width, ^ in. {^ee engraving.) No. 684 (a). ALF FIGURE OF SOCRATES, in an attitude of declamation. Greek work, within a ftriated border. Intaglio — fard. Height, f in. ; width, i in. I A^ No. 685 (a). ^^AUSTULUS, before the fhe-wolf, who lies under the VJ) fi*^^^ ruminalis ; oppofite him, fits the Goddefs Roma. fiS^C^ (From Dr. Nott's Colleftion. See " Impronte di Mo««- wz^wf/G^;;/," Cent. I, No. 65.) Intaglio — fard. Width, 7/1 6ths ; height, 7/i6ths. No. 686 (a). I EAD OF LIVIA. Intaglio — hyacinth-coloured iard. Height, 7/i6ths; width, 5/i6ths. No. 687 (a). H EAD OF ANTONIA. Intaglio— fard. Height, f in. ; width, 7/i6ths. No. 688 (a). fEAD OF OCTAVIA. Intaglio— yellowiih lard Height, f in. ; width, | in. 6 No. 689 (a). EAD OF MATIDIA. A fuperb Roman intaglio, I in a fine hyacinth-coloured fard. (From Dr. Nott's ENGRAVED GEMS. 167 CoUeftion. See ^^ Impronte di Monumenti Gem,'' Cent. 2, No. 80.; No. 690 (a). ^UST OF COMMODUS. Reftored in gold. Intaglio — cornelian. Height, ^ in. ; width, | in. No. 691 (a). ^^ALE PORTRAIT HEAD. Intaglio— fard. Diam., 9/1 6ths. No. 692 (a). ALE PORTRAIT BUST. Intaglio— fard. Height, I in. ; width, | in. No. 693 (a). ULL-FACED FEMALE BUST. Intaglio — corne- lian. Height, f in. ; width, | in. No. 694 (a). NTAGLIO. The '' pajlor bonus "—a herdfman, with a crook in his hand, carrying a lamb on his {houlders ; at his feet is a dog looking up. A remarkable gem of the early Chriilian period. Red jafper. Height, 9/1 6ths ; width, 7/1 6ths. No. 695 (a). W HE ''PASTOR bonus;' with the lamb on his Ihoulders; ^ at his feet two panthers looking upwards. There is the infcription, E. SIVKEV. Early Chriftian. Intaglio on cornelian. Height, 7/i6ths; width, 7/i6ths. i68 VII.— ANTIQUE AND OTHER No. 696 (a). ECROMANCER, with a corn-ear in his hand, (landing before a form which he has conjured up, and of which only the upper part rifes above the ground. Intaglio — fard. Height, I in. ; width, 7/i6ths. No. 697 (a). 11 EAD OF A VESTAL— probably of Italian cinque-cento workmanfhip. Intaglio on fard. Height, f in. ; width, 7/1 6ths. No. 698(a). NTAGLIO. Two Ephebes on their knees in a wrellling combat, before a bearded herme. Intaglio — fard. Width, 7/i6ths; height, | in. No. 699 (a). ^^S N OLD MAN fitting before a herme, and looking on at ^^§ a wreflling combat betwixt two boys ; behind him (lands Viftory with a palm. Intaglio — cornelian. Height, 5/i6ths; width, ^ in. . No. 700 (a). NTAGLIO. An Ephebe with a palm, ftanding by a pillar, on the fummit of which he is holding a difcus ; in front of the pillar dands a facrificial table, againft which are placed two palms. Cornelian. Height, | in. ; width, § in. ENGRAVED GEMS. 169 No. 701 (a). DISCOBOLUS LIFTING THE HEAVY DISCUS. P^ Intaglio — onyx of three ftrata. Height, J in. ; width, 7/1 6ths. No. 702 (a). *P^ DISCOBOLUS, with a palm in one hand, and holding the difcus upon a pillar, with the other on the ground ; near him is a vafe, with a palm in it ; there are alfo the letters, " L. R. A." Sard. Intaglio. Height, | in. ; width, 9/i6ths. (See engraving.) No. 703 (a). J^^^IAMEO. A bacchante — her left knee refting on a Zr, ftone, and her body thrown back, raifmg an anochoe '*^ over her head with one hand, and with the other holding a bunch of grapes. Modem work. Onyx of two ftrata. Height, i-i/i6th; width, J in. No. 704 (a). ^^^ ERSEUS, advancing, holding the herpe in his right ^^^ hand, and the head of Medufa in his left. Cameo, by Piftrucci. (Signed.) Cornelian — onyx of feveral ftrata. Height, i^ in. ; width, ^ in. No. 705 (a). . EAD OF MEDUSA. Antique cameo pafte of three ftrata. Height, | in. ; width, i i/i 6ths. No. 706 (a). AMEO. A female figure pouring water from a vafe. A fragment. Antique glafs pafte of two ftrata. Height, ^ in. ; width, ^ in. 170 VII.— ANTIQUE AND OTHER No. 707 (a). 1^^'^ OUR HORSES (landing as if yoked to a car — probably ^i^^ a fragment of a larger compofition. Early Greek or Etrufcan. Intaglio — chalcidony. Height, | in. ; width, | in. No. 708 (a). ^P CHARIOTEER driving ten horfes abreaft through an ^^ open gate. Intaglio — red jafper. Width, f in. ; height, iin. No. 709 (a). ^M NAKED WARRIOR, leaning on his lance. Early S;S^ Greek or Etrufcan work. Intaglio — flriped fard. Height, 9/i6ths; width, 7/i6ths. No. 7 1 o (a). BARBARIAN.? WARRIOR on horfeback, armed with ^ a fhield. The horfe is apparently wounded with a lance, and is fmking under the weight of his rider. Intaglio — cornelian. Width, I in. ; height, 9/i6ths. No. 7 1 1 (a). ^/^ BEARDED HEAD, with a helmet formed like a ram's g|^\^ horn. A very deeply cut gem of fine early Greek K2^^ work. (From Dr. Nott's CoUeftion. See ^'- hnpronte di Monumenti Gem,'' Cent. 3, No. 87.) Intaglio — fard. Height, J in. ; width, | in. (See engraving.) No. 7 1 2 (a). b^pHIP OR GALLEY, with the prow in the form of a 'i^ji^ cock ; above it a butterfly. Intaglio — blue antique parte. Width, 7/i6ths; height, 5/i6ths. ENGRAVED GEMS. «7i No. 713(a). HILOSOPHER (landing before a pillar or cippus, on the fummit of which are three balls ; he is reading from a roll which he holds in his hands. Intaglio — flriped fard. Height, I in. ; width, 9/1 6ths. No. 714 (a). y^WA HILOSOPHER feated before a bearded herme, readine: ^^i^^M' from a fcroll. Intaglio — fard. Height, 7/1 6ths ; width, 5/i6ths. No. 715(a). 1^ HILOSOPHER feated in a chair, reading from a fcroll ; ^^.^m, before him Hands a fkeleton, brandiihing a dagger. A lyre relts againft the chair. Intaglio — flriped fard. Height, I in. ; width, J in. No. 7 I 6 (a). i HILOSOPHER feated— before him (lands a human ikele- ton, which he grafps by the "arm. Intaglio — flriped fard. Height, 9/1 6ths ; width, 7/1 6ths. No. 717 (a). ^M PHILOSOPHER feated, reading from a fcroll ; before ^^ him Hands a ikeleton, by its fide a butterfly hovering over a rock. Intaglio — fard. Width, J in. ; height, 5/i6ths. No. 718 (a). ^©^ BEARDED ARTIST, feated on the ground, and work- »^^ ing at a vafe, which flands before him. Intaglio — onyx of two flrata. Width, | in. ; height, | in. 172 VII.— ANTIQUE AND OTHER No. 7 1 9 (a). ^N ARTIST SEATED, with a hammer in his hand, working at an amphora ; before him a face Hum. Sur- rounded by a llriated border. Intaglio — cornelian. Width, 9/i6ths; height, 7/i6ths. No. 720 (a). li^jgljNTAGLIO. Violet antique glafs pafte. Engraved on ^C ^s the wheel like a gem, and apparently left unfinilhed. ft^UT^w Two comic bald-headed mafks, and a female maik ; a few llrokes and a blank fpace indicate that a fourth mafk was commenced but not finiihed by the artift. Between the maiks is the infcription, "EL NA." Height, i3/i6ths; width, J in. No. 721 (a). TREE, from which four maiks are fufpended ; at the foot of it refts a pedum, on the other fide a fyrinx. Intaglio— green antique pafte. Height, ii/i6ths; width, 9/1 6ths. No, 722 (a). jK AMEO. Regardant bufts of Auguftus and Livia, in very high relief, in beautiful blue chalcidony or fapphirine. One of the moft important works of Piftrucci. Width, 3 in. ; height, i\ in. No. 723 (a). FULL-FACED GORGON MASK. Intaglio— violet antique pafte. Height, 9/1 6ths ; width, | in. No. 724 (a). 1^^ FEMALE TRAGIC MASK. Intaglio— lapis lazuli. %. Height, 7/i6ths; width, 5/i6ths. ENGRAVED GEMS. ^y?> No. 725 (a). ^^NTAGLIO, in its original maffive antique gold fetting as f^^'^^^ a ring. A ma(k with a pedum before it. Nicolo. Height, 5/1 6ths ; width, ^ in. No. 726 (a). ^^^.RTLLUS, or combination of three mafks, furrounded »^^' by a ftar, a lituus, a half moon, a globe or ball, and a thyrfus. Intaglio — red jafper. Height, | in. ; width, | in. No. 727 (a). ^1 COMIC BALD-HEADED MASK; a flute and a g^^ fyrinx. Intaglio— red jafper. Height, ^ in. ; width, 7/1 6ths. No. 728 (a). ^^OMIC BALD-HEADED MASK. Intaglio — fard. ^^^^ Diam., 7/i6ths, No. 729 (a). ^^ GROTESQUE MASK ; the crown of the head crefted ^^^ with a cock's comb. Intaglio — black jafper. Height, 7/i6ths; width, | in. No. 730 (a). l^^ OMIC BEARDED MASK, with a pedum and the initials ^sS^ " L. N." Intaglio — fard. Height, ^ in. ; width, | in. No. 731 (a). ^^^ OMIC BEARDED MASK, with a gaping ftiell-fliapcd mouth. Intaglio — fard. Height, 7/1 6ths ; width, 5/1 6ths., 174 VII. ANTIQUE AND OTHER No. 732 (a). I'RAGMENT. A comic maik. Intaglio — nicolo. 11 No. 733 (a). I TRAGIC MASK, with the infcription, AIOAHPOC. ^^ A fplendid gem on a fine dark brown fard. Intaglio. Diam., 9/i6ths. (See engraving.) No. 734 (a). ^^^jOMIC FULL-FACED MASK, behind which appears «^C§^c :i fpmsjlp fr-Acr'\r maflr Tntacrlio — fard WTldth. A In : ^Mt a female tragic mafk. Intaglio— fard. Width, | in. ; height, I in. No. 735 (a)- i^^t RTLLUS, or combination of a female buft with a bearded ^^SK male comic mafk. Intaglio — fard. Height, 9/1 6ths ; width, I in. No. 736 (a). ^P FEMALE DRAPED FIGURE, feated before a bearded M^M malk, which is placed on a column or cippus ; infcribed with the artifl's name, MTKONOC. A moft beautiful intaglio, on a fplendid dark ruby-coloured fard. Diam., | in. No. 737 (a). I OMIC ACTOR, with a pedum. Intaglio— fard. Height, 7/1 6ths ; width, 5/1 6ths. ^ No. 738 (a). MS WO ACTORS (landing oppofite each other ; between ^^ them on the ground is a child. Probably a fcene from a play. Intaglio — fard. Height, | in.; width, 7/i6ths. ENGRAVED GEMS. 175 No. 739 (a). N ACTOR, leaning on a pedum; on each fide in the field of the gem, is a ftar. Intaglio — nicolo. Height, I in. ; width, | in. No. 740 (a). N ACTOR, wearing a comic malk, with the pedum in ^^ his hand, (landing by a pillar, on which is a comic malic. (From Dr. Nott's Colleftion.) Intaglio — fine fard. Height, I i/i 6ths ; width, A in. No. 741 (a). ASE, out of which a tree is growing, and on the brim of which two doves are perched. Intaglio — Oriental onyx of three layers. Height, | in. ; width, | in. No. 742 (a). ^^ COMBINATION OF EMBLEMS. In the centre ^^^^ of the field of the gem is a fignet-ring, within which ^3S^ is a (landing figure of Victory. Above the ring is a cornucopia, formed by a bearded human head and a ram's head, on which fits a bird; ahb a corn-ear and a ferpent. At the fides of the ring are a dolphin with a trident, a half moon, a caduceus^ a thunderbolt, and a patera with facrificial cakes?. Underneath the ring is the infcription, " M. VARRI. Q^F. ; " underneath are a thyrfus and a club. Intaglio — cornelian. Height, f in. ; width, 9/i6ths. No. 743 (a). EARDED OLD MAN, perhaps Silenus, playing the lyre before an adicula^ which (lands on a rock, and before which an altar is burning ; behind the old man is a faun 176 VII. -ANTIQUE AND OTHER playing the double flute. Intaglio — fard. Width, i in. height, ^ in. (See engraving.) ■t »^jfi f No. 744 (a). . ■ , IGURE feated at a four-legged table, on which are S^j (apparently) pieces of money. On the table ftands a box or cabinet, with two opened doors. Intaglio — cornelian. Width, I in. ; height, | in. (See engraving.) No. 745 (a). ^© NUDE FEMALE FIGURE, holding a ring, and ^^^ pointing with her hand to a butterfly hovering over a fnail which crawls on a low altar. Intaglio— green antique pafte. Height, 9/1 6ths ; width, 7/1 6ths. No. 746 (a). Standing nude male figure, holding a i^ thyrfus in one hand and drawing a mantle over his fhoulders with the other. Intaglio — cornelian. Height, | in. ; width, I in. No. 747 (a). I^^TANDING MALE FIGURE, probably Adonis, holding ^^Mi both his arms over his head ; befide him, Cupid (landing on a pillar, holding up a mirror to him. Intaglio — nicolo. Height, 9/1 6ths ; width, 7/1 6ths. No. 748 (a). RTLLUS — compofition of two male bufls, each crowned with the modius ; the fore part of a lion, its head fur- rounded by rays ; and a horned ma/k of Pan. A ftriated border round the edge. Sard. Height, J in. ; width, 7/i6ths. ENGRAVED GEMS 177 No. 749 (a). H^ wo VICTORIES, flanking a mountain, and holding a ^^ wreath over its fummit. Underneath is the infcription, "POMIMOY." Red jafper. Intaglio. Width, 7/i6ths; height, I in. No. 750 (a). '^M LION, WALKING. Intaglio on brown fard. Width, '^M i in. ; height, | in. No. 75 I (a). ■■^^, LION. Onyx of ,three layers. mm Intaglio. Width, ^ in. ; height, 7/1 6ths. No. 752 (a). I CROUCHING LION. Intaglio on amethyft, in its ® original antique gold ring fetting. Width, f in. ; height, fin. No. 753 (a). ^^ LION in the aft of fpringing. Intaglio— fard. Width, ^S i in.; height, 7/i6ths. No. 754 (a). M^^ ION, feen forefhortened, (landing on the carcafe of a bull. 4^^i Intaglio — ruby antique pafte. Height, 9/1 6ths ; width, 7/1 6ths. No. 755 (a). AMP ANT LION, rearing itfelf up againft a trophy of arms. Intaglio — nicolo. Height, f in. ; width, | in. N lyS VIT.— ANTIQITE AND OTHER tt§! No. 756 (a). Female panther, her head turned backwards. Intaglio — jacynth. Width, 5/1 6ths ; height, | in. No. 757(a). l^gN ELEPHANT. Intaglio— red jafper. Height, ^ in. ; "^^m width, 7/i6ths. No. 758 (a). NDING AT Height, 5/i6ths; width, ^ in. 0im^ WOLF, STANDING AT BAY. Intaglio — fard. No. 759 (a). i^pOUCHANT OR SLEEPING WOLF, with the initials, lS?i " F. C. T." Intaglio— fard. Height, | in. ; width, 9/1 6ths. No. 760 (a), ^^OAR, STANDING. Intaglio— violet antique pafte. 1^&, Height, J in. ; width, | in. No. 761 (a). I BOAR IN ITS LAIR. Intaglio— ikrd. 5/1 6ths ; width, | in. Height, No. 762 (a). i^TANDING SOW. Early Greek? work. Intaglio - l^M brown fard. Height, 7/1 6ths ; width, 9/1 6ths. ENGRAVED GEMS. 179 No. 763 (a). ^^^\ RTfLLUS^ or compofition of a bull's, a goat's, a rain's, and ^^^ a flag's head ; near ihe bull's head is a wheat-ear. In- taglio — fard. Height, 7/i6ths; width, 9/'i6ths. No. 764 (a). ^^^ AM'S HEAD. A deeply-cut gem, treated in a very ll^^ grand flyle. (See '■'■ Impront€ di Monumenti Gcm^' Cent. 2, No. 96,) Intaglio on fard. Height, | in. ; width, fin. No.. 765 (a). ^^^ BULL, STANDING. Iptaglio— cornelian onyx of two ^5k^2 layers. Height, ^ in. ; width, | in. No. 766 (a). cow, WALKING. Intaglio — onyx of three layers. Height, f in. ; width, | in. No. 767 (a). b BULI^ tearing up the ground in front of a rock, on *^^§ which is placed a (hrine, or ^edicula ; in the background a tree. Intaglio — cornelian. Diam., ^ in. No. 768 (a). ^^^OW, WITH A SUCKING CALF; within a ftriated ^^^^ border. Intaglio — ftriped onyx. Height, ^ in. ; width, iin. N 2 i8o VII.— ANTIQUE AND OTHER No. 769 (a). ORTRAIT OF CHRISTINA, Queen of Sweden. Con- f^^^ temporary feventeenth century work. Cameo — garnet. Height, I i/i 6ths ; width, | in. No. 770 (a). )S ORTRAIT OF A MAN WITH A LARGE BEARD, ^J^m. and wearing a furred robe and a flat cap — faid to be Pietro Aretino. A beautiful Italian cinque-cento cameo. Onyx of two layers. Height, ^ in. ; width, ^ in. No. 771 (a). 1^1 FEMALE PORTRAIT HEAD-probably a Roman ^^M. emprefs. An Italian cinque-cento cameo, in imitation of the antique. Onyx of three ftrata. Height, | in, ; width, fin. No. 771 (b). ^SN idealized female head. Eighteenth cen- ^ tury work?. Cameo in Oriental onyx of two layers. Height, J in. ; width, | in. No. 772 (a). ^^N IDEALIZED FEMALE HEAD, crowned with an f$Y^ oak wreath. Cameo in onyx of four ftrata. Height, I in. ; width, J in. No. 773 (a). EAD OF APOLLO. Cameo of recent ? work. Chalci- dony. Height, if in. ; width, i J in. ENGRAVED GEMS. i8i m 4»o No. 774 (a). cow, WITH A SUCKING CALF. Intaglio— fard. Width, I i/i 6ths ; height, f in. No. 775 (a). WOLF-DOG, (landing in an animated attitude. Intaglio [i^ — nicolo. Height, f in. ; width, | in. No. 776 (a). I GREYHOUND SEIZING A HARE. Intaglio— fard. Width, I in. ; height, | in. No. 777 (a). f HARE PURSUED BY A DOG, whilft an eagle ^ perched on a rock is alfo about to pounce on it. In- taglio — fard. Width, | in. ; height, ^ in. No. 778 (a). SQUIRREL. Intaglio— fard. Diam., J in. % No. 779 (a). N EAGLE'S HEAD. Intaglio— onyx of three ftrata. Width, ^ in. ; height, 3/1 6ths. No. 780 (a). i^ARROT HOLDING A BASKET IN ITS BEAK. Intaglio— fard. Width, | in. ; height, 7/1 6ths. I«2 VII. -ANTIQIJE AND OTHER No. 781 (a). ARROT ON A BRANCH OF LAUREL. In- '^Mf taglio — onyx of three ftrata. Width, | in. ; height, 3 ; 8 # m. No. 782 (a). wo PARROTS YOKED TO A CAR, which is driven by a fmaller bird. Nicolo. Intaglio. Height, I in. ; width, 7/1 6ths. No. 783 (a). ^^^ RAVEN PECKING AT A WHEAT-EAR ; in the ^^^ background is a column, and above, in the field of the gem, a caduceus. Intaglio — fard. Width, ^ in. ; height, ^ in. No. 784 (a). f^ OCK FIGHTING WITH A SERPENT. Intaglio— ^^^^k greenifti grey antique glafs pafte. Height, ^ in. ; width, fin. No. 785(a). ^ COCK, with outftretched wings, purfuing a lizard. In- \ taglio — fard. Height, 5/1 6ths ; width, ^ in. No. 786 (a). COCK, (landing in front of a mirror, is about to fight with his reflected image. Intaglio — red jafper. Width, in. ; height, | in. FL.7 VO'J.A Vir . -'\2ra<{u,e and arKer Engraved Gams . 7&9A. ENGRAVED GEMS. 183 No. 787 (a). iffl^^OCK, holding a palm branch. Intaglio — lard. Height, §^^^ '^ m. ; width, ^ in. No. 788 (a). ^^^ FROG. Very deeply engraved. Intaglio — on red ^^M jafper. Height, 7/1 6ths ; width, | in No. 789 (a). ^P WO GRASSHOPPERS FIGHTING— one armed with ^^^ a fword and (hield, the other with the net and trident of a retiarius. Intaglio — fard. Diam., | in. (See engraving.) 5v-t-^,-^*iiiV Intaglio — fard. No. 790 (a). ^jl^JOCUST on an acanthus leaf. ^'i^^ Diam., | in. No. 791 (a). ^^OCUST holding a fiihing-rod, from which a line, with ^^5^^ a lilh attached, is fufpended. Acrofs its ftioulders is a i C!5^/ 4s pole or yoke, at one end of which hangs a hare, and at the other a bird. Intaglio on plafma. Height, 7/1 6 ths ; width, fin. No. 792 (a). f^^^ RTLLUS — a ram's head, the under part formed by a w^K bearded man's face. Intaglio — fard. Diam., | in. No. 793 (a). a^^HIMERA OR FANTASTIC BIRD-LIKE c\f]S^^lr ANIMAL. The neck and head are thofe of a horfe ; ^^i>sd5L' the body is formed by a male and female maJk. It is 1 84 VIL—ANTIQUE AND OTHER (banding on a dolphin, and on the left, in the field of the gem, is a thyrfus. Intaglio — red jafper. Height, 9/i6ths; width, 7/1 6ths. No. 794 (a). )ANTASTICAL BIRD-LIKE ANIMAL, the upper portion of its body formed by a dolphin's tail, the lower part by a bearded man's face and a ram's head ; behind is a cornucopia with flowers and fruit. Intaglio — fard. Height, 5 in. ; width, | in. No. 795 (a). IgANTASTICAL BIRD, with the head of a horfe, the ^^^^ body formed by a bearded man's head, and a ram's head with a bunch of grapes in its mouth ; it carries a trophy. In- taglio — fard. Height, | in. ; width, | in. No. 796 (a). i^pANTASTICAL BIRD, bearing on its flioulders a comu- ^^^ copia, from which iffue a Capricorn and a bee ; in one of its feet or paws it holds two wheat-ears. Intaglio — fard. Width, 9/i6ths; height, | in. ^ , No. 797 (a). ROTESQUE MONSTER OR SEA-HORSE, its tail formed by a ferpent, its body by a ram's head, with a human malic on its breaft ; beneath is a dolphin with two human faces. Intaglio — fard. Width, | in. ; height, 7/1 6ths No. 798 (a). 1^^ AUTILUS OR SNAIL SHELL, from which an elephant WS~ is ifliiing ; in the field are the initials, " C. F." Intaglio — fard. Width, 7/i6ths; height, 5/i6ths. I ENGRAVED GEMS. 185 No. 799 (a). ^^IGMY FIGHTING WITH A CRANE. Intaglio— f^^ fard. Height, 7/i6tlis; width, | in. No. 800 (a). ^^^ AMEO, with a Greek infcription — ^^^ OT4>IAQ (*' I love not MH HAANa left I go aftray ; NOa AE ET but I obferve well, KAI TEAQ. and I laugh.") Onyx. Length, A in. ; height, | in. No. 80 I (a). NSCRIBED CAMEO— ETITXI (" Good luck to you ! ") Nicolo. Length, | in. ; height, J in. No. 802 (a). ^ NTAGLIO, with the infcription— XEPETI (" Be greeted.") Chalcidony. Length, | in. ; height, | in. No. 803 (a). ^^^ AMEO. Clafped hands, with the infcription — ^^^^ OMONOIA ("Concord!") Onyx of two layers. Length, ^ in. ; height, | in. i86 VII.— ANTIQUE AND OrHER No. 804 (a). J^^^AMEO. A female hand, wearing a bracelet round the ^J(v^^ wrift, holding a human ear with the thumb and the r%>3^ firfl finger. In the field is the infcription — MNHMONETE (" Remember.") Onyx of two layers. Length, | in. ; height, | in. No. 805 (a), V'/^^ AMEO, with a Greek infcription — ^^^ ETa>AMEI . Ta . AI0HP . . KAI . FA . STAO . RONTON . STATO.AAHP (" Praifed be heaven and earth," Sec.) Onyx of two layers. Length, 1 1 in. ; height, J in. No. 806(a). .M^Si AMEO, with an infcription — fea.^ VENI NOLO ("Come." "I will not.") Sardonyx of two ftrata. Length, ^ in. ; height, 3/1 6ths. No. 807 (a). |l©j NTAGLIO. Latin infcription— ^^^ AMA ME AMABO TE ("Love me; I will love thee.") Cornelian, with the furface artificially blanched by fire. Length, ^ in. ; height, ^ in. 8 r-SJiiSr ENGRAVED GEMS. 187 No. 808 (a). JI^^AMEO. Latin infcription — ^^m FABIANA VIVAS ("Be greeted Fabiana.") Sardonyx of two ftrata. Length, | in. ; height, 3/i6ths. No. 809 (a). I^^AMEO. Latin infcription — ^^ ANNYAPR (" Annya Procula OCVLACS cum fuis.") Cornelian onyx. Length, | in, ; height, 3/i6ths. No. 810 (a). AMEO. Latin infcription — SOROR (" Si/lerr) Cornelian onyx. Length, | in. ; height, 3/1 6ths. No. 811 (a). |g#?ACET-CUT SARD, the furface blanched by fire, and S!^^ cut into chequers. Set as a ring. No. 8 I 2 (a). ^^AMEO. Buft of Alexander de Medicis, the head in ^^^e plafma, laid down on a background of gold ; the drapery alfo chifelled in gold. A beautiful contemporaneous work. Height, 1 1 in. ; width, 1 in. i88 ENGRAVED GEMS. No. 813 (a). ^YLINDER, in hasmatite. Afl'yrian or Perfian work. A continuous frieze of figures, {landing ereft on a band or belt of a fpecies of " Guilloche " ornamentation. Length, I in. ; diam., ^ in. VIII. PORTRAIT MEDALLIONS. '^IM ^^p HERE are few works of medieval art more really valuable than the Italian portrait medal- lions of the fifteenth and fixteenth centuries; they are for the mod part the work of artifts J.^i/'^^^g^^e^s/i of the higheft talent — painters, fculptors, or goldfmiths. Befides being intrinfically mofl beautiful, they alfo, like their antique prototypes, the medals of claffical antiquity, tranfmit to us the moft authentic portraits of the great men of the age in which they were produced. The antique medals were invariably ftruck from a die or matrix, and are confequently always of comparatively fmall dimeniions ; but in the Middle Ages the art of ftamping coins was even lefs underflood than in antiquity, and the procefs was confined to the fmall and rudely-fafhioned coinage generally in ufe. To produce medals of the large fize afFefted by the early Italian artifls, an entirely different method was of neceflity had recourfe to ; the renaiffance medals were confequently always cafl in a mould by the procefs called '■^ a la cire perdue^"" and the impreiTions in bronze thus obtained were retouched, and often elaborately chafed by the artifls themfelves. From about 1440 till the end of the century was the great age of this art, which developed itfelf mainly in the northern Italian I90 VIII.— PORTRAIT MEDALLIONS. cities — Verona, Milan, Venice, Mantua, Is'c. Of the artifts who devoted themfelves to this branch, Vittore Pifanello, a celebrated painter of Verona, is entitled to the higheft rank. After him may be named, Sperandio of Mantua, Matteo de Paflis and Pomedello of Verona, Giovanni Boldu of Venice, and the painter Francia of Bologna. Original examples of thefe beautiful medal- lions have now become extremely rare, and muft be diftinguiftied from the numerous modern caflings or '•'• furinoulages^'' which have at various times been made from them. CATALOGUE. VIII. -PORTRAIT MEDALLIONS. No. 350 (b). iTALIAN BRONZE MEDALLION. Diam., 4! in Federigo di Montefeltro, Duke of Urbino. Obverfe, bud in armour, the margin of the medallion encircled with the garter and motto, '•'' Hony .foyt .qy .mal .y .pence. "" Re- verie, a group of Ainorini upholding a fliield, on which is a fpread eagle, flanked by two cornucopife, {landing on a globe, and fupporting a fliield. Acrofs the field the infcription, '•'■ Fe. Dux.'' Circa 1450. No 351 (b). iRONZE MEDALLION. Diam., 3,^ in. Ifotta da Rimini, wife or miftrefs of Sigifmond Malatefta. Buft to the right, with the legend, '■'' D .Ifottae.ArimincnJi. Reverie, an elephant, and the date, 1446. Probably by Matteo de Paftis. Circa 1450. No. 352(b). 'Bronze medallion. Diam., 3I in. Filippo Maria Vifconti, Duke of Milan. Buft to the right, wearing a cap or hcreita.^ infcribed, "• Philippus . 192 VIII.— PORTRAIT MEDALLIONS. Maria . Anglus . dux . Mediolani . etcetera . Papie . Anglerie . que. comes, ac .Genue .dominus.'" Reverfe, two knights on horfeback, armed at all points, and an efquire, alfo on horfeback. Infcribed, " Opus . Pifani . Pictoris.'^ The work of Vittore Pifanello. Circa 1450. No. 353(b). ;RONZE MEDALLION. Diam., 4 in. Hercules Marefcotti, of Bologna. Buft, to the right, in armour, wearing a cap or beretta. Reverfe, Atlas bearing the globe on his fhoulders, Handing with one foot on a boat in the fea, and the other on the land. In the field of the medal the initials " S. B." Probably by Sperandio of Mantua. Circa 1450. No. 354 (b). ^"^^'plTALIAN ^ATTRO-CENTO LEADEN MEDAL- ^^^ ,W LION. Diam., 4 in. Marino Caraccioli, Marfhal in '^sM. the army of Ferdinand, King of Naples. Bufh to the left, in armour, wearing a beretta or conical cap. Infcribed, " Marinus . Karazolus . NeapoUtanus . Ferdinand . regis . exercitus . marefcallus.'" Reverfe, a man in Roman armour, with a marflial's baton, feated on the back of a lion. Infcribed, " Opiu . fperandei'' The work of Sperandio of Mantua. n No. 355 (b). ig^RONZE MEDALLION. Diam., 2 in. Borfo, Mar- quis of Efte. Buft, in very high relief; with the legend, ^'- Dominus .Borfius . Marchio.EJienfts.^'' Re- verfe, a Angular device of a funflower, with a cockatrice or bafi- lifk in the centre. Round the margin the fignature of the artift, " Amad . Mediolan .arfex .fecit'" — /. ^., " The work of the gold- fmith Amadeus of Milan." VIIL— PORTRAIT MEDALLIONS. 193 No. 356(b). ^RONZE MEDALLION. Diam., 3^ in. Lionel Mar- quis d'Efte. Buft to the left, infcribed, " Leonellm Marchio EJlenfisT Reverfe, a cat.? blindfolded (a fcarf tied round the eyes, with the two ends flying in the wind), feated on a cufliion. Infcribed, '•'• ^a vides ne vide." In the field the fignature of the artift Nicholaus, "F." Circa 1450. No. 357 (b). ;RONZE MEDALLION. Diam., 2I in. Lionel Marquis d'Efte. Buft to the left, infcribed, '-'• Leonellus ^Jf^^Sii Marchio EJiensisy Reverfe, two naked men feated on the ground ; betwixt them a maft, with a fail inflated with the wind. ln{cnhed, ^^ Opus Pifani pidoris.'' The work of Pifanello. No. 358(b). ^gj^^RONZE MEDALLION. Diam., 2| in. Pope SIe^^ Pius II. (^neas Silvius). Buft to the left, infcribed, .Qb?«i-^. '■'■ Enaeas Pius Senenfis Papa fecundusT Reverfe, a pelican in her piety, with the legend, " De f anguine natos^ ale futhec cordis pavi.'' No. 359(b). i^.RONZE MEDALLION. Diam., i| in. Scipio ^^zi Buzakreni, of Padua. Buft to the right, infcribed, '•'• Sipio.Buzakrenus .Paty Reverfe, a clafllcal ftanding figure and legend, ^^ Nee. do.'' Circa 1500. No. 360 (b). ?RONZE MEDAL. Diam., il in. Count Baldwin del M Monte. Buft to the left, infcribed, " Balduinus dc o 194 VIIL— PORTRAIT MEDALLIONS. Monte comes.'' Reverfe, a horfeman overcoming another. In- fcribed, ' ' Magis . vicl .fed . tibi. " Circa 1 5 2 o . No. 361(b). f^lRONZE MEDALLION. Diam., 2f in. Ulyffes il!S( Mufotti, Doftor of Laws. Buft to the left, infcribed, ' ' Ulixes . Mufotus . id . Ant .jilius''' Reverfe, books, implements of writing, and philofophical inflruments. Circa 1500. No. 362 (b). RONZE MEDALLION. Diam., i{ in. Pope :M Julius II. Buft to the right, infcribed, '•'■ Julius .Ligw . Papa.Secundus. 1506." Reverfe, a paftor and his flock, with the legend, " Pedo . Servatas . ques . ad. requiem . ago'' No. 363(b). RONZE MEDALLION, without reverfe. Diam., 2f in. Buft portrait of a lady to the right, infcribed, " Hieronima Sacrata." 1555- No. 364 (b). ;RONZE MEDALLION. Diam., 2f in. Francefco Sangallo, fculptor and architeft. Buft portrait to the left, infcribed, " Francefco da Sangallo, fcultore et archi- tetto Fioren. 1550." Reverfe, a terminal figure careiling a dog. A garland of flowers encircling the field, with the motto, " Durabo." No. 365(b). EADEN MEDALLION, without reverfe. Diam., 2| in, Leonora Gonzaga, Duchefs of Mantua. Buft to the left, infcribed, '■^Leonora Duchejfa Mantua." VIII. —PORTRAIT MEDALLIONS. 1 95 No. 366 (b). RONZE MEDALLION, without reverfe. Diam., I i in. Head of Hercules. No. 367 (b). g^.^^.EAD MEDALLION. Diam., 3 in. Without reverfe. fSi Bufl to the left of Bilibald Pirkheymer, the friend of Albert Durer. In the field the monogram of A. Durer, and date, 15 14. No. 368(b). •RONZE MEDALLION. Diam., 2^ in. Lavinia Fontana. Head to the left, infcribed, '■'■ Lavinia Fontana Zaphia Pictrix^ 161 1," and with the fignature of the medallill, " Ant. Cafoni." Reverfe, a female, with dif- hevelled hair, feated painting at an eafel, with the legend, '■'■Perte Jlato goiofo mimanteney No. 369 (b). g^tJj^EDALLION OR CIRCULAR PORTRAIT \ S^ 5 RELIEVO, carved in boxwood, enclofed within its ^Jlsi^^eJl^ original turned wood box or cafe. Profile portrait of " f//r/V Ehinger^' infcribed around the margin, '-'-Ulric .Ehinger. com . cons . et . aulicus . ces . mtif. M. D.;^.^.'' An admirable por- trait medallion of the fchool of Albert Durer. Probably exe- cuted at Nuremberg. No. 370 (b). '^M SERIES OF TWELVE GOLD COINS AND ^^ TWELVE SILVER DENARII OF THE C^SARS, as follows : — o 2 196 VIII.— PORTRAIT MEDALLIONS. Julius C. — Gold. — Rev., Pontifical Inftruments. Of the Hirtia family. Silver. — Rev., Minerva — Mettia family. Augustus. — Gold. — Rev., " Imp. X." — bull butting. Silver. — Rev., " Augujlus " — bull (landing. Tiberius. — Gold. — Rev., Rome feated. Silver. — Same type. Caligula. — Gold. Silver. — Ob., Head of Caligula ; rev.. Head of Auguflus. Claudius. — Gold. — Rev., " Pact Augujlxy^ Nemefis. Silver. — Rev., fame type. Nero. — Gold. — Rev., « Pont. Max." — foldier (landing. Silver. — Rev., Jupiter feated. Galea. — Gold. — Rev., " Satus Gen. humani." Silver. — Rev., " S. P. Q. R." in a wreath. Otho. — Gold. — Rev., " Securi/as." Silver. — Same type. VlTELLIUS. Gold. Silver.— Rev., « S. P. Q. R." in a wreath. Vespasian. — Gold. — Rev., Vidory on the ci^a m^ica. Silver. — Rev., " Cos. V." — twt) trees. Titus. — Gold. — Rev., " Pontif. Maxim." — Fortune. Silver. — Rev., Elephant. Domitian. — Gold. — Rev., Minerva. Silver. — Same ty))e. A^%f5l IX ANTIQUE JEWELLERY. NTIQUE perfonal ornaments in the precious metals are found almoft exclufively in tombs — the dead having been frequently interred with the jewels they were in the habit of wearing during their lifetime. It fliould be remarked, however, that although many antique fpecimens of the goldfmith's art difplay wonderful technical fkill and exquifite tafte in defign, it feems probable that the majority of the fpecimens found in tombs were manufactured at comparatively little coft, exprefily as funereal ornaments — being depofited in lieu of the richer and more valuable jewels worn during life; and that, therefore, the fpecimens preferved in collec- tions do not adequately reprefent the Jiatus of the jeweller's art in antiquity. Indications fufficient, however, are perceptible in thefe fpecimens to fhow, that here, as in almofl every other art, the Ancients attained to a degree of excellence, which the Moderns may have equalled in various ways, but not furpaifed. The Etrufcans appear to have been the greateft patrons of the jeweller's art ; the Afratic Greeks next in degree ; whilfl amongft the Romans, finger or fignet rings, and a few fimple types of ear pendants of female ufe, are almofl: the only articles difcovered. CATALOGUE. IX.— ANTIQUE JEWELLERY. No. 400. ^^^fipECKLACE OF GOLD CORD OR CABLE CHAIN. t\ ^^ % Ancient Greek work ? This fpecimen of the ikill of 'i^^~4^ the antique gold worker is very remarkable. It is a cord of gold, woven like a piece of modem circular braid, with minute plaited links of gold wire. It is circular, every meih or plait of entire regularity, and fo clofely and compaftly woven as almofl to prefent the afpeft of a folid mafs ; neverthe- lefs, the chain is perfectly flexible, admitting of being tied into knots. Its diameter is rather more than one-eighth of an inch ; extreme length, 1 2 in. At each end it is protefted by a (heath or focket of gold, terminating in a loop. No. 40 1 . IRCULAR CONVEX BUTTON, of tranfparent blue glafs, ornamented with a fpiral flripe of opaque white. In the centre, which is perforated, is affixed a fmall raifed bofs or rofette of gold, ornamented with minute granu- lated work, and on the oppofite fide a gold loop {hank is ftill attached. Greek work. Diam., i in. IX.— ANTiqiJE JEWELLERY. 199 No. 402. ^PLD FINGER RING. Antique Etrufcan work. In front is attached an oval tablet, on which are executed " en repoufse'''' regardant figures of a lion in the aft of fpringing, and a dragon or hippocampus ; furrounded by a granu- lated border. No. 403. 'ASSIVE GOLD FINGER OR THUMB RING. Greek work. It is difficult to defcribe this interefling and important fpecimen. It confifls of a deep circlet or band, enriched at the back with a running fcroll of ivy leaves, pierced " a jour; " in front is a fquare tablet containing a crouching tiger or lionefs — the ground likewife perforated. On the fummit of the central panel, which forms, as it were, a pedeftal, is a group of two lions rampant ; their heads in contaft, and fore feet refting on a bell-fhaped vafe, which is placed betwixt them. The originality and ingenuity of the defign of this piece are equalled only by the beauty of execution. The entire work is evidently chifelled out of the folid gold, and the lions are modelled in a vigorous painter-like ftyle, which, not- withftanding the minute fcale, recalls the fpirited chafing of the antique bronzes. Found at Corcyra — now Corfu. No. 404. JMALL INTAGLIO in cornelian, the back rounded as a fcarabeus, engraved with an Egyptian hawk-headed figure ; fet as a fwivel ring with a looped feal handle. Antique Greco-Phoenician work, found at Tharros in the ifland of Sardinia. 200 IX.— ANTIQUE JEWELLERY. No. 405. jNTiqUE EGYPTIAN FINGER RING. Intaglio in the ftyle of a fcarabeus, in green glazed earthenware. The fcarabeus part formed by a couchant goat, the tront engraved with hieroglyphics. Gold fwivel fetting of three conjoined bands of ftout gold wire, the ends terminating in a beautifully executed reprefentation of the papyrus. The centre wire ending in the expanded flower, and each lateral one in a bud. Beneath the flower, the three bands are bound round with fine gold wire, as if tied by a firing. No. 406. jINGER RING, fet with an irregular rounded emerald. The ftone is fet in a large bofs or globular bulb of thin ^^J^ (lamped gold, and a minute ring, to which a fragment of gold chain is attached, is appended to the hoop of the ring. Roman work, of very unufual type. Found in Corfu, the ancient Corcyra. No. 407. IMALL FINGER RING in maflive gold, fet with a minute intaglio in red fard. The engraving reprefents the fun furrounded with rays and a hedgehog. Thefe devices have much refemblance to modem heraldic creflis. Roman work. No. 408. GOLD EAR PENDANT. Antique Greek work. The upper part formed by a circular fliield-fliaped bofs, from which hangs a drop or pendant formed by fix folid gold balls, foldered together, fomewhat refembling a bunch of IX.— ANTIQUE JEWELLERY. 201 grapes, and ornamented with fmaller knobs. This delign is in mofl: elegant talle. No. 409. /g^>?;AIR OF EAR PENDANTS in thin ftamped gold. ^; w^ Etrufcan work. The circular loop is a band of thin l%^*5y formed by a figure of a winged Cupid. Above the head of each is a rofette fet with a cabochon garnet. (Hertz CoUeftion.) 202 IX.— ANTIQUE JEWELLERY. No. 413. ^'^MAIR OF GOLD EAR PENDANTS, the upper part Sj ^'ip^ ^ le^f 01* heart-ftiaped plate ornamented with granulated toy^Si fcroUs, beneath it an hexagonal cylindrical bead in blue glafs, from which again hangs a pointed oval or vafe-fhaped orna- ment, Greek or Etrufcan. (Hertz Colleftion.) No. 414. &l ECKLACE formed of true-love knots in gold, and large irregular rubies and emeralds, rounded or " f « cabocbon,'' perforated and flrung as beads. Length, ii,| in. Greek or Roman work. (Hertz CoUeftion.) No. 415. [ENDENT ORNAMENT fufpended from a fhort gold chain. The principal detail is a large cabochon garnet, fet in a frame or " chaton " of gold ornamented with granulated filets ; from this is fufpended a vafe-ftiaped ornament, the body formed by a garnet bead, the vafe, handles, is'c.^ in gold. (Hertz Colleftion.) No. 416. ■'"■'""" ECKLACE, compofed of large circular beads of gold, richly ornamented with varied patterns in minute granu- lated work ; from the centre hang three pendent ornaments. Entire length, 16 in. Greek or Etrufcan. No. 417. |jm>||- ASSIVE GOLD RING fet with an oftagonal Oriental rf ^M \ amethyft, on which is deeply engraved a full-faced bufl: u of a female. The ring itfelf is twilled, or cable-fliaped. IX.— ANTIC^E JEWELLERY. 203 the flrands increafmg in fize towards the chaton or tablet in which the ftone is inferted. A very elegant and fimple arrangement, admirably wrought in folid gold — probably late Roman work. No. 418. ^ISOMAN GOLD FINGER RING. This very re- markable ring has a large circular " chaton " or tablet ii/i6ths in diam., the margin of which is furrounded by a beautiful moulded filet. This enclofes a narrow ring or zone of dark fardonyx or glafs parte, engraved with minute figures of birds and animals, which in turn is bounded on its inner margin by another raifed moulded gold filet. This again encircles a light green glafs pafte engraved with a head of Bacchus ; the glafs paile, however is expofed only in the '•'• incavo,'' or engraving of the head, the field or ground of the pafi:e being covered with a leaf or plate of gold, which is cut or perforated to the outline of the head. Purchafed in Rome in 1859, having been found in tlie neighbourhood in the fame year. No. 419. OLD EAR-RING. A plain gold wire hoop ornamented with a four-fided rofette firung on, and moving round as a fwivel; in the centre on one fide is set a minute emerald. Roman ? work. No. 420. • OLD FINGER RING, fet with an onyx cameo of two layers ; reprefenting a quail or partridge. Roman work. No. 421. OLD FINGER RING, fet with a cameo head of a child in garnet ; the circlet and " chaton " fonned of beautiful 204 IX.— ANTIQUE JEWELLERY. plaited and granulated filagree work. Greek- faid to have been found at Milo. No. 422. >LD FINGER RING— the hoop granulated or beaded, Mi the tablet or " chaton " forming a fmall fquare or cubical ^itfer7^>. telTera, on the part of which is engraved the Greek monogram of the name of Chrift, the " X. P." An interefling early Chriflian ring, probably of the third or fourth century. No. 423. ^^f&) ^^^^ FINGER RING, infcribed in deeply engraved ,^^^gi characters round the outer margin, ^'- Marci . Marciani . 1^3^^ volcaji.tegelliiy This very remarkable ring was evi- dently intended as a feal or fignet, the infcription being reverfed, i.e.^ running from right to left. The form of the characters and other indications feem to point to the Roman Confular period. No. 424. ^^^^^RIANGULAR GOLD BROOCH OR FIBULA, of 'Q^ ^ mofl minute and delicate workmanfliip, richly adorned ^tvi^I^ with filagree work, granulated bofles, wreaths, Effr., and fet with three fmall cahochon garnets. An exquifite fpecimen of antique Etrufcan jewellery. No. 425. W^i^^ BRACELET, formed by a flat filet of gold, the two ends ^5^S^ terminating in involuted ferpents, which tie or loop K3?^ together, fo as to form the faflening of the bracelet. At each extremity is a ferpent's head, chifelled in a fpirited and life-like ftyle. This elegant and probably unique objeft is mod likely of Greek origin. X. MEDIMVAL AND CINQUE-CENTO JEWELLERY. HERE can be little doubt but that the jeweller's art attained to its utmofl perfeftion in the fix- teenth century — the age of Benvenuto Cellini. In abftraft beauty of defign, the fined pre- duftions of the artificers of antiquity may perhaps have tranfcended all that has been fince produced ; but the technical refources of the goldfmith were then more limited. The art of enamelling on the precious metals, if not entirely unknown to the Greeks and Romans, was at any rate only very imperfeftly praftifed ; and thus one of the chief means of pro- ducing rich decorative effefts was wanting. The rich and fliowy coflumes of both fexes in the Middle Ages and period of the cinque-cento^ were more favourable to this art than the more fimple and primitive habits of coftume of the Ancients. Chains, medallions for the hat, pendent orna- ments or jewels, finger rings, pomanders or fcent cafes, brace- lets, buckles, clafps of fword-belts and girdles ; the hilts of daggers, portable reliquaries^ peroral croffes, and a hundred other objefts of luxurious adornment, were the delight of the noble and wealthy claflTes in times when perfonal difplay was regulated itriftly according to the facial rank of individuals ; and 2o6 X.—MEDIjEVAL jewellery. accordingly, the higheft artiftic talent was enlifted into the fervice of the goldfmith jeweller. Coftly and elaborate jewels were efteemed as veritable works of art ; and Cellini, in his Life, has left us accounts of his fpecial works in jewellery, from which it is evident that his labours in this direftion were deemed by himfelf not inferior in value and repute to the contemporary works in high art of a Bandi- nelli or a Giovanni di Bologna. From the inexhauftible variety of defign and exquifite tafte difplayed in thefe precious works, it is natural that they fliould conftitute a favourite category in the domain of vertu^ and equally to be expefted that fraudulent dealers Ihould exert their perverfe ingenuity in the production of modem counterfeits. There is confequently now fcarcely any other clafs of works of ornamental art in which it is neceflary to exercife more caution in collecting fpecimens than in that of cinque-cento jewellery. CATALOGUE. X.—MEDMVAL AND CINQUE-CENTO JEWELLERY. No. 460. OLD ENAMELLED FINGER RING, fet with a pointed diamond, the circlet enriched with ftrap-work ornamentation. Sixteenth century Italian ? work. No. 461. ,OLD FINGER RING, fet with a brilliant, the loop enriched with elaborate ftrap-work ornament, chifelled in high relief, and picked out with white, black, and green enamel. Sixteenth century. No. 462. OLD FINGER RING, of fimilar ftyle, fet with a fmall table diamond, the fetting elaborately chifelled, and en- riched with white and black enamel. Cinque-cento. No. 463. jlNGER RING, fet with a fine emerald, and with fix ^ fmall brilliants, the loop enriched with Guilloche oma- ^CS ment in white enamel, filled in with raifed fpots of turquoife. A beautiful ring, of fmiple yet ver)- elegant tafte, probably French. Seventeenth century work. 2o8 X.—MEDIjEVJL and CINQUE-CENTO No. 464. ^iOURNING RING, with a fcull and crols bones in relief. .-^S&a White and black enamel on gold. Seventeenth century. French or Flemifli ^ No. 465. black enamel. French ? Seventeenth century l^pINGER RING, fet with a fapphire and two brilliants. ^m^M The circlet elegantly chafed and enriched with white and No. 466. i^SlINGER RING, fet with a fine garnet, the fetting ^^^M enriched with black enamel. Sixteenth century work, of fimple yet very elegant pattern. Flemilh ? No. 467. ^>g/lASSION RING. A gold hoop ring, fet with a fquare Kv^ garnet, engraved with an Agnus Dei^ and the circlet •:'^>>^ijJi compofed of fixteen fmall fquare garnets, engraved with various emblems of the paflion. The intaglio parts filled in with white enamel. Italian. Sixteenth or feventeenth century. I to No. 468. It. On chifelled (^p^jVAL PENDENT RELIQUARY in filver gi ilidc^^k ^^^^ ^^^^ ^^ ^ reprefentation of the crucifixion, < ^irii^k^^ in relief, and the margin is furrounded by a bold border of twifted cable-work, and projefting boffes. Spanifli. Date, fecond half of the fixteen th century. JEWELLERY. 209 No. 469. ENDENT JEWEL in rock cryftal, reprefenting a hippo- campus, or fea-horfe. It is fufpended by three gold chains, and is enriched with imitation harnefs, Ss'r., in thin gold filagree work. Spanifti ? Sixteenth century. No. 470. jcf^^!:sg ENDENT JEWEL. This beautifiil ornament confifts ^ V^r^ ^^ ^ circular frame of cartouche work, enriched with t*^»^^ cherubs' heads, highly decorated with opaque and tranfparent enamels. The frame is fet with a plate of rock cryftal. It is fufpended by three chains from a loop formed by an oval ftiield of arms, with mantling furrounded by an eleftoral crown. The arms are thofe of Bavaria. This jewel is moft likely of Augfburg work. Girca 1580. No. 471. iENDENT LOCKET JEWEL. A miniature " Calvary." Within an egg-fhaped cafe formed of two fegments of polifhed rock cryftal, with enamelled gold rim or margin, is a reprefentation of " Calvary," or the cruci- fixion of Our Saviour, with the two thieves and numerous fmall figures at the foot of the crofs, all minutely executed in gold in frill relief and enamelled. German. Sixteenth century work- No. 472. /^^^. ENDENT JEWEL, reprefenting an eagle perched on ^ i^^ a branch, round which is twined a ferpent. The body y2A*o^^jc of the bird is formed by a large '■'■ perle baroque', " the head, outftretched wings, and feet of the bird, the branch and the ferpent, are in gold, richly decorated with tranfparent enamel, 210 X.—MEDIJEVJL AND CINQUE-CENTO in which the beautiful ruby or ^^ fang-de-bcBuf' tint is predomi- nant. From the front of the branch proje<5ls a rofette fet with a fine ruby, and from the point of each wing, as well as the under-fide of the branch, hang circular pendent pearls. The jewel is fufpended by a fmall chain and loop. Italian cinque-cento work. No. 473. {i-^^iji^ENDENT JEWEL. Probably an order of the St. W ¥5r^ Efprit. A dove with outftretched wings pendent from l^«^j^t a long gold chain. The body, wings, and tail, are fet with large triangular brilliants, and a glory of brilliants furrounds the head. From the point of each wing, and from the tail, is fufpended a fine pearl ; on the back of the bird, the feathers are beautifully chafed and enamelled. An exquifite fpecimen of French fixteenth century work. No. 474. gj^.'^ENDENT JEWEL in enamelled gold. Within S ^^/^ ^" ^^^ frame or border of rich cartouche work, (^if>S/ fet with pearls, is an alto-relievo of Jupiter and Juno embracing, with Cupid feated near them; on the reverfe, a chafing in gold reprefents a horfeman approaching a lady clad in rich veflments. The figures and acceflbries of the relievo fubje£i:, and likewife the ornamental border, are richly adorned with opaque and tranflucent enamels. Augfburg? work. Circa 1600. A fplendid jewel, in excellent prefervation. No. 475. ^'Tp^^jENDENT JEWEL, forming a reliquary. On each % Jn^ fide is a fmall oval plaque of cryflal, apparently painted \^^'^>^ti. at the back with medallion heads refpe^tively of Our JEWELLERY. 211 Saviour and the Virgin. The border, or body of the jewel is of gold filagree clo'tfonne work, filled in with tranfliicent enamels, and fmall pearls are attached as pendents. Spaniih or Italian work. Circa 1570. No. 476. ^^:^ENDENT BADGE OF AN ORDER, in enamelled ^ i^^ go^*^- Probably of a Knight of Malta. The jewel is S^y^J^ formed from a plate of gold of fcolloped or quatrefoil fliape, in the centre of which is a circular medallion, emboffed fo as to aflume a convex (hape on one fide and a concave one on the other. The convex fide is ornamented with a white crofs on a blue ground, the border or margin filled in with coloured flowers painted on a ground of white enamel. The concave medallion has a minute painted fubject of St. John the Baptift preaching to his difciples, and pointing to Chrift, who appears in the diftance advancing towards them. The border compartments fimilarly enriched with minute painted flowers. Thefe defigns are executed on an uniform ground of white enamel. Date, fecond half of the feventeenth century. p 2 XI. ANTIQUE GREEK PAINTED VASES. (N refpeft of beauty of form, Ancient Greek Pottery is unrivalled. Colour there is none ; and it never feems to have ferioufly occurred to i\^^ the Ancients, that pottery could be made a vehicle for colour. It is fcarcely too much to fay that every Greek vafe is perfectly adapted to its ufe, and that, notwithflanding the abfence of the adventitious charms of colour, it is as beautiful as that ufe will allow of. The hiftory of Greek art pottery is to be gleaned only from the ware itfelf. The beginnings of the art are loft in the depths of mythic antiquity ; the earlieft works, the vafes often defignated Greco-Phoenician, though generally found in Italy — have a decidedly Afiatic character ; and it is probable that the ancient Greek colonies of Afia were the earlieft feats of ceramic art properly fo-called. All the fpecimens of the red and black Greek painted pottery are found in tombs : it having been the ancient practice to furround the corpfe with vafes containing liba- tions, 'is'c. ; and perhaps in fome cafes to depofit in the tomb as marks of affection or refpeft, the fineft fpecimens of the potter's art, which had been the admiration of the individual when alive. Specimens of this pottery, wonderfully fimilar in defign and tech- nical charafteriftics, are found alike in Greece proper, at Athens XL— ANTIQUE GREEK VASES. 213 and Corinth, at Vulci and Chiufi in Central Italy, and in Cam- pania in the extreme fouth ; in Sicily, Afia, Africa, and in the Crimea even — everywhere in Ihort where Greek civilization at any time penetrated. Mod authorities are agreed in referring the firfl beginnings to about A.c. 700, and the final decadence and the difcontinuance of the manufacture to the fecond century before Chrifl. This term of about five hundred years, affigned as the duration of the period of production of the painted wares, is probably fufficiently near the truth, is quite fufficient to account for the extreme per- fection to which this pottery had arrived, and would even feem an inordinate time, when the general uniformity of flyle difplayed from firfl to lafl is confidered. Nothing is fimpler or more obvious than the technical forma- tive procefTes employed. Nineteen out of every twenty Greek vafes were fimply thrown on the potter's wheel, and, generally fpeaking, there is little difference betwixt the ancient and modem procefTes of production. The ancient workmen, however, were gifted with wonderful manual fkill ; throwing on the wheel, and the fubfequent turning of the piece on the lathe, were carried to a pitch of perfection far beyond even the mofl laborious and com- mendable efforts of modern potters ; the exquifitely fmooth and poliilied furface of the red clay, indeed, feen on Greek vafes, is due, not to any fuper-added glaze, but to the polifli communicated to the furface on the lathe before the pieces were fired. The decoration of the ware was executed exclufively by two diflinCt media : — Firft, a black vitreous enamel or true glaze ; and fecondly, engobes or varioufly-tinted clays, applied to the furface in a liquid flate. The black glaze is painted on the furface of the ware in a liquid flate like any other pigment, and then vitrified by the heat of the furnace. It is a diflinCt and notable cha- raCteriflic of the ware. We do not know the fecret of its com- pofition, and confequently it has never been fuccefsfuUy reproduced. 214 XL— ANTiqUE GREEK VASES. It is a beautiful pigment, in appearance more like a refinous vamifli than a true enamel ; and not the leaft remarkable cha- rafterftic is its extreme thinnefs : in this refpe^l, it exceeds all other coverings applied to pottery, and this quality is one of very high value in an artillic point of view ; inafmuch as the delicate contours and mouldings of the pieces are abfolutely unchanged by the glaze, which, in almoll every other pottery, alters and vitiates the forms by its thicknefs. CATALOGUE. XL— ANTiqUE GREEK PAINTED VASES. No. 530. ^^^^ECYTHUS. Height, 13 in. ; diam., 5^ in. Black figures on red ground. Early or archaic ftyle. Subjeft, probably the combat of Hercules and Telamon with the Amazons, The figures are painted round the fide or drum of the vafe, and reprefent three warriors fighting with three Amazons. The foremoft warrior is engaged with an Amazon, who is apparently overcome, and is kneeling on one knee ; both are in theaft of hurl- ing their fpears. Behind the firft warrior is another in the fame attitude, and behind the fallen Amazon are two of her companions, alfo in the aft of hurling their fpears. The principal warrior has a cuirafs and a large oval or Boeotian ftiield ; the figure behind him has a helmet and a circular ihield, and is apparently nude. The Amazons have helmets with lofty crefls, cuirafles, fcanty drapery reaching partly down the thighs, and circular fhields with devices, one of which is a bended leg ; the others of uncer- tain fignification. The faces, arms, and legs of the Amazons are coloured white by an engobe applied on the black glaze, and forae of the devices on the fhields and other details have appa- rently been coloured red, alfo on or over the black glaze ; but the red pigment has difappeared, leaving only a dull mark where it was applied. The neck of the vafe is decorated with zones of 2^6 XL— ANTIQUE GREEK PAINTED ornament of the ufnal patterns. The fhape of this piece is in keeping with its early date ; the body of the vafe being much wider than that of the more recent or more chara^teriftic Athenian lecythus. The prefent fpecimen is one of the largefl of this clafs of vafes. Its date is probably circa 500 before Chrift. No. 531- prefled tFefoil lip. '^:^'^^ROCHOUS OR JUG, with com % vg^^ Height, 85 in. ; diam., 5 J. Blai Black figures on red yii*^Sj^ ground. Archaic ftyle, circa 500 a.c. The fubjeft is on the front of the piece, and is included within a fquare com- partment or tablet. The ground of the pifture is left in red — the reft of the furface covered with the black glaze. A male figure, nude, with the exception of a drapery round the loins, clafps a draped female figure round the waift ; the latter appears to be ftruggling playfully to free herfelf. The face and arms of the female are coloured white, and the hair of both figures is bound round with a filet in red or crimfon. In the back- ground is the fpreading vine. This fubjeft, which, in fpite of the archaic ftiffnefs, is charafterized by great elegance and truth of aftion, belongs evidently to the clafs of Dionyfiac or Bacchana- lian reprefentations. No. 532. [MALL GLOBULAR BOTTLE — " Aryballos." "Early" ftyle — circa 650 to 550 B.C. Pale drab- coloured terra-cotta^ painted with a zigzag pattern in black, on the ftioulder of the piece; the reft of the body of the vafe furrounded with narrow, horizontal, parallel lines or zones. Height, 2| in. ; diam., 2^ in. VASES. 217 No. 5S3' ^;ALPIS or THREE-HANDLED WATER VASE. Circa 400 B.C. "Beautiful" Greek flyle. Figures in red on black ground. On the (houlder of the vafe, within a compartment, is a Bacchanalian reprefentation, con- fifting of two groups, of two figures each. On the right, a naked feun (lands playing the double flute, and a draped female is dancing ; betwixt them is an altar or cippus. On the left, a draped bacchante, holding a thyrfus in her hand, is advancing towards a faun, who is in a, grotefque dancing attitude. A molt beautiful vafe. Height, 11 in. ; diam., 8^ in. No. 534. jWO-HANDLED TAZZA OR CUP— " Cylix." ^ "Fine," or "perfeft" Greek flyle. Circa 400 b.c. Nola =>oCd ware. In the centre of the bowl is a medallion or circular compartment fuiTounded with a border of fret-work, and containing a figure of a beautiful youth clad in a voluminous cloak or mantle ; his head encircled with a wreath, and with long pendent filets or ribbons. He is in a momentary attitude, bend- ing forward in the endeavour to catch a hooked flick, which appears to have fallen from his grafp. No. 535. ^:j^^WG OR EWER~"01pe." "Perfeft" Greek flyle. Circa 400 B.C. Red figures on black ground. Found at Nola. Subjeft, a compofition of three figures, pro- bably a fcene from a tragedy. In the centre, a draped female figure holds out a patera towards another, who, clad in a volumi- nous mantle or mourning robe, and with an exprefTion of defer- 2i8 XI.— ANTiqUE GREEK PAINTED ence, advances towards her. On the other fide, a grave and majeftic male figure, with a wand or ftafF, (lands regarding the other two. On the fide, under tlie handle, is an elegant com- pofition oi palmette ornament. The defign and execution of this vafe are, alike, of the higheft merit, and the enamel glaze is of the dark luftrous charafter for which the Nola wares are fo fpe- cially noted. Height, including handle, 9 in. ; diam., 6 in. .-, ^ No. 536. I^HlNE-JUG~-"PROCHOUS." " Perfeft " Greek ftyle. ^^^m Nola ware. Circa 400-350 b.c. A beautiful fpecimen of the plain black ware, the enamel glaze being of great per- feftion. Height, 7 in. ; width, 5 in. ^ '■ No. 537. j^ MPHORA. " Perfeft " Greek ftyle. Found at Nola. ^ Circa 400 B.C. Red figures on black ground. This beautiful vafe is painted with fubjefts on both fides. In front, a draped female figure is prefenting a helmet to a young warrior, who carries a large circular buckler, on which is a device of a ferpent, and a lance with the point downwards. On the oppofite fide is a fingle draped figure of a bald middle-aged man, with a crooked walking ftaff or ftick in his hand. Height, i3jin. ; diam., 7^ in. No. 538. [IMILAR VASE; alfo from Nola; precifely the fame arrangement of the figures is feen as on the preceding fpecimen. The characters are, however, different. In front, a draped female figure, with large wings (" Nike," or Victory), is haranguing or addrefiing, apparently in an attitude of VASES. 219 expoftulation, a young man clad in a fimple mantle, and who with one hand points down to the ground. On the oppofite fide is a draped youthful figure in a walking attitude, holding a knotted walking ftaff. Height, 13^ in. ; width, 7 in. Thefe fplendid vafes are of the higheft quality both in " tech- nique " and defign, and are in a perfeft ftate of prefervation. They were probably fpecially intended as fepulchral amphorae. No. 539. ■RAND NOLAN AMPHORA, with twilled handles. " Perfeft " Greek ftyle. Circa 400 B.C. This fplendid vafe is painted with a fubjeft on each fide : on the one, a youthful warrior, holding two fpears in his hand, is receiving a libation from a draped female ; behind her, and feparated from the group by a doric column, ftands " Nike " or Viftory, with a buckler, on which is a device of a chariot wheel. On the oppo- fite lide, a warrior wearing a helmet with ear or cheek plates, and holding a large Ihield, ftands before a low altar, on the fide of which is reprefented a bull's head, whilft a fire is burning on its fummit. He holds in his hand a patera over the altar ; whilft a draped female pours a libation into it from an cenochoe. Behind him ftands another draped figure with outftretched hands. Under the handle and round the neck, the vafe is painted with beautiful antejixial fcroll ornaments. The lip is encircled with a bold olive wreath and a painted egg-and-tongue moulding. The figures ftand on a band or zone of meander or key ornament. Height, 22 in. ; width, 11^ in. Thefe fubjefts evidently reprefent a warrior about to depart on a journey or expedition, and have probably a fepulchral import, as an allegory of the departure of the foul on its wanderings. 220 XL— ANTIQUE GREEK PAINTED No. 540. ^^WER, probably an oil cruet — ^' Prochous." Fine Nola p^ ware. " Perfeft " Greek ftyle. Circa 400 B.C. This ^ beautiful fpecimen, in perfeft prefervation, is painted red on back ground, with two female draped figures, one of whom (probably Venus) is prefenting a mirror to the other. Extreme height, 9I in. ; diam., 7 J in. No. 541. -^^UG OR EWER— '' Prochous." An exquifite fpeci- rsr^^m Yf ""^^"^ °^ ^^^ ^^^^^ Greek ftyle. Circa 300 b.c. In the ^y3tS^ centre of the compolition, Venus, richly attired, feated on a folding flool, holds in one hand a patera and in the other an objeft refembling a flower, which appears to be fufpended from a double cord or filet. On the left, Cupid, nude, with fplendid wings, holds in one hand a heart- ihaped fan with a long handle, and with the other prefents a lily to Venus. On the oppofite fide a nude youthful figure or genius prefents a mirror to the goddefs. The oppofite fide of the vafe, under the handle, is filled with an elaborate compofition of ^'- antefix'" or honeyfuckle orna- ment. The red figures on black ground are copioufly heightened and adorned with white and yellow. On the flioulder and neck of the piece is a zone of egg-and-tongue ornament, and a pattern of inverted rays in white. Height, 13 in. ; diam., 4 in. No. 542. ]EASK OR BOTTLE, with handle and narrow neck— ^ " Aryballos." Later Greek period. Circa 300 b.c. iSdiR^j^ In front, Cupid, with magnificent wings, and richly adorned with firings of pearls, is feated on a rock, holding VASES. 221 a heart-fliaped fan. A female draped figure advances towards him, carrying in one hand a patera, apparently full of fruit, and in the other holds a tambourine, with pendent ribbons. Above, in the field, betwixt the figures, a girdle or ceflus is feen fufpended. Height, lo^ in. ; diam., 4^ in. Elaborate antefixial ornamenta- tion under handle. No. 543. SILASK— "Aryballos." Period of the '' decadence ^ Circa 250 B.C. A femi-nude female figure, feated in a chair, X^^&^ oiFers a patera to a bacchante, who (lands before her, holding a thyrfus in one hand and a baiket in the other. The femi-nude female, probably Venus, alfo holds a diadem of pearls in her right hand. Wave fcroU and fluted ornament round neck and flioulder of the piece. Elaborate antefixial ornament under the handle. Height, 9 J in. ; diam., 4 J in. No. 544. 55MALL CIRCULAR DISC-SHAPED VESSEL, with loop handle and projefting fpout — "Afcos." In the fummit, a concave opening pierced with fmall holes to a drainer. Painted with three couchant panthers. Circa 400-300 B.C. This piece may either have been an unguentariwn^ or veflel for perfumes, an oil pot or lamp feeder, or a lamp itfelf. Diam., 3^ in. No. 545. OVIFORM AMPHORA. Period of '<- decadence:' Circa 250 ? B.C. The fubjefts of this vafe have reference to the games. On one fide are three (landing figures : the centre one, a beiu-ded man clad in a rich tunic, his head 222 XI.— ANTIQUE GREEK PAINTED encircled with a laurel or olive wreath, and holding in one hand the double flutes. He is converfmg with a nude youthful figure, who holds up a difcus or quoit. On the other fide of the centre figure {lands another nude youth, holding a dumb-bell in one hand, and two fpears in the other. The oppofite fide of the vafe has two femi-nude youths, apparently in converfation, one having a walking-ftick or fliaff in his hand. Height, i6J in. ; width, lo in. Bands of fluted and antefix ornament round the neck, and a bold olive wreath enriches the bevelled lip of the vafe. No. 546. P^WO-HANDLED VASE—'' Felice." " Late " period. ^5^ /^ Circa 300 B.C. The decoration is executed in white bc$r?^ '■'• engobe''' colour, applied on the furface of the black glaze, which was painted entirely over the piece. In front, on the fhoulder of the vafe, betwixt horizontal bands of egg-and- tongue ornament and pearls, is a head or buft of Cupid, with out- flretched wings, flanked by tufts of fcroU foliage. The details are executed on the white ground in yellow, warm orange brown, and red. Height, 8^ in. ; width, 5 J in. No. 547. >MALL OVIFORM VASE, without handle— "Alabaf- tron " or "Cymbe." "Late" period. Circa 250 b.c. Ornamentation in white '■'' engobe''^ colour, on the black glaze, with zones of red, pale blue, and pale yellow. The body of this fimple yet elegant piece is covered with a wide zone of reticulated lozenge pattern, above which is a wave fcroll orna- ment. The neck is enriched with vertical flutings. Height, 6J in. ; width, 3^ in. VASES. 223 No. 548. ^^^^MALL GLOBULAR TWO-HANDLED VASE, ^^^^ with cover — " Thymaterion." *' Late" period. Circa i3ist<^l!' 250 B.C. Decoration in white '•'■ engobe^^ on the black glaze. The body of the vafe painted in front with a female head betwixt tufts of fcroll foliage ; above and below it, the vafe is encircled by two zones of egg-and-tongue ornament, and a running fcroll pattern. The cover is enriched with a meander or fret ornament. Height, 4 in. ; width, 3I in. No. 549. gYRIFORM VASE, without handle— ''Cymbe." '*Late" period. Circa 250 B.C. Decoration in white '•'■ engobe^' on the black glaze. The body of the vafe in front painted with a female buft, probably Venus, flanked by elaborate fcroll work ; and with a zone of egg-and-tongue ornament. The neck enriched with vertical fluting. Height, 6^ in. ; width, 3 1 in. No. 550. ^ASE— "Cymbe." The "pendant •'i piece, and in every refpeft fimilar. of the preceding No. 551. IWO-HANDLED CUP OR TAZZA- " Cylix." " Late " period. Circa 250 B.C. Decoration in red tSSck'^i^ " engobe " painted on the black glaze. On the infide of the bowl is a fwan, furrounded with a bold wreath or chaplet of olive leaves. The under fide has alfo a bold olive wreath. Height, 2^ in. ; diam., 7^ in. 1124 XL— ANTIQUE GREEK PAINTED No. 552. fELL-SHAPED VASE—" Cantharos "—with knotted or twifled handles ; the lower part enriched with flutings in relief. "Late" period. Circa 250 b.c. Round the neck or flioulder of the piece is a wreath of ivy leaves painted in yellow '-'' engoheT Height, 6 in. ; width, 5 J in. No. 553. ^^IMILAR BELL-SHAPED VASE. Around the neck, ^^^M. a wreath of olive leaves painted in white on the black enamel furface. Height, 6 in. ; width, 6 in. No. 554. pi^fiMALL EWER OR CRUET— the lower part cylin- ^^g^' drical or box-fliaped. " Prochous." " Late " period. i^^s^ji Decoration in white '•'• engohe'" on the black enamel ground. The body of the piece furrounded by a vine wreath. Height, 6^ in. ; width, 3^ in. No. SSS' LMOND-SHAPED CRUET OR "PROCHOUS." &^ Fawn-coloured terra cotta ground. Painted with a bird. Height, 6\ in. ; width, 2^^ in. No. 556. ?^g MALL UNGUENT ARIUM—^' Cymbe." Decoration S^S in white and yellow on black glaze. Painted with a bird betwixt tufts of foliated ornament. Height, 4J in. ; width, 24 in. VASES. 225 No. 557. ^SmALL globular BOTTLE— "Aryballos." "Late" si^^ period. White decoration on black ground. Round the ftioulder is a beautiful wave fcroU pattern. Height, ^^ in. ; width, "2^ in. No. 558. MALL LECYTHUS. " Perfeft " Greek period. Painted with '^anfe^xiai'' ornament. Black on a red ground. Height, 4 in. ; diam., i| in. No. 559. I^ROUP OF THREE SMALL VASES, with covers, ^^^' united together, and with an upright loop handle in the centre. " Late " period. Painted with "^«/^x/^/" ornament. Extreme height, 5^ in. ; diam., 6 in. XIL "ART BRONZESr :\ >i!«le ^,^5ry\(^.':7^: ITH the Ancients, bronze was efteemed the moft excellent of all vehicles for ornamental fculpture, and from the humblefl utenfil to the greateft coloflal flatue, it was in conftant ufe. Owing to the great durability of the material, many ancient bronzes have furvived the viciflitudes of time, and, after llumbering for centuries in the ground, have been again brought to light, and feduloufly prefer ved by collectors . The fijperficial oxidation of the metal — induced by long expofure to the atmofphere or by contaft with the foil, when, as is frequently the cafe in antique bronzes, it aiTumes the (hape of a hard, com- paft, cryflalline cruft of very varied tints of green, blue, or red — is highly efteemed, not only as the beil evidence of antiquity, but alfo for its intrinfic beauty : this natural rufting or oxidation is called the patina of the bronze ; it cannot be produced by arti- ficial means, and although fraudulent imitations of fome varieties are frequently made, it is generally very eafy to deteft the im- pofition. Such imitations are generally produced by the aftion of acids on the metal, aided by refmous varniflies, which are eafily foluble, and are foft or friable in texture. Mediaval or cinque-cento bronzes were at their firfl manufac- ture ufually tinted or lacquered with coloured varniflies; and, XIL— BRONZES. 227 although they have very rarely acquired the natural or true patina^ have ftili by the lapfe of time, inducing gradual chemical changes in the material, afTumed peculiar and very agreeable tones and qualities of furface, which are almofl: as difficult to imitate as the antique patina. In the fifteenth, fixteenth, and feventeenth centuries, Florence was efpecially noted for the fabrication of art bronzes ; fo much fo, that "Florentine bronze" has now become a generic term applied to all minor Italian works of the cinque-cento and later periods in that material. Reproductions of antiques, reduced copies from celebrated works, and original compofitions on a fmall fcale, were often executed by the mofl celebrated fculptors of the epoch. The Pifani, Donatello, Lorenzo Ghiberti, Verocchio, Baccio Bandinelli, Benvenuto Cellini, and Giovanni Bologna, are a few of the great artifls of whom, it is poffible, we thus poffefs many fmall and unknown works. The immenfe number and variety of minor objefts in bronze of this period, often diftin- guiflied by admirable delicacy and fpirit, prove that the produftion of fuch works had become an important and recognized induflry, analogous to the bronze manufactures of Paris at the prefent day. Cinque-cento bronzes are ufually very light ; being caft hollow by a procefs now feldom ufed, called '■'■ a la cire perdue'' — that is to fay, they were caft from wax models ; or rather from models, the fuperficial coating of which was in wax, whilft the interior part or core was of fome infufible material, fuch as plafter, a fpecies of terra-cotta or ftucco. After the mould, or matrix in which the bronze was to be caft, was made around the model, the wax was melted away by the application of heat, and a cavity thus left be- twixt the core and the mould, into which the melted metal was poured, taking the place of the wax. The caftings by this ancient procefs were, generally fpeaking, far more perfeft than thofe by the modern and more expeditious methods — every touch of the g 2 228 XII.— BRONZES. modelling tool of the artift on the furface of the foft wax being reproduced in the metal with the utmoft delicacy and precifion — whereas at the prefent day the praftice of fand cafting produces only rough cafls, which require retouching and poliiliing up with the chafing tool — a procefs feldom or never, on account of the trouble and expenfe, performed by the fculptor or original author of the work, but unfortunately nearly always confided to mere workmen, whofe unintelligent labours too often refult in the entire facrifice of the fpirit and truth of detail of the original work, to the attainment of a laboured and mechanical finifti, in which art has no concern. Plate 8. No. 600. Florentine cinque-cento Bronze Inkftand. CATALOGUE. . A-Kn.' XII.— BRONZES. No. 600. TKSTAND, " Calajnaioy Florentine cinque-cento bronze. On a triangular plinth, fupported on lions' feet, are three fitting fphynxes with outftretched wings, coupled together; a circular moulded rim or margin refts on their heads and wings, within which is placed a funnel-fliaped glafs for ink. The cover forms a richly-moulded pedeflal, on which (lands a group of ftatuettes reprefenting Pan or a fatyr, feated, with his hands bound behind him ; Venus or a nymph, {landing near, offers him a balket of fruit ; and Cupid, flanding on the oppofite fide, is in the aft of fhooting an arrow This fplendid bronze dates about 1530. (From theBemal Colleftion.) Entire height, 14 in. ; height of llatuettes, 6 J in. (See en- graving.) No. 601. grap^^NKSTAND. Florentine cinque-cento period. A «-£| %(^ flatuette of Pan or a fatyr, in " ronde hojfe^'' is feated S^^^x crofs-legged : in one hand he holds a two-handled vafe or inkfland, and in the other a cornucopia intended to hold the pen. This fine bronze is of the firfl half of the fixteenth century, and has a fplendid colour or patina. Height of figure, if ereft, about 12 in. " ' 23© XIL— BRONZES. No. 602. ^^^ ROUP. Florentine bronze. Samfon flayincr a Philiftine. W^^ Date, firfl half of fixteenth century. Proportion of figures, about 12 in. high. Nos. 603 and 604. ^^f^^MIR OF BRONZE VASES. Florentine work. % ^^^ Circa 1700-20. Height, 14^ in. Thefe vafes, w'.^wSc though in general ftyle and afpeft they refemble ana- logous works of the early cinque-cento period, belong, never- thelefs, to the eighteenth century — the details of ornament being decidedly of the Louis XIV. ftyle. They are fplendid examples of highly-finiflied workmanftiip, the chafmg being of the utmoft finifli and precifion, whilft the natural colour of the bronze is of a beautiful tender olive-brown tint. (See engraving.) i\itii K JO /; No. 605. r^i^VAL FRAME IN BRONZE. Venetian or Florentine ix^&K ^^^^' Circa 1570. Height, 12 in.; width, 9 in. SS.^^^Ar— originally IS, gilded. Italian quattro-cento period. Chrifl in the Sepul- chre, fupported by the Virgin and St. John. Height, 4J in. ; width, 3 in. No. 618. ^^MALL CIRCULAR BRONZE BJS RELIEF ^^^ PLAGUE. Italian quattro-cento work. Hercules lleep- ing, whilfl Cacus is dealing an ox, which he pulls into his cave by the tail. Diam., m. XIII. MISCELLANEOUS OBJECTS IN PRECIOUS MATERIALS. Goldfmiths Work and Decorative Metal Works in general. CATALOGUE. No. 651. ^ASKET, formed of enamel plaques mounted in gold. German or Dutch. Early eighteenth century work. This coflly objeft is in the form of a fmall fquare cabinet, (landing on four chafed knob feet. The front opens with two hinged doors, difclofmg fix fmall drawers, the metal fronts of which are richly chafed with various animals, amongft which, dragons, panthers, crocodiles, ^f., are confpicuous. The exterior of the piece is encafed with feven large, and numerous fmaller, plaques of enamel in brilliant colours on white ground. The larger plaques in front reprefent refpeftively — Venus bath- ing, furrounded by Amorini^ intended as an allegory of water ; and the companion fubjeft, an allegorical reprefentation of fire, imperfonated by an aged figure in a red mantle, accompanied by Jmorini, feated round a fire. At one end of the caiket is a multifarious compofition of Bacchus and Ariadne furrounded by bacchantes ; and at the other, a nuptial proceflion, probably of Alexander and Hoxana. At the back, the two plaques reprefent XIII.— MI3CELLANEOUS OBJECTS. 235 Bacchus furrounded by Ajiwrini^ and an analogous compofition of Flora. The fummit of the floped cover or roof has an oblong plaque^ with a fubjeft apparently of Venus and Adonis, and the fides of the cover are ornamented with Amorini, Iffc. ; at the angles of the piece are four fmall pinnacles or pedeflals, enriched with bouquets of flowers. This cafket is an important and probably unique example of its kind. It was brought from the ifland of Java, when taken from the Dutch in the early part of the prefent century, and is faid to have been given, early in the preceding century, as a coftly prefent to fome native prince. There can be little doubt but that this is a correct: account; and this beautiful objeft may be regarded as one of the rarefl and mofl coftly bijoux that the epoch could produce. The enamels are in the fined (late of prefervation, of unufual fize, and high finiih, and are of the kind known as the Drefden tabatiere enamels. Height, 5 J in. ; length, 4^ in. ; width, 3 J in. No. 652. ^^MALL CASKET, with arched cover in filver gilt, i^:j^ enriched with foliated fcrolls in filver applique filagree work, filled in with coloured enamels. Circa 1 600. German work. Length, 5 in. ; width, 2 in. ; height, 2| in. No. 653. MALL SQUARE CASKET, of fimilar work and period. In the interior of the lid, is a mod elaborate lock in blued fteel, and at the bottom an engraving of a marriage fubjeft. Length, 2| in. ; width, 2 in. ; height, i| in. No. 654. MALL SQUARE COFFER OR CASKET, in filver ' filagree wire-work. It is mounted on a raifed ftand, 236 XIII.— MISCELLANEOUS OBJECTS IN alfo in filagree. German. Second half of lixteenth century. Length, 4 J in. ; width, 2 j; in. ; height, 3 J in. No. 655. Cylindrical beaker, in rock cryflal. The under part and foot gadrooned ; the fides richly engraved with fcroll foliage. Italian cinque-cento period. Height, 6 in. ; diam., i\ in. No. 6 c 6. . ' ^jYLINDRlCAL CUP AND COVER, in filver gilt, facet cut, fet with jewels, confiding of large cahochon garnets ; large fpinel rubies ; foffil turquoifes, topazes, '■'■perles baroques ^^^ and thirty-feven antique and cinque-cento cameos. This fumptuous piece is of feventeenth century work, and is mofl likely of Swedifli or Danifli origin. Height, 12 J in. ; diam., 7 in. No. 657. q.lNIATURE SALT-CELLAR, in filver. Hexagonal pedeftal-ftiaped, on three ball feet, engraved with oval medallions of clafiTical heads, flowers, ^r., in the ftyle of Theo- dore de Bry. German. Circa 1600. Height, i\ in. No. 658. ^ LACON, with ftopper in amber, decorated with a frieze of marine deities carved in high relief. German work. Second half of feventeenth century. No. 65 9. ^^^.ONBONNIERE. White enamel on gold, painted with M^^ fpirited arabefques in colours. Circa 1700. This I'UAIE 10. No. 663. " Benitler " or Holy Water Stoup, in Rock Ciyllal, decorated with retitvi in enamelled gold, and fet with rubies and turquoifes. Italian work, circa 1570. PRECIOUS MATERIALS. I'^.-j beautiful box is probably the work of one of the celebrated watch enamellers of the period of Louis XIV. No. 660. IRCULAR SNUFF-BOX, in pale fardonyx mounted in gold. The lid enriched with a greyhound in a fitting polition, in minute Roman mofaic. Diam., 3^ in. No. 661. IRCULAR SNUFF-BOX, in porphyry, mounted in i^^s^ gold) the lid enriched with an antique Silenus maik, in Roman modem mofaic. Diam., 2^ in. No. 662. :OVER OF A MISSAL OR SERVICE-BOOK, enamel on copper, with margin in ormolu, Dutch ? Circa 1660, In the centre of each cover is an oval cartouche: one containing the Virgin and Child and St. John with a lamb, in a landfcape ; the other, the Vifitation of Eliza- beth. Amorini in camaieu flank the cartouches^ and the reft of the cover is filled in with elaborate flower and fcroll work. The ground is of white enamel, On the back are allegorical figures of Hope and Charity, within cartouches. (From the Debruge-Dumefnil Colleftion.) Diraenfions of the cover, opened out : width, 6 in. ; height, 4| in. No. 663. ^^^ENITIERj in rock cryftal, decorated with relievi in enamelled gold, fet with rubies and turquoifes. Italian work. Circa 1570. The cup of the benitier, hollowed out of a block of cryftal, is attached to the bottom of a 238 XIIL— MISCELLANEOUS OBJECTS IN large oval plaque or tablet, likewife in cryftal. The margin of this plaque is bordered with heart-fhaped ornaments cut in the mafs, in the centre of each of which is inferted a fine turquoife. The centre of the tablet is occupied by an applique relievo pifture in gold, reprefenting the rood or crucifix ; our Saviour on the crofs, with the Virgin and St. John. The draperies of the figures are enriched with the moft vivid tranflucent enamels, and the crofs is fet with a feries of precious table rubies. This fplendid fpecimen of the goldfmith's art is probably of Florentine origin. Height, 12 in. ; width, 6^ in. (See engraving.) ■om ,7- No. 664. 5^^^USE OR FRAME FOR A MINIATURE, in ena- riTOr^ melled gold, the front formed by a plaque of rock '^^i^^j^^; cryftal, the back perforated in open work ; the defign is an elaborate mterlaced cypher ftanding on two palm branches, and furmounted by a ducal coronet ; a plain narrow border furrounds it. The work is in gold, enamelled white, and touched with black. On the band of the coronet, above the cypher, is infcribed, " Ces noms infeparables ; " and on the border the following verfe : " C^ chiffr entrelajfe faid moins voir de mejlange que ne fait les replis de nos cceurs bien unis, ny fenvie du temps jamais par un efchange ne pourra pas troubler f amour de ma Pbilis.''^ French. Circa 1670. The edge or margin is furrounded by a twifted cord, alfo enamelled white and black. 2| by 2^. ' No. 665. ^;:^^VAL GOLD SNUFF-BOX, the furface arranged in \v^^/{ P'lnels of " vernis " in imitation of lapis lazuli ; on the 'S^^^'t^ lid is an enamel miniature of Louis XIV., by'Petitot, or of his fchool The gold mounts are chafed in the higheft ftyle PRECIOUS MATERIALS. 239 of early eighteenth century art; the ornamentation, in vari- coloured gold, confifts of rococo fcroU and cartouche work, Amorini, bouquets of flowers, garlands, 'isfc. This fplendid box is probably one of the mod fumptuous and tafteful works of its kind ever executed. Length, 3! in.; width, if in.; depth, i^ in. No. 666. 5BLONG GOLD SNUFF-BOX, inlaid with panels of lapis lazuli. In the lid is an enamel miniature of a lady, by Petitot, the margins of the box fet with feed pearls. A fplendid tabatiere of the Louis XIV. period. Length, 2^ in. ; width, i| in. ; depth, i J in. No. 667. ^pIRCULAR SNUFF-BOX, of dark ftiell, inlaid with *^^^^" parallel ftripes of gold. In the lid, an oval miniature on ivory, of a lady in the coflume of the period of Louis XVI. French. Diam., 2^ in. No. 668. llRCULAR SNUFF-BOX, in light yellow fliell, pique with fmall gold ftars. On the lid, a miniature on ivory of a lady. Period of Louis XVI. Diam., 2^ in. / No. 669. 9;^g^JJ'QUARE PLA^E of Avanturine glafs, fet in a narrow ^^vsA' gold margin, and with a loop for fufpenfion. On one !j?s:n^J fide is a painting in oil of St. Therefa .'' kneeling ; above, in the clouds, an angel with a dart. Spanifli or Italian fixteenth century work. Height, 2| in. ; width, 2^ in. 240 XIII. -MISCELLANEOUS OBJECTS IN No. 670. ^^ IRCULAR SNUFF-BOX in black ftiell, the lid fet with I^^G a miniature portrait of a lady. French — period of Louis XVI. Diam., 3 in. No. 671. l^^j OLD SEAL, fet with a garnet, engraved with a (hield i^^ of arms. The mount or handle of the feal is in the form of a Maltefe crofs. Originally enamelled. Italian feven- teenth century work. No. 672. iIRCULAR SNUFF-BOX in Drefden porcelain, mounted in gold, the exterior painted with hawking fubjefts ; in the interior of the lid a highly-finifhed miniature of a lady in the character of Flora. Circa 1740. Diam., 2| in. No. 673. ^^^ VAL SNUFF-BOX in Drefden- porcelain, the exterior £^^w painted with Amorini ; on the under fide of the lid 'a miniature of a lady reclining on a couch. The mountings in gold richly chafed. No. 674. jMALL CASKET, formed of (labs of agate or jafper, mounted in filver gilt. German work. Circa 1560- ii 1600. Length, 3 J in. ; width, 2| in. ; height, 2 J in. This cafket, like the others of analogous defign in this Colleftion, PRECIOUS MATERIALS. 241 was doubtlefs intended as a wedding prefent, and it is not unlikely that it may have been intended to contain the ring. The defign is very chafte and fimple, and the workmanfhip of unufual folidity and finifh. No. 675. 5ARVED COCOA-NUT DRINKING CUP, mounted in filver. This quaint piece is mounted as a fpecies of rhyton ; the ftem or handle is formed by a bull's head. The filver margin of the cup and the vertical bands con- necting it with the flem are engraved with elegant arabefque ornaments. The relievo fubjefts carved on the furface of the nut are three in. number — two of them reprefent the hiflory of Lot and his daughters ; and the third, Bacchus with attendant fatyrs. German work. Circa 1550. No. 676. r^^iOLD ENAMELLED WATCH. French work. ^ Circa 1640-50. Diam., i\ in. The entire exterior of the cafe is covered with painted fubje£ts. On the circular lid in front is a medallion pifture of the Virgin and Child, with St. Elizabeth and Jofeph, after Rubens ; and the corre- fponding miniature on the oppofite fide of the cafe is the Virgin and Child, after Mignard. The margin or circular edge of the watch is painted with a continuous band or frieze, in which the Maffacre of the Innocents, the Flight into Egypt, and the " ripofo^'' are alfo given. The inner fides of the cafe contain re- fpe£tively portraits of Louis XIII. and of Cardinal Richelieu, painted in the higheft ftyle of miniature art. This magnificent watch is certainly one of the very finefl old French enamelled watches in exiftence, and muft have been made for fome great perfonage 242 XIII.— MISCELLANEOUS OBJECTS IN of the Court. Although the enamel colours are lefs deep and luftrous than thofe of the fine time of Petitot, the execution and defign of the fubjefts are quite up to the level of this great artift. No. 677. J^^^UGSBURG CLOCK, in ormolu. Circa 1570. Entire height, 16 J in. ; width acrofs the bafe, loj in. This fplendid fpecimen is of the ufual form — namely, an oblong upright time-piece, with femi-detached angle columns, and wide moulded bafe, refting on four grotefque feet. At the fummit is a cornice, above which are two heights of perforated galleries, the lower one reprefenting an open arcade ; the roof or cover is domical or ci^^^-fhaped, and crowned by an obeliik. The clock has in all eight feparate dials, and is profufely orna- mented with arabefque ornamentation and allegorical figures, chafed or engraved with the burin. No. 678. ,ENTRE PIECE, SALT-CELLAR, OR '' DRA- GEOIR,^' in gilt bronze and filver. Italian, probably Venetian, work. Circa 1570. Height, 14I in. On an elaborate triangular bafe of ftrap-work ornamentation, dolphins with interlaced tails, fyrens, Iffc, are pofed three marine horfes, with tails ending in rich foliage ; thefe furround a central ftem or column of open work, and on the fummit reft three fliell- fhaped bowls in filver, with filver dolphins in the angles ; the fummit of the piece is crowned by a ftatuette of Neptune with his trident. The piece is very richly gilt, and the chafing is in the higheft degree vigorous and artift ic. (See engraving.) % Plate ii. No. 678. Salt-cellar in Gilt Bronie and Silver. Italian work, circa 157c. PRECIOUS MATERIALS. 243 No. 679. ^VAL SNUFF-BOX. The ground, a chequered mofaic or marqueterie, of ftriped or ribbon agate and fardonyx, applique on a ground of tranfparent agate, out of which the box itfelf is hollowed. On the lid is a fmall oval medallion in white Drefden porcelain, exquifitely painted with a bouquet of flowers in colours ; this medallion is furrounded by a gold border inlaid with forget-me-nots, in turquoifes, with leaves of green jafper, and tied with a ribbon of red fard. The margins of the box are bound round with gold filets. An exquifite fpecimen of German lapidaries' work of the fecond half of the eighteenth century. No. 680. OLD SNUFF-BOX, of "fhaped" or irregular form, chafed, with rococo architectural ornamentation. A fplendid fpecimen of French gold chafmg. Circa 1720. No. 681. ^ 3 LD FRENCH GOLD ENAMELLED WATCH. ^:^t^ Circa 1670. The back of the cover painted with the triumph of Galatea, or tritons and a fea-nymph, with Afiwrini^ failing in a car drawn by dolphins. No. 682. iNUFF-BOX in black ihell, with an oval enamelled miniature on gold, let into the lid. Portrait of a lady in coftume of circa 1670, by Petitot. ^- - R 2 244 XIII.— MISCELLANEOUS OBJECTS IN No. 683. ;AGGER AND SHEATH, with a knife and ftylus inferted. The fheath is in gilt bronze, beautifully en- riched with a relievo fubjeft, chafed and perforated a jour^ reprefenting a dance of death. On the back of the Iheath is the date 1570. A fine fpecimen of a clafs of decora- tive weapons in ufe in Switzerland and Germany in the fixteenth century. Purchafed in Rome in 1859. No. 684. f;>g?,^^^;ILVER-GILT DISH OR BOWL, with a medallion in ^^^^1 the centre, containing a tranllucent enamel, reprefenting l^^&ii the angelic falutation. The medallion is furrounded with a narrow band of vine leaves and grotefque birds, en repoujfe ; and the wide border is likewife richly ornamented in relief as a continuous frieze, the motives being wild or favage men, drefTed in fkins, and armed with clubs, lances, pavoife (liields, ^r., attacking various real and monflrous animals. Thefe figures are relieved or detached on a diaper or trellis work of vine leaves. This very Interefting and rare fpecimen of ancient goldfmith's work, though purchafed in Rome, is of pure northern Gothic defign, and is mofl likely of Flemifli or German origin ; it is probably not later in date than the laft quarter of the fourteenth century. Diam., 8^ in. (See engraving.) No. 685. ,^^^|5^RAGMENT OF AN ANTIQUE FRESCO ^1^^ PAINTING, cut from the wall of a tomb or other t3^^ ancient Roman edifice. A female draped figure — the right arm extended, the left hand with the forefinger 1'l.AIK IZ. No. 684. Silver Gilt Dilh or Bowl, with centre medallion in tranflucent enamel. Flemifti or German work, circa 1380. PRECIOUS MATERIALS. 245 raifed to the lips. She is habited in a pale green tunic, and yellow robe or Hdrt, opened on the thigh, and faftened by a fibula. The figure is detached, on a blue background. This beautiful figure, in almoft perfect prefervation, and retaining much of its original freflinefs of tint, probably formed part of a fyflem of grotefque decoration o£ a room, the extremity of a fcroU or 'voluie being vifible near the left foot. The fragment of (lucco itfelf is of irregular fhape, as it was broken off from the wall. From the fine ftyle difplayed, it is prefumable that it is of the early Imperial epoch. Purchafed in Rome, 1859. No. 686. (l^j^NTiqUE ROMAN MOSAIC, reprefenting a mackarel. t^^fX^ Length of the flab, 9 in. ; height, 4 in. This moft i^^M^ssiii truthful and lifelike reprefentation is eifefted by minute teffera; of coloured glafs partes ; the background compofed of tefferse on a fomewhat larger fcale, apparently in white marble. It is doubtlefs of the Roman Imperial age. No. 687. ^^IMILAR MOSAIC, reprefenting a red mullet. Length of the flab, 8 in. ; height, 3 1 in. No. 688. fiNSTRJNCE OR CIBORIUM for the cuftody of the Hoft, in copper gilt, enriched with cbampleve enamels, Italian (probably Florentine) work, circa 1350. The general form of this fplendid fpecimen of mediaeval goldfmith's work is that of an oftagonal turret of two fl:ories, furmounted by a conical fpire, and fupported on a tall ftem, with a knob in the centre. The entire defign is of an iu-chite£lural character, the various details being miniature reductions in metal of funilar ones 246 XIIL— MISCELLANEOUS OBJECTS IN in (lone or marble difplayed in the Italian Gothic churches of the period. Proceeding from the foot or bafe upwards, the latter is enriched with eight quatrefoil-fhaped plaques of champ- leve opaque enamel, rapportes or foldered on to the body of the foot, which is also oftagonal in plan. The enamels, which are of highly finiflied workmanftiip and in perfeft prefervation, contain grotefque animals, birds, and rofettes ; the defigns or figures are in the gilt metal on blue, red, and green enamel grounds. The metal fpaces of the bafe are engraved with arcaded panels and floriated fcrolls. The knop is like wife fet with eight fmall circular enamel plaques^ also containing grotefque animals. The lower flory of the body of the ciborium is formed by open arcades, furmounted by trefoil cufped arches and triangular canopies with finials and recurved crockets. The piers or fupports of thefe arcades are flender coupled columns, which fupport fquare open- work piers of three heights of arcades, terminated in battle- mented fquare pinnacles ; the upper ftory, diminifhed in height and diameter, is of fimilar defign to the lower one, the arcades only aflTuming the form of mullioned windows. Both ftages are crowned with moulded and battlemented parapets. The conical roof or fpire is richly ornamented with an engraved lozenge diaper, and terminates in a Jinial fupporting a crofs. The glafs or cryftal lining of this beautiful monjirance is alone wanting; in every other refpeft it is perfeftly intaft, and in a marvellous ftate of prefervation. Purchafed at Prato 1859, in which city or the neighbourhood it had undoubtedly always remained. Entire height, 1 5 1; in. [See engraving.) No. 689. ,,,rf, ,• ^^^)YLINDRICAL BOX, with cover, in bronze, fuf- >iv^^ pended from a ring by chains. An antique Greek '%>^< or Roman pyxis or toilet-box. The lid, fides, and Fl^TF. 1 3. No. 688. Monflrance or C'tborium in Gilt Metal, enriched with CfuimpUve emmeW Florentine work, circa 1350 PRECIOUS MATERIALS. 247 bottom are ornamented with elegant turned mouldings, and the arrangement of the fufpending chains, to which the loofe lid and the box itfelf are both attached, is very ingenious. (From the Rogers CoUeftion.) Diam. of box, 3^ in. ; height of ditto, Nos. 690, 691, and 692. ^pHREE OBLONG TESSERA, in bone or ivory, bearing ^^^. abbreviated Latin infcriptions, of the antique Roman period. Tickets of admiffion to confular games, gladiatorial or theatrical entertainments. No. 693. pRCULAR BOWL OR PATERA, in filver. In the centre, in the infide, is a circular medallion containing feven fmall rofettes within circles, executed in high relief, " en repoujje.'" The infide of the cup is richly gilt. " Lower empire," Roman work of the third or fourth century .? Found in 1852, at Mortot in the Jura, France. Diam., 5 J in, ; depth, I J- in. .^ h. XIV. MISCELLANEOUS OBJECTS. Sculptures in Wood, Ivory, Stone, and other Materials. CATALOGUE. No. 700. CUP OR tall ftem, in carved ivory. The drum or body of the /X^^)YLINDRICAL CUP OR CHALICE, with cover, on cup furrounded with an elaborate compofition in alto- relievo, of children with goats, and other bacchanalian attributes — in part copied from defigns of Fiammingo. The ftem is formed by a vine flock, with, in front, fatyrs and Amorini climbing up it. On the cover is a group of two Aniorini, with a wine-cup, grapes, 13' c, in full relief. This cup is of modem German origin, probably executed at Drefden, and is a work of confiderable talent. Height, 1 1 in. No. 701. ^TATUETTE, in Caen ftone, of an architeft holding the model of a church in his hand. Apparently a beautiful modern work in the flyle of the fourteenth century, probably a copy from an ancient ftatuette H^y a talented modern French fculptor. Height, lo.J in. l'l.ATR 14. No. 702. Tankartl in Cacvecl Ivory. Dutch or Flemilh work, circa 1670. XIV.— MISCELLANEOUS OBJECTS 249 No. 702. f-^^j^^ANKARD in carved ivory, mounted in filver gilt. ^\ ^S^ Dutch or Flemifli. Date about 1670. Height, 5 J in. ; ti^iS^ diam. acrofs bafe, 4^ in. The compofition carved in high relief. Around the drum of the tankard is a bacchanalian fcene of recumbent nymphs and fauns, with Amorini ; one of the * latter holds up an oval tablet, on which is fculptured in bas-relief, on a minute fcale, the buft portrait of a gentleman in coflume of the period of the work, probably a portrait of the artift himfelf. The filver-gilt mouldings are perfectly plain, but in excellent tafte, and are coeval with the carving. This beautiful work is by one of the greateft of the Italo-Flemifli ivory fculptors of the fchool of Francois du Quefnoy, called " II fiammingo." The perfeft drawing and modelling of the figure, noticeable efpecially in the extremities, raifes it quite to the level of the high art fculp- ture of its epoch. (See engraving.) No. 703. '^i^^^LJ^E OR TABLET in carved ivory, originally in- ^ Jsp^ ferted into the cover of a book. German work of the ^^^^^itL tenth or eleventh century. Height, 5^ in. ; width, 3 ^ in. The coftly manufcripts of the early periods of the middle ages were bound in the mofl fumptuous manner ; and it was a conftant habit to employ tablets of fculptured ivory for this purpofe. They were ufually let into the centre of the covers, and furrounded with a border of filver-gilt filagree work, inter- fperfed with fmall plaques of Cloifonne enamel, glafs palles, and real gems, antique cameos, Is^c. The prefent tablet has been, doubtlefs, fo framed. The ufage in general may be traced back to the Roman diptychs, which were two plaques of fculptured ivory, hinged like a book. The fubjeft here reprefented is 250 XIV.— MISCELLANEOUS OBJECTS. Daniel in the lions' den, a not uncommon reprefentation at this early period, being underftood as a type of Chrift's defcent into Hades. In the prefent inftance, Daniel is feen in the centre, his head furrounded by a nimbus, feated in the midil of feven lions within a fquare fpace or den, above which, in the background, are conventionalized reprefentations of (lately buildings, intended as the king's palace. On the right a figure in long drapery is being let down into the den by a flying angel, who fufpends it , by the hair of the head. This figure holds in its lap feveral loaves of bread (the aftion here reprefented is evidently a curious inter- pretation of Dan. vi. 22, *' And God fent his angel and fhut the lions' mouths," 'zffc). On the oppofite fide {lands the King wearing a royal tunic and crown, holding in one hand a fceptre, with the other raifed as if in aftonifhment ; behind him is an attendant bearing his fword. The compofition is furrounded by a narrow border of leaf moulding. No. 704. r^^^^ROUP OF FIVE FIGURES, ftatuettes in full relief. |(»(f^^^ (landing on a common ground or plinth. Carved in i^^^i box- wood. German work, circa 1540-50. Length of the plinth, 2 ft. ; height of the figures, 9 in. The fubject of this group is fomewhat obfcure ; apparently, it reprefents a King abdicating his crown in favour of one of his fons to the prejudice of another. The figures are habited in the German codume of the period of the work, though in fome refpefts flightly idealized in the direftion of the antique. It is not impo(fible that the fub- je£l reprefented is the abdication of the Emperor Diocletian, and may have been fuggefted to the artift by the recent abdication of the Emperor Charles V. I'HiJu-: XIV.— MISCELLANEOUS OBJECTS. 251 No. 705. RAME in carved wood. Flemifli work. Circa 1670- 1700. This admirable work was probably originally a mirror frame. It is now adapted as a cafe for miniatures. No. 706. YLINDRICAL BOX, the fides and cover perforated with a Morefco geometrical pattern. Around the fide of the lid, and near the bottom of the box, are two bands of Arabic infcriptions in relief, the ground fpaces filled in with a black maftic. Arabic or Egyptian, probably made at Cairo in the fifteenth or fixteenth century. Height, 3^ in. j diam., 4 in. (From the Colleftion of the Marchefe della Gherardefca, of Florence, 1859.) No. 707. ^:ss^gVAL BOWL OR TAZZA, in variegated marble. ^P^^r ^t*'^^^^^ work, firft half of fixteenth century. The £§^^§3 margin of the tazza is fringed with a beautiful defign of llrapwork, with involuted ferpents and a Mafcherone carved in full relief, perforated '■'■ a joury Length, 8 in. ; width, 7! in. ; height, 2>2 '"■ (From the Marchefe della Gherardefca's Col- lection, Florence, 1859.) No. 708. J^^OARVED IVORY COMB. Ancient Hindoo work, elaborately carved and perforated ; in the centre, within K a fquare panel, is a female divinity, feated crofs-legged on a pedeftal, flanked on each fide by an upright panel containing a 252 XIV.— MISCELLANEOUS OBJECTS. bird, alfo {landing on a low plinth or pedeftal. Purchafed in Rome, 1859. 5^ in. by 4 in. No. 709. ^MALL LIFE-SIZED BUST IN TERRACOTTA. ^ The youthful St. John. Florentine fculpture of the quattro-cento period. Afcribed to Donatello. No. 7 I O. gM NTiqUE MARBLE BUST OF TRAJAN. Contem- ^^^ porary Roman work. Small life (ize. Nos. 711 and 712. 1^ AIR OF COFFERS, " Cajone;' in cheflnut wood inlaid ^^^ with marqueterie or mofaic of ivory and coloured woods. Italian fifteenth century work. Purchafed at Genoa, 1859. Length, 4 ft. i J in. ; width, i ft. 8 in. ; depth, 1 ft. 9 in. XV. PORCELAIN WARES. ORCELAIN is a fubftance intermediate betwixt common pottery, or terra-cotta^ and glafs : it is femi-tranfparent, and of a brilliant white colour, and the glaze or covering is a tranfparent colourlefs glafs, thinly fpread over its furface. It is a much more perfeft fubftance than any other ceramic pro- duft, and, both in compofition and manipulation, demands greater fcientific iTcill. In the words of an eminent French chemift, it is eflentially compofed of two diftinft parts or elements : the one fufible, which gives to it the tranfparency by which it is diftin- guiflied ; and the other infufible, giving it the power to fupport, without foftening or lofmg its (hape, the high temperature necef- fary to transform the fufible element into a glafs. There are two main varieties : the one called the hard body or " Pate dure ; " the other, the foft body or " Pdfe tendre^ The former of thefe is ufually compofed of natural minerals ; the latter, on the con- trary, is an artificial chemical compound. Thefe varieties are hard and foft refpeclively, in two fenfes : — firft, in being able to refift a high temperature or the contrary ; and, fecondly, in ad- mitting of being fcratched by the point of a knife, or in refifting it, as the cafe may be. The hard porcelain is of the moft ancient origin. The Chinefe and Japanefe, the German porcelains gene- 254 XV.— PORCELAIN WARES. * ' s- rally, and the modern French, are of this variety ; whilft the old French, efpecially the famous old Sevres porcelain, and all the Englifh porcelains, are of the latter kind. The invention of porcelain is unqueftionably due to the Chinefe, and, on the authority of this people themfelves, mull be referred at lead as far back as the firft century before Chrift. It was not till comparatively modern times that Europe fol- lowed in the wake of the Chinefe, and for a long time the ambition of European potters was confined to a humble imitation of the Oriental produfts. Many fpecimens of Chinefe porcelain, however, found their way to the civilized coun- tries of the weft during the Middle Ages even, but it is probable that the Portuguefe, in the early part of the fixteenth century, firft imported it in any quantity. In the fucceeding century, the Dutch made a regular article of traffic of porcelain, and, confequent on its fpeedy general ufe by the wealthier clafifes, attempts were made on all hands to manufafture it. It has been recently afcertained that a prince of the Medici dynafty, Duke Francefco I., towards the year 1590, fucceeded in fabricating a fpecies of true porcelain of the foft or artificial variety, at Florence. This was probably the earlieft fuccefsful attempt made in Europe. Several pieces of this fo-called "Medici porcelain" are ftill extant. It was not, however, till towards the clofe of the feven- teenth century, and in particular at St. Cloud, near Paris, that porcelain of the Soft variety was fuccefsfuUy manufactured in Europe as a commercial produft. As refpe£ls the Hard variety, it is certain that its compofition was difcovered at Meiflen, near Drefden, by an alchemift named Bottcher, in the fervice of the then Eleftor of Saxony, betwixt the years 1709 — 17 15. CATALOGUE. XV.— PORCELAIN WARES. No. 740. OUBLE BULB OR GOURD-SHAPED BOTTLE, s!Ima.w ^j^Jj jQj^g neck. Old Chinefe or Japan porcelain, deep onyx brown glaze. Height, 1 1 in. No. 741. SQUARE TEA CADDY, with cover. Old Englifti (Staffordftiire) earthenware. Circa 1720? On each of the (ides is a Chinefe figure in low relief, evidently either moulded from an Oriental original or modelled from a drawing. The figures are coloured with manganefe brown, green, and yellow enamels, floated into the glaze in the ufual manner of thefo-called tortoife-fliell ware. Height, 5 in. ; diam., 2^ in. No. 742. ARGE ECUELLE, with cover and (land. Old Drefden porcelain, painted with " Watteau " converfation fubjefts, 'iffc. Grounded with gold infide. A fpecimen of the fineft period of the old Drefden manufactory. Circa 1730 ? 256 XV.— PORCELAIN WARES. No. 743. |gf UATREFOIL-SHAPED CUP AND SAUCER, lk^(l painted with birds in compartments. Old Drefden porcelain. Circa 1 730 ? No. 744. ^gUATREFOIL-SHAPED CUP AND SAUCER, %?=^ grounded pale greenifh blue, decoration of coloured flowers in alternate compartments, with " Watteau " fubjefts on white ground. Circa 1730 ? Old Drefden. No. 745. lAIL-SHAPED CUP AND COVER, without faucer. M §jj wpTrf Drefden porcelain. Period of Marcolini. White toil&^ ground, painted with figure fubjefts — wreaths and feftoons of minute flowers, Ssfc, and with a cypher and royal crown in gold ; round one of the vignette fubje6ts is the motto, " Le coeur pour vousj Les yeux pour tousT No. 746. ;OFFEE CUP AND SAUCER, old Drefden white porcelain, with flowers in low relief; the flowers filled in with a minute applique mofaic of black lacquer, mother-of-pearl, and gold pique work. A rare and curious infl:ance of the combination of lacquered work, mofaic, Sfff., with porcelain, probably fuggeft:ed by fome Japanefe examples, and by analogous decorative procefles in ufe with the " tabatiere " artifl:s of the beginning of the eighteenth century. XV.— PORCELAIN WARES. ^57 No. 747. ^OFFEE CUP AND SAUCER, old Vienna porcelain, grounded infide and out with burniihed gold, with deco- ration of wreaths of flowers and feftoons of green con- volvulus leaves, painted in colours in referved fpaces. A fine and coftly fpecimen of the Vienna fabrique, which is noted for the richnefs and beauty of the gilding. No. 748. jWO-HANDLED CUP AND COVER, with oval faucer-ftand. Old Drefden white porcelain, decorated with gai-lands of applique flowers in full relief. The interior of the cup grounded with bumifhed gold. A beautiful fpecimen of the old Drefden raifed flower work of early period. Firft half of eighteenth century. No. 749. iCi^^OFFEE CUP AND SAUCER, AND COVER. ylv^^ White ground, with painted vignette fubjefts of Nymphs ^'^^>s^*' and Cupid bathing, 'k^c. ; gilding and coloured rofes and forget-me-nots round the borders. A cypher and imperial crown on the cover. Drefden porcelain. No. 750. 'UP AND SAUCER. Old Sevres pate tendre porce- lain. Lavender-coloured ground, with referved oval compartments in white, filled in with groups of flowers. Rich gilding. Reverfe : mark of the fabrique, but without date or fignature. s 258 XV. -PORCELAIN WARES. No. 751. ^^TATUETTE OF A WINGED SYREN, riding on a II^jK dolphin, and upholding a fcallop fhell — probably intended as a falt-cellar. Porcelain, picked out in colours. Old Capo di Monte ware. Period, middle of the eighteenth century. No. 752. 1^^ UP AND SAUCER. Old Capo di Monte porcelain, ^^^^t decorated with coloured rclievi of Tritons and fea-nymphs, and garlands of flowers. Nos. 753 and 754. UlR OF ( IMair of oriental porcelain bottles— Old Chinefe or Japanefe. White ground, painted with groups of coloured flowers. Mounted in ormolu as ewers. The mounts, French, of the period of Louis XV. Height, 12^ in. No. 755. p^TLD CHINESE CRACKLE PORCELAIN BOTTLE. I^^^A -^^"^wnifli crackle; painted with a tree or flowering \^l^^s^® flirub in blue, up the fl:em of which an ape is climbing, and with various fmall figures of animals, birds, infefts, l^fc. Mounted in ormolu (marginal bands and cover only) ; the mounts old French. Circa 1690. This piece is doubtlefs of great anti- quity. Height, 14 in. No. 756. 0^^?(ARGE WHITE CRACKLE PORCELAIN VASE. 1 ^'^ ^^^ Chinefe, The ground of this vafe is covered with fy*^^T large cracks ; it is, in addition, ornamented with large XV.— PORCELAIN WARES. 259 circular itietfeflions of gtotefque dragons and foliage work in blue ; and it fhould be noticed that the cracks do not extend over thefe medallions. The vale has two lions' heads, with rings hanging from their mouths, arranged as handles ; thefe, and the lip or margin of the piece, are enamelled in imitation of bronze. Height, exclulive of the carved wood (land, 1 7 in. No. 757. ^^^HINESE PORCELAIN VASE, white ground, with */?^§t arabefque and diaper decoration in blue. An ancient and very elegant fpecimen, with an hexagonal carved rofewood (land. Height, 10 in. No. 758. I^ARGE OBLONG PLA^E. Old blue and white W^^. cameo Wedgwood ware. A claffical fubjeft, apparently a facrifice to the goddefs Flora. Length, 16 in. ; depth, 6| in. No. 759. I^ARGE OBLONG PLA^E. Old blue and white W^^ cameo Wedgwood ware. A frieze of infant fatyrs, in the manner of the Antique. Length, 12^ in. ; depth, 5 in. No. 760. %^^^UITE OF THREE AMPHORA-SHAPED VASES, 'fi^^^^^ in Sevres Porcelain, of the time of the Empire. Gros i bleu ground, with gilded palmette and other ornament- ation, in the Antique Greek ftyle. The centre vafe contains, in front, a circular medallion, painted with the portrait of Napoleon in his robes of ftate, and wearing a laurel wreath. In the higheft ftyle of nineteenth century French art. Height of each vafe, 16 in. s 2 XVI. PICTURES AND DRAWINGS BY ANCIENT MASTERS. CATALOGUE. No. 8oi. ^^^lOVANNI BATISTA SALVI, called " Saffo-Ferrato;' ^^^ Head of the Madonna — the hands clafped in adora- /ij^:r^v tion. She is clad in a blue and red drapery, with a linen veil on her head. Very little is known of this excellent and popular painter. Lanzi dates that he was bom at the caftle of Saflb-Ferrato, near Urbino, in 1605, and that he died at Rome in 1685, and was a pupil of his father, Tarquinio Salvi, and of Domenichino. 19 in. by 15 in. No. 802. Group of fix peafant children or itinerant one of them is playing a pipe and another a ^^fi. fmall violin. There were three brothers of the Lenain t family : Louis, Antoine, and Matthieu, bom, it is fuppofed, at Laon, refpe^lively in 1583, 1585, and 1593. The two firft died about the year 1648. It is fuppofed that Louis and Antoine were conjointly the painters of the ufaal ruftic fubjefts X VI.— PICTURES AND DRAWINGS. 261 of which this pifture offers an example. Very little is known, however, about thefe eminent artifts. (From the Rogers' Col- le^iion.) 9^ in. by 7^ in. No. 803. ?f^T^EAN BAPTISTE PATER. Paftoral or champetre ^^^ p iubjeft. A young man, dreffed in fancy coftume, is i^-j^&< prefenting a corheille of flowers to a lady who is feated on the turf. In the background, a grove of trees, with two ladies and a cavalier. In the foreground, a child with flowers in her lap. Jean Batifte Pater, born at Valenciennes, 1695 — died, 1736 — was one of the moft celebrated pupils of Watteau. His pictures are now fcarcely lefs efleemed than thofe of his mafter. (From Mr. Goding's Collection.) 12 in. by io| in. No. 804. 1^2 OUCHER, Francois, born at Paris, 1704 — died, 1768. -l^t^I Drawing in coloured chalks. Head of a young girl. (From Mr. Utterfon's Collection.) 7I in. by 6\ in. No. 805. ^g^ERIES OF THREE ITALIAN, FIFTEENTH CEN- ^^1 TURY, INITIAL LETTERS, painted on vellum, Xir^S^jl filled in with miniature paintings. The fubjefts repre- fent refpeftively the Afcenfion of the Virgin, the Nativity, and an uncertain legendary fubjeft, in which is depicted Chrifl on the crofs on an altar, with blood pouring from his wounds into a chalice, and various figures (landing near beholding the miracle. Thefe beautiful initials have been cut from a fine choral book, and are the work of fome eminent artift of the fchool or immediate period of Pietro Perugino. They are mounted in the fame glazed frame. 262 X VI.— PICTURES AND DRAWINGS BY No. 806. ^^JOVANNI-BATISTA TIEPOLO. Venetian fchool. Born, 1697; died, 1770. Finiilied Ik etch in oil. Un- certain religious or allegorical fubjeft. Height, 22^ in. ; width, 14 in. No. 807. ^M^UARDI, FRANCESCO (OR CANALETTO?). i^^v . . . mW?^' Venetian fchool. Born, 1712; died, 1793. View ni Venice. 4 ft. 10 in. by 4 ft. 7 in. (From the Colleftion of Dr. Veron, of Paris.) No. 808. ^^^lOVANNI BATISTA SALVI, called " Sallo-Ferrato." The Crucifixion, with Mary Magdalene embracing the j?f:x^^^i foot of the crofs, and an angel kneeling and pointing towards the crucified Saviour. Intended as an allegory or illus- tration of the doftrine of the atonement. Height, 3 ft. 2 in. ; width, 2 ft. 4 in. No. 809. I^OSALBA C^.ARRIERA. Italian fchool. Head of a w^^ Mufe or poetefs. Drawing in paflels. This celebrated female artiil was born in 1675, and died in 1757. Height, 1 1^ in. ; width, 9^ in. No. 810. |M0SALBA CARRIER A. Head of a Mufe or poetefs. ll^i^l Drawing in paflels. Companion to the preceding. Height, 1 1 1 in. ; width, 9^ in. ANCIENT MASTERS. 263 No. 811. J^^^IHARDIN, JEAN BAPTISTE SIMEON. (French v(v^*^^ fchool.) Died 1779. Drawing in black, red, and .^^^i^ik white chalk, on light brown tinted paper. Study of the head of a youth in a three-cornered hat ; lower down on the fheet the two hands of the fame figure holding a portfolio. Height, 8 1 in. ; width, 6 in. No. 812. ^^?jIOTARD JEAN ETIENNE. Born at Geneva, JJ ^-^^ 1702; living in 1776. Highly-finiflied drawing in K^ti^M black and red chalks. Portraits of two ladies in Turkifh coftume, feated on a divan. In 1738, Liotard went to Conftantinople with two Englilh noblemen, and there made the acquaintance of the Earl of Befsborough, then ambaffador to the Porte. He returned with that nobleman to England, where he lived many years ; and, having continued to wear a Turkifh drefs and a long beard, he was known as " The Turk." This beautiful drawing was formerly in Lord Befsborough's Collection. Length, 8^ in. ; height, 5f in. No 813. 5>^^^ OFF ANY. Sketch in oil of a young girl in the coftume '^^^^ oi the laft century, holding a palette and bruflies in her =^x^* hand. A portrait Iketch from the life, probably of one of the infant princeiTes, daughters of George III. Johan Zoffany was bom at Frankfort in 1735, but lived the greater part of his life in England, where he became a member of the Royal Academy. Height, 22 in. ; width, 16^ in. 264 XVI.— PICTURES AND DRAWINGS BY No. 814. ^^;NTOINE WATTEAU— born at Viilenciennes, 1684; ®S died 1721. Finiflied iketch in oil. K fete cbampetre — compolition of many figures. Height, 15^ in. ; width, 12 in. No. 815. ^g- NTOINE WATTEAU. '' Converfationgalantcr Com- ^^^ pofition of feven figures in a landfcape. Height, 14^ in. ; width, 1 8 in. (From the Hon. E. Phipps' Colleftion.) No. 8 1 6. .VID TENIERS. Born at Antwerp, 16 10; died, 1690. Village fete: a crowd of peafants aflembled, feafting before a cabaret, to the mufic of a bagpipe, which a man who (lands on a tub is playing ; to the right, in the diltance, is feen Teniers' chateau^ with the artill, his wife and family, walking in front. (From Eord North wick's Colleftion.) Height, 2 ft. ; width, i ft. 8^ in. No. 817. ^^^ENOBIO DE MACCHIAVELLI. Florentine w^§^ fchool. Painted circa 147^. '■'■ Sacra converfazioney A^^^^k Pifture in diftemper on panel. Width, 4 ft. 11 in. ; height, 4 ft. 5 in. Compofition of fix fmall life-fized figures. In the centre is the Virgin feated on a throne, with the infant Saviour (landing in her lap ; in her left hand flie holds a white rofe. On her right hand (lands St. Bernardino of Siena, holding a medallion infcribed with the monogram of Chrift, and another faint, with a book in his hand, but without any other emblem. On the left of the Virgin is a fainted bifliop, with a crofier, the border of his cope embroidered with fieurs-de-lys (probably the ANCIENT MASTERS. 265 Florentine, St. Zenobio), and St. Jerome, in the habit of a cardinal, with a book and a pen in his hands. In the right hand lower comer is the fignature of the painter, " Cenobii de Mac- cbiaveUr Nothing is known of Macchiavelli except the bare mention of him in Vafari's Life of Benozzo Gozzoli, from which he would feem to have been Benozzo's principal pupil. This admirable pifture is probably unfurpaffed by any eafel or panel pifture of Benozzo himfelf now extant. It was originally in the church of Santa Croce, in Foflabonda, without the walls of Pifa, together with another picture by the fame artifl, figned and dated 1473, reprefenting the coronation of the Virgin. The latter was taken to Paris at the period of the French occupation of Italy, and is now in the Louvre (No. 245) ; it is, however, far inferior to the prefent work. In the laft Florentine edition of Vafari (Lemonnier, 1848, vol. 4, p. 191, note 2) is a notice of the two pictures, contributed by the Cavaliere Tommafo Puccini. The faints reprefented in the prefent picture are there, however, called "San Ranieri, San Francefco, San Giacomo," '■'■ e un altro fanto;' they are, however, evidently fo defignated in error. This picture, after having been long depofited by its previous owner in the Accademia di belle Arti, in Pifa, was purchafed for the prefent poffelTor in Florence in the fpring of 1859. It is pro- bable that this and the Louvre pi6hire are the only works of the painter now extant, which are recognifable as fuch ; they, how- ever, alone fuffice to entitle him to take rank with the greatefl matters of the quattro-cento period. (See engravings No. i . ) No. 818. ?jP^?;ORENZO DA CREDI. Bom in Florence, 1452 ; *3 ^^^y died about 1536. The Virgin feated under a canopy, vSSi^ M with the infant Saviour on her lap ; in the background, a landfcape with water and diftant mountains ; and on the right a church, with conventual buildings attached. Painted in oil 166 XVI.— PICTURES AND DRAWINGS BY on an oval panel. An admirable work of the finefl time of the mailer. In perfeft prefervation. (From Lord Northwick's Col- lection.) Height, 22^ in, ; width, 14 in. No. 819. '^^^jIERO DELLA FRANCESCA. Born at Borgo San j;^:?! Sepolcro towards the beginning of the fifteenth century ; ^^J, living at an extreme old age in 1494. Picture in dif- temper on panel. Height, 5 ft. 5 in. ; width, 3 ft. 1 1 in. St. John baptizing our Saviour. In the centre are the principal figures, our Saviour and St. John, (landing in a rivulet under the fpreading branches of an acacia. On the left, a group of three (landing angels. On the right, in the middle diflance, a nearly nude figure of a difciple ftanding in the water ; whilft in the dif- tance a group of four minor draped figures completes the com- pofition. The landfcape background is a view of the country around Borgo San Sepolcro — the city itfelf appearing, furrounded with gardens and vineyards, at the foot of the olive-covered Appennines. Piero della Francefco has always been reputed one of the luminaries of art. By the teflimony of Vafari and other ancient writers, it is evident that he was regarded in his own time as one of thofe great inventors to whom the revival of art in the fifteenth century was due. Like his fucceffbrs — Leonardo da Vinci, Michael Angelo, and Rafliielle — Piero was an univerfal genius, and, amongil other labours, he acquired efpecial renown for his writings on geometry and perfpeftive. Very few works of this great artifl have defcended to us. His principal labours as a painter were executed in Frefco, and have in moft inilances periflied. This pifture was formerly in the facrifly of the cathe- dral of Borgo San Sepolcro, from whence it was only removed in the fpring of 1859, having been purchafed by the author for its prefent pofl'efTor, from the Bilhop and Chapter, who were deHrous ANCIENT MASTERS. 267 of felling it in order to raife funds for the ereftion of a new high altar. In its original locality it formed the centre divifion of a large altar-piece in three compai*tments ; the original fide divifions, however, and the predella^ had difappeared, and had been replaced by fimilar portions of another altar-piece, by a later and far inferior hand ; thefe latter, therefore, were not removed. In addition to the prefent pifture, which is believed to be the mod important work of the mafter extant, the following are probably the only indubitably authentic panel piftures of the mailer now known : — 1 . In the Chiefetta dello Spedale, at Borgo San Sepolcro, a panel pifture reprefenting the Virgin, as " Noflra donna della Mifere- cordia ; " alfo feveral portions of the predella of the fame picture, let into the panels of an altar-piece of the feventeenth century. — 2. In the facrifty of the cathedral of Urbino, a fmall picture repre- fenting the flagellation of Chrift. — 3. A pifture in very damaged condition, in the poflTeflTion of the family Marini Francefchi (defcendants of the painter), now refident in Florence, reprefent- ing the Nativity. — 4. In the Accademia at Perugia, a '■'-facra converfa-zione^' or Virgin with faints. — 5. In the gallery of the UfEzj, Florence, a diptych or pi^l: ASTER UNKNOWN. Oval miniature on ivory. 2f in. by 2|^ in. Portrait of Catherine II. of RuiTia, in her robes. Bora 1729, became Emprefs by the dethronement and fubfequent murder of her hufband in 1762. Died in 1796. i '^ w No. 983. VAL MINIATURE on ivory. French, period of Louis XVI. 2|^ in. by i| in. Portrait of a lady, pro- bably an aftrefs, in fancy coflume. No. 984. VAL MINIATURE on ivory. French, period of Louis XVI. 2 1 in. by 2^ in. Portrait of a lady, pro- bably an aftrefs. No. 985. r^^^i^ ISABEY. Large oval miniature on ivory. Por- VvC.{»Jil r3 trait of the Duke of Wellington in the forty-eighth year of his age. 5 J in. by 4| in. On the reverfe u 2 292 XVIII. —MINIATURES. is written, evidently in the handwriting of Ifabey, " Peint par ordre de fa Majejie pour fon cabinet particulier^ 1818." Arthur Wellelley, Duke of Wellington, born May i, 1769; died September 14, 1852. No. 986. |[P|ARGE MINIATURE in oil— a work of the Spanifti ^^^v fchool of the feventeenth or early eighteenth century. The Madonna. No. 987. [^qUARE MINIATURE PICTURE in diftemper on vellum. Flemifli — circa i 560. Mafter unknown. " The Comte de Meghen." Half length, habited in a rich fuit of armour damafquine with gold. He holds a helmet in his right hand, and grafps the fcabbard of his fword with his left ; around his neck is the collar of the Golden Fleece. The Comte de Meghen was a celebrated leader on the fide of the Imperialifts in Flanders, under the fanguinary Duke of Alva. S\ in. by 4i in. No. 988. SIMILAR SQUARE FLEMISH MINIATURE, by the fame hand, and en fuite with the preceding. " Femme du Comte de Eigne." Circa 1550-60. This lady is attired in a magnificent drefs of black and white, pro- fufely ornamented with jewels. 6 in. by 4| in. No. 989. COOPER. Oval miniature on card. Circa 1645. Lady Falconberg. A lady of about twenty-five years old, with reddifli auburn hair in long ringlets — plain XVUL— MINIATURES. 293 low white fatin drefs, and wearing a necklace of pearls. Blue iky background. (From Lord Northwick's Colleftion.) 2| in. by 1 1 in. No. 990. ^lOLBEIN. Circular miniature on card or vellum. Sir Thomas Seymour, Lord High Admiral of England. He is about thirty or thirty-five years old, has a reddifh or fandy coloured beard and mouftache, wears a black drefs and black cap with a gold medallion in it. Plain ultramarine back- ground. On the back of the miniature is written in an ancient, and perhaps nearly contemporary hand, " The pi<5l:ure of Sr Thos. Seymer, Knight, L Admyrall of England." Diam., i| in. An exquifite miniature. No. 991. ^^^5 COOPER. Oval miniature on card or vellum. The ^^^;^ Earl of Pembroke. An exquifite miniature of the yfe?*»S * early time of the artift. Initialed, but without date. The Earl is reprefented as about forty years old, with long auburn hair, and fmall pointed beard and mouftache, drelTed in black fatin, with felling collar edged with point lace. 2 in. by 1 1 in. (From Lord Northwick's Colleftion.) No. 992. COOPER. Oval miniature on card or vellum. The Countefs of Pembroke, wife of the preceding. An admirable miniature. The lady is about thirty-five years old, with light auburn hair in long ringlets. Low drefs of white fatin, ornamented with jewels, and necklace and ear-drops of large pearls. The background, a crimfon curtain. 2 in. by if in. 294 XVIIL— MINIATURES. Nos. 993, 994, and 995. HREE SMALL OVAL MINIATURES on vellum. ^7 Three young children ot the Earl and Countefs of - Pembroke, painted on ultramarine backgrounds. Attri- buted to S. Cooper. Each if in. by i in. (From Lord North- wick's Colleftion.) No. 996. jVAL MINIATURE on ivory. A Countefs of Shrews- bury — a lady of about fifty years old, in coftume of the period of Queen Anne. Initialed "I. S. — 60;" labelled "Spencer" on the back — probably the name of the artift. (From Lord Northwick's CoUeftion.) No. 997. gETER OLIVER. The Eleftor Palatine, King of Bohe- mia, fon-in-law of James I. Oval miniature on card or vellum, with the monogram of the artift. Dark blue background. 1 1 in. by i^ in. No. 998. iSAAC OLIVER. Oval miniature on card or vellum. Dr. Donne, the poet. Signed with the monogram of Oliver in gold on the dark blue background, and dated 1610. An admirable and moft perfeftly preferved miniature. 2 J in. by i| in. (From Lord Northwick's Colle£lion.) No. 999. g^^VAL MINIATURE. Enamel on gold. The Marquis of Vieuville. Infcribed at the back, " Portrait in enamel of the Marquis de Vieuville, killed at the Battle X VIII.— MINIATURES. ^95 of Auburn Chafe, Sept. i8, 1643." From the Portland and Strawberry Hill Colle Mary. Painted in oil on card, in gold enamelled locket - ^^3=^:^1!, cafe. This admirable miniature is unqueftionably by More, and to all appearance mufl have been painted from the life about the commencement of the Queen's reign (circa 1553). She is drefTed in black, with a black coif or bonnet, richly adorned with firings of pearls and gold enamelled work. Round her neck {he wears a narrow frill or ruff, and her drefs is edged with a collar of fur. The head is relieved on a plain blue background. The features, though fomewhat angular and unmiftakeably charac- teriftic, are more refined than ufual, and the general expreflion is very animated. Height, ij in. ; width, i.^ in. XIX. WATER-COLOUR DRAWINGS BY MODERN MASTERS. ATER-COLOUR drawing, or more correftly fpeaking, painting in water colours, is effen- tially an art of modem times ; Oftade, his pupil Du Sart, and fome other Dutch artifls of the feventeenth century, neverthelefs, occa- fionally produced drawings, which in the pigments employed, methods of execution, and refultant force of colour, very much refembled the modem works. Thefe occafional efforts, however, led to no permanent refult, and it was not till the fecond half of the eighteenth century that certain Englifli artifls, amongfl whom, Paul Sandby, Girtin, J. Varley, Criftall, G. Barrett, and above all. Turner, were the moft confpicuous, formed a national fchool of water-colour painting. From the beginning of the prefent century, this branch of art has rapidly developed itfelf in England, and in the admirable works of Turner has, at all events as hr as landfcape is concemed, undoubtedly attained its highefl point of excellence. It has remained a peculiar fpeciality of the Englifh fchool, no foreign artift having as yet fucceeded in rivalling that union of artiftic excellence with true appreciation of the nature and peculiar advantages of the vehicle, which our great eft water-colour painters have difplayed. The names of David Cox, Copley Fielding, W. Hunt, Prout, De Wint, John 298 XIX.— WATER-COLOUR DRAWINGS. Lewis, Stanfield, and many other diftinguiftied artifts, including thofe previoufly named as the early founders of the fchool, will ever remain illuftrious in the annals of the arts of the nineteenth century ; their produftions, indeed, may be faid to mark the epoch, ranking in every refpeft on the fame line with the works of the greatefl: contemporary painters in oil, many of whofe moll exquifite qualities of colour and luminous chiaro fcuro have been borrowed, indeed, from the filler vehicle. CATALOGUE. No. looi (a). i^^ OPLEY FIELDING. Harlech Caftle. A grand hmd- ^^St fcape in the " hiftoric " ftyle. Length, 3 ft. ; height, 2 ft. 6 in. No. 1002 (a). ^^^INNELL. The hay waggon — a hill-fide farmyard in ^^ the Ifle of Wight. Original drawing in water colours, for the pi(5lure. No. 865, in this Cohesion, yf in. by 4| in. No. 1003 (a). M. W. TURNER, R.A. The Bafs Rock. 10 in. by 8^ in. Painted at Abbotsford, for Sir Walter Scott. No. 1004 (a). g^ M. W. TURNER, R.A. Rye. lof in. by 7! in. ^^^M • The celebrated engraved drawing in the " South Coaft " feries. No. 1005 (a). DANBY. Southampton. 7 in. by 4^ in. 300 XIX.— WATER-COLOUR DRAWINGS No. 1006 (a). s^VMM EVANS, of Eton. View on the Thames. 19I in. by S^fe • 12^ in. No. 1007 W- ^ W. TOPHAM. The piper. 20^ in. by 12! in. "A • group of Irifh peafant girls and children at a cabin- door, furrounding a piper, who is playing to them. No. 1008 (a). ^S HUNT. The farrier's Hiop at Strathfieldfaye. A ^^M£}' celebrated early drawing. 29^ in. by 21 in. No. 1009. LEWIS (1834). Highland cottars with dogs. 22 in. • by 18^ in. No. 10 10. ^^g SIDNEY COOPER (1840). Cattle in a meadow. m" I si in. by 8| in. No. I o 1 1 . ^fREDERICK TAYLER. Irifli peafants going to market. i 5 12^ in. by 9I in. No. 10 1 2. TANFIELD, R.A. (1837). Gevit and Charlemont. Drawing in pencil on tinted paper, flightly waflied with colours. 1 5 in. by 1 1 in. BY MODERN MASTERS. 301 No. 10 13. BENTLEY. Sea piece. 2 ft. 8 in. by i ft. 8 in. No. 1 014. I E WINT. Landfcape with a mill. 2 ft. 5 in. by i ft. 8 in. No. 1 015. ^ ENKINS. Norman peafant girls ia the harveft field, jj 23 in. by 15 in. No. 10 I 6. E WINT. "The moated Grange." 14^ in. by III in. No. 10 1 7. ICHARDSON. "Way-fide devotion." 26^ in. by i3lin. No. 10 1 8. ICHARDSON. " Loch Lochy "— peafants at a cabin- door in the foreground. 28 in. by 7^ in. No. 10 1 9. ICHARDSON. La Rochetta, Calabria. 28 in. by 7! in. No. 1020. ICHARDSON. Vico, near Sorrento. 39 in. by 13 in. 302 XIX.— WATER-COLOUR DRAWINGS. No. 1 02 1. ^^ ASTINEAU. An Irifli lake fcene. 20 in. by 14. J in. No. 1022. ^^ ASTINEAU. Trim Caftle. No. 1023. I ASTINEAU. Lincoln Cathedral. XX. ILLUMINATED MANUSCRIPTS. No. 1024. .IS SAL. A Florentine manufcript on fine vellum. Circa 1490. This beautiful book is in the mofl: perfect ftate of prefervation. It is enriched with fix illumina- tions, each of which fills the entire page, and with numerous decorated initial letters. The illuminations confill of the vignette fubjefts ufually found in the Italian milTals of this period, fur- rounded with fplendid arabefque borders painted in the moft vivid colours. The illuminations are probably by a pupil of Ghirlandaio. Size of the page, 5.^ in. by 4 in. Purchafed in Florence, 1859. No. 1025. ^JJJji^ISS AL, enriched with twenty illuminations. An t ™3 ^ admirable little manufcript of Flemifli origin. Circa @i^^4§l^ 1470. Decorated by one of the great fcholars of Van Eyck. The number of the illuminations, the exquifite finifh and elaboration of every detail, and the vivid frefhnefs of the entire book, raife it to the very highefl rank of its kind both in refpeft of intrinfic beauty and alfo in pecuniary value. It is bound in crimfon velvet, with angle plates and clafps in gold filagree work — the latter probably added towards the end of the fixteenth century. On the fly-leaves are feveral curious fignatures of previous pofTeffors ; amongft them occur the names of " Luxemburg," '' Brandenburg," "Magdalen de Clenes, 1579," "Sibylle de Clenes, 1579," and " Diane de Dampmartin." Size of the page, 3^ in. by 2| in. XXI. MODERN SCULPTURE. No. 1026. gENUS. Life-fized ftatue in marble, by John Giblbn, R.A. This celebrated work was commiflioned from the artifl in 1853 ^^ Rome, by the prefent poffeflbr. THE END. JOSEPH CL.\YTON, PRINTER, 17, llOUVERIK srUEEr, FLEET STREET, LONDON. /; ,/ YD 31950 1^ < : r( ^ /'>^ V . <- i""