CORNELL 
 
 UNIVERSITY 
 
 LIBRARY 
 
 wm*wt~ 
 
 FINE ARTS 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/cu31924102185489 
 
Entered according to Act of Congress, in the year 1876, by 
 
 A. Castellani, 
 
 in the Office of the Librarian of Congress, at Washington, D. (\ 
 
3 1924 102 185 489 
 
F/Nt 
 
 A/K 
 550 
 C3 
 
SECTION I. 
 
 MARBLES. 
 BRONZES. 
 
 TERRA-COTTA FIGURES. 
 PERSONAL ORNAMENTS. 
 ENGRAVED GEMS. 
 MISCELLANEOUS OBJECTS. 
 
CASTELLANI COLLECTION. 
 
 The names in italics following the descriptions, are the places where the 
 terra-cottas and marbles were found. 
 
 MARBLES. 
 
 v/ 1. Beautiful head in Greek style of the Young Dionysus, 
 in which are charmingly blended the characteristics of 
 both sexes, as they occur in the youthful Apollo and 
 several other conceptions of Ancient Art. 
 
 v/ 2. Head of Apollo, evidently derived from the same pro- 
 totype as the celebrated head of the Pourtales Apollo. 
 
 —3. Head of Perseus — Greek work in Phidian style. Borne. 
 
 L*^4. Head of Euripides. The portrait is splendidly pre- 
 served and vigorously conceived. It is remarkable for 
 a slight depression at the end of the nose, which does 
 not appear in the portraits engraved by Visconti. 
 Borne. 
 
 *^o. Head Of Sappho, of the same type as the one in the 
 
 Borghese Museum, Rome, but in a better state of pre- 
 servation. Borne. 
 
 \/6. Colossal statue of Indian Bacchus— The type is the 
 well known bearded and long robed Dionysus, regu- 
 larly associated in Greek Art with the Indian triumph 
 
6 MARBLES. 
 
 of the god. The prototype may have possibly been 
 that Liber Pater which Pliny ascribes to the school of 
 Praxiteles. Found in the Villa of Pollio Vedius at 
 Posilippo, near Naples. 
 
 v 7. Life-size figure of the Spinario— A boy trying to ex- 
 tract a thorn from his foot. Original Greek work of the 
 Realistic school of Pergamos, of which the Dying 
 Gladiator of the Capitol, Rome, and the group of Aria 
 and Pito in the Villa Ludovisi are other examples. 
 According to a Roman legend, a young shepherd, seeing 
 the Latins enter the Roman territory by night, ran to 
 Rome to tell the Senate of the incursion. While on 
 his way he ran a thorn into his foot ; he did not stop, 
 but continued on his course, delivered the message and 
 then sat down to extract the thorn. The Senate decreed 
 that statues should be made in his memory. Rome. 
 
 »— ^8. Head of Alexander, of heroic size. Rome. 
 
 sy * 9. Portrait of Emperor Lucius Verus Aurelius, 
 
 the colleague of Marcus Aurelius in the Empire. 
 A. D. 161-169. Rome. 
 
 """"10. Head of Cupid — School of Praxiteles. Rome. 
 
 ^-41. Head of Psyche — School of Praxiteles. Rome. 
 
 ^A.%. Head of Emperor Augustus — Bom 63 B. C. Died 
 14 A. D. Rome. 
 
 v 13. Profile portrait of Emperor Tiberius, Claudius Nero 
 Csesar. Born 42 B. C. Died 37 A. D. Naples. 
 
 \^ 14. Portrait of Empress Manlia Scantilla, wife of 
 Didius Julianus. 193 A. D. Rome. 
 
 ^ 15. Unknown portrait of an ancient Roman lady. Rome. 
 
 ^■16. Bust of Empress Julia Paola, wife of Emperor 
 Elagabulup. .Rome. 
 
MARBLES.— TERRA-CO TTA. 7 
 
 -47. Unknown female portrait in good Roman style. 
 — 18. Small bust of a bearded ancient Roman— Work 
 
 of the most refined treatment. Rome. 
 y\^. Bearded portrait— Subject unknown. Rome. 
 \s 20. Portrait of ancient Roman girl. 
 -^■21. Comic mask of Hercules. Rome. 
 —22. Bacchic mask of Rosso Antico. Rome. 
 
 *— 23. Head of Emperor Trajanus M. Ulpius. A. D. 
 
 98—117. 
 
 TERRACOTTA FIGURES. 
 ■ 1. Comic actor attacked by a dog. Rome. 
 
 -2. Caricature Of a man — The piece bears traces of color- 
 ing. Rome. 
 
 3. Head of Alexander (?) — Capua. 
 
 4. Early Christian lamp in terra-cotta, with bas-relief 
 
 representing a standing figure of Christ holding in his 
 hand a long staff surmounted by a cross, and the Evil 
 One under his feet. An angel stands at either side. 
 This lamp has been illustrated by Prof. De Rossi, of 
 Rome, as a unique representation of the subject. 
 
BRONZES. 
 
 Praenestine Cistae, or caskets in which the Etruscan 
 and Early Latin ladies kept the articles used in the bath. 
 
 These caskets are generally . cylindrical, rarely oval, a 
 foot or more in diameter and have lids and feet. The handle 
 of the lid is formed either of a woman in the posture of an 
 acrobat, or of two figures in the act of wrestling. On the 
 surface of the lid and around the sides of the casket, mytho- 
 logical subjects are generally engraved in outline. It is 
 probable the handles and feet were supplied by Etruscan 
 metallurgists from moulds, while the engraved compositions 
 were derived from, or directly influenced by Grecian Art. 
 The drawing of these compositions varies in quality. In 
 some, it is as pure and masterly as in the very finest Grecian 
 paintings. In others, we find the same affectation and man- 
 nerisms as are peculiar to many Etruscan mirrors and a few 
 Italian vases. The art would thus seem to have extended 
 over the period 300 B. C. to 200 B. C, when Greek exam- 
 ples had begun to influence the native schools of Italy in the 
 Campania, but, contending with deeply rooted traditions, had 
 to be adapted to Italian tastes and myths. 
 
 The twelve dstce in the Castellani Collection were found 
 buried with the dead in the necropolis of Palestrina, the 
 ancient Prseneste. 
 
 The use of the Cistce is placed beyond question, for the 
 reason that they are usually found containing mirrors, combs, 
 strigils, sponges, boxes of rouge and unguents, and other ap- 
 pliances of the bath. 
 
BRONZES. 9 
 
 Especially to be noted is one of the Oistce, No. 4, which 
 has upon the body a magnificent representation of Atalanta 
 preparing for the race. The lid of an oval-shaped Cista 
 illustrates a scene in the same cycle of Italian legends from 
 which Virgil obtained matter for his iEneid. This design 
 has been published in the " Annali " of the Arehfelogical 
 Institute of Rome, and is interpreted by Prof. Brunn to 
 represent the scene in which iEneas points to the slain Turnus 
 and claims the hand of Lavinia from her sire, while Minucius, 
 the river god, reclines in the foreground. 
 
 A third cista, No. 2, shows a scene from a Trojan 
 period, with the Greek names of the actors converted into 
 Archaic Italian forms and inscribed above the figures. 
 
 \S~ 1. Oval bronze cista — Engraved with the Alliance of 
 Latinus and iEneas. Prceneste. 300-200 B. C. Pub- 
 lished by Dr. Brunn, "Monumenti." 
 
 - — 2. Cylindrical bronze cista — Described in preface. 
 
 -3. Cylindrical cista of bronze and wood ; wood restored. 
 
 Cover engraved with warriors fighting. Feet with fig- 
 ures in relief, and handle formed by two figures of 
 athletes carrying a dead body. Prceneste. 
 
 «. . 4. Cylindrical bronze cista — Engraved with the Chal- 
 lenge of Atalanta. Prceneste. 
 
 -— 5. Small cylindrical cista of bronze and osier 
 
 basket, basket restored. Cover, bas-relief representing 
 Gorgon and fighting animals. Handle formed by two 
 bacchic figures. Prceneste. 
 
 — 6. Cista of bronze and wood— Cover engraved with 
 Nereids and other sea divinities. Figures on feet and 
 handle. Prceneste. The wood of the casket is restored. 
 
 ^*«7. Cylindrical bronze cista — The Conflict between the 
 Centaurs and Lapithse. Prceneste. 
 
 ' — * 8. Small cista of bronze and osier basket, basket re- 
 stored. Cover engraved with figures. Handle same as 
 No. 5. Prceneste. 
 
10 BRONZES. 
 
 —""J). Cylindrical cista of bronze and wood, wood restored^ 
 Cover engraved with a combat between foot soldiers and 
 mounted warriors. Figured handle and feet. Prce- 
 neste. 
 
 ■ — 10. Cylindrical bronze cista, engraved with Bellerophon. 
 
 Prceneste. 
 
 11. Cylindrical bronze cista, engraved with women stand- 
 
 ing by a fountain. Prceneste. 
 
 12. Cylindrical bronze cista, with engraved winged 
 
 genius and other figures. Inscription in early Latin, 
 Prceneste. 
 
 Toilet articles found in the Cistje of Pileneste. 
 
 • — 43. Bronze mirror, engraved with Venus and two draped 
 figures. 
 
 -"-"""14. Bronze mirror, engraved with Prometheus and his 
 wives. Latin inscription — metio - CASIA - ACILA - 
 Above the figures and on the left side of the mirror, 
 
 CEISIA : LOVCILIA : FATA : 
 
 R • ET • IVNIO • SETIO 
 
 ATOS ■ RET • 
 
 .^-15. Bronze mirror with ivory handle. Morning, a 
 
 female figure with four wings on her body and two on 
 her feet. Two youths stand on either side. 
 
 ] 6. Bronze mirror, engraved with four figures. 
 
 .^—17. Bronze mirror, engraved with Orestes and Electra. 
 Engraving same as a painted vase in the Naples 
 Museum. 
 
 <p ^».18. Bronze mirror, engraved with Bellerophon. Found in 
 cista No. 10. Decorated with another episode of the 
 same fable. 
 
 —49. Bronze mirror, engraved with the Judgment of Paris. 
 Names in Etruscan. 
 
BRONZES. 11 
 
 20. Bronze mirror — Representation of Perseus, accompa- 
 nied by Minerva, stretching out his hand to take the 
 eye from the Grsese. The names of the personages 
 are written beside them in the Etruscan characters. 
 
 '21. Bronze mirror, engraved with winged genius and two 
 
 women. 
 
 —22. Bronze mirror, engraved with group of figures executed 
 in very fine style. 
 
 ^— S3. Bronze mirror, engraved with a veiled woman and a 
 satyr. 
 
 ^■-2 4 . Bronze mirror, engraved, with winged genius playing 
 upon the pipes and two women dancing. 
 
 i— "fi5. Mirror, engraved with Minerva and three figures. 
 
 ■ — 26. Mirror, engraved with two figures bathing and Etruscan 
 names. 
 
 —27. Engraved bronze mirror— Minerva and three figures. 
 
 —>. 28. Bronze mirror, engraved with four figures. 
 
 29. Bronze mirror, engraved with four figures. 
 
 -—SO. Engraved mirror — Three women at their toilet. 
 
 . 31. Bronze mirror — Scene in a triclinium. Found in data 
 
 No. 1. 
 
 —32. Bronze mirror case, in repoussG work — Ganymede 
 carried away by Jupiter in the form of an eagle, in 
 presence of his brothers and sister. 
 
 —33. Large bronze strigil for the bath. Handle formed by 
 two standing figures. 
 
 - — 34. Bronze Strigil, with handle formed by a standing 
 figure. 
 
 *-35— 41. Plain bronze strigils. 
 
 «— 42. Duck-shaped cedar rouge box. 
 
 — 43. Foot-shaped cedar rouge box. 
 
12 BRONZES. 
 
 ■—44. Dove-shaped cedar rouge box. 
 
 45. Cedar rouge box — Cover with fine head of Demeter 
 ^ mx . ^ in bas relief. It is a unique specimen of wood carving, 
 fe. * preserved to us from this early period. 
 
 46. Cedar comb, carved and gilt ornaments in relief. 
 
 '"'47. Plain cedar comb. 
 
 —-48. Ivory comb. 
 
 — 49. Large sponge, found in cista No. 1. 
 
 —50. Small sponge. 
 
 —51. Child's leather sandals. 
 
 ^-§2. Dies of bone and soft stone — Eight in bone and two 
 in soft stone. 
 
 ——53. Alabaster va.se for perfume. Found in cista, No. 1. 
 
 — '54. Ivory and glass buttons ; ivory and bronze bod- 
 kins ; silver, bronze and ivory hair pins ; boxes 
 for cosmetics ; bronze implements used to part 
 the hair : — with handles in form of rams' feet, legs 
 and heads. 
 
 —55. Small flat pieces of ivory, engraved with Egypt- 
 ian divinities and symbols. 
 
 --56. Bronze depilatory instrument. 
 
 57. Seven pieces of bronze used as money before coin- 
 
 age became customary, aes - evde found in the cista. 
 
 GREEK, ETRUSCAN AND ROMAN BRONZES. 
 
 58. Mirror — Neptune attacking Perseus with his trident, in 
 
 the presence of Minerva and a winged genius. Names 
 in Etruscan characters. Etruria. 
 
 59. Cupid flying and singing — Lovely Greek statuette 
 
 found in Thraoia. 
 
 ^-^0. Etruscan priestess in adoration. Etruria. 
 *~*61. Cupid fishing — Grseco-Roman statuette. Rome. 
 
BRONZES. 13 
 
 62. A crowned female divinity with flowers in her right 
 hand. (Juno ?) Etruria. 
 
 —-63. Hercules killing the Naemean Lion. Rome. 
 
 64. Figure of a mounted Gaul. Rome. 
 
 S* 65. Head of Atys, found in the Neronian Harbor {Porto 
 oVAnzio), near Kome. 
 
 —66. Bronze youthful heroic head, in Ptolemaic style. 
 Central Italy. 
 
 67. A child wrapped in a cloth, as if returning from the 
 
 bath. Rome. 
 
 — €8. Mars. Archaic style. Norcia. 
 
 "—69. Bust of a winged genius- Mantova. 
 
 « 70. Etruscan figure of Hercules. Norcia. 
 
 — '71. Figure of a winged Victory — Handle of an Etruseo- 
 Roman patera. Chiusi. 
 
 — 72. Roman balance, with weight in the form of a hu- 
 
 man head, and votive inscription to Mercury. Rome. 
 
 — 73. Roman balance- weight, bust of a satyr. Naples. 
 
 -—74. Small figure of Minerva. Rome. 
 
 ^m. 75. Three feet of a vase in the form of sirens. Ancient 
 Italo- Greek. 
 
 - — 76. Colander — A bearded human head with a curious 
 crown decorated with two lions and rabbits in repose. 
 Repousse" work of the earliest Etruscan style. It is the 
 only piece of bronze in the style of the early sculptures 
 found at Cyprus by General Cesnola. Necropolis of 
 Capua. 
 
 •~—Z7. Vase — Handle decorated with palm leaves, rams' heads 
 and lions in repose. Found with No. 76. 
 
 —78. Large iron axe — Decorated with head of a lion and a 
 ram in bronze at either extremity of the axe. Found 
 with No. 76. 
 
14 BRONZES. 
 
 — 79. Phoenician terra-cotta vase, decorated with a figure 
 of Astarte, chimeras and foliage. Ornamentation in 
 brown and deep red on yellow ground. Found with 
 No. 76. The existence of a purely Phoenician tomb in 
 the Italo-Greek Necropolis of Capua is a fact of the 
 highest importance to Archaeologists. 
 
 ——'■80. Etruscan augural staff of wood covered with 
 
 bronze — The top ornamented with a rude representa- 
 tion of the heads of two oxen. The wood is still visi- 
 ble, though the staff was found broken in many pieces. 
 Tarquinia, Etruria. 
 
 - — , SX. Three discs with concentric lines and raised pat- 
 terns — Found in the same tomb as the augural staff. 
 Tarquinia. 
 
 . — S2. A fragment of a small figure bearing an Etrus- 
 can inscription. Etruria. 
 
 ■ — -63. Figure of a priestess— Oscan style. Cassina. 
 
 *^84. A figure of a peculiar Style, perhaps Phoenician. It 
 bears traces of enameling and minute decoration with 
 copper wire. 
 
 ^<£B. A set of ten early Christian candlesticks found in 
 the crypt of a church. VI Century. Lombardy. 
 
 — -86. Bull of Italo-Grecian style — Found at Chiusi, 
 Etruria. It reminds us of certain types which we ad- 
 mire so much on the coins of Thurium in Lucania. 
 
PERSONAL ORNAMENTS. 
 
 All the works of ancient jewelry can be divided into two 
 essentially different kinds : ornaments for general use, and or- 
 naments for funeral purposes. Both kinds of work, when 
 belonging to the flourishing period of the goldsmith's art, were 
 generally made of very pure gold, but were alloyed when be- 
 longing to certain early types of Eastern importation. 
 
 In ancient gold ornaments, whether of Greek or of 
 Italian origin, our admiration of the precious metals employed 
 is always exceeded by that which the excellence of the work- 
 manship calls up. The ancient jewelers knew and used 
 chemical and mechanical agents quite unknown to us, as they 
 were able to separate and join pieces of gold scarcely percep- 
 tible to the naked eye. Their process of melting, soldering 
 and wire-drawing remains equally a problem. When we 
 consider the Greek and Etruscan granulated and filigree 
 work in gold, even leaving aside the elegance of the forms and 
 the skill shown in the chasing, we are obliged to confess 
 that the ancients are greatly our superiors in this art. 
 
 The collection of Personal Ornaments described in the 
 present Catalogue gives a clear idea of the origin, progress and 
 decline of the goldsmith's art, from the pre-historic periods 
 down to the Thirteenth Century of the Christian Era. 
 
 In the twenty cases exhibited to the public, in the 
 Memorial Hall, we can read, as in a book, the long tale of the 
 mysteries of the toilet of the Ancients. 
 
16 PERSONAL ORNAMENTS. 
 
 The names in italics following the descriptions of the ornaments are the 
 places where they were found. 
 
 Case No. 1. 
 
 Bronze pbe-histoeic oenaments-1?eom Pe^neste. 
 
 1. Square Ornament, open work and rude decoration with 
 / animals and foliage. 
 
 r 2. Large Bulla with torque broken in three pieces. 
 
 3. Two fragments of black clay vases found in the 
 
 tomb with the bronzes. 
 
 4. Pendant with loose bulla. 
 / 5. Same as No. 4. 
 
 ' /6: Fossil Cypraea mounted in a bronze ring. 
 
 _/7. Fossil Cypraea with ring lost. 
 
 i>. Large Torque in a perfect state of preservation. 
 y$. Necklace with twelve bullae. 
 AO. Large Bull83, decorated with four discs in relief, 
 y. Two Bullae suspended on a hook. 
 j&>- Two Cypraea^, cast in bronze on a serpentine wire. 
 . Fossil Cypraea, set in a bronze ring. 
 4. Two Fossil Cypraeae. 
 
 Case No. ■% 
 Pee-histoeic ambee ornaments FEOM PaffiNESTE. 
 
 J*. Very large fibula or clasp, formed by sk loose pieces 
 
 ' of amber. 
 
 /2. Amulet in form of the head of a man. 
 S 3. Amulet same as No. 2. 
 
 /4. Amulet with full face of a man. 
 • 5. Amulet with lion's head. 
 
 
PERSONAL ORNAMENTS. 17 
 
 j>. Amulet — A monkey in repose. The monkey being^an 
 
 ' animal not indigenous to Italy, it is evident that the 
 
 Necropolis of Prseneste was used by Phoenician colonists. 
 
 y. Two small bronze fibulae. 
 
 8. Amulet, Face of a female, Archaic Phoenician style. 
 
 Jf. Amulet, same as No. 8. 
 
 AO. Large necklace with Asthragalus and nine BuUce. 
 
 11. Two silver fibulae of different forms. 
 
 22. Fibula with amber amulet. 
 y43. Silver double fibula. 
 
 J4. Piece of amber, archaic human figure in relief. 
 / 15. Amulet — A monkey, much damaged. 
 
 Case No. 3. 
 
 Very early silver and glass ornaments found in 
 Tarqttinia, Etruria. 
 
 yl. Scaraboid and beads of iridescent glass, set in a fibula. 
 
 / 2. Silver amulet with Egyptian scarab of enameled blue 
 
 vitreous paste, v 
 
 3n The same as No. 2 — Egyptian scarabs are occasionally 
 found in Etruscan tombs. 
 
 -C Figure of a Phoenician priestess, in black basaltic lava. 
 
 A 5. Head of a crowned woman, in ivory with traces of 
 ^ coloring. 
 
 /"6. Same as No. 5. 
 rl. Necklace in silver, with fourteen pendants in the shape of 
 
 / Amphorce. 
 
 8. Silver necklace, with three bulke, beads and cylinders 
 
 -"^ of glass. 
 
18 PERSONAL ORNAMENTS. 
 
 . 9. Large necklace, having in, the centre a bulla plated with 
 
 f gold, and ornamented with astrologic cross and other 
 
 symbols in relief. The chain is formed by a series of 
 
 , glass, silver and amber cylinders. Hooks are at the 
 
 ends of the necklace. 
 
 -^10. Spindle of glass and ivory. 
 
 >*11. Very small votive vase of black terra cotta, with an 
 inscription in Etruscan characters. 
 
 ^-^2. Small bulla and bead in silver. 
 
 ^AS. Silver fibula, with gold ornaments and remains of de- 
 composed coral. 
 
 "•"' 14. The same as No. 13. 
 
 ^^.15. Eight silver bells used to decorate the dress. 
 
 Case No. 4. 
 
 Primitive Etruscan and Phoenician ornaments of 
 
 uncupellated gold, adorned with granulated 
 
 work. 700 B. C. 
 
 yV. Fibula, with lion in repose in repoussi work modelled with 
 great force. Cervetri, Etruria. 
 
 /2. Fair of ear-rings, with pendant modius, or measure for 
 corn. Sardinia. 
 
 S^Amulet — Bird with opened wings and a human head ; 
 •^ bearing traces of enamel. Sardinia. 
 
 j^s" Large rose-shaped ornament with a bull's head in the 
 centre, and beautiful granulated work. Cyprus. 
 
 J* Pair of ear-rings with Greek T. Sardinia. 
 
 Ja. Two sirens "with opened wings. Cervetri. 
 
 Two small bracelets in ve 
 
 heads of animals. Cervetri. 
 
 8.*Large fibula, with fine granulated work of the earliest 
 Etruscan period. Cervetri. 
 
 7^Two small bracelets in very fine work, decorated with 
 
 ^^ V»/:wi/Ii2 nr am male ilevnofvi 
 
 > 
 
? 
 
 PERSONAL ORNAMENTS. 19 
 
 9. Vase of beaten gold, in the shape known as alabastron, the 
 / ornamentation of which consists of tiers of zigzags or 
 Vandykes. The pattern is evidently intended to imitate, 
 in granulated work, the similarly shaped patterns of 
 variegated glass of the Graeco-Phcenician period. It is 
 the only gold alabastron known. About 5 inches in 
 height. 
 
 ^t). Fibula, covered with fine granulated work. Chiusi. 
 
 1^ Pair of ear-rings with navicelle, falcons and pendant 
 modii. Sardinia. > 
 
 12^Two amber amulets, in the form of rams' heads. 
 
 / Oervetri. 
 
 13. Necklace formed by eleven cylindrical pieces of amber 
 y/ set in gold, with bulla and six pendants in the shape, of 
 
 anchors. Cervetri. 
 
 We read of such a necklace in the "Odyssey," where 
 one of the characters tells how the crafty Phoenician 
 merchantmen captured him when he was yet a child, and 
 led him into slavery. The Phoenicians were leaving his 
 native 'shores, and had taken everything on board their 
 ships, except the little lad whom they intended to kid- 
 nap. At the last moment, one of the sailors entered the 
 hall where the child's mother sat among her maidens, 
 and brought to them a necklace of amber and gold. 
 While they were examing and admiring the necklace, 
 he signed to the child's Phoenician nurse, who bore him 
 away to the ships of her countrymen. 
 
 14. Two large ear-rings, helix-shaped, with terminal 
 ^/ ornaments like pyramids, covered with grains of gold. 
 
 Cyprus. 
 
 Chain with bulla, in the form of a satyr's head decora- 
 ted with granulated work. Cervetri. 
 
 16. Elegant armilla bracelet, formed by tenia of gold, 
 S plain and in open work, decorated with chimeras, cres- 
 cents and discs in relief. Cervetri. 
 
 . 17. Same as No. 16. Cervetri. 
 
 JS. 
 
20 PERSONAL ORNAMENTS. 
 
 ^SlS. A bough-shaped bronze fibula. Cervetri 
 yi9. Bough-shaped gold fibula.— Like No. 18. 
 
 J20. Pair of ear-rings, with a modius pendant from each one. 
 
 ^ Sardinia. 
 
 JR. Large armilla, or bracelet. Gold band, decorated with 
 birds in relief and fine granulated work. Cervetri. 
 
 Case No. 5. 
 
 Etruscan ornaments of pure cupellated gold. 
 500—400 B. C. 
 
 yt. Large funeral ear-rings, with winged Victories. 
 
 Bolzena. 
 
 / 
 
 Pair of saddle-shaped gold ear-rings in fine gran- 
 ulated work. Ohiusi. 
 
 y 3. Pair of gold ear-rings. Cornucopise with heads of 
 / lions. 
 
 A. Pair of gold ear-rings of hollow circular wire. 
 
 5. Augural patera of alabaster, shell-shaped. Inside 
 
 / are two recumbent figures of a man and a woman, and 
 ' near them a Venerian amphora. Rich border of foliage 
 in relief, and traces of coloring. Chiusi, 
 
 6yTwo helices of gold for the hair. The early Etruscans 
 y gathered ^their hair into bunches and fastened these 
 helices at little distances upon them, thus causing them 
 to fall in straight positions over the chest and shoul- 
 ders. 
 
 / 7. Six styli and hair-pins i 
 
 in ivory. 
 
 / 
 
 Pair of gold saddle-shaped ear-rings in fine granu- 
 lated work. Chiusi. \ 
 
 / 9. The same as Xo. 8, smaller. Chiusi 
 /10. Same as Xo. 8, but larger. Chiusi. 
 
PERSONAL ORNAMENTS. 21 
 
 11. Pair of gold ear-rings for funeral use, of the shape of 
 *^* bunch of grapes. Bolzena. 
 
 12. Pair of gold ear-rings, saddle-shaped in repousse - 
 
 ^ work. Volterra. 
 
 13. Pair of gold saddle-shaped ear-rings, divided into 
 
 *^ twelve squares, with antifixep and discs in granulated 
 work. Cervetri^ 
 
 )& Gold clasp, with two sirens in repoussS work of archaic 
 style. Chiusi. 
 
 15, Saddle-shaped gold ear-ring with ornaments in re- 
 
 ' lief. Chiusi. 
 
 16. Pair of gold navicella ear-rings with Antifixes, and 
 <• bunches of grapes in granulated work. Volterra. 
 
 17, Pair of saddle-shaped gold ear-rings, decorated 
 X with discs and flowers in granulated work. Antifixes and 
 
 animals in repose. Chiusi. 
 
 18. A pair of the same, divided into eighteen squares, 
 having granulated and plain discs. They are sur- 
 mounted by antifixes in rope work. The ' sides are also 
 finely decorated. 'Chiusi. 
 
 V&. Gold clasp, formed by four acorns. 
 
 . Gold clasp, formed by four closed lotus flowers of fine 
 work. / 
 
 21. Pair of gold ear-rings of hollow wire, with palmetti 
 in repousse' work. JBolzena. 
 
 2. Piece of gold leaf with Greek characters. 
 
 /. Pair of gold saddle-shaped ear-rings, finely decora- 
 ted. Cervetri. 
 
 > / 24. Gold clasp, formed by four acorns. 
 
 25. Very elegant amphora in alabaster ; found at Chiusi, 
 
 'r with patera No. 5. 
 
22 PERSONAL ORNAMENTS. 
 
 Case No. 6. 
 
 Italo-Gkeek gold ornaments. 350 B. C. 
 
 1. Two circular gold stands for perfume vases. Decora- 
 ,•" ted with human and equine heads in relief. Ground 
 covered with granulated work. These stands indicate 
 to us the use of the pointed amphorae, in glass and rock 
 crystal, etc. The amphorae were placed upon stands, like 
 the above, in the same manner as the Chinese place them 
 at the present day. Metapontum. 
 
 A cicada in onyx. The Athenian women placed them 
 in their hair, as a talisman against barrenness. Taren- 
 tum. 
 
 y 
 
 3, Onyx cicada. Capua. 
 
 4./Very fine gold fibula, bough-shaped, decorated with 
 ' grains, flowers and winged Chimeras. Oumoz. 
 
 i>. Gold fibula nodus herculeus. Capua. 
 
 / 6. Pair of gold ear-rings in the form of a helix, with 
 floral ornamentation of admirable design at the middle 
 of the bend, and each terminating in two lovely and 
 refined female heads, in repoussi work. The four 
 heads wear, themselves, ear-rings of this very peculiar 
 shape! The same form occurs on the fine heads of 
 divinities engraved on some of the coins of Magna- 
 Grsecia and Sicily. It is rather difficult to explain how 
 the Grecian ladies could use such ear-rings, unless they 
 took advantage of the ductility of the pure gold and 
 pressed these spiral ear-rings against their classic ears'. 
 Metaponbum. 
 
 Si. Remains of a textile fabric of pure gold, found on 
 the body of a woman in a tomb.at Metapontum. 
 
 8. Necklace of bone-shaped garnet, mounted in pure 
 < ^- gold, with clasp representing two gazelle heads. 
 Tarentum. 
 
 Jd. Pair of gold ear-rings in the form of dolphins sacred 
 to Venus. The rope work imitating the fins, eyes and 
 other parts of the animal, is admirably expressed by 
 
PERSONAL ORNAMENTS. 23 
 
 the simple technique of the goldsmith's art, instead of 
 being the plastic result of engraving or chasing. 
 Tarentum. 
 
 10. Very large ear-ring of gold, bough-shaped, decorated 
 
 y with flowers and grain in relief. Pendant in the form 
 of a human head, in repousse' work, and three amphorce. 
 
 11.^ Gold scarab — It is engraved with a seated female fig- 
 v- ure, holding a garland in her left hand, and a mirror in 
 her right. On the ground the Greek word AQPON, or 
 "gift." Tarentuni. ' , 
 
 1 2. Ring of solid gold, with eye-shaped tablet, on which 
 / is engraved a mounted figure, such as immediately re- 
 r calls the coinage of Tarentum. Tarentum. 
 
 13^-Necklace of gold beads, some of which are quite 
 
 <r plain, while others are decorated with granulated and 
 
 rope work. The beads alternate with full blown roses. 
 
 Pendants in the form of amphorce. The fastenings are 
 
 decorated in the most elegant manner. Metapontum. 
 
 H. Small amphora of yellow blue and turquoise variegat- 
 •^ ed glass. Metapontwm. 
 
 15. Necklace of glass beads, blue and white, alternated 
 / with beads of gold. Seven pendant bullae of the shape 
 of different animals' heads. Metapontum. 
 
 lp. Small polygonal amphora, of rock crystal. The 
 / handles are cut out of the piece. Metapontum. 
 
 17. Onyx asthragalus — Asthragallse were bones used in 
 / a game veily similar to our modern game of "Jack 
 stones." 
 
 l&""Solid gold bracelet, in the form of a coiled snake. 
 Tarentum. 
 
 ^/19. Same as No. 18. Tarentum. 
 
 yzO. 'Gold ear-ring, in the shape of a dove. 
 
 JZ&- Gold ear-ring, with a disc and dove. 
 
 J52. The same as No. 21, smaller. 
 j 23. Gold ear-ring, with dove. 
 
24 PERSONAL ORNAMENTS. 
 
 /Z\. Large rock crystal cicada. 
 
 25. Eight small fibulae of pure gold. 
 
 26. Twenty-four go}d stars. 
 
 ^27. Three pelta-shaped gold ornaments. 
 
 ^-28. Crescent-shaped gold ornaments. 
 
 All the small objects, from No. 25 to No. 28 inclusive, 
 were found with the textile fabric, No. 7, in the same tomb 
 at Metapontum. The holes in the ornaments cause us to in- 
 fer that they were sewed upon some silk or light fabric which 
 constituted the lower portion of a woman's dress, and which 
 has since disappeared while fragments of the upper part, 
 which was of gold, remain. 
 
 Case No. 7. 
 
 Gold Etbuscan ornaments, with enamel, of dif- 
 ferent colors. Found by Prince Torlonia in the 
 famous Etruscan epogium ofVulci. 300 B. C. 
 
 , 1. Clasp without its gems, decorated with grains. 
 
 ^r. Necklace of beads of glass, beautifully mounted in 
 gold. The fastening is formed by two rams' heads and 
 a wheel with a garnet in the centre. 
 
 a jkTPair of ear-rings, with Ethiopian heads cut in jacinths. 
 ^ The hair is formed by grains of gold, and the eyes are 
 enameled. 
 
 4. Oval Ornament of gold, having in the centre a small 
 garnet cameo with human head, mounted with six gar- 
 ■^ nets, and set in rope work. 
 
 J>. Small amphora, with a garnet. 
 
 , 6. Fragment of a necklace — Seven cylinders of gold 
 y decorated with filigree work, alternating with six beads 
 of turquoise and white vitreous paste. 
 
 7. Monile of gold, with beads of white and green glass al- 
 ternating with knots and beads of granulated work. 
 
 yS The fastening is formed by two butterflies in colored 
 enamel. The butterfly, Psyche, was the emblem of the 
 soul. 
 
PERSONAL ORNAMENTS. 25 
 
 <J&- Monile of gold, with butterflies — in a better state of 
 preservation. 
 
 ^J9. Gold Necklace, with fastening formed by two lions' 
 heads. 
 
 10. Necklace, formed by alternating links of gold and 
 *** hard stone. 
 
 11. Eight-petaled gold rose, set in an elegant gold frame. 
 
 12. Button of gold, with small flowers in the centre and 
 '^ around the frame. 
 
 13^ Button, with plain disc and small flowers. 
 
 14^ Four convex discs of gold, unornamented. 
 
 15.' Pair of gold ear-rings, with roses and pendants of 
 / chains and vases set with garnets. 
 
 JS. Pair of gold ear-rings, with roses and pendants formed 
 by green enameled parrots. 
 
 17. Very rich gold ear-rings, with enameled Centaur as a 
 
 f pendant. 
 
 l£f Pair of gold ear-rings, with roses and pendants of 
 '/ green glass in the form of vases. 
 
 >.19. Pair of gold ear-rings, with roses and pendants in the 
 * , form of Cupids. 
 
 20. Pair of gold ear-rings, with roses and white enameled 
 y' cocks as pendants. 
 
 21. Gold ear-ring, with rose and a figure of Cupid as pen- 
 y dant. 
 
 /2. Large ear-ring, with rose and inverted pyramid. Deco- 
 ration of rope and granulated work. 
 
 2$. Pair, of gold ear-rings, with roses and large winged 
 
 <r Victories as pendants. 
 
 '24. Ear-ring, with disc and vase in granulated work as a 
 pendant. 
 
26 PERSONAL ORNAMENTS. 
 
 / 25. Ear-ring of diiferent form. 
 
 26. Gold ear-ring, with large rose and figure of Cupid as a 
 S pendant. 
 
 27. Two gold pendants for ear-rings, representing Bacch- 
 
 , antes in repoussi. work. 
 
 28. Pair of gold ear-rings, with roses and small-winged 
 /■' Victories as pendants. 
 
 29^ Gold ear-ring, with rose and a garnet vase as a pendant. 
 
 30. Pair of gold ear-rings of fine work, with chains and 
 / enameled cocks as pendants. 
 
 31. Pair of gold ear-rings, with flowers of green trans- 
 / lucent enamel, and white enameled dogs as pendants. 
 
 This is the only example of ancient translucent enamel 
 known. 
 
 32. Gold ear-ring, with an ivory flower as a pendant. 
 
 33. Pair of gold ear-rings, with roses in granulated work, 
 
 and white enameled cocks as pendants. 
 
 34. Same as No. 33., with roses less ornamented. 
 
 35. Small gold Cupid, as pendant to an ear-ring. 
 
 The rarity ol this class of enameled antique gold orna- 
 ments is such, that the British Museum at present posses- 
 ses only a single specimen of them. 
 
 Case No. 8. 
 
 Gold ornaments op the Ptolemaic style, found in 
 
 Syria. 
 
 1. Very large pair of gold ear-rings, horn-shaped, 
 y formed by twisted wire terminating in heads of chimeras 
 
 in repoussb work of the boldest Greek style. 
 
 2. Pair of large ear-rings, with pointed tablet having a 
 
 plain sardonyx in the centre. Rich border of rope work 
 and pendants in the form of amphorae, decorated with 
 vitreous paste and granulated work. 
 
PERSONAL ORNAMENTS. 27 
 
 3. Monile, or gold chain, with clasp and hook decorated 
 / with heads of Medusa in repousse" work. 
 
 4. Gold bracelet, with clasp representing a temple with a 
 yfigure of Isis, snakes and other Egyptian symbols. The 
 
 / band encircling the wrist is formed by open-work of 
 beautiful style. 
 
 5/ Fair of gold ear-rings, with vitreous paste and pen- 
 dants formed by inverted pyramids. 
 
 6./ Monile. Chain of gold with small links from which 
 * depends a gold bell with the fallowing inscription. 
 
 TOI TnO COMTET 
 MACAIM INAI. 
 The inscription was intended as a charm, to keep the boy who 
 wore this necklace from the mischievous influence of 
 the Evil Eye (Jettatura). Rome. 
 
 /!• Gold hair pin, surmounted by an acorn. 
 
 /Gold cornucopia-shaped ear-rings, with heads of 
 Bacchantes in repousse" work. 
 
 9. Diadem, formed by two branches of the vine bearing 
 ./fruit. The leaves are in the most beautiful repouss& 
 work, and the bunches of grapes are formed by ingen- 
 iously arranged small oriental pearls. 
 
 10. JTodus herculeus, or Herculean knot of Love which 
 / could not be severed. Fine rope work. Figure of Cupid 
 
 in the centre. 
 
 11. Discerniculum, or pin used to part the hair. The pin 
 •^ is fastened to a chain and is decorated with a Corinthian 
 
 capital, on which stands a figure of the Anadyomene 
 Venus. Beautiful work of solid gold. 
 
 12.,Pair of ear-rings, cornucopia-shaped, set with onyxes, 
 / plasma? and spirited heads of chimeras. 
 
 )&. Cornucopia-shaped gold ear-ring, set with garnet, 
 onyx and plasma. 
 
 14. Circular gold button, with bust of Venus and figure of 
 / Cupid in oold repousse" work. 
 
28 PERSONAL ORNAMENTS. 
 
 15. Large gold circular button-Centre of a Zona or girdle. 
 ^XBust of Venus and figure of Cupid in repoussi, work of 
 
 fine Greek style. 
 
 16. Large gold ear-ring, cornucopia-shaped, with head of 
 
 a monster, in granulated work, and set with emeralds, 
 /* garnets and pearls. It has a chain which was used as a 
 guard, in order that the wearer would not be in danger 
 of losing it. 
 
 lTVPair of gold ear-rings, with heads of Bacchantes in 
 f repoussS work. Decorated with vitreous paste. 
 
 l^Gold earring, navicella. Decorated with fine scale 
 work. 
 
 19. Amulet, formed by a fossil ammonite mounted in gold 
 /" BuUce. Jupiter Ammon has his head adorned with 
 
 rams' horns, as the leader and protector of the flock. 
 Alexander the Great, Lysimacus, &c, were represented 
 with the same attribute, and the ammonite was adopted 
 as the emblem of Jupiter Ammon, and of the Kings of 
 Macedonia and Egypt. 
 
 20. Large gold armilla. The clasp is formed by an Isiac 
 
 vase having wings, decorated with garlands and plasmse, 
 / and overflowing with fruit. Fine repoussi work. The 
 band consists of a series of fruit and leaves connected by 
 zones and braids of fine rope work. This is one of the 
 most extraordinary pieces of ancient goldsmith's art of 
 the Ptolemaic period that has descended to us. 
 
 Silver bulla, with a bust of Diana engraved on a chal- 
 cedony. The style of the cutting is very similar to that 
 of the coins of Berenice. 
 
 22. Gold ear-ring, horn- shaped with a lion's head. 
 
 ' Case No. 9. 
 
 Etbusco-Koman gold and bronze ornaments. 
 100 B. C. 
 
 y 1. Funeral diadem of thin gold. Incisions in imitation 
 ' of the shape of leaves. 
 
 / 2. Small gold ear-ring with a pearl. Targuinia. 
 
 f 
 
PERSONAL ORNAMENTS. 29 
 
 * 3. Same as No. 2. Tarquinia. 
 
 .4. Small gold tablet, with Greek inscriptions. 
 
 , 5. Pair of large gold ear-rings — Horn-shaped. Chiusi. 
 
 6. Bronze bracelet plated with gold, in the shape of a 
 / coiled snake. Chiusi. 
 
 . 7. Same as No. 6. Chiusi. 
 
 8<{Pair of ear-rings, with platane leaves and gold vases. 
 I Pendants of emerald. Bolzena. 
 
 %> Gold ear-ring — Coral beads and a small pearl. 
 ' Rare specimen showing how coral was used by the 
 ancients. Capua. 
 
 W. Small funeral bracelet of plain gold bands. Tar- 
 y quinia. ' 
 
 W. Solid gold bracelet in the shape of a coiled snake. 
 Finely chased head. 
 
 Small gold bracelet — Coiled two-headed viper. 
 Chiusi. 
 
 r 
 
 / 
 
 W>. Female head in terra cotta. Capua. 
 
 14. Same as No. 13. Capua. 
 
 l&r Pair of gold ear-rings, in the shape of Herculean 
 / clubs. Capua. 
 
 16. Diadem of thin gold leaf, with elegant palm leaf in re- 
 y lief. Islands of Greece. 
 
 17. Square ornament, of bronze plated jn gold decorated 
 / with gold flowers and animals in fine granulated work. 
 
 Chiusi. ' 
 
 J& Same as No. 17. Chiusi. 
 
 18. Same as No. 17 — Square divided into nine compart- 
 y ments. These three pieces are of very antique style, 
 
 and of peculiar technique,' and were probably part of a 
 large armilla. Chiusi. 
 
 f 20. Scarab of vitreous paste mounted in gold. 
 
 ^21. Ear-ring with prismatic plasma. 
 
30 PERSONAL ORNAMENTS. 
 
 >22» Ear-ring, trident-shaped, with plasma and small pearl. 
 
 ]23. Bronze bracelet with two headed viper. Rome. 
 
 Sjlfii. Ear-ring with fine plasma. 
 
 :25. Fragment of a necklace of gold beads, with a small 
 / scarab set in gold, as a pendant in the centre. Chiusi. 
 
 26y Gold jewel set with a garnet and pendant in green 
 / vitreous paste. 
 
 27/ Three gold beads with fine granulated Etruscan work, 
 / and several other fragments of a necklace. Cervetri. 
 
 J&8. Gold pendant, crescent-shaped with a pearl. 
 
 yJ9. A bas-relief amber, representing Venus riding on a 
 * swan. Chiusi. 
 
 3#. Bronze fibula, in the shape of a dolphin. Owmce. 
 
 3L Gold ear-ring mounted with various gems and pendant 
 / vase-shaped. Bolzena. 
 
 32. Gold ear-ring of different pattern. Bolzena. 
 
 Bronze fibula with fixed ring. Owmce. 
 
 Terra-cotta mask of a satyr. Capita. 
 
 '8p. Roman gold ear-ring (crotolos). Rome. 
 
 36. Small tablet of terra-cotta with a griflin. Capua. 
 
 ?7. Same as No. 36. Capua. 
 
 3JS. Seven amulets in mother-of-pearl and ivory, represent- 
 ' ing human figures and animals. Found in a vineyard 
 near Pompeii. These mother-of-pearl ornaments are 
 only found at Pompeii. The only specimens known 
 are a few in the Naples Museum, and these in this col- 
 lection. This rarity is due perhaps to the fragile na- 
 ture of the materials. 
 
PERSONAL ORNAMENTS. 31 
 
 Case No. 10. 
 Personal ornaments of the imperial epoch. 
 
 1. Gold ear-ring with three sapphires. 
 
 2. Colored glass representing the head of an empress. 
 
 9- 
 
 Gold ear-ring, same as No. 1. 
 
 Comic mask in bronze. 
 ' & Fragment of an ear-ring with an emerald. 
 
 /• 
 
 Circular Striped agate, engraved with a head of Me- 
 dusa, in an antique setting as a clasp. 
 
 7 V Pair of ear-rings with pendants of garnets and plasmas. 
 
 S. Bronze enameled disc with a long Gnostic inscription 
 /on one .side, and, on the other, a bust of a Fury with 
 hair of snakes and dragons, surrounded by another 
 Gnostic inscription. The inscriptions, according to the 
 best interpretations, are exorcisms or invocations, against 
 the gout. 
 
 9., Pair of gold ear-rings, with prismatic plasmse and 
 S garnets. 
 
 1Q. Gold necklace with double chain. Clasp formed by 
 / two wheels in open-work. 
 
 A\. Two ivory hair-pins with busts of women. 
 
 12. Necklace formed by sixteen prismatic plasmse of emer- 
 >alds in a natural, state, with an elegant hook of gold. 
 
 13y Small ornament in the form of a flower, having in the 
 y centre a moon-stone surrounded by plasmas and garnets. 
 
 14. Gold necklace with eleven uncut amethysts alternating 
 / with gold ornaments in the form, of Peltae, set with 
 plasmse. Roman. < 
 
 15/ Necklace with double chain set with ten natural crystals 
 S of plasmse. 
 
32 PERSONAL ORNAMENTS. 
 
 16. Necklace, with sapphires, amethysts, plasmse and small 
 y blue glass cylinders alternated with elegant groups of 
 leaves. Rich fastening. 
 
 VI. Hair-pin of bone, with bust of a Roman Empress. 
 
 >48. Hair-pin of bone, with a whistle to call the lady's slaves. 
 
 1/9. Gold circular amulet with lunar symbols, and the 
 < word AVE in relief. 
 
 20. Small Silver bulla, with winged figure in relief. 
 
 21. Bronze button, enameled, and cameo with Gorgon's 
 / head. 
 
 22. Bronze button, larger. 
 
 -'23. Small silver bulla with figure in relief. 
 
 v^. Small silver bulla with bust of young Hercules in 
 / relief. 
 
 , 25. Hair-pin in silver. 
 
 Case No. 12. 
 
 mttndus muliebris, or toilet case op an ancient 
 Roman lady. 
 
 l<^Silver patera, in the form of a shell with dolphins, 
 trident, etc., in repoussi. work with some gilding. 
 
 %t Silver patera with reeded edges. -~ 
 
 % Silver bull. 
 
 fi. Silver dog in repose. 
 
 /5. Silver Statuette — Jupiter with thunderbolt. 
 
 . Silver figure of Anubis. 
 
 7. Silver gilt mask of Bacchus. 
 
 , 8. Silver statuette of Fortune. "Bonus eventw." 
 
 y9. Silver female head. These were probably the penates 
 r of the lady. 
 
y A 
 
 PERSONAL ORNAMENTS. 33 
 
 19^ Two small ornaments of silver gilt with rosettes in 
 X the corners. 
 
 11. Silver fibula. 
 
 ^12. Bronze boy, seated body in form of an asthragalus. 
 3. Ivory die. 
 0=4. Ivory box for paint, with Cupids in relief. 
 
 )£. Four silver fibulae. 
 
 . Two silver discerniculi, with small combs on the top. 
 
 17. Two silver hair-pins. 
 _^8. Three small silver instruments, used to break paint. 
 
 W. Ivory comb. 
 
 20. Spoons, spatulas, etc. 
 S Case No. 11. 
 
 MUNDUS MULIEBRIS. 
 
 JS1. Pair of silver strigils, in their ring. 
 
 22.~ Silver box for cosmetics, with four compartments and 
 / .lid. 
 
 ^23. Silver mirror case. 
 
 y> 24. Silver vase for ointments. 
 
 Miscellaneous objects. 
 
 25. Silver Etruscan crown, ornamented with birds, pal- 
 
 mette and casques in relief. 
 
 26. Handle of bucket. 
 
 27. Silver statuette of Jupiter. 
 
 Case No. 13. 
 
 Ancient coins mounted as personal ornaments. 
 
 s 1. Byzantine coin of bronze, with silver setting. 
 
 % The same as No. 1, larger. 
 
 3. Large silver medallion of Emperor Gratianus, mount- 
 y ed as a bulla or folera.^ 
 
34 PERSONAL ORNAMENTS. 
 
 / 4. Byzantine coin set in silver as a bulla. 
 
 5. Consular coin (F. Eubria) reissued by Emperor Trajan. 
 / Setting of gold. < 
 
 6. Gold cOin of Theodosius, mounted in gold as a bvMa, 
 S with a gold chain. 
 
 7. Gold coin of Emperor Honorius, set in gold as a 
 ' fibula. 
 
 8. Large gold medallion of Emperor Honorius, richly 
 /inounted in gold as a bulla or folera. 
 
 9j, Gold Medallion of Galla Flacidia, richly mounted 
 / in gold as a bulla or folera. These two great numis- 
 matic rarities were found at Cologne. 
 
 10. Double stater of King Philip of Macedonia, father 
 
 •" of Alexander the Great, mounted in gold. 
 
 11. Gold barbaric ear-ring, with pendant set with a rare 
 S gold coin of Emperor Probus ;. reverse, Allocution. 
 
 12. Large silver ring, set with gold coin of Emperor 
 / Marcus Aurelius. , 
 
 13. Large silver ring, set with silver coin of Emperor 
 J> Hadrian. ' 
 
 Case No. 14. 
 
 Early Christian Ornaments prom the Catacombs. 
 
 1. Bronze oblong fibula, enameled and with flowers on 
 y' a blue ground. 
 
 t/ 1 2. Bronze ornament, leaf-shaped. 
 
 ' 3. Silver disc, part of a buckle ; lion-headed man in relief. 
 A representation of an evil spirit. Repoussi work. 
 
 1. Gold bracelet, composed of four wires. 
 
 5. Gold lid of a reliquary, with Greek inscription in niel- 
 /" lo, meaning that it contained a bone of a finger of St. 
 Stephen. v 
 
PERSONAL ORNAMENTS. 35 
 
 6. Fragment of bottom of a Christian cup, with let- 
 
 s ters in gold. 
 
 \7. The same as No. 6. 
 
 8. Gold ring, with antique sardonyx, engraved. Inscrip- 
 jS tion on the hoop : — evgenias. 
 
 J8. Bronze ring. — Disc with a tree in intaglio. 
 
 10. Bronze dove. 
 
 11. Bottom of Christian glass cup.— Lion in gold on a 
 
 / blue ground. 
 
 J 2. Massive gold fibula, with mark r \~ r 
 
 13. Bronze disc, incised. Lion above crescent, star and 
 
 letters. "■ 
 
 14. Gold ring. — Disc inscribed : — tarotdomei. 
 
 VS. Bronze disc suspended from a ring. Rude front face 
 /' cut on disc. 
 
 16. Bronze clasp for military belt, with monogram and 
 inscription in open work: — gemellianvs. 
 
 AT. Oblong bone amulet, with the monogram of Christ. 
 
 18. Fragment of early Christian glass. — Upper part, 
 
 figures and letters in gold. 
 ^J#. Leaden disc, with two figures in relief. 
 y%0. Bronze fibula in form of a bird. 
 
 2i. Bronze hasp,, inlaid with silver and niello. 
 
 %1. Bronze ornament, inlaid with silver and niello. 
 
 J&. Bone fish. 
 24. Bronze disc, with a lion's face in relief. 
 
36 PERSONAL ORNAMENTS. 
 
 y25. Bronze ring — Sacred monogram and fish. 
 26. Bronze ring, with two figures rudely engraved. 
 27.* Bronze ring, with monogram. 
 ' 28. Bronze ring — Monogram of Christ. 
 
 29. Bronze leaf-shaped ornament. 
 
 30. Bronze disc worn by a slave.— On one side is the 
 
 "* following' inscription: 
 
 ?f TENE-ME- T 1 
 
 ET-KEVOCA-ME-IN'- 
 
 FOKO-MAKTIS-AD 
 
 MAXIMIANVM 
 
 ANTIQVAEIVM. 
 
 and on the other, the slave having been sold to another 
 master, is the inscription : 
 
 TENE-ME-QVI 
 
 AFVGI-ET-EEVOCA 
 
 ME--IN-CELIMONTIO 
 
 AD-DOMV-ELPIDIIVO 
 
 BONOSO 
 
 ? 
 
 This very rare slave's tablet has been illustrated by 
 Prof. De Rossi, of Rome. He tells us that, before Constan- 
 tine, when a slave escaped from his master and was taken 
 back to him, he had the right by law to brand him on his 
 brow with a hot iron, in order that if he should escape a 
 second time he would be able to easily recognize him. Con- 
 stantine passed a law in which he said " that, as on the brow 
 of man was the image of God, no man had a right to touch 
 it ; but, instead of that, he would rivet a torque around his 
 neck with a tablet bearing his master's name and residence." 
 
 31. Bronze object with sunk squares, in one of which 
 
 is red enamel. 
 
 32. Bone fish. 
 
 33. Bronze theca, to contain the Eucharist ; red enamel. 
 
 \ 
 
PERSONAL ORNAMENTS. 37 
 
 ■Case No. 15. 
 Personal ornaments of the period of Charlemagne. 
 
 1. Two crescent-shaped gold ornaments, with colored 
 -^ enamel and gems. 
 
 2. Pair of gold Garlovingian ear-rings, with globes 
 ^ decorated with four flat garnets and large grains of gold. 
 
 3. Pair of Garlovingian ear-rings, with discs decorated 
 / with green glass and large grains of gold. 
 
 4. Gold Cross, with ornaments in repoussb work. This 
 . cross was sewed upon the breast of the warrior's vest, as 
 
 < we can infer from the holes around the edges. 
 
 5«^Pair of gold ear-rings, with polygons in open work. 
 
 6„ Large gold barbaric ear-ring. — Inverted pyramid 
 formed of globes. 
 
 7^, Fragment of a gold jewel, with many gems and fine 
 filigree work. 
 
 j 8. Larger fragment, same as No. 7. 
 
 9. Gold Garlovingian ear-ring, with a hemisphere deco- 
 rated with a cross and green glass. 
 
 10. Carlovingian ear-ring, with a gold hemisphere. 
 
 11. Gold Carlovingian ear-ring, in the shape of a wheel, 
 
 with rich decorations ; setting in the centre without gem. 
 
 12. Large gold fibula, polygonal and with hole in the 
 / centre, through which to pass the pin. It is formed by 
 
 an agglomeration of pearls and colored gems, which/are 
 kept in position by gold flowers on stems. 
 
 13. Large gold Carlovingian ear-rings, with discs deco- 
 rated with garnets, pearls and geometric ornaments. 
 The discs are fixed in circles which are also decorated 
 with gems, and have pearls as pendants. The under 
 sides of the discs are decorated with ornaments of gold 
 wire work. 
 
 / 
 
38 PERSONAL ORNAMENTS. 
 
 14. Solid gold ear-ring, with circle and a vase which was 
 
 originally decorated with pearls, only one of which re- 
 ^ mains. 
 
 15. Gold Carlovingian hair-pin.— Hemisphere decorated 
 y with plasmse and garnets. 
 
 16. Gold Carlovingian ear-ring, same as No. 2. 
 
 17. Gold necklace.— Chain with ten oak leaves as pendants. 
 
 18. Fragment of an ear-ring, with geometric decorations 
 r in colored glass. 
 
 19. Oval medallion of solid gold, engraved with a figure of 
 / a saint in adoration. On either side of the saint a Greek 
 
 cross, and on the ground a basket and a cup. 
 
 , 20. Gold triangular fibula, set with precious stones. 
 
 21. Bronze fibula, in the form of an arc of a circle, bearing 
 jt the inscription :— tanillai-vivat. The ends of the 
 
 arc are decorated with lions' heads. 
 
 22. Bronze cross, with three doves on the arms, and blue 
 y vitreous paste in the centre. 
 
 ,28. Bronze fibula, in the shape of a dove. 
 ^24. Circular small bronze fibula. 
 25. Fragment of a gold ornament. 
 
 Case No. 16. 
 
 Lombard gold ornaments, 800 A. D. 
 
 v 
 
 1 . Two terminal gold decorations of belts with geom- 
 ""' etrical figures. 
 
 2. Large gold ornament in repoussi work, with a cross 
 ^* having on either side two peacocks; below, two large 
 
 birds on either side of nfleur de lis. The work is rude 
 and resembles some of the marble sculpture of the 
 eighth century. 
 
 ' 3. Two terminal decorations in gold, like No. 1 . 
 
. PERSONAL ORNAMENTS. 39 
 
 ,4. Two lions in gold repoussfr work, in the style of 
 / No. 2. 
 
 5. Gold plaque, to be riveted on a- leather belt, with 
 / doisonni decoration. 
 
 ' y6. Two terminal gold ornaments for belts. 
 
 7. Two gold saddle-shaped ornaments, decorated with 
 
 «" 1 ' wire work ; nail cases which were sewn on the ends of 
 the fingers of the gloves to protect the wearer's long 
 nails from injury. The Chinese still use articles for the 
 same purpose. 
 
 ' s?&. Two cross-shaped ornaments, to be riveted on leather, 
 with rude engravings. 
 
 .«**8C Shield-shaped ornament, with cloisonne decoration, to 
 be riveted on leather. 
 
 10. Very large terminal ornament, for a leather belt, 
 
 — " decorated with geometric cloisonne work. 
 
 ^ 11. Two similar ornaments, with rivets, to be fixed on a 
 leather belt, with cloisonne decoration. 
 
 12. Four gold ornaments, in the same style, but smaller. 
 
 AS. Gold plaque, with letter V rudely engraved. 
 
 /14. Two gold ornaments, like No. 11, but smaller. 
 
 15. Crescent-shaped gold ornament, to be fixed on 
 jr leather. 
 
 16. Solid gold buckle. — Setting without the gem. 
 
 1Z. Solid gold buckle, set with aflat garnet and a setting 
 * for another gem which is lost. 
 
 A.%. Leaf of gold, with a frame. 
 
 All the above described ornaments were found in the same 
 tomb and were the decorations of a Lombard chief. 
 
40 PERSONAL ORNAMENTS. 
 
 Case No. 17 
 
 Contains thirty-eight bronze and silver military 
 decorations, clasps, fibulae, etc. Used by the Cru- 
 saders, 1000-1100 A. D. 
 
 Case No. 18 
 
 Contains forty-two bronze, silver and ivory military 
 buckles. Used by the Crusaders, 1 100-1300 A. D. 
 
 Case No. 19 
 
 Contains twenty -nine clasps for belts. 1300-1400 
 A. D. 
 
 Case No. 20 
 
 Contains thirty-one decorations, orders, clasps, fibulae, 
 / .etc. 1300-1400 A. D. 
 
 Case No. — 2 / 
 
 containing greek, etruscan and eoman ivouie3. 
 
 ^"1. Face of Gorgon, with traces of coloring. Capua 
 
 /2. Same as No. 1. Capua. 
 
 ""3. Small tablet with engraved ornaments. 
 
 —4. Same as Xo. 3. 
 
 U5. Very spirited tiger's head. 
 
 """<>. Ornament of a curule chair, representing a rude lion. 
 
 Chiusi. 
 
 ■"'7. Same as No. .6. Chiusi. 
 
 ^8. Ivory bodkin. 
 
 "%. Ivory spoon. 
 
 —10. Handle of a knife, representing a gladiator in com- 
 plete armor, fighting. 
 
 —11. Figure of a child holding a goose. 
 
 12. Hilt of a SWOrd, with two figures in bas-relief. Chiusi. 
 
PERSONAL ORNAMENTS. 41 
 
 wl3. Bust of Hercules. 
 
 1^14. Tessera, accompanying an invitation to dinner, in the 
 form of a roasted chicken, xvin h. The inscription 
 signifies the place at the table which the person was to 
 occupy. 
 
 —45. Bronze file with ivory handle. Roman. 
 
 _Jj6. Small ivory spoon. 
 
 ^J-7. An implement of ivory to spread wax on writing 
 tablet. 
 
 18. Ivory bobbin. 
 
 — 19. Fragment of an ivory comb, with bas-relief repre- 
 senting peacocks and a vase. 
 
 —20. Human head, in ivory. 
 
 -—21. Small erma, surmounted by a human bust. 
 
 """22. Group of two figures, perhaps Venus and Adonis. 
 
 «^-23. Circular tessera, or card of admission, with youthful 
 head in relief. 
 
 —24. Amulet — Tooth of a boar. 
 • — 25. Tessera for the amphitheatre. Inscription : — salvi- 
 
 LICINI-SP-ID-APR-C-NLM-BI. 
 
 —26. An ivory die. 
 •~"27. Ivory tessera : — argvte-xv. 
 ^8. Ivory tessera :— vapio-viii-a. 
 ^29. Ivory die. 
 , 30. Ivory tessera : — capvto-memmi- 
 
 SPECT- 
 
 C-N-DOMIT-C-CAS- 
 
 MEN-NOVE. 
 
 _^ 31. Ivory tessera : — heraclida-lolli-sp-k-feb-d-sil-l- 
 
 MVB. 
 
 — 32. Ivory tessera: — m-tvl-c-ant-spa-d-xiv-k-sex. 
 
42 PERSONAL ORNAMENTS— GEMS. 
 
 —63. Handle of a small knife, representing a chimera. 
 
 • — 84. Fighting-cock. 
 
 — 35. Circular tessera. — XII. 
 
 "-86. Lion in bas relief, with traces of coloring and gilding. 
 Early Etruscan. Tarquinia. 
 
 *~§1. Amulet— Boar's tooth, with Egyptian figures and sym- 
 bols in relief. 
 
 Upper part of the musical instrument called tibia, 
 
 ofivory and bronze. This instrument marks the pro- 
 gress in the musical science, as tibice in the Museum of 
 Naples and the British Museum have holes only for the 
 tones, while this one has holes for both tones and semi- 
 tones. Found at Aquilia. 
 
 >38. 
 
 GEMS. 
 
 Collection op Engraved Gems, Assyrian Cylinders 
 peom Nineveh and Persepolis, Phoenician, Etruscan 
 and Greek Scarabs, Amulets, Annular Gems and 
 Cameos, showing the history of the Glyptic Art from 
 its earliest manifestations down to the Fifth Cent- 
 ury of Christ. 
 
 The names in italics following the descriptions of the gems are the places 
 where they were found. 
 
 Cylinders, scarabs, intaglios, etc. 
 
 1. Large Assyrian cylinder of black agate.— Men and 
 
 / bulls. 
 
 J}. Assyrian cylinder of black agate. — Various ani- 
 mals, men and inscription in cuneiform characters. 
 
 3-Assyrian cylinder of plasma. — Winged Hon with 
 ^ man's head and a king. 
 
 4, Assyrian cylinder of red opaque agate. — Four- 
 f winged divinity and animals. 
 
GEMS. 43 
 
 &r Assyrian cylinder of chalcedony. — Mounted war- 
 rior fighting with lion. 
 
 (yAssyrian seal of chalcedony. — King before altar. 
 
 * Characters. 
 
 J;. Garnelian intaglio. — Egypto-Phcenician figures ; be- 
 tween them a candelabra. Avellino, in South Italy. 
 
 8; Carnelian scarab. — Phoenician king smiting an enemy ; 
 tablet. 
 
 9. Carnelian scarab. — Man fighting a large bird. Cervetri. 
 
 10. Carnelian scarab- — Figure seated on a lotus flower be- 
 
 tween two winged figures. Cervetri. 
 
 11. Fragment of a chalcedony Assyrian seal. — Man 
 
 smiting a gazelle. 
 
 12. Carnelian amulet. — Four winged Harpies. 
 
 13. Burnt agate scaraboid.— Wolf; above, Egyptian 
 
 symbol. 
 
 14. Burnt agate scaraboid.— Tiger looking back. 
 
 15. Burnt agate scaraboid. — Gryphon. 
 
 16. Burnt agate scaraboid. — Two quails facing each other. 
 
 17. Chalcedony scaraboid. — Winged bull running to 
 
 right. 
 
 18. Bock crystal scarab.— Seated sphinx. Chiusi. 
 
 19. Carnelian scarab. — Two suckling calves among reeds. 
 
 Found near Paestum. 
 
 20. Onyx scarab. — Man fighting with lion. 
 
 21. Banded Onyx scarab. — Wounded warrior. Chiusi. 
 
 22. Onyx scarab. — Minerva (?) inscribed vni. Chiusi. 
 
 23. Burnt agate scarab- — Wounded warrior. Chiusi. 
 
 24. Carnelian scarab. — Actseon at fountain. Inscription : 
 
 ataivn. Chiusi. 
 
44 GEMS. 
 
 25. Carnelian scarab.— Warrior decapitating a fallen 
 
 figure. Chiusi. 
 
 26. Carnelian Phoenician amulet— Stag looking back. 
 
 27. Carnelian scarab.— Man ; before him, a tree and thorn. 
 
 28. Carnelian scarab. — Kneeling warrior. — Cervetri. 
 
 29. Carnelian scarab.— Vulture swooping down upon 
 
 snake. UMusi. 
 
 30. Carnelian scarab. — Same subject. Chiusi. 
 
 31. Carnelian scarab. — Ajax seizing Cassandra. Corneto. 
 
 32. Carnelian scarab. — Hercules at fountain. Chiusi. 
 
 33. Sapphirine agate scarab.— Lioness walking to right. 
 
 Constantinople. 
 
 34. Banded onyx scarab. — Winged Victory before a palm. 
 
 Corneto. 
 
 35. Chalcedony scarab. — Male figure with bow, kneeling. 
 
 Inscription : lai. Chiusi. 
 
 36. Carnelian scarab. — Hercules, while carrying the tripod 
 
 from Delphi, interrupted by Apollo. Cetona. 
 
 37. Carnelian scarab- — Winged Typhon. Corneto. 
 
 38. Carnelian scarab. — Horseman to right. Chiusi. 
 
 39. Carnelian scarab. — Mercury. Chiusi. 
 
 40. Banded onyx scarab, in its original gold setting. — 
 
 Prometheus with vulture gnawing his liver. Chiusi. 
 
 41. Carnelian scarab. — Ero3 seated with bow in his hands. 
 
 42. Carnelian scarab. — Three headed horse. Apulia. 
 
 43. Carnelian scaraboid. — Stag browsing. Chiusi. 
 
 44. Carnelian scarab. — Overset biga. Chiusi. 
 
 45. Hematite cylinder. — Bacchic orgies. Two satyrs and 
 
 a Bacchante. 
 
GEMS. 45 
 
 46. Garnet asthragalus. — Eagle and, above, inscription : — 
 
 kakv. Rome. 
 
 47. Black agate intaglio. — Male bust. Inscription : — 
 
 F-FAiTiNi-SErriMiA. Rome. 
 
 48. Onyx intaglio of two layers. — Head of Nero. Rome. 
 
 49. Red jasper intaglio, fragmentary. — Portrait of a king. 
 
 Rome. 
 
 50. Burnt Garnelian. — Julia Domna. Rome. 
 
 51. Amethyst intaglio. — Figure covered with Gnostic in- 
 
 scriptions. Rome. 
 
 52. Emerald intaglio. — Nereid on a sea bull. Rome. 
 
 53. Green and white jasper intaglio. — Sea monster. 
 
 Rome. 
 
 54. Carnelian amulet. — Obverse, three Fates and a child; 
 
 reverse, iEsculapius feeding the serpent Telesphorus. 
 Rome. 
 
 55. Onyx intaglio of two layers. — Male and female figures 
 
 with joined hands. 
 
 56. Black jasper intaglio. — Thetis carrying armour, rid- 
 
 ing on a triton. 
 
 57. Sardonyx intaglio. — Female feeding a serpent. 
 
 58. Lapis-lazuli intaglio. — Mercury with hand raised to 
 
 lip. a , moving to left. 
 
 59. Bed jasper intaglio. — Young satyr seated, milking a 
 
 goat. 
 
 60. Bed jasper intaglio. — Two imperial portraits facing 
 
 each other. 
 
 61. Bed jasper intaglio. — Two imperial portrait heads, 
 
 one of them a female. 
 
 62. Banded onyx intaglio. — Melanippus decapitated. 
 
 63. Bed jasper intaglio. — Ship under sail. Rome. 
 
46 GEMS—INTA OLIOS. 
 
 64. Red jasper intaglio. — Bacchus with panther. Inscrip- 
 
 tion : C-CRAECAN-V-E-. 
 
 65. Onyx of three layers.— Grillus, mask and bird. 
 
 Home. 
 
 66. Chalcedony with inscription :— ivliaac athaetvc- 
 
 hae — above a small figure of Venus. Rome. 
 
 67. Carnelian intaglio with inscription : — 
 
 VSTPANS 
 
 ANIKHTON 
 
 ArOMOAOT 
 
 OVAIOO 
 
 INTAGLIOS. 
 
 FIRST TRAY. 
 
 -- 1. Transparent white agate. — Ram and three stars. 
 
 ^2. Chrysolite. — Female head with hair bound in opistho- 
 splmdone. 
 
 ^-3. Sardonyx flat cameo. — Bust of satyr. Rome. 
 
 _4. Sardonyx intaglio- —Altar on which are sculptured 
 two figures. Rome. 
 
 — 5. Carnelian intaglio. — Portraits of Caesar and Augustus 
 in profile to right. 
 
 ^6. Chalcedony intaglio. — Male figure seated before the 
 statue of a deity. Etrwria. 
 
 —--7. Sardonyx intaglio. — Scene from the circus. Rome. 
 
 , "'8. Beryl intaglio. — Mars moving to left. 
 
 r ""9. Sardonyx intaglio. — Daedalus making a wing, in- 
 scribed C. A. 
 
 it). Carnelian intaglio. — Danse receiving shower from 
 Zeus who sits above. Rome. 
 
INTAGLIOS. 47 
 
 "11. Sardonyx intaglio. — Two children before & stela. 
 
 <-32. Banded oriental onyx intaglio. — Wounded warrior 
 plucking arrow from foot. Chiusi. 
 
 «i_J3. Sardonyx intaglio. — Two imperial portraits, male and 
 female, facing each other. Rome. 
 
 ■ — 14. Carnelian intaglio. — Man carrying a grasshopper. 
 
 _15. Carnelian intaglio. — Bust of crowned Apollo with 
 lyre. Rome. 
 
 — 16. Transparent agate intaglio. — Bust of a Bacchante. 
 
 ^17. Banded agate intaglio. — Winged and draped figure 
 of Nemesis. Chiusi. 
 
 --*8. Sardonyx intaglio. — Bacchus resting on thyrsus with 
 panther at his feet. 
 
 ^9. Carnelian intaglio. — Msenad (Agane) with head of 
 Pentheus. 
 
 ^20. Garnet intaglio. — Mercury holding caduceus and horn 
 of plenty. Alexandria. 
 
 ~_21. Carnelian intaglio, cut scarab. — Ajax carrying body 
 of Patroelus. Chiusi. 
 
 22. Onyx intaglio. — Mercury running to left. 
 
 —-"23. Carnelian intaglio. — Minerva holding double flute. 
 
 __24. Transparent agate. — Two scenic masks. Rome. 
 
 ^ — 25. Dark agate intaglio. — Saturn with knife in left hand 
 and holding something to his mouth with right. 
 
 - — 26. Carnelian intaglio. — Head of Medusa moribonda. 
 Rome. 
 
 ^--27. Plasma intaglio. — Bacchus standing leaning on thyrsus. 
 
 '"^28. Carnelian intaglio.— Venus bathing. 
 
 — 39. Agate intaglio. — Muse with lyre leaning against a 
 cypress. 
 
48 INTAGLIOS. 
 
 —80. Carnelian intaglio..— Roman male head and, below it, 
 a boar's head. 
 
 -"31. Garnet intaglio.— Seated male figure holding a patera. 
 
 — 82. Sardonyx intaglio. — Warrior with ram at his feet, 
 standing before a cippus, around which a serpent is 
 coiled, and several birds in the top. 
 
 —83. Sardonyx intaglio. — Apollo of Miletus holding a 
 fawn. Inscribed Ml. Naples. 
 
 -34. Carnelian intaglio cnt scarab.— Two figures leading 
 a third as prisoner to the left. 
 
 —-35. Carnelian intaglio. — Eagle standing on thunderbolt. 
 Rome. 
 
 — 36. Onyx intaglio. — Ass feeding. Home. 
 
 • 37. Topaz intaglio. — Bacchus seated with panther. Late 
 Roman. Home. 
 
 38. Agate intaglio. — Horse stepping to left. Rome. 
 
 -39. Sardonyx intaglio. — Horse to the left with a palm 
 branch. Inscription : F. A. Rome. 
 
 -~ 40. Carnelian intaglio. — Bust of Mercury, inscribed : — 
 
 AMAAANTOS. 
 
 41. Sardonyx intaglio. — Mercury kneeling, holding cadu- 
 ceus and purse. Rome. 
 
 "42. Carnelian intaglio. — Fallen Orthryades warrior with 
 torso and shield at his side. 
 
 --43. Onyx of two layers. — Female bust. Rome. 
 
 44. Amethyst intaglio. — Minerva armed moving to the 
 right. Rome. 
 
 """45. Sardonyx intaglio.— Youthful male figure with mantle 
 of skin hanging from his shoulder, resting on a spear. 
 
 <^38. Brown agate. — Indian Bacchus. Rome. 
 
 ^47. Onyx of two layers. — Head of young Hercules. 
 
INTAGLIOS. 49 
 
 , — 48. Onyx. — Male figure arming a boy. 
 
 SECOND TEAY. 
 
 — 49. Amethyst intaglio. — Female bust. 
 
 50. Carnelian set in bronze. — Bellerophon and Chimera. 
 
 Cervetri. 
 
 — 51. Carnelian intaglio. — Winged Minerva holding rudder 
 
 and ears of grain. Rome. 
 
 _^ 52. Carnelian intaglio. — Bust of Livia as Abundantia. 
 Rome. 
 
 53. Carnelian intaglio. — Same as No. 51. Rome. 
 
 54. Carnelian intaglio cut scarab. — Armed god moving 
 
 — to left ; at his feet is a fallen figure. 
 
 .—55. Carnelian intaglio. — Imperial bust — Abundantia. 
 
 ^J>§. Onyx intaglio. — Winged genius standing on a globe 
 holding a thyrsus. Rome. 
 
 r ^57. Burnt Carnelian. — Portrait of a young female. 
 
 ^-66. Sardonyx intaglio. — Prometheus making man. 
 
 ^58. Onyx intaglio cut scarab. — Warrior stooping. Cor- 
 meto. 
 
 rJXk Sardonyx intaglio. — Man seated on a rock, and Cupid 
 shooting at him from under a tree. Rome. 
 
 6A~-Agate intaglio cut scarab. — Man stooping towards a 
 dog.. 
 
 62j_Sardonyx intaglio without ground. — Portrait of a 
 female facing to right. Rome. 
 
 _6iL- Carnelian intaglio. — Cupid playing the lyre. 
 
 >64r Sardonyx intaglio. — Bacchus on terminus. Rome. 
 
 fiS. Sardonyx intaglio. — Three Cupids in a boat and an 
 eagle in. the air. Rome. 
 
 v__ 
 
50 INTAGLIOS, 
 
 v_JL6. Sardonyx intaglio.— Imperial female portrait— (An- 
 tonia ? ) Rome. 
 67. Sardonyx intaglio. — Head of Bacchante : — l-marci- 
 
 hvla. Rome. 
 68.. Sardonyx intaglio.— Female head. Inscription :— 
 ^""^ IAA02. 
 j6ST "Amethyst intaglio. — Comic actor seated. Rome. 
 
 "/■ 70. Sardonyx intaglio — Maenad followed by a satyr hold- 
 -^^ ing a cottabos. 
 
 71. Sardonyx intaglio. — Antinous (?) ; youthful bust on 
 "^ which is inscribed avctas. 
 
 72, Dark sardonyx intaglio.— Ulysses and dog seated. 
 •^ Border of rope work. Rome. 
 
 3&. Sardonyx intaglio. — Shepherd with dog. Rome. 
 
 J4. Sardonyx intaglio. — Two Cupids plucking fruit. 
 
 J£6. Garnet intaglio. — Eros with butterfly. Capua. 
 
 1&. Sardonyx intaglio. — Bust of Antoninus Pius as Escul- 
 apius. 
 
 77^- Chalcedony intaglio. — Venus seated balancing a 
 " rod while Cupid flies before her. Sicily. 
 
 78.;/Caroelian intaglio. — Head of Medusa in profile. 
 Rome. 
 
 JJ&. Transparent agate. — Venus Anadyomene. Rome. 
 
 8Q^-Sardonyx intaglio. — Man seated with wine skin be- 
 ' fore him. 
 
 8JL-T Garnet intaglio. — Portrait of Livia in profile. 
 
 f 82^— Banded agate. — Cupid spearing a crab with a tri- 
 ' dent. Rome. 
 
 83, Topaz intaglio. — Diana ; in the field, L. B. and star. 
 Rome. 
 
 M. Carnelian intaglio. — Adonis seated before Venus, 
 ^ and, above them, Cupid. Sicily. 
 
INTAGLIOS, 51 
 
 v-85. Amethyst intaglio. — Head of Paris. Rome. 
 
 Jl&. Jacinth relief. — Portrait, male head, front view. 
 
 Ms Amethyst intaglio.— Portrait of one of the An- 
 f tonines. Rome. 
 
 S8^Carnelian intaglio.— Female standing before a seated 
 
 •^ old man. Naples. 
 
 Sj^Yellow agate. — "Wounded warrior. Inscription tvtb. 
 yr Rome. 
 
 Wk Sardonyx intaglio.— Ulysses seated, stela and dog. 
 S Rome. 
 
 yX.. Sardonyx intaglio. — Youth seated, holding an open 
 / casket inscribed eveip. Chiusi. 
 
 'y&2. Sardonyx intaglio. — Hippocampus facing to left. 
 Rome. 
 
 93- Sardonyx intaglio. — Two shepherds, goat, tree and 
 ^ bird. Rome. 
 
 M^Banded agate intaglio. — Scene from the circus. 
 ^ Rome. 
 
 - W. Sardonyx intaglio. — Horse galloping over a fallen 
 •S figure, and a thunderbolt above. Rome. 
 
 90i Banded agate intaglio. — Attendant of Cadmus at a 
 •^ fountain. Rome. 
 
 f 3*. Sardonyx intaglio. — Head of Medusa. Rome. 
 
 THIRD TRAY. 
 
 ""*98. Amethyst intaglio. — Female imperial head, cornu- 
 copia, sun and star. 
 
 88. Sardonyx intaglio. — Boy exciting two cocks to fight. 
 Rome. 
 
 lOO^Transparent agate intaglio. — Satyr carrying a fe- 
 
 «"' male satvr on shoulders. Rome. 
 
52 INTAGLIOS, 
 
 W-. Fragment of a sardonyx intaglio.— Head of 
 * Athena Nike. Rome. 
 
 J&%- Sardonyx intaglio. — Dancing satyr. Borne. 
 
 1Q& Sardonyx intaglio. — Cupid leaning on a staff around 
 S which a serpent is coiled. Home. 
 
 1P4T Amethyst intaglio. — Head of Pertinax in profile. 
 r Rome. 
 
 ip5? Sardonyx intaglio. — Mars descending to Rhea Sil- 
 S via. Rome. 
 
 y406. Rock crystal intaglio. — Hercules standing with 
 f club. Rome. , , 
 
 107. Sardonyx intaglio. — Ganymedes borne away by an 
 ' eagle. ^~ 
 
 /108. Beryl intaglio. — Portrait of Julia Paula. 
 
 109. Sardonyx intaglio. — Minerva, armed, moving to 
 
 right. Capua. - > ^ 
 
 110. Oriental amethyst intaglio,?— Portrait of Young 
 S Augustus. Signed AVCirrov. Rocca Seeca, near 
 
 Monte Cassino. 
 
 Vft. Sardonyx intaglio. — Horse with rider carrying a 
 ' palm branch. Rome. 
 
 W2. Sardonyx intaglio. — Seated figure of Ceres (?). 
 
 f 113. Rock crystal intaglio.— Head of Claudius in pro- 
 file. Rome. *" 
 
 ll^i Sardonyx intaglio. — Attendant of Cadmus at foun- 
 ' tain, adGa. Ohiusi. 
 
 Jtfh. Amethyst intaglio. — Agane with head of Antheus 
 taking refuge at an altar ; before her a young satyr. 
 Rome. 
 
 116. Sardonyx relief.— Head of Diocletian to right, in 
 * profile. Rome. 
 
INTAGLIOS. 53 
 
 117. Plasma intaglio. — Hebe with patera standing under 
 a tree. Rome. 
 
 s%\%. Oriental amethyst intaglio. — Youthful head, wear- 
 ing a diadem. 
 
 11^. Plasma intaglio. — Head of emperor to left, in pro- 
 S n ' e - Rome. 
 
 120. Sardonyx relief. — Veiled female head, facing left. 
 
 XI 21. Amethyst intaglio. — Mounted warrior. Rome. 
 
 122^ Sardonyx intaglio cut scarab. — Warrior and 
 
 ^/ female figure holding a sword and ttanding facing each 
 other. Chiusi. 
 
 123. Sardonyx intaglio.— Head of Alexander; below, 
 / head of Bucephalus. Rome. 
 
 124. Sardonyx intaglio. — Three warriors marching to 
 / right. The three Horatii going to the combat. Rome- 
 
 125^ Sardonyx intaglio. — Bust of Apollo to right. Rome. 
 
 lm/ Sardonyx intaglio. — Minerva erecting a trophy 
 
 s Rome. 
 
 127^ Sardonyx intaglio. — Bust of Hadrian. Signed 
 
 / AzrAslOT. Prceneste. 
 
 128,/Sardonyx intaglio. — Head of Medusa in profile. 
 ^r Naples. 
 
 129^5ardonyx intaglio. — Neptune with trident resting 
 f^ his foot on a«rock. 
 
 130. Plasma intaglio. — Imperial male portrait to right. 
 
 Caracalla^?) v. V. c. in field. Rome. 
 
 131. Transparent sardonyx intaglio. — Male portrait, 
 
 inscribed m. ma. n. 
 
 132. Sardonyx intaglio. — Hercules with dead boar and 
 / lion's skin. Surface repolished. Rome. 
 
 133<- Sardoiiyx intaglio. — Male portrait inscribed aae(?). 
 ' Rome. 
 
54 INTAGLIOS— CAMEOS. 
 
 —134. Garnet intaglio. — Female imperial portrait inscribed 
 sesi. Rome. 
 
 135. Carnelian intaglio. — Old man seated ..before a cippus 
 
 on which is a mask. 
 
 136. Rock crystal intaglio tabLetT— Two lions attacking 
 — a dragon. Persian of the Sixth Century. This re- 
 
 markable piece of oriental work is cut in the rock 
 crystal and filled up with gold. 
 
 ANCIENT CAMEOS. 
 
 Jk, Agate of two layers — Ariadne and two satyrs. Sicily. 
 
 &»■ Fragment of onyx cup with relief on outside — 
 
 / Forepart of a centaur and Lapith, with whom he is 
 fighting. Rome. 
 
 3^ Agate of two layers — Triumphal procession of Ves- 
 * pasian. Rome. 
 
 ^Fragment of onyx cup — Muse with lyre. Rome. 
 
 'ragment of white and green jasper, with remains 
 
 of human foot. 
 
 (yOnyx of three layers — Head of philosopher in pro- 
 file. Rome. 
 
 7jJ&ny& of two layers— Head of Medusa. Rome. 
 
 o. Onyx of two layers — Headof Lais of Corinth in profile. 
 
 'j£i)nyx Of two layers— Head of Empress Julia Pia. 
 ' Rome. 
 
 y\ 
 
 10. Onyx of three layers^-Bust of Galba, facing to right. 
 
 U. Onyx of two layers— Head of Tiberius, to right. 
 •^ Rome. 
 
 13* Onyx of three layers — Aurora driving biga, to right. 
 
 13. White agate, fragment. Imperial head, to right. 
 
 l4/0nyx of two layers— Head of an old man. 
 
 15/OEyx of two layers— Female imperial bust, to left. 
 ' Rome. 
 
CAMEOS. 55 
 
 VK. Onyx of three layers — Female head, to left. Capua. 
 1 7j,^)ny X of two layers — Scene of Bacchic mysteries. 
 18^ Onyx of two layers — Dancing Mcenad. Home. 
 
 19. ^Chalcedony — Fragment of a large cameo. Wing. 
 / Rome. 
 
 Jiff. Red agate — Imperial female bust. Rome. 
 
 21. Green and yellow jasper — Head of an Empress. 
 •^ Rome. 
 
 2&. Amethyst — Bust of a child. Rome. 
 
 23/ Blue paste — Bust of Caligula. Rome. 
 
 24. Agate of two layers — Head of Vulcan to right. 
 , — Rome. 
 
 25. Agate of three layers — Bust of Apollo to right. 
 
 2fi. Agate of three layers — Sphinx seated to right. 
 
 *27. Agate of two layers — Two kneeling male figures 
 holding a hare ; on the right stands a female figure. 
 
 2Jk* Agate Of three layers — Bust of Antonine to right. 
 s' Naples. 
 
 29y Burnt agatet^Consular bust with head to right. Rome. 
 
 30^0nyx of three layers — Two imperial heads in profile 
 / to right. ^\! 
 
 3L, Amethyst — On one side a fish; reverse, valerls;. 
 •^ Early Christian, Rome. 
 
 32. Onyx of three layers— Mcenad with vase and torch 
 *S moving to right.* 
 
 33. Onyx of three ^yers — Comic mask, in profile to 
 s^ right. Rome. U. 
 
 34^Fragment of an af^te of two layers— Two Cupids. 
 ' Rome. 
 
 35. Onyx of four layers — Head of crowned youth, to 
 ' right. Rome. 
 
 36. Agate of two layers — Isis seated on the throne with 
 -^ child at breast. Rome. 
 
56 ' CAMEOS. 
 
 /#!. Agate Of two layers— Comic scene, three females and 
 
 one male figure. Borne. 
 >6. Onyx of two layers— Venus returning from bath. 
 
 Rome. 
 3?f Onyx of three layers— Bust of Africa, to right. 
 40*" Onyx of three layers— Female figure seated before 
 
 terminus with figure of Bacchus. 
 JA. Onyx of two layers — Portrait bust, Ptolemaic style, 
 ' to right. Rome. 
 42^ Agate of four layers — Satiric figure of an actor ad- 
 
 * dressing a j>oet (?). 
 
 43. Red agate — Veiled female head in high relief, to left. 
 J£. Plasma — Head of child. 
 45. Agate of two layers— Two Cupids playing with dog. 
 
 * Rome. ' 
 
 46> Onyx of three layers — Man carrying game thrown 
 ' over his shoulders. Rome. 
 
 JR. White agate — Psyche seated on Rocks before Cupid, 
 Rome. 
 
 \48. Amethyst — Veiled female imperial head. 
 
 49. Agate of four layers — Bust of Minerva, to right. 
 
 "oft. Agate of two layers — Head of Jupiter surrounded by 
 
 r attributes. -Rome. 
 
 5-1 . Reddish agate VBust of Cupid. Naples. 
 
 52. White agate — Bust of Minerva and Apollo to right. 
 
 53. Sardonyx — Head of Julius Caesar crowned with laurel, 
 ^to lefty in the ancient gold setting. Rome. 
 
 <&. Agate of two layers — Phrixus sacrificing ram, to 
 ' left. 
 "f 
 ^/55. Onyx of two layers — Three-quarter face of Medusa. 
 Rome. 
 
 6. Onyx of three layers — Seated figure of philosopher, 
 
 to right. Rome. 
 
 / 
 
CAMEOS. 57 
 
 5^. Onyx of three layers— Youthful head crowned with 
 laurel and mask of bearded figure. 
 
 58*. Amethyst — Veiled female head. Ernie. 
 
 5?. Broken agate of two layers— Head of Cupid. 
 
 (JOr - Agate of two layers — Cupid riding horse. 
 
 />1. Agate of two layers — Lion. Borne. 
 
 02. Onyx — Comic mask. Rome. 
 
 63. Blue paste — Head of Medusa. Rome. 
 
 64. Agate Of two layers — Bacchante with panther. 
 y65. Agate of two layers — Lion moving to left. 
 
 ' 36. Agate of two layers — Two captive Cupids and a 
 
 trophy. , 
 
 67. Fragment of an agate of two layers — Poet (?) 
 
 playing on lyre, and a Cupid. Rome. 
 
 68. Onyx — Pegasus, to left. Rome. 
 
 69. Agate — Pattern^JolJus and pelta. 
 
 70. Onyx of three layers — Chest of a horse. Rome. 
 
 71. Sardonyx — Venus riding on a swan, to right. 
 
 72. Onyx of three layers — Eagle and Greek inscription 
 
 around border. 
 
 73. Onyx inscribed : — evtvxi. 
 
 EVTENI. 
 ZHCAIC. 
 
 74. Fragment of an onyx head of an Empress. 
 
 75. Fragment of a low relief — Portrait of Emperor Con- 
 
 s tan tine. 
 
 76. Sardonyx cup with trees in relief. 
 
 77. Fragment of a sardonyx patera — Head of an owl. 
 
 78. Small marble head of Emperor Trajan. 
 
58 MISCELLANEOUS OBJECTS— RINGS, 
 
 MISCELLANEOUS OBJECTS. 
 
 1. Three illuminated Missals on vellum, with music, fine 
 initials and religious subjects. Italian of the Fifteenth Cen- 
 tury. 
 
 2. Prayer book on vellum, with fine illuminations and 
 initials. Italian of the Sixteenth Century. 
 
 3. An original sketch, by Benvenuto Cellini. It is his 
 first conception of the Perseus in the loggia d6 Lanzi. 
 
 RINGS. 
 
 ^The names in italics following the descriptions are the places where the 
 rings were found. 
 
 — 1. Plain gold nuptial ring. — Found at Chiusi, Etruria. 
 
 , 2. Gold ring, twisted hoop. — Engraved carnelian with 
 
 bust of Diana. 
 
 ^-3. Heavy gold ring. — Onyx, engraved with an ibis. 
 Rome. 
 
 ^A. Gold ring. — Sardonyx, engraved with a human figure, 
 set in open work. Late Roman style. 
 
 5. Massive gold ring, with engraved monogram. 
 
 ^J>. Gold ring, in the Ptolemaic style. 
 
 y 7. Elegant gold ring. — Tower-shaped. Lower Empire. 
 
 8. Chalcedony. — Roughly engraved, gold setting. Late 
 ^S" Roman. 
 
 J$. Massive gold nuptial ring. — Roman. 
 
 10. Gold ring, with a moveable scarab in carnelian covered 
 S? with gold. Chiusi, Etruria. 
 
 ,11. Heavy gold ring, engraved with a Cupid mounted on 
 ' a dolphin. Rome. 
 
 yA2. Solid gold ring, engraved with a parrot. 
 
 13. Italo-Grecian gold signet ring, engraved with a 
 / seated Venus balancing a reed on her hand ; Cupid 
 dances before her, while another figure crowns her. 
 Tarentum. 
 
RINGS. 59 
 
 14, Gold signet ring, engraved with a bust of Demeter. 
 ' Magna Gratia. 
 
 Xft. Gold signet ring, engraved with two figures, one 
 ^ standing and the other seated by a tomb. Naples. 
 
 16. Massive gold nuptial ring. — Design, joined hands. 
 Late Roman. 
 
 / 
 
 . 17. Massive gold dignitary ring. — Large Carnelian, 
 
 engraved with figures of Bacchus and Ariadne and a 
 monogram. Islands of Greece. 
 
 / 18. Solid gold ring, of the Lower Empire. Onyx, en- 
 / graved with a figure of Minerva. Gaul. 
 
 / 19. Solid gold ring, of a peculiar compressed shape. 
 
 * 20. Gold ring. — Vitreous paste, impressed with a human 
 
 head and a mask. Vulti, ffirwia. 
 
 y21. Elegant gold ring. — Onyx, engraved with bust of 
 ' a lioman Empress. Home. 
 
 22. Gold signet ring, with a lion engraved on it. 
 
 23. Gold ring. — Garnet, engraved with a cock. Magna 
 
 Gratia. 
 
 24. Gold ring. -^Carnelian, engraved with two Cupids 
 wrestling before Mercury. 
 
 25. Heavy gold ring, of the Lower Enxpire, tower shaped, 
 
 three initials and chasing. 
 
 , 26. Heavy gold ring. — Garnet, engraved with a winged 
 •^ Victory holding a trophy. Italo-Grecian. 
 
 JJ7. Large gold ring. — Garnet, engraved with a bust of 
 """" King Seleucus Nicator, the founder of the Syrian 
 
 monarchy, B. C. 312-280. It is one of the most 
 valuable ancient royal seals known. Syria. 
 
 .28. Gold ling, with a sardonyx engraved with Minerva 
 ' teaching a girl to read. Chiusi, JEtruria. 
 
 "-^29. Gold ring, with an oval rock crystal. Chiusi. 
 
 ^->30. Gold Italo-Grecian signet ring, engraved with a 
 figure of a priestess before a tripod. Inscription : 
 xaipe. Tarentum. 
 
60 BINGS. 
 
 31. Gold ring, with a carnelian engraved with a trophy. 
 >82. Gold ring, Snake-shaped. 
 33. Gold ring, tower-shaped, set with a garnet. 
 ^34. Gold ring, with Minerva impressed on agate. 
 
 .35. Gold ring, with a human figure impressed on vitreous 
 r paste. Chiusi. 
 
 ^_-36. Large gold ring, with oval rock crystal. Chiusi. 
 
 37. Large gold ring.— Garnet mounted on a pivot, and 
 j, engraved with portrait of Asander, King of Bosphorus. 
 ^ The gem bears the mark of the Greek engraver: 
 AnoAAfiNioi. It is one of the most remarkable an- 
 cient rings known. Alessandria. 
 
 ^ 38. Gold ring. — Rock crystal. Same as No. 36. 
 
 / 39. Solid gold ring, engraved with three letters : — nvi. 
 
 A0. Elegant gold ring, with a garnet engraved with a 
 ^ rudder. JRuvo, Apulia. 
 
 /41. Light gold ring, without gem. Chiusi. 
 
 42. Wedding ring, with matrimonial symbols. 
 
 43. Garnet, set in a gold ring. Magna Grcecia. 
 
 44. Scarab, of paste, mounted in gold ring of archaic style. 
 
 45. Light gold ring, without gem. Vuhi. 
 
 . 46. Silver ring. — Oriental onyx scarab, engraved with a 
 dolphin and a star. Chiusi, Etruria. 
 
 47. Gold Italo-Grecian ring — Carnelian, engraved with 
 three oxen. Cassino, Campania. 
 
 AS. Large Gallo-Roman silver and gold ring— Onyx, 
 
 engraved with a seated Mercury. Gaul. 
 
 9. Massive gold Roman consular ring — Onyx, en- 
 graved with a satyr. (From the Liturcq Collection.) 
 
 50. Silver ring — Carnelian scarab, engraved with a figure 
 rudely worked. 
 
 / 
 
 / 
 
 51. Light gold ring without gem. Vuki. 
 
) 
 
 MINGS. 61 
 
 52. Gold ring of the Lower Empire — Vitreous paste, 
 impressed with a rude figure of Mars. Rome. 
 
 3. Gallo-Roman gold ring — Barbaric figure engraved 
 on lapis lazuli. Gaul. 
 
 54, Gold mortuary ring, with iridescent vitreous paste. 
 / Chiusi, Etruria. 
 
 ^^65. Massive gold ring, with fine piece of iridescent 
 vitreous paste of Millefiori. 
 
 " / 56. Large gold mortuary ring, set with brown opaque 
 / paste. Chiusi, Etruria. 
 
 57. Small gold ring — Same as No. 56. 
 
 58. Gold ring — Vitreous paste, impressed with a female 
 
 figure. Chiusi. 
 
 59. Child's onyx ring, set in gold. 
 
 60. Child's gold ring, engraved with a palm. 
 
 61. Gold ring — Two snakes twined. 
 _/>2. Child's gold ring — Herculean knot. 
 
 63. Gold ring — Plasma, prassina of Pliny, supported by- 
 
 chimera in open-work. Rome. 
 
 64. Gold Consular ring — Sardonyx, engraved with bust 
 
 of Minerva. 
 
 /65. Gold ring, tower-shaped. Mask engraved on ame- 
 ' thyst. 
 
 66. Gold ring — Scarab on pivot. Chiusi. 
 
 67. Child's gold ring — Vitreous paste, stamped with a 
 
 human nead. 
 
 6& Elegant gold ring of the Lower Empire — Moon- 
 ' shaped garnet and other gems, set in the pure metal. 
 Rome. 
 
 69. Child's gold ring, set with a garnet. 
 
 70. Child's gold ring— Engraved onyx. 
 y 71. Gold ring — Prismatic plasma. 
 
€2 RINGS. 
 
 72. Gold ring, with scarab from Sardinia, engraved with 
 
 Egyptian symbols; gem set on a pivot. 
 
 73. Gold ring — Scarab in onyx, engraved with a horse ; 
 
 gem set on a pivot. Etruria. 
 
 -74. Gold ring — Carnelian scarab. It is one of the smallest 
 scarabs known. Etruria. 
 
 75. Solid gold nuptial ring — Joined hands in relief. 
 
 Lower Empire. 
 
 76. Gold ring, with scenic mask in relief. Rome. 
 
 ' 77. Eye-shaped ring of solid gold — Found in a tomb 
 at Capua; secured in the silver fibula which accom- 
 panies it. Necropolis of Capua. 
 
 78. Ring of pale gold — Eye-shaped, with vase in relief. 
 
 Ruvo, Apulia. 
 
 79. Gold ring — Sardonyx scarab, engraved with a griffin ; 
 
 gem mounted on a pivot. Ruvo, Apulia. 
 
 SO. Massive gold ring — Carnelian, engraved with a rude 
 figure and four letters. Lower Empire. Rome. 
 
 81. Hollow gold ring — Small scarab, engraved with a 
 
 siren. Chiusi, Etruria. 
 
 82. Gold ring of the Lower Empire — Handsome crys- 
 
 tal of emerald on a pivot. Rome. 
 
 83. Gold ring, tower-shaped ; garnet and pearls on pivot. 
 
 84. Tyrrhenian gold ring— Elliptic tablet, on which are 
 
 engraved two winged animals. Chiusi. 
 
 85. Gold ring — Carnelian scarab, engraved with a figure 
 
 of Apollo; gem on pivot. Chiusi. 
 
 86. Child's gold ring — Carnelian; hoop of open-work. 
 
 87. Gold ring, with a two-layer agate cameo, representing 
 
 the head of Medusa. Chiusi. 
 
 88. Heavy gold ring — Winged victory, engraved on 
 
 garnet. Ruvo, Apulia. 
 
 89. Garnet, set in a light gold ring. Vulci. 
 
RINGS. 63 
 
 90. Tyrrhenian gold ring — Oval-shaped, and engraved 
 
 with two wild beasts fighting. Chiusi. 
 
 91. Gold ring — Spiral, with lion's head on each end. 
 
 Tarentum. 
 
 92. Solid gold ring of the Lower Empire, engraved 
 
 with the name, aketvsa. Borne. 
 
 93. Gold ring, in which is set a small piece of vitreous 
 
 paste. 
 
 94. Gold ring — Winged victory engraved on a garnet. 
 
 Magna- Grceda. 
 
 95. Gold Ring, of Lower Empire. — Small garnet. 
 
 96. Gold Tyrrhenian ring — Elliptic tablet,engraved with 
 
 chimeras. 
 
 97. Heavy gold ring — Garnet, engraved with a dog. 
 
 Vulei. 
 
 98. Gold ring, with scarab in black stone ; setting with 
 
 granulated work of the most elegant Etruscan style. 
 Chiusi. 
 
 99. Gold ring, with garnet. Fine work of Etruscan style. 
 
 Vuloi, Etruria. 
 
 100. Gold ring, eye-shaped ; a warrior and horse in relief. 
 
 Canino, Etruria. 
 
 101. Gold ring — Large snake. Alexandria, Egypt. 
 
 102. Gold ring — Rough engraving on sardonyx. 
 
 103. Gold ring — Gordian knot, and sandal in relief. Vulci. 
 
 104. Solid gold ring, with mask on garnet. 
 
 105. Solid gold Italo-Grecian ring— Agate, engraved 
 
 with Cupid riding on a swan. 
 
 106. Child's gold ring — Cameo, representing Eros. One 
 
 of the smallest cameos known. Rome. 
 
 107. Hollow gold ring — Vitreous paste stamped with a 
 
 veiled figure. Vulei. 
 
 108. Solid gold hammered ring— Ant engraved on onyx. 
 
 109. Boy's garnet ring, set in gold. 
 
 110. Very small gold rings, with Phoenician symbols. 
 
 Cyprus. 
 
64 RINGS. 
 
 111. Gold ring, with elegant vase engraved on garnet. 
 
 112. Gold ring, with engraved lion running to right. 
 
 113. Gold ring, with torch engraved on garnet. 
 
 114. Gold ring — Green vitreous paste on pivot. Vulci, 
 
 Etruria. 
 
 115. Plain garnet, set in gold. Vulci. 
 
 116. Gold ring, with scarab of white agate, engraved with 
 
 Egypto-Phcenician symbols. Chiusi, Etruria. 
 
 117. Gold Tyrrhenian ring, with tablet engraved with 
 
 chimerical animals. Chiusi. 
 
 118. Same as No. 117 — Broken hoop. Chiusi. 
 
 119. Gold ring — Vitreous paste, stamped with a shoe. 
 
 Vulci. 
 
 120. Two joined gold wedding rings. 
 
 121. Bronze signet ring. 
 
 122. Tower-shaped gold ring — Green vitreous paste. 
 
 Late Roman. Rome. 
 
 123. Gold ring — Carnelian scarab, engraved with a stag ; 
 
 gem on pivot. Targuinia, Etruria. 
 
 124. Fine gold ring, of the Lower Empire,, set with 
 
 garnets and plasmse. Rome. 
 
 125. Gold ring — Burnt agate scarab on pivot. 
 
 126. Elegant gold ring, with small prisms of plasmse 
 
 strung around it. Rome. 
 
 127. Gold ring — Onyx scarab on pivot, engraved with lion 
 
 in repose. 
 
 128. Heavy gold Roman ring, engraved with a bust of 
 
 an emperor. Signet ring of the Lower Empire. Found 
 at Rome. 
 
 129. Gold ring, representing a chain. 
 
 130. Gold ring of the Lower Empire, set with a Syrian 
 
 garnet. 
 
 131. Gold Tyrrhenian ring, with tablet engraved with 
 
 animals. 
 
EINGS. 65 
 
 132. Etruscan gold ring, set with a sapphire. Vuld. 
 
 133. Gold ring with thirteen spirals. Samothraciari. 
 
 134. Gold ring — Two snakes. 
 
 135. Plain gold funeral ring. 
 
 136. Small gold alliance ring, engraved with palms. 
 
 137. Bronze funeral ring — Brown vitreous paste, im- 
 
 pressed with a female figure. 
 
 138. Large bronze funeral ring, plated with gold ; without 
 
 gem. 
 
 139. Bronze ring, with engraved onyx. 
 
 140. Silver ring — Intaglio on red jasper, representing a 
 
 Nymph riding on a hippocampus. 
 
 141. Bronze Roman wedding ring. 
 
 142. Large bronze funeral ring plated with gold . Brown 
 
 vitreous paste, stamped with a figure of Apollo. 
 Chitisi. 
 
 143. Bronze ring, with Egyptian symbols. 
 
 144. Bronze Roman ring — Vase engraved on red jasper. 
 
 145. Same as No. 137 — Found at Chiu&i. 
 
 146. Fragment of a bronze ring, plated with gold. 
 
 Vitreous paste stamped with a human head. 
 
 147. Bronze ring — Vitreous paste stamped with a figure of 
 
 a warrior. 
 
 148. Bronze ring with Christian symbols. (?) 
 
 149. Bronze Roman wedding ring with key. 
 
 150. Same as No. 148. 
 
 151. Bronze ring. — Early Christian. Inscription: viva- 
 
 in-deo. Home. 
 
 152. Bronze ring. — Early Christian. Inscription : spes- 
 
 in-deo. Borne. Rings 151 and 152 have been pub- 
 lished by Signor Professor De Rossi of Rome. 
 
 153. Plain Silver Roman ring. 
 
 154. Signet ring in bronze, with a portrait of Constantine. 
 
66 BWG8. 
 
 155. Bronze legionary ring, bearing the number XII. 
 
 156. Annular iridescent glass. 
 
 157. Bronze ring, with a silver tablet bearing figure of Isis. 
 
 158. Annular iridescent glass. 
 
 159. Egyptian bronze ring, with a scarab of paste. 
 
 160. Silver ring, eye-shaped, engraved with a winged 
 
 Victory. Apulia. 
 
 161. Ring of green porphyry. Rome. 
 
 162. Silver ring, eye-shaped, engraved with a bull's head. 
 
 A piece of pure gold inserted in the tablet was in- 
 tended to strengthen the charm of the ring. 
 
 163. Silver Roman nuptial ring. — Two vipers. 
 
 164. Silver ring. — Carnelian, engraved with figure of a 
 
 barbarian. 
 
 165. Silver ring, engraved with a figure of Diana. 
 
 166. Bronze ring, engraved with a figure of Hercules. 
 
 167. Fragment of a silver ring,set with an oynx. Lower 
 
 Empire. 
 
 168. Signet ring in silver, with a head. 
 
 169. Silver Signet ring, engraved with a lovely female 
 
 head. Greek work. 
 
 170. Silver ring, eye-shaped and ornamented in gold. 
 
 171. Brown glass funeral ring. — Etruscan. 
 
 172. Silver Etruscan ring, engraved with a figure and 
 
 ornaments. Chiusi. 
 
 173. Silver ring, with engraved onyx. 
 
 174. Amber ring. Chiusi. 
 
 175. Large glass funeral ring. Oyprus. 
 
 176. Large amber nuptial ring — Divinities in relief on 
 
 the upper part and around the hoop. Roman, found 
 at Aquileia, Italy. It is important for being the only 
 one of this size known. 
 
RINGS. 67 
 
 177. Large glass funeral ring — Paste in imitation of 
 
 amethyst, engraved with the figure of a female. Cyprus. 
 
 178. Amber ring with civic crown in relief. Chiusi. 
 
 179. Vitreous paste, set in an iron ring. 
 
 180. Bronze ring — Warrior engraved on onyx. 
 
 181. Bronze polygonal ring with signs of the Zodiac. 
 
 Rome. 
 
 182. Bronze ring — Carnelian engraved with a goat. 
 
 183. Large funeral ring, of iridescent glass. Cyprus. 
 
 184. Chalcedony ring, engraved with imperial bust and 
 
 symbols of the Pontificate. Inscription : — avgvstvs- 
 
 PONT-MAX. 
 
 185. Silver and gold ring, with elliptic tablet engraved 
 
 with a female figure and some indistinct letters. Canosa. 
 
 186. Silver ring — Carnelian engraved with a coarse figure. 
 186a. Scarab, on pivot, set in a silver ring. 
 
 187. Tyrrhenian Silver ring, oxidized. 
 
 188. Bronze legionary ring, with the number lv. 
 
 189. Iron ring — Carnelian engraved with a club and other 
 
 figures. 
 
 190. Dark glass funeral ring. 
 
 191. Glass funeral ring of various colors. 
 
 192. Silver signet ring with Imperial bust. 
 
 193. Onyx ring, with two comic, masks on the hoop, and 
 
 the word evticia on the tablet. Rome. 
 
 194. Silver ring; engraved with a bird. 
 
 195. Roman coral ring— Very rare. 
 
 196. Bronze ring— Two vipers. 
 
 197. Dark glass funeral ring. 
 
 198. Silver signet ring— On the elliptic tablet is engraved 
 
 a seated female figure with garland and dove. In one 
 part of the rin°: is a piece of pure gold. See No. 162. 
 
68 RINGS. 
 
 199. Bronze ring, engraved with bird, surmounted by a 
 
 Greek Cross. Borne. 
 
 200. Bronze ring — Shepherd milking a goat. 
 
 201. Bronze Roman ring— Large snake. 
 
 202. Bronze gilt ring — Vitreous paste stamped with head 
 
 of Omphale. Chiusi. 
 203.*Bronze gijt ring — Vitreous paste stamped with a 
 Cupid. 
 
 204. Ditto — Hercules and stag. 
 
 205. Ditto — Bull running. 
 
 206. Ditto — Female head and mask. 
 
 207. Ditto — Eros sealed, holding a butterfly ; before him, a 
 
 dog. 
 
 208. Ditto— A man on horseback. (Ulysses?) 
 
 209. Ditto — Man seated before a pulpit with an open book. 
 
 210. Ditto — Man carrying away a woman. 
 
 211. Ditto — Ulysses traveling. 
 
 212. Bronze ring, tower-shaped. Rome. 
 
 213. Bronze ring — Bust of Jupiter Serapides. Rome. 
 
 214. The same, larger. Rome. 
 
 —-£15. Bronze wedding ring, with key. Rome. 
 
 216. Bronze ring with seven discs. 
 
 217. Bronze ring — Earn cut in red jasper. 
 
 218. Large silver ring — Two vipers. Rome. 
 
 219. Bronze signet ring — Man driving two horses. Italo- 
 
 Grecian. 
 
 220. Bronze ring, engraved with a sea monster. 
 
 221. Silver ring — Gold tablet engraved with a standing 
 
 female figure. 
 
 *The collection of rings from 203 to 211 inclusive, were found at Chiusi. 
 These antique pastes are very useful in the study of the real engraved 
 gems of the ancients. 
 
BINGS. 69 
 
 222. Bronze ring — Sacred monogram of Christ. Early 
 
 Christian. Home. 
 
 223. Bronze ring with a cross. 
 
 224. Bronze ring set with a sardonyx. 
 
 225. Gold ring — Knots and symbols. (Samothracian ?) 
 
 226. Solid gold ring, with a cross and inscription : 
 
 EVEANIA. 
 
 227. Gold ring with repoussi ornaments and vitreous paste. 
 
 Seventh Century. 
 
 228. Gold ring of the fourteenth century, with an 
 
 antique engraved plasma. 
 
 229. Silver and gold ring, with a lion. Chiusi. 
 
 230. Gold ring — Two figures in relief on elliptic tablet. 
 
 231. Gold ring, shaped like a branch of a tree. 
 
 232. Gold ring. — Loose cube bearing Gnostic symbols. 
 
 233. Gold polygonal ring, with Gnostic symbols and 
 
 inscriptions. It had been cut to be melted. Rome. 
 
 234. Silver Renaissance ring. — Ancient Roman onyx, 
 
 engraved with a human figure. 
 
 235. Bicordino, "Remember me," of silver gilt vitreous 
 
 paste. 1300 A. D. 
 
 236. Bicordino.— Two pearls. 1500 A. D. 
 
 237. Gold ring of the Benaissance. — Antique gem, 
 
 engraved with a head. 
 
 238. Episcopal gold ring, set with a sapphire. XIV 
 
 century. 
 
 239. Bicordino, silver gilt, with pointed diamond, used to 
 
 write on glass. XV century. 
 
 240. Sapphire, set in gold ring. XV century. 
 
 241. Silver ring. — Twisted hoop and coat of arms of the 
 
 Orsini family. 
 
 242. Pointed garnet, set in a gold ring. XVI century. 
 
 Italian. 
 
70 RINGS. 
 
 243. Gold ring, with an emerald set in white and black 
 
 enamel. End of the XVI century. 
 
 244. Silver medical ring, with toadstone. XV century. 
 
 245. Gold ring. — Garter. XVI century. 
 
 246. Massive gold ring. — Maltese cross in white enamel. 
 
 Knights of Malta, XVII century. 
 
 247. The same, larger. 
 
 248. Elegant gold ring, with colored enamel. Italian of 
 
 the XVI century. 
 
 249. Rock crystal, set in a gold enameled ring. XVI 
 
 century. 
 
 250. Green Paste, set in a gold enameled ring. XVI 
 
 century. 
 
 251. Gold ring, with rhomboidal setting, deprived of its- 
 
 gem. Elegant Florentine style. XVI century. 
 
 252. Silver ring, of curious form. Syrian garnet. XV 
 
 century. 
 
 253. Fine episcopal gold ring. — Vitreous blue paste. 
 
 Ring enameled with black. Italian of the XVI 
 century. 
 
 254. Ducal ring. — Polygonal jacinth. Decorated with heads 
 
 and ornaments in relief, in colored enamel of the 
 Cellini style. XVI century. 
 
 255. Medical gold ring, engraved and enameled in black. 
 
 XVI century. 
 
 256. Rock crystal, set in an enameled gold ring. XVI 
 
 century. 
 
 257. The same, smaller. 
 
 258. Gold ring, set with a diamond. XVI century. 
 
 259. Amethyst, set in gold ring of XV century. 
 
 260. Gold episcopal ring, tower-shaped. Blue vitreous 
 
 paste. XI century. 
 
 261. Gold ring, set with a square garnet. 
 
 262. Gold ring, with polygonal setting, holding blue vitreous 
 
 paste. Italian. XVI century. 
 
RINGS. 71 
 
 263. Ricordino. — Gold Gothic ring with Syrian garnet, set 
 
 with four points. XVI century. 
 
 264. Rock crystal, set in gold engraved ring. 
 
 265. Bronze Gnostic ring. 
 
 266. Bronze gilt signet ring. — Arms of Perugia. 
 
 267. Bronze ring.— Polygonal tablet, engraved with an 
 
 angel. XIV century. 
 
 268. Ricordino. — Ruby set in gold and an inscription on 
 
 the hoop. XIV century. 
 
 269. Gold Signet ring, of the XIV century.— Garnet, 
 
 engraved with an eagle holding a crown in its beak, 
 surrounded by the inscription : — seceetvm - MEVM. 
 This gem is undoubtedly a mediaeval production. 
 
 270. Gold ring, with Oriental characters. 
 
 271.*Gold ring, in silver gilt. Joined hands and a disc 
 with a rose. 
 
 272. Ditto. — Branch and rose. 
 
 273. Ditto.— Heart. 
 
 274. Ditto. — Four discs and a rose. 
 
 275. Tower-shaped silver ring. — Four pieces colored 
 
 vitreous paste. XV century. 
 
 276. Gold ring. — Seven diamonds. 
 
 277. Enameled gold ring. — Cameo representing a head of 
 
 an old man, by the Venetian engraver, il Greco. 
 
 278. Gold ring. — Coral cameo and two emeralds. 
 
 279. Giardinetto. — Gold, with diamonds and hands holding 
 
 a heart of garnet. 
 
 280. Giardinetto. — Gold, with basket of rubies and 
 
 diamonds. 
 
 281. Elegant ring, cut out of one piece of coral. In the 
 
 setting, is a cameo with bust in profile of Pope Paul 
 V. Borghese. The hoop is formed by two figures 
 representing the Apostles Peter and Paul. Very 
 remarkable work of the XVII century. 
 
 * 271-274, Love tokens. 
 
72 RINGS. 
 
 282. Ivory ring, decorated With monsters and tablet, -with 
 
 a pastoral subject. 
 
 283. Gold Hebrew wedding ring.— The inside of the 
 
 ring decorated with Hebrew characters. 
 
 284. Ring, formed of a large band of gold, set with an uncut 
 
 sapphire. Inscription in the old French language of 
 the XIV century : — 
 
 Une famme nominative 
 
 a fait de moi son datiff 
 
 par la parole genitive 
 
 En depit de 1' accusatif 
 
 Si l'amour est infinitiff 
 
 Je vend este son relatiff. 
 
 285. Gold signet ring. — Coat of arms in agate, surrounded 
 
 by an indistinct inscription on gold. On the hoop, 
 initials and foliage. XIV century. 
 
 286. Silver signet ring, with the arms of the Orsini. 
 
 287. Silver signet ring, with the arms of the Borgia. 
 
 288. Silver signet ring, with the initials L. E. c. 
 
 289. Large silver signet of the beginning of the XIV 
 
 century. Coat of arms. Inscription : — s - iones - 
 de - bvbino. Rough hammered hoop. 
 
 290. Large Signet ring, of the XV century, with the 
 
 initials C. I. Hoop decorated with fluted work and 
 foliage. 
 
 291. Silver signet ring, with the Viper of Visconti. 
 
 Inscription : PR-AMORE 
 
 TE-RTO. 
 
 (per-amore-ti-porto.) XIV Century, 
 
 292. Silver Signet ring — Quartered shield with lion ram- 
 
 pant. 
 
 293. Bronze Signet ring, with rude rampant lion. 
 
 294. Silver Signet ring, with religious monogram and 
 
 scripture sentence engraved on the hoop. XV 
 Century. 
 
 295. Silver signet ring — Plasma engraved with a tree. 
 
 On the hoop, the initials D. B. and filigree work of 
 Genovese style of the XVI Century. , 
 
EING8. 73 
 
 296. Bronze signet ring, with merchant's monogram. 
 
 297. Silver signet ring, with the arms of the Orsini. • 
 
 298. Bronze signet ring, engraved with a figure of Christ. 
 
 Venetian of the XIII Century. 
 
 299. Bronze signet ring, engraved with a horseshoe between 
 
 the initials s. E., and a heart wounded by two arrows. 
 XV century. 
 
 300. Bronze signet ring, with initials p. o., surmounted by 
 
 a cross. XV century. 
 
 301. Gold signet ring. — Coat of arms, surmounted by a 
 
 crest. Inscription : — s - bogeei. 
 
 302. Gold signet ring. — Coat of arms, surmounted by a 
 
 crest. Initials m. p. Hoop decorated with foliage. 
 
 303. Gold Signet ring. — Coat of arms, surmounted by a 
 
 crest. Inscription : — s - evgeei - cavtano. On the 
 hoop, twice occur the initials e. c. Inside the ring, 
 initials e. m., between two monograms of Christ. 
 XIV century. 
 
 304. Signet in bronze gilt. — Coat of arms, adopted from 
 
 those of the Orsini family. Initials B. a. XV century. 
 The heraldic elements are disposed differently from 
 those -of the Orsini family, but a comparison of the 
 rings Nos. 304 and 305 will prove the tact. 
 
 304 a. Silver gilt signet ring, with hoop cut in scale work. 
 On the upper part, three divisions bearing Gothic 
 letters. 
 
 305. Silver signet ring, with coat of arms of the Orsini 
 
 family and initials b. a. See No. 304. 
 
 306. Very large gold signet ring, found at Chambery, 
 
 Savoy, with the arms of Jean de Grailly Captal de 
 Buch, a celebrated captain of the XIV century. He 
 served under the kings of England and Navarre in the 
 wars against France. The form of this celebrated 
 ring is very fine. The shield bearing the coat of arms 
 is ingeniously combined with the ring, which is formed 
 of a bundle of gold wire set with uncut rubies. 
 
74 RINGS. 
 
 307. Monastic silver ring. — Monogram of Christ, sur- 
 
 rounded by the inscription : — geeonimo - GODO. 
 XVI century. 
 
 308. Silver signet, with polygonal label, inscribed H. c. 
 
 309. Silver signet. — The Viper of Visconti. XIV century. 
 
 310. Bronze gilt ring, with monogram of a merchant. 
 
 311. Silver signet, with coat of arms much defaced and the 
 
 initials I. M. 
 
 312. Signet, engraved with a sow and roses. 
 
 313. Iron ring. — Bust of a man in a shell. XVI century. 
 
 314. Tyrolean silver ring. 
 
 315. Garnet set in gold — XVI century. 
 
 316. Lover's ring — Enameled gold — a heart supported by 
 
 two hands. XVI century. 
 
 317. Silver ring, with monogram of Christ. 
 
 318. Silver ring, with portrait of a woman. 
 
 319. Silver ring — Merchant's monogram. 
 
 320. Silver marriage ring — Two portraits and joined 
 
 hands. XVI century. 
 
 321. Bronze ring of a pugilist. 
 
 322. Gold signet ring — Coat of arms, surmounted by a 
 
 crest, inscription : — pe trvs-novaeino. 
 
 323. Bronze ring in the form of the impressa ring of 
 
 Julius II. 
 
 324. Gold episcopal ring — Heads of monsters supporting 
 
 a sapphire. XIV century. 
 
 325. Bronze episcopal ring, without gem. XIV century. 
 
 326. Small silver ring, with Syrian garnet. XIV century. 
 
 327. Bronze gilt ring, with three garnets. XV century. 
 
 328. Silver gilt ring, with garnet. End of XV century. 
 
 329. Vitreous paste, set in bronze Episcopal ring. XV 
 
 century. 
 
RINGS. 75 
 
 330. Bronze episcopal ring, with traces of enamel. XVI 
 
 century. 
 
 331. Bronze gilt ring with garnet, and two M.'s in Gothic 
 
 characters. XlV century. 
 
 332. Bronze gilt episcopal ring— Blue vitreous paste. 
 
 XVII century. 
 
 333. Rock crystal, set in a bronze episcopal ring. 
 
 334. Bronze episcopal ring— Vitreous paste. 
 
 335. Gold Roman ring — Prismatic plasma. 
 
 336. Gold Roman Wedding ring — Figures in intaglio. 
 
 J537. Silver monetary chain with ten links ; used by the 
 Goths as money. They were made of bronze, silver 
 and gold. When they could obtain the precious 
 metals, they melted them into helices or spirals, which 
 they joined in a continuous chain which they wore 
 around the body as a barbaric ornament, and as their 
 treasure. In paying out money, they detached the 
 requisite number of rings from the chain, and when 
 they received money, they added them to the chain. 
 Found in a Gothic tomb at Chiusi. 
 
 PAPAL INVESTITURE BINGS. 
 
 --1. Bronze gilt ring of the XV century, with tiara and 
 Episcopal cross. French work (?). 
 
 2. Very large ring in bronze gilt, without gem. Sym- 
 bols of the Four Evangelists in relief, tiara and coat 
 of arms of Pope Nicolaus V (ParentuccdM. Thomas 
 Lucanus of Sarzana, 1447-1455 A. D.) 
 
 — 3. Ring with red rock crystal — Coat-of-arms of Pope Pius 
 II (Piocolomini Eneas Silvius of Cimg7iano,l458-1464.) 
 Inscription : — PA pa-pio. 
 
 ~~ 4. Large bronze gilt ring, with a red stone. Coat of 
 arms with three fleur de lis, tiara and keys. Inscrip- 
 tion : — pavi/vs-p-p-secvndv. (Paul II), Venetian, 
 1468. He built the Palazzo di Venezia at Rome. This 
 is one of the finest papal investiture rings known. 
 
76 $INGS. 
 
 "^5. Amethyst quartz, set in bronze gilt ring. Tiara, keys 
 and coat of arms of Pope Innocent VIII, (Cibo of 
 Genua, 1484-1492 A. D.) Inscription : — papa 
 
 in o. 
 Oval rock crystal set in bronze gilt ring. Tiara and 
 keys. Ring belonged to an unknown pontiff. 
 
 Investiture ring of Pius II, in bronze gilt, set with 
 rock inscription. Like No. 3. 
 
 Bronze gilt investiture ring of Paul II. 
 
 The same as No 8. 
 
 —-"10. Bronze gilt ring without gem ; the property of Pope 
 Alexander V. (Pietro Filargo of Candia, 1409-1410, 
 A. D.) 
 
 — H. Square rock crystal, set in bronze gold ring. Anti- 
 pope Benedictus XIII. Count of Luna, Aragonese, 
 1394-1424, A. D. Tiara and crescent on one side and 
 three crowned flew delis on the other. Fine French 
 work. 
 
 —12. Bronze gilt investiture ring of Pope Sixtus IV. 
 
 v_,13. Bronze gilt investiture ring, with coat of arms 
 of Pope Pius II. (?) 
 
 14. Bronze gilt episcopal ring with the same coat of 
 arms. 
 
SECTION II. 
 
 ITALIAN MAIOLICA. 
 
 "The above cut is from a forthcoming work on Maiolica by Mr. Arthur 
 Beckwith, of New York, illustrated by many examples from Signor Castel- 
 lani'a collection ." 
 
*M A I O L I C A 
 
 PREFACE. 
 
 The art of Maiolica painting is generally supposed to 
 have been first practiced in Italy, by Luca della Robbia, the 
 reputed discoverer of a white stanniferous enamel which he 
 applied to terra cotta. This artist, who was born about 
 the year 1400, executed many famous works in this material 
 during the course of the century, the earliest of which now 
 extant bears the date of 1438. 
 
 As, however, the oldest piece of Maiolica ware made at 
 Caffaggiuolo is dated 1477, and the earliest known piece made 
 at Faenza is a plate in the Correr Museum at Venice, dated 
 1482 (1), many excellent authorities affirm that the furnaces 
 and workshops of Tuscany, the Romagna, and the Duchy of 
 Urbino, were not established until about fifty years after the 
 date of Luca della Robbia's discovery. It is to be remarked 
 that the same persons who attribute it to him state that he 
 revealed it only to the members of his family, and that his 
 nephews, who kept his processes secret, continued to prac- 
 tice them exclusively for a half century after the death of 
 their uncle, which took place in the year 1481. 
 
 (*) The general term, " Maiolica," also spelt " Majolica," has long been 
 and is still erroneously applied to all varieties of glazed earthen- 
 ware of Italian origin. We have seen that it was not so originally, 
 but that the term was restricted to the lustred wares, which resem- 
 bled, in that respect, those of the Island [Majorca], from which 
 they had long been imported into Italy. * * * * " Fabio Ferrari, 
 in his work upon the origin of the Italian language, states his belief 
 ' that the use of Maiolica, as well as the name, came from Majorca, 
 which the ancient Tuscan writers called Maiolica.' ' Thus Dante 
 writes : — ' Tra l'isola di Cipri e di Maiolica.' " Fortnum's Cata- 
 logue. Introduction, p. XXXV. 
 
 (1.) "A descriptive catalogue of the Maiolica in the South Kensington 
 Museum," by C. D. E. Fortnum, p. xlvii. London, 1873. 
 
80 PREFACE. 
 
 If, however, Luca della Robbia's method was known 
 only to the members of his family, it is difficult to explain 
 the fact that independent manufactories of Maiolica, which 
 produced works notable for their fine enamel and decoration, 
 were established in Italy during Luca's life time. In order 
 to get over this difficulty, Mr. Fortnum suggests (2) that 
 such manufactories in Tuscany and Romagna may have been 
 founded by some Moorish refugee who had settled there. 
 This hypothesis is, however, as uncertain as that 
 advanced by Jacquemart (3) to the effect that enameled pottery 
 of native manufacture was made in Italy before the introduc- 
 tion of stanniferous Oriental enamels, and that Luca della 
 Robbia may have learned how to make it from some Tuscan 
 workshops, whose rude processes his peculiar genius enabled 
 him to perfect. 
 
 Such conclusions and hypotheses arise from the absence 
 of documentary evidence, and especially from the want of 
 collections in which the various phases of the art can be 
 studied through all their manifestations. Mr. Fortnum 
 has been one of the first to recognize the necessity of consulting 
 archives in many parts of the Italian peninsula where famous 
 manufactories of Maiolica existed. It has happened, in point 
 of fact, that, as the objects were marked with the name of the 
 place where they were made, it was not always considered 
 necessary to specify the name of the artist who decorated 
 them so beautifully. It was a fatal tribute paid to fashion, 
 that the name of the factory patronized and subsidized by a 
 Prince, was regarded as sufficient to give value to the object 
 which bore it. 
 
 In the same way, it has happened in our own times, that 
 the names of individuals to whom we owe so many baautiful 
 shapes and charming paintings upon the porcelain of Capodi- 
 monte and S&vres, are lost in those of these famous manu- 
 factories. 
 
 The Collection described in the following Catalogue was 
 formed by Signor Alessandro Castellani, of Rome, with the 
 view of supplying the demands of the studious. All the 
 
 (2.) Fortnum'a Catalogue, p. xlvii. 
 
 (3.) Les merveilles de la Ceramique, par Albert Jacquemart p. 118. 
 
PREFACE. 81 
 
 world knows that, in consequence of the breaking up of many 
 collections, examples of the highest historical interest men- 
 tioned in various monographs as existing specimens of the 
 progress of the art, have been thrown into the market, and 
 these have been brought together in the present collection to 
 offer the strongest proof of a now lost excellence of taste and 
 of the beauty in an Art whose revival is at present so widely 
 aimed at. 
 
 Besides examples of Hispano and Siculo-Moresque ware, 
 the Castellani Collection contains specimens of Deila Robbia 
 ware, Maiolicas from Caffagg;iuolo, Siena, Gubbio, Faeuza, 
 Pesaro, Urbino, Roma, and Castelli, and porcelain of Euro- 
 pean manufacture. 
 
 1. The Hispano-Moresque objects as classified by Riocreux, 
 
 and amply illustrated by Daviliier (4) represent the 
 products of the famous workshops of Malaga, Majorca, 
 and Valenza from the 13th to the 17th century, and, 
 taken with the Siculo-Moresque of Caltauirone, ex- 
 plain the diffusion of the art and the knowledge of 
 metallic iridescent glaze, along the shores of the Adriatic. 
 
 2. A new document of importance, as regards the Tuscan 
 
 manufactories, is furnished in the specimen marked No. 
 8, which represents a cock upon a heraldic shield. Its 
 date, 1466, is anterior by nine years to that of the old- 
 est known piece of Caffagiuolo ware. 
 
 The numerous monograms and dates, especially upon 
 Nos. 32-38, furnish material for studies and researches con- 
 cerning the history of this famous manufactory whose pro- 
 ducts were brought by an unknown hand to that perfection 
 exhibited in the objects numbered 28 and 29 of the Catalogue. 
 
 3. The importance of the school of Gubbio is attested by 
 
 more than 130 pieces, whose study would greatly fur- 
 ther the resolution of many mooted questions. They 
 furnish material for the history of the manufactory 
 from 1518, when Maestro Giorgio Andreoli took up 
 his residence at Gubbio, down to the latest times. Nor 
 are records wanting of the relations of the Gubbio fac- 
 
 (4.) Histoire des faiences Hispano-Moresques a reflets m&alliques, par le 
 Baron Ch. Daviliier. Paris, 1861. 
 
82 PREFACE. 
 
 tory with other establishments of its kind whose pro- 
 ducts were sent to Gubbio that they might be embel- 
 lished by its beautiful iridescent glaze (5). 
 
 4. Among the specimens of Maiolica from Casteldurante 
 
 (Nos. 172, 190 a,), most precious for their historical in- 
 terest are No. 172, representing the flight into Egypt (6), 
 and No. 174, which belonged to a table service made 
 for the most noble family of the Dukes of Guise. Still 
 more worthy of notice are Nos. 178-180, which illus- 
 trate the boldness and the capricious fancy of those ar- 
 tists who, before the fall of the Duchy in 1635, raised 
 the art to that grade of beauty of which, unfortunately, 
 but too few examples have come down to us (7). 
 
 5. The factory of Deruta, near Perugia, whose products 
 
 have given rise to much discussion, is represented in 
 the Castellani Collection by a remarkable example, 
 consisting af a disc with a votive inscription (No. 191) 
 dated 1505; that is 30 years before the first date pre- 
 viously known. 
 
 6. The development of the art in the Romagna is fully 
 
 illustrated by Nos. 192-232, the most important of 
 which are the earliest examples, commencing with the 
 phials of the 15th century, bearing the monogram of 
 Rimini, which were lately found in the excavations 
 made in that city. After those, follow the archaic vases 
 from Faenza (Nos. 195-201), with enamels and orna- 
 ments in the Oriental style, and these bring us, through 
 a rich series of monograms and dates, to the really splen- 
 did works known under the name of Casa Pirota (Nos. 
 225, 226 bis.). 
 
 7. Among the examples of Maiolica ware from Pesaro it will 
 
 suffice to point out No. 247, bearins the dare of 1524, 
 which is certainly the most remote yet given upon any 
 piece from that manufactory (8). 
 
 (5.) See No. 171, with the monogram of Francesco Xanto, dated 1536, 
 and 175 a, with the monogram of Caffagiuolo. 
 
 (6 ) Reproduced hy Delange (op. cit.) of the same size as the original. 
 (7.) Fortnum's "Catalogue," p. 288. 
 (8.) Fortnum's "Catalogue," p. 150. 
 
PREFACE. 83 
 
 8. Nos. 252-259 a, which come from the work-shops of 
 
 Urbino, represent the Various phases of that famous 
 school, whose fame rose to a great height in the first 
 half of the 16th century through the works of Guido 
 Durantino and of Orazio Fontana, the most famous of 
 painters on Maiolica. No. 252, a portrait of the Em- 
 peror Charles V., mentioned by Fortnum (9) as the 
 work of Fontana, is regarded as one of the rarest speci- 
 mens of the art. To him also are attributed No. 265, 
 and No. 276, a disk cover in the shape of a tortoise. 
 This splendid piece of ware, bought at Modena, is 
 perhaps that mentioned in an anonymous account writ- 
 ten at Pesaro, October 26th, 1660, of the way in which 
 the Duke of Modena was received at the palace of the 
 Countess Violante. The passage referred to runs as 
 follows : "Having enquired whether any pieces of Ma- 
 iolica painted by Raphael were to be bought, many ba- 
 sins and cups were shown to us, not indeed painted by- 
 Raphael, but by a certain artist of past times, named 
 Gabiccio. The owners of these vases, however, asked 
 such extravagant prices for them, as, for instance, a 
 hundred doubloons for one very beautifully paiiited, for 
 which we offered twelve, that we only purchased one of 
 a similar form, and a large tortoise for twenty-two 
 doubloons. The latter, which could be used for a cover 
 and basin, had the body and the top completely covered 
 with grotesques and figures" (10). 
 
 9. The numbers? 300, 307, belong to the Roman factories 
 
 where the style of Urbino was imitated after the Duchy 
 had been annexed to the States of the Church. The 
 most remarkable of these is the last, where the date, 1597, 
 is three years earlier than that upon any piece of Roman 
 Maiolica hitherto known (11). 
 The Castellani Collection is also not wanting in exam- 
 ples of the Abruzzi Maiolica (Nos. 308-320), which 
 complete the history of the ceramic art in Italy. 
 
 (9.) Fortnum's "Catalogue," p. 337. 
 (10.) Marchese Campori — "Mem. st. ed artistiehe della porcelana di Fer- 
 rara nei secoli xv-xvi." P. 142. Modena, 1871. 
 11.) Fortnum's "Catalogue," p. 461. 
 
84 PREFACE. 
 
 10. As a worthy appendix to this important Collection, Nos. 
 321 and 322 are added, as examples of the first attempts 
 to manufacture porcelain in Europe. The researches 
 of Dr. Foresi prove that during the reign of the Medi- 
 cean Duke, Francisco I, at the close of the 16th cen- 
 tury, attempts were made in Tuscany to imitate the 
 precious Oriental porcelain, which had replaced the 
 ancient products of the country. A little factory was 
 then established in the Boboli gardens, where, a hun- 
 dred years before Meissen, Fulham and St. Cloud 
 began to produce their well-known ware, the first 
 European porcelain was produced. According to Chaf- 
 fers, 19 pieces only of it are now extant (12), although 
 Foresi has recorded 25 (13). The objects in the Castel- 
 lani Collection were, however, unknown to both writers, 
 one of which (No. 321) is the finest piece in existence, 
 because, besides its beauty and the rarity of its mark, 
 it bears the name of the artist who painted it. (14). 
 
 (12.) "Marks and Monograms on Pottery and Porcelain," 3d ed., London, 
 1870. 
 
 " Sulle porcellane Medicie," Firenze, 1869. 
 (14.) Fortnum's Catalogue, (p. LXV, LXVIII). 
 
MAIOLICA. 
 
 The dimensions are given in the French metre. 
 
 siculo-arabian. 
 
 Rough ware produced by the Arabs during their 
 domination in slcily. 
 
 \y 1. Siliceous glazed, ovoid vase, of Persian style. 
 
 Decorated in blue and black. Three gazelles on 
 the body, and Arabic inscriptions on the neck and 
 stand. Height, 0.32. (1300-1400 A. D.) 
 
 '"' y 
 
 \S^ 2. Vase, ditto — Four peacocks and foliage in relief. 
 Height, 0.33. (1300-1400 A. D.) 
 
 i*^" 3. Vase, ditto — White leaves and fleur de lis on blue 
 ground. Height, 0.39. (About 1400 A. D.) 
 
 *-^4. Four-handled vase for water. Blue palm leaves and 
 stripes on yellow ground, diapered with arabesques of 
 metallic lustre. Height, 0.28. (About 1500 A. D.) 
 
 5. Four-handled vase, lamp-shaped. Arabesque deco- 
 ration. Metallic lustre. Height, 0.17. (About 
 1550 A. D.) 
 
 t^~6. Ovoid vase — Arabesque of copper lustre on blue 
 ground. Height, 0.16. (About 1600 A. D.) 
 
 lx- 7. Basin — Blue decoration on white ground. Interior, 
 two women on either side of a stela, or monument, 
 having inscriptions and arabesque decorations upon 
 their dresses. The inside and outside of the basin 
 are also decorated in blue with arabesques and inscrip- 
 tions. Metallic lustre. Diameter, 0.48. (About 
 1600 A. D.) 
 
 ' 7a. Large bowl on stands-Decorated with fluted work 
 
 and flowers. Copper lustre. Height, 0.27. Diam- 
 eter, 0.34. (About 1600 A. D.) 
 
86 MAIOLICA. 
 
 "~7b. Basin — Decorated with large rosasse in relief. In the 
 centre, heraldic shield bearing an eagle. The whole 
 basin is diapered in with net-work, cogger lustre. Di- 
 ameter, 0.37. (About 1400 A. D.) 
 
 DELLA EOBBIA WAKE. 
 
 7c. Baptismal font — Fluted, blue with zone of white, bear- 
 ing inscription : — glokia - in- eselsis-deo - ed- in- 
 teera-pax. Diameter, 0. 37. 
 
 — 7d. Basso-rilievo — The Virgin kneeling before the Infant 
 
 Jesus ; the Father, the Holy Ghost and a chorus of 
 angels looking down upon the scene. Figures white, 
 sky blue, and grass green. The frame of ovoli pattern, 
 Height, 0.65. [Luca della Robbja.] 
 
 — 7e. Bust of a veiled saint on a pedestal bearing the 
 
 inscription: maximilla. On the left, shield with 
 monogram : 
 
 <*^fe. Height, 0.18. 
 Caffagivolo, Tuscany. 
 
 " 8. Heraldic shield, bearing a black cock with fleur de 
 lis in his beak ; below, the date 1466. In the Cluny 
 Museum in Paris, is a piece of the same school, dated 
 1475 A. D., and in the Sevres Museum, another piece 
 dated 1477 A. D., which were considered the earliest 
 known manufactures of this school. This specimen is 
 therefore nine years older than the one, and eleven 
 years older than the other. Height, 0.32. 
 9. Deep plate — Amatorio, or love-token ; white ground, 
 blue decoration. In the centre, the bride and bride- 
 groom ; three palm trees, and various animals on the 
 bottom and border. Diameter 0. 41. 
 
 10. Drinking cup — Bust of a youth, crowned ; yellow 
 ground studded with blue, encircled by a winding 
 border of palmettes of blue, with yellow roses on a pale 
 blue ground. Diameter, 0.16. 
 
MAIOLIOA. 87 
 
 11. Fluted cup— Love token— Bust of a youthful lady, on 
 
 yellow ground, with inscription : — lavra-b. Diam- 
 eter, 0. 26. 
 
 *— J2. Plate, with raised medallion in centre, bearing bust of 
 a young lady and the inscription :— iabina. Decorated 
 with crowns and foliage. Diameter, 0. 32. 
 
 "13. Plate, with coat of arms of the Orsihi family. Diam- 
 eter, 0. 30. 
 
 >—J4. Deep dish — Bust of a prophet, on blue ground ; on 
 the border, rich ornaments in various colors. Diam- 
 eter, 0. 40. 
 
 15. Dish— Child, with shield and javelin; border, gazelles 
 and rich ornamentation on blue ground. Diameter. 
 0. 25. 
 
 6. Vase with eight handles, decorated with various orna- 
 ments on a red gronnd. Height, 0. 28. 
 
 17. Large chalice, with coat of arms of the Orsini family. 
 Height, 0. 25 ; diameter, 0. 1 9. 
 
 18. Two-handled vase — Ornaments of various colors on 
 a white ground. Height, 0. 23. 
 
 Two-handled vase, with yellow crowns. Height, 0.27. 
 
 Vase— Same as No. 18. Height, 0. 23. 
 
 Albarello, (Pharmaceutic vase) — Bust of a warrior, 
 inscribed : di - anisl Height 0.22. 
 
 ,/22. Ditto — Bust of a woman, inscribed: v-biae-caf- 
 
 Height, 0.22. 
 
 23. Ditto — Bust of a woman, inscribed : vera - pbigba - g- 
 Height, 0.22. 
 
 ■ — 24. Ditto — Eagle, with snake in his beak, inscribed : loc - 
 savm - expe. Height 0.22. 
 
 — 25. Dish — Arabesques of various colors, syrens and birds, 
 
 Diameter, 0.24, 
 — - «. 26. Dish — Child kneeling before a human skull. Inscrip- 
 tion : - me mento mei. Borders of rich ornamentation 
 of masks and seraphs. It appears to be prepared to 
 receive the metallic lustre. Diameter, 0.26. 
 
88 MAIOLICA, 
 
 """"27. Dish — A hare playing with a globe, surrounded by a 
 zone of ornaments in bianco jlsso, (white on white.) 
 Diameter, 0.17. 
 
 ■ — • 28. Plate — Cupid with shield and arrow. Kich border, 
 ornamented with grotesques, trophies, animals, &c, on 
 a blue ground. Diameter, 0.23. 
 
 ^^29. Plate — Cupid riding on his bow, and using his arrow 
 as a whip. Border, portraits of Cicero and Mahomet, 
 on a yellow ground, and dragons, sirens, and rich 
 cornucopias and festoons in red and yellow, on a blue 
 ground. Diameter, 0.23. 
 
 ' 30. Basin — raised medallion, coat of arms of the Cap- 
 
 poni family (?). Covered with arabesques, opened 
 volumes, weapons. Twice occurs the inscription, 
 semper vivat. On the bottom of the plate, the 
 factory monogram : 
 
 
 Diameter, 0.45. 
 
 _^-34- Deep dish — In the centre, coat of arms of a bishop, 
 with two dragons on either side. Border, medallions 
 and rich decoration. On the under side, the factory 
 monogram : 
 
 I 
 
 and four stars, eight-pointed. Diameter ©'. 42. 
 
MAIOLIGA. 89 
 
 32. Brocca, (ewer,) for pharmacy, decorated with Bacchante 
 
 and figures engaged in the vintage feast. Inscription : 
 SY - de - nenvfari, and dated 1507 A. D. On the 
 under part of the stand, painted in manganese, A-f-t. 
 Height 0. 23. 
 
 33, Ditto, decorated with Ganymedes and Cupids. In- 
 
 scription : — sye -de - calamet. Height 0. 23. 
 
 — * 34. Albarello — Belonging to the same set of pharmaceut- 
 ical vases. Two men engaged in sawing the horns of 
 a goat. Inscription : — tira - tira - oompagno - mio - 
 
 CHE - CHI - WE - SCAMPA - FIGLIOLO -DE - DIO, and 
 
 pharmaceutic label inscribed : — DiACODiON. Height, 
 0. 22. 
 
 35. Ditto — St. George, mounted, killing the Dragon. 
 
 Inscription : — dia - prvni - simplex. Height, 0.22. 
 
 36. Ditto — Bust of an emperor. Inscription : — catartico- 
 
 imp. Date, 1507 A. D. Height, 0.22. 
 
 37. Ditto — Sphinx. Inscription: — cofetiq amech. 
 
 Date, 1507 A. D. Height, 0.22. 
 
 e — 38. Ditto — Nymph and Satyr. Inscription : - zvcao - 
 bvcalosao. Date, 1507 A. D. Height 0.22. 
 
 — 39. Ditto — Bust of a pope, bearing the tiara. Inscrip- 
 tion: — i,oc -de - papa - vero. Date, 1507 A. D. 
 Height, 0.22. 
 
 . 39a. Boccale — Coat of arms, black bird resting upon three 
 mounds. On the handle, the date 1567 A. D. The 
 fabric mark : 
 
 Height, 0.35. 
 
90 MAIOLICA. 
 
 ■ 39b. Boccale— Coat of arms with a white cross and lion 
 
 rampant. Date, 1523. Height, 0.35. 
 
 39c. Deep dish— Female saint surrounded by cherubs. 
 
 Rich border of arabesques, cornucopias and masks. 
 Diameter 0. 49. 
 
 Siena. 
 
 40. Dish — Figure of a woman, with border of trophies, 
 
 and, on a shield, the letters : s - P - Q - K. Diame- 
 ter, 0.23. 
 
 Gubbio — Maiolica with Metallic Lustre. 
 
 y»-41. Oval basin, decorated with two Lusts of young ladies 
 and elegant foliage. 
 
 42. Deep dish — Star in centre. Border, coat of arms of the 
 Chigi family. Early style of Mastro Georgio An- 
 dreoli. Diameter, 0.24. 
 
 ^-"43. Deep dish — Hare ; border, foliage on a blue ground ; 
 underneath, mark of Mastro Giorgio Andreoli. Diam- 
 eter, 0.26. 
 
 44. Deep Dish — Flower in centre. Border decorated with 
 
 apples and foliage. Monogram of Mastro Giorgio 
 Andreoli underneath. Diameter, 0.25. 
 
 45. Tazza da partoriente — Bust of Minerva. Foliage. 
 
 Mastro Giorgio Andreoli. Diameter, 0.17. 
 
 > *- "46. Ditto — Bust of a man. Inscription : 
 
 f) 
 
 6* 
 
 *»o ? i\Ao»co m ' 
 
 Mastro Giorgio Andreoli. Diameter, 0.17. 
 
 —47. Ditto— Cupid with his hands bound behind his back. 
 Mastro Georgio Andreoli. Diameter, 0.17. 
 
 _>48. Ditto — Bust of a woman. Initials C. A. Metallic 
 lustre. Mastro Giorgio Andreoli. Diameter, 0.17. 
 
MAIOLICA. 91 
 
 -»"19. Plate — Apollo and Daphne. Metallic lustre. Mastro 
 Giorgio Andreoli. Diameter, 0.25. 
 
 50. Plate — Arabesques, cornucopia and dolphins. Metallic 
 lustre ; underneath four G's, (Mastro Giorgio.) Diam- 
 eter, 0.36. 
 
 "" — 51. Deep dish — Hercules and Antheus. Metallic lustre ; 
 on the under side the inscription : 
 
 Diameter, 0. 29. 
 
92 MAIOLICA. 
 
 "52. Plate — Coat of arms, with two lions and monogram : — 
 
 surmounted by a crown. On the left, an eagle with 
 spread wings. Rich border, decorated with arabes- 
 ques, cornucopias, dolphins and a seraph, surrounded 
 by a long string of pearls. Metallic lustre. (Mastro 
 Giorgio.) Diameter, 0.24. 
 
 53. Boccale — Coat of arms. Upon the shield a helmet 
 surmounted by a bust of a bearded man. The shield 
 is divided by a horizontal bar. In the upper part are 
 two busts, one of a man and the other of a woman. 
 The coat of arms is surrounded by a civic crown. 
 Upon the spout of the vase is the inscription : — 
 
 ®c\° S * ScaYs 
 
 indicating its measure of capacity. It is one of the 
 most extraordinary pieces of Gubbio manufacture 
 known. (Mastro Georgio.) Height 0.33. 
 
 bi. Deep Dish. — Allegorical scene. Life and Death. 
 Rich metallic lustre. Date, 
 
 A / 
 
 I r% 
 
 (Mastro Georgio.) Diameter, 0.27. 
 
MAIOLIGA. 93 
 
 55. Deep Dish— Pan and Olympus. Metallic lustre- 
 Date: 
 
 Diameter, 0.24. 
 
 56. Deep Dish — Bust of a young lady. Inscription, and 
 date: 
 
 Rich border, trophies, winged genius and Dolphins. 
 Metallic lustre. On the under side, rich ruby, and a 
 series of thirteen G's (Giorgio). Diameter, 0.26. 
 
 57. Small dish — In the centre, satyr with snake in his 
 hand. On the border, a satyr pursuing a companion. 
 Metallic lustre. Diameter, 0.19. (Mastro Georgio). 
 
94 MAIOLICA. 
 
 ■>58. Deep Dish— Allegorical scene. Various figures. Rich 
 metallic lustre. Signed and dated : 
 
 f 
 
 3L % A 
 
 %3 lOVOVO 
 
 t)c 91<lo eJr QayrcsJjL 
 
 in metallic lustre characters, and in black. Diameter, 
 0.27. 
 59. Cup— Mercury speaking to young women. Metallic 
 lustre. Inscription on the under side : 
 
 
 (Mastro Giorgio). Diameter, 0.25. 
 
 ~*60. Deep dish. — Coat of arms in centre. Border, dec- 
 orated with shells, fish, and heraldic shields of mar- 
 vellous metallic lustre. (Mastro Giorgio.) Diameter, 
 0. 28. 
 
 — " 61. Deep dish — In the centre, a child in open field; bor- 
 der, arabesques on blue ground; metallic lustre. (Mas- 
 tro Giorgio). Diameter, 0.24; 
 
MAIOLICA. 95 
 
 '62. Deep dish — In the centre, Saint Petronio [Ubaldo?] 
 protector of Gubbio. Border, elegant ornaments 
 of ruby lustre, on white. On the under side, in the 
 
 centre, the monogram.^ "^^% with scale 
 
 ornamentation ; disks and palmettes in golden lustre. 
 (Mastro Giorgio.) This plate is in the prima maniera 
 of Mastro Giorgio Andreoli. Diameter, 0.25. 
 (Fortnum, p. 194, No. 2.) 
 
 — "63. Basin — Centre, coat of arms ; fluted border, crown of 
 flowers and palmettes; brilliant lustre of gold and 
 blue. (Mastro Giorgio.) Diameter, 0.37. 
 
 — ~64. Cup — Genius crowning an eagle, surrounded by trophies 
 and other ornaments. Brilliant metallic lustre of 
 ruby and blue. (Mastro Georgio.) Diameter, 0.21. 
 
 65. Plate — Cupid leaning against a column. Rich border 
 
 of ornaments on a blue ground. Ruby metallic lustre. 
 On the under side, ten monograms of Mastro Georg io. 
 Diameter, 0.25. 
 
 66. Deep Dish — Cupid slaying a snake. Border, Ara- 
 
 besques of green on a red ground. Metallic lustre of 
 many colors. (Mastro Geor»io.) Diameter 0.27. 
 
 i0 ^-67. Deep dish — A hare in repose. Rich border of gro- 
 tesques on blue ground. Metallic lustre of ruby. 
 Diameter, 0.27. 
 
 -i 68. Deep dish — Blue grotesques on a yellow ground. 
 Two shields on each side, bearing the initials E. G. 
 Brilliant metallic lustre of ruby and gold. On the 
 under side, three G's (Mastro Georgio.) Diameter, 0.26. 
 
96 MAIOLICA. 
 
 1/ 69, Deep dish — Cupid on a lustrous gold ground. Border 
 with seraphs, grotesques and trophies on blue ground. 
 Metallic lustre of gold and ruby. (Mastro Georgio.) 
 Diameter, 0.23. 
 _ 7 0. Plate — Cupid drawing his bow. Border, trophies, 
 on blue. Splendid metallic lustre of gold and ruby. 
 (Mastro Giorgio). Diameter, 0.25. 
 
 71. Plate — Cupid playing the triangle, surrounded by rich 
 
 ornaments of gold, on a blue ground. Metallic lustre 
 of various colors* (Mastro Giorgio). Diameter, 0.26. 
 
 72. Plate — Cupid standing armed with sword and shield. 
 
 Border. Lace work, bianco fisso, (white on white), 
 and elegant arabesques on blue ground. Metallic 
 lustre. On the under side, four G's (Giorgio), and a 
 cross. Diameter, 0.23. 
 
 73. Plate — Cupid playing on the tambourine. Border 
 
 ornaments on blue ground. Metallic lustre of various 
 colors. On the under side, five G's (Giorgio). Diam- 
 eter, 0.24. 
 
 ■ — 14. Cup — Joseph escaping from the wife of Potiphar. The 
 Demon of Pleasure stands by the pillow; Cupid with 
 torches flying above. Metallic lustre of rich colors. 
 On the under side, arabesques in the form of eight G's 
 (Giorgio), and the inscription : Fvggie ioseppe il dison- 
 esto efeto. Diameter, 0.26. 
 
 — -75. Cup — Bust of a youthful lady on blue ground. In- 
 scription : — can - ora - bella. Metallic lustre of 
 ruby. On the under side, four G's, date and mono- 
 grams: 7 j^*"^! 
 
 kX*~- 
 
 U^" 
 
 §^J (Mastro Giorgio.) [Fortnum, 
 A n page 205.] Diameter, 0.23. 
 
MAIOLICA. 97 
 
 76. Plate — Jupiter and Dante in rich metallic lustre. On 
 the under side, four G's, (Giorgio). Date, 
 
 Diameter, 0.26. 
 
 77. Basin — Saint Catharine ; rich ornaments in relief, gro- 
 
 tesques, sphinxes and seraphs, surrounded by a crown 
 of fruit and flowers ; metallic lustre of rich colors. 
 (Gubbio). Diameter, 9.34. 
 
 78. Basin — Medallion — Two little dogs playing ; fine bor- 
 
 der, in relief, of hippocampse, sphinxes, birds, and heads 
 of Medusa ; metallic lustre of ruby and gold. On the 
 under side, the date 
 
 if 24* 
 
 and part of monogram G, (Giorgio). Diameter, 0.37. 
 
 79. Deep dish. — Portrait of a youthful lady, in rich metal- 
 
 lic lustre. Inscription and date : 
 
 CAMILLA'S 
 
 Border of lustred ornaments on blue ground. On the 
 under side, three G's, in ruby lustre. Diameter, 0.35. 
 
 80. Cup— The Birth of Christ, in relief, with angels and 
 
 shepherds in adoration. Inscription : — gloria - IN - 
 excelsis - deo. Splendid metallic lustre, imitating 
 the silver sheen cast by the moon. Diameter, 0.27. 
 
98 MAIOLICA. 
 
 «»81. Plate — Sacred monogram and flowers in rich gold 
 lustre on blue ground. On the under side, monogram : 
 
 <F 
 
 Km 
 
 \ 
 
 Diameter, 0.21. 
 
 82. Two-handled vase on stand — A cupid with flow- 
 ing veil riding on a dolphin, surrounded by a civic 
 crown. On either side, below the handles, a dog and a 
 hare. Blue metallic lustre. Height, 0.28. 
 
 — -**"83. Two-handled vase on stand — On each side, mono- 
 grams formed by the letters A, N, D, R, E,, with titular 
 crowns. The body and stand are decorated with 
 beautiful arabesques, Golden lustre. Height, 0.27. 
 
 .^"84. Plate — Trophies in centre. Border, foliage and 
 medallions with portraits. Rich blue metallic lustre. 
 Diameter, 0.25. 
 
 85. Scodella amatoria — Two hands clasped; above, a 
 
 titular crown. Border, flowers and foliage of yellow 
 on a blue ground. Splendid metallic lustre of various 
 colors. Diameter, 0,23, 
 
 86. Deep dish — Bust of a warrior in centre. Border, 
 
 radiating ornaments. Rich metallic lustre. Diam- 
 eter, 0.24. 
 
 — 87. Basin — Bust of a heroine. Scroll inscribed : 
 
 ®AT I O °$o 
 
 Border, flowers and scale ornamentation. * Metallic 
 lustre. Diameter, 0.31. This may be the signature 
 of Orazio Pompei, who from Castel Durante went to 
 Abruzzo, and founded there a factory in the early part 
 of the XVI century. 
 ,«-— "88. Cup — in relief, St. Michael with sword of fire. Border, 
 with thirteen pine-apples. Rich metallic lustre. On 
 the under side, five G's (Giorgio). Diameter, 0.25. 
 
MAIOLIOA. 99 
 
 89. Coppa amatoria (love token), on stand. In relief, 
 
 two hands clasped, flames and, above, a titular crown. 
 Border, eleven pine-apples on blue ground. Metallic 
 lustre of various colors. On the under side, three G's 
 (Giorgio). Diameter, 0.21. 
 
 90. Cup on Stand — The Madonna of Loreto. Radiated 
 
 border in metallic lustre. Diameter, 0.2]. 
 
 91. Cup on Stand — A pelican. Ornamented with rays 
 
 and foliage. Metallic lustre of gold and ruby. On 
 the under side, four G's (Giorgio), and a cross in golden 
 lustre. Diameter, 0.21. 
 
 „^~92. Cup on stand — St. Eoque, in relief, surrounded by 
 radiated ornamentation alternating with pine-apples. 
 Diameter, 0.27, 
 
 93. Cup on stand — A saint of the Dominican order, kneel- 
 
 ing. Gold ground, surrounded by flowers in relief on 
 blue ground. On the under side, three G's. (Giorgino). 
 Diameter, 0.26. 
 
 94. Cup On stand — St. Jerome. Border, flowers in relief. 
 
 Metallic lustre. On the under side, three G's. 
 (Giorgino). Diameter, 0.18. 
 
 95. Cup On stand — Bust, in relief, of a bearded man. 
 
 Decoration, in relief, of metallic lustre. Diameter, 0.20. 
 
 96. Coppa amatoria, on stand — A burning heart, pierced 
 
 by an arrow and a dagger. Above, in relief, two 
 eyes, from which tears are flowing. Metallic lustre. 
 On the under side, four G's (Giorgino). Diameter, 
 0.22. 
 
 - — 97. Cup on stand — In relief, St. Sebastian, Rich metallic 
 lustre. On the under side, four G's (Giorgino), 
 and monogram D. Diameter, 0.26. 
 
 _^-98, Coppa amatoria, on stand — Same as No, 96, On the 
 under side, the date fc -- & « Diameter, 0.25. 
 
100 MAIOL1CA. 
 
 99. Cup OH Stand — In the centre, letter H, surrounded by- 
 eleven pine-apples in relief, with beautiful metallic 
 lustre. On the under side, four G's (Giorgino), and, in 
 centre, O crossed by a bar. Diameter, 0.22. 
 
 . 100. Coppa amatoria — Cupid with eyes blinded, surround- 
 ed by ornaments in relief. It bears monogram M. 
 Diameter, 0.24. 
 
 101. Gup on Stand — Agnus Dei in relief, with ornaments 
 on blue ground ; metallic lustre of gold and ruby. 
 On the under side, three G's [Giorgino]. Date : — 
 
 Diameter, 0. 22. 
 
 — "102. Coppa amatoria on stand — Clasped hands with three 
 rings on finger; heart on fire, transfixed by an ar- 
 row ; metallic lustre of gold and ruby. Diameter, 
 0.25. 
 
 —^103. Cup on stand — Lion of St. Mark. Fluted border ; 
 rich metallic lustre. Diameter, 0. 25. 
 
 -3:04. Cup on stand — St. Roque in relief; border, eight 
 
 pine-apples and tulips with ruby lustre. On the un- 
 der side, three G's, (Giorgino). Diameter, 0.22. 
 
 .- -" 105. Cup — Herodias presenting the head of St. John, in a 
 salver, to Herod and his court; gold lustre. Diam- 
 eter, 0.25. 
 
 106. Cup On Stand — Flowers of ruby lustre, on a white 
 
 ground. Diameter, 0.24. 
 
 107. Cup On Stand — Bust of a youthful lady, surrounded 
 
 by radiated ornaments and flowers. Gold lustre on a 
 white ground. Diameter, 0.26. Height, 0.23. 
 
 —-408. Deep dish — Four Nymphs, bathing. Near them, a 
 peacock. Most elegant border of oriental style. Rich 
 blue metallic lustre. Diameter, 0.42. 
 
 109. Plate — Monogram R, surrounded by flowers. Border, 
 radiated decoration .and string of pearls. Metallic 
 lustre. Diameter, 0.25. 
 
MAIOLICA. 101 
 
 — -4.10. Deep Dish — Coat of Arms. Border, ornaments of 
 scale decoration. Rich metallic lustre. On the under 
 side, a cross painted in manganese. Diameter, 0.45. 
 
 111. Deep dish — Bust of a warrior. Scroll with inscription: 
 
 [s]cipio-afeic[an]o. Border decorated with net 
 work. Gold metallic lustre. Diameter, 0.42. 
 
 112. Plate — In centre, inscription : givliva-b. Decoration 
 
 of scales. Rich metallic lustre. Diameter, 0.23. 
 
 113. Deep dish — Shield bearing arms of the Orsini family. 
 
 On either side, a cornucopia. Border, scale work. 
 Rich metallic lustre. Diameter, 0.40. 
 
 114. Presentatoio (presentation plate) — Arabesques, hippo- 
 
 campse and sphinxes. Splendid blue metallic lustre. 
 On the under side, monogram : — 
 
 Diameter, 0.23, 
 
 115. Cup on stand — In centre, sacred monogram, surrounded 
 
 by rays and flowers. Silver and gold lustre. Diameter, 
 0.24. Height, 0.15. 
 
 116. Deep dish— In the centre, label inscribed: ipolita-be. 
 
 Decoration of scales, rays and flowers. Gold lustre. 
 Diameter, 0.27. 
 
 117. Deep dish — Bust of a woman. Border decorated with 
 
 scale work and flowers. Beautiful blue metallic 
 lustre. Diameter, 0.41. 
 
 118. Cup on stand— St. John, in relief. Border, in relief, 
 
 of leaves aod pomegranates. Diameter, 0.22. 
 
 119. Presentation plate— Star and scale work of ruby 
 
 metallic lustre. Diameter, 0.21. 
 
 120. Cup on stand— Bust of Mary Magdalene. Border, 
 ornaments in relief. Ruby and gold metallic lustre. 
 On the under side, three G's. (Giorgino). Diameter. 
 0.21. 
 
102 MAIOLICA. 
 
 121. Plate— Bust of a youthful lady holding flowers. 
 
 Metallic lustre of various colors. Diameter, 0.24. 
 
 122. Deep dish — Monogram B in centre. Border, scale 
 
 work and flowers. Blue metallic lustre. Diameter,. 
 0.24. 
 
 «^-n23. Deep dish — Bust of a warrior. Inscription : lisadro. 
 Crown of flowers on border. Gold lustre. Diameter, 
 0.42. 
 124. Two-handled vase, covered with arabesques of yellow 
 and blue on a white ground. Gold lustre. Diameter, 
 0.32. 
 
 ——125. Deep dish — Shield bearing the arms of Perugia, sup- 
 ported by two griffins rampant, and acanthe leaves. 
 Rich gold lustre. Diameter, 0.42. 
 
 *^-126. Cup — Blue and yellow arabesques on white. Gold lustre. 
 Diameter, 0.26. 
 
 ""-— 127. Piatto amatorio (love token). Two lovers embracing 
 each other. Border decorated with scales and flowers. 
 Rich gold lustre. Diameter, 0.42. 
 
 128. Deep dish — Bust of a girl holding a flower; 
 border deeorated with rays and flowers. Metallic 
 lustre in blue. Diameter, 0.24. 
 
 ■•—429. Vase with two handles. — Sacred monograms sur- 
 rounded by flowers and rays. Gold lustre. Diameter, 
 0.12. Height, 0.17. 
 
 130. Deep dish — Bust of a youthful lady ; scroll inscribed : 
 
 CHI - SEVE - DIO - CO - PVR - ITA - DI - CORE - VIVE - 
 
 co - te - TO-EPOi-SALVATO-(muore). Border,crowns 
 of flowers and leaves. Gold lustre. Diameter, 0.44. 
 
 131. Deep dish — Bust of a girl. Scroll, inscribed: 
 
 chasandra. Border, flowers, rays and scales. Silver 
 lustre. Diameter, 0.40. 
 
 132. Deep dish — Bust of St. Francis. Border, flowers 
 
 and scale decoration. Gold lustre. Diameter, 0.41. 
 
 ,**"133, Deep dish — St. Francis receiving the stigmatse, or 
 wounds from the nails of Christ's hand. Border, 
 scale decoration. Silver lustre. Diameter, 0.44. 
 
MAIOLICA. 103 
 
 i34. Deep dish — Coat of arms of Colonna family. Silver 
 
 lustre. On the under side, the letter G, twice. 
 Diameter, 0.40. 
 
 —■'■■ 43 5. Deep dish — Bust of a young woman. Scroll, inscribed : 
 
 LA - VITA - EL - FNE - EL - DI - LODA - LA SEEA. 
 
 Border, flowers and scale decoration. Metallic lustre. 
 Diameter, 0.40. 
 
 136. Deep dish — Coat of arms of the city of Perugia, sur- 
 rounded by a garland of flowers and leaves. Metallic 
 lustre. On the under side, in the centre, monogram 
 very similar to that on plate No. 62, attributed by 
 Fortnum to Giorgio Andreoli. Diameter, 0.39. 
 
 137. Deep dish — Shield bearing arms of Pope Leo X. On 
 
 either side of dish, a cornucopia. Border, scale 
 decoration and flowers. Gold lustre. Diameter, 0.42. 
 
 138. Deep dish — Allegorical female figure bearing a cornu- 
 copia in her left hand and crowned toad in her right. 
 Border, flowers and scale decoration. Diameter, 0.40. 
 
 . 139. Two-handled vase — On either side, inscriptions: 
 
 GHAMILLA - bell - CE3AEIA - B. Decoration of 
 flowers and foliage. Height, 0.31. Diameter, 0.18. 
 
 140. Two-handled vase — Blue rays, flowers and leaves on 
 
 a white ground. Gold lustre. Height, 0.23. 
 Diameter, 0.13. 
 
 141, Two-handled vase- 1 — Blue and yellow decoration on 
 
 white ground. Gold lustre. Height, 0.23. Diam- 
 eter, 0.13. 
 
 ^ 142. Two-handled OVOid vase — Rich ornamentation of 
 blue and yellow, on white ground. Gold lustre. 
 Diameter, 0.14. Height, 0.31. 
 
 , 143, Basin — In the centre, a trophy surrounded by arab- 
 esques. Rich gold lustre. Diameter, 0.25. 
 
 - -— 144. Basin — Bust of a young lady holding a flower. _ Border, 
 scale ornamentation and arabesques. Brilliant gold 
 lustre. Diameter, 0.33. 
 
104 MAIOLICA. 
 
 145. Deep dish — Decorated with blue and yellow arab- 
 esques, on a white ground. Eich gold lustre. The 
 letter S is scratched on the under side. Diameter, 
 0.22. 
 . — "146. Deep dish — In centre, St. Francis in adoration- 
 Border, rays and flowers. Splendid gold lustre. 
 Diameter, 0.23. 
 
 147. Cup on stand — In relief, sacred monogram. Border, 
 flowers, leaves and fruit. Lustre of gold and ruby. 
 On the under side, three G's, (Giorgino). Diameter, 
 0.23. 
 —148. Cup on Stand — In relief, Mary Magdalene. Border, 
 winding decoration of foliage and dolphins. Bright 
 lustre of ruby and copper. On the under side, four 
 G's. (Giorgino). Diameter, 0.24. 
 
 ■ 149. Cup on stand — In relief, the Lion of St. Mark, sur- 
 rounded by leaves and flowers. Copper and gold 
 ' lustre. On the under side, three G's, (Giorgino), and 
 in the centre the letter M. These pieces, during the 
 process of baking, were placed upon three supports of 
 clay. This tact was proved by the finding of one of 
 these supports still attached to the stand or base of 
 this cup. Diameter, 0.24. 
 
 150. Scodella amatoria — In the centre, two hands, flames 
 
 and dignitary crown. Fluted border ; gold lustre. 
 Diameter, 0. 16. 
 
 151. Deep dish — In the centre, label bearing letter S. Bor- 
 der, scale ornamentation, blue on white ground. Very 
 rich lustre of gold and ruby. Diameter, 0. 23. 
 
 , 152. Basin — Bust of a youthful lady. Inscription : 
 
 madalena - Bella. Border, in relief, arabesques, 
 flowers and a dignitary crown. Blue metallic lustre. 
 Diameter, 0.33. 
 
 153. Basin — Decorated with arabesques of blue and yel- 
 low on white ground. Splendid gold lustre. Diame- 
 ter, 0.38. 
 
 — *54. Deep dish — Decoration of blue and yellow in the 
 oriental style, on white ground. Blue mefallic lustre. 
 Diameter, 0.43. 
 
MAIOLICA. 105 
 
 155. Two-handled vase — Bust of a crowned Csesar on 
 
 one side, and bust of a Turk on the other. Fluted 
 decoration, flowers and leaves. Lustre of gold. Di- 
 ameter, 0.16. Height, 0.32. 
 
 156. Two-handled vase on stand — Blue and yellow 
 
 decoration on white eround. Oriental style. Diame- 
 ter, 0.17. Height, 0.34. 
 
 «_J57. Two-handled vase on stand — Sacred monogram on 
 each side. Archaic decoration of blue and yellow 
 flowers and leaves, on white ground. Gold lustre. 
 Diameter, 0.16. Height, 0.26. 
 
 158. Two-handled vase — On each side, label, inscribed : 
 lvcia - B. Ornamentation of flowers and leaves on 
 white ground. Blue metallic lustre. Diameter, 0.17- 
 Height, 0.29. 
 
 — 159. Vase, pine-apple shaped. Entirely covered with gold 
 lustre. Height, 0.19. 
 
 _J 60. Same as No- 159. Height 0.22. 
 
 L61. Deep dish — Bust of a beautiful voung lady. Scroll, 
 
 inscribed, f Austin a - pvlita - e - bet.t.a . On either 
 side of dish, rich foliage, cornucopise and inscription : 
 timor - DOMrsT. Rich gold lustre. Diameter, 0.41. 
 
 162. Two-handled vase — On either side, bust of an 
 emperor. Arabesques, dignitary crowns and other 
 ornaments of yellow and blue on white ground. Gold 
 lustre. Height, 0.26. 
 
 163. Deep dish — Seated sphinx, with coat of arms of the 
 
 Colonna family. Border, scale-work. Rich lustre of 
 copper and ruby. Diameter, 0.43. 
 
 _J64. Two-handled vase on stand — Sacred monogram on 
 either side. Flowers, leaves and dignitary crown. 
 Gold lustre. Diameter, 0.17. Height, 0.31. 
 
 — 165. Deep dish — Heraldic shield, bearing a human arm 
 holding battle axe. Shield supported on either side 
 by a griffin. Inscription : — P -b-S-q[s-p-Q-b.] 
 Rich cornucopise and foliage. Marvellous blue metal- 
 lic lustre. On the under side, four G's. Diameter, 0.40. 
 
106 MAIOLICA. 
 
 — 166. Two-handled vase on stand— On each side, dog and 
 flowers. Rich decoration of arabesques. Gold lustre. 
 Diameter, 0. 17. Height, 0134. 
 
 ,^—167. Deep dish — Griffin protecting the arms of Perugia. 
 Cornucopise and flowers on each side. Inscription : — 
 viva. Gold lustre of marvellous effect. Diameter, 
 0.41. 
 
 168. Two-handled vase on stand — On each side, a deer 
 
 in repose. Decoration of flowers and foliage in blue 
 and yellow on white. Blue metallic lustre. Diameter, 
 0.11. Height, 0.21. 
 
 169. Albarello, with two handles. On one side, the letter 
 
 R, and on the other, F. Decoration of rhomboids and 
 checkers. Iridescent metallic lustre. Diameter, 0.11, 
 Height, 0.19. 
 
 170. Monastic pitcher — In the centre, coat of arms, sur- 
 
 rounded by foliage of rich metallic lustre. Date, 
 
 l£o$- 
 
 Height, 0.15. 
 171. Monastic pitcher — Same as No. 170. Date, 
 
 6H 
 
 Height, 0.11. 
 
 171a. Coppa da partoriente — Coat of arms, lion rampant, 
 bar, and stars. On the under side, arabesques and 
 monogram, * (Fabric mark of Caflagiuolo 
 
 factory). £ ^-*J Lustred in ruby and gold. 
 
 Diameter, l§^ 0.18. 
 
 171b. Cup pn stand, in shape of a shell. Mask in relief. 
 Blue tapis lazuli diapered in copper lustre. Height 0.8. 
 
MA10LICA. 107 
 
 171c. Vase, in the shape of a chalice, two-handled and on 
 stand. Decoration of fruit and flowers. Rich me- 
 tallic lustre. Diameter, 0.16. Height 0.18. 
 
 •\171d. Basin — Bust of a young woman surrounded by a 
 wreath. Silver lustre. Diameter, 0.35. 
 
 ~~171e. Basin — In the centre, hare flying. Border, fluted 
 and crown 6f leaves. Rich silver lustre. Diameter, 
 0.32. 
 
 171f. Basin — Bust of a young woman holding a flower. 
 Border, scale work, flowers and braided ornamentation. 
 Splendid silver lustre. Diameter 0.33. 
 
 — 171g. Plate — Warrior, armed with sword and shield, who 
 has killed an aged man, Cupid flying away ; above, 
 a winged genius crowning the warrior. Rich metallic 
 lustre. On the under side, lustred foliage, date and 
 inscription in manganese : 
 
 F-XK 
 
 Tal atto imita chi vuolpregio d' ami. " This is the 
 act of a man who wishes reputation in arms." Painted 
 by Francesco Xanto from Rovigo, and lustred by 
 Giorgio Andreoli. Diameter, 0.26. 
 
 CASTEL, DTJEANTE. 
 
 172. Cup — The flight into Egypt. Marvellous for its finish. 
 On the under side, inscribed and dated : 
 
 Diameter, 0.22. 
 
108 MAIOLICA. 
 
 "173. Cup — Apollo seated by a rivulet, holding bow and lyre. 
 Diameter, 0. 27. 
 
 174. Deep dish — Rhomboidal shield. On the dexter side, a 
 gold lion rampant, blue field, and the sinister side 
 quartered blue and white. Surrounding it, a widow's 
 girdle and inscription : seigneve - novs - avons - 
 speee - en - toy. " Lord, we have hoped in Thee." 
 Border, medallions bearing monograms of the Dukes 
 of Guise. 
 
 Decoration of dolphins on orange ground, and crown 
 of white leaves on blue. On the under side, the same 
 monogram repeated. Diameter, 0.25. 
 
 '175. Cup On Stand — Coat of arms of the Estensi, guarded 
 by two sphinxes. Below, an open volume of music, 
 showing a duet till verte folium, "turn the leaf." 
 Decoration, chiaroscuro on blue ground. Diameter, 
 0.24. 
 
 -176. Cup — Bust of a young lady in chiaroscuro on orange 
 ground, inscribed cintia - bella. Diameter, 0.11. 
 
 "177. Pilgrim's bottle, book-shaped. Decoration of 
 chiaroscuro knots on yellow ground. Length, 0.13. 
 Width, 0.10. 
 
 "178. Albarello Medallion, bearing bust of a bearded man. 
 Inscription : gvglielmo - edificatobe - de - la - 
 terra -de - dveante. The initials S. C. T. D., 
 (Senatus consutto terrce Durantis?) civic crown, 
 monsters, foliage and scroll bearing the pharmaceutical 
 inscription : sy - de - qm - inevvio - RVM. Diameter, 
 0.9. Height, 0.34. 
 
MAIOLICA. 109 
 
 '179. Deep dish — Hercules and Cerberus. Border, dogs 
 hunting lions, bears and bulls. Chiaroscuro treatment 
 giving the appearance of a bas relief. On the under side, 
 
 monogram ■ \ \ ( (Castel Durante.) 
 
 Diameter, 0.33. 
 
 —180. Dish — Decoration in chiaroscuro of a greenish tone, 
 with touches of bianco fisso, giving it the appearance 
 of a bas-relief. Comic masks, heads of horses, armor, 
 trophies, musical instruments, maps of the world, 
 armillary spheres, books of music, shields and greaves 
 of warriors. In the centre, the letters A. c, and below 
 them, a scroll, inscribed : s. p. q. b. One of the 
 shields bears the letter A., and on the zodiacal line of 
 the sphere is the word ; (paea) diso. The book of 
 music in the upper part of the dish bears the word, 
 bene. Diameter, 0.47. 
 
 181. Large cylindrical vase of pharmacy — The Sacred 
 
 Supper, with Mary Magdalene kneeling before Christ. 
 Decorated with foliage, masks, civic crown, and scroll, 
 inscribed : zvccaevm - eosatvm. Diameter, 0.33. 
 Height, 0.49. 
 
 182.' Ovoid vase of pharmacy — Medallion, bearing bust 
 of a warrior, and scroll, inscribed : dia - IEBIS. 
 Decoration of rhomboids and arabesques of rich colors. 
 Diameter, 0.9. Height, 0.28. 
 
 183. Ovoid vase of pharmacy — Medallion, bearing figure 
 of St. Paul, and scroll, inscribed : sx° 
 sicoe. Diameter, 0.11. Height, 0.39. 
 
110 MAIOLICA. 
 
 <— 184. Ovoid vase of pharmacy — Medallion, with figure 
 of St. Joseph ; inscribed: S. Josefe. Scroll bearing in- 
 scription : — sy ° D - INF - vosar. Diameter, 0.12. 
 .Height, 0.41. 
 
 185. Ovoid vase of pharmacy — Medallion, with a saint; 
 inscribed : s - tho - , and scroll bearing inscription : — 
 zvccaeo - rosato. Diameter, 0.12. Height, 0.40. 
 
 — -186. Albarello — Medallion, with bust of an Arab philoso- 
 pher, surrounded by a civic crown. Pharmaceutical 
 inscription : — svsina AROMATi. Decorations of tro- 
 phies in chiaroscuro on blue ground. Diameter, 0.11. 
 Height, 0.39. 
 
 — . 187. Albarello — Medallion, with bust of an Arab philoso- 
 pher, surrounded by civic crown ; inscribed : lissiva 
 simpli. Decoration of trophies in chiaroscuro on blue 
 and yellow ground. Diameter, 0.11. Height, 0.29. 
 
 _^-188. Albarello — St. Catharine. Decoration of foliage in 
 yellow on blue ground. Diameter, 0.12. Height, 0.39. 
 
 ^-•189, Albarello — Figure of a martyr. Decoration in the 
 Durante style. Diameter, 0.13. Height, 0.40. 
 
 190. Ovoid vase Of pharmacy — Bust of a woman, in- 
 scribed anfev , and incenso. Decoration of 
 
 zones and ornaments in the Durante style. Height, 
 0.36. 
 
 _^^.190a. Dish — Decorated with trophies in chiaroscuro and 
 bianco fisso on a dark blue ground. Diameter, 0.30. 
 
 Deeuta. 
 
 ^_. 191. Votive disc — Two sick women upon a bed; kneeling 
 around it, are four figures representing the father and 
 the other members of the family. All the figures 
 have clasped their hands in the act of prayer, and 
 turn their eyes towards the image of the Madonna 
 painted above the bed. Below, the date, 1505. 
 
MAIOLICA. in 
 
 Around the disc runs this inscription : avendo - io - 
 
 IOBB - DOB - AMALATE - IN - CHAS A - MERECOMANDAE - 
 AQVISTA - GLORIOSA - VER - MARIA - EF - SAO. On 
 
 the under side, in manganese, 
 
 I-BERVTA 
 
 Diameter, 0.35 
 
 Faenza and Romagna. 
 
 — 192. Boccaletto — On the body, letter I^J (Arimino), 
 
 in manganese and green on light lead glazing. The 
 interior of the vase is covered with litharge glazing. 
 Height, 0.16. 
 -"193. Boccaletto, without glazing in the interior. Decora- 
 tion painted in manganese and oxide of copper. 
 Height, 0.12. 
 
 194. Boccaletto, decorated with zones and geometrical or- 
 naments in manganese and oxide of copper. Height, 
 0. 13. 
 The nature of the glazing, the style of the ornamentation, 
 and the processes employed in the fabrication of the 
 above described vases, show them to be specimens of 
 a primitive stage of the Ceramic Art in Italy. 
 
 — T95. Ovoid vase, two-handled — Decoration, in manganese, 
 of zones and waves. Diameter, 0. 11. Height, 0. 21. 
 
 ^196. Ovoid vase — Same as No. 195. Diameter, 0. 11. 
 Height, 0. 22. 
 
112 MAIOLICA. 
 
 197. Albarello, two-handled — Decorated with iris flowers 
 in manganese, cobalt and oxide of copper. The form 
 of the handles indicates the imitation of some Arab 
 models. Diameter, 0.9. Height, 0.17. 
 
 >^'198. Ovoid vase, twisted handles — Primitive decoration 
 of cobalt. Inscription : gabriella. - be (lla) - lo - 
 divieta. Diameter, 0.10. Height, 0.21. 
 -~~~ 199. Ovoid vase, twisted handles— Coat of arms of the 
 Orsini family on one side, and, on the other, the in- 
 scription : — NO - TE - ALEGRARE - DEL - MIO - DOLLO 
 (dtjolo). Decoration of cobalt, yellow and oxide of 
 copper. Diameter, 0.11. Height, 0.27. 
 
 ,200. Albarello, with two dragon-shaped handles. On one 
 
 side, the inscription : ave - maria - ri, and on the 
 other, an iris flower. Diameter, 0.11. Height, 0.27. 
 
 201. Albarello, two-handled — Bust of a youne man on one 
 side, and an iris flower on the other. Decoration in 
 cobalt, manganese and oxide of copper. Diameter, 
 0.12. Height, 0.22. 
 
 , *202. Basin — The Virgin, St. Roque and St. Sebastian. 
 
 Border, flowers, garlands and scale work. Primitive 
 style. Diameter, 0.46. 
 
 — — 203. Deep dish — A woman whipping an old man, while he 
 is turning the reel. Inscription : antinni - annas - 
 PARE - AL - SZ - cet. Winding border in light yellow, 
 with red flowers, and ornaments in chiaroscuro, on 
 blue and red ground. Diameter, 0.41. 
 
 — "204. Cup on stand — Apollo and Daphne. This piece was 
 prepared to be lustred. Diameter, 0.23. 
 
 205. Centre of a plate — Judith holding the head of Holo- 
 
 fernes. Diameter, 0.15. 
 
 ^— 206. Deep dish — 8. Giovannino, or St. James the Less, with 
 the initials S. G. Border, trophies and flowers, on a 
 blue ground. On the under side, the mark of 
 Faenza. Jlli'll^, Diameter, 0.24. 
 
 lllllll 
 
MAIOLICA. 113 
 
 207. Presentatoio, with fixed cup in centre. Chiaroscwro 
 decoration on blue ground, peacocks, grotesques, 
 chimeras and swans. Diameter, 0.25. 
 
 -208. Presentatoio — Two coats of arms, surrounded by 
 chimeras, monsters and seraphs in chiaroscuro, on 
 blue ground. Diameter, 0.25. 
 
 209. Deep dish — Coat of arms, surrounded by a border of 
 sea monsters fighting cupids, mounted on hippocampse. 
 The figures in ehiaroscwo, on blue ground. On the 
 under side, the mark ^ 
 
 Diameter, 0.23. «, 
 
 N , 210. Large cup on Stand — Chimeras, monsters and arab- 
 esques in chiaroscuro, on blue ground, alternating with 
 four coats of arms, bearing the initials R. I. Diam- 
 eter, 0.29. 
 
 211. Deep dish — Coat of arms, bearing a hand holding three 
 
 flowers, yellow ground. Border, ornaments in bianco 
 fisso. Diameter, 0.23. 
 
 212. Plate — Coat of arms bearing a scorpion. The shield 
 surmounted by a helmet and supported by two boys. 
 Rich border with ornaments in bianco fisso. On the 
 under side, the date, 1544. Diameter, 0.45. 
 
 ■ — 213. Plate — Mythological subject. On one side, the contest 
 • between Apollo and Martias; on the other, Apollo 
 
 skinning Martias. The representations are separated 
 by a rock covered with trees. Diameter, 0.27. 
 
 214. Boccale, (ewer) — Decorated with three medallions. 
 On the one in the centre is a man playing the violin, 
 with a book of music at his feet. The one to the left 
 contains the bust of an old man reading a book. The 
 cover of the book bears the Faenza mark, the rhom- 
 boid and the cross, and above the old man is the word 
 ebebo, written in orange color. On the medallion at 
 
114 MAIOLICA. 
 
 the right, is a bust of a youth playing the lute. The 
 three medallions are surrounded by civic crowns. The 
 body of the ewer is covered with arabesques in chi- 
 aroscuro on a rich blue ground. The date, 1536, 
 occurs four times. Height, 0.34. 
 
 215. Cup on stand — Bust of a warrior; inscribed: otavio. 
 Border, ornaments of various colors. Diameter, 0. 26. 
 
 ——216. Cup on Stand — Allegorical figure — "Fortitude." Eich 
 ornamentation. Diameter, 0.17. 
 
 217. Cup on stand — Diana — Decoration of foliage on 
 ground of different colors. Diameter, 0.30. 
 
 _^— 218. Cup on stand — St. Jerome, surrounded by a decora- 
 tion of fluted work, covered with foliage in splendid 
 colors on blue and yellow ground. On the underside, 
 the monograms : — 
 
 (A similar, mark was unduly attributed to Urbino by 
 Mr. Fortnum. Catalogue, p. 362.) 
 
 — '219. Deep dish — Bust of a sibyl before an opened book. 
 Border of chiaroscuro arabesques on blue ground. 
 Diameter, 0.23. 
 
 -~^ 220. Deep dish — Child holding a basket containing fruit. 
 Border, trophies on blue ground. Diameter, 0.24. 
 
 — » 221. Deep dish — Bust of a cardinal before an opened book. 
 Border of chiaroscuro arabesques on a blue ground. 
 Diameter, 0.23. 
 
 222. Deep dish — Figure engaged in devotion. Decoration, 
 same as No. 221. Diameter, 0.23. 
 
MAI0L1CA. 115 
 
 ,^^223. Deep dish — Coat of arms, two lions, and three 
 yellow fleur de lis on a blue field. Inscription : sob - 
 dilbta - di navare - m - D - xxxv. Decoration 
 of chiaroscuro ornaments on a dark blue ground. 
 On the under side, the mark : — *~~r^ (Faenza). 
 
 Diameter, 0.24. 
 
 ____ 224. Presentatoio — Trophy of arms, painted on blue enamel 
 with the greatest delicacy. The rest of the plate is 
 covered with lace decoration in light turquoise and 
 bianco fisso on blue enamel. It is one of the finest and 
 most elegant pieces of Faenza ware known. Diam- 
 eter, 0.30. 
 
 — «225. Deep dish — Coat of arms, surmounted by a helmet ; 
 above, rampant lion, with scroll, inscribed : va - 
 integro. B.ich border of turquoise ornaments on 
 blue enamel (Casa Pirota). On the under side, mark : 
 
 (See Fortnum's catalogue, p. 500). Diameter, 0.39. 
 
 '226. Deep dish— Same as No. 225. Diameter, 0.38. 
 
 227. Dish — Alexander and Diogenes. On the right, the 
 philosopher, resting under a tree ; he holds a book in 
 his hand, and another book lies opened on the 
 ground. -Before him, are Alexander and a group of 
 warriors on horseback. Falconers and dogs quench 
 their thirst in a little rivulet, while servants and pages 
 obtain a new supply of water. Near them, on a stone, 
 is the inscription : diogenes - alesader. The sun 
 is eclipsed by a coat of arms, apparently that of the 
 family to whom the plate belonged. The back- 
 ground is a lovely landscape. Border, ornaments in 
 
116 MAIOLICA. 
 
 the Faenza style on dark blue ground. Date, 
 
 The same date appears on the under side on a label 
 surrounded by scale work of turquoise, orange and 
 yellow on dark blue ground. (Casa Pirota). Diame- 
 ter, 0.46. 
 
 < *"""228. Deep dish — Coat of arms, surmounted by a seraph 
 with festoons of pearls. Border decorated in the 
 Faenza style on blue enamel. On the under side is 
 the Faenza mark : ^sWlRife. Near the mark is 
 
 ' qS\ 
 
 the letter B. (See Fortnum's Catalogue, p. 494.) 
 Diameter, 0.24. 
 
 229. Plate — Troubadour playing on the lute. Border dec- 
 
 orated in the Faenza style on blue enameled ground. 
 Diameter, 0.25. d 
 
 230. Plate — Cupid seated, playing on a violin. Border 
 
 decorated in the Faenza style. On the under side, 
 seven marks of the Faenza factory. (See Fortnum's 
 Q catalogue, p. 494). Diameter, 0.25. 
 
 23/. Plate — A young man wearing a yellow mantle, ap- 
 ' proaching a window, and a female figure with opened 
 book near a stair-case. The plate is almost entirely 
 covered with fine lace-work and knots in blue and 
 bianco fisso on a turquoise ground. On the under 
 side : M - F - T. (See Fortnum's catalogue, p. 494). 
 Diameter, 0.47. 
 
 2331 Albarello, with two handles — Blue decoration of chi- 
 meras and grotesques on white glaze. Pharmaceutic 
 inscription : — svccine - amassine. Diameter, 0. 16. 
 Height, 0.36. 
 
MAIOLICA. 117 
 
 Albarello, two-handled — Arabesque decoration in light 
 blue on a dark blue ground. Pharmaceutic inscrip- 
 tion : — vivole. Diameter, 0.15. Height, 0.35. 
 
 Vase in the form of a boat— Figure of a satyr. 
 > Decoration of pale cobalt, on white. Height, 0.19. 
 
 23jj/'Large flask — St. Roque. Rich decoration of orna- 
 ments of yellow, on blue ground. Pharmaceutic in- 
 scription : A - de - geaminis. Faenza mark. Height, 
 0.48. 8 ' 
 
 236. Large flask — Warrior leading a female towards a field 
 
 full of briers. Civic crown and pharmaceutic inscrip- 
 tion : A - apiit. Height, 0.49. 
 
 237. Large flask — Allegorical figure. Fortitude. Civic 
 
 crown and pharmaceutic inscription: a - LATVCE. 
 Height, 0.48. 
 
 238. Fine-shaped vase with cover — Relief decoration, 
 
 painted in orange, black and blue. Height, 0.24. 
 
 Pesako. 
 
 239. Deep dish — Coat of Arms of Pope Paul III. (Far- 
 
 nese). Border, foliage and scale work. On the under 
 side, the monogram 4 ^ 
 /\ / \ 
 
 Diameter, 0.41. 
 240. Deep dish — Figure of a young woman in a green 
 dress, playing the violin. Border, arabesques in orange 
 and blue on white glaze,. On the under side, engraved 
 monogram : 
 
 Diameter, 0.39. 
 
 241. Deep dish — Bust of a young woman with wings on 
 
 her head. Inscription : labomana - bella. Border 
 
 T decorated with peacock eyes (occhi di paone) and scale 
 
 work. On the under side, G occurs three times. 
 
 Diameter, 0.41. 
 
118 MAIOLICA. 
 
 242. Cup on stand — Bust of St. Peter. Inscription 
 
 s - petevs. Diameter, 0.40. 
 
 243. Cup on stand — Bust of young woman. Scroll in- 
 
 scribed : feancesca. Diameter, 0.23. 
 
 244. Cup on Stand — Bust of a bearded warrior with very- 
 
 rich helmet. Scroll inscribed * falsibone. Diame- 
 ter, 0.22. 
 
 245. Cup on stand — Bust of a young man wearing a black 
 
 cap, inscribed : cvetio. Diameter, 0.22. 
 
 ^"~24(L Cup On stand — Bust of a young woman in profile. 
 Scroll inscribed : SILVIA, and the fabric mark : dina. 
 Date", 1524. Diameter, 0.21. 
 
 247. Presentatoio — Bust of a crowned emperor. Inscrip- 
 tion : imp - adbianvs - caes - avg. Diameter, 0.23. 
 
 — 248. Deep dish — The vision of Astyages. Figure of a no- 
 ble old man wearing a Phrygian bonnet, in admira- 
 tion before a young woman who is leaning on a vine 
 loaded with grapes. She points at a child who is 
 approaching the old man, bearing a helmet in his 
 hands. In the background, three figures fighting. On 
 the under side, del - vechio - astiage - be - l'alta - 
 
 VISIONE - NEL - LIBEO -DE - IUSTINO - ISTOEICO, 
 
 )S4 
 
 A 
 
 Diameter, 0.23. 
 
 '249. Plate — The fable of Actaeon. Diana and the Nymphs 
 menacing the youth, who, metamorphosed into a 
 deer, is chased by his own dogs. Diameter, 0. 31. 
 
 .250. Cup on stand — Vulcan, Mars, Venus and Cupid On 
 
 the under side, vulcaxo - a la - fucina, and the date: 
 
 1 ^ * - 
 
 JI 
 
 Diameter, 0. 26. 
 
MAIOLICA. 119 
 
 Uebino. 
 
 _--251. Cup — Portrait of Charles V wearing a black cap, blue 
 velvet corslet and amaranthine mantle. On his breast, 
 is the golden fleece. Inscription : — progenies - 
 
 DIVVM - QVINTVS - SIC - CAROL VS - ILLE - IMPERI-Offi- 
 SAR - LVMINA - ET - ORA - TVLIT - AET - SVAE -XXXI- 
 
 aun - m - d - xxxi. It is one of the finest works pro- 
 duced by the Urbino school. Attributed to Orazio 
 Fontana. Diameter, 0. 24. (See Fortnum's cata- 
 logue, p. 337.) 
 
 -"-"'252. Plate. — Hercules killing the Hydra, aided by an old 
 man with a torch in his hands, and in the presence of 
 another personage who is seated on a rock. A beauti- 
 ful landscape forms the back ground. Suspended from 
 a tree, is the coat of arms of the Montmorency family. 
 Like its companion in the British Museum, this plate 
 belonged to the service presented by the Dukes of 
 Mantua to that noble family. On the under side : — 
 
 Diameter, 0.31. (See Fortnum's Catalogue, p. 359.) 
 
 — 253. Deep dish — Vulcan forging the arrow in presence of 
 Venus and Cupid, in the Etnean cave, whose vaults 
 and recesses are most marvellonsly represented^ in 
 combinations of dark colors. On the under side, 
 vulcajto et venere. Diameter, 0.25. 
 
 _^» 254. Deep dish — Beautiful young woman seated on a marble 
 plinth, in the middle of a noble atrium, with two 
 columns. She holds the Trumpet of Fame in her 
 right hand, and crowns with her left a young man 
 
120 MAIOLICA. 
 
 kneeling before her. Her foot rests upon two volumes, 
 upon one of which is inscribed, in very small char- 
 acters : ONIA - VINCIT - AMOR - ET - CEDAMVE 
 
 qvesto. The coat of arms of the Scaligeri (?) is on 
 one of the columns. The back ground is represented 
 by the interior of a room, in which is an old astrono- 
 mer, intensely occupied in measuring, with a compass, 
 the degrees of a sphere. Near him, lies on the pave- 
 ment a triangle, upon which are the numbers 519, 472, 
 370. This work is admirably finished, and has, on the 
 under side, the mark^ ^ 
 
 Diameter, 0.26. M, 
 
 -•—■"255. Basin — Cain and Abel. Rich decoration of the style 
 of Raphael, cameos and figures in various colors on 
 white enamel. On the under side, a female figure, in 
 chiaroscuro, surrounded by a crown. Diameter, 0.54. 
 
 556. Plate — A woman rising from a bed, as if awakened 
 by a tremendous vision. Near her is a young man 
 wearing a black mantle, who directs her attention to 
 the distent tempestuous sea, in which is a sheep half 
 submerged, and a man swimming for his life. Above, 
 among the clouds, Juno. Coat of arms on the wall. 
 On the under side, the inscription : 
 
 F 
 
 [Francesco Xanto]. 
 
 — - 257. Plate — Gyges and Candaules. On the right is the 
 Queen, seated on a marble plinth, her attention 
 engaeed by a ( 'upid trying to jump over a column 
 which is lying on the ground ; another Cupid watches 
 
MAIOLICA. 121 
 
 him from the clouds above. On the left is King 
 Candaules introducing a young man, Gyges, who is 
 filled with admiration of the Queen. Below the king 
 is the inscription ; candauli re. On the underside 
 is the date 1537, and inscription : Mostra CAN- 
 DAULI. KE SUA DONNA A GlGIA. 
 
 [Francesca Xanto da Rovigo]. Diameter, 0.26. 
 
 — 258. Salt cellar, urn-shaped — Four lion's feet. Decorated 
 with recumbent figures and trees of brilliant colors. 
 Height, 0.9. 
 
 ■--259. Fluted cup— |-In the centre, Apollo playing the violin. 
 Decorated with four men and four deer. Diameter, 
 0.26. 
 
 -~260. Plate — Narcissus changed into a flower, surrounded by 
 weeping Nymphs. On the under side, Narciso mu- 
 tato in fiore. Diameter, 0.24. 
 
 — 861. Deep dish — Vulcan forging an arrow, assisted by 
 Cupid, in the presence of Venus and Mars. Diam- 
 eter, 0.25. 
 
 » 262. Deep dish — The rape of Proserpine. On the under 
 side, the arms of the Pucci family, and the inscrip- 
 tion : — Plutone qtjando rapi Proserpina. Diam- 
 eter, 0. 24. 
 
 -*263. Presentatoio — Coronation of a Roman general in the 
 presence of the Legion. Rich border in the best Ur- 
 bino style. On the under side, the inscription ; — Di- 
 quercta coronato e metillino. Diameter, 0.48. 
 
122 MAIOLICA. 
 
 s^~%64. Deep dish — A king seated on his throne, addressing his 
 army. In the back ground, a tower and a harbor, in 
 which are four ships at anchor. Border, civic crown 
 and decoration of trophies, cupids and satyrs. This 
 remarkable plate, much damaged, is attributed to 
 Orazio Fontana. On the under side the inscription : — 
 Priamo coi ftgli suoi mal si consiglia. Diam- 
 eter, 0.44. 
 
 _ —k 265. Deep dish — Young woman in a small cart, and Cupid 
 with opened wings beckoning to her. On the under 
 side the inscription ; — Mech moch liggi. (Fran- 
 cesco Xanto.) Diameter, 0.20. 
 
 266. Pilgrim's bottle — Diana and her Nymphs bathing. 
 
 Venus and Adonis. Handles in the form of oak 
 branches. [Rovere of Urbino.] Magnificent work, 
 attributed to Orazio Fontana. Height, 0.39. 
 
 267. Brochetta of pharmacy — A queen on her throne 
 
 with a cupid on each side. Pharmaceutic inscription : 
 o - d - scoepiojste. Rich landscape forms the back- 
 ground. Handles, masks in relief. Height 0.23. 
 
 — '268. Brochetta, inscribed s - d - menta. Height, 0.23. 
 The two vases belonged to the famous Pharmacy delta 
 Reginella. 
 
 , .269. Salt cellar — Boat-shaped. Sirens, Cupid and scrolls 
 
 in relief. Decoration in the style of Raphael. 
 Height, 0.10. 
 
 270. Salt cellar — Tripod shaped. Sirens. In the cup a 
 
 bust of a warrior. Height, 0.15. 
 
 —271. Tazza da partoriente — A warrior kneeling before 
 
 the magistrate, from whom he receives the^ sceptre of 
 command. Inscription : P - M - gen' le d'la REp'ca 
 fioeentina. [f - m - Francesco Maria, General of 
 the Florentine Republic] The cup is decorated in 
 the style of Raphael. Diameter, 0.22. 
 
 272. Tazza da partoriente — A woman confined, and her 
 
 maids nursing her child. On the under side, Cupid a 
 pilgrim. Decoration in the style of Raphael. Diam- 
 eter 0.22. 
 
MAIOLICA. 12a 
 
 —273. Deep dish— A king on his throne, speaking to three 
 prisoners in the presence of his army. Border, dec- 
 orated after the manner of Eaphael, and with medal- 
 lions. On the under side the inscription : — 
 
 Di benaad i Popoli sconfitti 
 
 Compariscono al Re Achab innanti 
 
 Col laccio al collo pallidi e afflitti 
 
 Pace chiedendo con singulti e pianti 
 
 Ela concede lor con tai diritti 
 
 Ch' ei rendan cid eh' han poaseduto avanti 
 
 Di clie promessa auta assai sieura 
 
 Con essi nuova tregua afferma e giura. 
 Diameter, 0.53. 
 
 — 274. Cover of a cup— The Holy Family, surrounded by 
 
 an elegant civic crown. On the under side, a coat of 
 arms supported by two Cupids ; below, a seraph, and 
 on the ground the inscription ; — eli - pia. (Guido 
 Durantino). Diameter, 0.22. 
 
 ^»275. Basin, shape of a turtle shell. In the centre, a 
 splendid medallion of sirens, festoons, masks and 
 cupids. The basin is covered with the most splendid 
 decoration, after the manner of Eaphael, and medal- 
 lions representing antique gems. On the under side 
 is a magnificent imitation of the shell of a turtle, 
 painted in yellow and black, and a crab and two sheila 
 in high relief. This is one of the rarest pieces of the 
 Urbino school. Attributed to Orazio Fontana. 
 Diameter, 0.45. 
 
 — 276. Ovoid vase — Handles, chimeras and masks in relief. 
 
 On one side, triumphal arch, with cupids and figure of 
 Justice holding sword and balance, and the inscription r 
 GIVstizia. Below, is the signature of an unknown 
 master : cristofan -de - veb (ino). On the other 
 side of the vase is a child driving hippocampse and 
 another child swimming ; beyond, an arch adorned in 
 the most magnificent manner. The body of the vase 
 is covered with grotesques in various colors. Height, 
 0.44. 
 
 277. Companion vase — On one side, a medallion, the 
 subject of which is the Judgment of Paris ; on the 
 other side, Danaes and the Golden Shower. Decora- 
 tion after Raphael. Height, 0.44. 
 
124 MAIOLICA. 
 
 ^278. Presentatoio — The Judgment of Paris, from a design 
 by Marc Antonio. On the under side, Venus and 
 Cupid surrounded by rich grotesque decoration. (Pata- 
 nazzi). Diameter, 0.37. 
 
 ^279. Plate — The Deluge. Spirited representation, introduc- 
 ing many figures. (Patanazzi). Diameter, 0.45. 
 
 Cup — Two heroic figures, surrounded by decoration 
 after the manner of Raphael. Above, coat of arms, 
 phoenix on a blue ground. On the under side gro- 
 tesques and dignitary crowns. (Patanazzi). Di- 
 ameter, 0.24. 
 
 ,; 281. Cover of a tazza — Husband, wife and a child. Border 
 
 of grotesques. On the under side, child among the 
 clouds, holding an olive branch and a crown. Diam- 
 eter, 0.20. 
 
 - _ 2K9, Pilgrim bottle — Roman aquiliferi, eagle bearers on 
 one side, and on the other Vessillifers. Handles, masks 
 in relief. Height, 0.40. 
 
 -283. Cup On Stand — The Rape of Europa. Fine work, at- 
 tributed to the school of Durantino. Under side in- 
 scribed : de - eveopa. Diameter, 0.27. 
 
 284. Winged lion— Pezzo of Urbino. Height, 0.13. 
 
 — •*" 285. Coppa da partoriente — Interior, a confined woman 
 assisted by her physician and her maids. Two coats 
 of arms and arabesques on the exterior. Stand in- 
 
 scribed j^^ * |F% Diam., 0.15. Height, 0.12. 
 
 >r 286. Cup on stand— The Massacre of the Innocents. 
 Splendid work, attributed to Orazio Fontana. Di- 
 ameter, 0.26. 
 
 ,, .287. Bacchus leaning upon a barrel and a boy by his side, 
 
 drinking. [Pezzo of Urbino.] Height, 0.34. 
 
 -^^288. Presentatoio — Medallion with a female bust. Deco- 
 ration after Raphael. Diameter, 0.41. 
 
MAIOLICA. 125 
 
 ^_ *289. Plate — A warrior with sword in his hand pursued by 
 a woman. Above, a warrior crossing the sea in a 
 chariot. Height, 0.27. 
 •—290. Plate — Diogenes in his tub, and, before him, Alexander 
 the Great, mounted, followed by knights and armed 
 men. Border, crowned falcons and decoration after 
 Raphael. Diameter, 0.44. 
 
 „ — 291. Deep dish — The rape of Europa. Figures of nymphs 
 and an old shepherd. Attributed to Guido Duran- 
 tino. Diameter, 0.26. 
 
 ■ 292. Cover of a tazza — Husband, wife and two small child- 
 ren. Decoration after manner of Raphael. On the 
 under side, Cupid spreading flowers. Diameter > 0.19. 
 
 — ' 293. Albarello — A queen seated holding a sceptre. Two 
 boys supporting a scroll with pharmaceutic inscrip- 
 tion : — el - d - baci - lavbi. Height, 0.23. 
 
 _ 294. Albarello— Same as No, 293. Inscription :— ysopo - 
 hamido. Height, 0. 23. The two vases, like Nos. 
 267 and 268 belonged to the celebrated Pharmacy of 
 the Reginella. 
 
 —. 295. Basin — Fluted. In the interior, a young hero before a 
 statue. The basin is decorated after the manner of 
 Raphael, and with small medallions. On the under 
 side a beautiful dolphin, and decoration after Raphael. 
 Diameter, 0.37. Height, 0.14. 
 
 ^m 296. Plate — A battle scene. Border, decoration after Ra- 
 phael, and medallions representing engraved gems. 
 On the under side the inscription ; — cesare- abate - 
 E - SGVIZER - ala - sona. Diameter, 0. 44. 
 
 ^297. Scrivania, (inkstand) — Oval with lion's feet, two 
 masks and two sirens. Decorated after the manner 
 of Raphael. On the inside a ring, a seal and two 
 quills. Diameter, 0. 35. 
 298. Vinarian cup — Beautiful shape, two-handled. En- 
 tirely enameled with blue glaze, and decorated with 
 charming lace-work in bianco fisso and gold. This 
 piece is one of a service executed in Urbino for Pope 
 Paul III, some other pieces of which are in the National 
 Museum of Naples. Diameter, 0.34. Height, 0.12. 
 
126 MAI0L1CA. 
 
 _ i . — 298a. Tripod for table decoration — Chimeras, groups of 
 cupids, and three coats of arms, two of them bearing 
 an eagle, and the other one the oak of the Delia 
 Rovere family. Height, 0.33. 
 
 ROMA. 
 
 299. Cup on stand — The interior inscribed : roma - anno - 
 
 ivbUjEI - 1600, and decorated after the manner of 
 Raphael. The exterior decorated in the same manner. 
 Diameter, 0.12. Height, 0.10. Attributed to Gian 
 Paolo Savino. Fortnum's catalogue p. 465. 
 
 _JJD0. Pharmaceutic vase, two-handled and with cover. 
 One side decorated after the manner of Raphael, and 
 inscribed : roma - fecit - 1620. The other side with 
 flowers and foliage. Two coats of arms, one bearing 
 lion rampant, and the other, three mountains, a tree 
 and a star. The latter is the coat of arms of the 
 Peretti family, adopted by Sixtus V. The double 
 decoration enabled the apothecary to change the effect 
 of his shop whenever he desired. (Diomede Durante. 
 See Fortnum's catalogue.) Height, 0.45. 
 
 ^=■301. Deep dish — Coat of arms and decoration after Raphael. 
 Diameter, 0.20. 
 
 302. Boccale — Fluted and decorated in the style of Gian 
 Paolo Savino. Height, 0.19. 
 
 ■^,303. Monacal boccaletto — St. Benedict with book and 
 pastoral staff. Decoration after Raphael. Dated, 
 1606. Botega of Gian Paolo Savino. Height, 0.17. 
 
 — 304. Ovoid vase — Coat of arms. Decorated after manner 
 of Raphael. Gian Paolo Savino. Height, 0.28. 
 
 •"""305. Presentatoio — Venus and Cupid. Decoration after 
 Raphael. Coat of arms on the under side with the 
 initials l - b. [Gian Paolo Savino.] Diameter, 0.44, 
 
 — ,306. Boccaletto— Pot. Same as 304. Inscription: 
 s - Benedetto. Date, 1597. [Gian Paolo Savino.] 
 Important for its date. Height, 0.16. 
 
MAIOLICA. 127 
 
 Castelli. 
 
 307. Small dish — Landscape. Border, cupids and flowers. 
 Tinged with gold. (Carlo Antonio Grue). Diame- 
 ter, 0.18. 
 
 —-•"308. Small dish — Orpheus and Eurydice. Border, flowers 
 and cupids. Tinged with gold. (Carlo Antonio 
 Grue). Diameter, 0.18. 
 
 — - 309. Small dish — Allegorical figure. Inscription ; — man - 
 svetvdo. (Carlo Antonio Grue). Diameter, 0.18. 
 
 *^810. Small dish — Summer. Border, cupids among flowers, 
 and masks. (Carlo Antonio Grue). Diameter, 0.18. 
 
 -^-Sll. Small dish — Justice. Border, cupids, flowers and 
 masks. (Carlo Antonio Grue). Diameter, 0.18. 
 
 «— 312. Cup — A young shepherdess tending her flock. (Carlo 
 Antonio Grue). Height 0.7. 
 
 ■—-813. Cup — Landscape. (Carlo Antonio Grue). Diameter, 
 0.7. Height, 0.7. 
 
 314. Cup— Same as No. 313. The pieces from 309 to 314 
 
 are tinged with gold, 
 
 315. Plate — Polyphemus throwing stones at Acis and Ga- 
 latea. Border of cupids and flowers. Inscription : — 
 
 POLIFEMO - L - C - P, (LlBOEIO GEUE PINXIT). 
 
 Diameter, 0.47. 
 
 — -316. Plate — Polyphemus playing upon the pipe, and con- 
 templating the triumph of Galatea. Border, cupids 
 and flowers. Below, inscription : polifemo - l - g -p. 
 (Liboeio geue pinxit). Diameter, 0.47. 
 
 ——317. Plate — Allegorical figure; a woman embracing a white 
 unicorn. (Liborio Grue). Diameter, 0.34. 
 
 — -318. Plate — Venus and Anchises, with Cupid in vicinity. 
 (Carmine Gentile). Diameter, 0.35. 
 
 ,^--31 9. Profumiera vase — Decorated with medallions. Sub- 
 jects : The Samaritan ; The sacrifice of Isaac ; Jesus 
 found by his parents; Samson rending the lion. Six- 
 teen others, representing both sacred and profane sub- 
 sects. Particularly fine are the medallions of the cover 
 with costumes of the XVIII century. Work of Ges- 
 ualdo Fuina. Height, 0.55. 
 
128 MAIOLICA. 
 
 Medicean Pokcelain. 
 
 320. Fluted basin — In the centre, St. Mark in light blue. 
 Upon the book on which the lion's paw rests, are the 
 Japanese decoration, in light blue on a white ground. 
 On the under side, the Medicean mark : 
 
 See Fortnum's Catalogue, pp. 63 and 65. Diame- 
 ter, 0.41. 
 
 321. Plate — Decoration in the Japanese style, light blue on 
 white. On the under side, Medicean mark. Dome of 
 S. Maria del Fiore and initial F. {Francesco). Di- 
 ameter, 0.31.