Sana COLLEGE OF ARCHITECTURE LIBRARY G-ift of W. 5tra.c^kt. Cornell University Library N 5273.2.V93 Illustrated catalogue of ttie ... art tre 3 1924 020 695 296 '•v %A Cornell University Library The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924020695296 ART TREASURES AND ANTIQUITIES FROM THE FAMOUS DA^ANZATI PALACE AMERICAN ART GALLERIES MADISON SQUARE SOUTH NEW YORK ON FREE PUBLIC VIEW AT THE AMERICAN ART GALLERIES MADI50N SQUARE SOUTH, NEW YORK BEGINNING THURSDAY, NOVEMBER 16th, 1916 AND CONTINUING UNTIL THE MORNING OF THE DATE OF SALE, INCLUSIVE THE RARE AND VERY VALUABLE ART TREASURES AND ANTIQUITIES FORMERLY CONTAINED IN THE FAMOUS DAVANZATI PALACE ALSO THOSE CONTAINED IN THE VILLA PI A FLORENCE, ITALY UNRESTRICTED PUBLIC SALE AT THE AMERICAN ART GALLERIES ON THE AFTERNOONS OF NOVEMBER 21st AND THE SIX FOLLOWING WEEK DAYS BEGINNING EACH AFTERNOON AT 2.30 O'CLOCK AND IN THE GRAND BALLROOM OF THE PLAZA ON MONDAY EVENING, NOVEMBER 27th AT 8.30 O'CLOCK The Davanzati Palace ILLUSTRATED CATALOGUE OF THE EXCEEDINGLY RARE AND VALUABLE Art Treasures and Antiquities FORMERLY CONTAINED IN THE FAMOUS DAVANZATI PALACE FLORENCE, ITALY WHICH, TOGETHER WITH THE CONTENTS OF HIS VILLA PIA WERE -BROUGHT TO AMERICA BY THEIR OWNER PR0FES50RE COMMENDATORE ELIA VOLPI THE RECOGNIZED EUROPEAN EXPERT AND CONNOISSEUR '^ ^ - • sZ> ->> THE COMBINED COLLECTIONS WITH THE EXCEPTION OF TWENTY ITEMS ^ ' NOTED IN THIS CATALOGUE BY AN ASTERISK WILL BE SOLD AT UNRESTRICTED PUBLIC SALE ON THE AFTERNOONS AND EVENING HEREIN STATED CATALOGUE WRITTEN BY MR. HORACE TOWN5END OF NEW YORK AND MR. CESARE A. GUGLIELMETTI OF ROME, IN COLLABORATION WITH PROFESSOR VOLPI THE SALE'WrLL BE CONDUCTED BY MR. THOMAS E. KIRBY AND HIS ASSISTANT, Mr. OTTO BeRNET, OF The American Art Association, Managers NEW YORK 1916 5 Vdlpt^l^l^ci THE AMERICAN ART ASSOCIATION DESIGNS ITS CATALOGUES AND DIRECTS ALL DETAILS OF ILLUSTRATION TEXT AND TYPOGRAPHY Proper^T?" university. _^ ' 3^6// I AT THE AMERICAN ART GALLERIES Madison Square South^ New York ORDER OF SALE CONTENTS OF THE VILLA PIA TUESDAY AFTERNOON, NOVEMBER 21st BEGINNING AT 2.30 O^CLOCK IVORIES, MEDALS, BRONZES AND SCULPTURE Catalogue Nos. 1 to 169K, Inclusive WEDNESDAY AFTERNOON, NOVEMBER 22nd beginning at 2.30 o^clock LINENS, CUSHIONS, VELVETS AND FURNITURE Catalogue Nos. 170 to 330, Inclusive CONTENTS OF THE FAMOUS DAVANZATI PALACE THURSDAY AFTERNOON, NOVEMBER 23rd beginning at 2.30 O^CLOCK FURNITURE OF THE 14th, 15th AND 16th CENTURIES Catalogue Nos. 331 to 454A, Inclusive FRIDAY AFTERNOON, NOVEMBER 24th BEGINNING AT 2.30 O^CLOCK FURNITURE, MUSICAL INSTRUMENTS, ASTRONOM- ICAL OBJECTS, RUGS, CARPETS AND TEXTILES Catalogue Nos. 455 to 609, Inclusive SATURDAY AFTERNOON, NOVEMBER 25th BEGINNING AT 2.30 O^CLOCK MAJOLICA, SCULPTURE AND ARMOR Catalogue Nos. 610 to 805, Inclusive MONDAY AFTERNOON, NOVEMBER 27th BEGINNING AT 2.30 o'CLOCK GLASSWARE, BRONZES AND IRON Catalogue Nos. 806 to 979, Inclusive TUESDAY AFTERNOON, NOVEMBER 28th BEGINNING AT 2.30 O^CLOCK ANCIENT LINENS AND CURIOS Catalogue Nos. 1044 to 1215 AND IN THE GRAND BALLROOM OF THE PLAZA Fifth Avenue, 58th to 59th Street^ Nevp- York MONDAY EVENING, NOVEMBER 27th BEGINNING AT 8.30 o'cLOCK ANCIENT PAINTINGS From the Famous Davanzati Palace and the Villa Pia Catalogue Nos. 980 to 1043 THE DAVANZATI PALACE AND THE VOLPI COLLECTION Having had occasion to write to the Editor of that leading French art review "Les Arts" concerning the reprinting of the "Davanzati Palace" number, I took the opportunity of saying a few words about the pains I had taken to bring together the beautiful things which, for so many years, made this Palace the most interesting museum in Italy of Renaissance life and art. I also referred to the unhappy state of Europe which has forced me to disperse the gatherings of years, and gave the reasons for my determination, not only that my collection should be sold at public auction, but that the sale should take place in America. I now find myself on the threshold of that event and somewhat perplexed. Every complete catalogue, it appears to me, should have an introduction critically explanatory of the collection that is to be sold. In my case I had long hoped that, when the time came, the intro- duction to my own sale would be written by Dr. Wilhelm von Bode, of the Berlin Museum, who has always intended to devote a book to a complete description of the Davanzati Palace and its contents. That, however, is clearly impossible, and it is left for me, myself, to briefly introduce my collections to the American public. My metier, it is true, is not that of a critical writer, but I think I may, without offending good taste, indicate what, so far as I may judge, are the most noteworthy objects among those I am offering for absolutely unrestricted acquisition by private collectors and lovers of Italian art. Among the pictures, for instance, it will be found that the few from the Davanzati Palace belong, without exception, to the School of Italian Primitives, the majority coming from the sacristy of the convent of St. Felice in Florence. My own Villa Pia collection covers a wider field, and includes two masterpieces of decorative art by the great Titian, an historical Madonna by Francia, a portrait by Bor- done, and a small gem by Francesco Guardi. Among the sculptures in stucco and terra-eotta the Davanzati Palace Madonnas are known to all connoisseurs, as are also the au- thentic busts of Dante and Petrarch, while in my private collection the great sculptor Gian Bologna is represented by two bas-reliefs, and there is a Tabernacle by Donatello. The bronzes, in what will doubtless be the opinion of admirers of the great art of Praxiteles, Scopas and Lysippus, are headed by the early Greek "Sappho," one of the most beautiful statuettes in the world, while lovers of the more humanistic art of the Cinquecento Italians will be attracted by Pollaiuolo's "Marsyas" and Tribolo's "River-God," which formed the pick of the Countess Stroganoff's famous collection. Beyond all words of mine, finally, is the bronze incense burner of Riccio, which Dr. Bode declared to be one of the most beautiful of existing Renaissance bronzes. The Davanzati Palace collection of majolica is a notable one, for among it will be found, not only some rare blue and white Cafaggiolo ware, but a few pieces of lustered Gubbio ware, as well as examiples of Maestro Giorgio and Giorgino themselves, but it will chiefly interest by its showing of primitive Orvieto majolica — the re- sults of the fortunate excavation, in 1911, at Orvieto, concerning which Dr. Bode has written so ably and so exhaustively. Finally, the small gatherings of ivories are enriched by the French Gothic Ma- donna of the Stroganoff Collection on its fifteenth century Pisan base, the rugs by the famous fifteenth century "Doria Rug" from Genoa, the tapestries by that world-renowned example of Flemish weave known as the "Prince Altieri" tapestry, and the linens by a number of uncommon pieces from the Davanzati Palace. To enter into further details of a collection catalogued so fully and with such care would be useless, but I take the opportunity of extending my sincerest thanks to Professor Zanchi, the well-known art-critic of Florence, for his aid in preparing the catalogue so admirably written by Mr. Horace Townsend, and above all to Mr. Cesare A. Guglielmetti of Rome, who has most effectively, co- operated with me in this sale. In reply to a question that has often been asked me since my arrival in America, I may add that the Italian Government consented to the removal of these objects of art because, at the present stage of National affairs, they shrank from purchasing so extensive a collection, especially as I expressed to them my hope of seeing the Davanzati Palace itself become, at some time, the property of the nation. But, after all, the most important declaration I have to make is that each piece here catalogued can stand by itself as a genuine example of Italian art. Before acquiring any single object I have studied it thoroughly and convinced myself of its worthiness. Thus, those who purchase have the benefit, not only of my life-long experi- ence in the world of art, but also of my confident belief in the genuineness of every object offered at this sale, which I may say includes only the private collection from my Villa Pia and that of the Davanzati Palace. ELIA VOLPI. New York, November, 1916. CATALOGUE IMPORTANT NOTICE Contrary to the general custom of the Association, it has per- mitted, by reason of their unique character and great value, a reserve price to be placed by Professor Volpi upon twenty items of his re- markable collection, and such items will be identified in the catalogue by an asterisk. With the exception of the aforementioned twenty items the sale of the collection, which comprises over one thousand catalogue numbers, will be absolutely without reserve or restriction, as is the case with all the sales held under the Association's management. THE AMERICAN ART ASSOCIATION, Managers. New York, November 15, 1916. FIRST AFTERNOON'S SALE TUESDAY, NOVEMBER 21, 1916 AT THE AMERICAN ART GALLERIES BEGINNING AT 2.30 o'CLOCK Catalogue Nos. 1 to 169k, inclusive FIFTEENTH AND SIXTEENTH CENTURY IVORIES 1 — Fifteenth Century French Ivory Mirror Frame Circular frame of ivory, carved with animals at the angles and, at the back, with a cusped medallion with figure subjects. Length, 3% inches. 2^SixTEENTH Century Italian Ivory-inlaid Powder Flask Circular-shaped powder flask of wood inlaid with ivory in a pattern of circular medallions. Brass neck. Diameter, 5 1/3 inches. 3 — Fifteenth Century French Ivory Box Cylindrical form, with flat hinged lid. The sides are decorated with painted figures of animals. The appHed hinges, square and escutcheon plate are of wrought and gilded bronze, and there is a small swinging loop handle of the same metal. Height, 5% inches; diameter, 4% vnches. From the Countess Stroganoff Collection of Rome. 4 — Sixteenth Century Italian Ivory-inlaid Powder Flask Bottle-shaped, of wood, inlaid with ivory. On one side a man in sixteenth century costume holds in his hand a label on which is an inscription in Roman lettering. On the reverse is a Saint above with a man kneeling in front of a cannon. Brass meas- uring tube and silk cord. Height, 8I4 inches; width, 5 7/10 inches. 5 — Fifteenth Century Italian Ivory-inlaid Jewel-casket Octagonal shape of ebony inlaid with ivory, with hinged cover of pinnacle form and molded ebony base. The sides are deco- rated with ivory figures, carved in relief, of cavaliers and ladies in fifteenth century costumes. The backgrounds of the niches in which they stand are painted in colors with floral sprays. The upper side of the spreading lid is inlaid with a geometrical patterning and the pinnacle top with lozenge-shaped plates of ivory painted with flowers. The cylindrical interior lined with old red satin. Height, 6 1/3 inches; diameter, 5^ inches. 6 — Seventeenth Century Italian Ivory Pax of the School OF Bernini Rectangular shape. Formed of a semi-cylindrical plaque of ivory carved in low relief with a subject of "The Deposition from the Cross." The plaque is framed in chiseled bronze with a figure of St. Veronica above, and at the sides two angels, in high relief holding emblems of the Passion. Mounted on wood with a carved wooden handle. Height, 6% inches; width, 4< 1/3 inches. 7 — Fourteenth Century Umbrian Tabernacle Tabernacle of wood, with pointed arch top. The center is paneled with an ivory plaque carved in low relief with a subject of a Crucifixion, the two wings with Saints holding swords. Height, 13 4/5 inches; width, 9% inches. 8 — Sixteenth Century Spanish Ivory Figure Full-length figure of a nude Putto in ivory. He holds his right hand to his face ; the left arm hangs by his side. On his wrists are wrought gold bracelets and on his feet gold sandals. The hair, lips and eyes show traces of color. Height, 8I4 inches. From the Countess Stroganoff Collection of Rome. 9 — Sixteenth Century Italian Rock-crystal Cross A devotional cross of cut rock-crystal, with floriated pierced terminations to the arms of enameled gold. The cross is in a contemporary silken gold-embroidered case. Height, 4 1/3 inches; width, 29^/2 inches. 10 — Fourteenth Century French Gothic Ivory Figure Full figure of the Madonna shown standing with the Infant Christ supported on her left arm. She is dressed in a tunic gathered at the neck and a large flowing mantle. Upon her head is a coif and a voluminous wimple, one end of which is drawn under her right arm and is then gathered about the lower portion of the body of the Divine Child. The Madonna holds in her right hand and presses to her bosom a conventional rose, while the Infant Christ clasps an orb in His left hand and raises the right in an attitude of benediction. The face of the Madonna, despite the conventionality of the treatment, is distinguished by its impressive air of almost austere serenity, while the Child with His realistically curling hair looks to His mother with smiling confidence. The figure stands upon an ivory and bronze pedestal of Italian, probably Pisan, work of a somewhat later period. It is rectangular in form, with de- tached Ionic columns of gilded bronze at the angles, a gilded bronze cornice enriched with delicate flutings and a base of similar character on turned bronze feet. In the front is a plaque of ivory exquisitely carved with a Crucifixion. The Christ on the Cross in the center, with the two Maries on either side, standing beside Him in attitudes of deep dejection. Above is a late Gothic arcading of three tref oiled and crocketed arches. Height of statue, 11% inches; height of base, 2% inches; width, 2yg inches. From the Countess Stroganoff Collection of Rome. (Illustrated) No. 10. Fourteenth Centuey French Gothic Ivory Figure STATUETTES AND DECORATIVE WORKS IN BRONZE, CHIEFLY ITALIAN OF THE XVIth CENTURY Happily suggested of wide field covered by the Italian Renais- sance workers in decorative bronze is Professor Volpi's collection. It includes, on the one hand, one of the most humanistically beautiful Greek bronzes that has ever been exhumed, and on the other a superb example of the riotous imagination of the Cinquecento in the incense burner fashioned by that Andrea Briosco we know as Riccio. It was undoubtedly to their delight in the newly found treasures of an- tiquity that we owe not only the superb modeling of such figures as PoUaiuolo's "Marsyas" or Tribolo's "River-God," but also the jewel- like perfection of Sansovino's Candelabra or of Riccio's little master- piece. So admirable, however, was the work of this entire generation, so individual the touch they added even to their frank plagiarisms of the antique, that it is no cause for wonderment that within the last score of years hardly any sum has been considered, by the authorities of National Museums or by private collectors, too great to pay for the works of these sixteenth century bronze-casters. H. T. BRONZES, MEDALS AND PLAQUES OF THE FOURTEENTH, FIFTEENTH AND SIXTEENTH CENTURIES 11 — Fifteenth Century Italian Medal On the Obverse the head of Sigismondo Malatesta, Lord of Rimini ; on the Reverse a view of a temple and the date mccccl. Diameter, 11^ inches. 12 — Fifteenth Centuky Italian Medal On the Obverse the head of Giovanni BentivogUo; on the Re- verse the inscription: maximiliani impekatoris munus. MCCCCLxxxxiii (The gift of the Emperor Maximilian 1493). Diameter, 1% inches. 13 — Fifteenth Century Italian Medal On the Obverse the heads of the Emperor Maximilian and the Empress Maria, of Austria. Diameter, ly^ inches. 14 — Sixteenth Century Italian Medal On the Obverse the head of Pope Sixtus IV; on the Reverse the coat-of-arms of the Delia Rovere family. Diameter, 1% inches. From the Countess Stroganoff Collection of Rome. 15 — Sixteenth Century Italian Medal On the Obverse the head of Pope Calixtus 3rd; on the Reverse a sea-scape with shipping. Diameter, 1% inches. From, the Countess Stroganoff Collection of Rome. 16 — Thirteenth Century Limoges Enamel Plaque Circular shape. Small plaque of Limoges enamel, decorated with a coat-of-arms consisting of a tree fla,nked by two winged animals. Diameter, 1% inches. 17 — Fifteenth Century Italian Bronze Plaque {By II Moderno: XVth Century) Oval shape. Subject of "Apollo and Marsyas." In low relief. Height, 1% inches; length, 1% inches. 18 — Fourteenth Century Italian Bronze Plaque Rectangular shape. Subject: "Warrior Casting a Spear." In low relief. Height, 2'y^ inches; width, 1% inches. 19 — Sixteenth Century Italian Bronze Plaque Square shape. Subject: "A group of Figures in Classic Cos- tume, representing an episode in Roman History." In relief. Signed lo. F. F. Height, 2% inches; width, 21/g inches. 20 — Sixteenth Century Venetian Medal On the Obverse the head of Cardinal Bembo. 21 — Sixteenth Century Italian Medal On the Obverse the head of Marco Estense di Ferrario. 22 — Fifteenth Century Italian Medal On the Obverse the head of Pope Pius II (Aeneas Sylvius) . Diameter, 2% inches. 23 — Fifteenth Century Italian Bronze Plaque {By II Moderno: XVth Century) Rectangular shape. Subject: "Sleeping Hercules: in Land- scape with Cattle." Modeled in low relief and signed "Mo- derno." Height, 2% inches; width, 2^ inches. 24 — Fifteenth Century Italian Bronze Plaque Circular shape. Subject: "The Judgment of Paris." In low relief. Diameter, 2% inches. 25 — Fifteenth Century Italian Medal On the Obverse the head of Girolamo Savonarola. Diameter, 2% inches. 26 — Seventeenth Century Italian Medal On the Obverse the head of Galileo Galilei. Diameter, 31)4 inches. 27 — Fifteenth Century Italian Medal On the Obverse the head of Costantino Sf orza d' Aragona ; on the reverse a towered castle with the inscription: "lo fr parmen Datata mcccclxxv." Diameter, 314 inches. From the Countess Stroganoff Collection of Rome. 28^SixTEENTH Century Italian Bronze Plaque Rectangular shape. Subject: "A Seated Madonna Holding the Divine Child to whom the young St. John the Baptist offers Fruit." In the background are buildings and a vase of lilies. Height, 2yg inches; width, 3% inches. 29 — Sixteenth Century Italian Medal On the Obverse the head of Lodovico Gonzaga ; on the Reverse the figure of a knight with the signature, "Opus Posani Pie- toris." Diameter, 3% inches. From the Countess Stroganoff Collection of Rome. 30 — Fifteenth Century Italian Bronze Plaque Rectangular shape. Subject: "Head of the Redeemer." Height, 2% inches; width, 3% inches. 31 — Fifteenth Century Italian Bronze Plaque {By II Moderno: XVth Century) Rectangular shape. Subject: "Hercules contending with the Nemean Lion." Modeled in low relief by II Moderno. Height, SYg inches; width, 2% inches. 32 — Fifteenth Century Italian Medal On the Obverse the head of Sigismondo Pandolfo, Lord of Rimini; on the Reverse a towered castle. Diameter, 3% inches. From the Countess Stroganoff Collection of Rome. 33 — Sixteenth Century Italian Bronze Plaque Rectangular shape in the form of a pedimented tablet with a triangular apron, containing the arms of the Medici family. The plaque represents "The Holy Family." In relief. Height, 4% inches; width, 2% inches. 34 — Fifteenth Century Italian Bronze Plaque Rectangular shape. Subject: "The Visit to the Infant Christ of the Three Magi." In low relief. Height, 4)% inches; width, 3 inches. 35 — Fifteenth Century Italian Bronze Plaque {By II Moderno: XVth Century) Rectangular shape. Subject: "The Crucifixion." Modeled in low relief by II Moderno. Height, 4% inches; width, 3 inches. 36 — Fifteenth Century Italian Bronze Plaque Rectangular shape. Subject: "The Circumcision." In low relief. Height, 4% inches; width, 3 inches. 37 — Sixteenth Century Italian Bronze Plaque Oval shape. Subject: "Judas Betraying Christ by a Kiss." In low relief. Height, 4 inches; width, 3% inches. 38 — Thirteenth Century Italian Bronze Plaque Rectangular shape. Intaglio-sunk, the Obverse with the figure of a Saint seated on a bench with a book upon his knee with an inscription in Lombardic characters, "Hie est Apostolus," a scrolled border and a shield with a rampant lion; the Reverse with a panel of scrolled ornamentation. Height, 6% inches; width, 41^ inches. From the Countess Stroganoff Collection of Rome. 39 — Fifteenth Century Italian Bronze Plaque {By II Caradosso) Rectangular shape. Subject: "Two Centaurs." In low re- lief. Modeled by Cristoforo Foppa (II Caradosso). Height, 8 inches; width, 2% inches. From the Countess Stroganoff Collection of Rome. 40 — Seventeenth Century Itali^vn Bronze Bas-relief Profile, without background, of the head of Galileo Galilei. Modeled in low relief. Height, 5^2 inches; width, 6% inches. 41 — Sixteenth Century Bolognese Bronze Plaque A Pieta, or dead Christ, supported by his Mother, with an at- tendant Angel and a Cherub above. Attached to the back is an engraving, repeating the composition and attributing it to Sebastian del Piombo. Height, 6% inches; width, 5% inches. 42 — Sixteenth Century Flemish Bronze Plaque Rectangular shape. Subject: "The Deposition of Christ in the Tomb." In low relief. Height, 6 inches; width, 6% inches. 43 — Fifteenth Century Mantuan Bronze Plaque Square shape. The subject, a "Triumph of Love," shows a triumphal car, the round-arched niches of its side filled with figures of Amorini, drawn by two horses mounted by Amorini. Surmounting the car is a winged figure of "Amor" holding a bow. In the foreground are figures of warriors and spectators and there is a landscape background. Height, 10% inches; width, 11 inches. From the Countess Stroganoff Collection of Rome. 44 — Sixteenth Century Italian Bronze {By Romano) A rectangular Tabernacle Door formed as a panel, with a molded framework of bronze, projecting hinge-loops on one side, pierced with a keyhole, and enclosing, in bas-relief, a stand- ing figure of the Saviour clothed in a single garment and with His right hand raised in the act of benediction. At His feet is a chalice. On the lower edge of the panel is an incised inscrip- tion in Roman lettering: pietro pavlo nardi o mancino ROMANO A.D. 1522 (Pctcr Paul Nardi known as left-handed Romano). Height, 15 inches; width, 1^2, inches. 45 — Fifteenth Century Venetian Bronze Miniature Bowl Coupe-shaped and decorated with elaborate chasing. Height, 1% inches; diameter, 41/^ inches. 46 — Sixteenth Century Venetian Bronze Pouncet-box Coupe-shaped, with covered top pierced for shaking sand or pouncet. Decorated around the sides with a broad band of scrolled ornamentation in relief. Height, 3% inches; diameter, 3 inches. 47 — Fifteenth Century Venetian Bronze Box Cylindrical shape. The sides inlaid with silver in a pattern of figures of Saints in Gothic niches, the top with a Holy Family. Height, 4% inches; diameter, 4% inches. 48 — Fifteenth Century Florentine Copper Plaque Oblong shape, with arched top. Subject of the "Coronation of the Virgin." In low relief. Height, 5% inches; width, 3^ inches. From the Countess Stroganoff Collection of Rome. 49 — Fifteenth Century Paduan Bronze Inkstand {By II Biccio) Triangular shape, the sides elaborately decorated in relief with a design of scrolls and masks. At the angles are detached scrolls. Standing on a stem and base formed of an eagle's claw. Modeled by Andrea Briosco (II Riccio) . Height, 4 inches; width, 5 inches. 50 — Early Roman Gilt Bronze Ornament Leaf of a Serto or woman's head-dress, representing a Roman deity. Modeled in low relief and gilded. Length, 4% inches. 51 — Fourteenth Century French Bronze Candlestick Cylindrical stem, with incurved spreading base. The base is decorated with a panel of Limoges enamel. Height, 4% inches. From the Countess Stroganoif Collection of Rome. 52 — Fifteenth Century Paduan Bronze Inkstand Triangular shape with cover. The side decorated with panels of scrolled ornamentation and with detached scrolls at the angles. The cover is decorated with acanthus leaves and has a ball finial. Supported on a tripod of lions' legs and paws. Height, 514 inches; width, 514 inches. 53 — Sixteenth Century Paduan Bronze Inkstand Rectangular shape without cover. Supported on lions' paw feet. Height, 3% inches; width, 6% inches; depth, 4% inches. 54 — Early Roman (First Century B.C.) Bronze Handle Loop shape. This handle, which originally formed part of a candelabrum, is decorated on the outer side with an imbricated patterning sunk between the reeded edges. The upper end terminates in a female mask, the lower in a lion's head and paws, the eyes being inlaid in silver. Length, 7 inches. 55 — Fifteenth Century Italian Bronze Censer Coupe-shaped, with pierced doomed cover. The sides are deco- rated with figures of animals and scrolls in low relief and there are chains for swinging. Height, 7% inches. 56 — Two Fifteenth Century Venetian Bronze Candlesticks Cylindrical stems on incurved drum-shaped bases. Elaborately decorated in incised work (graffito) with arabesque patterning of scrolls and shields. Height, 7 inches. 57 — Fifteenth Century Itaman Bronze Mortar Cylindrical shape, with incurved sides. The rim is decorated, in relief, with a honeysuckle patterning, the sides with festoons of ribbons supporting shields below which are various animals. The projecting handles are formed as dolphins and the base is gadrooned. Height, 6 inches; diameter, 7 inches. 58 — Sixteenth Century Italian Steel Coffer Rectangular shape, with rounded hinged lid, in the form of a trunk. Around the Center of the sides and top runs a raised and rounded ribbing. On the top is a looped swinging carrying handle. The sides and lid are decorated with conventional bor- derings and a field of arabesque design damascened in silver. Height, 6% inches; length, 6% inches; width, 4^4 inches. 59 — Fourteenth Century French Bronze Navette (Incense Boat) Boat-shaped, on a short cylindrical stem with circular foot. The double-hinged lids are decorated with figures of the Virgin and Archangel Gabriel in colored Limoges enamel, and the sides with a wave border and a patterning of chasing and Limoges enamel. The two handles are formed as serpents' heads. Height, 21/^ inches; length, 8% inches. From the Countess Stroganoff Collection of RoTne. 60 — Sixteenth Century Pabuan Bronze Inkstand Coupe-shaped, with domed cover surmounted by the figure of a Roman warrior holding a spear. Supported by three eagles. Height, 10% inches; diameter, 8 inches. 61 — Two Late Sixteenth Century Italian Silvered Copper Candlesticks Vase-shaped stems, with circular disk below and domed base. The stem and base are decorated with bold repousse gadroon- ings. Height, 10 inches. 62 — Roman Perfume Flask of the First Century B.C. Pear-shaped, the upper portion of the neck is fluted, and around the rim are grotesque masks; the rounded base is deco- rated with a band of vine leaves, grapes and tendrils in relief and with flutings, while around the center is a band decorated, in relief, with figures of dancing Nymphs clasping hands. The figures and the masks are gilded. This piece was exhumed in Transylvania near the Roumanian frontier. ( Corroded by age.) Height, 9^^ inches. 63 — Two Eakly Sixteenth Century Italian Bronze Candle- sticks {By Jacopo Tatti, known as II Sansovino: 1477-1570) Vase-shaped stems, the upper parts decorated with festoons of drapery, husk pendants and acanthus leaves, the lower parts with cherubim heads and outstanding voluted scrolls. The domed bases are decorated with bold egg and dart mold- ings and are supported on three female caryatides with out- stretched wings, between which hang knots of drapery, and terminations of lions' paws and acanthus-leaf scrolls. Height, 121^ inches. 64 — Two Sixteenth Century Italian Bronze Candlesticks School of Alessandro Vittoria of Venice. Baluster-shaped stems decorated with acanthus-leaf scroUings and pendants of fruits. On tripod bases of voluted scroUings ending in sphinxes with scrolled feet. Height, 161^ inches. 65 — Seventeenth Century Italian Bronze Mirror Frame Rectangular shape, with molded side and acanthus-leaf deco- rated angles. In the center of the two sides and the top are cherubim heads and in the center of the bottom an escutcheon with a coat-of-arms, all modeled in high relief. Height, 16 inches; length, 20% inches. 66— Fifteenth Century Umbrian Siltered Bronze Incense Boat Boat-shaped, on short cylindrical stem with knop and spreading circular foot. Between the hinged covers is a plate inscribed in Roman letters: pro anima d. ia. eabriano palatini (For the soul of la. Fabriano Count Palatine). Height, 6 inches; length, 8% inches. 67 — Fourteenth Century Italian Gilt Bronze Reliquary Cylindrical shape, with pyramidal cover, on a columnar stem with knop and spreading circular foot. The cylindrical body is of rock crystal, forming a holder for the relic, and the cover terminates in a cross. The knop is decorated, in colored enam- els, with the arms of the Albizzi family. Height, 10% inches. 68 — Two Sixteenth Century Italian Bronze Candlesticks Cylindrical stems, with knops and standing on cylindrical bases. The upper part of stems decorated with an incised coat-of-arms of the Medici family in colored enamel. Circular bobeches and iron prickets. Height, 12% inches. 69 — Early Roman Bronze Balance Shaped as a steelyard with books and a weight formed as a head, and suspended by a chain. The surface gives evidence of long burial in the earth. Exhumed near Rome. Length, 9% inches. 70 — Ancient Persian Bronze Perfume Holder Formed as a fantastic winged animal with two heads bearing on its back a smaller bird. Decorated with an incised pattern- ing, the body, neck and heads pierced with holes. Height, 91/4 inches; length, 7 inches. From the Countess Stroganoff Collection of Rome. 71 — Two Seventeenth Century Italian Bkonze Mirror Frames Rectangular shape, with molded sides and acanthus-leaf deco- rated angles. In the center of three sides are cherubim heads and on the fourth side an escutcheon with a coat-of-arms, all modeled in high relief. Height, IIV2 inches; width, 9 inches. 72 — Two Sixteenth Century Italian Bronze Candlesticks Baluster-shaped stems, elaborately molded, on circular spread- ing feet. Circular bobeches and iron prickets. Height, 18% inches. 73 — Fifteenth Century Italian Bronze Censer Coupe-shaped body, with pierced pinnacle-shaped cover. The sides are decorated with an arabesque ornamentation in low relief and there are chains for swinging. Height, 18 inches. 74 — Sixteenth Century Italian Bronze Statuette A standing figure of "Flora." Height, 14% inches. 75 — Sixteenth Century Italian Bronze Statuette {By II Sansovino) The figure of a child in bronze upon a wooden base. Modeled by Jacob Tatti (II Sansovino: 1477-1579). Height, 8 inches. Note: Jacopo Sansovino, who lived to the great age of ninety-three, left Rome after its sack in 1527, and, taking refuge in Venice, was during the last half of his life a fellow-worker with Titian, Paul Vero- nese and Tintoretto. 76 — Fifteenth Century Italian Bronze Figure of a standing bull on a square base. Attributed to Vellano, a noted sculptor of the fifteenth century. Height, 12 mches; length, 15 inches. 77 — Sixteenth Century Italian Bronze "Farnese Bull" Figure of a charging bull, on an oblong base. Sixteenth cen- tury copy of the celebrated third century B.C. original, now in the Museum at Naples. Height, 7 inches; length, \2'^/^ inches. 78 — Sixteenth Centuey Italian Bronze Figure of a charging wild boar, represented at the moment it is being attacked by an enemy. On a contemporary molded and gilded wood base. Height, 5 inches; length, 9 inches. Note: This admirably realistic little figure, so expressive of rapid motion, has been attributed to Benvenuto Cellini (1500-1571). It cer- tainly is of his period and the work of his school. 79 — Sixteenth Centuby Ital,ian Bronze Knocker Formed as two finely modeled female half -figures, with grace- ful acanthus-leaf terminations, resting on voluted scrollings decorated with imbrications and supporting, with outstretched arms, an elaborately scrolled escutcheon bearing a tree (the arms of the Delia Rovere family), and a label with the in- scription, CONCVSSA UBERiOR^ in Roman lettering. Distinguished by a fine patina. Height, 6^^ inches; width, 9^/2 inches. Note: This exceptionally well-modeled knocker came from a villa in the North of Italy belonging to the Delia Rovere family. *80 — Greek Bronze Statuette of Sappho of the Fourth Cen- tury B.C. Figure of a woman, identified as the poetess Sappho, seated, with her legs crossed, on a low bench supported on lions' paws. She is dressed in a chiton fastened at each shoulder, and girdled at the waist with a strophion from which falls a himation cover- ing the lower part of the figure. Her head is bent forward and her eyes are downcast, her hair is parted in the middle covering the ears, is knotted at the back with two curls falling down to the shoulder and is garlanded with a wreath of roses and leaves. The right arm is stretched forward with the open hand bent downward, and originally rested on a musical instrument as shown by the holes drilled in the drapery of the figure. The left arm rests on her knee and clasps to her breast a roll of parchment. The feet are bare and unsandaled. The figure, which was cast in one piece, save for the arms, which were separately attached, rests on an oval molded base of marble which is supported on an antique cylindrical marble shaft. The upper part of this shaft is carved in an imbricated pattern, the lower part in flutings which die away into a base of up-springing acanthus leaves. Fine dark patina. Height, 11 inches. Note: This exquisite little statuette has, since its comparatively recent exhumation, been accepted as one of the finest existing examples of Greek art by the foremost archaeologists and art critics of Italy. One of these, the well-known Professor Goff redo Bendinelli, devoted to its consideration a long illustrated article which appeared in the Ausonia for 1911. This publication is the annual Review of the Italian Society of Archaeology and the History of Art. In it Pro- fessor Bendinelli says that he had the good fortune, while at Athens, to see "this very important work of classical art," which he then had an opportunity to study. It was exhumed at Melos, he tells us, and proceeds to devote the first part of his article to a comparison of the bronze and the elegant Tanagrene terra-cottas which, he points out, were so numerous on the Greek market at the death of Alexander in the third century B.C. He concludes that there are but few points of resemblance between these Tanagra figures and the bronze he is study- ing. Only in such exceptional terra-cottas as display the serenity of the school of Pheidias and the influence of Scopas, Praxiteles and Lysippus does he find any resemblance to its facial expression. He finds its entire conception akin rather to the series of important works headed by the Psyche of the Naples Museum and the Resting Warrior of the Ludovisi, the first attributed to Praxiteles or Scopas, the second to ■t^ £^^-J^ o m i» rt t= E-i i^ o M H U> O H w H o o » «? o m C5 6 X d :^ Lysippus. "Our subject," he finally declares, "belongs to the golden period of Greek art, the close of the fourth century B.C., and is an individual work of art not to be classified with any other examples. Its originality transcends every artistic tradition and its beauty has never been exceeded." Professor Bendinelli then proceeds to state his conviction that the bronze is intended to represent the poetess Sappho, Byron's "Burning Sappho who loved and sung." Passing in review the familiar represen- tations of the poetess, from the Syracusan statue stolen by that Verres against whom Cicero delivered his orations to the representation on a vase in the Athens Museum, he finally concludes that this bronze is more undoubtedly a portrait of Sappho than any of the others. {Illustrated) 81 — Fifteenth Century Italian Bronze Statuette {By An- tonio Pollaiuolo: 1433-1498) After the Greek antique. Representing Marsyas, the competitor of Apollo, as a nude figure with hands raised in the attitude of playing the double pipes, the bandage used in playing which covers his mouth. The figure stands on a contemporary base of bronze, of Paduan workmanship. This is square in form with incurved sides, having at the angles figures of winged sphinxes terminating in boldly voluted scrolls and dolphins' heads between which are suspended scrolled escutcheons, with coats-of-arms, and military trophies. Height with base, 14 feet 1 inch. Illustrated in Professor Venturi's catalogue of the Countess Stroganoff Collection. . ■ {Illustrated) By Antonio Pollaiuolo: 14!33-14!98 No. 81. Fifteenth Centuky Italian Beonze Statue 82 — Eaiily Fifteenth Century Florentine Cross of Enameled Gold and Silver Latin cross, covered with plates of gold finely chased in elabo- rate arabesque patternings; the edges chamfered and chased in an interlaced design. The four arms end on both sides in quatrefoil medallions, and a similar quatrefoil medallion occurs in the center of the lower arm. These medallions are enameled in colors, the upper one on one side with a figure of the Cruci- fixion, the lower one with a figure of the Virgin, the remaining eight with figures of Apostles and Saints. These quatrefoils are further adorned with acorn-like projections enameled in rich blue, seme with gold stars, set in calices of wrought gold leaves. At the intersection of the arms is a quatrefoil medal- lion set with cut rock crystal and designed for the reception of a relic. The cross stands on a hexagonal stem of silver, molded and chased with a pattern of lozenges, and springing from it are two carved arms of silver, decorated with bands of colored enamels interrupted by roundels of mother-of-pearl framed in silver. These arms support two figures of winged angels of silver in flowing garments and with outstretched arms. The knop is of a flattened spherical shape, pierced in a pattern of flamboyant Gothic tracery, and having, around the center, lozenge-shaped facets of chased silver overlaid with translucent colored enamel. The base is hexagonally lobed with enameled medallions of figures of Saints, the vertical edges being pierced in a simple arcaded pattern. Height, 25 inches. (Illustrated) No. 82. Eakly Fifteenth Century Florentine Cross of Enameled Gold AND Silver 83 — Thikteenth Century Sienese Gilt Copper Reliquary Rectangular shape, with gable-shaped top on square stem and quatrefoil foot. The square body is flanked by two square buttresses with five courses of pierced Gothic arcadings sepa- rated by molded string-courses and surmounted by pointed fleches. The pointed gable top is enriched by a crocketed mold- ing and surmounted by a cross, the triangular tympanum being decorated with a boldly engraved representation of Christ in a vesica-shaped nimbus surrounded by cherubim and supported by two angels in flowing robes blowing trumpets. At either side are chased sprays of vine leaves. The reliquary proper consists of four rows of circular medallions, six in each row, and one in the upper part of the stem, all covered with plates of rock-crystal and containing relics consisting of fragments of cloth and so forth. Three horizontal rows of metal plates be- tween these medallions are engraved in Roman letterings with the names of the saints and descriptions of their relics in Latin. The stem is square, with a square knop jeweled on all sides with quatrefoil-shaped medallions enameled in colors. On two sides of the stem are four square miniatures, engraved and enameled, of scenes in the life of St. Francis of Assisi and on the other two sides figures of the four Evangelists. The quatrefoil foot is of copper, with a molded rim embossed round the edge with a border of quatrefoils. The sides of the reliquary are engraved in a pattern of quatrefoiled interlace- ments and sacred roses. The back is closed by two hinged doors on which are painted, by Duccio di Buoninsegna (1280-1340), figures of the Virgin and the Angel Gabriel representing the Annunciation. Height, 25 inches. {Illustrated) Note: Duccio, painter of the celebrated altarpiece in the Cathedral of Siena, who is said to have been born in 1280 and to have died in 1340, was the first of the Sienese painters to abandon the Byzantine man- ner, though, as evidenced in this instance, traces of its formality and conventionalism persisted in his work. No. 83. Thirteenth Centuby Sienese Gilt Copper RELiauARY -Sixteenth Century Italian Bronze Statuette, "A River- God" {By II Tribolo: 1500-1565) Reclining figure of an old man, with long beard, resting upon a rocky base and supporting himself with one arm, the other clasping an urn, wreathed with water grasses, the open mouth of which is pointing downwards. The figure is an allegorical representation of the source of a river. On a bronze base sup- ported by four lions' paws. Exceptionally fine patina. Mod- eled by Niccolo Pericoli (Known as II Tribolo). Height, 191/4 inches. Illustrated in Professor VenturVs Catalogue of the Stroganoff Col- lection. (Illustrated) Note: This striking example of the work of II Tribolo, pupil of Sansovino and fdlow-worker with Michael Angelo, was one of the most important pieces in the collection of Countess Stroganoff in Rome. It was purchased by the present owner in 1912. p o O t a < H H & Eh IX! fd s 2; o pq <; X d :2 * 8.5 — Early Fifteenth Century Paduan Bronze Incense Burner {By II Biccio) Made in two portions, a cylindrical body with a spreading base resting on three supports and a domed removable cover. The cover, which is semi-spherical in shape, is surmounted by a seated figure of a bearded Faun (possibly a youthful Pan) seated on a marine shell, resting one hand on a bunch of grapes and holding out in the other a Pan's Pipes. Below this figure are three Medusa masks having between them festoons of fruits, above the centers of which are escallop shells. This hemisphere is supported by three mythological monsters with bearded men's faces and winged female bodies terminating in lions' paws. Be- tween these are winged Amorini, with outstretched arms, in graceful attitudes of support. The curved rim of the cylindrical body is decorated with acanthus leaves, while around the upper part of the body itself are three eagles with outstretched wings (the arms of the Gonzaga family), their feet resting on three festoons of banded laurel leaves, tied with flowing ribbons. Be- low the eagles are three Satyrs' masks with rams' horns and between these three magnificently modeled figures, possibly of Marine Deities, standing on somewhat conventionalized wave forms. The lower part of the body, separated from the upper by a bold fillet, is decorated with festoons of fruits, shells, gro- tesque masks, and eight small arch-shaped apertures through which to feed fresh supplies of incense to that burning within. The curved spreading base is decorated with an acanthus-leaf bordering and rests on the shoulders and uplifted hands of three male caryatides having scrolled acanthus-leaf terminations. On a modern ebonized wood molded base. Height, 23 inches. -'■ (Illustrated) Note: This exquisite specimen of Cinquecento art was fashioned by Andrea Briosco, known as II Riccio, when he was at Padua as a co- worker with Donatello on the bronze doors of the Church of St. Anthony. He was ordered to make it by his patron Gonzaga, the Duke of Mantua, and in the possession of the family of the Marquis del Bagno, direct descendant of Gonzaga, it finally remained. In 1911, during the cen- tenary of Italian Independence, this bronze was shown at the Castello of St. Angelo in Rome, where all the noble Italian families sent the most precious works of art they owned to be placed on public exhibi- tion. By Dr. Bode of the Berlin Museum it was declared to be one of the most beautiful Italian Renaissance bronzes known to the world. The late J. Pierpont Morgan commissioned Professor Volpi to pur- chase it for him, but owing to Mr. Morean's death the piece remained By II Riccio ■A' No. 85. Eakly Fifteenth Century Paduan Bronze Incense Burner 86 — Seventeenth Century Italian Bronze Group, "Apollo AND Daphne" Apollo seizing the Nymph Daphne, who is changing into a laurel tree. Sportive Cupids are in attendance on Apollo. On a rocky base. Standing on a contemporary square pedestal of wood carved in a design of scrolls and cartouches and partially gilded. This group is attributed to Giovanni Lorenzo Ber- nini (1.598-1680), the leading Italian sculptor of his generation. Height without pedestal, 21% inches; width, 13% inches. {Illustrated) By Bernini: 1598-1680 No. 86. Seventeenth Century Italian Bronze Group "Apollo and Daphne" 87 — Sixteenth Century Italian Bronze Fountain and Basin Pear-shaped fountain with tap, decorated with an oval escut- cheon surrounded by scrolHngs. Domed cover, ending in ball finial and two scrolled handles. Circular basin, with turned-over rim. Height of fountain, 34 inches; height of basin, 14% inches; diameter of basin, 31 inches. From the collection of Count Bernardini di Lucca. SCULPTURES, MOSTLY COLORED, IN STUCCO, TERRA- COTTA AND WOOD In the Italian colored sculpture of the fifteenth and sixteenth centuries the severe influence of the antique played but a small part. As instanced by these examples of the compelling art of Ghiberti, Ros- sellino, Jacopo della Quercia, to mention but a few of the names, a strenuous religious feeling, a naive delight in human character and expression, are seen to be the inspiring motives of the great Revival of Art we know as the Italian Renaissance. Significant, too, is to recognize how slight was the importance attached by these great artists to material. Whether they worked in stucco, glazed or painted, in terra-cotta or in wood seemed to them but a trifling matter. Their end was attained when once they had made a beautiful and a decorative thing. It is no wonder, then, that of late years these Renaissance sculp- tures, of which the Villa Pia and Davanzati Palace Collection together forms one of the most noteworthy gatherings in existence, have been so eagerly contended for on those rare occasions which render their acquisition possible. In the eyes of the collector, indeed, it is the very difficulty of flnding examples of undoubted authenticity which adds so immeasurably to their value. H. T. SCULPTURE IN WOOD 88 — Two Sixteenth Century Venetian Colored PAPiERrMACHE Statuettes Two figures representing angels. They are seated on square bases decorated with scrolls and are clad in loose tunics elabo- rately painted in various colors with a design representing em- broidery. Their outstretched right legs support the mandolas on which they are playing, while their upstretched wings are gilded and painted. Their blond curls, falling to their shoulders, are of real hair confined by silk and cords. Height, 11^ inches; length of base, 9*% inches. {Illustrated) 89 — Fifteenth Century Umbrian Carved Colored and Gilt Wood Alto-relief Three-quarter-length figure of the Virgin holding the Infant Christ, in high relief. She is dressed in a rich vestment of gold and red, and on her head is a golden crown from which a white veil falls over her shoulders. On her left arm she carries the Christ, who is dressed in a short varicolored and gilded tunic. On an octagonal molded base. Height, 17% inches. {Illustrated) 90 — Sixteenth Century Umbrian Carved and Colored Wood Statuette Standing figure of the Infant Christ, with curling brown hair, the head surmounted by a gilded and painted nimbus. The right hand is raised in the act of benediction and the left holds an Orb surmounted b)^ a cross. Height, 2iy2 inches. f^ g oa M H 6 P H H M Eh < cm n 'W o o ^ E-i O ^ •A !« 1— 1 ri ;4 & n Eh S t:? O ;« ri W P H H !«i 1?; H ^ O M m H ^i &? ■$■ w h Eh 00 £ X o> d X :?; d s?; 91- — Four Seventeenth Century Roman Carved Walnut Wood Panels Portion of a frieze with two divisions separated by putti sup- porting pointed shields. The panels are carved in bas-relief with scenes of Roman history, including the "Rape of the Sabines" and the "Building of Rome." The wood has, owing to age, assumed a beautiful bronze-like patina. Height, each, 11 inches; length, 30 inches. 92 — Sixteenth Century Sienese Carved Painted and Gilded Wood Bust Bust of a young woman, with thick curling hair, dressed in a loose robe with twisted collar. The dress is completely gilded, the face and the hair naturalistically colored. The molded shaped base is of gilded wood. Height, 19^4 inches. {Illustrated) 93 — Two Fourteenth Century Florentine Colored and Gilt Wood Statuettes These figures represent two angels dressed in flowing blue man- tles decorated with Florentine lilies in gold and lined with red. The angels hold candlesticks in their hands and above their heads are golden nimbi. Height, 31% inches. {Illustrated) H H E-1 £h pq H o o ITX ^ Q n ^ kI H 6 hi 6 !?; n < ^ :?! A hH < H o ^ H H « tn O W A ^ Pm -H C« ><- t3 o El w Eh !2i % H A \ O C« o 1 ^ 05 H d eii :?; OS d :?; 94 — FiFtEETHN Century Veronese Painted Wood Statuette [By Antonio Rizzo) Figure of St. Sebastian, nude save for a loin-cloth, standing erect with his arms tied behind him, his face upturned and ex- pressing the agonies of the martyrdom he is suffering. (St. Sebastian was shot to death with arrows.) Naturalistically painted. On square base. Height, 5 feet 10^ inches. {Illustrated) Note: This statue, exceptionally well preserved, is accounted one of the masterpieces of Rizzo, who was the sculptor of the famous Adam and Eve which forms a main decoration of the Giant's Stairway in the Court of the Ducal Palace in Venice. SCULPTURES IN STUCCO 95 — Seventeenth Century Italian Polychrome Stucco Statuette i Figure of a sleeping Cupid, lying upon drapery, his head rest- ing upon the bent left arm and upon his quiver. By his side lies his bow. The Cupid is painted in naturalistic colors, the drapery in blue. Height, 101/4 inches; length, 20^ inches. 96 — Fifteenth Century Florentine Painted Stucco Alto- relief The figure represents the Virgin, dressed in a red robe and with a blue mantle enveloping her head, holding the Infant Christ, who is clothed in a red tunic. The faces are naturalisti- cally painted. On a molded base the corners of which are painted with a Medici coat-of-arms. On the base is the inscrip- tion in Roman lettering, "ave : maria." Height, 25% inches; width, 18 inches. 1^, By Antonio Rizzo No. 94. Fifteenth Century Veiionese Painted Wood Statuette 97 — Fifteenth Century Italian Uncolored Stucco Bas-relief {School of Donatello: 1383-1466) Half-length figure of the Virgin, her head seen in profile, her hands raised and joined in the act of adoration before the nude Infant Christ, who is seated on a chair and lifts His right hand in benediction. Arch-shaped and framed in a molded, painted and gilded wood panel, the moldings of which are enriched with an egg-and-dart ornamentation. Height, 32% inches; width, 26 inches. 98 — Fifteenth Century Florentine Colored Stucco Bas- relief {By Antonio Rossellino: 1427-1490) Circular shape. Three-quarter figure of the Virgin, seated and holding in her lap with her left arm the Infant Christ, whose movements she restrains with her right hand. The Virgin is dressed in a girdled robe, the Christ is nude. Both figures are uncolored save that the haloes, the Virgin's girdle and the cuffs of her tight-fitting sleeves are gilded. The background is painted blue. In an old carved and painted frame. Diameter of relief, 27^)^ inches; with frame, 38 inches. Note: This exquisite stucco by Rossellino, who was the most noted pupil of Donatello, is exceptionally interesting. 99 — Fifteenth Centuey Florentine Stucco Bas-keliee {By Benedetto da Maiano: 1442-1498) Half-length figure of the Madonna, seated, her head and shoul- ders draped with a long mantle, holding with her left arm the nude Infant Christ, who fingers with His left hand a necklace around His neck and raises His right in benediction. The figure is surrounded by six cherubim. Uncolored. Diameter, 31 inches. 100 — Fifteenth Century Florentine Polychrome and Gilt Stucco Bas-relief {By Donatella: 1383-1466) Half figure, in an arched recess, of the Virgin holding with her right arm the Infant Christ, who is seated on a pillow support- ing Himself on His left hand and raising His right hand in benediction. The Virgin is dressed in a dark gray mantle with gold bordering and fringe which is drawn over her head and falls down over her shoulder and body, the right arm clad in a tight- fitting sleeve of red emerging from the fold, to support the Child. The cushion on which the latter reclines is of red with a gold and red tassel. Both figures have gilded haloes in flat relief and the background is gilded. The painted and gilded tabernacle-like frame surrounding this panel is flanked by two Corinthian fluted and astragalled pilasters, the frieze above be- ing painted with cherubim with red wings separated by dark festoons of laurel leaves. Above are a molded cornice and a pediment, the tympanum of which is occupied by a painted Dove emblematic of the Holy Ghost. In the angles above the arch are cherubim, with red wings on a blue ground and with blue wings on a red ground respectively. The pedestal of the base is painted with an inscription in Roman letters, ave : maria : GRAxiA : PLENA : DOMiNus : flanked on either side by a painted coat-of-arms. The base is molded. Height, 5 feet; width, 3 feet 1 inch. (Illustrated) Note: Donate de' Bardi, known as Donatello, introduced and carried to perfection the "new manner" of sculpture which followed the mediieval Christian art which had culminated in Ghiberti. Easily the foremost sculptor of his time, he introduced the peculiar method of low or flat relief with which his name is connected. Of this method the present piece is a most noteworthy example. The marble replica at the Victoria and Albert Museum in London is called "La Madonna della Rosa" (The Madonna of the Rose). By DoNATELLo: 1383-1466 No. 100. FirTEENTH Century Florentine Polychrome and Gilt Stucco Bas-relief SCULPTURE IN TERRA-COTTA 101 — Eighteenth Century French Terra-cotta Portrait Bust Portrait, in uncolored terra-cotta, of a lady of the Court of Louis XVI. Her piquant face is turned over her right shoulder and is surmounted by her own hair plaited and looped behind, breaking into small curls on her forehead and over her ears and surrounded by a wreath of flowers and leaves. She is dressed in a loose robe covering the shoulders and exposing a lace chemisette at the neck. On a circular pedestal. (Repaired.) Height, 25 inches. 102 — Eighteenth Century French Terra-cotta Portrait Bust Portrait, in uncolored terra-cotta, of a French Avocat of the eighteenth century. The clean-shaven alert face has the mouth slightly opened, and the thick curling hair is confined by a close- fitting skull cap. He is dressed in a robe gathered in to the neck and exposing a falling lace cravat. On a circular base. (Repaired.) Height, 25 inches. 103 — Eighteenth Century French Terra-cotta Portrait Bust Portrait, in uncolored terra-cotta, of a French nobleman of the eighteenth century. His unshaven face, full of intelligence and character, looks slightly upward. He wears a curling peruke falling down to his shoulders and a loosely gathered robe with a carelessly tied neckcloth. On a circular base. (Repaired.) Height, 25 inches 104 — Eighteenth Century French Terra-cotta Portrait Bust Portrait, in uncolored terra-cotta, of a French divine of the eigh- teenth century. His somewhat fleshy but intellectual face, with its full, determined lips, resembles that of Bossuet whom the bust is, not improbably, intended to represent. He wears a curled wig, a cassock pleated over the shoulders and two wide ecclesiastical "bands." (Repaired.) On a circular base. Height, 25 inches. 105 — Sixteenth Century Italian Teeea-cotta Bust Half-length bust of Jacopo Sansovino, the sculptor. He is shown in a red cap with side brim and central rib, and a yellow mantle. In his right hand he holds a square and pair of com- passes. Naturalistically colored. On a molded base of gilt wood. ' Height with base, 26 inches. 106 — Sixteenth Century Tuscan Polychrome Terra-cotta Bust Bust of a bishop in a black round and pointed cap and a black robe edged with red and an ecclesiastical stiff collar of white, naturalistically colored. On a molded and gilt wood base. This bust is attributed to Cieco da Gambasi, a Tuscan sculptor of the sixteenth century. Height with base, 23 inches. 107 — Two Sixteenth Century Polychrome Terra-cotta Statu- ettes Figures of two kneeling angels with open wings, dressed in flowing robes and holding in their hands vases, decorated with shields in low relief, for the reception of candlesticks. Painted in natural colors. Height, 29 3/5 inches. 108 — Fourteenth Century Umbrian Polychrome Terka-cotta Bust Half-length bust, in colored terra-cotta, of a woman dressed in a red robe with a dark green mantle lined with white. Painted in natural colors. Height with base, 23 inches. 109 110 109 — Sixteenth Centuky French Terka-cotta Statuette A full-length female figure typifying Strength. She is dressed in a classic peplum, her face turned over her left shoulder so as to show in profile. Square base. Tinted in a dark color showing a lighter ground beneath. Height, 391/4 inches. 110 — Sixteenth Century French Terba-cotta Statuette Full-length female figure dressed in a peplum looped up at the waist with a girdle, and typifying "Wisdom." She reads from an open book which she supports with both hands. Square base. Tinted in a dark color showing a lighter ground beneath. Height, 391/4 inches. 111^ — Fifteenth Century Florentine Polychrome Terra-cotta Figure {By Nanni di Banco: 1388-1420) Life-sized half -figure of the Virgin seated and facing the spec- tator. She holds with her left hand the Child Christ, who stands at her side and in her right hand she carries a fruit. She is habited in a red robe with a blue mantle draping her head and falling over her arm and shoulder so that it covers the head and body of the Child. Height, 321^^ inches; width, 20 inches. (Illustrated) By Nanni di Banco: 1388-1420 No. 111. Fifteenth Century Florentine Polychrome Terra-cotta Figure 112 — Sixteenth Century Italian Terra-cotta Bas-relief {By Giovanni Bologna: 1525-1608) Rectangular shape. A subject, in uncolored terra-cotta, of the Annunciation. The Virgin stands on the right, her left hand pressed to her bosom, and listens to the message of the Angel, who, with open wings, kneels in front of her, to the left, his right hand raised in salutation. To the right of the Virgin are a bed hung with looped-up drapery and a prie-dieu on which is an open book. Above, the Dove, emblem of the Holy Ghost. In the background is a balustraded open window through which are seen a street and a church. Height, 30 inches; width, 38 inches. Note: This and the succeeding subject, "The Miracle of St. Nicola," are of the greatest interest, as the work of one of the most notable of sixteenth century Italian sculptors, chiefly known to us by his sur- passing work in bronze. They give evidence of Gian Bologna's un- rivaled treatment of bas-relief. 113 — Sixteenth Century Italian Terra-cotta Bas-relief {By Giovanni Bologna: 1525-1608) Rectangular shape. A subject, in uncolored terra-cotta, of the "Miracle of St. Nicola of Bari." A brick wall in section divides the bas-relief into two unequal portions. On the right is shown the interior of a poverty-stricken room, whose occupants, three women and a man, are seated on rough bases in attitudes expres- sive of their hunger and exhaustion. At the rear is a bed, at the side of which a young girl sits, leaning her shoulders against it as though for support. To the left a bearded man rests his head on one hand. On the left of the wall is shown a street with the saint, dressed in a tight-fitting tunic and a flowing mantle, who throws into the room, through an open aperture in the wall, small round loaves of bread. Height, 30 inches; width, 38 inches. 114 — Sixteenth Century Florentine Glazed Terra-cotta Tab- ernacle {By Giovanni della Robbia: XVIth Century) Tabernacle in the form of a classic wall tablet. The rectangular central tablet is flanked by two pilasters with acanthus-leaf capi- tals, molded bases and shafts decorated with vases from which spring boldly modeled fruits and flowers. Above is a frieze decorated with four *^ cherubim heads separated by festoons of fruits, and a molded cornice ornamented with egg and tongue and acanthus-leaf enrichments. Above this again is a semicir- cular pediment with a rosetted outer member enclosing a shell. In the center is a chalice, glazed in yellow, on which stands an Infant Christ, holding a wreath and with His right hand in benediction, flanked by two putti. Below is a molded cornice with acanthus-leaf and egg and dart enrichments, a pedestal with the inscription : hic est panis vivus qui de celo descendit (This is the living bread which came down from Heaven) : on either side of a cherub in relief. Beneath this is an imbricated base and a semicircular apron formed by two cornucopi?e with rosetted terminations enclosing a wreath of laurel leaves occu- pied by an escutcheon bearing a coat-of-arms. In the center is the hinged door of the Tabernacle of wood, painted, gilded and carved in relief with the figure of the Archangel Michael with his foot upon a prostrate Satan. On either side of the door is an angel of glazed terra-cotta in a blue robe holding flowers. The door frame, also of glazed terra-cotta, is of egg and dart molding and above is a line of quatrefoils. All glazed in vivid natural colors. Height, 6 feet 2% inches; width, 3 feet. (Illustrated) A^o^^; Though Luca, who first applied a stanniferous colored glaze to terra-cotta, is of course the best known member of the Delia Robbia family, others, and in particular Giovanni, the son of Luca's nephew Andrea, closely approached him in artistic imagination and technical skill. This unusually important, elaborate, but typical, example testi- fies indeed to Giovanni's admirable sense of color and notable skill as a sculptor. By Giovanni della Robbia No. 114 — Sixteenth Century Florentine Glazed Terra-cotta Tabernacle 115 — Sixteenth Century Florentine Glazed Terra-cotta Alto-relief {By Giovanni delta Bobbia: XVIth Century) Bust of a young woman with flowing hair, modeled in high re- lief, and glazed in white with the eyeballs painted. The back- ground, which is in two sections, is glazed in blue and the whole is surrounded with a circular wreath, bound with ribbons of well- modeled flowers and fruits, with frogs, in high relief, and glazed in their natural colors. Diameter, 38 inches. 116 — Fifteenth Century Florentine Glazed Terra- cotta {Modeled by Antonio Rossellino: 1427-1490; glazed by Luca della Robbia: 1400-1481) The Virgin seated on a bench supporting on her lap the Infant Christ, both having haloes ; on either sides are supporting cheru- bim. The background is almond-shaped and, with the group, is supported by a bracket formed of a cherub with four wings. The figures of the Virgin and her son and the cherubim are glazed in white, the background in blue. Height, 25 inches; width, 15 inches. Note: This exquisite example is a smaller version of, probably a pre- liminary study for, the much larger group modeled by Rossellino and now to be seen at the Church of Santa Croce, Florence. 117 — Fifteenth Century Bolognese Polychrome Terra-cotta Alto-relief Half- figure of the Virgin, holding in her left arm the Infant Christ. The Virgin, who has dark flowing hair, is clad in a red robe edged with gold and confined by a blue girdle and a flowing blue mantle which envelops her head. The Child is in a white-linen tunic and holds in one hand a bird. The bracket- like base is formed of three cherubim, one in the center and one at either side. Height, 31^/2 inches; width, 211/2 inches. Note: This interesting work is by an anonymous fourteenth century Bolognese master and is referred to by Dr. Bode in his "Die Italienische Plastik," p. 126. 118 — Fifteenth Century Italian Marble Mortar Small coupe-shaped mortar, with four projections around the rim, one of which is grooved to form a spout. The sides are decorated with two coats-of-arms in low relief. Height, 2^2 inches; diameter, 5 inches. SCULPTURE IN MARBLE 119 — Fourteenth Centuby Tuscan Marble Figure of the Virgin {By Nino Pisano: ? — 1368) The Madonna, dressed in a sweeping mantle which covers her head and falls in a succession of graceful folds to the floor, sup- ports on her left arm the Infant Christ, who is also draped in a robe of lighter texture. In her left hand she holds a bunch of flowers towards which the Christ stretches out His right hand. The faces of both Mother and Child are full of an austere senti- ment. The figures stand on a circular base. The group is sup- ported on a cylindrical pedestal of carved gilt and painted wood of sixteenth century workmanship. Around a cylindrical drum are disposed six columns with Corinthian capitals, plain shafts and molded bases. Between each pair is an arcaded niche, the round arch supported on a Doric pilaster. Five of these niches are occupied with painted figures of Saints. The pedestal has a molded circuliar base. Height of figure, 24 inches. (Illustrated) Note: Nino Pisano, the date of whose birth is uncertain but who died about 1368, was the son of Andrea Pisano,^ pupil, but no relative, of Giovanni, the son of Nicola Pisano, who was the earliest known of , Italian mediaeval sculptors. The work of the Pisani school formed by these men is, throughout the four generations, marked by its rela- tionship to the works of ancient Greece and Rome. With Nino Pisani this spirit temporarily disappeared from Italian sculpture. By Nino Pisano: ?— 1368 No. 119. Fourteenth Century Tuscan Marble Figure or the Virgin 120 — Sixteenth Century Italian Marble Statuette {By Gio- vanni da Nola: XVIth Century) Figure of a nude winged Cupid seated upon a block of marble resting upon a square base with his right hand upon a reversed lighted torch; on this also rests his left elbow, the hand sup- porting his head. The face, with half -closed eyes, is marked by an expression of deep sorrow. Height, 2 feet 5 inches. .D^y m 121 — Sixteenth Centuey Roman Maeble Base Rectangular shape. Formed in white and colored marbles of an oblong panel, supported by volutes and occupied by a subj ect of "Abraham Restrained by an Angel from Sacrificing Isaac." This tablet is flanked by two figures, one of David, the other of Moses, the latter holding the "tablets of the Law." Under- neath are the names in Roman lettering. At the back of each figure is a column enveloped in acanthus leaves. Height, 34 2/5 inches; width, 15 1/5 inches. ORVIETO AND PRIMITIVE MAJOLICA AND FAENZA POTTERY 122 — Fourteenth Century Ortieto Primitive Majolica Bowl Coupe-shaped with flat rim. Decorated, on a white ground, in green and brown, the rim with radiating hnes in alternate colors, the interior with a knotted strap design on a hatched ground, and the exterior with a band of diagonal lines. Diameter, 3^ inches. 123 — Fourteenth Century Orvieto Primitive Majolica Bowl Circular shape. Decorated, on a white ground, in green and manganese, the interior with a coat-of-arms having a green field, a bend of white and two Florentine lilies, on a hatched ground; the exterior, with a border of scrolled design. (Re- paired.) Diameter, 4% inches. 124 — Pair or Sixteenth Century Italian Majolica Pharmacy Vases Pear-shaped bodies, with cylindrical necks. Glazed in light blue, decorated with branches of yellow flowers and green leaves, outlined in brown and with scrolled labels of blue and yellow inscribed with the names of the contents. Above these, emblems of St. Francis (clasped hands and cross ) . Height, 12% inches. 125- — Fourteenth Century Orvieto Primitive Majolica Bowl Coupe-shaped, with boldly scalloped rim and two looped handles. Decorated, on a white ground, as to the interior, with a knot design in green and brown. (Repaired. ) Diameter, i% inches. 126 — Fifteenth Century Italian Majolica Bowl Circular shape. Decorated, on a white ground, with a Gothic letter "H" in green, outlined in brown, and a border of groups of lines alternating in green and brown. Diameter, 5 inches. 127 — Fifteenth Century Italian Majolica Vase Pear-shaped body, with two looped handles. Glazed with white and decorated with the coat-of-arms of the Piccolomini family of Siena, surrounded by a floral wreath. jj^^j^^^ 534 inches. 128 — Fifteenth Century Faenza Majolica Bowl Circular shape, with flat rim. Decorated, on a white ground, in blue, orange and green, the border with spirals, figures and rays, the interior with a coat-of-arms of a field of dark blue with a green bend, and the exterior with alternating scrolls of orange and dark blue. Diarrwter, 6^^ inches. 129 — Fifteenth Century Faenza Ware Vase Pear-shaped body, with two looped handles. Glazed in white and decorated in yellow and blue with two heads of women in low relief. Height, 6% inches. 130 — ^Thirteenth Century Orvieto Primitive Majolica Alba- RELLO Cylindrical shape, with incurved sides. Decorated, on a white ground, with an all-over patterning of scrolls in dark brown with campanula flowers in green, and with an imbricated border in brown around the neck. (Repaired.) Height, 7 inches. 131 — Fifteenth Century Faenza Ware Pitcher Pear-shaped body, with spout and looped handle. Decorated with a winged lion. Height, 7 inches. 132 — Two Sixteenth Century Italian Majolica Albarelli Cylindrical shape. Decorated, on a white ground, in green and manganese, with vertical bands of vine-leaves and with an oval shield with a white fesse on a blue field and yellow lilies. Height, 7 inches. 133 — Sixteenth Century Italian Majolica Albarello Cylindrical shape. Decorated, on a white ground, in green and manganese, with vertical bands of vine-leaves, with an oval shield bended with a white fesse on a blue field and with yellow lilies. Height, 7 inches, 134 — Thirteenth Centuky Peimitive Orvieto Ware Pitcher Pear-shaped body, with looped handle. Decorated with the let- ter O in Gothic text, surrounded by arabesques. Height, 7 7/10 inches. 135 — Two Sixteenth Century Castel Durante Ware Vases Albarello-shaped pharmacy vases, decorated with the names of the drugs in Gothic lettering and with coats-of-arms, and mili- tary trophies enclosed in garlands of fruits and flowers. Height, 7% inches. 186 — Two Sixteenth Century Castel Durante Ware Vases Similar to the preceding. 137- — Two Sixteenth Century Castel Durante Ware Vases Albarello-shaped pharmacy vases, decorated with the names of the drugs in Gothic lettering and with coats-of-arms, and mili- tary trophies enclosed in garlands of fruits and flowers. Height, 7% inches. 138 — Two Sixteenth Century Castel Durante Ware Vases Similar to the preceding. 139 — Two Sixteenth Century Castel Durante Ware Vases Albarello-shaped pharmacy vases, decorated with the names of the drugs in Gothic lettering and with coats-of-arms, and mili- tarj^ trophies enclosed in garlands of fruits and flowers. Height, 7% inches. 140 — Two Sixteenth Century Castel Durante Ware Vases Similar to the preceding. 141 — Early Sixteenth Centuey Deruta Lustred Ware Vase Spherical body, with circular foot and two handles. Decorated in yellow lustre on a white ground. Height, 7% inches. 142 — Sixteenth Century Faenza Ware Pitcher Pear-shaped body, with spout and looped handle. Decorated with an inscription in Roman lettering; above is an angel's head and below a coat-of-arms of a cross on yellow ground. Height, 7% inches. 143 — Sixteenth Century Faenza Majolica Pharmacy Vase Pear-shaped body, with cylindrical neck, projecting spout and looped handle. Decorated, on a gray ground, in blue and orange, with a scrolled patterning and, under an arrow-pierced heart, a label inscribed, in Roman lettering, "Melle Rosata." Height, ly^ inches. 144 — Sixteenth Century Faenza Majolica Pharmacy Vase Pear-shaped body, with flat looped handle and projecting spout. Decorated, on a white ground, with a trefoil-shaped orange- bordered medallion occupied by the statant figure of a collared dog in a landscape, and with scroUings of pointed leaves in dark and light blue, green and orange, on a ground diapered with light blue scrollings. Height, 7% inches. 14.5 — Pair of Fifteenth Century Cafaggiolo Majolica Alba- RELLI Cylindrical shape. Decorated, on a white ground, in dark blue, with scrolled branches of dark blue flowers with varicolored eyes and with the names of the contents in Gothic lettering of dark blue. Height, 7% inches. 146 — Two Sixteenth Century Glazed and Colored Terra- cotta Baskets of Fruit Circular baskets, with pierced sides, filled with fruits and flowers colored naturalistically in the style of the Delia Robbias. Height, 6% inches; diameter, 8% inches. 147 — Fifteenth Century Orvieto Ware Pitcher Pear-shaped body, with looped handle. Decorated with hori- zontal bands of white palmettes on a green ground. Height, 8I4 inches. 148 — Sixteenth Century Florentine Majolica Deep Plate Circular shape, with flat rim. Decorated, on a white ground, the rim with a border of lozenge-shaped medallions of yellow enclosed in almond-shaped scroUings of blue, and the center with a checkered pattern of small green and manganese squares. (Repaired.) Diameter, 8 inches. 149 — Fourteenth Century Orvieto Primitive Majolica Flask Shaped as a leathern wallet with buckled strap, two loops for suspension, and cylindrical spout. Decorated, on a white ground, in green and manganese, with two Florentine lilies on one side ; on the other, with two archaic birds, and at the corners with rosettes with hatched centers. Height, S^/^ inches. 150 — Pair of Sixteenth Century Faenza Majolica Albarelli Cylindrical shape, with incurved sides. Decorated, on a white ground, in blue, with a patterning of geometrical interlacements and a laurel wreath enclosing a coat-of-arms of a demi-lion on a demi-wheel in yellow on a blue field. Height, 8% inches. 151 — Fifteenth Century Faenza Ware Madonna and Child The Madonna, in a blue robe and a mantle lined with yellow, is seated on a bench of dark yellow with a decoration of black lines. She holds on her lap with her left arm around Him the Infant Christ, who is dressed in a purple tunic and clasps a bird, colored light blue, in His hands. Both Madonna and Child have yellow hair, and the Madonna has a painted and gilded wooden halo. The square wood base has a molded sunk panel in front occupied by a Cherub in relief, and having as supporters on either side kneeling winged angels in flowing robes with up- turned faces. Height of 'figure, 22 inches; height of base, 5^ inches. Note: This admirable example of early Faenza ware has been re- ferred to by Dr. Bode, in his "Die Italienische Plastik," as "very inter- esting and rare, and undoubtedly the work of a good master." 152 — Fifteenth Century Faenza Ware Plaque Rectangular shape. Decorated in low relief, glazed and colored, with a subject of "The Annunciation." In the center the Virgin, clothed in a flowing blue mantle, haloed and standing, reads the pages of a missal as she listens to the message of the winged angel, who kneels before her, his right arm uplifted and clasping a lily with the left. Above, the Holy Spirit in the shape of a dove encircled by a nimbus, ascends. The background is a Romanesque arch with alternating voussoirs of light and dark, the spandrels being filled with floriated ornamentations. Height, 12 inches; width, 8 inches. 153 — Fifteenth Century Faenza Ware Plaque Rectangular shape. Decorated in low relief, glazed and colored, with a subject of the "Visitation to the Virgin." In the center of the plaque St. Elizabeth, with outstretched hands, greets the Virgin, who holds one hand to her bosom. Both are dressed in flowing robes and have haloes. On the left is a maid- servant bearing on her head a basket. The background is of a triple arch, the center one surmounted by a trefoil, supported on Corinthian columns, with the spandrels decorated with a dia- pered pattern. Height, 15% inches; width, 19 7/10 inches. 154 — Sixteenth Century Cafaggiolo Majolica Plaque Rectangular shape. Decorated, in relief, with a subject of "The Annunciation." The Virgin, in a blue mantle lined with green, is seated at a prie-dieu on the right-hand side, listening to the winged Angel, who, dressed in a yellow robe, and bearing a lily, delivers his message. The background, of an architectural character, is colored in blue. Bordered by a band of floral scroll- ings in dark yellow on a dark blue ground, with square masks at the angles and an oval mask in the center colored in blue. Height, 9 inches; length, 11% inches. 155 — Pair of Sixteenth Century Faenza Majolica Albarelli Cylindrical shape, with incurved sides. Decorated, on a white ground, in blue, with a patterning of geometrical interlacements and a laurel wreath enclosing a coat-of-arms of a demi-lion on a demi- wheel in yellow on a blue field. Height, 9 inches. 156 — Fifteenth Century Faenza Majolica Albarello Cylindrical shape. Decorated on a cream-colored ground, in green, with a geometrical and leaf patterning surrounding a shield party, blue and manganese, with a rampant lion in yellow. Height, 8% inches. 157 — SixTEjENTH Century Florentine Majolica Plate Circular shape, with flat rim. Decorated, on a white ground, in dark blue and yellow, the rim with a pattern of white scroll- ings on a blue ground bordered by yellow, the interior with the coat-of-arms of Pope Leo X of the Medici family. Diameter, 8 2/5 inches. 158 — Fifteenth Century Cafaggiolo Majolica Albarello Cylindrical shape, with incurved sides. Decorated, on a gray crackled ground, in yellow and blue, with a wreath of fruit and pointed leaves enclosing a shaped shield with a coat-of-arms consisting of a f esse with three rosettes. Height, 9 inches. 159 — Sixteenth Century Faenza Majolica Albarello Cylindrical shape. Decorated, on a gray crackled ground, in dark blue, with a diapered pattern of large scroUings and flowers. Height, 9 2/5 inches. 160 — Sixteenth Century Italian Majolica Plate Circular shape, with wide flat rim. Decorated on a dark blue ground, the rim with an arabesque patterning in shaded light blue, the center with a shield surmounted by a lily and occupied with the arms of the Rondinini family of Florence in orange, yellow and blue. (Repaired.) Diameter, 914 inches. 161 — Sixteenth Century Italian Majolica Pate Circular shape, with wide flat rim. Decorated, on a dark blue ground, the rim with an arabesque patterning in shaded light blue, the center with a shield surmounted by a lily and occupied with the arms of the Rondinini family of Florence in orange, yellow and blue. Diameter, 9^4: inches. 162 — Sixteenth Century Italian Glazed Terra-cotta "Bou- quet" A group of fruits and flowers, with a snail naturalistically glazed in colors and arranged in a circular holder with a cylindrical unglazed stem originally built into a wall. Diameter, 9 2/5 inches. 163 — Sixteenth Century Venetian Majolica Ewer and Stand Amphora-shaped ewer, with handle and circular stand. Deco- rated on a solid ground of light blue, with scroUings in yellow, the stand with a coat-of-arms surrounded by scrollings in yellow. Height of ewer, 6% inches; diameter of stand, 91^ inches. 164 — Sixteenth Century Italian Glazed Terra-cotta Basket with Fruits Circular basket, with pierced sides. Filled with various fruits naturalistically colored. Glazed terra-cotta, of the school of Delia Robbia. Diameter, 9^^ inches; height, 6 1/3 inches. 165 — Pair of Sixteenth Century Italian Majolica Pharmacy Vases Pear-shaped bodies, with cyHndrical necks. Glazed in hght blue, decorated with branches of yellow flowers and green leaves, outlined in brown and with scrolled labels of blue and yellow inscribed with the names of the contents. Above these, emblems of St. Francis (clasped hands and cross) . Height, 12 inches. 166 — Sixteenth Century Florentine Majolica Plate Circular shape, with flat rim. Decorated, on a white ground, the rim with a border of lozenge-shaped medallions of yellow in almond-shaped scrollings of blue, and the center with a checkered pattern of small green and manganese squares. Diameter, 10 inches. 167 — Two Sixteenth Century Urbino Ware Pitchers Pear-shaped bodies, with looped handles, with varicolored deco- rations. Height, 10^4 inches. 168 — Fifteenth Century Sienese Primitive Majolica Vase Cylindrical shape. Decorated, on a reddish-white ground, in green and manganese, with a pattern of interlacements with hatched interspaces. Height, 101/4 inches. 169 — Two Sixteenth Century Urbino Ware Pitchers Pear-shaped bodies, with straight spouts and looped handles. Varicolored decoration, on one side, of a bishop's mitre, and on the other of a cross with crescents (arms of the Strozzi family) . Height, 10 3/5 inches. 169a — Sixteenth Centuky Urbino Wake Fruit Dish Circular shape, with scalloped edge, deep fluted rim and cir- cular foot. Decorated in various colors with grotesqueries of dolphins, birds, putti and scrolls. The center is occupied by a painting of Galatea and a Cupid riding upon dolphins. Height, 4% inches; diameter, 13 inches. 169b — Sixteenth Century Faenza Majolica Pharmacy Vase Pear-shaped body, with projecting cylindrical spout and two scrolled handles with mask terminations. Decorated, on a white ground, in green, yellow and blue, with a scrolled label inscribed "a. d. MELISSA," and with a wreath of leaves enclosing a coat-of- arms. On the other side, in blue, a device of a double-armed cross and a shield initialed G. F. B. and the date 1593. Height, 11% inches. 169c — Sixteenth Century Faenza Ware Vase Cylindrical shape. Decorated with the bust of a warrior on a blue background between two ribbons in white, one of which bears an inscription, and with palm leaves. Height, 11% inches. 169d — Sixteenth Century Faenza Ware Pitcher Pear-shaped body, with looped handles. Height, 13 inches. 169e — Pair of Sixteenth Century Italian Majolica Pharmacy Vases Pear-shaped bodies, with cjdindrical necks. Glazed in light blue, decorated with branches of yellow flowers and green leaves, outlined in brown and with scrolled labels of blue and yellow inscribed with the names of the contents. Above these, emblems of St. Francis ( clasped hands and cross ) . Height, 12 3/5 inches. 169r — Two Sixteenth Century Castel Durante Ware Vases Albarello-shaped pharmacy vases, decorated with the names of the drugs in Gothic lettering and with coats-of-arms, and mili- tary trophies enclosed in garlands of fruits and flowers. Height, 7% inches. 169g — Pair of Sixteenth Century Itai.ian Majolica Pharmacy Vases Pear-shaped bodies, with cylindrical necks. Glazed in light blue, decorated with branches of j'^ellow flowers and green leaves, outlined in brown and with scrolled labels of blue and yellow inscribed with the names of the contents. Above these, emblems of St. Francis (clasped hands and cross). Height, 12^ inches. 169h — Pair of Sixteenth Century Italian Majolica Pharmacy Vases Pear-shaped bodies, with cylindrical necks. Glazed in light blue, decorated with branches of yellow flowers and green leaves, outlined in brown and with scrolled labels of blue and yellow inscribed with the names of the contents. Above these, emblems of St. Francis (clasped hands and cross) . Height, 12^/^ inches. 169i — Pair of Sixteenth Century Cafaggiolo Ware Vases Pear-shaped, with cylindrical necks and two handles. The necks decorated in blue on white with the emblem of St. Francis, within a wreath of fruits and leaves. Height, 22 1/5 hwhes. 169j — Sixteenth Century Faenza Majolica Tile Oblong shape. Decorated, on a white ground, with the profile head of a woman in light blue and brown on a dark blue ground. Height, 5% inches; length, 11% inches. 169k — Sixteenth Century Faenza Majolica Tile Oblong shape. Decorated, on a white ground, with a portion of a scrolled circular medallion in blue occupied by the profile head of a woman in blue, brown and yellow. Height, 5% inches; length, 11% inches. SECOND AFTERNOON'S SALE WEDNESDAY, NOVEMBER 22, 1916 AT THE AMERICAN ART GALLERIES BEGINNING AT 2.30 o'CLOCK Catalogue Nos. 170 to 330, inclusive ITALIAN LINENS 170 TWENTY-THEEE EIGHTEENTH CeNTURY ItALIAN ToWELS Hand- towels of white linen. 171 — Fragment of a Fifteenth Century Umbrian Linen Towel Part of a hand towel with a woven patterning in blue. 172 — Fifteenth Century Umbrian Linen Towel A hand towel of white linen with a woven pattern in blue. 173 — Eighteenth Century Venetian Silk Table Center Nearly square shape. Table center of white silk, interwoven in an ornate design with silver threads, and with a decoration of flowers and leaves, embroidered in varicolored silks. Finished with a gold fringe. Length, 20% inches; width, 18^ inches. 174 — Sixteenth Century Italian Linen Tablecloth Oblong shape. A small tablecloth of white linen embroidered with a small design in gold and silk, with a fringe of gold threads. Length, 81 inches; width, 20% inches. 175 — Sixteenth Century Italian Linen Tablecloth Oblong shape. A small tablecloth of white linen bordered with a small edging embroidered in yellow and red silk, and with a small fringe. Length, 3 feet 7 1/3 inches; width, 21 3/5 inches. 176 — Eighteenth Century Italian Tablecloth Of white linen with fringe. 177 — Sixteenth Century Italian Linen Tablecloth Oblong shape. Tablecloth of white linen, embroidered in Eng- lish point, with a foliage design of various colors. Length, 6 feet % inch; width, 2 feet 7^2 inches. 178 — Fifteenth Century Umbrian Linen Tablecloth Oblong shape. Tablecloth of white linen cloth with a woven patterning in blue, of figures of plants. Length, 8 feet 8^ inches; width, 2 feet 8^ inches. TEXTILES 179 — Sixteenth Century Italian Silk Cushion Oblong shape. Covered with red silk having a small waved design. Length, 14 1/6 inches; width, 10 1/12 inches. 180 — Sixteenth Century Italian Silk Cushion Oblong shape. Covered in green striped yellow silk with pat- ternings in white. Length, 15% inches; width, 11 inches. 181 — Sixteenth Century Italian Embroidered Linen Cushion Square shape. Covered with white woven linen and embroidered with yellow and white silk. Length, 15 inches; width, 13 2/5 inches. 182 — Sixteenth Century Italian Velvet Cushion Oblong shape. Covered with red velvet, embroidered on one side with gold thread and spangles in a scrolled floral design. Wood tassels covered with red silk and gold thread. Length, 14 3/5 inches; width, 11 4/5 inches. 183 — Sixteenth Century Italian Silk Cushion Oblong shape. Covered with white silk, interwoven with silver thread. Yellow tassels and border. Length, 16 1/7 inches; width, 10 2/3 inches. 184 — Sixteenth Century Italian Velvet Cushion Oblong shape. Covered with purple velvet with a border of gold thread. Length, 16^/2 inches; width, 10 2/3 inches. 185 — Sixteenth Century Italian Silk Cushion Oblong shape. Covered with green silk with a symmetrical woven design of grapes and vine. Yellow and green silk tassels. Length, 16% inches; width, 14 1/6 inches. 186 — Sixteenth Century Italian Embroidered Silk Cushion Oblong shape. Covered with red silk surrounded by a trefoiled border embroidered in varicolored silks and gold thread and with embroidered floral sprays at the angles. In the center is em- broidered an oval coat-of-arms mantled with acanthus leaves. Length, 18 9/10 inches; width, 13 inches. 187^ — Two Sixteenth Century Italian Velvet Cushions Oblong shape. Covered with red velvet. Length, 19 1/3 inches; width, 13 inches. 188 — Two Sixteenth Century Italian Velvet Cushions Oblong shape. Covered with red velvet. 189 — Two Sixteenth Century Italian Velvet Cushions Oblong shape. Covered with red velvet. 190 — Sixteenth Century Italian Embroidered Silk Cushion Nearly square shape. Covered with red silk with a broad scrolled and trefoiled border embroidered in varicolored silks and gold and with embroidered scrolled floral sprays at the angles. In the center is an oval coat-of-arms mantled with acanthus leaves. Length, 19 1/3 inches; width, 15% inches. 191 — Two Sixteenth Century Italian Velvet Cushions Oblong shape. Covered with red velvet trimmed with yellow. Length, 2II4 inches; zendth, 16 1/7 inches. 192 — Two Sixteenth Century Italian Velvet Cushions Oblong shape. Covered with red velvet trimmed with yellow. Similar to the preceding. 193 — Two Sixteenth Century Italian Velvet Cushions Oblong shape. Covered with red velvet trimmed with yellow. Similar to No. 191. 194 — Two Sixteenth Century Italian Damask Cushions Oblong shape. Covered in red silk damascus. Length, 20 inches; width, 16 1/7 incites. 195 — Two Sixteenth Century Italian Cushions Square shape. Covered with red velvet embroidered at the cor- ners with. a scroll design in silver and gold, and in the middle with a coat-of-arms. Length, 17% inches; width, 16yg inches. 196 — Sixteenth Century Italian Silk Cushion Oblong shape. Covered with red silk, embroidered on both sides in gold and silk of various colors, with a broad border and floral sprays at the angles, and a coat-of-arms in the center. Length, 17% inches; width, 12 3/5 inches. {Illustrated) 196 197 — Sixteenth Century Italian Embkoidered Cushion Oblong shape. Covered with red silk with a trefoiled border embroidered in varicolored silks and gold thread and with simi- larly embroidered scrolled floral sprays at the corners. In the center is embroidered an oval coat-of-arms surmounted by a helmet and mantled with scrolls and acanthus leaves. Height, 19 1/3 inches; trndth, 15 inches. 198 — Sixteenth Centuky Italian Embkoidered Silk Cushion Nearly square shape. Covered with silk with a scroll and tre- foil border embroidered in varicolored silks and gold and with scrolled floral sprays at the angles. In the center is embroidered an oval coat-of-arms mantled with acanthus leaves. Length, 19 1/3 inches; width, 15% inches. 199 — Two Sixteenth Century Italian Damask Cushions Oblong shape. Covered in red silk damask. 200 — Two Sixteenth Century Italian Damask Cushions Oblong shape. Covered in red silk damask. Similar to the preceding. 201 — Sixteenth Century Italian Damask Cushion Oblong shape. Covered in red silk damask. Similar to the pre- ceding (No. 200). 202 — Sixteenth Century Italian Silk Cushion Oblong shape. Covered on both sides with white silk, bordered with galloon. Length, 15 inches; width, 17% inches. 203 — Two Sixteenth Century Italian Velvet Cushions Oblong shape. Covered on one side with velvet and on the other with red silk damask ; gold trimmings and yellow silk tassels. Length, 17% inches; width, 15% inches. 204 — Two Sixteenth Century Italian Embroidered Silk Cushions Oblong shape. Covered with red silk embroidered in gold thread, at the four corners with heart-shaped figures formed by floral scrollings and in the center with a large coat-of-arms of a rampant lion surmounted by a helmet and mantled with bold scrollings. Tassels of red silk wound with gold thread. Length, 21 3/5 inches; xeidth, 15^/2 inches. 205^Seventeenth Century Italian Damask Large Cushion Oblong shape. Covered, on both sides, with red silk damask. Length, 3 feet 1 4/5 inches; width, I8I/2 inches. 206 — Seventeenth Century Italian Damask Large Cushion Oblong shape. Covered, on one side, with red silk damask. Length, 3 feet 10% inches; width, 15^/^ inches. 207 — Two Fifteenth Century Florentine Embroidered Velvet Cushions Rectangular shape. Covered with red velvet richly embroidered in gold and silver with voluted foliage. In the center is a coat- of-arms consisting of an eagle. Silk tassels at the corners. Length, I8I4 inches; width, 12 1/5 inches. TEXTILES 208 — Eighteenth Century Italian Silk Maniple Maniple of red silk decorated with flowers and crosses, embroid- ered in varicolored silks and gold and silver thread. 209 — Sixteenth Century Italian Silk Stole Priest's stole of green silk, with a small woven design and silk fringe. 210 — Sixteenth Century Italian Embroidered Silk Chalice Cover Square shape. A chalice cover of green silk, embroidered in gold and silver threads, and bordered with a small silk fringe. Length, 201/^ inches; width, 19 7/10 inches. 211 — Fifteenth Century Italian Brocatelle Chasuble Priest's chasuble of brocatelle with a yellow ground and a small design in green. Down the center is a stripe of yellow brocatelle with an embroidered design representing "The Annunciation." Length, 3 feet 9 1/3 inches. 212 — Sixteenth Century Italian Damask Chasuble Priest's chasuble of red silk damask, woven with a small design. Down the center and around the neck are applied strips of red velvet decorated with ornaments in blue velvet. The ground is decorated with applied work and embroidery. Length, 39 2/5 inches. 213 — Portion of a Sixteenth Century Italian Silk Chasuble Portion of a priest's silk chasuble, with a floral design in rose- color on a green ground. Length, 43 1/3 inches; width, 27 3/5 inches. 214 — Part of a Sixteenth Century Italian Brocatelle Chasuble The decorative central applied stripe of a priest's chasuble in yellow brocatelle with a subject woven in red representing "The Annunciation." Length, 39 2/5 inches; width, lYg inches. 215 — Sixteenth Century Venetian Silk Chasuble Priests's chasuble, stole and maniple of green silk interwoven with silver thread and enriched with a patterning of small flow- ers in gold and silver. Border and fringe of silk interwoven with silver threads and spangles. Length, 3 feet 4 1/6 inches. 216 — Sixteenth Century Italian Velvet Chasuble Priest's chasuble, with a stole and maniple of red velvet with a bordering of yellow cut velvet. Length, 3 feet 7 1/3 inches. 217 — Eighteenth Century Venetian Lady's Costume A lady's dress, consisting of a bodice, with sleeves and skirt of white silk, interwoven with silver and decorated in bold design of flowers and leaves woven in green silk and gold. Length, 9 feet 10 inches. 218 — Sixteenth Century Italian Cut- velvet Altar Frontal Oblong shape. "Paliotto" or altar cover of cut red velvet bor- dered with galloon of silk and silver thread and a fringe of green silk. Length, 5 feet 8% inches; width, 31% inches. 219 — Sixteenth Century Italian Altar Frontal A Paliotto or altar covering of Hungarian point worked in a geometrical design. Bordered with gold galloon and fringe and having a decoration of silver threads on the upper part. Length, 7 feet 3/5 inch; width, 3 feet 1 3/5 inches. 220 — Sixteenth Century Italian Brocatelle Cope A priest's cope of white brocatelle, with a scrolled patterning in red and a border and fringe of yellow silk. 221 — Fifteenth Century Florentine Cut-velvet Banner A processional banner of cut red velvet, the ground interwoven with silver threads and with a red silk fringe. Height, 6 feet 6% inches; width, 22 inches. 222 — Four Sixteenth Century Italian Silk Chair Backs Oblong shape. A set of four chair-back coverings of red silk. Embroidered in varicolored silks with a design of foliage and scrolls having dolphins' heads in yellow silk. Length, 20% inches; width, 15 inches. 223 — Sixteenth Century Venetian Table Cover Square shape. Small table cover of brocade in a foliage design interwoven with gold and silver threads and edged with a gold fringe. Length, 21^ inches; width, 20% inches. 224 — Sixteenth Century Italian Cut-velvet Table Cover Oblong shape. Table cover of yellow cut velvet having a small design in relief of green and edged with a rich silk fringe. Length, 4 feet 4/5 inch; width, 3 feet 3 2/5 inches. 225 — Fifteenth Century Italian Brocatelle Cover Oblong shape. Table cover of red brocatelle woven in a small design on a background interwoven with gold threads and edged with a rich gold fringe. Length, 5 feet 8 9/10 inches; width, 1 foot 5 1/3 inches. 226 — Fifteenth Century Italian Cut-velvet Table Cover Oblong shape. Table cover of green cut velvet with a small de- sign in relief and edged with a fringe of gold threads. Length, 5 feet 5 inches; width, 2 feet 11% inches. 227 — Sixteenth Century Italian Brocatelle Table Cover Oblong shape. Table cover of yellow brocatelle with a design of large red flowers and edged with a very rich silk fringe. Length, 5 feet 3 inches; width, 4 feet 4/5 inch. 228 — Sixteenth Century Italian Velvet Table Cover Nearly square shape. Table cover of green velvet surrounded by a border woven in gold thread. Length, 5 feet 10% inches; width, 4 feet 7% inches. 229 — Two Sixteenth Century Itai^ian Velvet Cushions Oblong shape. Covered with red velvet with a bordering of foliage design, richly embroidered in gold thread. Length, 4 feet 7% inches; width, 20^/2 inches. (Illustrated) 230 — Seventeenth Century Italian Damask Table Cover Oblong shape. Table cover of red silk damask woven in a bold design and edged with a fringe. Length, 6 feet Yg inch; width, 4 feet 9 inches. 231 — Sixteenth Century Italian Velvet Cover Oblong shape. Table cover of green velvet, surrounded by a border woven in gold thread. Length, 5 feet lOy^ inches; width, 4 feet 7% inches. 232 — Seventeenth Century Italian Damask Coverlet Nearly square shape. Bed coverlet of red silk damask woven in a small design. Length, 7 feet 6% inches; width, 6 feet 10 3/5 inches. 233— Seventeenth Century Italian Damask Coverlet Oblong shape. Bed coverlet of red silk damask woven in a bold design. Length, 5 feet 10% inches; width, 9 feet 214 inches. 234 — Sixteenth Century Italian Damask Coverlet Nearly square shape. Bed coverlet in green silk damask, woven in a bold design and bordered with a small fringe. Length, 8 feet 8 1/6 inches; width, 7 feet 101/^ imches. 235 — Seventeenth Century Italian Damask Coverlet Square shape. Bed coverlet of green silk damask woven in a small design and bordered with a fringe. Length, 8 feet 10 1/3 inches; width, 8 feet 5 1/3 inches. o O H (> feet 8 inches; width, 3 feet 3% inches. 304 — Sixteenth Centuey Florentine Octagonal Walnut Table Octagonal-shaped top on tripod base. Top with molded rim and fluted apron fitted with four drawers. Tripod base carved in a scrolled and rosetted design and ending in lions' paw feet. Height, 2 feet 10 inches; diameter, 4 feet 6 inches. 305 — Sixteenth Century Florentine Walnut Table Rectangular plain top, with deep apron carved in a design of flutings and astragals. The semi-cabriole legs are carved with boldly curved acanthus leaves and end in lions' paw feet sup- ported on square molded bases. Height, 2 feet 7^/^ inches; length, -i feet 4 inches; xeidth, 3 feet 4 inches. 306 307 306 306 — Two Seventeenth Century Italian Gilt High Pedestals Of Sgabello form. The two side pieces support square molded tops enriched with carved shells; are carved at the sides with bold volutes enclosing pendants of husk design below which are small oval medallions and large grotesque masks. Turned cross- bars and four lions' paw feet. Gilt on a white background. Height, 4 feet 2 inches. 307 — Sixteenth Century Florentine Gilt Walnut High Candlestick On a pyramidal paneled pedestal with molded base and cornice resting on four lions' paw feet. The shaft is of turned baluster design carved with festoons, acanthus leaves and headings. The spreading top, with iron pricket, supports a gilt metal crown to receive the drippings of candle wax. Height, 5 feet 3 inches (Illustrated) 308 — Sixteenth Century Lombardic Walnut Credence Rectangular shape, with plain top supported by three voluted and acanthus-leaf carved modillions between which are two drawers with wooden knobs, the fronts carved with foliage. Below, the front is divided by three fluted Ionic pilasters into two cupboards with hinged doors, the fronts of which have molded panels occupied by oval medallions framed with acan- thus-leaf scroUings and carved in relief with arms of the Sforza family. Incurved and boldly fluted base on lions' paw feet. Height, 3 feet 7 inches; length, 4 feet 11 inches; width, 1 foot 11 inches. (Illustrated) 309 — Sixteenth Century Umbrian Walnut Table Oblong shape. Top with edge carved in foliage design. Apron fitted with two paneled drawers separated by carved masks and flanked at the angles by carved escutcheons occupied by the arms of the Orsini family. The four legs are formed as winged female terms ending in lions' paw feet and supported on carved and shaped bases. Side and end rails are carved in a resetted pattern. Height, 3 feet; length, 5 feet 1 inch; width, 4 feet 11 inches. (Illustrated) Hi cq O OS o d ;2^, 310 — Sixteenth Century Italian Gilt Church Lectern Straight crossed supports carved in an imbricated pattern and gilt, and turned and carved stretchers. The head is pierced and carved in a scroll design with a cherub's head, the foot with a scroll. Mounted with contemporary red velvet, bordered by a broad band of gold braid. Height, 5 feet 4 inches. Sll^SixTEENTH Century Italian Walnut Fall-front Cabinet In two horizontal divisions. The upper part is flanked by fluted pilasters supporting a deep frieze fitted with two drawers and a molded cornice. The fall front, veneered in matched burr walnut, gives access to the interior which is divided into five drawers and three cupboards with paneled doors and drawer- fronts. The lower portion, flanked by narrow molded panels, is arranged as a cupboard with two hinged doors having arched panels. Molded base. Bronze drop handles to drawers and cupboard. The fall front has pierced bronze lock escutcheon and bolt plates. Height, 5 feet; width, 3 feet; depth, 1 foot 6 inches. (Illustrated) H H '^ n < U H o H < Hi Eh O w iz; 1— I 05 d 125 312 — Sixteenth Century Florentine Walnut Table Rectangular shape. Edge of top carved in an egg and dart design. Apron divided, on either side, into three panels carved with half rosettes and a mask in the center and fleurs-de-lis at the angles. Semi-cabriole legs ending in lions' paws and carved with heavy garlands of fruit; side and end rails carved with Greek fret designs. Height, 2 feet 8 inches; length, 5 feet 2 inches; width, 3 feet. 313 — Early Sixteenth Century Sienese Waenut Marriage Chest Rectangular shape, with hinged hd. The front is divided into five panels molded and carved in a guilloche pattern, the center panel being occupied by a carved scrolled cartouche. The in- curved base is boldly carved in a design of conventional leaves and gadroons. The domed lid is molded and carved in a guil- loche pattern. The front legs are of lions' paw and acanthus- leaf design. Height, 2 feet 1 inch; length, 6 feet 1 inch; depth, 2 feet. 314— Sixteenth Century Bolognese Inlaid Walnut Marriage Rectangular shape, with hinged lid. The paneled front is inlaid, in light-colored woods, in a design of foliage, satyrs and chimeras and with a coat-of-arms in the center. The front angles are supported hy winged female terms ending m carved acanthus leaves. The domed lid is molded, the mcurved base is carved with bold gadroonings and the feet are formed as lions' paws. At the ends are heavy bronzed drop handles. Height, 2 feet 5 inches; length, 6 feet; deptK2 feet. 315 — Sixteenth Century Bolognese Walnut Markiage Chest Rectangular shape, with hinged lid. Paneled sides with boldly carved escutcheons in the centers occupied by coats-of-arms and flanked by panels inlaid in light woods. At the angles are female caryatides terminating in volutes. The incurved base is carved and gadrooned, with grotesque masks in the center, and is supported on lions' paw feet. Domed and molded lid decorated with carved fillets. Height, 2 feet 3 inches; depth, 2 feet 5 inches; length, 6 feet 2 inches. 316 — Sixteenth Century Bolognese Walnut Marriage Chest Companion to the preceding. 317^ — Sixteenth Century Florentine Walnut Sideboard Rectangular shape. The front divided by three pilaster-like panels into three larger panels surrounded by raised moldings and occupied, the center one with a carved oval escutcheon hav- ing a coat-of-arms in relief, the side ones by fluted rosettes. Above is a fluted frieze divided by four voluted modillions into three drawers with turned wooden knobs, and above this again is a molded cornice enriched by egg and dart carving. The incurved fluted base is supported on lions' paw feet. Height, 3 feet 8^ inches; width, 2 feet; length, 6 feet 6 inches. 318 — Sixteenth Century Bolognese Wajlnut Akmoire Rectangular shape. The front is divided by three caryatid fig- ures terminating in carved tapering bases into two paneled doors carved in relief with elaborate arabesque scrollings springing from double-tailed sirens. Above is a curved frieze carved with fruits and a heavy molded cornice enriched with a dentelled course and an egg and dart patterning. Below are three pro- jecting carved pedestals between which are panels carved in relief with female figures bearing cornucopia. Carved and molded base. Height, 6 feet 6^ inches; width, 3 feet 3 inches; depth, 22 inches. No. 319. Sixteenth Centuey Umbrian Walnut Choir-book Lectern 319 — Sixteenth Century Umbrian Walnut Choir-book Lectern Formed in two portions. The lower portion as a square pedes- tal having scrolled and carved consoles at the angles, flanked by Doric pilasters whose shafts are enriched by carved ro- settes. The sides have double panels surrounded by egg and tongue moldings with carved cherubim heads in the centers of the upper stiles. Above is a frieze decorated with festoons of fruits and flowers carved in high relief, surmounted by a molded cornice. The base is molded and has shaped aprons. The upper portion consists of the lectern, whose double sloping book sup- ports are surmounted by a carved cherub and scrolling and are supported by a turned and fluted column standing upon a square molded base. Total height, 8 feet 2 inches; height of base, 4 feet 9 inches; width of base, 3 feet. {Illustrated) 320 — Sixteenth Century Italian Gilt Walnut Synagogue Cabinet Rectangular shape, with two fluted Corinthian pilasters sup- porting a frieze decorated with carved floral scroUings and a deep molded cornice. Above is an elaborately pierced and carved pediment of a boldly scrolled design terminating in a crown form and flanked by two large "flames" in vases. The body is arranged in four cupboards with hinged doors having lozenge-shaped panels. Molded and paneled base. The con- temporary iron locks are fitted with wrought-iron keys. The carvings and moldings are gilded. Height, 9 feet 6 inches; width, 5 feet .3 inches; depth, 2 feet 2 incites. Note: This was an Ark in which the Scrolls of the Law were kept. The Hebrew inscriptions are: "The Crown of the Law" and "Prepare to meet thy God." 321 — Seventeenth Century Italian Walnut Settee High back, with molded cornice and frieze, carved in a guilloche design, and supported by three pilasters, one in the center and one at each end. Between these are two groups of four turned balusters. The seat has a molded edge and is splayed at one end in an obtuse angle. Supported on three front legs. Height, 4 feet 2 inches; length, 8 feet. 322 — Fifteenth Century Italian Painted and Carved Syna- gogue Cabinet Rectangular shape in two horizontal divisions. The upper por- tion, having a break front, is divided into four cupboards, with hinged doors, by seven pilasters of the Composite order, the shafts fluted and astragalled, the capitals carved and the bases molded. The cupboard doors are divided by molded stiles into three panels, the large central panel in each case being deco- rated with a painted arabesque patterning upon a gilt ground, while the inner sides of the doors are fitted with sliding panels decorated with Hebrew inscriptions in gold on red grounds. The lower portion is similarly divided into four cupboards by paneled pilasters upon paneled pedestals. The hinged doors have single molded panels and are decorated with painted ara- besques on blue grounds, the moldings of the pedestal being g:ilded. On a molded base. The sides are paneled and decorated in a similar manner to the front. This cabinet came from the Synagogue of Urbino. Height, .7 feet 10 inches; length, 9 feet 2 inches; depth, 2 feet ■ 10 inches. (Illustrated) Note: This was the Ark in which the Scrolls of the Law were kept. The Hebrew inscriptions mainly consist of passages from the Psalms and other Biblical quotations, including the Ten Commandments. There is also an inscription denoting that this Ark was the gift of the "people" of Urbino (actually it was presented by the Duke of Urbino), and another giving the Hebrew dating of 5211, corresponding to the year 1451 A.D. 322 — Early Sixteenth Century Italian Painted and Carved Synagogue Cabinet 323 — Fifteenth Century Florentine Inlaid Walnut Marriage Chest Rectangular shape, with hinged hd. The front is divided into two molded panels occupied with an elaborate inlay in light- colored woods in a subject of a Renaissance church front surrounded by fifteenth century houses. The panels are sur- rounded by a broad band of inlay of a floral design and nar- rower bands of geometrical patterning. The ends are paneled in a lozenge form and inlaid in geometrical and floral designs. The domed lid is molded and bordered with bands of inlay of geometrical patterning. The chest stands on a molded base. Height, 3 feet 6 inches; length, 6 feet 7 inches; depth, 2 feet 4 inches. (Illustrated) 324 — Sixteenth Century Sienese Inlaid Walnut Bench Rectangular shape. Straight back and arms with molded cornice and shallow inlaid frieze. The back has one long panel and the arms have also single panels on their inner surfaces, these panels being surrounded by bands of inlay of a scrolled ribbon pattern. The seat is arranged as a box with the top having an inlaid edge and being hinged to serve as a lid, while the seat front has one long molded panel surrounded by a border of lozenge pattern inlay. The fronts of the arms are of pedestal form with single molded panels of guilloche patterned carving surrounded by bands of inlay and the base is molded. On a platform sub-base. Molded and with an inlaid plinth. Height, 2 feet 9 inches; length, 8 feet 5 inches. (Illustrated) 325 — Sixteenth Century Florentine Walnut Bench Rectangular shape. Straight back and arms with molded cor- nice and frieze inlaid with colored woods in a design of geo- metrical interlacements. Both back and arms .are divided into molded panels surrounded by bands of inlay of a lozenged. pat- tern.' The seat is arranged as a box with a molded top hinged so as to serve as a lid. There is an inlaid apron, and the front, curving inwards, is paneled and inlaid. The fronts of the arms i are carved with winged women's busts and with bold volutings, and below are broken into pedestals with molded panels oc- cupied by carved scrolled oval escutcheons. On a high molded and inlaid platform base, with chamfered angles. Height, 3 feet 2 inches; length, 8 feet 9 inches. (Illustrated) No. 324. Sixteenth Century Sienese Inlaid Walnut Bench No. 325. Sixteenth Century Florentine Walnut Bench 326 — Fifteenth Century Florentine Inlaid Walnut Cabinet Oblong shape. Finished on all four sides and standing on a platform base with molded and carved sides. The two sides are respectively divided into ten panels, the ends into four, by molded stiles inlaid with designs of interlaced lines in light- colored woods. The panels are surrounded by bands of inlay in Greek fret and checker patternings and the upper panels at the extreme ends of the front are inlaid with floral scrollings and the arms of the De la Bella family. The top, with a molded cornice, is inlaid with the same coat-of-arms. Height, 3 feet 4^ inches; length, 8 feet 9 inches; depth, 3 feet 4 inches. {Illustrated) 327 — Sixteenth Century Italian Gilt Four-post Bed The lower portions of the four tapering turned posts are carved with winged Amorini dancing and playing, the upper portions enriched with spiral turnings. The high head-board is divided into four open panels by five pilasters against which stand angels playing musical instruments carved in high relief. Above is a frieze of carved shells separated by cherubim heads, and the whole is surmounted by a pierced and carved cresting of floral scrolls supporting an oval medallion carved with a subject of the Annunciation. The hangings are of contemporary wine-colored velvet bordered with gold braid and fringe. The coverlet is of old red silk damask. The woodwork is entirely gilt and has a fine patina. Height, 8 feet 6 inches; length, 7 feet; width, 6 feet 2% inches. From the Castle of the Duke Verzuolo, 328 Sixteenth Century Flokentine Chancel Stalls Rectangular shape. Divided into four divisions by five semi- detached Corinthian pilasters supporting on acanthus-leaf carved modillions an overhanging frieze and a molded and dentelled cornice. The spaces between the pilasters are treated as sunken panels surrounded by an egg and dart molding, the surfaces divided into smaller panels by reeded stiles ; the centers are surrounded by raised and carved moldings. Below, the paneled pedestals of the pilasters project, dividing the back of the seat into four spaces occupied with panels having raised moldings. The seat is arranged as four bases, each having a hinged lid with molded edge, and the seat itself is of sarcophagus form with incurving front and sides divided by fine fluted pilasters into four divisions occupied by oblong molded panels with lozenge-shaped centers, and the base is molded. On a molded platform sub-base. Height, 9 feet 10 inches; length, 14 feet 5 inches. 329 — Fifteenth Centuey Umbrian Walnut Library Bookcase Rectangular shape, in three horizontal divisions. The upper portion is fitted as a bookcase with six hinged four-panel doors with inlaid stiles enclosing wrought-iron grilles of a quatrefoil and lozenge design. The middle portion is fitted with four cup- boards and six drawers, having molded and paneled fronts to correspond, with inlaid stiles. The lower portion projects for- ward and is divided into cupboards with nine hinged double- paneled doors, the sunken panels surrounded by fine moldings and carved beaded fillets. The strap hinges are of wrought iron with incised ornamentation. On plain chamfered base. Height, 9y2 feet; length, 13 feet 10 inches; depth, 3 feet 1 inch. , (Illustrated) < o M o o m n Eh S " c3 I ^2; w ^ < ^ s o s ^ m ^ & » h ;« p o w W Eh ;<5 en d 'S C/3 eo ■^^ (M d ;z; W iz; I— 1 >* so 6 5?; § 340 — Sixteenth Century Tuscan Cahved Walnut Frame Tablet-shaped frame. The molded, carved and dentelled cor- nice, with shaped scrolled pediment carved w^ith birds and a grotesque mask, and a fluted and resetted frieze, is supported by two caryatides terminating in pointed-leaf shafts. Molded base, with carved and pierced apron of two dragons enclosing a scrolled cartouche. The oval oil-painting enclosed is of an Evangelist attended by an Angel. Height, 29% inches; width, 15 inches. {^Illustrated) 341 — Early Sixteenth Century Florentine Carved and Gilt Walnut Mirror Tablet-shaped. The molded and dentelled cornice, with a scrolled pediment surmounted by a bird with outspread wings, and plain frieze, is supported by two fluted and astragalled Doric columns with a pierced and carved scrolled apron of dragons enclosing a shaped cartouche. The mirror is rectangular, with molded frame. Completely gilt. Height, Sl^'o inches; width, 15% inches. {Illustrated) 342 — Seventeenth Century Augsburg Clock in Italian Case Rectangular shape. In case of ebonized and gilded wood, with molded cornice supported on spirally turned columns with molded base, the plinth fitted with a drawer, on four gilded cushion feet. At the sides are carved and gilded voluted brackets with festoons of flowers. The dial plate is of engraved and gilded brass, the dial ring silvered. There is a single hand and a bob-pendulum swinging in front of the dial. Engraved: "Georg Braun . Augusto." Height, 1 foot 5 inches; width, 1 foot S^^ inches. (^Illustrated) 343— Fifteenth Century Sienese "Mirror of the Soul" Octagonal frame, with pointed oblong hanging piece enclosing a circular tempera painting of "St. Catherine." The frame has an outer border of ebony and other woods in a geometrical inlay, and an inner broad band of ivory carved in low relief with figures of winged angels, of whom two in the upper portion hold shields painted with a monogram and a eoat-of-arms. The cir- cular painting is surrounded by an octagonal border of inlay. Height, 14<% inches; width, 9^ inches. Note: These "Mirrors of the Soul," containing paintings of Saints in place of a mirror, were presented to young maidens under the protection of the particular Saint depicted. Davanzati Palace: The Peacock Room — Fiest Floou 344 — Sixteenth Centuey Sienese Carved Walnut Bowl-holdek Tripod support to hold glass bowl formed of three nude boys seated on a triangular shelf with fluted legs and supporting the bowl with their heads. Their bodies terminate in carved and voluted supports connected below by a triangular shelf with aprons carved in scrolls. Height, 2 feet 10 inches. 345 — Fifteenth Century Itaijan Inlaid Walnut Small Chest Rectangular shape, with hinged lid and bracket feet. Entirely inlaid with ivory and colored woods in what is known as "certo- sino" work. The patterning is of geometrical designs, with lozenged and circular shaped medallions, the front with an oblong panel surrounded bj^ a wide border, the top with a square central panel inlaid as a chessboard and surrounded by circular medallions. Height, 14i inches; width, 34 inches; depth, 20% inches. 346 — Sixteenth Century Italian Walnut Prie-dieu Rectangular shape. The desk, with flat molded corniced top and paneled and carved frieze, is flanked by two caryatid female figures ending in scrolled cartouche and festooned drapery, and has a paneled and richly carved front. The kneeling plat- form is molded and the plinth is carved with acanthus-leaf scrollings. Height, 2 feet 9 inches; width, 2 feet 5^^ inches; depth, 2 feet 3^ inches. 347 — Sixteenth Century Italian Walnut "Savonarola" Chaik Curved sides and legs formed of nine square interlacing supports pivoted so as to fold. Straight and scrolled arms and base-rails and shaped back carved with foliage and an oval escutcheon occupied by the emblem of St. Francis of Assisi. 348^ — Sixteenth Century Italian Walnut "Savonarola" Chair Curved sides and legs of twelve square interlacing supports pivoted so as to fold, with straight arms carved with acanthus leaves and ending in rosetted knobs. The shaped back is carved with a coat-of-arms and the initials "H. A." The front supports and legs are carved with scrollings and the back rails end in lions' paws. 349 — Sixteenth Century Italian Walnut "Savonarola" Chair Similar to the preceding, but with initials "A. G." 850 — Sixteenth Century Italian Walnut "Savonarola" Chair Curved sides and legs of nine square interlacing supports piv- oted so as to fold, and with straight scrolled arms carved with rosettes. Shaped back. 351 — Sixteenth Centuky Italian Walnut "Savonarola" Chair Curved sides and legs formed of eight square interlacing sup- ports pivoted so as to fold. Straight scrolled arms and base- rails. Shaped back, richly carved with foliage and an oval coat-of-arms. 352 — Sixteenth Century Italian Walnut "Savonarola" Chair Curved sides and legs of light square interlacing supports pivoted so as to fold and with straight scrolled arms carved with rosettes. Shaped back. 353 — Sixteenth Century Italian Walnut "Savonarola" Chair Curved sides and legs of seven square interlacing supports piv- oted so as to fold. Straight arms and base-rails. 354 — Sixteenth Century Italian Walnut "Savonarola" Chair Similar to the preceding. ^355 — Sixteenth Centuky Italian Walnut "Savonarola" Chair Curved sides and legs formed of ten square interlacing supports pivoted so as to fold. The straight arms end in turned and carved balls and the shaped back is decorated with an incised shield and the initials "G. M." 356 — Sixteenth Century Italian Walnut "Savonarola" Chair Curved sides and arms formed of fourteen interlacing square supports pivoted so as to fold. Straight arms, with turned and carved ball ends. Shaped back, carved with the coat-of-arms of the Lomberti family. Straight base-rails, ending in lions' paws. 3.57 — Sixteenth Century Italian Walnut "Savonarola" Chair Similar to the preceding. 358 — Fifteenth Centuky Italian Walnut "Dante" Chair Curved arm supports and legs with carved rosette at the inter- section, acanthus-leaf carved and rosetted arms, the base-rails ending in lions' paws. Seat and back in old red velvet, the back embroidered in silver cord with a diapered pattern of curved lines. Red silk fringe and velvet-covered cushion. 359 — Fifteenth Century Italian Walnut "Dante" Chair Curved arm supports and legs with carved rosettes at the inter- section, acanthus leaf carved and rosetted arms, and base-rails ending in lions' paws. Seat and back in old red velvet with red silk fringe. Velvet-covered cushion. 360 — Sixteenth Century Italian Walnut "Savonarola" Chair Curved sides and legs of ten interlacing square supports pivoted so as to fold. Straight arms, carved with acanthus leaves and ending in carved rosetted knobs. The shaped back-rail is richly carved and molded with dolphin sides and a circular medallion with an oval coat-of-arms in the center. The front arm-supports and legs are carved with scrollings and profile masks and the base-rails end in lions' paws. 361 — Sixteenth Century Italian Beechwood "Savonarola" Chair Curved sides and legs formed of seven interlacing square sup- ports pivoted so as to fold. The straight arms have an incised decoration and end in turned and rosetted balls, and the front legs are similarly treated. Shaped back. o o f^ o o w 1^ o PS PS o o H o ^ o o Bh t> t) t< !? O w I— I (^^ r-l 6 to expose the interior fitted as a nest of fifteen drawers of various sizes and a central compartment the front of which is decorated in tooled, gilded and painted leather with a subject of the mar- riage by a vestmented bishop of a young man and woman in sixteenth century costume. This central panel is flanked by figures of Archangels and the fronts of the other drawers depict scenes in the life of the young couple, and symbolic subjects, all in tooled, gilded and painted leather. The knobs of the drawers are of leather, resetted and gilded. The inner surface of the front is decorated with two oval panels surrounded by arabesques and occupied by symbolic subjects of youthful lovers and their attendants in semi-classical costumes. The top of the stand is decorated to match the base of the coffer; the turned legs, of baluster design, are covered with leather tooled in an arabesque patterning, and the front, back and side rails are square. Height, 4 -feet 7 inches; length, 3 feet 8 inches; width, 1 foot 4 inches. 413 — Sixteenth Century Florentine Walnut Center Table, KNOWN AS the "VaSARI" TaBLE Oblong top of exceptional thickness, on four heavy square pillar legs with voluted consoles at the angles festooned with gar- lands of fruits and leaves. These consoles end in lions' paws which rest on shaped and molded bases. The plain shallow molded apron is supported by voluted modillion brackets pro- jecting on each side of the pillar legs. The side and end rails are square and uncarved. Height, 2 feet 7% inches; length, 4 feet 7 inches; width, 3 feet 2^ inches. (^Illustrated) Note: This table is of unusual interest, owing not only to the ad- mirable character of its design and its unusual state of preservation, but also to the fact that tradition assigns its designs to Giorgio Vasari, the sixteenth century historian and writer of the celebrated "Lives of the Painters." 1-1 o W Eh O H P !^; f-1 < 1— I H !?; H H O K !2i H W H X eo 1— I 6 5?5 *414 — FiTEENTH CeNTUEY FLORENTINE WaLNUT PedESTAL TaBLE Rectangular top, with apron divided into three molded and sunk panels of which the center one forms a drawer with a wooden knob. Supported on a square paneled and molded pedestal formed in two divisions and resting upon a large square molded base. The top is inlaid in light-colored woods in a bold geo- metrical design. Height, 3% inches; width, 46% inches; length, 46^/2 inches. Note: Upon this interesting table, which comes from the Palazzo of the Martelli family of Florence, the famous Donatello Bust, now in Philadelphia, stood for at least a generation. 1 415 — Fifteenth Centuky Genoese Walnut Side Table Oblong top, with apron carved on three sides with masks and scrolhngs, the front being divided into two drawers with knobs projecting from carved masks in the center. Separating the drawers, and at each corner, is an angel's head. Below the apron, at each of the front angles, is a turned pendant. The table is supported at either end by two turned columns of baluster design, and by a longitudinal arcade of three similar columns. These columns stand upon a longitudinal base whose sloping sides are carved with scrolls and masks; this base is upheld by two couchant lions. Height, 2 feet IIV2 inches; length, 4 feet 1^2 inches; width, 2 feet 6% inches. 416 — Sixteenth Century Italian Walnut Cradle Rectangular shape, on carved rockers. The sides and end have a molded cornice richly carved in a rosetted pattern and a molded base carved in an egg and dart design. Between these the sides and end are carved in a design of circular medallions enclosing carvings of the signs of the Zodiac, and the half- moon, coat-of-arms of the Strozzi family. The high head-board is of semicircular shape, carved with a shield of the Strozzi coat-of-arms and with a cross and a coronet. The shaped foot- board is carved with scrolls and the semicircular voluted rockers are carved with grotesque masks. Height, 3 feet; length, 3 feet 3 inches; width, 2 feet 1 inch. 417 — Sixteenth Centuey Florentine Waenut Cradle Rectangular shape. The molded edge is carved in an egg and dart pattern and is dentelled; the straight sides of the body are decorated with carved oval raised medallions with gilded floriated terminations. The incurved underbody is carved with bold gadroonings enclosing at the centers a carved acanthus leaf, and with carved acanthus leaves at the angles. The scrolled supports have carved fronts and the molded rockers are also carved. The head-board is square, paneled with a molded bor- der, and occupied with a rich carving of a scrolled escutcheon having the coat-of-arms of the Salviati family of Florence. Height, 3 feet 2^/^ inches; length, 4 feet; width, 2 feet. *'418 — Sixteenth Century Italian Walnut Hanging Hatrack Rectangular shape. Projecting canopy, with molded cornice, inlaid frieze and apron formed as a series of Gothic pointed and trefoiled arches with molded pendants, carved trefoil spandrels and supported at the side by two shaped carved and pierced brackets of a scrolled leaf design. The back, under the sloping roof of the canopy, is divided into six molded panels, the lower one being square and enclosing diagonal molded squares of inlay with carved Gothic leaves occupying the angles. Above is a row of six turned wooden hatpegs, and the molded base has a plinth with a long narrow molded and inlaid panel. Height, 3 feet Sy^^. inches; width, 4s feet 714 inches. {Illustrated) 419 — Fifteenth Century Italian Inlaid Walnut Writing Cabinet Rectangular shape, divided horizontally into two portions and completely inlaid with ivory in the so-called "Certosino" work. The fall front of the upper part, inlaid with circular medallions and borders of a geometrical patterning, gives access to the interior, divided into two compartments with hinged doors and two drawers. The lower part is divided into one long drawer with a single sunken panel and a cupboard with two hinged doors inlaid to correspond with the fall front. Height, 5 feet 2^ inches; width, 3 feet \y^ inches. 420 — Sixteenth Century Ligukian Walnut Cabinet Rectangular shape, divided horizontally into two parts. The upper part, with deep molded cornice, is arranged into two cup- boards with hinged raised panel doors decorated in painted chiaroscuro work, with shaped bronze keyhole escutcheons, and separated by three pilaster-like panels richly carved, in a design of scrolled strapwork and oval medallions. The lower portion, separated by a heavy molding, is arranged into two drawers above, their fronts carved to correspond with carved fronts and bronze swinging ring handles and two cupboards below with raised panel fronts. These and the drawers are separated by three pilaster-panels carved with scrolled strapwork and laurel- leaf pendants. Below is a plinth with paneled front, a molded base, and ball feet. Height, 5 feet 1 inches; width, 4 feet 2 inches; depth, 1 foot 10 inches. 421 — Fourteenth Gentuky Venetian Gothic Walnut Cke- DENCE Rectangular shape. Oblong cheist, standing upon four straight legs. The upper portion, with shallow rriolded cornice, is divided, as to the front, into four panels of which the two larger ones are the fronts of hinged doors. The divisions between these panels are molded and the panels themselves are occupied with elaborately carved flamboyant, or Late Gothic tracery, the stiles of the two center ones being inlaid. Below is a shaped apron, with a molded pendant in the center, formed of two oblong panels filled with Gothic tracery. The ends have large linen fold panels, the straight legs are square, as are the front and end rails. The lock fronts of the two doors are of iron wrought in an arcaded and floriated patterning. Height, 4 feet 5 inches; width, 4 feet 9 inches; depth, 1 foot 8 inches. a o w Pi o 13^ B O a w ■< M 6 CO 6 *433 — Sixteenth Century Florentine Carved Walnut Bench The rectangular back is surmounted by an elaborately carved pediment consisting of a central scrolled sphinx head from which festoons of drapery depend and are caught by two gro- tesque masks which form the carved sides. These are flanked by two festooned vases from which "flames" issue. The back of the seat is paneled, the center panel being occupied by a carved heavily scrolled rosette. The lyre-shaped pedestal arms are carved in the fronts with scrolls and oval cartouches bearing the arms of the Aritinori family. The seat is molded and fluted, and the portion which incurves to the molded base is carved with voluted ribbings meeting in a grotesque mask. The whole stands on a molded and fluted platform base. Height, 5 feet 5 mches; length, 9 feet 4% inches; depth, 2 feet 5% inches. - {Illustrated) K o H g H O !h Pi O H o M H eo 'ft o 434 — Fifteenth Century Florentine Inlaid Walnut Guard- house Bench Rectangular shape. The straight back is paneled and inlaid, as are also the inner surfaces of the straight pedestal arms. The fronts of these are formed as Ionic pilasters, with carved capi- tals and shafts inlaid with panels of interljacing design. The front of the seat is inlaid in panel form. On a molded platform base. Arranged so as to be converted into a bed for a soldier's use. Height, 3 feet 214 inches; length, 10 feet 1% inches; width, 2 feet 9% inches. (^Illustrated) 435 — Two Fifteenth Century Florentine Walnut Benches Rectangular shape. The friezes of the molded seats are inlaid in light-colored woods with a diapered design of interlacing crescents (the arms of the Strozzi family) . These seats are supported by three shaped and scrolled legs richly carved with animals, foliage and the three Strozzi crescents, and terminate in lions' paw feet. Height, each, 1 foot 11% inches; lengths, 10 feet 9 inches and 9 feet 3 inches; width, each, 1 foot 5^/2 inches. (Illustrated) Note: These benches were designed by Benedetto da Maiano, the archi- tect of the famous Strozzi family in Florence. 436 — Fifteenth Century Florentine Walnut Large Cabinet Rectangular shape, with molded cornice, deep frieze and splayed angles. The front is divided by pilaster-like molded panels into three hinged doors with paneled fronts inlaid with lighter-col- ored woods in geometrical patternings. The splayed angles are also inlaid. Molded base. Height, 3 feet 3% inches; length, 11 feet 2% inches; depth, 2 feet 6^4: inches. 4i37 — Fifteenth Century Italian Walnut Large Throne Rectangular shape. The high back, with molded cornice en- riched with small dentels and egg and tongue and bead and reel carvings, with a deep frieze inlaid with an elaborate pattern of bold scrollings, is supported by four composite Corinthian pilasters with richly carved capitals, paneled shafts and molded bases. These divide the back into three oblong molded panels, which are repeated below at the back of the seat proper. The paneled straight arms are capped with carved and molded tops, and their fronts are paneled, as is also the seat front. There is a molded base with a plinth, and the whole stands upon a molded platform base. Height, 9 feet 2^4 inches; width, 9 feet 5% inches; depth, 2 feet 9 inches. (Illustrated) o K o H & El o s J> CO 6 * 438 — Fifteenth Century Florentine Carved and Gilded Cas- SONE, OR Marriage Coffer Oblong shape. The hinged hd, with flat top and sloping sides, shows traces of having been painted in tempera in a scrolled patterning in various colors. The front is decorated with raised figures of "pastille" composition on a gilded ground, diapered with incised circles and dotted scrolls, and with leaves and flowers in low relief. In the center four female figures in classic robes represent Temperance, Strength, Justice and Prudence, each holding her respective symbols. These are flanked by candela- bra on square molded pedestals and by shields painted, in tem- pera, with armorial bearings of a rampant lion and six eagles "displayed." On the left are two centaurs fighting with clubs, and on the left the centaur Nessus carrying off Dejanira. The cassone stands on four shaped and bracketed front feet with Medusa heads and scrollings in high relief and gilded, and the ends are decorated with medallions enclosed within circular floral garlands painted in tempera. Height, 2 feet 9 inches; length, 5 feet 10 inches; width, 2 feet 3 inches. (Illustrated) o o H o «• M Pi n FOURTH AFTERNOON'S SALE FRIDAY, NOVEMBER 24, 1916 AT THE AMERICAN ART GALLERIES BEGINNING AT 2.30 o'CLOCK Catalogue Nos. 455 to 609, inclusive FURNITURE OF THE FIFTEENTH, SIXTEENTH, SEVENTEENTH AND EIGHTEENTH CENTURIES 455 — Eighteenth Century Italian Salt Box Circular form, decorated with a "chip-carved" pattern and with a square hanger. Height, 5% inches. 456^ — Eighteenth Century Italian Walnut Salt Box Square box, with rising pointed hanger carved with a rosette of whorls. The front of the box is carved with a leaf rosette and the sloping lid is hinged with loops of cord. Height, 8% inches. 457 — Eighteenth Century Bolognese Walnut Salt Box Square box, with sloping hinged lid, shaped, pierced arid carved rising hanger above drawer beneath and molded base. The box and drawer front are decorated with raised shaped panels and with the incised date "1761." Height, 12^ inches. 458 — Sixteenth Century Italian Walnut Kitchen Mill Turned body, of squat baluster design, on a square base, with drawer on one side. Iron grinding crank, with turned wooden handle. Height, 13 inches. 459 — Sixteenth Century Italian Carved Walnut Bellows Circular body, with handles carved with acanthus leaves and fluted baluster-shaped nozzle ending in an iron pipe. The body is carved with a wreath of laurel leaves enclosing a circular scrolled cartouche with a beaded edge. The sides are of leathern folds. Length, 2114 inches. 460 — Sixteenth Centuky Italian Walnut Pestle and Mortak ^ Mortar formed as a molded and fluted column on a spreading fluted base, with a scrolled double-loop handle at one side. The pestle is of cylindrical shape, with ball-shaped handle. Height, 2914 inches. 461 — Seventeenth Century Italian Walnut Book Rest Tablet-shaped, with broken pedimented top enclosing a carved coat-of-arms and supported by voluted shaped pilasters. Carved and voluted book-ledge and folding support. Height, 9% inches; length, IOI/2 inches. 462 — Seventeenth Century Italian Wooden Hatrack Lozenge-shaped back, with semicircular hat-holder. Fronts carved with rosettes, stars and the initials "F. B." Traces of gilding. Height, I4I/2 inches. 463 — Seventeenth Century Italian Hanging Hatrack Lozenge-shaped back, with semicircular projecting hat-holder. Fronts carved with a vase of conventional scrolled flowers, the name "Filippo Berari" and the date " (16) 78." Height, 15% inches. 464 — Sixteenth Century Italian Walnut Paper Press Molded and fluted base, with two perpendicular screws at either side. On these revolve the carved wooden S -shaped plates by which pressure was applied. The upper surface of the stand is decorated with an incised medallion. Height, 141/4 inches. 465 — Fifteenth Century Umbrian Wood Casket Rectangular shape, with incurved domed and molded lid, below which is a modillioned course. Decorated in "graffito" work, on a dotted ground, with a design of Gothic floral scroUings and gilded over a red ground. Height, 1 inches; length, 22^2 inches. 466 — Fourteenth Century Umbrian Wooden Coffer Oblong shape, with hinged, gabled lid. The sides, ends and lid are decorated with vertical rows of shield-shaped depressions painted with various coats-of-arnis, among which the Lilies of France and Lion of England frequently recur. These rows are separated by half-round ribbings of wrought iron. Height, 6% inches; length, 20% inches; width, 6 inches. 467 — Seventeenth Century Italian Walnut Small Book Rest Rectangular frame, formed of turned spindles, with adjustable leg and back and turned book supports. Height, 8 inches; length, 12 inches. 468 — Seventeenth Century Italian Walnut Small Book Rest Desk-shaped, with incised ornamentation of lozenge-shaped medallions and interlacements. The sides have molded panels and the front forms a shaped projecting ledge. On molded base. Moldings and incised lines gilded. Height, 61/4 inches; length, 17 inches; width, 9 inches. 469 — Eighteenth Century Italian Walnut Work Table Oblong top, with plain molded apron and four spirally turned legs with turned bell-shaped feet, turned side rails and spirally turned longitudinal stretchers with turned finials. Height, 231/2 inches; length, 32% inches; width, 221/4 inches. 470 — Sixteenth Century Tuscan Walnut Hanging Hatrack Rectangular table shaped. Molded carved and dentelled cor- nice, with a deep frieze, forming the hatrack, divided into six molded panels occupied by carved quatrefoiled leaf ornamenta- tions with turned hat-pegs projecting from the centers. Molded and carved base and carved mask shaped side-brackets. Height, 10')4 inches; length, 3 ■feet 7 inches. 471 — Fourteenth Century Italian Casket Rectangular shape, with domed hinged lid. Decorated in "pastiglia" or gesso-like composition with raised designs, the lid with two ladies in a walled garden and a knight on horseback, the front with a man and woman embracing, and a standing figure of a man, the sides and back with heraldic birds. All on grounds of a dotted pattern, gilded and colored. Loop handle, hasp, back plate and angle pieces of wrought iron. Height, 6^ inches; length, IOI4 inches. Note: Such caskets as these, containing jewelry or other valuables, were presented to brides. 472 — Sixteenth Century Italian Casket Rectangular shaped, with domed hinged lid. Covered with brown morocco leather, tooled and gilded in a design of panels occupied with cornucopise and arabesque scroUings, one seme with large fleurs-de-lis. In front of the lid is a shield with a coat- of-arms. Wrought-iron hasp. Height, 7^/^ inches; length, I214 Inches. 473 — Sixteenth Century Italian Walnut Hatrack Back boldly carved in the form of a gadrooned vase surmounted by scrollings and with a turned knob forming the hatholder. Height, 20% inches. 4i74i — Seventeenth Century Italian Walnut Silk Winder Of spinning-wheel type, with turned wheel between two cylindrical supports and hook-shaped winding device. On cir- cular stand with three turned spreading legs and treadle. Height, 3 feet, 2% inches. (Illustrated) 475— Seventeenth Century Italian Walnut Silk Winder Pivoted adjustable winding reel on turned baluster-shaped stem, with three turned legs on turned and finialed "bell" feet. Height, 3 feet ll^/^ inches. (Illustrated) 476 — Seventeenth Century Italian Walnut Spinning Wheel Spinning wheel with all attachments, including the long pointed distaff with pierced pear-shaped distaff and small drawer. On four slender spreading turned legs and four turned feet, with spindled gallery above and spindled foot-rest. Height, 2 feet 2% inches. (Illustrated) Note: This spinning' wheel is interesting owing to its absolutely per- fect state of preservation as well as its exceptional patina. 474 476 475 No. 474. Seventeenth Century Italian Walnut Silk Winder No. 475. Seventeenth Century Italian Walnut Silk Winder No. 476. Seventeenth Century Italian Walnut Spinning Wheel 477 478 477 — Seventeenth Century Italian Beechwood Rush-bottomed Chair Square backs, with square side supports, shaped back-rail carved with rosette, horizontal splat with turned spindles, straight legs and rush-bottomed seat. 478 — Seventeenth Century Italian Beechwood Rush-bottomed Chair Square back, with square side supports, shaped back-rail carved with rosette, horizontal splat with turned spindles, straight legs and rush-bottomed seat. 479 — Seventeenth Century Italian Beechwood Rush-bottomed Chair Square back, with square side-supports, shaped back-rail carved with rosette, horizontal splat with turned spindles, straight legs with square front rails and rush seat. 480 — Two Seventeenth Century Italian Beechwood Rush- bottomed Chairs Square backs, with square side supports, shaped back-rail and horizontal splats with turned spindles, straight legs and rush- bottomed seats. 481 — Two Seventeenth Century Italian Beechwood Rush- bottomed Chairs Square backs, with square side supports, shaped back-rail and horizontal splats with turned spindles, straight legs and rush- bottomed seats. 482 — Seventeenth Century Italian Beechwood Rush-bottomed Chair Square back, with square side supports, shaped back-rail and horizontal splat with turned spindles, straight legs and rush- bottomed seat. 483 — Fifteenth Century Italian Walnut "Tyrolean" Chair Shaped and pierced back, decorated with shallow carvings of a geometrical design and with incised circles The seat is deco- rated in a similar manner, its front edge being carved in a chip- carving pattern, as are also the straight, spreading square legs and the square front rail. 484 — Early Sixteenth Century Tuscan Walnut Chair Sgabello character. Fan-shaped back, divided vertically into two molded panels, with shaped, carved and scrolled head-rail. The front lyre-shaped leg is carved with acanthus-leaf scrollings closing a carved rosette. 485 — Fifteenth Centuhy Tuscan Walnut Chair Sgabello character. Fan-shaped back, divided vertically into two molded panels and with a projecting shaped head-rail carved with rosettes and the coat-of-arms of the Delia Bella family. The octagonal seat has a square box support with paneled sides, and the front lyre-shaped leg is carved with volutes and acan- thus leaves. On a molded base and bracket feet. 486 — Sixteenth Century Bolognese Walnut Child's Chair Straight back in two divisions, with carved finials, straight arms and straight square legs, the front ones connected by a carved footboard. 487 — Two Sixteenth Centuky Umbrian Walnut Armchairs Straight backs, with square side supports ending in turned finials and with plain horizontal splats supporting, by arcades of four turned spindles, shaped top rails carved with the coat-of-arms of the Vitelli di Citta di Castello family surmounted by a bishop's hat. The straight arms are supported on turned columns, the straight legs are square, the broad front rails are pierced in a geometrical design and the side and back rails are square. Re- markable patina due to age. 488 — Two Sixteenth Century Umbrian Walnut Armchairs Similar to the preceding. 489 — Two Sixteenth Century Umbrian Walnut Armchairs Straight backs, with square side supports ending in turned finials and with plain horizontal splats supporting, by arcades of four turned spindles, shaped top-rails carved with the coat-of-arms of the Vitelli di Citta di Castello family, surmounted by a bishop's hat. The straight arms are supported on turned col- umns, the straight legs are square, the broad front-rails are pierced in a geometrical design and the side and back rails are square. Remarkable patina due to age. 490 — Two Sixteenth Century Umbrian Walnut Armchairs Similar to the preceding. 491 — Two Sixteenth Century Umbrian Walnut Armchairs Straight backs, with square side supports ending in turned finials and with plain horizontal splats supporting, by an arcade of four turned spindles, shaped top rails carved with the coat-of- arms of the Vitelli di Citta di Castello family, surmounted by a bishop's hat. The straight arms are supported on turned col- umns, the straight legs are square, the broad front-rails are pierced by a geometrical design and the side and back rails are square. Remarkable patina due to age. 492 — Two Sixteenth Century Umbrian Walnut Armchairs Similar to the preceding. 493 — Two Sixteenth Century Umbrian Walnut Armchairs Straight backs, with square side supports ending in turned finials and with plain horizontal splats supporting, by arcades of four turned spindles, shaped top-rails carved with the coat- of-arms of the Vitelli di Citta di Castello family, surmounted by a bishop's hat. The straight arms are supported on turned columns, the straight legs are square, the broad front-rails are pierced in a geometrical design and the side and back rails are square. Remarkable patina due to age. 494 — Two Sixteenth Century Umbrian Walnut Armchairs Similar to the preceding. 495 — Two Sixteenth Century Umbrian Walnut Armchairs Straight backs, with square side supports, ending in turned finials and with plain horizontal splats supporting, by arcades of four turned spindles, shaped top rails carved with the coat-of- arms of the Vitelli di Citta di Castello family, surmounted by a bishop's hat. The straight arms are supported on turned columns, the straight legs are square, the broad front rails are pierced in a geometrical design and the side and back rails are square. Remarkable patina due to age. 496 — Sixteenth Century Italian Walnut "Savonarola" Chair Curved sides and legs formed of eight square interlacing sup- ports pivoted so as to fold. Straight carved arms terminating in carved rosetted scrolls; shaped back, with incised shield in center and straight base-rails. 497 — Sixteenth Century Italian Walnut "Savonarola" Chair Similar to the preceding. 498 — Sixteenth Century Italian Walnut "Savonarola" Chair Curved sides and legs of eight interlacing square supports piv- oted so as to fold. Straight scrolled arms, with carved rosettes. Shaped back, with incised shield. 499 — Sixteenth Century Italian Walnut Chair Straight back, divided into four raised panels by molded stiles. Turned legs and front rail, with molded side rails and stretched wooden seat with molded edge. 500 — Fifteenth Century Italian Walnut Enclosed Chair Closed on three sides by the back and arms, the former decorated with lozenge-shaped rosetted panels, the latter scrolled. The seat is formed as a paneled box. 501 — Sixteenth Century Italian Walnut Small "Savonarola" Chair Curved sides and legs formed of eight interlacing square sup- ports pivoted so as to fold. Straight arms, scrolled and rosetted and shaped back with an incised shield in the center. Note: Chairs of this size are rarely met with. 502 — Sixteenth Century Italian Walnut "Savonarola" Chair Curved sides and legs formed of eight square interlacing sup- ports pivoted so as to fold. Straight scrolled arms, shaped back and straight base-rails. 503 — Sixteenth Century Italian Walnut "Savonarola" Chair Curved sides and legs formed of nine square interlacing sup- ports pivoted so as to fold. Straight arms, with bell-shaped ends, shaped backs and straight base-rails. 504 — Sixteenth Century Italian Walnut "Savonarola" Chair Curved sides and legs formed of seven square interlacing sup- ports pivoted so as to fold. Straight scrolled arms cai'ved with rosettes, shaped back with incised shield in center, and straight base-rails. 505 — Sixteenth Century Italian Walnut "Savonarola" Chair Curved sides and legs formed of eight square interlacing sup- ports pivoted so as to fold. Straight arms with scribed lines; shaped back, decorated with dotted ground and straight base- rails. 506 — Sixteenth Century Italian Walnut "Savonarola" Chair Curved sides and legs formed of eight square interlacing sup- ports pivoted so as to fold. Straight arms, with scrolled ends carved with rosettes, shaped backs and straight base-rails. 507 — Sixteenth Century Italian Walnut "Savonarola" Chair Curved sides and legs of nine square interlacing supports pivoted so as to fold. Straight scrolled arms carved with rosettes; shaped back, with incised shield in center and straight- base-rails. 508 — Sixteenth Century Italian Iron and Brass Fald-stool Wrought-iron feet, with rounded corners. Two arms of bronze, formed of turned baluster-shaped uprights terminating in large balls and connected by two turned bronze cross-pieces. Curved seat, with old red velvet cushion and silk fringe. Around the ball finials is engraved: "Celsus Americus Turcus. A Senis Romanus Abbaa 1601+D". 509 — Sixteenth Century Italian Walnut Pkie-dieu Chair Back with carved side supports and sloping top-rail serves as a prie-dieu. The shaped legs are crossed and connected by turned rails. The seat is of old red velvet. 510 — Two Seventeenth Century Italian Walnut Aemchairs High square back, with carved and gilded acanthus-leaf finials. Straight molded arms on square supports, square legs and square side-rails. Covered with old leather secured with large brass-headed nails. 511 — Two Sixteenth Century Italian Walnut Leather- covered Chairs - High square backs, with square side supports and carved and gilded acanthus-leaf finials. Square legs, with shaped and pierced bracket seat supports and square side-rail. Seats and backs covered with old leather, with a gilt-tooled border around the backs. Fastened with contemporary large brass-headed nails. 512 — Two Sixteenth Century Italian Walnut Leather- covered Chairs Similar to the preceding. ^ . " 513 — Seventeenth Century Italian Walnut Large Armchair High straight back, with large pierced and gilded scrolled finials. Carved, molded and scrolled arms on turned baluster- shaped supports. Turned front and legs and base-rails ending in lions' paws. The seat and back are covered with red old velvet with wide border of woven and gold braid. There is a deep skirting around the seat of red velvet edged with gold braid. Height, -1 feet 11 inches; width, 2 feet 5^/2 inches. Note: This chair has an extra tooled leather cover of the epoch. 514 — Seventeenth Century Italian Walnut Large Armchair Similar to the preceding. Note: This chair has an extra tooled leather cover of the epoch. 515 — Seventeenth Century Italian Walnut Large Armchair High straight back, with large pierced and gilded scrolled finials. Carved, molded and scrolled arms on turned baluster shaped supports. Turned front and legs and base-rails ending in lions' paws. The seat and back are covered with red old velvet with wide borders of woven gold braid. There is a deep skirting around the seat of red velvet edged with gold braid. Height, 4 feet 11^"^ indies; width, 2 feet 5% inches. Note: This chair has an extra tooled leather cover of the epoch. 516 — Seventeenth Century Italian Walnut Large Armchair Similar to the preceding. Note: This chair has an extra tooled leather cover of the epoch. 517- — Seaoenteenth Century Italian Walnut Large Armchair High straight back, with large pierced and gilded scrolled finials. Carved, molded and scrolled arms on turned baluster- shaped supports. Turned front and legs and base-rails ending in lions' paws. The seat and back are covered with red old velvet with wide borders of woven gold braid. There is a deep skirting around the seat of red velvet edged with gold braid. Height, 4 feet 11% inches; width, 2 feet 5% inches. Note: This chair has an extra leather cover of the epoch. 518 — Seventeenth Century Italian Walnut Large Armchair Similar to the preceding. Note: This chair has an extra leather cover of the epoch. 519 — Seventeenth Century Italian Walnut Large Armchair High straight back, with large pierced and gilded scrolled finials. Carved, molded and scrolled arms on turned baluster-shaped supports. Turned front and legs, and base-rails ending in lions' paws. The seat and back are covered with red old velvet with wide borders of woven gold braid. There is a deep skirting around the seat of red velvet edged with gold braid. Height, 4 feet 11% inches; width, 2 feet 5% inches. Note: This chair has an extra leather cover of the epoch. 520 — Seventeenth Century Italian Walnut Large Armchair Similar to the preceding. Note: This chair has an extra leather cover of the epoch. 521 — Seventeenth Century Italian Walnut Large Armchair High straight back, with large pierced and gilded scrolled finials. Carved, molded and scrolled arms on turned baluster-shaped supports. Turned front and legs, and base-rails ending in lions' paws. The seat and back are covered with red old velvet, with wide borders of woven gold braid. There is a deep skirting around the seat of red velvet edged with gold braid. Height, 4 feet 11% inches; width, 2 feet 5% inches. Note: This chair has an extra leather cover of the epoch. 522 — Seventeenth Century Italian Walnut Large Armchair Similar to the preceding. Note: This chair has an extra leather cover of the epoch. 523 — Two Fifteenth Century Florentine Walnut Stools Of Sgabello form. The supports are carved and pierced in a design of bold scroUings enclosing two rampant lions which hold between them floral rosettes surmounted by birds; below are crests of a star resting upon a heraldic mountain. The feet are formed as lions' paws. The square seats, with circular de- pressions and pierced hand-holds for carrying, are supported on paneled plinths. 524 — Two Sixteenth Century Italian Walnut Leather- covered Armchairs High square backs, with small carved gilt finials. Straight chamfered arms on square supports, straight square legs and square side-rails. Covered in old leather, the backs tooled and gilded in a design of a central quatrefoiled medallion with smaller leaf-shaped medallions in the angles. Secured with large brass-headed nails and finished with a deep knotted fringe of red silk. 525 — Two Seventeenth Century Italian Walnut Akmchairs High straight backs, with carved acanthus-leaf finials, the head- rails carved with flowers and leaves and a coat-of-arms in the center, carved and pierced horizontal splats, straight molded arms on square supports, straight square legs, broad carved front-rails and shaped side-rails. Square wooden seats. The carving is picked out with gilding. 526 — Fifteenth Century Italian Walnut Small Chair Upper part of "Dante" chair type. The shaped wooden back carved with voluted scrolls, the arms shaped and the square arm supports carved. The seat is formed as a square box, with paneled fronts and sides on shaped bracket feet. 527 — Sixteenth Century Italian Apothecary^s Scales Walnut stepped base in three divisions, with moldings above and below, and standing on four lions' paw feet. The scales are hung on a turned and floriated standard with a finial of scrolled ironwork, and consist of circular brass pans resting on project- ing circular-topped brackets. Height, 2 feet 4% inches. 528 — Sixteenth Century Italian Walnut Pedestal Rectangular shape, with molded and carved cornice and base. The front is decorated with a lozenge-shaped patterning inlaid with lighter-colored woods. Height, 3 feet 8 inches; length, 2 feet 5 inches. 529 — Sixteenth Centuey Italian Walnut Wall Cabinet Rectangular form, with molded and dentelled cornice and molded base. The two hinged doors are glazed, the frames being decorated, in "pastille" composition, with a painted pat- terning of interlaced scroUings in relief. 530 — Sixteenth Century Italian Walnut Wall Cabinet Similar to the preceding. 531 — Seventeenth Century Italian Walnut Linen Press Formed of two square upright supports decorated with flutings with ebony inlays, applied ebony spindles, and ending in turned finials. These support an inlaid crossbar strengthened with a brass plate through which the wooden screw descends to a molded base, fitted with a drawer having a wooden knob. Height, 2 feet 9 inches; width, 22 inches; depth, 19 inches. 532 — Fifteenth Century Italian Walnut Coffer anb Stand Rectangular coffer. The interior of the hinged, molded and overlapping lid is inlaid with geometrical designs. The front of the coffer is bordered with bands of incised lines, and pro- jecting diagonally from the corners of the wrought-iron lock are pierced and chased medallions of wrought iron sunk into the wood. The wrought-iron hasp is enriched with a chased pattern- ing and at each end are swinging wrought-iron carrying handles. The stand has four straight square legs, a shaped apron and a square front rail. Height, 3 feet 21^ inches; width, 2 feet TVs inches; depth, 1 foot 5*34 inches. 533 — Sixteenth Century Venetian Walnut Center Table Square, plain, heavy top with paneled apron, fitted in front with a single large drawer with two wooden knobs. Supported in the middle by a turned baluster-shaped pedestal to which con- verge from the angles four heavy shaped and voluted carved brackets supported on crouching lion-like animals on molded bases. Height, 2 feet 8% inches; length, 3 feet; width, 2 feet IOI/2 inches. 534 — Sixteenth Centuky Umbrian Wai^nut Center Table Oblong molded and dentelled top, with a deep apron carved in a bold rosetted pattern and divided, in front, into two drawers with fronts carved to correspond; wooden knobs. Lyre-shaped legs carved on the fronts, with large rosettes and shaped carved and keyed longitudinal brace. On shaped and carved rails end- ing in lions' paws. Height, 32^'^ inches; length, 87 inches; width, 28 inches. 535 — Eakly Sixteenth Century Umbeian Walnut Center Table Heavy octagonal top on square molded frame, with rounded corners, the apron of which is decorated with raised panels and fitted on one side with drawer having paneled front and wooden knob. Four turned baluster-shaped columns serve as legs and in the center is a pedestal turned to correspond. On square block feet and square molded cross stretcher. Height, 2 feet 7 inches; diameter, 4 feet 1 inch. 536 — Sixteenth Century Florentine Walnut Center Table Octagonal molded top, with heavily molded apron, fitted with drawers with wooden knobs. This is supported on four voluted bracket legs meeting in the center, with a square molded pen- dant, and ending in lions' legs and paws. On an octagonal molded base. Height, 3 feet; diameter, 4 feet 4^ inches. 537 — Early Sixteenth Century Tuscan Walnut Table Square top, with plain apron; on square pedestal with shaped brackets carved in low relief with an imbricated pattern en- closing circular medallions. The projecting base-rails are shaped and carved in a similar manner, while the pedestal is fitted with two deep drawers having paneled fronts and wooden knobs. Height, 2 feet 8% inches; length, 3 feet 8% inches; width, 3 feet 6 inches. 538 — Fifteenth Century Florentine Walnut Cabinet Table Rectangular shape. Oblong top, with surface inlaid with mono- gram and lozenges, the molded apron being fitted on one side with two drawers having turned wood knobs. The pedestal is formed as a rectangular cabinet, with two hinged doors having molded and lozenge-shaped raised panels divided by molded and raised panel of pilaster form. Molded base on projecting shaped base-rails terminating as lions' paws. Height, 2 feet 9% inches; length, 5 feet 3% inches; depth, 3 feet 414 inches. 539 — Sixteenth Century Florentine Walnut Pedestal Table Duodecagonal heavily molded top, on heavy vase-shaped turned pedestal, square molded base with incurved sides and carved lions' paw feet. Height, 2 feet 7^2 inches; diameter, 4 feet 11 inches. 540 — Fifteenth Centuky Venetian Walnut Table Oblong top, with molded and fluted edge and deep bowed and carved apron. The table stands on two lyre-shaped and scrolled supports, with scrolled and voluted base-rails, while there is a shaped longitudinal brace directly beneath the apron. Height, 2 feet 8I4 inches; length, 4 feet 7y2 inches; width, 3 feet. 541 — Sixteenth Centuky Italian Inlaid Wooden Settle Rectangular shape. Back divided into three raised panels with a dentelled top molding. The seat formed as a box with hinged lid. Shaped arms and aprons and straight sloping legs. Height, 3 feet 8^4 inches; length, 4 feet l^^ inch. 542 — Sixteenth Centuky Italian Inlaid Wooden Settle Similar to the preceding. 543^— Fim^EENTH Century Umbrian Walnut Table X3f primitive character. Oblong plain top, with deep apron carved in a pattern of Gothic geometrical interlacements. The plain straight square legs rest on shaped base-rails of scrolled outline and are connected by a square keyed longitudinal brace. Height, 2 feet 7 inches; length, 4 feet ^ inch; width, 3 feet 4^^ inches. 544 — Late Sixteenth Century Florentine Walnut Cabinet Rectangular shape. The carved and molded cornice and frieze are supported by three modillioned and carved pilasters which divide the front into two hinged and paneled doors with bronze handles. In the frieze above is a long drawer, also with bronze handle. The molded and carved base is supported on four lions' paws. Height, 3 feet 3 inches; length, 4 feet; width, 1 foot 914 inches. 545 — Sixteenth Century Flokentine Walnut Cabinet Rectangular shape. Oblong molded cornice top and frieze decorated with shaped panels of inlay separated by square dies. Below, the front is divided by three fluted and astragalled Ionic pilasters, and between them two hinged and paneled doors with turned center knobs. The plinth below is inlaid in a geometrical patterning with colored woods, and the base is molded. The ends are paneled and flanked by pilasters which correspond to those in front. Height, 3 feet 31/2 inches; width, 5 feet 9 inches; depth, 3 feet. 546 — Sixteenth Century Florentine Writing Cabinet Rectangular shape. The oblong top is molded and the frieze is divided by pilasters into eight panels carved with rosettes having projecting knobs in their centers, and is arranged as two large drawers with looped drop handles of bronze. The under part is flanked by two carved bracket supports with fronts carved in an imbricated pattern, and is divided into four molded panels, those in the center forming hinged cupboard doors. The base is molded. Height, 2 feet 7% inches; depth, 5 feet 1 inch; width, 2 feet 1^ inches. 547 — Sixteenth Centuky Bolognese Walnut Cabinet Rectangular shape, with plain oblong top and frieze divided by three pairs of projecting dies into two drawers with raised pan- eled fronts and wooden knobs. The body is divided by three sets of twin Doric pilasters into two cupboards, having hinged doors with shaped and raised panels. The pilasters rest upon projecting shaped twin brackets, and these, in their turn, upon squat turned legs of baluster shape with square molded bases. There are turned legs to correspond at the back. Height, 3 feet 7^/^ inches; width, 5 feet 6 inches; depth, 2 feet 1 inch. 548 — Sixteenth Century Florentine Walnut Cabinet Rectangular shape. Oblong top, with molded and dentelled cornice, below which is an apron divided in two panels by three pilaster-like brackets, their fronts carved with oval depressions. Below, the body is flanked by two fluted and astragalled Ionic pilasters, and arranged as a cupboard, with two hinged paneled doors, carved in with elaborate circular acanthus-leaf rosettes in the center of which are wooden knobs. The base is molded. Height, 3 feet 7 inches; length, 4 feet 2 inches; depth, 2 feet 1 inch. YTtm 549 — Sixteenth Centuey Tuscan Walnut Bench Rectangular shape. The straight square back has a molded cornice and frieze supported by a row of nine turned baluster- shaped columns on high cylindrical pedestals, the seat has a molded edge and the two fluted side supports are of bracket shape with lions' paw feet on molded base rails. Height, 3 feet 11^2 inches; length, 4 feet 1% inches. 550 — Seventeenth Centuey Italian Walnut Madia Rectangular shape, with hinged molded top. The upper part is formed as a long shallow bread-box, while below are three drawers with wooden knobs, and a cupboard with two hinged doors with wooden knobs and pivoted catches. The fronts of the bread-box, the drawers and the hinged doors have molded panels and the latter are separated by three panels molded to correspond. On two shaped bracket ends with square base rails. Height, 4 feet 1 inch; width, 5 feet 3% inches; depth, 1 foot 7^2 inches. 551 — Fifteenth Century Florentine Walnut Enclosed Chair Enclosed on three sides by paneled back and side, with molded cornice forming an octagon. The seat is arranged as a cupboard, with a hinged panel projecting door. Molded base. 552 — Sixteenth Century Tuscan Walnut Cabinet Rectangular shape, divided horizontally into two portions. The upper portion is arranged as two shelves, molded fronts carved with flutings, shaped molded side brackets and molded cornice. Below are two drawers with paneled fronts and wooden knobs separated by three shaped modillions, and a cupboard with two hinged paneled doors with wooden knobs. On a plain molded base. Height, 6 feet 6 inches; width, 3 feet 10 inches; depth, 1 foot 10 inches. 553 — Seventeenth Century Bolognese Walnut Bread Box and Stand "Madia," or bread-box, of rectangular shape. Formed as an oblong chest with hinged molded and domed lid, supported on a stand of four straight wide legs. The lid and sides are deco- rated with shaped and raised panels and a studding of round- headed brass nails. Height, 4 feet 3 inches; length, 6 feet 4s inches; depth, 2 feet 6I4 inches. 554 — Sixteenth Centuky Italian Walnut Small Bed Four turned and carved posts, those at the head rising and hav- ing between them a shaped headboard. Carved in a honeysuckle and scrolled design enclosing an oval cartouche carved vs^ith a coat-of-arms. The end and sides are enclosed with arcadings of turned baluster-shaped spindles supporting molded rails, and with shaped aprons carved in a honeysuckle and scroll design; the legs are turned and carved with square block feet. Excep- tional patina. Height, 2 feet 8 inches; length, 4 feet 2 inches; width, 2 feet 8^ inches. 555 — FirxEENTH Century Bolognese Walnut Table Oblong top, with plain edge, and apron fitted with drawers having paneled fronts and wooden knobs. On six straight square legs, with shaped brackets supporting the apron, and molded feet. Square side and end rails. Height, 3 feet; length, 10 feet 6 inches; width, 2 feet 8 inches. (^Illustrated) 556 — Fifteenth Century Bolognese Walnut Table Oblong plain top, with molded apron fitted with four drawers with paneled fronts and wooden knobs. On four straight square legs, with scroll-shaped brackets above, and shaped molded brackets finished with turned finials beneath. Deep molded side and end rails. Height, 3 feet; length, 10 feet 6 inches; width, 2 feet 8 inches. {Illustrated) 557 — Seventeenth Century Umbrian Walnut Table Oblong top, with molded and carved edge, and molded apron. On two lyre-shaped legs, with carved volutings, shaped and scrolled longitudinal bases, and shaped and molded brackets. Height, 2 feet 8 inches; length, 13 feet 6 inches; width, 3 feet 3 inches. H w 1-1 ij m H < <; H h H H & P •^ ;2i I-) 1^ << < ^ ^ W H en i» H w "^ » a o O o >:! Hi O o W m >^ !« P« pj P d Eh H !21 ^ H w O u K w H H ;? !Zi H W H H H H P4 ^ Pm £ »c5 ^ »o »o >o »o 6 d ^ :2; INLAID AND PAINTED MUSICAL INSTRUMENTS OF THE XVIth CENTURY Three lutes, mandolas and bassi a corde which once hung upon the walls of Davanzati Palace remind us that, in the days when they were made, Italy, save for the folk-songs and the peasant melodies, com- prehended very nearly all that there was of music in Europe It was for this reason that the lute, the spinet, the harpsichord and even, in later days, the piano, were all Italian in their origin. Yet there is another quality possessed by all these which makes them worthy of the attention of others besides the lovers of music. Like everything else to which they put their hands, the sixteenth century Italians made these not merely musical instruments, but things of decorative beauty. The shapely inlaid bodies of the mandolas and lutes, the painted pat- terning of the wind instruments, make of each one of them, to-day, "a thing of beauty and a joy for ever." H.T. MUSICAL INSTRUMENTS 558 — Seventeenth Century Italian Horn Of brass curved, with spirally twisted mouthpiece and terminat- ing in a serpent's head with wide-open mouth, naturalistially colored and decorated in low relief. Length, 22 inches. {Illustrated) 559 — Seventeenth Century Itai.ian Horn Of brass, spirally carved, with bracketed mouthpiece and ter- minating in a serpent's head decorated in colors and gold in low relief. Length, 24% inches. (Illustrated) 560 — Eighteenth Century Italian "Serpentone" Wind instrument of wood and of the bassoon type. Spirally twisted mouthpiece of brass and stem of wood terminating in a brass serpent's head, with colored and gilded decoration in low relief. Length, 451/2 inches. {Illustrated) 561 — Sixteenth Century Florentine Herald's Trumpet Long straight cylindrical trumpet of brass, with two molded knops and flaring mouth. Attached is a white silk flag with the red lily of the Republic of Florence. The lip of the trumpet is engraved: "Benedettus, Benenatus. Fecit. Florenze. MDX". Length, 42^ inches. {Illustrated) 562 — Eighteenth Century Italian "Basso a Corda" String instrument of wood. Of pyramidal shape, with molded base. Straight bridge, tapering neck and scrolled head. Fitted with a single string. Length, 63^4 inches. {Illustrated) 559 558 560 No. 558. Seventeenth Century Italian Hoen No. 559. Seventeenth Centuky Italian Horn No. 560. Eighteenth Century Italian "Serpentone" No. 561. Sixteenth Century Florentine Herald's Trumpet 564 562 563 563 — Sixteenth Centuky Italian Mandola Mandola or cithern of wood, having a pear-shaped body, with circular pierced "rose" in the sounding board, straight neck, scrolled and double curved head, and ebony pegs. The mandola (not to be confused with the mandolin) was strung with two sets of strings, one above the other, both being supported on molded bridges. Length, 39% inches. 564 — Sixteenth Century Italian Lute Pear-shaped body of wood, with pierced circular rose, straight neck and tapering head set at an angle. Length, 35 ^/^ inches. 565 — Sixteenth Century Italian Lute Pear-shaped body of wood, with pierced circular rose, straight neck and tapering head set at an angle. Length, 39% inches. 566 — Sixteenth Century Italian Spinet Plain wooden case of pentagonal form, having a sounding board overstrung with wire, and a molded cornice and base. From one side projects the keyboard with wooden keys, shaped bracket- ings at either end and a molded base. There is no stand. This instrument is signed and dated: "Opus . D. D. R. Iannis Francisci Brixiani . MDXXX." Length, 56 incites; width, 19 inches. Note: The earliest spinet in existence, now in Paris, was made at Verona in the year 1523, only seven years before this example was made at Brescia. 567 — Fifteenth Century Italian Herald's Trumpet Long, straight cylindrical trumpet of brass with flaring mouth. Engraved on the lip is the inscription: "Sani . Petus . Mon- silicinus . MCDLI" . with a small coat-of-arms above the date. Length, 49^ inches. Note: This and the following are the only examples of heralds' trumpets of this period that are known to be in existence. 568 — Sixteenth Century Italian Trumpet Cylindrical trumpet of brass, with swelling mouth. Length, 31^/2 inches. ASTRONOMICAL OBJECTS 569 — Seventeenth Century Italian Brass Surveyor's Quadrant Semicircular movable disk, engraved with degrees and with a turned cylindrical brass socket. In contemporary leather case, with carrying strap. Height, 4% inches. 570 — Sixteenth Century German Brass Astrolabe Circular form, with ring for suspension. Outer rim of brass engraved with degrees; sunken front of brass engraved with meridian and other lines and concentric circles ; from the raised brass limbs project the finding points of hook shape. En- graved with the inscription: "Georgius Hartman, Norenberge Faciebat anno 1537." Diameter, 6% inches. 571 — Sixteenth Century Brass Astrolabe Circular form, with ring for suspension. Engraved outer rim and plate with inner branching limbs terminating in hooked points for finding purposes. Diameter, 7% inches. 572^Sixteenth Century Italian Globe Terrestrial globe. Engraved Map of the World mounted on a sphere of papier-mache and dated "1577." On a turned standard of gilded wood, with a brass ring engraved with degrees. Height, 16% inches. 573 — Seventeenth Century Italian Globe Celestial globe. Engraved Map of the Heavens, mounted on a papier-mache sphere. On a shaped bronze tripod stand, with molded and carved marble base. Height, 22 inches. 574! — Eighteenth Century Italian Telescope Adjustable vellum-covered tubes ; case covered with tooled and gilt leather, and turned wooden ends. Length, 271/^ inches. 575 — Pair of Sixteenth Century Italian Globes Terrestrial and Celestial globes, the one a Map of the World, the other a Map of the Heavens, engraved on paper, mounted on spheres of papier-mache. Sm-rounded by a perpeijdicular ring of brass engraved with degrees and dated "1600." The Celestial Globe has the Signs of the Zodiac and symbolic figures of the Constellations, the Terrestrial Globe figures of ships, all realistically drawn and colored. On gilded bronze stands of tripod form consisting of three shaped voluted flat supports richly chased and supported on molded bases, with compasses inserted, with scrolled and voluted feet. Height, 29^?^ inches. Davanzati Palace: Corner of Living Room — Second Floor ORIENTAL RUGS AND CARPETS {Chiefly of the XVIth and XVIIth Centuries) The artistic interchange in Renaissance times between Italy and the Orient can be discerned in many ways, not the least significant of which is the constant recurrence in Italian paintings of the period of the rugs of Persia and Asia Minor. Through Italy, of course, came to the more northerly countries those tapetti which Holbein so de- lighted to portray that we are wont to classify their existing originals as "Holbein rugs," and direct to Italy some three or four hundred j'^ears ago came these rugs which formed part of the furnishings of the Davanzati Palace. This it is that gives them so peculiar a desirability in the eyes of modern collectors, for they embody not only the singular genius for color and pattern of their Eastern weavers, but also the deco- rative taste and feeling of the Patrician families of Cinquecento Italy for the adornment of whose palaces and villas they were unloaded on the quays of Genoa and Venice. H.T. VELVET AND LINEN CUSHIONS AND TEXTILES 576- -Two Sixteenth Century Italian Cushions Rectangular shape. Covered in red satin embroidered in gold thread at the corners, with designs of cornucopia filled with conventional flowers and with deep borders of acanthus-leaf scroUings. Height, 1 foot 3% inches; width, 1 foot IQl/^ inches. 577- -Two Sixteenth Century Italian Cushions Rectangular shape. Covered with fine white linen embroidered in gold thread, with an all-over pattern of detached S-shaped scroUings and phoenixes. Bordered on four sides with a pattern of floral scroUings. Height, 1 foot 1 inch; width, 1 foot 4 inches. 578 — Sixteenth Centuky Italian Cushion Rectangular shape. Covered with blue satin embroidered in gold thread with a diapered patterning of single and double fleurs-de-lis. No border. Height, IOI4 inches; width, 1 foot 9% inches. 579 — Sixteenth Century Italian Cushion Rectangular shape. Outer cover of fine white linen patterned in square medallions with rosetted centers of cut and drawn work and with borders of similar patterning. Inner covers of yellow silk. Height, 1 foot 1% inches; length, 1 foot 6^^ inches. 580 — Two Sixteenth Century Italian Embroidered Satin Cushions Rectangular shape. Covered in red satin, embroidered in yel- low silk and gold thread with a scrolled design of rose leaves and flowers. In the center within a twisted wreath is a large shield, surmounted by a helmet and label, containing the arms of the Medici family quartered with those of Aragon. The whole surrounded by a scrolled border. Height, 1 foot 1 inch; length, 1 foot 5 inches. Note: In 1539 Cosimo de' Medici mai-ried Eleanora of Toledo, daugh- ter of Ferdinand of Aragon, Viceroy of Naples. It is for him, there- fore, that these cushions were originally made. 581 — Two Sixteenth Century Florentine Pillows Rectangular shape. Covered in red velvet, embroidered in gold thread with deep borders of a scrolled design. At the corners are tassels covered with red silk worked in gold thread. Height, 1 foot 7^2 inches; width, 2 feet 21/2 inches. 582 — Three Sixteenth Century Italian Small Cushions Rectangular shape. Covered in cut wine-colored velvet of a , diapered pattern. Gold borders. Height, 9^/2 inches; width, 1 foot 5 inches. 583 — Sixteenth Century Italian Child's Costume Girl's dress of green woolen cloth, with a border of yellow and white cloth embroidered in silver; the sleeves are of white silk embroidered in silver and puffed with yellow silk ; the collar is of yellow silk ornamented to match the skirt and finished with white silk cord and tassels. 584 — Sixteenth Century Italian Silk Under- jacket Of blue silk, with long loose sleeves and buttoning close up the front. Woven in silver thread with design of stripes and dia- pered pattern of pear-shaped figures. 585 — Seventeenth Century Italian Table Cover Rectangular shape. Of blue satin, with a design of flowers and leaves ; embroidered with a design in gold thread at the corners and gold fringe. In the center is the coat-of-arms of the Co- lonna family on a red ground framed in yellow silk. Height, 1 foot 5 inches; length, 3 feet 2 inches. 586 — Sixteenth Century Italian Coverlet Rectangular shape. Of yellow silk, embroidered in red silk with leaf and scrolled designs. Length, 7 feet 10% inches; width, 3 feet 7 inches. 587 — Sixteenth Century Italian Coverlet Rectangular shape. Of green velvet, with border woven in gold thread. Length, 7 feet 10% inches; width, 5 feet. 588 — Eakly Sixteenth Century Coverlet Rectangular shape. Of fine white hnen, formed of three layers of material and elaborately quilted. The coverlet is divided into sixteen rectangular compartments by vertical stripes of a twisted-rope design and horizontal stripes of a resetted design. The squares contain scenes abounding in figures in sixteenth century costume and in views of a palace with cupolas. These scenes represent incidents in a contemporary "novella" or story. Length, 6 feet 7% inches; width, 5 feet 8 inches. ifi\ i" < » /^K;:f /j; r-'-vS 589 — Sixteenth Century Italian Large Coverlet Rectangular shape. Of red satin, quilted, as to the center, in a diapered design of almond-shaped figures occupied with scrolled figures and with a deep border of scrollings and winged animals between two narrower bands of undulating and leaf pattern. Length, 7 ^eet 10^2 inches; width, 6 feet lO^/o inches. 590 — Sixteenth Century Italian Coverlet Rectangular shape. Of violet-colored velvet, with a fringe of the same color and a border woven with gold thread. Length, 10 feet 2 inches; width, 6 feet 11 inches. 591 — Seventeenth Century Italian Large Coverlet Rectangular shape. Of white silk, worked in Hungarian stitch with a pattern of a lozenge-shaped diaper filled with flowers of alternating colors. The border is of yellow, patterned with rich embroidering of silk and fringed. Length, 11 feet 2 inches; width, 8 feet 10 inches. SIXTEENTH AND SEVENTEENTH CENTURY RUGS r 1^""^^ r¥( I i*^'" ** >*^ .^•»p'^*i>ii^ ¥l^^ *ei^i4^-»4" *"'ji^j!?--rt*:^.: JwMr-lflQ^jH'f^'"*^*'''"***''''' ;'*''''-^''"''*''W»-.*'^^««iH»)B»l(l'-'nl*TK^Si^ 592 — Small Asia Minor Rug Of a type found not earlier than 1600 and not later than 1700. It is both a prayer rug and a hearth rug. The center, with a rich red ground, has a shaped arch above and below, with span- drels occupied by scrolled designs of yellow touched with blue, and in the center a quatrefoiled medallion in dark blue. The main border, on a dark blue ground, is patterned with large con- ventional palmette figures in red, with touches of green, blue and yellow. The inner and outer guards have conventional straight- stemmed floral spray patterning of blue, yellow and brown on a red ground. Length, 5 feet 1 inch; width, 3 feet 5 inches. .uUkkiiLjUifttkLiJli^^ tJ&iS ikiL&^i^ 593 — Sixteenth Century Western Asia Minor Rug A collector's piece and a companion piece to Nos. 601 and 602. The field, on a red ground, has an all-over patterning of radiat- ing scroUings and geometrically conventionalized leaf forms in yellow relieved by touches of white and blue. The main border, on a blue ground, has a patterning of S-shaped scroUings in red, with trefoil flowers of yellow and rosettes of olive green at regular intervals. The inner and outer guards, on yellow grounds, have patternings of red scrolls, and blue and white rosettes. Length, 5 feet 8% inches; width, 4 feet 8^2 inches. 594 — Antique Ladik Pkayer Rug Asia Minor, 1750. A type of prayer rug only occasionally found. The mihrab, with rich red ground, has a stepped pointed arch outlined in yellow and white with sky spandrels of green occu- pied by three branched floral sprays in red and yellow. The panel above, on a red ground, has a pointed lambrequin lower border from which spring three lily forms alternating with straight stalks of pointed leaves in light and dark blue and white. The borders, which have been restored, have a yellow ground, patterned with an undulating design of hooked character en- closing square starred rosettes and scrolled figures in purple, green, red, blue and white. Narrow fringe at top and bottom. Length, 5 feet 7 inches ; width, 3 feet 9 inches. (Illustrated) 595^Antique Ghiordes Peayer Rug Asia Minor, 1700. The first impression made by this old Ghiordes is not favorable to its classification among the very best of its kind ; the la.st impression, derived after an hour's con- sideration, is that its equal would be hard to find. It is a superb decoration — a quality lacking in many of the minutely decorated specimens. The mihrab, with a red ground, has a stepped and pointed arch supported on two conventional pilasters having shafts decorated with white lozenges on a green ground and floriated capitals and bases; sky spandrels, of dark blue, are filled with curved branches of flowers and leaves in white and red. The panel above is filled with conventionalized flower and leaf forrns. The main border is patterned, on an olive green ground, with floral medallions, large palmette-shaped flowers and conventional pointed-leaf forms in white, blue and red. Length, 5 feet 4<~inches; width, 4 feet 11/^ inches. (Illustrated) a P rt « rt Pi H ■9; < vi Ph Ph m M M n < h-l s H P H » u H a 5 H <15 ;?; o ^1 596 — Seventeenth Century Ladik Prayer Rug Mosque design. Asia Minor, 1600. Positively the last word in prayer rugs and the finest specimen of small carpet made in Turkey. Similar rugs are among the choicest possessions of the museums of Europe. Rugs of this character should be the property not of individuals but of nations. The mihrab, with a red field, consists of three angular-pointed arches supported, in the center, by slender twin columns with ornamental capitals and bases, and at the sides by single col- umns to match. The sky spandrels are filled, on a light blue ground, with highly conventional leaf forms and geometrical scroUings in red, white and black. Above is a panel with a red ground occupied by trefoiled lambrequin borders and upright conventionalized stems in white, black and blue. The border is of a harmonious design. Length, 5 feet 41^ inches; width, 3 feet 11% inches. 597 — Seventeenth Centuuy Ladik Prayer Rug Mosque design. Asia Minor, 1600. Companion rug to No. 596 and almost equally desirable. The very high importance of these two rugs can hardly be over-emphasized. The mihrab, with a red field, consists of three angular-pointed arches supported, in the centei', by slender twin columns with ornamental capitals and bases, and at the sides by single columns to match. The sky spandrels are filled, on a light blue ground, with highly conventional leaf forms and geometrical scroUings in red, white and black. Above is a panel with a red ground occupied by trefoiled lambrequin borders and upright conven- tionalized floral stems in blue, white and black. The border, on a red ground, is patterned with quatrefoil medallions of alter- nating blue and dark green occupied by conventional floral sprays of red and white. The inner guard is patterned in con- ventionalized leaf sprays on a brown ground, and the outer guard is of small quatrefoil rosettes in red, white and blue on a brown ground. Green selvage and narrow fringe at top and bottom. Length, 5 feet 4% inches; width, 3 feet 11 14 inches. 598 — Sixteenth Century Persian Prayer Rug Oblong shape. Arched mihrab, with red field, having in its center an elongated rectangular medallion, with blue ground decorated in red. Varicolored border of a geometrical pattern- ing. Length, 6 feet 6% inches; width, 4 feet 8 inches. 599 — Small Asia Minor Rug Of a type found not earlier than 1600 and not later than 1700. Small blue medallion on a plain red field, with strongly designed corners and "richly ornamented borders principally in red on a dark background." This ancient rug is both a prayer rug and a hearth rug. The small four-inch medallion, containing an eight-pointed star, set directly in the center of the upper mihrab, shows the rug to be a prayer piece; the double niche indicates its use as a hearth ornament. Of interest are the spots of white cotton throughout the bor- der. Length, 6 feet SVo inches; width, 3 feet 7 inches. 600 — Imperial "Polish" Wool Rug In the design and color known as Polish. Made probably at the Imperial Manufactory about 1600. The design consists of large flowers, broad leaves and heavy twigs, which, examined closely, have a crowded appearance and seen at a distance appear to be open and well composed. A perfect example of a master's disposition of color. To a rug collector this single known example of "Polish" wool rug should be as desirable as the rarest stamp to a philetalist. Length, 5 feet 11 inches; width, 4 feet 1% inches. (Illustrated) 601 — Western Asia Minor Rug Sixteenth century, of the type depicted in the paintings of Lorenzo Lotto, Girolamo dai Libri, Bronzino, and Luca Longhi. A rug of rare distinction, due to the domination of a broad border of Chinese cloud bands. The wonderful ornament of the center ground is merely a masterly arrangement of con- ventionalized leaves and vines. The field has a design, on a red ground, of interlacements and highly conventionalized flower and leaf forms in yellow relieved by passages of blue and white. The main border has a pattern- ing, on a dark blue ground, of tref oiled palmettes, quatrefoils, cloud forms and rayed flower forms mainly in red, but with touches of blue, yellow and white. The inner guard has an un- dulated pattern in red on a yellow ground and the outer guard a pattern of conventional S-shaped floral sprays in red on a yellow ground. Length, 5 feet 4 inches; width, 3 feet 10 inches. 602 — Western Asia Minor Rug Sixteenth century, of the same type as rug ^o. 601 and fre- quently depicted in paintings by the old masters. Open rather than close, crowded leaf -forms make up the field design. Gufic inscription inspired the border. A superb old-rose and gold rug. No. 600. Imperial "Polish" Wool Rug 603 — Antique Rose and Green Asia Minor Rug Seventeenth century. Oriental rugs are wanted among the fine arts because of such rugs as this one. If soft rose and green have ever been better combined, it has been in other materials. If flower and leaf have been more elegantly disposed, the better examples have been neither numerous nor conspicuous. It is doubtful if there is anywhere a more delightful floor fabric. The field, on a deep rose-colored ground, has an all-over pat- terning of interlaced designs, with palmette-shaped flowers, curved pointed leaves with serrated edges, large rosettes and sprays of smaller flowers in differing shades of light blue, green and yellow. In the center is a large circular medallion with scalloped edge, with a green ground, and a star-shaped center, from which spring floral sprays and eight palmette-shaped flowers, in red, blue and white. The main border, on a green ground, is patterned with palmette-shaped flowers and curved branches of leaves separated by conventional cypress-tree forms ; all in red, blue and two shades of yellow. The inner and outer guards are patterned, on blue grounds, with red rosettes. Fringed at top and bottom. Length, 11 feet 2 inches; mdth, 7 feet 4 inches. {Illustrated) 604 — OusHALS Paeace Rug Asia Minor, 1700. If proof were needed of the decadence of modern Turkish carpets, the noble ancient type represented by this fabric would furnish the necessary evidence. For corner design, not inartistic triangles but glorious quarter medallions; for the center a figure of infinite di-aftsmanship and virile imagination ; for the border a broad band of flowers. For vigor of color and design, few if any Oriental rugs surpass this type, and not many such pieces have been imported. -'fus&>rJ^I^^^'S'^^^-4A£igfZ'<,^/'J^M!^MMM No. 603. Antique Oushals Palace Rug *605 — The "Doria" Sixteenth Century Ispahan Carpet Rectangular shape. The field, with a blue ground, is deco- rated with an all-over patterning of palmettes and peony blos- soms, enclosed in "curved pointed leaves with serrated edges and connected by interlacements of slender stems with leaves and flowers of varied colors, the interstices occupied by oval floral medallions with scalloped edges. The main border is a design of tulip-shaped flowers, with leaves and scrolled stems. Sepa- rated by eight-petalled floral medallions. The narrow inner guard is of a barber's pole pattern and the outer guard is of floral undulating design. Length, 19 feet 6 inches; width, 8 feet 11 inches. {Illusirated) Note: The "Doria Carpet," one of the most celebrated in Italy, hung for generations in the Doria Palace until it passed directly into the possession of the present owner. It was presented about 1540 to the celebrated Genoese Admiral Andrea Doria, known as the "Father and Liberator of his Country," by the Persian Ambassador as a token of the esteem of his sovereign the Shah. In 1915, when King Victor Emanuel visited the Davanzati Palace, he was particularly interested in this remarkable carpet and declared that it was the finest specimen of the art of the loom he had ever seen. *No. 605. The "Doria" Sixteenth Century Ispahan Carpet TAPESTRIES 606 — Fifteenth Century Flemish Verdure Tapestry Panel Rectangular shape. The field is entirely covered with a design of large scrolled pointed leaves with serrated edges of con- ventional Gothic character interspersed with long steins of cinque-foiled flowers and leaves. Below, on a rocky ground, and partially concealed by the verdure, are seen the figures of a charging bull facing in an attitude of defiance a couchant lion. Above, perched upon the leaves are various birds, including two peacocks, and a rat. In the center is an upstanding stem of rose leaves and conventionalized rose blossoms. Surrounded by a border of a twisted ribbon design with three-foiled loops and rosetted corners. Height, 7 feet 9y2 inches; width, 8 feet 10 inches. (Illustrated) Hi Ph Pi H H H « w l-I O Eh CO o d *607 — Late Fifteenth Century Flemish Marriage Tapestry Rectangular shape. Divided horizontally into two compart- ments of inter-related subjects relating to a fifteenth century marriage. In the upper one is shown the arrival of the bride- to-be at her future home. In the center, the young woman is kneeling at the feet and grasping the welcoming hands of her be- trothed's mother, while on the left are seen the father, and the youth himself, leaning against a pillar and gazing lovingly at his future wife. On the right, behind the bride, stand her mother and father and three of her youthful kinsmen, one of whom, starting forward with an angry gesture, is restrained by a com- panion. In the background are seen fruit trees and the towers and high gibbet of a town. Below, in a field of varicolored flowers, the bride and bridegroom, now presumably happily mar- ried, are seated in the center of the composition, the bridegroom handing her a basket of fruits which he holds in both hands. On the left-hand side is a group of four maidens, one of whom on her knees offers a dish of fruit to the bride, while on the other side are three youthful couples in rich apparel. The extreme left of the composition is occupied by two panels, in late Gothic pinnacled buttresses of allegorical subjects. Above, a young couple are seen seated in close proximity, while below is the figure of a young woman with ermine mantle, seated on a Gothic canopied chair holding a bunch of grapes in her right hand, while her left rests on a shaped shield with the Altieri coat-of-arms, which she supports on her knee. In the background are two savages fighting. The border is of detached branches of flowers and leaves at the sides and of a running pattern of vine leaves and grapes and floral sprays above and below. (Pending re- weaving, a hole has been fllled with painted cloth.) Height, 8 feet 10 inches; width, 11 feet 10 inches. {Illustrated) Note: This early Flemish tapestry, so noteworthy from its admirable coloring and the excellent drawing of the faces, which, while losing none of their decorative quality, are yet full of expression, was woven to commemorate the marriage of one of the Altieri family. For genera- tions it hung in the Palace of the Princes Altieri, near Lucca, and so is known in Italy as the "Altieri Tapestry." It formed one of the chief glories of the Davanzati Palace. Ph o d 12; 608 — Sixteenth Century Florentine Tapestry Panel {Known as the Medici Tapestry) Rectangular shape, the subject representing a fishing scene. In the middle foreground are seen two fishermen, one of whom kneels to take out of the net, upheld by the other, a group of fish. Beyond them is seen a group of sailors and a three-masted high-poled vessel, and in the background the entrance to the harbor of Leghorn, with its fortress and another ship in the distance. In the immediate foreground is the seated figure of a bearded old man with a garland of water leaves typifying the river Arno. This subject is flanked by two tapering pilasters, seen in profile, with capitals of women's heads and voluted con- soles from which depend festoons of fruits and leaves. There is an outer pane with a design of octagonal panels of lobsters supported by ribbons and four Putti carrying fishing nets and fish at the sides, panels of a fish and Nereids at the bottom, and medallions of fish, a crab and a tortoise at the angles. Above is a broken cornice, and in the center an oval scrolled medallion supported by winged Amorini and occupied by the arms of the Medici family. Height, 12 feet 3^^ inches; width, 7 feet 8^^ inches. (Illustrated) Note: This famous tapestry was woven in Florence to the order of Francesco Medici (1541-1587) to commemorate the improvements he effected at Leghorn, which improvements had been projected by his predecessor, Cosimo I. No. 608. Sixteenth Century Florentine Tavestuy Panel (Known as the Medici Tapestry) 609 — Late Sixteenth Century Flemish Tapestry Panel "The Triumph of Prudence," which is of an allegorical nature. In the center, seated upon a throne which stands upon a dais covered with an Oriental rug, is the figure of Prudence repre- sented as a young woman wearing a diadem. She is seated under an ornate tabernacle supported by square columns, above which is the seated figure of King Solomon. Against the background of clouds the tabernacle is surrounded above by the physical senses of Hearing, Seeing, Tasting and so forth, represented by winged horses, and by the intellectual faculties represented by figures of kings with crowns and scepters. Below, on the right, are women personifying Prudence (several times repeated). Rea- son, with a whip, and Concord or Peace. The foreground is occupied with the kneeling figure of a woman in the center, having, on the right, the figure of a queen and of two horses bestudded by winged Amorini bearing banners inscribed with the names of Sight and Hearing, and on the left the figure of Jacob beside a pile of chariot wheels. The background is a landscape with buildings, and nearer at hand are trees and a rocky ground with bushes and flowers. The border has a design of festoons of fruits and leaves with flying ribbons above and below, and of fruits and leaves bound with ribbons at the sides. Height, 13 feet 11 inches; width, 11 feet 10 inches. {Illustrated^ 609a — Fifteenth Century Italian Stamped Leather Panel Formed of small oblong skins of leather stitched together. The center, on a gilded ground of checkered pattern, is occupied by a shield emblazoned on a field argent, three bars azure, with a pale argent of three bends gules. Augmented with a chief or, having an eagle displayed sable. As crest a ducal coronet, a helmet and an eagle displayed. For supporters there are two female caryatides, and below, a mask with a festoon of drapery. Elaborate scrolls, acanthus leaves and fruits, all in gold, silver, brown and black. Broad border of scrolled leaves and flowers in black on a gold ground edged by a narrower stripe of floriated undulating pattern, also in black on a gold ground. Height, 10 feet 10 inches; width, 8 feet. No. 609. Late Sixteenth Century Flemish Tapestry Panel ITALIAN MAJOLICA OF CAFAGGIOLO, FAENZA AND DERUTA including a singular collection of the PRIMITIVE MAJOLICA OF ORVIETO Undoubtedly the lustred Majolica, of which the finest examples were produced by Maestro Giorgio of Gubbio, has of late years largely monopolized the favor of the average collector. But the excavations recently made at Orvieto and elsewhere have resulted in the discovery of a comparatively few pieces of the very earliest majolica for which the most distinguished con- noisseurs have lately contended with friendly energy. Among the few gather- ings of real importance the Davanzati Palace Collection has long held a chief place. In his monumental book on Tuscan Majolica ["Die Anfange der Majoli- kakunst in Toskana," Berlin, 1911] Dr. Wilhelm von Bode, for instance, pays much attention to the primitive majolica discovered during recent excavations at Orvieto and makes frequent reference to what he terms "the carefully selected collection of Professor Elia Volpi, displayed by him in that model of restoration, the Davanzati Palace." He also asserts that "the greatest antiquarians have valued even fragments of majolica in restoring their palaces . . . among the foremost of these being Professor Volpi." "Because," he continues, "these finds have been so numerous in Orvieto, I have arrived at the conclusion that Orvieto was the pottery center for all these primitive majolicas of central Italy. "These early majolicas are closely related. They are made in only a few colors, chiefly copper green and brownish red (manganese), though more rarely one finds a pale blue and very occasionally a bright yellow. "The decorations have a uniformity of mediaeval Italian character with a trace of that Orientalism so noticeable in all contemporary European art, and more especially in the textiles. It consists of plain lines, basketwork, im- brications, initials, coats-of-arms, animals, sometimes mythological char- acters, and human figures. There are some ornaments, too, such as heads, flowers, fruits and coats-of-arms, in relief. "The body of the ware is mostly a strong red resembling that of fine tiles, while the glazing mostly displays a metallic lustre. "The vessels are of few shapes — bowls, with or without handles, tureens and pitchers, tall slender ones with short necks and large pear-shaped ones with high necks." Dr. Bode further declares that "a majority of the ware has a strong provincial character, as shown in the severe lines, the form of the vessels, the dull coloring and the hasty execution," and concludes by stating : "I illustrate particularly some pieces of the Volpi Collection in order to show, from them, what the potters of ancient Tuscany have bequeathed to us as a legacy of the Middle Ages." H. T. FIFTH AFTERNOON'S SALE SATURDAY, NOVEMBER 25, 1916 AT THE AMERICAN ART GALLERIES BEGINNING AT 2.30 o'CLOCK Catalogue Nos. 610 to 805, inclusive DAVANZATI PALACE MAJOLICA 610 — Fourteenth Century Orvieto Primitive Majolica Bowl WITH Handles Coupe-shaped, with two projecting handles. Decorated, on a white ground, with geometrical patternings. Diameter, 3% inches. 611 — Fourteenth Century Orvieto Majolica Inkstand Circular form and glazed in white. Diameter, 3% inches. 612 — Fourteenth Century Orvieto Primitive Majolica Bowl with Handles Coupe-shaped, with two p]'ojecting handles. Decorated, on a white ground, with geometrical patternings. Diameter, 3% inches. 613 — Fourteenth Centuuy Orvieto Primitive Majolica Bowl WITH Handles Coupe-shaped, with two projecting handles. Decorated, on a white ground, as to the interior with a primitive drawing of an Agnus Dei. Diameter, 4% inches. 614 — Fourteenth Century Orvieto Primitive Majolica Bowl Coupe-shaped, with two handles. Decorated, on a white ground, as to the interior with an Agnus Dei. Diameter, 4% inches. 615 — Fourteenth Century Sienese Primitive Majolica Jug Pear-shaped body, without handles. Decorated, on a white ground, in blue, with scrolled ornamentations and with three men's heads in relief. Height, 3% inches; diameter, 41/2 inches. 616 — Fourteenth Century Orvieto Primitive Majolica Bowl Coupe-shaped, with flat rim. Decorated, on a white ground, as to the rim with groups of radiating lines, as to the interior with a woman's head in a quatrefoiled bordered cup, on a hatched ground. Diameter, 5% inches. 617 — Sixteenth Century Faenza Majolica Bowl Coupe-shaped, with flat rim and annular edge. Decorated, on a light blue ground, in white and blue, as to the rim with a scrolled border and as to the interior with a figure of St. Cath- erine and her wheel modeled in low relief. Height, 2 inches; diameter, 5% inches. 618 — Fourteenth Century Orvieto Primitive Majolica Bowl Circular coupe-shaped, with flat rim. Decorated at the rim with radiating hnes, symmetrically disposed, and the interior with the head of a youth on a patched background. ( Imperfect. ) Height, 2% inches; diameter, 5 inches. 619 — Fourteenth Century Orvieto Primitive Majolica Cup Curved sides, with looped handle. Height, 2% inches; diameter, 4 inches. 620 — Fifteenth Century Gubbio Primitive Majolica Bowl Coupe-shaped, and decorated as to the interior with three crowns and a circular medallion occupied by a Gothic letter. Height, 2^4 inches; diameter, 5% inches. 621 — Fourteenth Century Orvieto Primitive Majolica Vase Bottle-shaped, with spherical body, high cylindrical neck and looped handle. Decorated, on a white ground, with a cross painted in reddish brown. Height, 7% inches. 622 — Fourteenth Century Orvieto Primitive Majolica Pitcher Pear-shaped body, cylindrical neck and annular foot, with pointed spout and looped handle. Decorated, on a white ground, in green, with a floriated Gothic letter "G." Height, 6% inches. (Illustrated) 622 623 624 623 — Sixteenth Century Urbino Majolica Salt Cellar Rectangular shape, with outcurved sides, a sunken surface, mod- eled shells at the angles supported by winged sphinxes and four lions' paw feet. The top is painted with a nude Venus and the side with reclining Amorini. Above is an egg and dart border. Height, 3% inches; diameter, 4% inches. 624 — Fifteenth Century Florentine Majolica Pitcher Pear-shaped body, with pointed spout and reeded looped handle. Decorated, on a white ground, in blue, with a circular medallion occupied by the Sacred Monogram and a floriated cross. Height, 4^ inches. 625 — Sixteenth Century Medici Porcelain Bowl Coupe-shaped, with straight sides. Decorated, in an under- glaze cobalt blue, with a design of scrolled flowers and leaves suggesting a Persian influance. Marked, on the base, in blue with the Duomo of Florence and the letter F. Note: This is an example of what is probably the rarest of European porcelains, for Francesco de' Medici has the honor of having produced the first porcelain made in Europe. It was in 1475 that the Venetian envoy to Florence wrote of him that "he passes his whole day in the Casino surrounded by alembics and filters," making the ware of which only about thirty pieces have survived to our day, most of them being in the great National museums. About half are marked, as is the piece here catalogued, with the Dome of the Cathedral of Florence, and the decoration of nearly all is based on the Persian. 626 627 628 626 — Fifteenth Century Cafaggiolo Majolica Albakello Cylindrical shape, with incurved sides and carved foot. Deco- rated, on a pinkish white ground, in blue, with four bands of an interlaced pattern separated by double lines. Height, 7% inches. 627 — Fourteenth Century Orvieto Primitive Majolica Bowl WITH Handles Circular shape, with gadrooned side, scalloped edge and flat looped handles. Decorated, as to the interior, on a white ground, in green and manganese, with a fantastic winged animal having a man's head with acanthus-leaf sprays. Height, 31/2 inches; diameter, 7% inches. 628 — Fifteenth Century Cafaggiolo Majolica Pitcher Pear-shaped body, with pointed spout, annular foot and twisted looped handle. Decorated, on a vi^hite ground, in green and reddish brown, with a large bird form flanked by pine trees and by a border of roundels. Height, 6% inches. 629 — ^Fourteenth Century Orvieto Primitive Majolica Pitcher Pear-shaped body, with looped handle. Decorated, on a white ground, with a design of foliage. Height, 7% inches. 630 631 632 630 — Fifteenth Century Cafaggiolo Majolica Pitcher Pear-shaped body, with pinched rim, pointed spout, annular foot and flat straight looped handle. Decorated, on a white ground, in blue, with a conventional fish, scroUings and oak-leaf forms. Height, 7yg inches. 631 — Fifteenth Century Orvieto Majolica Scalding Bucket-shaped, with straight sloping sides and ball handle. Decorated, on a white ground, in manganese, with two circular medallions occupied by floriated crosses. (Repaired.) Height, 5% inches; diameter, 6% inches. Note: A scaldino was used with burning charcoal for warming the hands and feet. 632 — Fourteenth Century Orvieto Primitive Majolica Pitcher Pear-shaped body, with cylindrical neck, pointed spout and flat looped handle. Decorated, in green and manganese, with pointed leaf, circular patched flower forms and lozenged border. (Repaired.) Height, 7 14 inches. 634 633 635 633 — Fourteenth Century Orvieto Primitive Majolica Pitcher Pear-shaped body, with pointed spout and straight looped han- dle. Decorated, On a white ground, in green and manganese, with a looped border around the shoulder, the body with panels, two occupied by an imbricated patterning, two by leaf forms and three by lions' heads modeled in relief. (Repaired. ) Height, 7% inches. 634 — Fifteenth Century Cafaggiolo Majolica Albarello Cylindrical shape, with incurved sides and annular rim. Deco- rated, on a white ground, in blue and green with touches of manganese, with two bands of pointed-leaf scrolls between bor- ders of lines. Height, 8% inches. 635 — Fifteenth Century Cafaggiolo Majolica Albarello Incurved cylindrical shape, with high neck and sloping base. Decorated, on a white ground, in blue and manganese, with ver- tical and horizontal bands of pointed-leaf forms on straight stems. Height, 91/^ inches. 638 637 636 636 — Sixteenth Century Gubbio Lustred Majolica Plate {By Maestro Giorgino) Circular shape, with deep flat rim. Decorated, on a white ground, in lustred yellow and blue, as to the rim with a pattern of pointed gadroonings and as to the center with a seated figure of St. Jerome in the wilderness. Height, 2 inches; diameter, SYg inches. 637 — Fifteenth Century Paduan Majolica Vase Bottle-shaped, with globular body, high cylindrical neck and annular foot. Decorated in the "stecco" manner of low relief on a white ground, colored in yellow and green. Around the body are four circular medallions, one occupied with the Sacred Monogram "I.H.S.," another with the profile head of a woman with flowing hair, and the two others with men's profiles. The neck has a banded ornamentation. Height, 8^2 inches. 638 — Sixteenth Century Paduan Majolica Plate Circular shape, with deep rim. Decorated in "stecco" work' on a yellow ground, as to the rim with a scrolled flower and leaf border, as to the center with a shaped escutcheon bearing a coat-of-arms of a lozenged band. ( Repaired. ) Diameter, 8% inches. 640 639 641 639- -FOUUTEENTH CeNTURY OrVIETO PRIMITIVE MaJOLICA Pitcher Pear-shaped body, with pinched rim, flat straight looped handle and flat base. Decorated, on a yellow ground, in green and manganese, with a decoration of horizontal lines and vertical branches of leaves. Height, 7% inches. 640 — Fifteenth Century Orvieto Majolica Bowl Circular coupe-shaped. The interior decorated, on a white ground, in green and manganese, with a diagonal bend, a her- aldic device of the lily of Florence, two stars and two billets and the fable of the Stork removing a bone from the Wolf's throat, with a landscape in the background. (Repaired.) Diameter, 7% inches. 641 — Fourteenth Century Orvieto Primitive Majolica Bowl Shallow body, with wide flat rim. Decorated, on a white ground, in green and manganese, as to the rim with a toothed and hatched border and as to the interior with leaf -forms and pointed shield occupied by an armorial bearing, all on a hatched ground. (Re- paired.) Diameter, 8% inches. 642 — Fourteenth Century Primitive Orvieto Majolica Bowl Circular shape, with two ear handles. Decorated, on a white ground, in green and manganese, with a pattern of foliage. Height, 4^2 inches; diam£ter, 8% inches. Jt ^^^ k ^S|^*^n'' m r^^^P^R^^^\f \ ^ I ^M ' a;k^';-:3 645 644 643 643 — Fourteenth Century Orvieto Primitive Majolica Deep Plate Circular shape, with flat rim. Decorated, on a white ground, in green and manganese, as to the rim with meander and gadrooned pattern borders, and as to the center with a man's head in striped hood surrounded by scroUings on a hatched ground. (Re- paired. ) Diameter, Oyg inches. 644 — Fifteenth Century Caeaggiolo Majolica Albarello Incurved cylindrical shape. Decorated, on a white ground, in yellow and blue, with a pattern of imbrications and a band in- scribed in Roman letters : "S. Torce Liqua." Height, 8% inches. 645 — Fourteenth Century Orvieto Primitive Majolica Bowl Circular shape, with flat rim. Decorated, on a white ground, in green and manganese, as to the rim with radiating bands of color, as to the interior with a circular eight-ray starred medal- lion in the center surrounded by four swimming fish. (Re- paired.) Height, 3% inches; diameter, 9"% inches. 648 647 646 646 — Fourteenth Century Orvieto Primitive Majolica Deep Plate Circular shape, without rim. Decorated, as to the interior, with a figure of a heraldic lion and with pierced pointed-leaf forms on a hatched ground. Diameter, 9 inches. 647 — Fourteenth Century Sienese Primitive Majolica Vase Cylindrical shape, with two flat looped handles. Decorated, on a gray ground, with the outlined figure of a lion and a plant with heart-shaped leaves. ( Cracked. ) Height, 8 inches; diameter, 6 inches. 648 — Fourteenth Century Orvieto Primitive Majolica Pitcher Circular shape. The rim decorated, on a white ground, with radiating lines of alternate colors. The center is occupied with the Lily of Florence within a zigzag border. (Cracked.) Diameter, dy^ inches. 649 — Fourteenth Century Orvieto Primitive Majolica Pitcher Pear-shaped body, with pinched rim, pointed spout and looped handle. Decorated, on a white ground, in green and manganese, with a winged dragon. (Repaired.) Height, 9% inches. 650 — Fourteenth Century Caeaggiolo Primitive Majolica Deep Plate Circular shape, with flat rim. Decorated, on a white ground, as to the rim with groups of radiating lines and crosses, as to the center with a bust of a woman, surrounded by oak leaves. Diameter, 9 inches. Note: Other examples of Cafaggiolo ware of so early a make as this are practically unknown. 651 — Fourteenth Century Orvieto Primitive Majolica Pitcher Pear-shaped body, with high cylindrical neck, pointed spout and straight looped handle. Decorated, on white ground, in green and manganese, with a patterning of large leaves and scalloped bands. On the body are conventional pine-cones and under the spout a lion mask, all raised in low relief. Height, 10% inches. 632 653 654 652 — Sixteenth Century Italian Sienese Majolica Pitcher Pear-shaped body, with pointed spout, looped handle, cylindri- cal stems and circular foot. Decorated, on a white ground, with acanthus-leaf scrollings and a festoon of fruits, enclosing a ground of yellow occupied by the half-length figure of a young woman. Below is a scrolled label, with the inscription in Roman letters, "Dia Sena," and below this two voluted cornucopise enclosing an acanthus-leaf ornamentation. (Repaired.) Height, 9% inches. 653 — Fourteenth Century Orvieto Primitive Majolica Bowl WITH Handles Irregular circular shape, with narrow flat rim and one scrolled handle. Decorated, on a white ground, as to the interior, with a fantastic winged animal with a human head from which smoke issues and with a primitive acanthus-leaf form. (Repaired.) Height, 3% inches; diameter, 10^/^ inches. 654 — Fifteenth Century Faenza Majolica Albarello Cylindrical shape, with incurved neck and foot. Decorated, on a white ground, in various colors, with a heraldic eagle, sur- rounded by a garland of fruits, flowers and leaves and a scrolled label with the inscription "Dia Captolicon." Height, 9% inches. 655 — Pair of Fifteenth Century Deruta Majolica Vases with Covers Pine-cone shaped, with covers, on cyhndrical spreading feet and with pointed finials. Decorated with an all-over raised pattern- ing of pointed scales symmetrically disposed and invested with a fine yellow lustred glaze. ( One repaired. ) Height, 11 inches. 656 — Fourteenth Century Orvieto Primitive Majolica Pitcher Pear-shaped body, with circular foot and looped handle. Deco- rated, on a gray ground, in manganese, with delicate scroUings surrounding a medallion occupied with the Gothic letter "M" in green. Height 8 inches. 657 — Fourteenth Century Orvieto Primitive Majolica Bowl Coupe-shaped and decorated in green and manganese. Diameter, S^/g inches. 658 — Fourteenth Century Orvieto Primitive Majolica Bowl WITH Handles Circular shape, with two handles. Decorated, as to the interior, with a coat-of-arms. Height, 3^ inches; diameter, 8% inches. 659 — Sixteenth Centuey Gubbio Lustred Majolica Plate [By Maestro Giorgio) Circular shape, with deep flat rim. Decorated, on a blue ground, in lustred colors, as to the rim with a border of military trophies, drums and scrolled ribbons, and as to the center with a figure of a seated Amorino. Diameter, 8I4 inches. Note: For centuries the plates, dishes and plateaux made in the fif- teenth century by Giorgio Andreoli, ennobled and perhaps better known as Maestro Giorgio, have been esteemed as exhibiting a supremacy of beauty beyond that of all the lustred ware which from the outset made famous the little town of Gubbio in the Duchy of Urbino. For over a generation their values have so steadily increased, owing to their com- parative scarcity, that the sums paid for fine examples seem well- nigh incredible. It must be remembered, however, that Giorgio pro- duced his metallic lustre ware only from 1519 to 1537 and that even so but a very small portion of his output survives. 660 661 662 660 — Fifteenth Centuky Faenza Majolica Vase Cylindrical shape, with incurved neck and foot. The body deco- rated, on a white ground, in blue, with an all-over patterning of fan-shaped palmettes, the neck with an egg and dart border. ( Cracked. ) Height, 11 inches. 661 — Fourteenth Century Orvieto Primitive Majolica Deep Dish with Handles Circular shape, with flat rim and two projecting ear handles. Decorated, on a white ground, in green and manganese, as to the rim with a meander border, as to the interior with the figure of a fantastic winged animal in a contorted posture and surrounded by primitive acanthus-leaf sprays. Height, 4 inches; diameter, 11% inches. 662 — Fourteenth Century Orvieto Primitive Majolica Pitcher Pear-shaped body, on cylindrical foot, with pinched neck and straight looped handle. Decorated, on a white ground, in green, with whorls, serrated leaves and a mythical animal. Height, 10% inches. 663 664 665 663 — Fourteenth Century Orvieto Primitive Majolica Pitcher Pear-shaped body, with pointed spout and round looped handle. Decorated, on white ground, in green, with the outlined figure of a stag with antlers and horizontal bands. (Repaired. ) Height, 8I4 inches. 664 — Fifteenth Century Cafaggiolo Majolica Vase with Handles Pear-shaped body, with cylindrical neck and two projecting looped handles. Decorated, on a white ground, in blue, as to the body with panels occupied by a palmette-shaped flower with pointed leaves and by oak-leaf sprays, and as to the neck with a border of roundels Height, 8 inches. 665 — Fifteenth Century Faenza Primitive Majolica Pitcher Pear-shaped body, with pinched rim and broad flat looped han- dle. Decorated, on a gray ground, in dark blue, green and yellow, with an oval medallion surrounded by scrolled ribbons and occupied by a coat-of-arms inside scrolled floral border. Height, 8 inches. Note: This is one of the earliest pieces of Faenza majolica known to be in existence. 666 — Fifteenth Century Cafaggiolo Majolica Vase with Handles Cylindrical shape, with annular rim and foot and two straight looped handles. Decorated, on a white ground, in blue, the body with panels of pointed quatrefoil medallions surrounded by leaf forms and enclosing the arms of the Siena Hospital (a cross on a three-barred gate) , the shoulder and neck with meander trefoil and rounded borders. (Illustrated) ^''9^*' ^^S/g inches. 667 — Fourteenth Century Orvieto Primitive Majolica Deep Plate Circular form, with flat rim. Decorated, in green and manga- nese, as to the rim with archaic egg and dart pattern, as to the interior with a circular medallion in the center occupied by a flower and double-leaf form and surrounded by a pointed meander patterning. (Chipped.) Height, 3% inches; diameter, 13 inches. {Illustrated) 668 — Fourteenth Century Orvieto Primitive Majolica Pitcher Pear-shaped body, on cylindrical foot, with pinched neck and straight looped handle. Decorated, on a white ground, with a horse bearing a sack and with conventional floral sprays. {Illustrated) Height, lU/a inches. 669 — Fourteenth Century Orvieto Primitive Majolica Deep Plate Irregular circular shape, without rim. Decorated, on a white ground, in green and manganese, with the figure of a bird and pointed-leaf forms in outline and hatched. Height, 3% inches; diameter, 11^ inches. {Illustrated) 670 — Fourteenth Century Todi Primitive Majolica Pitcher Pear-shaped, with pointed spout and flat looped handle. Deco- rated, on a white ground, in manganese, with the silhouetted figure of a dog-like fantastic animal with a dragon's claws. {Illustrated) Height, 11 inches. 671 — Fifteenth Century Cafaggiolo Majolica Vase Cylindrical shape, with sloping neck and foot. Decorated, on a white ground, in blue, with a diaper of lines forming lozenges in each of which is a vertical dash of color. Height, 9 inches; diameter, 8I4 inches. G71 672 673 672 — Foukteenth Century Orvieto Primitive Majolica Deep Dish Circular shape, without rim. Decorated, on a white ground, in green and manganese, with a circular medallion occupied by a grotesque bird form, with pointed and oak-leaf forms and sur- rounded by a meander border. Height, 3% inches; diameter, 11 inches. 673 — Fourteenth Century Orvieto Primitive Majolica Deep Plate Circular shape, with flat rim and gauffered edge. Decorated, on a white ground, as to edge with radiating hnes, as to the in- terior with the raised figure of a fallen deer, colored and sur- rounded by outlined leaf forms. Height, 2% inches; diameter, 11 inches. (Illustrated) 674 676 674 — Fourteenth Century Orvieto Primitive Majolica Deep Plate Circular shape, with flat rim. Decorated, on a white ground, in green and manganese, as to the rim with a pattern of radiat- ing lines, as to the interior with a large pattern of Saracenic interlacements on a hatched ground. Height, 2% inches; diameter, 121/4 inches. 675 — Fifteenth Century Sienese Majolica Dkug Vase Reversed pear-shape, with curved cyhndrical neck and two looped handles. Decorated, on a white ground, in green, blue and yellow, with a bound laurel wreath enclosing a diapered ground with rosetted scroUings and a broad band inscribed in Gothic lettering, "Triacha." Height, 13 inches. (Illustrated) 676 — Fifteenth Centuky Cafaggiolo Majolica Deep Dish Circular shape, with flat rim. Decorated, on a white ground, in various colors, as to the border with a border of serpentine figures and rays, as to the center with a scrolled and voluted lily on a ground of scrolled diapering. ( Repaired. ) Diameter, 10% inches. {Illustrated) 677 — Sixteenth Centuey Pisako Majolica Soup Tureen and Cover Circular shape, on foot. Decorated, on a white ground, in col- ors, as to the cover with floral scroUings, as to the interior of the tureen with a subject of "The Baptism of Christ." Height, 8 inches; diameter, 10% inches. 678 — Fourteenth Century Orvieto Primitive Majolica Deep Dish with Handles Circular shape, with two scrolled projecting ear handles. Deco- rated, on a white ground, with a fantastic winged animal and heart-shaped leaf forms on a hatched ground. Height, 4% inches; diameter, 13% inches. (Illustrated) 678 679 — Fourteenth Century Orvieto Majolica Deep Dish with Handles Circular form, with flat rim and two scrolled ear handles. Deco- rated, as to the interior, with an elaborate design, on a hatched background, of a fantastic animal, half -lion and half -man and with heart-shaped leaf forms. Surrounded by a chain of pat- terned border. Height, 5% inches; diameter, 11% inches. 680 — Fifteenth Century Cafaggiolo Majolica Deep Dish Circular shape, with flat rim. Decorated, on a white ground, as to the edge with a border of serpentine figures and rays in blue, as to the center with a large shield in blue, banded with yellow and surrounded by a wreath of pointed leaves in blue and yellow on a dotted ground. {Illustrated) Diameter, 10% inches. 681 — Sixteenth Century Faenza Majolica Drug Vase Pear-shaped body, with incurved cylindrical neck and annular foot. Decorated, on a white ground, in blue and yellow, as to the body with a ground of scrolled rosettes and palmettes, with a label inscribed in Gothic letters "Acicorie," and as to the shoulder, neck and foot with bands of color and a border of palmette-shaped flowers. (Illustrated) ^''9^*' ^^^/^ *"^^^*- 682 — Sixteenth Century Paduan Majolica Bowl Curved sides, with flat rim. Decorated, in varicolored "stecco" work, with borders of floral scrolled and zigzag patterns, the center with a circular medallion occupied by a coat-of-arms. {Illustrated) Diameter, IGl/g inches. 683 — Fourteenth Century Todi Primitive Majolica Pitcher Pear-shaped body, with large pointed spout, annular foot and flat looped handle. The upper portion, only glazed, revealing the unglazed body at the foot. Decorated, on a white ground, in manganese, with a band of pointed interlacements on a hatched ground and with scroUings. (Repaired.) (Illustrated) Height, 10% inches. 684 — Fourteenth Century Todi Primitive Majolica Pitcher Pear-shaped body, with large pointed spout and straight flat looped handles. Glazed in white and decorated on both sides with a heart-shaped medallion occupied by the coat-of-arms of the Orsini Family (two rampant lions and a tree) in low relief on a red ground. (Repaired.) (Illustrated) ^''9^^' 1<^% ''''^''- 685 — Fourteenth Century Orvieto Primitive Majolica Deep Dish Circular shape, with flat rim. Decorated, as to the rim, with radiating lines and as to the interior with a quatrefoiled inter- lacement and demi-rosettes on a hatched ground. (Repaired.) Height, 2% inches; diameter, 12^/2 inches. (Illustrated) 686 — Fifteenth Century Cafaggiolo Majolica Pitcher Pear-shaped body, with pointed spout and looped handle. Deco- rated, on a white ground, in blue and yellow, with a large circular medallion formed by a wreath of pointed leaves and fine scrolls, enclosing a coat-of-arms in a shaped shield sur- rounded by scrolled ribbons. (Illustrated) ^''9^*' ^^ ^^^^*- 687 — Fourteenth Century Orvieto Primitive Majolica Deep Dish with Handles Circular shape, with flat rim and projecting ear handles. Deco- rated, as to the interior, with a circular medallion occupied by a large oak-leaf on a hatched ground, and surrounded by a border of S-shaped scrolls. Height, 3% inches; diameter, 11% inches. (Illustrated) 688 — Fifteenth Century Faenza Majolica Drug Pitcher Reversed pear-shaped body, with cylindrical neck, projecting cylindrical spout and flat straight looped handle. Decorated, on a white ground, with a large circular medallion bordered with a honeysuckle patterning and occupied by a scrolled label inscribed in Gothic letters, "Aqua de Melle," by pointed honeysuckle leaf forms and by a device of the initials "G. B.," surmounted by a cross. (Illustrated) Height, 12% inches. 689 — Fourteenth Century Orvieto Primitive Majolica Pitcher Reversed pear-shaped body, with cylindrical neck, projecting cylindrical spout and looped handle. Decorated on a white ground in green and manganese with a pattern of interlacements and two crows on the neck. (Illustrated) ^''9^*' 1^% *™^'^^*- 690 — Fourteenth Century Orvieto Primitive Majolica Ewer Spherically shaped body, with long cylindrical neck and stem, circular foot and looped handle. Decorated, in green and man- ganese, with a patterning of scrolls and human figures. On the neck and modeled in relief are a shield with a heraldic eagle, a man's head and two pine-cones. Height, 11 inches. (Illustrated) 691 — Fourteenth Century Orvieto Primitive Majolica Pitcher Pear-shaped body, with pinched neck and loop handle. Deco- rated, on a white ground, in green and reddish brown (man- ganese) , with a conventional bird flanked by pine trees. Height, 11% inches. (Illustrated) 692 — Fourteenth Century Orvieto Primitive Majolica Ewer Spherically shaped body, with long cylindrical neck and stem, circular foot and looped handle. Decorated, in green and manganese, as to the neck with a coat-of-arms and two married couples exchanging flowers, and as to the body with three cir- cular medallions symmetrically placed. Height, 27% inches. (Illustrated) 692 690 691 No. 690. FouBTEENTH Centuuy Orvieto Primitive Majolica Ewer No. 691. Fourteenth Century Orvieto Primitive Majolica Pitcher No. 692. Fourteenth Century Orvieto Primitive Majolica Ewer 693 — Fourteenth Century Orvieto Primitive Majolica Deep Dish with Handles Circular shape, with turned-over rim and two scrolled projecting ear handles. Decorated, on a white ground, in green and man- ganese, with a circular medallion occupied with the figure of a woman in striped dress standing near a trefoil-leaved plant and seized by a fantastic winged animal with human head. Height, 5% inches; diameter, 12% inches. 694 — Fourteenth Century Orvieto Primitive Majolica Pitcher Reversed pear-shaped body, with curved cylindrical neck and two straight looped handles. Decorated, on a white ground, in green and manganese, with panels of interlaced pattern and meander scrolls and with a looped pattern around the neck. (Illustrated) Height, 12% inches. 695 — Fourteenth Century Orvieto Primitive Majolica Deep Dish with IIandles Circular shape, with scrolled projecting ear handles. Deco- rated, on a white ground, with a circular medallion occupied by a figure of the Agnus Dei with cross and halo, surrounded by a deep border of pointed interlacements. Height, 5% inches; diameter, 13% inches. (Illustrated) 6!)4 695 No. 694. Fourteenth Centuky Obvieto Primitive Majolica Pitcher, No. 695. Fourteenth Century Orvieto Primitive Majolica Deep Dish with Handles DAVANZATI PALACE: SCULPTURES IN STUCCO AND TERRA-COTTA 696 — Fifteenth Century Florentine Polychrome Stucco Bust Bust portrait of Saint Anthony, Archbishop of Florence, This life-size portrait bust shows the churchman, habited in priestly robes, as a bald-headed man of mature age, with thin-lipped mouth tightly closed and downcast eyes. On a semi-octagonal base of gilded wood carved with quatrefoil rosettes and with voluted consoles at the angles. Height, 17% inches. 697 — Fifteenth Century Italian Polychkome Stucco Bust of Peteauch Portrait bust of Francesco Petrarca, the poet. He wears a close-fitting Venetian hood and is shown in full face glancing towards his left. On a fifteenth century molded base of colored and gilded wood. Height, of bust, 15% inches. 698 — Fifteenth Century Florentine Polychrome Stucco Bust OF Dante This bust portrait of one of Italy's greatest glories, Dante Alighieri, was executed early in the fifteenth century from the death mask of the poet. It shows him with downcast but open eyes, a clean-shaven face, and wearing the close-fitting Floren- tine cap with ear lappets, and a gathered robe with turned-back lapels at the neck. On an octagonal molded carved and gilded base. Height, 15 inches. Note: This famous bust of the poet, executed, as was then the almost universal custom, from a death mask, was the object of many ineffectual attempts to purchase on the part of the late J. P. Morgan, who regarded it as one of Professor Volpi's most valuable treasures. 699 — Fifteenth Century Florentine Polychrome Terra-cotta Bust oe Piero de Gino Capponi This life-sized bust of Pier Capponi, the Florentine patriot, shows him in full face clothed in a loosely gathered robe laced up at the throat and with bushy curling hair falling to his shoulders. It has a molded hexagonal base and is supported on a bracket with molded and shaped apron, the plinth of which is inscribed in Latin as follows : "optimus . G. G. merca . dignus . ovem . CERNIS . DENIQUE . LAUDE , FUIT . OMNIUM . FCELIX . TALI . FLORENTI^ . ALIUMNO . POSSE . PUTAS . UNQUAM . TE . EEPERiRE . PAREMj" a eulogy, namely, of the patriot "whose like," it says, "Florence shall never see again." Note: In addition to its artistic value, the historical interest of this life-like bust is very great. Pier Capponi, as the Florentines called him, by his sturdy honesty and fearlessness delivered his city from the tyranny of Piero de' Medici. His blunt, "It is time to end this baby government," was the only weapon needed to depose Piero and drive him from the city. More famous, however, is his reply to Charles VIII when, in 1495, the French King threatened to sound his trumpets unless the exorbitant sum he exacted from the city were paid. "Then we will ring our bells," retorted Capponi, and the French King yielded and left Florence. Height, iSy^ inches; width, 28% inches. No. 699. Fifteenth Century Florentine Polychrome Terra-cotta Bust of Piero de Gino Capponi 700 — Fifteenth Century Florentine Polychrome Stucco Bas- relief A full-length figure of the Virgin dressed in a girdled robe of red and a flowing blue mantle and seated on a bench flanked by paneled pilasters. On her right knee she supports with both hands the nude Infant Christ wearing a necklace of beads and supporting Himself by His outstretched left arm. The Virgin has a rayed nimbus, the Christ one with a cross. The figures are in a round-arched niche, the arch filled with a shell-like ornamen- tation. In a contemporary square molded frame of gilded and painted wood on a molded base with a plain plinth. Height of stucco, 22% inches; width of stucco, 17% inches. 701 — Fifteenth Century Florentine Polychrome Stucco Bas- relief {School of Donatello: 1383-1466) Oblong bas-relief of a half-length figure of the Virgin, who, with bared right arm, restrains the Christ Child, who, habited in a single slight garment, steps forward to the spectator's right, His feet being supported on a horizontal molded ledge at the bottom of the relief. Both the Mother and Son have gilded haloes and the background is decorated with a scrolled patterning of five-leaved rosettes. In a contemporary tabernacle frame of painted and gilded wood, with molded cornice and painted frieze supported on two fluted and astragalled pilasters with composite capitals on a molded base, the plinth painted with an "Ave Maria" inscription in Roman lettering. Height of terra-cotta, 35% inches; width of terra-cotta, 20^ inches. 702 — Fifteenth Century Flokentine Polychrome Terra-cotta Alto-relief Half-length figure, in high relief, of the Virgin, with blue mantle and red tunic, supporting in her lap the sleeping Infant Christ, who lies with relaxed limbs and with His head fallen forward in a sleeping posture. The Virgin, with a look of maternal solicitude, lovingly presses the cheek of the Divine Child with the forefinger of her right hand, clasping His body with her left. On old carved gilded wood base. Height, 24 inches. 703 — Early Fifteenth Century Florentine Polychrome Terra-cotta Alto-relief [By Jacopo delta Querela : 1374?-1438) The Virgin, shown in half length, with closely braided hair and flowing blue mantle fastened at the neck with an oval jewel, holds with her left hand the standing Infant Christ, whose right hand fingers the neck of His short linen tunic, while His left clasps the thumb of His Mother's left hand. The Virgin's left hand caressingly holds the bare feet of her Son. On a carved and molded base of gilded wood. Height of terra-cotta, 31 VL' inches; width, 24)% inches. 704 — Fifteenth Centuey Florentine Polychrome Terra-cotta Alto-relief {By Lorenzo Ghiberti: 1381-1455) The half-length figure of the Virgin, clothed in a red robe and blue mantle with frilled border, holds in both her arms the Infant Christ, pressing Him closely to her side in an access of maternal love. He is clothed in a single linen garment and rests His left hand on His Mother's arm and His right on her right hand, pressing His chubby cheek closely to her face. On a molded, gilded and painted base of wood, and placed in a square tabernacle with trefoil pointed-arch opening and two hinged doors painted with vases of flowers. Height of terra-cotta, 28% inches; width, 181^ inches. (Illustrated) Note: Though most of Ghiberti's existing work is in metal (he was a goldsmith and the son of a goldsmith), there are many terra-cotta and small works, according to Sir J. C. Robinson, which are known to be from his hand. By Lorenzo Ghibeeti: 1381-1455 No. 704. Fifteenth Century Florentine Polychrome Terra-cotta Alto-relief 705 — Fourteenth Century Florentine White Marble Figure {By Arnoldi) Half-length figure of the Virgin, in a tight-fitting robe and flowing mantle. With her right hand she presses to her bosom a pomegranate and with her left she supports the Infant Christ. On a molded base of gilded and painted wood. Height, 35% inches; width, 28% inches. {Illustrated) Note: Arnoldi, the sculptor of the figure, is chiefly known for his elaborate altar now at the Loggia del Bigallo, Florence. By Aunoldi No. 705. Fourteenth Century Florentine White Marble Figure 706 — Fifteenth Century Florentine Polychrome Stucco Bas- relief {By Donato de' Bardi, called Donatello: 1383-1466) The half-length figoire of the Virgin, clothed in a mantle of gold brocade richly decorated with a scrolled leaf -patterning and a head-covering of gold cloth patterned with incised dottings, lov- ingly bends her head to meet that of the Infant Christ, whom she protectingly clasps with both arms. He is clad only in a gold brocaded garment and His legs are bare. As He snuggles close to His Mother, he affectionately presses both His hands to her face. The background is of blue, studded with gold stars. In a tabernacle-shaped frame, painted in cream color and gold, flanked by two fluted and astragalled pilasters which support a molded cornice and frieze painted with a honeysuckle pattern- ing of gold on a blue ground. The plinth of the molded base bears the inscription in Roman lettering of gold on a blue ground: "s. m. intercede . p. nobis." Above the terra-cotta is a hexagonal molded arch with the spandrels filled by the sacred monogram in gold. Extreme height of terra-cotta, 43 inches; width of terra-cotta, 3iy2 inches. (Illustrated) Note: This is a work well known to Italian critics, who have united in pronouncing it to be an early work of the prolific Donatello. By Donato de' Bardi (Donatello) : 1383-1466 No. 706. Fifteenth Century Florentine Polychrome Stucco Bas-relief By Beunardo Rosseijjni: 1 409-1470 * No. 707. Fifteenth Centuuy Flouentine Painted Wood Bust of a Young Girl By Bernardo Rossellini: 14<09-1470 ■A" No. 707. Fifteenth Century Florentine Painted Wood Bust of a Young Girl * 707 — Fifteenth Centuky Flokentine Painted Wood Bust or a Young Girl {By Bernardo Bossellini: 1409-1470) Bust of an aristocratic girl maiden belonging to one of the Patrician families of Florence. Her lips are parted in a pro- vocative smile and the whole young face, with its soft brown eyes, seems a-sparkle with the joie de vivre. Her fair hair is plaited and twisted tightly around her head, and shows traces of having been originally gilded. She is dressed in a tight- fitting tunic of green, cut square across the neck and bordered with an embroidered edging of gold, while across her shoulders is draped a dark green mantle, lined with red and folded back in two lapels so as to show the tunic beneath. The bust stands on its original semi-octagonal base of wood, molded above and below, its shallow plinth being painted in a pattern of gold scrolling on a black ground. (Illustrated) Note: This altogether delightful little bust, perhaps one of the most fascinating bequeathed us by the Italian Renaissance, came direct to its present owner from a Patrician family of Padua, whose name for obvious reasons cannot be given, but in whose possession it has been for many generations. But although its provenance was Padua, its workmanship is undoubtedly Florentine and of the Donatello School. By the family in whose possession it remained so long and by tradition, it has always been confidently attributed to Bernardo Rossellini, who, like his young brother Antonio, was one of the favorite pupils of Donato de' Bardi, better known as Donatello. Although some Italian critics have professed to see here the hand of Desiderio da Settignano, the majority find in its air of innocent purity conclusive evidence that tradition is correct and that the bust is the work of Bernardo Ros- sellino. 708 — Fifteenth Century Florentine Polychrome Stucco "Bambino" {By Bernardo Rossellino) Life-size full-length figure of a "Bambino", or possibly a Child Christ. He lies on his back with his left leg bent upward and his hands close to his body. Realistically colored. Length, 20^/2 inches. 709 — Fourteenth Century Italian Polychrome Terra-cotta Alto-relief {By II Maestro della Cappella Pellegrini: XIVth Century) A half-length figure of the Virgin, dressed in a red tunic with tightly-fitting sleeves, with a wimple covering her head and fall- ing over her left shoulder, with her left arm she holds the Infant Christ, who has one hand pressed on His Mother's breast, and turns the toes of His right foot upward in a gesture of childish exultation. In her left hand the Virgin holds a pomegranate, which she regards with downcast eyes. On a semi-octagonal molded and painted base. The whole set in a rectangular taber- nacle, with trefoil arched opening and two hinged doors, painted with quatrefoil rosettes and borders of interlaced pattern. Height of terra-cotta, 36^ inches; width, 20% inches. Note: Dr. Wilhelm von Bode did not hesitate to attribute this very interesting terra-cotta to the fourteenth century Florentine now known as II Maestro della Cappella Pelligrini. 710 — Fifteenth Centuky Florentine Polychkome. Stucco Bas- relief {School of Donatello :13S3-14!66) The Virgin, seen in half length, and modeled in low relief, is dressed in a red robe with tight- fitting sleeves and raises her clasped hands in adoration before the Infant Christ, who sits in front of her, clasping her left arm with His left hand and holding a fold of her white veil in His right. He is dressed in a gathered robe of white hnen with a broad girdle. The Vir- gin's head is surrounded by a large rayed gold nimbus and around the Child's head is a gesso-worked halo. The back- ground is blue, and above is seen the Dove of the Holy Spirit surrounded with gold rays, descending with outstretched wings. The original carved wood, gilded and painted frame is round- arched, with projecting circular medallions and scrolled leaves at the springings and has an inscription around the bas-relief in Roman lettering, "Gloria in excelsis Deo" et in terra Pax hominibus Bone Voluntatis," and below, "Ave Maria Gratia." Height of terra-cotta, 401/4 inches; width of terra-cotta, 25 inches. {Illustrated) 3^^m^m^^mimta^-s ^^v^tiisa. j^^ff ■s^'X. spi»mi^«y^^?i»ft*"^*«^^^|^- School of Donatello No. 710. Fifteenth Century Florentine Polychrome Stucco Bas-relief % 711 — Fourteenth Century Venetian Polychrome Wood Stat- uette Full-length standing figure of the Virgin dressed in a red tunic girdled at the waist, a white wimple from which her curling hair escapes, covering the head and falling over the shoulders, and a voluminous blue mantle the folds of which she supports with her right hand, in which she also holds a flower. On her left arm she supports the Infant Christ, nude, save for a fold of His Mother's mantle. He sits upright and with His right hand holds a fold of His Mother's head-covering. On the original octagonal molded and colored base. Height, 31% inches. 712 — Fifteenth Century Florentine Polychrome Terra-cotta Statuette {Attributed to Antonio Bossellino: 1427-1478) Seated figure of the Virgin, in blue mantle with embroidered border and red tunic, holding on her right knee and encircling with her right arm the Infant Christ, who, clothed in a single garment, sits upright clasping with both hands the fingers of His Mother's left hand. Beneath the folds of her mantle are seen the Virgin's bare feet. On hexagonal base of old carved and gilded wood. Height, 25% inches. 713 — Fourteenth Centuky Itaijan Polychrome Terra-cotta Tabernacle {By II Maestro della Cappella Pelle- grini) The Virgin, in a red robe and blue mantle, her long curling hair framing her face, with its rapt expression, stands in a gilded pointed-arched niche with fluted ribbings. On her left arm she holds the nude Infant Christ, who stretches out. His right leg in a childish abandon and seems to look with pleasure at the fruit He holds in His right hand. Serving as a background are the folds of a heavy drapery fringed at the edges, which is supported by two Amorini who stand on circular molded and shaped pedestals crowning the clustered fluted columns with leaf- carved capitals which flank the figures and form the side of the tabernacle. Above is a double-pointed arch, the space between occupied by acherub and scrolled foliage, and the outer arch heavily crocketed with scrolled pointed leaves. The base is molded and has a plain plinth. Height, 52% inches. (^Illustrated) Note: This is considered to be the most beautiful existing work of II Maestro della Cappella. By II Maestro della Cappella Pellegrini No. 713. Fourteenth Century Italian Polychrome Terra-cotta Tabernacle 714 — Early Fifteenth Century Sienese Polychrome Carton Piece Alto-relief Life-size figure of the Virgin, dressed in a gold-brocaded red tunic and blue mantle, seated on a carved bench and holding on her left knee the Infant Christ in a linen garment, who reaches out His right hand for the bird held by His Mother in her right hand, and with His left holds a rose. In ornate tab- ernacle frame of wood, molded, carved, gilded and painted. It consists of a round-arched canopy, cusped and surmounted by a molded cornice, supported on brackets and spirally twisted pilasters. The molded base has a plinth painted with scrolled floral sprays. Height of figure, 83% inches; width, 41 inches. (Illustrated) 714a — Early Fifteenth Century Umbrian Statue Of carved and painted wood. Subject, in heroic size, of a seated woman dressed in a red tunic under a white robe with red cuffs and trimming of gold bands and pointed shoes of red, green and gold. She is seated on a rectangular bench painted in gold, green and red, and holds in her left hand a flower. Height, 5 feet 10 inches. No. 714. Early Fifteenth Century Sienese Polychrome Carton Piece Alto-relief 715 — Fifteenth Century Spanish Ivory Crucifix The straight-armed cross is of wood painted in a scrolled design of leaves and flowers, and the figure of Christ is of ivory, with a loin-cloth knotted around His waist. Height of figure, 30 inches. o o Ph p O o en < w E-i ■< w w El O ei O O P4 ■< Q ITALIAN ARMOR OF THE XVIth CENTURY CAP-A-PIE AND HALF-SUITS, SWORDS, HALBERDS AND EARLY FIREARMS It was in the late sixteenth and early seventeenth centuries that the defensive armor which for so many centuries had made the name of the Milanese armorers of European reputation found its apogee. Professor Volpi, in the small but interesting collection he has formed, has therefore been well advised to confine himself to the period named and to refuse to be seduced into the acquisition of those florid suits and massive helmets which give evidence of so much misdirected crafts- manship. Yet even in these earlier examples there is sufficient deco- rative quality and marks of skilled workmanship to entitle them to a place on the walls of the most elaborately furnished room. .These inlaid and engraved suits, these processional halberds and partizans, even these quaintly appearing crossbows and firearms, are of precisely the same nature as those for which the late Sir Richard Wallace and Baron de Corson were wont to pay such almost fabulous sums. H. T. ARMS AND ARMOR 716 — Sixteenth Century Italian Powder-flask Of lead, shaped as a fusil with a wooden stock inlaid with ivory and terminating in a plate of ivory engraved with the figure of a king and queen. 717 — Sixteenth Century Italian Wine-carrier Cylindrical shape, of inlaid wood formed as a small barrel with wrought-iron handle. 718 — Sixteenth Century Italian Water-flask Wooden flask for water carved in the form of a tortoise. •719 — Sixteenth Century Italian Powder-flask Formed of a horn mounted in wrought iron. 720 — Sixteenth Century Italian Powder-flask Pear-shaped body of wrought iron, decorated with applied bronze low-relief ornamentation of a mask surrounded by small patternings. 721 — Sixteenth Century Italian Powder-flask Of wrought iron, pear-shaped and decorated in repousse work with the coat-of-arms of the Medici family. 722 — Sixteenth Century Italian Powder-flask Horn mounted in wrought iron and engraved with a decoration of winged cupids and fantastic animals with human heads. 723 — Sixteenth Century Italian Spurs Pair of ceremonial spurs of wrought iron. 724 — Fourteenth Century Italian Bit Horse's bit of wrought iron shaped and decorated. 725 — Sixteenth Century Italian Dagger Straight engraved blade, with grip and pommel of carved ivory. 726 — Sixteenth Century Italian Dagger Broad leaf -shaped blade, with ivory handle carved in a design of a lion following a dog whose tail he has seized in his mouth. 727- — Sixteenth Century Italian Sword Of the "granchi" (or crab) type. Straight blade with double flutings under the guard. Shell-shaped guard and wire-wound grip. 728 — Sixteenth Century Italian Sword Straight blade, fluted its entire length. Pierced and chased guard, spiral quillons and spiral wire-wound grip. 729 — Sixteenth Century Italian Dagger Left-handed dagger. Straight guard and pommel decorated in openwork foliage design. Spiral wire-wound grip. 730 — Sixteenth Century Italian Dagger Long straight blade. Fluted guard, double scrolled quillons and plain hilt. 731 — Fifteenth Century Venetian Dagger Straight, broad "ox-tongue" blade with nine flutings throughout its length, with the upper half damascened in gold. The down- pointed quillons inlaid with the motto: "auxilium . a . super . AUDACES . roRTUNA." The shaped handle of wood, with bronze mountings on the faces sides and flat dome-shaped pommel. 732 — Sixteenth Century Italian Sword "Schiavona" type, with straight blade. Basket-hilt, with leather- covered grip. In iron-mounted leather scabbard. 733 — Fifteenth Century Italian Large Two-handed Sword Straight fluted blade, straight quillons, leather-covered grip and pear-shaped iron pommel. 734 — Sixteenth Century Italian Sword Hemispherical guard, with pierced ornamentation, straight wire-wound spiral grip and pear-shaped pommel. 735 — Sixteenth Century Italian Sword Straight blade, fluted under guard. Hemispherical guard, with pierced ornamentation, straight handle wound with iron wire and pear-shaped pommel. 736 — Sixteenth Century Italian Sword Straight blade, fluted under the guard. Hemispherical guard, pierced and chased with a design of animals and foliage, straight wire-wound grip and pommel decorated in low relief. 737 — Sixteenth Century Italian Sword Straight blade. Hemispherical pierced and chased guard, straight quillons, straight grip wound with heavy iron wire and pommel decorated in low relief. 738 — Sixteenth Centuuy Italian Sword Straight blade. Hemispherical pierced and chased guard, straight quillons, straight wire-wound handle and openwork pommel. 739 — Sixteenth Century Italian Sword Straight blade. Hemispherical pierced and chased guard, straight handle would with iron wire and pommel decorated in low relief. 740 — Fifteenth Century Italian Sword Straight blade. Engraved guard, straight handle, wound with iron wire and faceted pommel. 741 — Sixteenth Century Italian Sword Straight blade. Iron guard and straight handle with faceted pommel. 742 — Sixteenth Century Italian Sword Straight blade, fluted under the guard and engraved with the inscription: "respic. einem." Straight quillons, shell guard spirally molded grip, wound with iron wire, and pear-shaped pommel. 743 — Sixteenth Century Italian Sword Of the "Schiavona" or basket-hilted type. Basket-shaped open- work guard, straight quillons, handle wound with iron wire and pear-shaped pommel. 744 — Sixteenth Century Italian Swokd Straight blade, fluted beneath the guard and engraved with an inscription and the date "1517." Straight quillons and spiral grip wound with iron wire. 745 — Sixteenth Century Italian Sword Straight blade, fluted under the guard. Straight iron quillons, wooden handle and pear-shaped iron pommel. 746 — Sixteenth Century Italian Sword Straight blade, fluted under guard. Hemispherical guard, straight quillons, grip wound with wire and pear-shaped pom- mel. 747 — Sixteenth Century Italian Sword Straight blade, fluted under guard and engraved with the in- scription on both sides : finem respice. Straight quillons, wire- wound handle and faceted pommel. 748 — Sixteenth Century Italian Sword Straight blade, fluted under guard and with indecipherable in- scription on either side. Straight quillons and handle wound with iron wire. 749 — Sixteenth Century Italian Sword Straight blade. Hemispherical incised guard, straight quillons, handle wound with iron wire and pommel formed as a pine-cone. 750 — Sixteenth Century Italian Sword Straight blade, with double flutings down half its length. Shell- shaped guard, straight quillons, plain grip and faceted pommel. 751 — Sixteenth Century Italian Foil Straight quadrangular blade. Iron guard, wire-covered handle, and pommel decorated in relief with two coats-of-arms. 752 — Sixteenth Century Italian Hanger Straight blade, with carved wood hilt. 753 — Sixteenth Century Italian Processional Halberd Head with shaped blade richly damascened in gold. Wooden shaft, thickly studded with small round-headed nails. 754 — Sixteenth Century Italian Processional Halberd Head with pierced crescent-shaped blade, pierced crow's bill and long tapering point, with a wrought resetted knop. Shaft covered in red silk studded with brass-headed nails. 755 — Sixteenth Century Italian Processional Halberd Head with parcel gilt and pierced crescent-shaped blade and pointed crow's bill. Long wooden shaft covered with leather studded with brass-headed nails, with tassel under the head. 756 — Sixteenth Century Swiss Halberd Head with pierced crescent-shaped blade, pierced crow's bill and long octagonal point. Octagonal wooden shaft studded with brass-headed nails. 757 — Two Seventeenth Centuey Spanish Halberds Heads with long leaf -shaped blades with crescent-shaped hooks, richly engraved on one side with a coat-of-arms on the other with a monogram. Shafts thickly studded with brass-headed nails. (Illustrated) 758 — Sixteenth Centuky Italian Processional Halberd Head with pierced crescent-shaped blade, pierced crow's bill and long tapering point with a wrought rosetted knop. Shaft covered in red silk studded with brass-headed nails. (Illustrated) 759 — Sixteenth Century Italian Halberd Head with pierced crescent-shaped blade, pierced crow's bill, and extremely long octagonal point, showing traces of chased and gilded ornamentation. Octagonal wooden shaft studded with brass-headed nails. (Illustrated) 760 — Sixteenth Century Italian Processional Halberd Head with square tongue-shaped point, pierced crescent blade and pierced carved crow's bill. The cylindrical shaft is covered with red velvet spirally studded with brass-headed nails. (Illustrated) 761 — Sixteenth Century Italian Processional Halberd Head with square tongue-shaped point, pierced crescent blade and pierced carved crow's bill. The cylindrical shaft is covered with red velvet spirally studded with brass-headed nails. (Illustrated) 762 — Part oe a Sixteenth Century Italian Suit of Armor Consisting of a helmet, pauldrons, rerebraces and a breast-plate. The helmet is of the "pot" type with comb, adjustable free-guard in front and "lobster-tail" neck-guard at back. The pauldrons are studded with brass-headed rivets, the rerebraces are jointed and the breast-plate is richly engraved and gilded with a scrolled design of a mask surrounded by scrolled foliage. (Illustrated) Nos. 757 TO 764 763 — Sixteenth Century Italian Processional Halberd Head with pierced crescent-shaped blade and straight crow's bill Cylindrical shaft covered with red velvet studded with brass-headed nails. (Illustrated) 764 — Sixteenth Century Italian Steel Buckler or Shield Circular shape, decorated with an engraved broad border of scrolled foliage design around the rim, the center being occupied with a design of fourteen radiating compartments alternatelj'^ plain and decorated with an engraved patterning of scrolled foliage. The central spike has a raised base of acanthus-leaf design. (Illustrated) 765 — Sixteenth Century Italian Processional Partizan Shaped shaft, with incised decoration. Shaft covered in red velvet and studded with brass-headed nails. 766 — Sixteenth Century Italian Processional Partizan Shaped head, with pole covered in red velvet and studded with brass-headed nails. 767^Sixteenth Century Italian Processional Halberd "TagliacoUo" (or cut-throat) type. Head with incised decora- tions on both sides, the upper part of the shaft covered in red velvet and fringed below the head; the lower part covered in red silk, studded with brass-headed nails. 768 — Sixteenth Century Italian Partizan Shaped head, with elaborate incised ornamentation. Long shaft, covered in leather studded with brass nails. 7G9 — Sixteenth Centuky Italian Processional Partizan Shaped head, with elaborate incised ornamentation. Long shaft, covered in red silk and studded with brass-headed nails. 770 — Fifteenth Century Florentine Soldier's Bill Crescent-shaped blade with spear-head engraved with the coat- of-arms of the Medici family above the initials "F.L." Wooden shaft painted black. 771 — Sixteenth Century Italian Processional Pik-e Straight spear-shaped head, with long shaft covered with red velvet and studded with brass-headed nails. 772 — Sixteenth Century Italian Pike "Corsesca" type, with spear-head, the shaft covered in leather with fringe below head and studded with brass-headed nails. 773 — Sixteenth Century Italian Processional Pike "Corsesca" type, with spear-head, the shaft covered in red silk studded with brass-headed nails. 774 — Sixteenth Century Itai.ian Processional Pike "Corsesca" type, with spear-head, the shaft covered in red silk studded with brass-headed nails. 775— Sixteenth Century Italian Battle-axe Head formed as battle-axe and war-hammer. Cylindrical iron shaft and octagonal grip, completely covered with an incised ornamentation. Trace of gilding. 776 — Sixteenth Centuey Italian Battle-axe Head formed as battle-axe and war -hammer, and richly damas- cened in gold with scrolls of foliage. The shaft is of wood cov- ered with red velvet. 777 — Seventeenth Century Italian Arbalest Crossbow with carved mahogany stock, steel bow and wrought- iron fittings. 778 — Seventeenth Century Italian Arbalest Crossbow "a eric" complete. Mahogany stock, carved with a fantastic animal and a woman's head above the crutch and with a turned finial. Steel bow and wrought-iron fittings. 779 — Seventeenth Century Italian Arbalest Crossbow complete, carved mahogany stock with turned finial, steel bow and wrought-iron fittings. 780 — Seventeenth Century Italian Arbalest Crossbow "a eric" complete, with richly carved mahogany stock, steel bow and wrought-iron fittings. 781 — Sixteenth Century Italian Arquebuse Octagonal barrel, with incised ornamentation, wooden stock and wrought-iron trigger and mountings. 782 — Eighteenth Century Arquebuse Arquebuse with fusiL Octagonal barrel and wooden stock elabo- rately inlaid with ivory engraved with scrolled foliage, animals and figure-subjects. 783 — Sixteenth Century Italian Processional Partizan Shaped head, with long shaft covered with red velvet and studded with brass-headed nails. 784 — Sixteenth Century Italian Cannon on Cakriage Small bronze cannon, with molded muzzle and bands, round knob at breech and plain trunnions. There is a band of low- relief ornamentation above the trunnions, a relief decorated loop above the touch-hole, and the touch-hole is decorated with a coat-of-arms in relief. Mounted on a four-wheeled gun- carriage of wood, the trail and the tires of the wheels richly carved in a pattern of acanthus-leaf rosettes, and the spokes also carved. The tires are clamped with wrought iron and the other fittings are of wrought iron. 785 — Sixteenth Century Italian Gun-rest Bronze forked gun-rest. Wooden shaft with iron shoe. 786 — Sixteenth Century Italian Gun-rest Bronze forked gun-rest, decorated with the coat-of-arms of the Medici family. Wooden shaft with iron shoe. 787 — Fifteenth Century Italian Matchlock Wooden stock and octagonal barrel. 788 — Fifteenth Century Italian Matchlock Wooden stock and octagonal barrel. 789 — Sixteenth Century Italian Hokse Trappings Consisting of saddle, head-stall, bridle, bit and reins. The sad- dle, with arcon and cantel, is finished with red silk fringe, the head-stall is of leather with red fringe, the studs of the bridle are of brass decorated in low-relief, and the reins are of silk inter- twined with gold threads. 790 — Sixteenth Century Italian Half-suit of Armor Consisting of helmet, gorget, pauldrons, rerebraces, coudes, vambraces and gauntlets, breastplate, tassets, breech and rapier. The helmet is a burgonet with high comb and pointed umbril, the rerebraces are jointed, the breastplate is of the "peascod" type, the tassets are laminated, the gauntlets fingered, and the breech is cut in scrolled lappets. The suit has an engraved deco- ration of alternating plain and ornamented bands, the latter with a patterning of trophies, dolphins and scrolls, and the date 1571 engraved in the center. The rapier has a straight blade, a spirally twisted open guard united to the knuckle bow, straight quillons, a grip wound with iron wire and a psar-shaped pommel. With mannequin. (Illustrated) 791 — Sixteenth Century Italian Half-suit of Armor Consisting of a helmet, gorget, pauldrons, rerebraces, coudes, vambraces, gauntlets, breastplate, tassets, breech and rapier. The helmet is of the "pot" type and has a wide umbril, the rere- braces are laminated, the breastplate of the "peascod" type, the gauntlets are fingered, and the breech cut in long narrow lap- pets. The entire armor, including the helmet, is engraved with a diapered pattern of palmettes on a sunken and dull ground. The rapier blade is straight, the guard an open spiral connected with the knuckle bow, the grip wire-bound and the pommel ball- shaped. Leather scabbard. With mannequin. (Illustrated) A a o o s g rt rt <^ <^ 1^ h o o H H k-i P P w ai f^ k 1^ >A H tf ;$ & P H h ^ ^ H w a u K w B H ^ ^ W H H H H H X i-l KH CC tn d 1-5 OS OS t- j> d d ^2^ ;25 792 — Sixteenth Century Italian Complete Suit of Cap-a-pie Armor Consisting of helmet, gorget, pauldrons, rerebraces, coudes, vam- braces, gauntlets, breastplate, taces and tassets, breech, cuisses, genouilleres, jambs, soUerets and circular shield. The helmet is crested with a pierced visor and a beavor, the gorget has looped edge, the breastplate a looped roundel on the right side, the gauntlets have un jointed finger plates and the soUerets have square and rounded toes, while the shield is decorated with a sunken band around the rim and six radiating panels with a gilded ornamentation on a dark sunken ground. The entire suit is bronzed and decorated with bands of gilded ornamenta- tion on dark sunken ground. With mannequin complete. {Illustrated) 793 — -Sixteenth Century Italian Half-suit of Armor Consisting of a celatus, or helmet with visor, gorget, pauldrons, rerebraces, coudes, vambraces and breastplate. Accompanied by an iron mace, a sword and a circular shield. The armor is completely gilded with a patterning of half -moons (em- blem of the Strozzi family) and the iron mace has a head of seven double curved flanges, completely gilded, with a handle in two parts partially gilded and ending in a pommel wrought as a garland. The circular shield is bronzed and etched with a design of radiating compartments occupied by patternings of trophies, quatrefoil and foliage and surrounded by a deep etched border of resetted design, and the spike has a base of gilded acanthus leaves. The sword is of con- temporary Spanish workmanship, with a hemispherical guard, pierced and wrought in a pattern of oval medalhons, with profiles of Roman Emperors and scrolled foliage, straight quillons, a wire-wound grip with plain knuckle-bow and ornate ball-shaped pommel. The long straight blade, under the guard, is engraved with an inscription : i. v. m. r. t. i. n. e. z. e. n. T. O. L. E. D. O. E. S. p. E. R. A. B. I. D. O. {Illustrated) 805 792 793 No. 792. Sixteenth Cektury Italian Complete Suit of Cap-a-pie Armor No. 793. Sixteenth Century Italian Half-suit of Armor No. 805. Sixteenth Century Italian Halberd 794 — Seventeenth Century Italian Half-suit oe Armor Consisting of a burgonet helmet with comb and movable nasal guard, gorget, pauldrons, rerebraces, coudes, breastplate and taces accompanied by an iron mace. The armor is plain and slightly gilded; the head of the mace is formed of seven scrolled flanges with projecting centers, and a spirally grooved handle ending in a fluted pommel. 795 — Fifteenth Century Italian Jousting Spear Tournament or jousting spear, with pointed leaf -shaped head having wrought-iron cross guard. The wooden shaft is formed with a swelling vamplate, recessed hand-hold and tapering butt. It has a tempera-painted decoration of alternating black and white spirals and the coats-of-arms of the city of Siena and of three Sienese families. Under the head is a silken tassel. 796 — Fifteenth Century Italian Iron Hauberk Loose-fitting sleeveless body garment of light chain-mail. 797 — Fifteenth Century Italian Iron Hauberk Loose-fitting sleeveless body garment of light chain-mail. 798 — Fifteenth Century Italian Iron Hauberk Loose-fitting sleeveless body garment of light chain-mail. 799 — Fifteenth Century Italian Iron Hauberk Loose-fitting sleeveless body garment of light chain-mail. 800 — Sixteenth Century Italian Cuirass Cuirass or breastplate of wrought iron. 801 — Fifteenth Century Ital,ian Helmet Engraved on the upper part in a design of trophies, masks and foliage. Below are rosettes, with brass studs as centers. 802 — Fifteenth Century Arabian Iron Helmet Burgonet of wrought iron. 803 — Sixteenth Century Italian Steel Morion Spiked helmet in iron elaborately chased and gilt in a pattern of Oriental interlacements. In front is a panache, or plume- holder, and, behind, a chain-mail shoulder guard. 804 — Sixteenth Century Italian IjAntern Cylindrically shaped hand lantern for use in camp. Talc sides mounted in pierced and chased bronze with wrought-iron carry- ing handle. 805 — Sixteenth Century Italian Halberd Head with pierced crescent-shaped blade, straight pierced crow's bill and long point, knop with two warriors' heads in relief, all completely gilded. Long wooden shaft, covered with leather studded with brass-headed nails and with large tassel under the head. {Illustrated) O hi n o w K E-i o n M E-i O O H 1— I Pi t3 >H H PS ^ & W H O z; H w u H ;?; III M H W l^i H 1^ ^ H n H > X en o rH fe Oi H X , 6 o 05 ^ X d ^ o CO 894 — Fifteenth Century Venetian Brass Lamp Oil lamp, with cylindrical standard with looped carrying handle. Pear-shaped oil receptacle, supported by modeled figure of Atlas holding the world, and six curved molded wick-holders. Circular foot. Height, 22% inches. (^Illustrated) 895 — Seventeenth Century Italian Brass Lamp Cylindrical standard, with scrolled looped carrying handle and circular gadrooned foot. Gadrooned adjustable oil receptacle, with carved and molded wick-holders and circular guard below. Height, 3114 inches. (Illustrated) 896 — Sixteenth Century Italian Brass Deep Dish Circular shape, with flat rim having a stamped border around the edge of dotted quatre-foils. The interior has an outer border of spiral flutings with a raised boss repousse in spirally fluted gadroons surrounded by a chased border of rosettes. The center of the boss is suiik and inlaid in silver with a coat-of-arms and the inscription: "Bartolomeo di Francesco. Sotto fanti G. Novbe Dicenb 1518." Diameter, 22% inches. (Illustrated) 897^ — Sixteenth Century Venetian Bronze Pitcher Pear-shaped body, with projecting spout and looped handle. Partly gilded. Height, 201^ inches. ft m m ^ w^KMKI^BB^Bk^^' m«m: ^-- ■ ni Wt^ 1 P'l^ lilT" PRIMITIVE SCHOOL OF FLORENCE XIV Century 1001—^ CRUCIFIXION (Panel) Height, 36 inches; width, 12 inches An altarpiece with a solid gold background. In the center is a rep- resentation of Christ hanging on the cross, flanked by three figures of saints on either side. They are of both sexes and are shown with their attributes dressed in robes of various colorings. In an old frame of carved and gilded wood. From the collection of the poet Gabriele d'Annunzio From Professor Volpi's Villa Pia, Florence. BERNARDINO DI BETTO (PINTURICCHIO) Italian (Umbuian) : 1454 — 1513 1002— MADONNA AND CHILD (Panel) Height, 22^2 inches; width, 15% inches The Virgin, seated, holds the Child Christ, who grasps in His left hand a red globe and uplifts His right in the act of benediction. The Virgin's head is covered with a white veil which falls upon her shoul- ders, and she wears a dark purple robe with an olive green mantle whose border is enriched by a band of gold embroidery. In the background is seen a mountainous landscape, with crags, rocks and trees. In an old frame of carved, painted and gilded wood. From Professor Volpi's Villa Pia, Florence. ZANOBI STROZZI Italian (Florence): 1412 — 1468 1003— DEPOSITION FROM THE CROSS (Panel) Height, 24 1/5 inches; width, 16 1/3 inches In the upper part of the panel against a background of blue sky the lifeless body of Christ is being lifted down from the cross by two of His disciples, who raise themselves on a ladder. At the bottom of the cross the Virgin stands raising her hands as though in a despairing appeal for assistance. To the left are the other Maries weeping, and on the right other disciples. The background consists of a landscape with hills and a river, and a distant view of the wall-surrounded Jeru- salem, which is depicted as a fifteenth century Italian city. In an old frame of carved and gilded wood. From Professor Volpi's Villa Pia, Florence. Note: Strozzi, a Florentine of noble birth, though pupil and occasionally a collaborator of Fra Angelico, painted rather as an amateur than as a professional. BALDASSARE PERUZZI Italian (Siena) : 1481— 1536 1004<~POETR AIT OF HIMSELF - / (Canvas) Height, 19 inches; width, 141^ inches. A BUST portrait of a young man, with long, almost straight, hanging brown hair parted in the middle, a drooping brown mustache and slight beard. Regarding the spectator in full face, he is dressed in a vest of greenish blue bordered with orange and tied with ribbon, a white cambric lace-edged shirt, a dark mantle and a black velvet cap. In the background is a wooded landscape with the Tuscan hills in the distance. In an old frame of carved and gilded wood. From Professor Volpi's Villa Pia, Florence. Note: Distinguished rather as an architect than as a painter, Peruzzi was nevertheless an accomplished draughtsman and has painted at least one picture of note, a Sybil for a church in Siena. FERDINAND BOL Holland (Amsterdam) : 1616 — 1680 lOOB—PORTRAIT OF REMBRANDT (Canvas) Height, 20^/2 inches; length, 24 2/5 inches This is a copy, by Rembrandt's most famous pupil, of the Master's own portrait of himself, now in the Uffizi Gallery in Florence. It shows the great painter as a comparatively young man, dressed in a brown tunic and mantle of the same color, the latter falling away at the breast so as to expose a isteel gorget. His long, curly brown hair is partly covered by a round flat black velvet cap and he wears his favorite gold chain around his neck so as to fall over the gorget. The background is of grayish yellow lightened somewhat upon the left- hand side of the picture. In a contemporary frame of carved and gilded wood. From Professor Volpi's Villa. Pia, Florence. y*isyA>«W« ^ l*W*'»V4t-"--J^ MARCO BASAITI Italian (Venetian): 1460 — 1525 1006— PORTRAIT OF A MAN Height, 20 inches; width, 15% inches Bust portrait of a man in a three-quarter view looking to the spec- tator's left He has a full, determined, clean-shaven face, with a scar on the forehead, the mouth being tightly closed, with an expression of firmness, and the long light-colored hair falling to the shoulders. He wears a high round black cap, and is dressed in a black habit. To the left is an open window showing a mountainous landscape, evidently a view of the Cadore Hills, with a small lake upon the shore of which is a shepherd with a flock of sheep. In an old frame of carved and partially gilded wood. From the Grandi Collection of Milan. From Professor Volpi's Villa Pia, Florence. Note: Marco Basaiti is one of the earliest of Venetian portrait-painters; portraits by him are infrequent but highly esteemed. Like his subject pictures, they display much of the brilliancy and delicacy of contemporary Flemish masters. "l^ mB m iws ! ■' ^'-^ -. .^i: ^M ^^t I; ». , ^ 1 "^^ B 1 r^ ^% ^ ■ ^~- A ^ ^^ p "';^. -w ^ ^ I-. ^K» ' N.^ai«&u<^ ^K, M>^ M ip?^ R- \^ ^ Wm W\ '^^ J II im i A ..^ri '''^■'^^'■ 1 » 1 BOl i ■ft&vs.^«d GIROLAMO ROMAl^I (IL ROMANINO) Italian (Brescia) : 1485—1566 1007~POBTBAIT OF A YOUNG MAN (Canvas) Height, 25 3/5 inches; width, 20% inches Half-length portrait of a young man, the face in three-quarter view looking towards the spectator's left. He is dressed in a loose tunic of white with loose sleeves and a standing collar, opened so as to show a frilled cambric undergarment. On his head he wears a rich flat cap of red with a plume of white ostrich feathers, and in his right hand he holds a leather gauntlet against his breast. The youthful face, with its faint trace of a mustache, looks out from the picture with a sedate, almost an intriguing, look in the closed lips and wide- open eyes. In the upper left-hand corner is painted the name : abeam FEDERICI. In an old frame of carved and gilded wood. From Professor Volpi's Villa Pia, Florence. JACOPO PALMA (IL VECCHIO) Italian (Venetian) : 1480— 1528 1008— PORTRAIT OF AURELIO ONIGO (Panel) Height, 24 inches; width, 201,'2 inches Half-length portrait, nearly full face, of Aurelio, son of Augustin Onigo a Roman Senator. The young man has long dark hair, is bearded, and is dressed in a brown fur-trimmed robe, with a white shirt showing at the neck. On the finger of the left Jiand, which shows at the bottorri of the picture, he has a gold ring. As background there is a semicircular architectural recess of grayish yellow color. In a contemporary frame of carved, painted and gilded wood. From Professor Volpi's Villa Pia, Florence. Note: The small village of Onigo owed its name to the family whose ruined castle still commands the town from a nearby height. In the late fourteenth century the head of the house was one Augustin Onigo, a wealthy patron of the arts, and the father of two sons, one of whom, Aurelio (whose portrait is under consideration), was married to Constance de Castelfranco. By the Onigo family this portrait was attributed to Giorgione, who was a protege o{ Aurelio, but experts, whose opinion is regarded as authoritative, have pro- nounced it to be the work of Palma Vecchio. It is at least certain that the picture hung in the Palace of Treviso as a highly regarded treasure until the day, in 1904, when the last descendant of the illustrious family was killed in his own garden. FRANCESCO GUARDI Italian (Venice) :in2— 1793 * 1009-^^ MASKED BALL IN VENICE (Canvas) Height, 12% inches; length, 20 inches The interior of the Venetian Ridotto in the eighteenth century. The room is of great size, the walls plainly painted in a grayish green tone, and the rafters of the high ceiling exposed. In the vast spaces of this room a masked ball is in progress, the numerous figures being clothed either in fancy costumes or in dominoes, the sombre effect of the black capes of which is relieved by the gaiety of the light-colored dresses beneath, and more especially by the vivid coloring of a harle- quin's costume in the near foreground. Illustrated in the Catalogue of the Stroganoff Collection, From Professor Volpi's Villa Pia, Florence. Note: Among Guardi's familiar scenes of outdoor Venice this interior, with its masterly treatment of figures seen in an artificial light, holds a place entirely its own. PRIMITIVE SCHOOL OF FLORENCE Early XIV Centuky 1010— TRIPTYCH (Carved and painted wood) Height, 21% inches; width {open), 22^ inches The triptych, with gabled top, has a molded base, a molded frame and two hinged doors. In the center panel is seen the figure of the Virgin seated, dressed in a blue mantle and holding the Christ, clad in a single garment of linen, on her left arm, while His mother sup- ports Him with her right hand. On either side are two Saints. Those on the spectator's left in monastic robes and holding open books, those on the right consisting of an adult St. John the Baptist in a camel's-hair garment, and a kneeling ecclesiastic. In the immediate foreground are kneeling figures of St. Francis with the Stigmata on the left, and St. Bernard with his rosary on the right, while in the center are miniature figures of a kneeling angel playing a viola and the standing figure of the Donor, evidently a youthful Prince. All the figures, except the Donor, have gilded and patterned haloes. The leaves are painted, that on the left with Christ bearing His Cross over a rocky pathway with a Roman soldier and Disciples in the back- ground, and that on the left with a Crucifixion, with a skull and cross- bones at the foot of the Cross, and the Virgin and St. Mary Magdalene lamenting on either side. The pointed upper portions of the leaves are occupied with an Annunciation, the Angel kneeling on the left, the Virgin by a prie-dieu on the right. The frame and base are gilded and there is an iron ring for suspension. From the Davanzati Palace, Florence. DOMENICO BIGORDI (GHIRLANDAIO) Italian (Florence) : 1449 — 1494 1011— THE ANNUNCIATION (Two leaves of a wooden tabernacle) Height, 10 1/5 inches'; width, 3 1/6 inches Tabernacle, 11 2/5 inches hy 6 \/^ inches The subject is painted on the inner surfaces of the round arched doors of a plain wooden Tabernacle. On that on the right-hand side the Virgin is seen standing in the middle of a spacious apartment with paneled walls. She is dressed in a red tunic with tight-fitting sleeves and a voluminous red mantle, is haloed, and^ with a beatific smile on her face, she raises her right hand, as though to acknowledge the salutation of the angel, while in her left she clasps to her bosom a closed book. Behind her is seen a high canopied bedstead draped with looped back curtains. On the leaf of the left-hand door the angel Gabriel is seen in the midst of a delightful landscape of trees, rocky cliffs, and a lake. In the sky above, rays of glory, proceeding from a cloud, envelop a descending Dove, emblem of the Holy Ghost. The angel, with outspread wings, is seen in profile as he kneels and, with uplifted hands, delivers his tidings to the Virgin. Tabernacle with arched top and hinged doors on a molded wooden base. From Professor Volpi's Villa Pia, Florence. SANO DI PIETRO Italian (Siena): 1406— 1481 1012— MADONNA AND CHILD (Panel) Height, 28%^ inches; width, 19% inches Half-length figure of the Virgin seated, in a blue mantle having an embroidered star on the right shoulder. Her face is surcharged with Divine pity and she supports the standing Child Christ with her right arm. He is clothed in a single garment of fine linen and looks outward and beyond the spectator with wide-open eyes and an ex- pression of awed foreboding. The Child's head is surrounded by a nimbus with a cross, and that of the Virgin with a gesso-worked halo bearing the inscription, "Ave, Gratia Plena." At either side, behind the central subject, are the figures of two Saints, St. Bernard and another, in the robes of their Orders, while above, arranged in a half- circle, are the garlanded heads of four angels. The panel has a - round-arch top and is in an old carved, painted and gilded wood frame, with a cusped round-arched head and a paneled plinth inscribed, "Salve Regina Misericorde." From the Davanzati Palace, Florence. PETER PAUL RUBENS Flemish ( Antwerp ) : 1577 — 1640 1013— PORTRAIT OF CAROLUS DE MALLERY (Canvas) Height, 22 inches; width, 15% inches Bust portrait with the head seen from the front, the dress and the mantle black, white collar. Dark yellow background. In an old frame of carved and gilded wood. From Professor Volpi's Villa Pia, Florence. Note: Karel van Mallery was a Flemish engraver of some note and a contemporary of Rubens. DARIO VAROTARI ■ . , . Italian '( Veeona) : 1589 — 1596 1014,— PORTRAIT OF A MAN (Canvas) Height, 26% inches; width, 241.4 inches Hai,f-length figure of a young man, his head leaning towards the spectator's left, seen in three-quarter view. His finely modeled face is clean shaven, and his wide-open eyes seem to be gazing reflectively into the dim distance, ^hile his thin lips are firmly closed. He is clad in a loosely-fitting black robe, gathered into a cape at the shoul- ders, with a V-shaped opening at the neck which allows a finely plaited shirt of white linen to be seen. On the right of the picture is a stone pilaster sculptured with marks and figures and bearing the signature of the painter, "D. V." In an old frame of carved and gilded wood. From Professor Volpi's Villa Pia, Florence. JACOPG PONTE (IL BASSANO) Italian (Venice): 1510—1592 1015— PORTRAIT OF THE ABBOT-GENERAL GRE- GORIO BARBARIGO (Ganyas) Height, 45^ inches; width, 37 inches. A HALF-LENGTH portrait of a member of a Patrician family of Venice. He is shown in full face/dressed in the white robe of his order and wearing a dark mantle. He is seated in a large chair, on one arm of which his right hand is resting, while the other arm of Jthe chair supports his left arm, the hand of which clasps a, closed book. In an old frame of carved and gilded wood. From Professor Volpi's Villa Pia, Florence. / JACOPO PONTE (IL BASSANO) Italian (Venice): 1510—1592 1016— PORTRAIT OF A VENETIAN AMBASSADOR (Canvas) Height, 37 2/5 inches; length, 46 inches' Half-length portrait of an ecclesiastic seen in full face. He is dressed in a reddish-colored cassock with large sleeves, beneath which is seen a red talare, or vest, - His right hand is slightly extended as though he were speaking, and the left rests upon a table on which lies a bull of Pope Clement VII, enough of which document is legible to show that the portrait is that of an Ambassador to Pope Clement's court. On the right is an open window from which is seen a view of Rome, showing the Castel Sant' Angelo. The background on the left is of a dusky brown wall. In an old frame of carved and gilded wood. From Professor Volpi's Villa Pia, Florence. ALESSANDRO FILIPEPI (SANDRO BOTTICELLI) Italian (Florence) : 1447 — 1510 1017— MADONNA AND CHILD (Panel) Diameter, 3014 inches In the center of this tondo the Virgin sits with her back to a pedestal- Uke wall of stone. She leans on one side her head, with an inexpres- sibly sorrowful air of foreboding in her beautiful face and presses to her right cheek the curly hair of her Divine Child, who looks upward to His Mother with a look of loving commiseration on His baby face. He is dressed in a simple garment fastened under His right shoulder and doubly girdled around him by a ribbon. On the Virgin's left and the spectator's right stands an infant St. John the Baptist, clad in the traditional garment of skin and holding in his left hand a label to which with the right he directs attention. It bears the inscription in Roman lettering: ecce agnus dei (Behold the lamb of God) . On the picture's left is a typical Botticellian boy angel, with long, wavy hair falling oyer his shoulders, dressed in a loosely gathered robe and holding an Easter lily which he seems to present to the Mother and Child. On either side of the background are presented glimpses of a delightful landscape. In a contemporary frame of wood, gilded and carved with a wreath of fruits and leaves bound above with a knot of ribbon and meeting below in a floral rosette. The inner rim carved with classical fleurons, the outer rim in a pattern of imbrications. From Professor Volpi's Villa Pia, Florence. Note: This picture, painted by Botticelli in his third manner, came from the Villa of Count Tommasi of Cortona and is known in Italy as the "Tom- masi Madonna." -.-^^j-4:.*^t" ait FRANCESCO RAIBOLINI (FRANCIA) Italian (Bologna) : 1450 — 1517 i^lOlS— MADONNA WITH CHILD AND SAINTS (Panel) Height, 29% inches; width, 22% inches Seated in the center of the picture is the Virgin, with plainly smoothed hair parted in the middle and concealing her ears, her head inclined slightly forward, the face with an expression of ineffacable but fore- boding sweetness. She holds on her lap the Infant Christ, who gazes out of the picture with a solemnity of expression curiously akin to that of His Mother. The Virgin is dressed in a red robe, cut square at the neck, where it shows the narrow edging of a cambric under- garment, a voluminous cloak of blue lined with green and a blue skirt with a gold-embroidered border. Behind her, on the spectator's left, stands St. Francis of Assisi, with clean-shaven face, clothed in the gray robe of a monk, and on the right stands St. Dominick, as an old man with long gray beard, dressed in a red robe. The background is occupied by a landscape of green hills, trees and buildings over which rises a cloudless blue sky. The Virgin and the two saints have gilded haloes. In a contemporary carved and gilded frame. Signed in Gothic lettering, "Francia Orefaber." From Professor Volpi's Villa Pia, Florence. Note: Francia (who, by the way, was a goldsmith, even while one of the leading painters of his day, which explains his invariable signature of Ore- faber or AuRiFEx, meaning "goldsmith") painted this Madonna in 1506 for Cardinal Riario, who was titular Cardinal of Damaso. It is this picture to" which Raphael refers in a delightfully intimate letter to his friend Francia, quoted in full by Calvi in his "Life of Francia." Raphael, after thanking his correspondent for the gift of his portrait, which he says "is singularly beauti- ful and so life-like that 1 sometimes fancy myself near you and listening to your voice," goes on tO say: "The Honourable Signor Datary is awaiting his little Madonna with gi-eat impatience, as is the Cardinal Riario his large one." It is this "large one" which, in the year 1515, when Cardinal Riario was accused of conspiracy and all his property confiscated by Pope Leo X (one of tJie Medici), found its way into the Vatican. Here it remained until the middle of the seventeenth century, when Pope Innocent X bestowed it upon one of his intimates, a member of one of the oldest Patrician families of Rome. In the palace of this family it hung until its fortunate acquisition, in the year 1915, by its present owner. BURGUNDIAN SCHOOL XV Century 1019— EPISODE IN THE LIFE OF ST. MICHAEL {Companion to No. 1020) Height, 33^ inches; width, 27 1/7 inches In the center of the immediate foreground of the picture, an archer, with a round red cap, a tightly fitting green tunic, and red hose, aims an arrow with his arbalest (or cross-bow) at the bull which was under the protection of St. Michael and which stands, a solid gold nimbus behind its head, at the entrance to the cavern which occupies the upper left-hand corner of the picture. (According to the legend this arrow was deflected back and wounded the archer.) At his left is his com- panion in a purple tunic and blue hose, holding an arrow in his teeth and preparing to bend the bow of his arbalest. On the right are two cavaliers, holding lances. The one nearer to the spectator, on a white horse, wears a green cap, a blue tunic, and red hose and boots; the other, on a brown horse, with a purple cap and tunic and a green em- broidered surtout of tabard form. In the distance is Barda's herds- man playing his pipes and attending to his herd of cattle. The back- ground is of gilded gesso work in a diapered pattern. From Professor Volpi's Villa Pia, Florence. BURGUNDIAN SCHOOL XV Century 1020~EPISODE IN THE LIFE OF ST. MICHAEL {Companion to No. 1019) Height, 33^ inches; width, 27 1/7 inches This picture portrays an ecclesiastical procession issuing from the city of Siponto to the grotto of St. Michael's Bull, preliminary to the building on this spot of a church dedicated to the Archan- gel. In the center stands the Bishop of Siponto in a richly embroid- ered episcopal robe, wearing a mitre and carrying in his right hand a gold bishop's crozier. A middle-aged man in a round cap, probably Gargan, the owner of the herd which included St. Michael's bull, stands next to him. On the right, and stretching nearly to the grotto, where the bull with a gold nimbus stands, stretches the procession of Church dignitaries headed by three monks with tonsured crowns, one of whom holds a large processional cross. The priests are vested in chasubles of varying but always elaborate designs, wear red caps and are reading from illuminated missals held in their hands. Behind them on the left is a crowd of townspeople behind whom is seen the turreted and arched city gate and the red-roofed houses of the city. There is a distant landscape and a background of gilded gesso in a diapered pattern. From Professor Volpi's Villa Pia, Florence. IL GUARIENTO Italian (Padua) : — 1378 1021— -ST. MICHAEL THE ARCHANGEL (Panel) Height, 33 mclies; width, 21^ inches The Saint at full length, dressed in a close-fitting tunic richly em- broidered with gold scrolled leaves and trimmed with ermine, and a flowing white mantle with a border of Saracenic patterning, stands in the center of the picture. He has highly decorated and varicolored outspread wings, carries in his right hand a long-shafted spear, and rests his left upon a curved pointed shield painted with a profile mask and scalloped border. The background is of dark blue. In an old frame of molded and gilded wood. From the Davansati Palace, Florence. SCHOOL OF GIOTTO XIV Century 1022~MADONNA AND CHILD (Panel) Height, SSYg inches; width, 16l<^ inches The Virgin is seen standing dressed in a red robe with a deep lace hem and a blue mantle bordered with gold. The head is bent slightly to one side with a pensive expression, and on her left arm, her right hand protectingly clasping Him, she holds the Divine Child, clothed in a lace-bordered linen garment. He turns His face to the spectator's right, with a look of sober solemnity, as He stretches forward His left hand to take a bird offered to Him by a standing agel, one of four that surround the Mother and Child. Below, the Virgin and Child are flanked by smaller, full-length figures of St. John the Baptist on the left, and St. Zanobi a bearded man in a bishop's mitre, on the right. All the figures have haloes decorated with dotted patternings, and the background is of gold. In an old carved and gilded wood frame of tabernacle design. It is flanked by twin spirally fluted columns and has a pointed-arch top surrounded by a carved molding with boldly scrolled crocketings of pointed leaves and surmounted by a quatrefoil medallion occupied by a small painting of a Crucifix flanked by the seated figures of the Virgin and St. Mary Magdalene. From the Davanzati Palace, Florence. PRIMITIVE SCHOOL OF FLORENCE XIV Centuky 1023— MADONNA AND CHILD (Panel) Height, 40% inches; width, 21% inches In the center the Virgin, dressed in a mantle of dark blue with a linen wimple over her head, sits on a bank of conventional clouds holding on her left knee the Child Christ, who turns His chubby face to the right as He reaches with His left hand for a fruit His mother holds just out of His reach in her left hand. On the left are the figures of St. Zanobius, with his episcopal mitre and pastoral staff, and an adult St. John the Baptist; on the right, St. Mary Magdalene holding a vase of ointment, and below her St. Catherine. All six figures have decorated haloes. The background is of rayed gold. In a tabernacle-shaped frame of carved and gilded wood. From the Davanzati Palace, Florence. SCHOOL OF GIOTTO XIV Century 1024—^ CRUCIFIXION (Panel) Height, 31% inches; width, 17% inches On the cross, which is surmounted by a Pelican in her nest wounding her breast to feed her young, hangs the Christ with haloed head drooping forward and nude save for a drapery around his loins. At the foot of the Cross, below which is a skull and cross-bones, Mary Magdalene, her long flowing fair hair streaming down her shoulders, kneels and embraces the wood with both arms. On the spectator's right stands St. Benedict pointing to the wound in his breast, and on the right St. Jerome in a monk's habit and holding the Bible with both hands. The background is of solid gold. In a tabernacle-shaped frame of carved and gilded wood. From the Davanzati Palace, Florence. SANO DI PIETRO Italian (Siena): 1406—1481 1025— MADONNA AND CHILD (Panel) Height, 401/2 inches; width, 19% inches The main panel is occupied by a half-length figure of the Virgin in a blue mantle, with gold head ornament, holding with her right hand the nude Christ and drawing protectingly over Him with her left hand, on the third finger of which is the ring of espousal, a fringed shawl. He clasps His right arm around His Mother's neck, and with His left hand clutches the neck of her robe. She gazes at Him with a look of rapt adoration and He looks lovingly into her eyes. Above, two winged Angels issuing from clouds hold an incised crown above the Virgin's head. The upper panel, of pointed-arch shape, divided from the lower one by a band of gilded gesso-work in scrolled design, shows a cross on which hangs the Crucified Christ with blood pouring from His wounds. The cross is flanked by figures of the weeping Virgin on the left and St. Mary Magdalene in a violent contortion of grief on the right. The grounds are gilded. Carved and gilt wood frame of tabernacle design. From the Davanzati Palace, Florence. ANTHONY VAN DYCK Flemish (Antwerp) : 1599 — ^1641 102Q— PORTRAIT OF AUGUSTINE LOMELLINI (Canvas) Height, 30 7/10 inches; width, 24% mc/ies. Half-length portrait of an elderly man. He is seen in three-quarter face looking towards the spectator's right and with his closed right hand held up in front of him. He has close-cropped gi'ay hair, a curl- ing mustache and a pointed beard of gray, and looks out of the canvas with a twinkle in his dark eyes and the suspicion of a somewhat quiz- zical smile upon his lips. He is dressed in a closely buttoned tunic of yellowish gray, with a deep falling collar of white linen, and a mantle is thrown in folds over his shoulder. The background is of dark yellow with a curtain hanging on the left. The canvas is lettered on the back augustinus lomnus g steph obiit mdcxxvi antonius VUANDIC belga pingebat 1626. In a contemporary carved and gilded -wood frame. From the collection of the Marquise Elisa Reggio Kostan d'Ancezune of Genoa, a descendant of the Lomellint family. From Professor Volpi's Villa Pia, Florence. FRA VITTORE GHISLANDI (FRA PAOLOTTO) Italian (Bergamo): 1655—1743 1027— PORTRAIT OF A PAINTER (Canvas) Height, 45% inches; width, ^S inches Thkee-quarter standing figure of a young man, in full face, the head turned over the left shoulder, the left hand resting in an easy posture on the hip, the right hand holding a brush. He is dressed in a white linen shirt with full sleeves, loose breeches of yellow and a knotted yellow girdle. Over his left shoulder is thrown a mantle of vivid red lined with yellow. In the lower left-hand corner is an unfinished canvas showing the head of a young woman, while on a table in the left-hand background are an apple and a loaf of bread. The back- ground is of a warm brown. From Professor Volpi's Villa Pia, Florence. Note: This painting attracted much attention and commendation at the International Exposition of Portraits at Florence in 1911. CRISTOFANO ALLORI (CRISTOFANO BRONZING) Italian (Florence) : 1577 — 1621 1028— FOOTBALL IN FLORENCE (Canvas) Height, 4514 inches; width, 33y2 inches View of the Piazza Santa Croce in Florence, with a game of football, or "Giuoco del Calcio," in progress. In the center of the picture the players, some fifty in number, occupy the center of the Piazza. They are divided into three groups of about ten, with the others disposed in a circle around, and are all dressed in tight-fitting jerkins, knee- breeches and plumed caps. Around them in close ranks sit the spec- tators, at the back against the walls of Santa Maria del Novella in a grand stand, while on the right-hand side ladies crowd all the windows of the palace facing on the Piazza. - In the foreground on the right are cavaliers in exaggeratedly decorative suits of classic armor, in the center are three figures of jesters, while on the left are seen the halberds of the guards who keep the spectators in order. From the Davanzatl Palace, Florence. PARIS BORDONE Italian (Venice) : 1500—1570 1029~LA BELLA (Canvas) Height, 421/2 inches; width, 35^ inches. That favorite model of Bordone, "La Bella," of whom this is a por- trait, appears in many of his compositions. Here she is seen at three quarters length, seated with her head bent forward, gazing at the spectator with an inscrutable look in her brown eyes. She wears a loose gown of dark flowered silk and a white under-garment, but these have so fallen as to expose her entire bosom. She rests one bare arm on a support on the extreme right of the picture, and her left arm hangs listlessly by her side, the hand holding a spray of flowers which she has evidently taken from the basket on the table on the picture's left. Her abundant red hair, loosely twisted, is inter- twined with a string of pearls, a long necklace of which hangs around her neck. The background shows part of a Venetian hallway of marble. In an old frame of carved and gilded wood. From Professor V dpi' s Villa Pia, Florence. Not£: This picture was painted" by Bordone about the year 1535, and came direct to its present owner from an important private collection in Italy. SCHOOL OF GIOTTO Alessandro (XIV Century) 1030— MADONNA AND CHILD (Panel) Height, 57 inches; width, 27 y2 inches Seated figure of the Virgin in a blue mantle lined with red. She holds on her left knee, with her left hand, the standing Child Christ, clad in a flowing robe with scalloped border confined by a girdle at the waist, and looks into His face with an artless expression of adoration while she raises her right hand in the act of benediction. Mother and Child have haloes of gilded gesso-work, and above, two angels with haloes, in robes of red and blue, supported by clouds, hold over the Virgin's head a crown of gilded gesso-work. The upper background is of solid gold, with a dado below. In a carved and gilded wood frame with pointed-arch top carved with crockets of scrolled leaves and flanked with pilasters having molded capitals. On the plinth below is painted in gold on a painted ground the inscription, "Ave Maria gracia," flanked by two painted coats-of-arms, one being of the Strozzi family, for whom the picture was painted. From the Davnnrsati Palace, Florence. FRANCESCO ALBANI Italian (Bologna) : 1578 — 1660 1031— BACCHANALIAN SCENE (Canvas) Height, 51 2/3 inches; width, 41 1/3 inches In the center of the composition an inebriated Bacchanahah reveller lies upon the ground, his mouth, irijp which two Cupids are pouring wine from a skin supported between them, being kept open with her finger by a Nymph who, the upper part of her body bared, leans over him as she lies reclining at his side. To the left another Nymph, stand- ing upright, her one loose garment fluttering in the wind, plays a tam- bourine, while a younger girl at her side endeavors to attract her attention to the Bacchanalian group. On the extreme left a young Satyr, leaning his right elbow upon a wine jar, plays his Pan's pipes. In the background is a well-painted open landscape. In an old frame of carved and gilded wood. From Professor Volpi's Villa Pia, Florence. <'^jyiafe.^iiJ^':^;iSfe<^'»!-«i^j(;Mt^^^!t^^^ FRANCESCO ALBANI Italian (Bologna) : 1578 — 1660 1032— PASTORAL SCENE (Canvas) Height, 51 2/3 inches; width, 41 1/3 inches Under the shade of a spreading tree on the left a shepherd, clothed in a garment of skins, sits playin^fcrlipon a tibia or pastoral pipe. Lying at his feet, and listening to him, are two Nymphs, one, with her back to the spectator, being embraced by the right arm of the other, who sits upright, holding out a flower to the musician. In the left- hand corner of the picture are three Amorini, sporting with each other, and some grazing goats. The background is a landscape, with a group of temple-like buildings in the middle distance, and a mountain range on the horizon. In an old frame of carved and gilded wood. From Professor Volpi's Villa Pia, Florence. Wp 'isw'-^^y^^'^jn&mm^i DOMENICO THEOTOCOPULI (EL GRECO) (ITALIAN period) Spanish (Tolebo): 1545? — 1614< 10S3— THE ADORATION OF THE MAGI (Canvas) Height, 52^)4 inches; length, 38% inches On the left, under the eaves of a rude hut erected among the ruins of a classic temple, the Virgin in a blue and red robe sits, holding the nude body of the Infant ChTist and bending over Him in an attitude of maternal solicitude. At her back St. Joseph leans forward with his eyes fixed upon the Divine Child. To the right, in front of the Virgin, one of the Magi bends forward in an attitude of almost abased adoration. More to the right are seen the other two Magi and atten- dants in charge of the travelers' horses and camels. From Professor Volpi's Villa Pia, Florence. Note: This picture resembles in general conception and composition one by the same painter which is now in the Imperial Museum in Vienna. BERNARDO DADDI Italian (Florence): 1290 — 1350 IQM— TRIPTYCH . 4 (Panel) Height, 48 inches; length, 54% inches In the center the Virgin, seated and dressed in a blue mantle, holds the Infant Christ on her lap. The side wings are occupied by figures of St. Zanobius and St. John the Baptist. The backgrounds are of gold. The triptych is in a contemporary frame of carved arid gilded wood. Note: Owing to its late arrival, it was unfortunately impossible to illus- trate this briefly described triptych, painted by Daddi, the ablest of Giotto's pupils. It is one of the most important of the Davanzati primitives. From the Davanzati Palace, Florence. PRIMITIVE SCHOOL OF FLORENCE XIV Century 1035— MADONNA AND CHILD (Panel) Height, 41% inches; width, 25^/2 inches The Virgin holds the Infant Christ, standing, upon her lap and smiles down at Him seraphically as He reaches out His hand to grasp a bird handed to him by one of the four angels who hover around His Mother and Himself. Two of the other Angels hold vases of flowers. Below, kneeling upon a golden pavement richly decorated, are St. John the Baptist and St. Zanobius, the fifth century patron Saint of Florence The background is gilded. Framed in a tabernacle decorated with composition bas-reliefs and flanked by spirally fluted columns surmounted by Gothic fleches. From the Davanzati Palace, Florence. LUCA SIGNORELLI Italian (Coktona) : 14.41 — 1523 1036— iNCREDVLITY OF ST. THOMAS (Panel transferred to canvas) Height, 57^/2 inches; width, SSy^^ inches The center of the picture is occupied with the figures of Christ and the doubting Apostle St. Thomas. The Saviour, on the spectator's right, stands with uphfted right hand, His long fair curls falling over His shoulders, while from His body, bared to the waist, have slipped downwards the dark outer robe and the inner tunic of white. With head inclined slightly downward and forward, He seems to invite to the wound ill His side the attention of St. Thomas, who, clad in a loose robe of green and red, stands on the left-hand side of the picture, bending forward and touching his Master's wound with hesi- tating fingers. Around are grouped in various attitudes the Apostles ; St. John, with fair curls, on the left; St. Peter, with white beard, in the background. In the lower right-hand corner is seen the kneeling figure of the Donor, or "Comitente," as the Italians call the patron who commissioned the picture. In this case he was Count Tommasi of Cortona and is dressed in a black robe, his face seen in full profile, while his hands are pressed to his bosom in an attitude of adoration. In the extreme background is seen the corniced doorway of a classic building. . From Professor Volpi's Villa Pia, Florence. Note: This admirable picture is mentioned and described by Signor Giro- lamo Mancini in his standard "Life of Luca Signorelli" on page 192 of the Carnessechi Edition of 1903. It originally hung in the Duomo of Cortona, but was removed in the seventeenth century to the Villa at Cortona of the donor's descendant, Count Tommasi, whence it came to the present owner. DOMENICO BECCAFUMI Italian (Sijena) : 1486—1550 1037— HOLY FAMILY (Panel) Diameter, 64 2/5 inches The center of this tondo is occupied with the figure of the seated Virgin, in full face with downcast eyes, and an expression of serene humility. She is dressed in a gathered robe of light red and a flowing mantle of light blue, and with her left hand holds in her lap the Infant Christ, who, completely nude, is almost escaping from her arms as He reaches forward to turn the leaves of an open book held up for His inspection by the bearded saint on the spectator's right. On the left St. Joseph, at the Virgin's side, supports the Infant St. John the Baptist, who, also nude, holds in his right hand a cup which he supports on his knee. The background is architectural in character. -The picture, which has for long been reputed by Italian critics to be Beccafumi's masterpiece, is in its original frame of carved and gilded wood, a masterpiece of Barrilli, the most famous of all Sienese sculptors in wood. Around the circumference are disposed, at regular intervals, four circular beaded medallions occupied with heads in high "relief. Between these is a broad border enriched with gryphons' bodies ending in bold scroUings of leaves and flowers carved in high relief. There is an inner border of egg and dart molding and kn outer one of trefoiled patterning. The four spandrels of rich acanthus- leaf carving, which mate a square of this circular frame, were added in the seventeenth century. The entire frame is of wood and gilded. From the collection of Marquis Spinola, Palazzo Bianco, Genoa. From Professor Volpi's Villa Pia, Florence. PRIMITIVE SCHOOL OF SIENA XIV Century 1038— TOBIAS AND THE ANGEL (Panel) Height, 65% inches; width, 29% inches This primitive rendering of what was, for centuries, to be a favorite pictorial incident, shows the Angel, with widespread decoratively treated wings and gesso-worked halo, clad in a red robe richly brocaded in gold with a patterning of pomegranates and leaves, with tight- fitting sleeves, and a blue mantle knotted across his breast, holding by his right hand the boyish Tobias, who, bareheaded, is clothed in a full-skirted tunic of light green, with hose, and a eape buttoned at the neck. In his right hand he holds the symbolic fish of the legend. Below, on the left, are the figures of the donor kneeling, of his wife, holding up their child, and of a female relative. The panel is round- arched, terminating in a pointed gable enclosed by a crocketed mold- ing, with its tympanum occupied by a circular medallion painting of God the Father holding up His right hand in benediction and clasping in His left an open book, the pages of which are inscribed with the sacred Alpha and Omega. The plinth below is painted with a deco- rated band of scrolled floral and foliage design. From the Davanzati Palace, Florence. PRIMITIVE SCHOOL OF FLORENCE Early XIV Century 10S9— CHANCEL CROSS (Wood) Height, 76% inches; width, 66% inches Floriated cross of wood, with molded border and four quatref oiled arms, the points terminating in wooden roundels. In the center of the cross is painted a crucifix; the crucified Christ, with dotted halo, His head with its crown of thorns and long curls of hair, hanging forward over His right shoulder. Blood spurts from the wound in His side and drips from His nailed hands and feet. The pointed quatrefoiled medallions on either side are occupied with half-length figures of the Virgin, with blue mantle and stretched out hands, and St. John dressed in a loose linen robe. The quatrefoiled base is occupied by a half- length figure of St. Mary Magdalene, with long curling fair hair and upraised hands. The ground behind the cross and the figures of the saints is of gold worked in a dotted and incised pattern. From the Davanzati Palace, Florence. PRIMITIVE SCHOOL OF TUSCANY Eaely XV Century lOm—SAINT PAUL (Panel) Height, 92yg inches; width, 35 inches Full-length figure, life size, of Saint Paul, in flowing robes of light red with a green tunic. He is shown in full face, as a man of middle age partially bald, with curling hair, slight beard and mustache. In his right hand he holds a drawn sword, and in his left a book with metal clasps. On the front of the plinth on which he stands are painted small figures, dressed in long robes of worshippers kneeling in adoration. The panel is pointed, with a pobated tablet at the apex inscribed "S," while below is a horizontal la.bel in two divisions inscribed "P A V" and "L V S". The background is of solid gold. In original molded wood frame. From the Davanzati Palace, Florence. SPINELLO ARETINO Italian (Auezzo) : 1332— 1410 W4>1—SAINT ANTHONY (Panel) Height, 90^ inches; width, 35% inches Life-sized figure of St. Anthony, seen in full face as an old man with long curling gray beard, dressed in a loosely fitting robe of grayish white with black shoulder mantle and black cassock beneath. Around his head is a gilded halo of gesso-work. He is shown sitting, holding in his right hand his pastoral staff, with dragon-headed crook, while his left rests upon a closed book supported on his left knee. Above him two winged angels with gold haloes hold out a richly brocaded curtain which forms a background to the Saint. His feet rest upon an octagonal base with plinth painted in a Greek key- pattern. Below this is the inscription in Lombardic characters, "S. ANTOGNIUS. ABBAS", while on either side are the miniature kneeling fiures of the Donor and his wife, the former on the left in a loose robe, the latter on the right with her fair hair braided and her pet dog at her side. The panel has a pointed-arch top with pointed gable above, in the tympanum of which is a tref oiled medallion paint- ing of Christ. The outer frame is of carved molded and gilded wood, the upper part formed as a tref oiled pointed-arch with interlaced medallions of figures in the spandrels. From the Davanzati Palate, Florence. TIZIANO VECELLI (TITIAN) Italian (Venetian) : 1477 — 1576 *10i2— PORTRAIT OF A VENETIAN LADY (Canvas) Height, 41 inches; width, 32 inches The subject is seen in three-quarter length, the face inclined slightly towards the spectator's right. In her hands, raised to the level of her shoulders, she holds a silver repousse dish heaped with pomegra- nates and other fruits, similar to thiat shown in the preceding picture. She wears a voluminous camicia, or under-garment, of fine white linen with thrown-back sleeves, confined by a bodice of dark brown laced across the front, a girdle of pink satin around her waist, and a skirt of light tan-colored satin. In her blond hair is twisted a rope of pearls, in her ears are pearl draps and around her neck a pearl necklace, while on her wrists are heavy gold bracelets. The background is entirely occupied by folds of red drapery. In an old frame of gilt wood. From Professor Volpi's Villa Pia, Florence. Note: This and the Lavinia, among the most im|)ortant of Titian's pic- tures, were painted, between' 1545 andi' 155&, for the dining-room of Cardinal Archinto, Archbishop of Milan. ¥&v this Cardinal, Titian also painted two portraits, both of which are in America, one in the Altman Collection at the New York Metropolitan Museum of Art, the other in the collection of Mr. J. G. Johnson in Philadelphia. The portraiits of the Cardinal and the two paintings now under consideratiioiii! were left hj the Cardinal on his death to his estate, and by his descendants were kept and carefully concealed, no one knowing of their existence until the family deeided to sell them privately, and one at a time. Titian painted two other portraits of Lavinia, one, as a Salome, being now in the Museum in Berlin. The other model was mot elsewhere painted by Titian, though it is noteworthy that the unknown lady bears a dish of fruits almost exactly similar to that shown in the portrait of Lavinia. It remains to be said that these two paintings have received the unquali- fied and independent endorsement, as being original works by the master, of such acknowledged experts and critics as Mr. F. Mason Perkins, Mr. Her- bert P. Home and Mr. Charles Loeser. Thus Mr. Mason Perkins writes : "I consider the two canvases representing half-figures of women bearing plates of fruit to be original paintings, in excellent condition, by Titian." Charles Loeser writes : "I know well two Titians, half-length female portraits bearing salvers of fruit, admirable examples in the Master's own hand and in fine preservation," and Professor Luigi Cavenaghi, of the Brera Museum, gives it as his opinion that "these pictures are undoubtedly originals by Titian, while the Lavinia is the first representation of this subject painted by the Master." TIZIANO VECELLI (TITIAN) Italian (Venetian) : 1477 — 1576 ^lOm—LAVINIA, DAUGHTER OF TITIAN (Canvas) Height, 423^ inches; width, 34l;4 inches The daughter of the "artist is seen, at three-quarter length and in side view, holding aloft, with both arms, the right hand being grace- fully extended, a repousse silver dish heaped with pomegranates and other fruits. Her robe, with a tight-fitting bodice and a plaited skirt, is of dark brown velvet striped in a lighter tone of the same color, and around the waist is a gold and jeweled girdle. From her shoulders fall folds of a cambric undergarment, the frilled edge of which shows above the back of the bodice. Thrown over the shoulders, also, is a diaphanous veil of white. Her fair hair, brushed back from the fore- head, is confined by a jeweled head-dress, from her ears hang Ikrge pearl drops, and her Wrists are encircled with bracelets of gold and precious stones. Two-thirds of the background is occupied with a rich maroon-colored curtain, while through an open window to the left is seen a wide-spreading landscape, with hills and a blue sky. Contemporary frame of carved and gilt wood. From Professor Volpi's Villa Pia, Florence. HOUSEHOLD LINEN, TABLECLOTHS, SHEETS AND TOWELS OF AN ITALIAN RENAISSANCE PALACE Linen sheets and tablecloths, pillow cases and towels, which Professor Volpi laboriously gathered together in order to complete his reproduction, in the Davanzati Palace, of an Italian home of the sixteenth century, make an impressive showing. It was in Italy that the graces and luxuries of every-day life were first developed and from her that the rest of Europe borrowed the use, not only of such minor essentials as the table fork, but of linen bed sheets, tablecloths and towels. It was in accordance with Cinquecento Italian determination that art should enter even into the most insignificant details of common life, that we find this ordinary napery made beautiful by the deft in- troduction thereinto of fine laces, cunning drawn-work, or even of a woven ornamentation. Nor should it be forgotten that we owe their preservation to the present day mainly to the integrity and fidelitj^ with which the linen itself was woven. H. T. SEVENTH AND LAST AFTERNOON'S SALE TUESDAY, NOVEMBER 28, 1916 AT THE AMERICAN ART GALLERIES BEGINTSriNG AT 2.30 o'CLOCK Catalogue Nos. 1044 to 1215, inclusive DAVANZATI PALACE: LINENS 1044 — Sixteenth Century Venetian Night-bag Rectangular shape. Covered in fine white linen decorated in drawn work with a design of fantastic animals. Length, 1 foot 6 inches; width, 1 foot 2 inches. 1045 — Two Sixteenth Century Italian Cushions Rectangular shape. Covered in a fine white linen, embroidered, in red silk and gold thread, with a floral design. Length, 1 foot 9 inches; width, 1 foot 3 inches. 1046 — Three Sixteenth Century Italian Cushions Rectangular shape. Covered in fine white linen, embroidered, in green and red silk and gold thread, with a floral design. Length, 1 foot 6 inches; width, 1 foot 2 inches. 1047 — Fifteenth Century Umbrian Small Tablecloth Rectangular shape Of fine white linen, with a deep border embroidered in red silk and a fringe of gold thread. Length, 2 feet 11 inches; width, 2 feet 8 inches. 1048 — Sixteenth Century Italian Hand-towel Rectangular shape. Of linen, bordered at the ends with Modano point and fringed. Length, 3 feet 5 inches; width, 2 feet 5 inches. 1049 — Sixteenth Century Italian Hand-towel Rectangular shape. Of linen, bordered at the ends with Modano point and fringed. Length, 3 feet 7 inches; width, 2 feet 51/2 inches. 1050 — Seventeenth Century Italian Small Tabelcloth Rectangular shape. Of fine white linen, with border and fringe. Length, 2 feet 9 inches; width, 2 feet 6 inches. 1051 — Seventeenth Century Italian Small Tablecloth Rectangular shape. Of fine white linen, with border and fringe. Length, 3 feet 3 inches; width, 2 feet 2 inches. 1052 — Sixteenth Century Italian Tablecloth Rectangular shape. Of fine white linen, with border. Length, 3 feet 5 inches; width, 2 feet 1 inch. 1053 — Seventeenth Century Italian IjAce Flounce Flounce of Milan point lace in a design of leaves and flowers. Length, 2 feet 11 inches; width, 2 feet 8 inches. 1054 — Seventeenth Century Italian Pillow Rectangular shape. Of fine white linen, with a bordering of Venetian point lace of geometrical design. Length, 3 feet; width, 1 foot 3 inches. 1055 — Seventeenth Century Italian Tablecloth Rectangular shape. Of fine white linen, with border and thread fringe. Length, 3 feet II/2 inches; width, 2 feet 1% inches. 1056 — Sixteenth Centuky Italian Linen Tablecloth Rectangular shape. Of fine white hnen, bordered at the ends with Modano point lace and fringed. Length, 4 feet 1 inch; width, 2 feet 3 inches. 1057 — Sixteenth Century Italian Tablecloth Rectangular shape. Of white linen, with deep border of drawn work in a small design. Length, 4 feet 5 inches; width, 2 feet 11 inches. 1058 — Sixteenth Century Italian Tablecloth Rectangular shape. Of fine white linen, with insertion and bordered with lace. Length, 4 feet 11 inches; width, 2 feet 6 inches. 1059 — Fifteenth Century Italian Tablecloth Rectangular shape. Of fine white linen, with a bordering of Modano point lace. Length, 4 feet 8 inches; width, 2 feet 5 inches. 1060 — Sixteenth Century Italian Hand-towel Rectangular shape. Of white linen, with insertion and a small fringe. Length. 4 feet SVo inches; width, 2 feet 11/2 inches. 1061 — Fiftenth Century Umbrian Hand-towel Rectangular shape. Of white linen, with border woven in blue. Length, 4 feet 9 inches; width, 1 foot 6 inches. 1062 — Fifteenth Century Umbrian Hand-towel Rectangular shape. Of white linen, with border woven in blue with a design of fantastic animals. Length, 4 feet 9 inches; width, 1 foot 7 inches. 1063 — Seventeenth Centuky Italian Tablecloth Rectangular shape. Of fine white linen, with a cut-work border and lace fringe. Length, 5 feet 1 inch; width, 3 feet 11 inches. 1064 — Seventeenth Century Italian Tablecloth Re.ctangular shape. Of fine white linen, with a border of cut work. Length, 5 feet 1 inch; width, 3 feet 11 inches. 1065 — Sixteenth Century Italian Linen Tablecloth Rectangular shape. Of fine white linen, bordered at the ends with Modano point lace and fringed. Length, 5 feet 3 inches; width, 3 feet 1^2 inches. 1066 — Sixteenth Century Italian Hand-towel Rectangular shape. Of fine linen, with lace borders. Length, 5 feet 6I/2 inches; width, 2 feet 8^4: inches. 1067^ — Fifteenth Century Umbrian Tablecloth Rectangular shape. Of white linen, with border, woven in blue with a design of fantastic animals. Length, 5 feet 9 inches; width, 1 foot 9 inches. 1068 — Sixteenth Century Italian Tablecloth Rectangular shape. Of white linen, bordered at the ends with Modano point lace and a small fringe. Length, 5 feet 8% inches; width, 3 feet 1% inches. 1069 — Sixteenth Century Italian Tablecloth Rectangular shape. Of fine white linen, bordered at the ends with a deep band of Modano point in a design of animals and with a narrow fringe. Length, 5 feet 9% inches; width, 3 feet 11^ inches. 1070 — Sixteenth Century Venetian Lace Table Cover Rectangular shape. Of Venetian point lace, in a design of small squares filled with attending designs and with a deep border and fringe. Length, 5 feet 111/4 inches; tddth, 4 feet 21^ inches. 1071 — Twenty-seven Eighteenth Century Italian Hand- towels Rectangular shape. Of white linen, bordered with lace and fringe. Various sizes. 1072 — Sixteenth Century Venetian Lady^s Smock Under-garment of fine white linen, hemstitched around the neck and on the shoulder, with bands of varicolored crocheted lace finishing off the sleeves. 1073 — Sixteenth Century Italian Lady's Smock Under-garment of fine linen, with lace and hemstitching around the neck. 1074 — Sixteenth Century Venetian's Lady's Smock Under-garment of fine white linen, embroidered around the neck. 1075 — Fifteenth Century Umbrian Linen Strip Rectangular shape. Of white linen with a woven border of blue design of figures of animals and Gothic letters. Length, 6 feet 2 inches; width, 1 foot 7 inches. 1076 — Fifteenth Century Umbrian Tablecloth Rectangular shape. Of white linen with border, woven in blue with a design of fantastic animals. ^""^ Length, 6 feet 2 inches; width, 1 foot 9 inches. 1077 — Fifteenth Century Umbrian Hand-towel Rectangular shape. Of white hnen, with border woven in blue with a design of fantastic animals. Length, 6 feet 2 inches; width, 2 feet. 1078 — Fifteenth Century Umbrian Small Tablecloth Rectangular shape. Of fine white linen, with border woven in blue in a design of fantastic animals. Length, 6 feet 6 inches; imdth, 2 feet. 1079 — Seventeenth Century Italian Hand-towel Rectangular shape, bordered with Modano point lace. Length, 6 feet 6% inches; width, 2 feet 4^4 inches. 1080 — Seventeenth Century Itai^ian Tablecloth Rectangular shape. Of fine linen, with borders of a foliage design in Modano point. Length, 6 feet 6% inches; width, 2 feet 414 inches. 1081 — Seventeenth Century Italian Tablecloth Rectangular shape. Of fine linen, bordered with Modano point lace and fringed. Length, 6 feet 6% inches; width, 3 feet 3% inches. 1082 — Seventeenth Century Italian Tablecloth Rectangular shape. Of fine linen, bordered with Modano point lace and fringed. Length, 6 feet 6% inches; width, 3 feet 3^/^ inches. 1083 — Sixteenth Century Italian Linen Sheet Rectangular shape. Of linen, with lace border and fringe at one end. Length, 6 feet 11 inches; width, 5 feet 1 inch. 1084 — Sixteenth Century Venetian Lace Table Cover Rectangular shape. Of Venetian point lace, in a design of small squares of alternating designs. Finished with a fringe. Length, 6 feet 3 inches; width, 5 feet 7% inches. 1085 — Fifteenth Century Umbrian Hand-towel Rectangular shape. Of white linen, with a border, woven in blue in a design of figures of animals. Length, 7 feet 4% inches; width, 2 feet 3% inches. 1086 — Sixteenth Century Italian Altar Cloth Rectangular shape. Of white linen, with insertion and a thread fringe. Length, 7 feet 2^ inches; width, 2 feet 8% inches. 1087 — Sixteenth Century Italian Tablecloth Rectangular shape. Of fine white linen, with insertion and fringe. Length, 7 feet 2 inches; width, 2 feet 11 inches. 1088 — Sixteenth Century Venetian Tablecloth Rectangular shape. Of fine white linen, with narrow border and six rows of Gothic stitch in a "fogliamo" patterning with figui'es of animals worked in red silk. Length, 7 feet % inch; width, 3 feet 3% inches. 1089^FlFTEENTH CeNTURY UmBRIAN TaBLECLOTH Rectangular shape. Of fine white linen, with a border woven in blue in a design of fantastic animals and geometrical pat- terning. Length, 7 feet 8 inches; width, 3 feet 7 inches. 1090 — Sixteenth Century Italian Silk Coverlet Bed coverlet of yellow silk woven with a foliage design in red. Length, 7 feet IOI/2 inches; width, 3 feet 7^2 inches. 1091 — Sixteenth Century Italian Linen Sheet Rectangular shape. Of fine white linen, with fringe and in- sertion border. Length, 7 feet 10% inches; width, 5 feet 3% inches. 1092 — Sixteenth Century Italian Linen Sheet Rectangular shape. Of white linen, bordered with Modano point lace and fringe. Length, 7 feet 9 inches; width, 5 feet 8 inches. 1093 — Fifteenth Century Umbrian Tablecloth Rectangular shape. Of white linen, with border, woven in blue, with a design of fantastic animals. Length, 8 feet 6 inches; width, 2 feet 8 inches. 1094 — Fifteenth Century Umbrian Tablecloth Rectangular shape. Of fine white linen, with border, woven in blue, with a design of animals and geometrical patternings. Length, 8 feet 7 inches; width, 2 feet 5 inches. 1095 — Sixteenth Century Italian Linen Sheet Rectangular shape. Of white linen, with insertion. Length, 8 feet 7 inches; width, 6 feet 8 inches. 1096 — Sixteenth Century Italian Linen Sheet Rectangular shape. Of fine white linen, with border of in- sertion. Length, 8 feet 23/; inches; width, 7 feet 2% inches. 1097 — Sixteenth Century Italian Linen Sheet Rectangular shape. Of fine white linen, with fringe and inser- tion border. Length, 9 feet 10 inches; width, 6 feet 8% inches. 1098 — Sixteenth Century Italian Linen Sheet Rectangular shape. Of fine white hnen, with fringe and inser- tion border. Length, 9 feet 10 inches; width, 6 feet 8% inches. 1099 — Sixteenth Century Italian Linen Sheet Rectangular shape. Of fine white linen, with a border em- broidered in yellow silk and a yellow and white fringe. Length, 9 feet 3% inches; width, 6 feet 11% inches. 1100 — Sixteenth Century Italian Linen Sheet Rectangular shape. Of white linen, with insertion. Length, 9 feet 2 inches; width, 6 feet 10 inches. 1101 — Sixteenth Century Italian Linen Sheet Rectangular shape. Of fine white linen, with a fringe and border embroidered in a cross-stitch patterning in blue silk. Length, 9 feet 214 inches; width, 7 feet 4^/^ inches. 1102 — Sixteenth Century Italian Linen Sheet Rectangular shape. Of fine white linen, with fringe and in- sertion border. Length, 9 feet 6 inches; width, 7 feet 4% inches. 1103 — Sixteenth Century Italian Linen Sheet Rectangular shape. Of fine white linen, with fringe and in- sertion border. Length, 9 feet 6 inches; width, 7 feet 6^^ inches. 1104 — Sixteenth Century Sicilian Altar Cloth Rectangular shape. Of fine white linen, with borders em- broidered in a foliage design, in red. Length, 10 feet 2 inches; width, 2 feet 6 inches. 1105 — Sixteenth Century Itai,ian Linen Sheet Rectangular shape. Of fine white linen, with a border em- broidered in blue silk and a white and blue fringe. Length, 10 feet 2 inches; width, 6 feet 6% inches. 1106 — Sixteenth Centuey Itaxian Linen Sheet Rectangular shape. Of fine white linen, with fringe and in- sertion border. Length, 10 feet 2 inches; width, 6 feet 6% inches. 1107 — Sixteenth Century Italian Linen Sheet Rectangular shape. Of fine white linen, with fringe and in- sertion border. Length, 10 feet 9^?^ inches; width, 7 feet 4^ inches. 1108 — Sixteenth Century Italian Linen Sheet Rectangular shape Of fine linen, surrounded on all sides with a band of openwork. Length, 10 feet 2 inches; width, 7 feet 4% inches. 1109- — Sixteenth Century Italian Linen Sheet Rectangular shape. Of fine linen, with insertion of bands of Modano point and fringe at the ends. Length, 10 feet; width, 7 feet. 1111 — Sixteenth Century Italian Linen Sheet Rectangular shape. Of fine white linen, with a border em- broidered in a cross-stitch with white and yellow silk. Length, 10 feet 2 inches; width, 6 feet 6% inches. 1112 — Sixteenth Century Italian Linen Sheet Rectangular shape. Of fine white hnen, with fringe and in- sertion border. Length, 11 feet II/2 inches; width, 7 feet 9% inches. 1113 — Sixteenth Century Italian Linen Sheet Rectangular shape. Of white linen, with insertion. Length, 12 feet 1 inch; width, 7 feet. 1114 — Sixteenth Century Italian Linen Sheet Rectangular shape. Of white linen, with insertion. Length, 12 feet 1 inch; width, 7 feet. 1115 — Fifteenth Century Umbrian Tablecloth Rectangular shape. Of fine white linen, with borders woven in a design of animals and plants. Length, 15 feet; width, 3 feet. CURIOS 1115a — Two Eighteenth Century Italian Dice Of ivory. Cube-shaped, with rounded corners forming circular faces. 1116 — Seventeenth Century Italian Ivory Needle-case Cylindrical shape. Carved in a diapered pattern of lozenges containing human heads carved in low relief. The screw top is of acanthus-leaf design. 1117 — Seventeenth Century Italian Toilet Companion Ivory pocket knife-shaped case, the sides carved in a pattern of circles, with hinged toilet implements of ivory. 1118 — Sixteenth Centuky Italian Toilet Powder-box Cylindrical form, with removable lid. Of wood, with molded rim to lid and base. The body covered with leather painted, on a dark blue ground in gold, with a pattern of geometrical in- terlacements. Rim and lid gilded over a red ground. Height, 5 inches. 1119 — Sixteenth Century Italian Scissors Small scissors, with pivoted blades and scrolled handles. En- graved and gilded blades. 1120 — Seventeenth Century Italian Scissors Small steel blades, engraved in a pattern of floral scrollings and figures of saints and gilded. Length, 4% inches. 1121 — Sixteenth Century Venetian Lady's Scissors Small scissors, with pivoted blades, engraved in a scroll design and gilt. In carrying case of papier-mache wound with gold thread and green silk. Silken tassels. 1122 — Sixteenth Century Italian Jewel Box Of wood. Circular form, with removable lid. Decorated as to the body and lid with flutings and moldings and with turned finial. Diameter, 5 inches; height, 4% inches. 1123 — Sixteenth Century Italian Jewel Box Of wood. Circular form, with removable lid. Decorated as to the body and lid with flutings and moldings and with turned finial. Completely gilded. Diameter, 4^2 inches; height, 4 inches. 1124 — Fourteenth Century Italian Ivory Comb Rectangular shape, with long, fine teeth. The back is carved in low relief, on one side, with a subject of two knights and a lady in fourteenth century costume dancing to the music of two players; on the other side, with a sporting subject of dogs chasing a stag flanked by an archer and a huntsman blowing a horn. Length, 5 inches. 1125 — Seventeenth Century Italian Lady's Bag Oval-shaped, of red silk and embroidered in silver, with bellow sides, tassels and cord. In front and back are attached two plaques enameled in colors on copper with rehgious subjects. One of St. Elizabeth, wearing a crown and ermine robe, the other of St. Mary Magdalene with the vase of precious oint- ment. 1126 — Sixteenth Century Italian Lady's Cap Hood form. Of fine white linen, embroidered in gold with silver bugles in a design of scrolls and birds, and fringed in red and gold. 1127 — Sixteenth Century Italian Lady's Cap Hood form, with detached ear lappets. Of yellow silk, inter- woven with silver thread, and with neck-fall of blue and red silk. 1128 — Pair of Sixteenth Century Italian Lady's Slippers Of white kind, with embroidery in a design of scrolls of black braid couched with yellow silk. Pointed toes and no heels. 1129 — Sixteenth Century Italian Pincushion Square shape. Covered in red silk, embroidered on one side with a heraldic eagle, on the other with a peacock within a scrolled border. At the angles are silk tassels. 1130 — Sixteenth Century Italian Pincushion Circular shape, with open center. Covered in red velvet bor- dered with gold braid. 1131 — Eighteenth Century Italian Knitting Needle-case Cylindrical shape. Of boxwood, turned and carved with hu- man head. Length, 6% inches. 1131a — Seventeenth Century Italian Silk- winder Square frame of turned cherry-wood, spindles inlaid with ivory, and on turned cushion feet. The winder is an upright turned spindle with crescent-shaped termination. Height, 7% inches. Width of stand, 10 inches. 1132 — Pair or Sixteenth Century Italian Lady's Mitten-cuffs Of red velvet, embroidered in gold and lined with silk. Long cuffs, with pointed lappets which cover the backs of the hands. Length, 10^ inches. 1133 — Late Sixteenth Century Italian Dog-collar Large collar of red velvet, with stamped brass mounts and decorations, a gilded iron buckle and a brass bell. 1134 — Sixteenth Century Italian Pulpit Hour-glass Cylindrical case of pierced brass, engraved at either end with the sacred monogram "I.H.S." Height, 3% inches. 1135 — Sixteenth Century Italian Hour-glass Of ebony and ivory turned, with five double baluster-shaped spindles of ebony separated by five turned finials of ivory. Height, 4< inches. 1136 — Sixteenth Century Italian Ivory Hour-glass Of turned ivory, with four baluster-shaped columns. Height, 4% inches. 1137 — Sixteenth Century Italian Hour-glass Of pearwood turned, with five double baluster-shaped spindles. 1138 — Fifteenth Century Italian "Devotional" Circular shape, with glass braid. Two disks of vellum, glazed, bound with gold and silver braid and painted, on one side with the Madonna and Child in a garden, on the other with the Angel leading Tobias. 1139 — Sixteenth Century Flemish Book of Hours HORAE Beatae Mariae Virginis ad usum Romanum calen- dario. Manuscript on choice vellum. Written in elegant Gothic characters, executed in Flanders at the end of the 15th Century. 166 leaves (332 pages). Ornamented with five full-page miniatures^ surrounded hy elegant floral borders, three small ones, twelve other final borders and semi- borders, twelve large illuminated initials; and numerous smaller ones. 16mo, vellum. Some leaves missing. Height, 31/2 inches; width, 2^/0 inches. Note: A charming little manuscript. The full-page miniatures, al- though very slightly rubbed, show the work of a good Flemish artist. They represent: 1, The Nativity; 2, The Adoration of the Three Wise Kings; 3, The Flight into Egypt; 4, The Penance of David; 5, A Funeral. Manuscript Hours of such a small size as this are of rare occurrence. 1140 — Sixteenth Century Italian Seal Of wrought iron, in the form of a cylinder, intaglio-sunk at one end with the coat-of-arms of the Davanzati family. Length, 3 inches. 1141 — Sixteenth Century Italian Seal Of wrought iron, in the form of a cylinder intaglio-sunk at one end with a seal of the coat-of-arms of the Medici family. Length, ^y^ inches. 1142 — Sixteenth Century Italian Seal Of wrought iron, in the form of an octagonal cylinder intaglio- sunk at both ends with seals. One end hinged as a lid and in- terior hollow to carry sealing wax. Length, 3% inches. 1143 — Sixteenth Century Italian Iron Seal Of wrought iron, in the form of a small cylinder intaglio-sunk at one end with a circular seal of the arms of the Medici family. Small iron chain attachment to the girdle. Length, 3 inches. 1144 — Fifteenth Century Florentine Monastery Seal Of wood. Dumbbell-shaped with flat ends, intaglio-carved at one end with a lily, the arms of the city of Florence, and the initials T.B., at the other end with a coat-of-arms surrounded by the inscription, in Roman letters, "Sanctus Benedictus." 1145 — Collection of Old Italian Coins Collection of thirty-six coins, of which ten are of gold, the remainder of silver. All Italian of various dates. 1146 — Sixteenth Century French Salt Cellar Hexagonal shape, of metal. The sides are paneled with painted enamel plaques in designs of figures surrounded by festoons of leaves Height, 2% inches: diameter, 2*5/4 inches. 1147 — Sixteenth Century Italian Folding Fork-case Two-pronged fork of wrought iron, with folding handle dam- ascened in gold. In wooden carrying case covered with leather. 1148 — Sixteenth Century Italian Knife and Fork Knife with steel blade, fork with two tines. Handles of clear amber carved in a scrolled design and mounted in silver. 1149 — Seventeenth Century Flemish Marriage Knife and Fork Knife with steel blade, fork with three tines. Handles of brass, with decoration in low relief of young couple embracing. 1150 — Two Seventeenth Century Italian Forks One with three tines and brass handle; one with four tines and spirally turned wooden handle. Length, 5^/2 inches. 1151 — Three Seventeenth Century Italian Forks One with three tines and wooden handle pique with brass, one with three tines and wrought brass handle, and one with four tines and handle of wrought iron. Length, 6 inches. 1152 — Three Seventeenth Century Italian Spoons Of wrought iron, with egg-shaped bowls and straight handles. Length, 6^ inches. 1153 — Seventeenth Century Italian Traveling Table Set Shaped case, with hinged lid covered in gold-tooled leather. Containing knife with steel blade, fork with three steel tines, and spoon with silver bowl. All have silver handles repousse in a design of figures and scrolls and parcel-gilt. Length of case, 8^/2 inches. 1154 — Sixteenth Century Italian Table Knife Blade of steel. Pistol-butt shaped handle of wrought iron damascened in a scrolled pattern, with gold. Length, 91/4 inches. 1155 — Fifteenth Century Italian Hand Lamp Of wrought iron, with an octagonal body and projecting boat- shaped wick receptacle. With handle for carrying; iron hook for suspension. Height, S^/o inches. 1156 — Sixteenth Centuky Italian Candle Carrier Of wrought iron. Of scissors form, with spring handles wrought in baluster design and circular head for grasping the candle. Length, 5 inches. 1157 — Fifteenth Century Italian Candle Snuffers Of wrought iron and of scissors type. In the form of a fan- tastic bird, the long head acting as the snuffers. On two straight legs, with scrolled handles. Length, 5% inches. 1158 — Sixteenth Century Italian Candle Snuffers and Stand Of wrought iron. Snuffers of the scissors type, with pointed blades and looped handles. Mounted on a square iron stand, with flat handle and four curved legs. Height, 5 inches. 1159 — Sixteenth Century Italian Hour-glass Of pearwood turned, with five double baluster-shaped spindles Height, 5 inches. 1160 — Sixteenth Century Italian Double Hour-glass Rectangular case of wood, with sides pierced in baluster de- sign and containing two hour-glasses. Marked on top and bottom III & IV. Height, 6 inches. 1161 — Eighteenth Century Italian Church Hour-glass Wooden case of hexagonal shape, supported by six octagonal pillars. Painted, on a red ground, with black and white strip- ings, and with a Maltese cross and sacred monogram at top and bottom. Height, 1 foot 6 inches. 1162 — Seventeenth Century Italian Thread Winder With wooden tongue for attachment to table. Gilded metal upright pierced in a scrolled design with wheel, iron crank with wooden handle and revolving spindle for winding the thread. Height, 7% inches. 1163 — Sixteenth Century Florentine Scissors and Case Scissors with steel blades and spring handle. Blade engraved in a design of scrolls, trophies, a Cupid and the initials W. I., gilded on a blackened ground. The case is of leather mounted with gilt metal bands and hung by a silken cord. Length, 8^ inches. 1164 — Sixteenth Century Florentine Lady's Work-scissors Steel blade, with hooped spring handle. Blades engraved and gilded in a pattern of floral scrolling with the figure of a seated woman carrying a hawk on her wrist on one side and with the Capponi coat-of-arms and the name "Sigra Selvaggia Cap- poni" on the other. Length, 8 inches. Note: The Capponi family was one of the foremost of the Merchant class in Florence during the sixteenth century. 1165 — Seventeenth Century Italian Seam Smoother Of boxwood, with turned shaft, ball handle and wedge-shaped end. Used by dressmakers for pressing seams. Length, 7V2 inches. 1166 — Fifteenth Century Italian Cuir-bouilli Astrolabe Case Heart-shaped, with pull-off lid. Of cnir-bouilli worked in a small arabesque design based on Arabic lettering. Projecting leather loops for threading the silken cord by which the box was carried. Used for carrying a small astrolabe or dial. Length, 5 inches. 1167 — Fifteenth Century Florentine Cuir-bouilli Carrying Case Rectangular shape, with pull-ofF lid. In cuir-houilli, or leather worked when artificially softened. Decorated, in relief, on one side with a coat-of-arms surmounted by a helmet and the crest of a winged dragon surrounded by a scrolled ara- besque patterning, on the other side with a shaped escutcheon enclosed in a pentacle, also surrounded by arabesques. At the sides are leather loops for suspension at the girdle by silken cords. The interior divided into compartments, probably for carrying tablets or memorandum books. Note: Between the fourteenth and sixteenth centuries the art of work- ing in cuir-houilli was a notable one in Italy. The leather is supposed to have been softened by long steeping in melted wax. Height, 6 inches; width, 4^2 inches; depth, 214 inches. 1168 — Sixteenth Century Florentine Ex-voto Case Dumbbell-shaped, with removable lid at one end. Of wood painted green, with floral scrollings in yellow. On the flat sur- face of the lid is painted the coat-of-arms of the Medici family. Length, 7^2 inches. 1169 — Sixteenth Century Italian Pastry Stamp Of wood, in the form of a cylinderical roller with turned handles. The body intaglio-carved with patterns of a shell and a rosette. Length, 6 inches. 1170 — Seventeenth Century Italian Walnut Spice Mill Of wood, bound with iron. In the form of an octagonal shaft on a square base with drawer. At the upper end is a hinged iron cover. Height, 6 inches. 1171 — Seventeenth Century Italian Walnut Spice Mill Of wood, bound with brass. In the form of an octagonal shaft on a square base in which is a small drawer. At the top is an iron crank with turned wooden handle grinding the spice. Height, 6 inches. 1172 — Sixteenth Centuky Italian Ivoey Mortar and Pestle Mortar in solid ivory of urn-shape, with molded bands and cir- cular foot. Pestle with acorn finial and rounded cylindrical head. Head, 6 inches; diameter, 4 inches. 1173 — Eighteenth Century North Italian Spice Mortar Of wood. Cylindrical shape, the sides carved with panels of men's and women's figures. The cylindrical pestle carved with a knob shaped as grotesque masks. Height, 6% inches. 1174 — Seventeenth Century Italian Walnut Spice Mill Of wood. In the form of an octagonal shaft on a square base. At top is an iron crank. Height, 6^2 inches. 1175 — Sixteenth Century Italian Carved Walnut Panel Rectangular shape. The interior occupied with a carving in low relief of a circular wreath of pointed leaves and flower bound with ribbons whose scrolled ends are filled with spandrels. Within the wreath is a shaped shield mantled with scrolled leaves, surmounted by a helmet, and standing Putti holding a branch of flowers and containing the coat-of-arms of the Ginori family. Painted molded frame. Height, 4 feet 2^ inches; width, G^/o inches. 1176 — Fifteenth Century Umbrian Steel Jewel Casket Square shape, with hinged lid. Entirely covered with a pierced decoration of a geometrical diapered design in wrought steel. The hinged double harp plate is of steel minutely wrought and chiseled in a design of Gothic tracery and detached columns. Lined with dark velvet. Height, 51/2 inches; length, 12% inches. 1177 — Eighteenth Century Italian Spice Grater Tongue-shaped flat grater of boxwood. With pierced metal grater, having at one end a box-hke receptacle for spice, with hinged carved lid. Height, 7 inches. 1178 — Sixteenth Century Italian Hanging Hour-glass Of turned wood, with four baluster-shaped columns and two half columns. Mounted, with a swivel at the center, on a shaped board so as to be hung up against the wall. Height, 13% inches. 1179 — Sixteenth Century Italian Stiletto Straight blade of triangular section. Handle of wrought iron. Length, 11^ inches. 1180 — Sixteenth Century Italian Paper Cutter Steel leaf-shaped pointed blade. Surrounded with figures and a scrolled design and gilded. Handle of ivory square, carved and tapering to a flat point. Length, 14% inches. 1181 — Sixteenth Century Italian Ivory Folding Foot-rule Of ivory in five folding sections. Incised linear divisions, but no figures or numbers. Length, 23 inches. 1182 — Eighteenth Century Italian Walking Stick Shaft plated with tortoise-shell. Octagonal gold top, with initials C. D. in enamel. Length, 33 inches. 1183 — Sixteenth Century Italian Marble Inkstand In yellow marble, formed as a recumbent lion holding a circular inkwell. Height, 51/2 inches; length, 7 inches. 1184 — Fifteenth Century Italian Marble Inkstand Of white marble, formed as a couchant lion and lioness drinking at cylindrical receptacles which form the inkwells. On ir- regular base. Height, 8 inches; length, 9I/2 inches. 1185 — Sixteenth Century Italian Candle Snufpers Of wrought iron. Of scissors type, resting on three feet. Length, 7^2 inches. 1186 — Three Pieces of Sixteenth Century Italian Wrought Iron Small anchor, with arrow head flukes; pair of pincers, with pivoted handles and nipper jaws; hammer, with iron head in- cised with initials N. P. and Florentine lily, and wooden handle. 1187 — Sixteenth Century Italian Iron Lantern Of iron. Cylindrical shape, with gadrooned pinnacle-shaped revolving top and leather-bound looped handle. Height, 9 inches. 1188 — Sixteenth Century Ltalian Iron Lantern Of iron, with applique ornaments of stamped brass. Cylindrical shape, with gadrooned pinnacle revolving top, and leather-bound looped handle. Height, 11 inches. 1189 — Seventeenth Century Italian Majolica Gaming Wheel Circular wheel of majolica, divided into seventeen compart- ments, painted on a white ground with symbolic figures, includ- ing those of Neptune, Venus, Cupids, the Sun, Moon and Zodiac Signs, in blue, green and yellow and brown. The wheel is mounted in a molded and paneled walnut frame and there is a gilded metal revolving pointer. Frame, 15 inches square. 1190 — Sixteenth Century Italian Chess and Backgammon Board Of wood, hinged in two portions so as to form a book. Of walnut, richly inlaid in ebony, ivory-colored woods and mother- of pearl, with geometrical borders and interlacements. Out- side inlaid as a chessboard; inside, as a backgammon board. Length, 15 inches. 1191 — Fifteenth Century Italian Walnut Chessboard Rectangular shape, in two leaves hinged so as to form a book. Inlaid with pearwood, with alternating strips of pearwood dividing the exterior into squares. The interior inlaid with pearwood so as to form a backgammon board. Length, 18 inches. 1192 — Eighteenth Century Italian Chessboard and Men Shaped as a book, in two volumes, and hinged to form a box. Covered with calfskin tooled in gold and lettered: "Gioli Tavola Reale" (A Table of Real Gems) . Turned and carved wooden chess-men. Length, 18 inches; width closed, 1 foot Yz inch. 1193 — Sixteenth Century Italian Walnut Dollys Chair Straight square back, with turned finials, carved arms with voluted terminations, and straight turned legs. Decorated with incised and gilded ornamentations. Height, 14 inches. 1194 — Fifteenth Century Venetian Carved Wood Doll Figure, in carved and painted wood, of a fifteenth century Venetian lady. The doll is carved in wood, with face natur- alistically painted and the voluminous skirt painted and gilded to simulate a rich brocaded pattern. The bodice is of blue velvet with slashed sleeves, the high steeple head-dress of blue velvet with falling veil of fine linen, and the mantle of blue silk. The doll wears an imitation pearl necklace and paste diamond pendant cross and stands on a square base. Height, 25 inches. 1195 — Seventeenth Century Italian Meat Mallet Of boxwood, with turned head and handle. Used to beat meat, so as to render it tender. Length, 91^ inches. 1196 — Seventeenth Century Italian Spice Mortar and Pestle Of wood, turned in the form of a vase on molded base. The pestle is of cylindrical shape. Height, 10 inches. 1197 — Fifteenth Century Italian Walnut Lemon Squeezer In the form of a rectangular block slantingly supported on four turned columns with a shaped base. The block has a hinged lid carved on the outside with a coat-of-arms and on the inside with a convexity which fits into a corresponding concavity sunk in the block itself. At the back is a carved animal's head from which the juice issues. Height, 10 inches; width, 6 inches; depth, 5^ inches. 1198 — Fifteenth Century Ligurian Marriage Box Circular shape, with lid. Of wood, painted on a bright red ground in blue and white, the lid with a circular central medal- lion occupied by two coats-of-arms surrounded by six circular medallions occupied by figures of geese. The sides by a series of scroll containing coats-of-arms alternating with conventional flowers. Height, 5 inches; diameter, 11 inches. 1199 — Sixteenth Century Itallvn Work-basket Oval shape, of wicker lined with silk, the rim wound with silver thread. On four gilt lions' paw feet. Length, 19 inches; width, 12 inches. 1200 — Sixteenth Century Italian Work-basket Oval shape. Of wicker-work lined with brocaded silk. On gilded lions' paws. Length, 15 inches; width, 13 inches. 1201 — Sixteenth Century Italian Wokk-basket Oval shape, of wicker-work lined with crimson velvet. On four ebonized lions' paw feet. Length, 16 inches; width, 21 inches. 1202 — Seventeenth Century Spanish Table-knife Holder Of wood and ivory. Tall flattened vase-shape receptacle of ivory, with blackened and incised carving of four saints. The four wing handles are of ivory pierced and carved in the form of scrolled caryatid figures. Divided into compartments to receive six table-knives with ivory handles carved in the form of human heads. On base of wood inlaid and plated with ivory. Height, 18 inches. 1203 — Sixteenth Century Italian Miniature Suit of Armor Of wrought iron, fashioned as a complete suit of armor, gauntlets and sword. The helmet has a movable visor and the whole suit is perfectly jointed. On a mannequin with face wrought of gilded metal. On square molded base, the plinth painted in a scrolled design in gold on black ground. Height, 12 inches. 1204 — Seventeenth Centruy Italian MS. Box Cylindrical form, with draw-off lid. Of papier-mache covered with red leather, gold-tooled in a banded design of lions, eagles, scrolls and rosettes. Lid attached with silken cord. Length, 16 inches. 1205 — Fifteenth Century Italian Lamp Stand Formed in wood as an architectural pinnacle springing from a cluster of four turned columns, the pinnacle being spirally turned and carved in a pointed-leaf decoration. On square pyramidal base. The three iron spoon-shaped lamps hang from projecting hooked iron bars. Height, 2IY2 inches. 1206 — Seventeenth Century Italian Iron Bird-cage Of wrought iron, formed of strap iron as an octagonal cupola with pointed gables. Height, 28^ inches; diameter, 12 inches. 1207 — Eighteenth Century Italian Wood Laundry Panel Flat rectangular bat-shaped, with cylindrical handle and blade richly carved in floral scrolls and rosettes. Dated 1779. Length, 26 inches; width, 5 inches. 1208 — Sixteenth Century Italian Coneectigner^s Molding Board Rectangular shape. Consisting of a board of pearwood, with intaglio sinkings, in which to pour melted sugar, carved in the form of fish and shellfish. Length, 26 inches; width, 11^2 inches. 1209 — Seventeenth Century Italian Joineu^s Plane Shaped as a modern plane, and elaborately carved with a grotesque mask and a voluted looped handle. Length, 35 inches. 1210 — Seventeenth Century Italian Silk Winder Slender shape of turned wood, with flat shaped transverse bars at top and bottom. Height, ISl/g inches. 1211 — Eighteenth Century Italian Table Distaee Of turned pearwood. Consisting of a screen attachment for affixing to the board of a table, a short cylindrical body with two arms supporting bobbin stand and pin-cup, and a slender cylindrical shaft terminating in an openwork head around which the wool was twisted. Height, 21 inches. 1212 — Eighteenth Centuey Italian Lacquered Distaff Long slender shaft, the upper portion square, carved, inlaid with mother-of-pearl and banded with brass, the lower part cylindrical. The head, of double pear-shape, is formed of spirally twisted detached ribs. The whole is lacquered in red. Length, 39% inches. 1213 — Eighteenth Century Ita1.ian Silk Winder Of boxwood. Consisting of a long cylindrical shaft, alter- nately turned and carved, with a shaped fiat upright at each end. Length, 42% inches. 1214 — Eighteenth Century Italian Silk Winder Of boxwood. Consisting of a long cylindrical shaft, alter- nately turned and carved, with a shaped flat upright at each end. Length, 42% inches. 121.5 — Fifteenth Century Italian Reliquary Staff Cylindrical shape hollowed to receive a relic. Length, 50% inches. AMERICAN ART ASSOCIATION, Managers. THOMAS E. KIRBY, Auctioneer. LIST OF ARTISTS REPRESENTED IN THE PAINTINGS SECTION AND THEIR WORKS t LIST OF ARTISTS REPRESENTED IN THE PAINTINGS SECTION AND THEIR WORKS CATALOGUE NUMBER ALBANI, Francesco Bacchanalian Scene T031 Pastoral Scene 1032 ALLORI, Cristoeano (CRISTOFANO BRONZING) Football in Florence 1028 ARETINO, Spinello Saint Anthony 1041 BASAITI, Marco Portrait of a Man 1006 BECCAFUMI, DoMENTCO Holy Family 1037 BETTO, Benardino di (PINTURICCHIO) Madonna and Child 1002 BIGORDI, DoMENico (GHIRLANDAIO) The Annunciation 1011 BOL, Ferdinand Portrait of Rembrandt 1005 BORDONE, Paris La Bella 1029 BOUTS, Dirk Ecce Homo 993 BURGUNDIAN SCHOOL Episode in the Life of St. Michael Episode in the Life of St. Michael CAMPAGNOLA, Domenico Salome with the Head of John the Baptist CARUCCI, Jacopo (JACOPO DA PONTORMO) The Nativity of the Virgin The Nativity of the Virgin CRISTOFORO FINI, Tommaso di (MASOLINO DA PANICALE) Madonna and Child CATALOGUE NUMBER 1019 1020 995 996 997 991 DADDI, Bernabdo Triptych 1034 FILIPEPI, Alessandro (SANDRO BOTTICELLI) Madonna and Child 1017 FRANCIA {See Raibolini) GHISLANDI, Fra Vittore (FRA PAOLOTTO) Portrait of a Painter 1027 GIOTTO (School of) Head of Dante Alighieri Madonna and Child A Crucifixion Madonna and Child 987 1022 1024 1030 GUTTENBRUNN, L Portrait of a Young Lady 983 GUARDI, Francesco A Masked Ball in Venice *1009 CATALOGUE GUARIENTO (IL) "™^^' St. Michael the Archangel 1021 MAS SI, Gentile (GENTILE DA FABRIANO) Madonna and Child 992 MAZZOLINO, LuDovico The Annunciation 999 PALMA, Jacopo (IL VECCHIO) Portrait of Aurelio Onigo 1008 PERUZZI, Baldassake Portrait of Himself 1004 PIETRO, Sang di Madonna and Child 1012 Madonna and Child 1025 PONTE, Jacopo (IL BASSANO) Portrait of the Abbot-Beneral Gregorio Barbarigo 1015 Portrait of a Venetian Ambassador 1016 PORTA, Fea Bautolommeo della (BARTOLOMMEO DI PAOLO) Portrait of Girolamo Savonarola 986 PREVITALI, Andkea Resurrection of Christ 990 PRIMITIVE SCHOOL OF FLORENCE Madonna and Child 985 A Crucifixion 1001 Triptych ]010 Madonna and Child 1023 Madonna and Child 1035 Chancel Cross 1039 PRIMITIVE SCHOOL OF SIENA Tobias and the Angel PRIMITIVE SCHOOL OF TUSCANY Saint Paul RAIBOLINI (FRANCIA), Francesco Madonna with Child and Saints RAIBOLINI (FRANCIA), Francesco {Attributed to) Christ Bearing the Cross ROMANI, GiROLAMO (IL ROMANINO) Portrait of a Young Man RONDINELLI, Niccolo Madonna, Child Christ and Angel RUBENS, Peter Paul Portrait of Carolus de Mallery SIGNORELLI, Luca Portion of an Altarpiece Portion of an Altarpiece Incredulity of St. Thomas STROZZI, Zanobi Deposition from the Cross THEOTOCOPULI, Domenico (EL GRECO) An Incident in the Life of Christ The Adoration of the Magi TIEPOLO, GlAMBATTISTA Study of a Man's Head Study of a Woman's Head TUSCAN SCHOOL Painted Cross CATALOGUE NUMBER 1038 1040 *1018 994 1007 1000 1013 981 982 1036 1003 998 1033 998 989 980 CATALOGUE NUMBER VAN DYCK, Anthony Portrait of Augustine Lomellini 1026 VAROTARI, Dakio Portrait of a Man 1014 VECELLI, TiziANO (TITIAN) Portrait of a Venetian Lady *1042 Lavinia, Daughter of Titian *1043 VELASQUEZ (School of) Portrait of a Young Cardinal 984 COMPOSITION. PRESSWORK AND BINDING BY iii^