Fitzwilliam Museum. McClean Bequest.

Catalogue of the mediaeval ivories, enamels, jewellery, gems and miscellaneous objects bequeathed to the museum by Frank McClean online

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stages are pierced with windows of three interlacing round-headed
arches with tympanum and trefoil gable ; the uppermost stage is
pierced with trefoils.

Plate XXVI. \6th century.
H. 11^ in.


80. Pressed Tortoisesmell Panel. Three-quarter figure
of St Peter seated with clasped hands. On a rocky background
above his head is a cock crowing, on his left are a book and keys.

German, ijth century .
. H. sh in.

The minor art of producing designs by pressing tortoiseshell, horn or wood
reduced to a soft condition into a mould chiefly flourished in the seventeenth
and eighteenth centuries. The principal known artists are John Osborn, an
Enghshnian working at Amsterdam in A.D. 1626, and John O'Brisset or
Obrisset, the period of whose activity falls nearly a century later. Fine
examples of their work may be seen in the British Museum (see C. H. Read, in
Some Minor Arts by Sir A. H. Church, W. Y. Fletcher and others, London,
Seeley, 1894, pp. i — 7).

81. Oval Locket-Reliquary of gilt copper, with cardboard
spaces for relics under glass on each side. On the exterior are two
nielloed silver plates, that on one side having the bust of Pope
Pius II, with legend PIVS II PONT. MAX, that on the other his arms
(Piccolomini), with tiara and keys.

The frame, Italian, \6th cefitury.

L. of frame 3| in. From the Magniac Collection. The niello is modern.

82. Wax Agnus Dei, circular.

Obverse. The lamb recumbent, supporting the flag with the
right foot.

Below, the arms of Pius V.

Round the border : ECCE • A • DEI QVI TOLLIT • P • M ■ {Ecce
Agnus Dei qui tollit peccata Mundi).

Reverse. The Noli me tangere.

Below, the inscription

PIVS • V • pontifex


• ANNO • I •

In the border: NOLI • ME • tangere.

The wax disc is protected by two discs of carton with subj'ects
in relief painted and gilded. One has the same design and
inscription as the obverse on the wax, but instead of the arms of
Pius V, those of Gregory XIII (Buoncompagni). The other has
Our Lord in the tomb supported by two angels, with the cross


behind him. Iklow are again the arms of IJuoncompagni, and in
the border GREG • XIII • I'ONT • MAX.

The whole is in a circular wooden frame painted black with
gilded oves and floral scrolls.

D. of wax disc 5 in. D. of frame 6-5 in.

The Agnus Dei was made from the wax of the Paschal Candle and blessed
by the Pope the first Easter of his pontificate, and on every seventh anniversary.
The present ceremonial dates from the sixteenth century, but the usage is said
to go back as far as the ninth. The gilding and colouring of the Agnus Dei
was forbidden after the year 1572. Among early surviving specimens are
examples of the fourteenth century made in the pontificates of John XXII and
Gregory XI (the latter in the Museum at Poitiers). An example which must
be yet earlier was discovered with the relics of. the Chapel of the Sancta
Sanctorum at the Lateran not many years ago (P. Lauer, Mo mt incuts Piot,
Vol. XV, 1906, p. 100 and pi. xi, 3). An example of Pius IV is in the Cluny
Museum at Paris ; and the British Museum has one of Clement XI (a.d. 1700 —
1721): numerous late examples are in the Vatican. The form and size have
both varied : the earliest specimens appear to be the smallest, while the circular
shape was at first preferred to the oval.

The wax Agnus Dei was considered to have a prophylactic or amuletic
virtue in the Middle Ages, and fragments of it were worn in metal cases upon
the person, especially by women. Matthew Paris, describing the fires at the
Church of St Albans about .\.D. 1235, deplores the want of efificacy of the Agnus
blessed by the Pope placed on the summit of the tower {Gcsta Abbatis
Johantiis^ p. 142).

V. Gay, Glossairc archeologique du Moyen Age et de la Renaissance, s.v.
Agnus Dei. W. Henry in Cabrol's Dictionnaire dArcheologie Chretienm
et de Liturgie, under the same title.

Apparently impressions with a similar design were made outside Italy by
authorisation of the Pope. A matrix in the British Museum, of the fourteenth
century, may be of this class (cf. also example found at Bristol, Arch. Journal,
xxix, 1872, p. 361). The impressions being so highly valued, spurious matrices
were soon made, and heavy penalties were awarded to those detected in their
manufacture. By a statute of Henry VIII the possessor of a false matrix was
subject to the penalties of praemunire ; the second offence was treated as high

83. Wine-Glass on a high stem, the cup engraved with sprays,
the stem containing twisted threads of white producing a spiral

English (i), \Zth century.
H. 7 in.


84. Bronze Stear-HEAD, leaf-sliapcd, with socket and holes
for pin.

9//; or \oth century B.C.

L. 87 in.

Cf. W. Greenwell in Archaeologia LXi, p. 460.

85. Bronze ; small figure of a ploughing-ox.

Italian, ?>th — 9/// century B.C.
L. 2 "62 in.

Perhaps part of a group representing a man ploughing. Cf. Example in the
British Museum.

Guide to the Exhibition illustrating Greek and Roman life, p. 206.

86 — 91. Bronze ; six statuettes of animals : goat, sheep,
reindeer, panther, two dogs and a fish.

Graeco-Roman {?).

Average length 2 — 3 in.

Some of these figures are in a more conventional style and perhaps earlier
than others. While none appear to be so early as no. 85, some (e.g. the dogs)
by their realistic style suggest a time almost as late as the Roman period.
Such animals belong to the category of toys or ornaments.

92. Bronze Mirror engraved with four figures, Athene,
Aphrodite and attendants.

Etruscan, yd century B.C. ^'

L. 10-3 in.

93—96. Bronze; four spiked cylinders from bits.

Greek, about ^th ce7itury B.C.

Largest diameter, 2 in.

These appear to be the "hedgehogs" (exivoi) mentioned by Xenophon Be re
eq. X. 6 and illustrated upon complete bits in the British Museum {Guide to the
Collection illustrating Greek and Roman life, fig. 211).

97. Bronze Ewer with high handle : unornamented.

Graeco-Roman, about ^th centuty.
H. 6-6 in.

98. Bronze end of a Chariot-pole terminating in the head
and fore quarters of a ram : rectangular socket.

L. 7-4 in.


99. Bronze Bell, with loop at top; of oval section ; without

H. 36 in.

100. Bronze Bells of rectangular section ; loop at top ; no


H. 2'4 in. and 2*2 in.

101. Tripod Lamp-stand, bronze, terminating above in three
short branches.

Graeco- Roman., \st or ind century B.C.
\\. 11-8 in.

102. Bronze Steelyard {statem).

L. 7-2, in.

103. Bronze Emblema, in the form of a female bust : hollow

at the back,

H. i'46 in.

104. Bronze Lamp-filler ; hemispherical bowl with long
straight channel or spout.

Late Roman.

L. 4-85 in.

The form may be compared with that of an example from Egypt in the
Christian Room at the British Museum {Cat. of Early Christian Antiquities,
no. 527).

105. Bronze ; finial ornament with mask.

ibth century (J).
D. 2'4 in.

106. Bronze Mace-head; globular with three rows of knobs.

Uncertain date.
L. 2-6 in.



107. Bronze ; laureate head.

H. 4-5 in.

Roman Glass.

108. Bottle. Light-green glass. Neck narrow, slightly
constricted where it joins the body. The rim of the neck made
by the addition of a ring of glass. The base has a considerable
conical kick ending in a hollow spike.

Condition, perfect : surface slightly iridescent.
Roman period, ist century A.D. (?). Height i6-o cm.
Original provenance unknown. Forman Collection.

109. Bottle, Light greenish-blue glass, with slight opa-
lescence probably due to oxidization. Wide neck, the rim made
by the addition of a ring of glass. Base nearly flat.

Condition, perfect : surface slightly iridescent.
Roman period, ist century A.D. (?). Height i6*o cm.
Original provenance unknown. Forman Collection.

Chinese and Japanese Objects.

110. Low Vase with cover and two handles, of cloudy green
jade carved in relief. Round the outside of the bowl and cover are
the Buddhist symbols. On the top of the lid is a dragon head,
while lion heads adorn the handles.

Plate XXVII. Chinese. \Wi century.
W. 7\ in.

111. Another, of similar jade, with three feet and two handles
with loose rings. On the body and cover are carved conventional
scrolls of archaic type. On the top of the cover, which is in
openwork, is an archaic dragon. The jade is very thin throughout.

Plate XXVII. Chinese. iZth century.
L. U in.


112. Circular Dish of cloisonni^ enamel on copper, tlic
chief L;r()und-colour a turquoise blue. A central medallion ha.s the
Chinese character for IIappines.s (fuh), in red on white; round this
are two draL,^on.s beyond which are borders of floral and geometrical
design. The back has bamboo and prunus flowers within floral

Japa?iesc, 18/// ccnfury {}).
D. 67 in.

The dish is probably Japanese, though a Chinese origin is not excluded. If
Chinese the date would be somewhat earlier than that suggested.

113. IvoRV Netsuke ; Benkei drawn in a rickshaw by an
Out accompanied by a Tengu. He is represented as a Yamabuslii
(wandering priest; and carries a conch shell on his back. On the
base, a signature engraved upon a teapot.

JapaJicsc^ \()th century.
D. 1-6 in.

The legend will be found in H. Joly, Legend in Japafiese Art, p. 20 (London,

114. Ivory Netsuke, flat rectangular, carved in low relief
upon one surface with a half-figure of Benkei holding a huge fish.
Signed : Ko giokii Sa?i.

Japanese, i()th cetitiiry.
L. 175 in.
Cf. Joly, as above.

115. Another, group in the round ; an Oni carrying on his
back a large tobacco-pouch, which a small Oni helps to support
from behind : the toggle at the end of the cord of the pouch is
carved to represent the No mask of Hanya. Signed : Min koku.

Japanese, \<^th centuiy.
H. 14 in.

116. Another ; two Oni cleaning a large Chinese vase
engraved with dragons. On the bottom of the vase a diminutive

Japanese, ic)tk century.
L. -2 in.


117. Another ; a fisherman taking a fish from a large
cylindrical basket in which are seen other fish and a crab. On
the bottom of the basket is a signature.

Japanese^ \()th century.
L. 1-85 in.

118. Another; a rat with a candle-end: on the candle a
signature : Tada viitsu.

Japanese., \()ih century.
L. r95 in.

Egyptian Antiquities.
119. Book of the Dead made for The Captain (hry) of the

son of the captain of the boats of the temple of Amon Re E§a • iht
( <^:gy^ ^^ I 1 written on a strip of papyrus 175 cm. long and from

2)7 to 38 cm. wide.

It consists of a few vignettes, or pictures, and short extracts
from chapters of The Book of the Dead.

The text and pictures are enclosed within a rectangular border,
the inner half plain, the outer red. The deceased is represented at
both ends of the papyrus clad in white robes ; his skin is dark
brown where uncovered but shows pink through the outer garment.

The text is in vertical lines reading from right to left, portions
of the text such as the titles are written in red. The writing is
bold, and the pictures well drawn and brightly coloured.

At the right hand end of the papyrus is a picture of In • pehuef •
neht with his hands raised in adoration before a conventional
shrine within which are the vignettes and text. Above and in
front of him is part of the Introduction to the Negative Confession,
his name and title, and his father's name and title. Ranged along

the top of the cornice of the shrine are a number of figures f ) j

with their names above them, which belong properly to "the
Book of what is in Hades " (see Lefebure, Toinbeaii de Seti I,
pis. XVII — XX).


The first part of the shrine is occupied by the 42 Assessors
and the Negative Confession, followed by a " liook of becoming a
swallow " and two vignettes, one above the other, the upper showing
the swallow perched on a multi-coloured mound, the lower a
squatting human figure with a swallow in the place of a head.
This is succeeded by a short " Chapter of entering the region of
sand " and a vignette representing two cynocephalous apes, the upper
one facing to the left, the lower to the right. This is followed by
a group of vignettes, in the upper one is the boat of Re in a
backwater or harbour adored by two figures in priests' garments,
while on the banks of the stream or harbour are the goddesses Isis
and Nephthys. Below is a sign of life ('nh) with hands holding
out bread offerings, flanked by two jackals, called " The Runner of
the North," and " The Runner of the South." A short " Hymn to
Re at his setting" follows, and a scene showing In pehuef-neht
adoring the sun which is about to be received into the arms of the
sky goddess, while below are three pits between four flames, and
below these again a tank about which the four flames are as a rule

The papyrus seems to belong to the i8th Dynasty, but there
are many points which indicate a later date ; it should perhaps
therefore be assigned to the 19th Dynasty. [4001. 04]

120. Cylindrical alabaster vase, part of the foundation
deposit of a building at Thebes built by Amenhetep II. Three
vertical lines of inscription under a f=^ sign read from right
to left : (here transposed)

The inscription is rather roughly incised and has been filled in
with blue, traces of which remain.

1 8th Dynasty. Height I0'5 cm. [4008. 04]

121. Blue-green glazed faience ushabty made for
Pa-dy-ise (PJ-dy-ys-t). Pillar up the back. The front is inscribed
with Chap. VI of the Book of the Dead in 9 horizontal lines.

Good work of the Saite period. Height 17-5 cm. [5014. 04]


122. Green glazed faience usiiabty made for Ptah-
hetep. Pillar at the back. The front inscribed with Chap. IV of
the Book of the Dead in 9 horizontal lines.

Saite period. Height iS'O cm. [5017. 04]

123. Dull green glazed faience usiiabty made for
Psemetek (Smptk). Pillar at the back. The front is inscribed
with Chap. VI of the Book of the Dead in 1 1 horizontal lines.

Good work ; but the glazing poor. Saite period. Height
19-5 cm. [5016. 04]

124. Green glazed USHABTY made for Hor(.?). Pillar at

the back. The front inscribed with part of Chap. VI of the Book

of the Dead in one vertical line.

Moderately good work of the Saite period. Height I4'5 cm.

[5018. 04]

125. Blue glazed faience standing figure of the
GODDESS Sehmet, wearing a sun's disc and uraeus. The column
or strip up the back is pierced for suspension and is inscribed


-^ii^iu^-n - ^

The face is well modelled, but the body is rather poor work. The
feet are missing.

Saite period. Height S'O cm. [5011. 04]

126. Green glazed faience standing figure of the
GODDESS Sehmet or Bast (B?st-t). The pillar at the back is
pierced for suspension.

Poor work of the Saite period. Height 9*0 cm. [5012. 04]

127. Blue glazed faience figure of the goddess Bast
(B?st-t) seated on a throne holding a papyrus-sceptre, the upper
part only being shown. The details of the sceptre and the panels
of the throne are done with black glaze. At the back of the
goddess's head is a loop for suspension. Height 7*5 cm. [5010. 04]


128. Standing figure of the god Tiiotii. Blue glazed

Good work of the Saite period. The beak and lower part of
the legs are missing. Height 100 cm. [5007. 04]

129. Squatting cynocephalous ape. Blue glazed faience.
Very good work of the Saite period. Height 4*8 cm.

[5008. 04]

130. Isis AND THE INFANT HoRUS. Blue glazed faience.

Top of headdress missing. Rough work. Height 90 cm.

[5006. 04]

131. Isis WITH THE INFANT HORUS. Bronze.

Saite period. Height including the tang 20"0 cm. [5013. 04]

132. Isis with the infant Horus. Serpentine. Very
rough unfinished work. Traces of gilding on the face of the

Roman (?). Height i8-ocm. [6029.04]

133. Anubis in the form of a jackal lying on the top of a
shrine-shaped box. Bronze.

Roman period. Made in Italy (?). Length 15*0 cm,

" From Count d'Herisson collection."

[6030. 04]

134. Pectoral in the form of the facade of a shrine. Part
of the design is done with pieces of coloured glass let in and
fixed with plaster. On one side Isis and Nephthys in the sacred
boat adore the god Hepery in the form of a scarabaeus ; on the
other is the scarabaeus Hepery between a dd-t and a sJ amulet.

The specimen is much damaged. 100 x 9*0 cm.

Forman collection. [6028. 04]

135. Steatite pectoral in the form of the facade of a
shrine. Decorated partly by engraving the stone and partly by
inlaying pieces of coloured glass held in position by plaster.
These inlays have now fallen out. On one side Isis and Nephthys


in the holy boat adore a shrine between two scarabaei, or ovals ;
on the other two priests adore a hawk-headed scarabaeus supported
by another with outspread wings.

Ptolemaic or later. lO'O x iO"0 cm.

Forman collection. [6027. 04]

136. Green jasper "heart scarab." Made for luty
(Yw-ty). Chap. XXX. B. of the Book of the Dead engraved on
the base. New Kingdom. Length 7*2 cm.

Original provenance unknown. [4002. 04]

137. Schist scarab, thickly coated with blue glaze. Roughly
executed figures on the base. Poor work of Early New Kingdom
date. Length 17 cm. [4007. 04]

138. Schist scarab, originally green glazed. The design on
the base consists of scarabaei with out-spread wings.

1 8th or 19th Dynasty. Length 2'0 cm. [4006. 04]

139. Blue glazed faience scarab. Two crocodiles on the
base. Rough work of the New Kingdom. Length 2"5 cm.

[4005. 04]

140. Green glazed scarab. On the base Horus, above
two signs peJity facing each other. Length i'9 cm. [4004. 04]

141. Hollow blue glazed scarab, blackened over. The
base is a separate plaque of blue glazed frit, with a lug pierced
for suspension. On the plaque is a much defaced inscription in
black glaze giving the name of the deceased.

20th Dynasty or later. Length 75 cm. [4003. 04]

Assyrian and Babylonian Antiquities.

142. Clay tablet. Cuneiform inscription recording a loan
of corn, dated 12th year of Artaxerxes L 6-5 x 5*0 cm. [7001. 04]

143. Clay tablet. Cuneiform inscription recording a loan
of corn with the names of the witnesses, dated loth year of
Darius. 625 x 5*0 cm. [7002. 04]


Achaemenian jewellery, 12-13

Adam, skull of, 97

Aegina, treasure from, 35

Agaune, S. Maurice d', enamelled ewer

at, 45

Agnus Dei, no. 82

Ahin Posh tope, ornament from, 10

Alcester, tau cross from, 30

Alfred jewel, the, 20

Allotting, Rossi of, 60

Angermair, C, 57

Anglo-Saxon ivories, 30; enamels, 41;
niello, 70

Annunciation, The, nos. 39, 70 ; to Shep-
herds, no. 40

Anubis, no. 133

Archbishop represented, 91, no. 35

Ardagh chalice, the, 46

Ardeshir, king, 9

Austria, enamels in, 39, 50, 62

Barbaric jewellery, 5-16, nos. 1-12

Bartlow, enamelled vase from, 38, 40

Basse iaille, enamel in, 55

Bast or Sehmet, figure of, nos. 1 26-7

Becket, murder of, no. 41

Belgium, Roman enamels from, 39, 40

Bells, bronze, nos. 99-100

Betrayal, the, 42

Blois, Henry of, enamel of, 49

Boabdil, swords of, 45

Bodleian Library, ivory carving in, 23,

Bone, Henry, 69
Bottles, Roman glass, nos. 108-9
Byzantine ivory carvings, 26-7, nos. 36-38;

jewellery, 15

Candlesticks, 100, 108

Canosa, glass bowls from, 71
Carolingian art, see Frankish art
Caskets, ivory, 24, 53, no. 36; enamelled,

no. 58
Castel Trosino, Teutonic ornaments from, 8
Catherine, Saint, no. 43
Caucasus, enamels from, 35
Cellini, 55

Cennini, Cennino, 73
Censer, no. 79
Chalice, no. 6

Chariot-pole, end of, no. 98
Childeric, sword of, 7
China, influence of, 11; jade vases from,

nos. no, III
Chinese enamel, 1 1
Church, Sir A. H., 33, 34, 36
Ciborium, no. 59
Claire, Godefroid de, 50
Cloisonne, see Enamel
Conques, reliquaries at, 47, 49
Courajod, L., 20

Court, Jean de, 67 ; Suzanne de, 67
Courtois or Courteys, Pierre, 66 ; Jean,


Craft, W., 69

Crucifixion, the, nos. 38, 39, 41, 42, 55,

57. 59
Cuneiform tablets, nos. 142-3

Cynocephalous ape, no. 129

Dashur, jewellery from, 14

de Laulne, Etiennc, 46

Descent from the Cross, no. 42

Didier, Martin, 66

Die, Master of the, 62

Dillon, E., 33, 71

Dinant, enameller's furnace near, 39

Diptychs, "Composite," 23



Echini, nos. 93-96

Jtglomiser, derivation of the word, 76

Eg)'pt, inlaid jewellery of, 14; absence of
enamel in, 33

Elizabeth, St, nos. 43, 74

Emaux de nicUure, 52

Emmanuel, type, 90

Enamels, 32-71; Belgian, 48-50; Byzan-
tine, 41-43; Caucasian, 35; Celtic,
35-37 ■> Champleve, 48-54; Cloisonne,
II, 41, no. 112; Encrusted, 58; English,
41. 53> 54; German, early, 48-51, nos.
56, 58; German, late, 68; Greek, 34,
58; Hungarian, 45; Irish, 40; Limoges,
48, 51-2, nos. 47-57; Low Countries,
62-68; Moorish, 44-5; Mycenaean (?),
35; Oriental, 69; Painted, 59-69, nos.
63-75; Roman, 38-40, nos. 44-46;
Russian, 43-4, 54; Spanish, ^.i, 56;
Translucent, 55 ; Venetian, 61

Enamelled dish, no. 112

Enamelling in openwork, 46; on glass,

English enamels, 41, ^i, 54, 57

Engraved gems, 81-84

Entombment, the, no. 43

Ephesus, ivory carvings from, 16

Evangelists, symbols of the, 91

Evans, Sir A., 42

Ewer, bronze, no. 97

Farley Heath, enamels from, 38

Faversham, brooch from, 5, no. 4

Filarete, 61

Finiguerra, 71

Flagellation, the, 42, 59

Florence, enamelled crozier at, 49 ; trans-
lucent enamels at, 55

Foiuii d'oro, 72, 73

P^oucquet, Jehan, 60

Foundation deposit of Amenhetep II,
no. 120

France, early enamels from, 39; Byzantine
enamels in, 43; enamelling on glass in,
46 ; enamels in basse taille from, 56 ;
enamels on relief from, 58

Frankfort, ivory panel at, 26, 92

Frankish art, 19 ff., nos. 9-11, 34, 35

Franks, Sir A. W., 40

Gems, engraved, 81-84, nos. 12-31

Germany, early enamels from, 39; Byzan-
tine enamels in, 43; Cloisonne enamels
of, 44; Enamels on relief from, 58;
Inlaid jewellery from, 8, 9; Painted
enamels from, 68; Translucent enamels

of, 56, 57
Gilded glasses, 72, 73
Giovanni Pisano, ivory statuette by, 31
Glass, 71-76, no. 83 ; see also Gilded

Gnostic gems, 82, 83
Godwin, seal of, 30
Gold Cup, the Royal, 56
Gold ornaments, prehistoric, nos. i, 2
Goldschmidt, A., 22, 28, 88
Goths, transmitters of a style of jewellery, 9
Gourdon, treasure of, 7
Graeven, H., 27
Gran, enamel at, 58
Grandisson, Bishop, ivory carvings made

for, 30
Gregor}' the Great, gifts of, 8
Gregory XIII, Pope, no. 82
Gryphons represented, no. 36
Guarrazar, votive crowns from, 7, 8

Harwood, enamels from, 38

Heraclius, 73

Hildesheim, sculpture at, 28

Horus and Isis, figure of, nos. 130-2

Hugo, Frere, of Oignies, 70

Hungary, enamels in, 45, 58

Illuminations, early Irish, 41

India, gold ornament from, 10

" Inlaid jewellery," 5-16

Innsbruck, cloisonne dish at, 44

Intarsia, 96

Ionia, ivory carvings from, 16

Ireland, enamels of, 40, 46 ; early illumina-
tions of, 41

Isis and the infant Horus, nos. 130-2

Italy, early enamels from, 40; translucent
enamels of, 55, 56; painted enamels of,
60, 61

Ivory carvings, 16-32, nos. 32-43; colour-
ing of, 31, 32

Jade vases, nos. no, in
Japanese enamel, no. 112; ivory carvings,
nos. 113-118



Jean dc Limoges, 52
Jerome, Saint, no. 77
Jerusalem Chamber, rctable in, 74
Jewellery, 5-16, nos. i-ia
Jutish brooches, 79

Kent, Teutonic jewellery from, 5
Kertch, Teutonic jewellery from, 9
Kinj^'s Lynn, enanielled cup at, 59
" Kip," 64

Klosler Neuburjij, enamels at, 50
Koban, enamels from, 35
Kondakoff, N., 43

La Guierche, vase from, 39

Lamp-filler, no. 104

Lamp-stand, no. loi

Last Judgment, no. 39; Supper, no. 65

Laudins, the, 67

Layard, Sir IL, 13

Limoges, champleve enamels of, 48, 51,

52; painted enamels of, 59-69
Limousin, Leonard, 65; Jean, 67, no. 70;

Fran9ois, 67
Linear style, •21, 22
Lord's Prayer, illustrated, no. 67
Louis, Saint, no. 72
Love, triumph of, 66

Mace-head, bronze, no. 106

Magi, Adoration of, nos. 63, 64

Alajestas Domini, 90

Mandorla, the, 90

Manuscripts, illuminated, influence of, 24,

Marcantonio, 62

Merovingian art, see Frankish art
Merton, Walter de, 52
Meuse, champleve enamels of the, 48-51
Miracles, represented, 85
Mirror, bronze, no. 92
" Monkey beaker," the, 62
Montpellier, enamels of, 56
Monvaemi, 63
Monza, book -cover at, 8
Munich, Byzantine enamels at, 43
Mycenaean enamel, 25

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Online LibraryFitzwilliam Museum. McClean BequestCatalogue of the mediaeval ivories, enamels, jewellery, gems and miscellaneous objects bequeathed to the museum by Frank McClean → online text (page 13 of 14)