EIGHT ITALIAN MEDALS e BY G. F. HILL, r& HE notes which follow are the result of recent gleanings among the trays of the British Museum collection of Italian medals. The first two pieces have a very good claim to re- cognition on artistic grounds ; the others, although their workmanship is by no means contemptible, are perhaps interesting for less essential reasons. All but two (Nos. 3 and 6) are, I believe, now published for first time. As usual, I have to express my thanks to Mr. Max Rosenheim for many valuable criticisms. I. LORENZO ZANE. Obv. Bust of Lorenzo Zane 1., clean-shaven, in cap; around: ? LAV ZANNVS ' VENE[T]VS ? P" TA[NT]IOCHE Rev. Winged female figure (Astrology) standing r., holding in r. a wand lowered; before her,globe, with rays (incised); around: ASTRA " NOTA [R]ATIO ?FERT" SVPER -ASTRA" VIROS Lead. 48 mm. P1. I, i. Lorenzo Zane, a member of the well-known Venetian family, became titular patriarch of An- tioch, as he is described on this medal, in 1473 (28th April).1 He held the title until his death at Rome on 15th October, 1485. In 1474 he became bishop of Treviso, and in 1478 was translated to Brescia. This see he occupied until 1481. Under Sixtus IV he was governor of Romagna, the Patri- mony of St. Peter, and Perugia. He played a con- siderable part in politics, being a not over-scrupu- lous supporter of the Pope. It is interesting, in con- nexion with the reverse-type of his medal, to learn that he was an enthusiastic devotee of astrology. The medal has unfortunately suffered greatly, and the letters of the inscriptions are partly broken away. But the portrait is most expressive and finely modelled. It is the work of some unknown North Italian medallist, Something in the pose of the head suggests Sperandio, but the features are renderedwith a delicacy and sympathy which the great Mantuan seldom shows; nor does the reverse bear any resemblance to his work. The figure of Astrology, as we have seen, alludes to Zane's astrological studies, the inscription bidding us mark the courses of the stars, since reason exalts men above them-a sentiment akin to the motto of Alfonso of Aragon, 'vir sapiens domina- bitur astris.' A similar figure occurs on a medal of Isabella d'Este, Marchioness of Mantua, made by Giancristoforo Romano in 1498.2 There she is accompanied by a serpent. Armand, who de- scribes her as threatening the serpent with the wand which she holds in her hand, and von Fabriczy, who calls her a goddess of Victory, seem to have mistaken the type. Above her head is the sign of Sagittarius. Isabella, too, was a firm believer in astrology, and had had her horoscope cast in 1494.3 2. I. L. ARNUTIUS. Obv. Bust to right, wearing berrettoand gown. Inscription : ?I" L"ARNVTIVS" Rev. A nude male figure with long hair,standing to front on a garment (which lies on the ground); he spreads out his hands, and looks upwards to a cloud, from which descend flakes of fire; above the cloud an object resembling a mass flame; two flames of fire on either side of this. Bronze. 57 mm. Triangular stops. P1. II, I. This curious and puzzling medal must, by its style, be dated about 1500 A.D. I have been un- able to identify the person, and the name is not a common one. There were, however, at least two families of a similarname in N. Italy, the Arnucci at Pavia, and the Arnuzzide'Medici at Alessandria. To the Alessandrian family belonged the county of Corteranzo, and we find it stated that a member of the house was made a cardinal by CelestineV. Of this last stat ement4 I have been unable to find any confirmation. The reverse design calls to mind the curious design on the medal of Elisabetta Gonzaga, which Corneliusvon Fabriczy has attributedto the artist Adriano Fiorentino.s With regard to this reverse, it is true, he is careful to point out that it seems to refer to the change in her fortunes after the events of 1502, just as the reverse of the medal of Emilia Pio, Elisabetta's sister-in-law, undoubtedly refersto the death of her husband in 1500. Since Adriano Fiorentino died in 1499, these reversescannot be from his hand. Von Fabriczysuggests thatAdriano made the two obverses in 1495 at Urbino, and that the reverseswere afterwards designed by someone else and attachedto their respective obverses. This is certainly a very probable solution of the diffi- culty. It is not impossible that the portraits of Elisabettaand Emilia were intendedto be attached to each other. The career of Adriano Fiorentino as a medallist presents a number of difficult problems, to some of which I hope to return in a subsequent article. However this may be, we may, I think, assume that of the artists who made the reverses of Elisa- betta's and Arnutius's medals, one was acquainted with the other's design. On the whole, the medal of Arnutius looks somewhat the earlier of the two. The design of the Elisabetta reverse (P1. II, 2) has usually been misdescribed. It represents a female figure, naked to the waist, lying on the ground, with her head against a gate or fence; in her hands she holds a bridle. She looks up towards 1 Eubel, ' HierarchiaCathol.' Agostini, ' Scritt. Vinizian.'Is pp. 177-204, gives a long biography. 2 Fabriczy(Eng. trans.), p. 52 ff, Pl. XII, 6. 3 See the interestingpassage in Mrs. Ady's 'Isabella d'Este,' II, p. 33. SDue to Crollalanza,' Dizionario StoricoBlasonico,'p. 62. ', Jahrb d. k. preuss.Kunstsammlungen,' Vol. xxiv. 2IO
HE notes which follow arethe result of recent gleaningsamong the traysof the BritishMuseum collection of Italianmedals. The firsttwo pieceshave a very good claim to re-
cognition on artisticgrounds ;the others, although their
workmanship is by no means contemptible, are
perhaps interestingfor less essential reasons. Allbut two (Nos. 3 and 6) are, I believe, nowpublished for the first time. As usual, I have toexpress my thanks to Mr. Max Rosenheim for
many valuablecriticisms.
I. LORENZOZANE.Obv. Bust of Lorenzo Zane 1.,clean-shaven, in
r., holding in r. a wand lowered; beforeher,globe,with rays (incised); around: ASTRA
"NOTA
[R]ATIO ?FERT"SVPER
-ASTRA" VIROSLead. 48 mm. P1. I, i.Lorenzo Zane, a member of the well-known
Venetian family, became titularpatriarchof An-tioch, as he is described on this medal, in 1473(28th April).1 He held the title until his death atRome on 15th October, 1485. In 1474 he became
bishop of Treviso, and in 1478 was translated toBrescia. This see he occupied until 1481. UnderSixtus IV hewas governor of Romagna, the Patri-mony of St. Peter, and Perugia. He playeda con-siderablepart in politics, being a not over-scrupu-lous supporterof the Pope. It is interesting,in con-nexion with the reverse-typeof his medal, to learnthat he was an enthusiasticdevotee of astrology.
The medal has unfortunately suffered greatly,and the lettersof the inscriptionsare partlybrokenaway. But the portraitis most expressiveand finelymodelled. It is the workof some unknown NorthItalian medallist, Something in the pose of thehead suggests Sperandio, but the features arerenderedwith a delicacy and sympathywhich thegreat Mantuan seldom shows; nor does thereverse bear any resemblance to his work. Thefigure of Astrology, as we have seen, alludes toZane's astrologicalstudies, the inscription biddingus mark the courses of the stars, since reasonexalts men above them-a sentiment akin to themotto of Alfonso of Aragon, 'vir sapiens domina-bitur astris.' A similarfigureoccurs on a medalof Isabella d'Este, Marchioness of Mantua, made
by Giancristoforo Romano in 1498.2 There she isaccompanied by a serpent. Armand, who de-scribes her as threatening the serpent with thewand which she holds in her hand, and von
Fabriczy, who calls her a goddess of Victory,
seem to have mistakenthe type. Above her headis the sign of Sagittarius. Isabella,too, was a firmbeliever in astrology,and had had her horoscopecast in 1494.3
2. I. L. ARNUTIUS.
Obv. Bust to right, wearing berretto and gown.
Inscription: ?I" L"ARNVTIVS"Rev. A nude male figurewith long hair,standingto fronton a garment(which lies on the ground);he spreadsout his hands, and looks upwardsto a
cloud, from which descend flakes of fire; abovethe cloud an object resemblinga mass of flame;two flames of fire on either side of this.
Bronze. 57 mm. Triangular stops. P1. II, I.This curious and puzzling medal must, by its
style, be dated about 1500 A.D. I have been un-able to identify the person, and the name is not acommon one. There were, however,at least twofamilies of a similarname in N. Italy, the Arnucciat Pavia,and theArnuzzide'Mediciat Alessandria.To the Alessandrian family belonged the countyof
Corteranzo,and we find it statedthat a member
of the house was made a cardinal by Celestine V.Of this last statement4I have been unable to find
any confirmation.The reverse design calls to mind the curious
design on the medal of ElisabettaGonzaga,whichCorneliusvon Fabriczy has attributedto the artistAdriano Fiorentino.s With regardto this reverse,it is true, he is careful to point out that it seems toreferto the change in her fortunesafterthe events
of 1502, just as the reverse of the medal of Emilia
Pio, Elisabetta'ssister-in-law,undoubtedlyreferstothe death of her husband in 1500. Since Adriano
Fiorentino died in 1499,these reversescannot befrom his hand. Von FabriczysuggeststhatAdrianomade the two obverses in 1495at Urbino, and that
the reverseswere afterwardsdesigned by someoneelse and attachedto theirrespectiveobverses. Thisis certainly a very probable solution of the diffi-
culty. It is not impossible that the portraits ofElisabettaand Emilia were intendedto be attachedto each other. The career of Adriano Fiorentinoas a medallist presents a number of difficult
problems, to some of which I hope to return in a
subsequentarticle.However this may be, we may, I think, assume
that of the artistswho made the reverses of Elisa-betta'sand Arnutius'smedals, one was acquaintedwith the other'sdesign. On the whole, the medalof Arnutius looks somewhat the earlierof the two.The design of the Elisabetta reverse (P1. II, 2) has
usually been misdescribed. It represents a femalefigure, naked to the waist, lying on the ground,with her head against a gate or fence; in herhands she holds a bridle. She looks up towards
1 Eubel, 'HierarchiaCathol.' Agostini, ' Scritt.Vinizian.'Ispp. 177-204, gives a long biography.
2 Fabriczy(Eng. trans.),p. 52 ff, Pl. XII, 6.
3 See the interestingpassagein Mrs. Ady's 'Isabella d'Este,'
II, p. 33.SDue to Crollalanza,'DizionarioStoricoBlasonico,'p. 62.
Eight Italian Medalsa mass of flame, similar to that which is seen onthe Arnutius medal, but that its streamers pointtowards her; the mass is either projecting flakesof fire towards her, or leaving them behind in its
course,according as we suppose it to be approach-ing or leaving her. The inscription is HOCFVGIENTI FORTVNAE DICATIS, and the
object in the air has consequently been explainedas in some way symbolizing Fortune. Those whohave attempted to identify it in any way havedescribed it as a mass of flax or hair, or even a
wig! There can, I think, be no possible doubtthat it represents fire. Fire in this form is anemblem of the human mind or soul; thus a massof flamerising upwards,exactlyas on the Arnutius
medal, is used with this significance in the imhpreseof Antonio Crotta6 and Andrea Bolani,7 anddoubtless of many others. The bridle is theemblem either of chastity, temperance, or ofNemesis. The closed gate may also representtemperance. I can only suggest that Elisabettais to be thought of as defying Fortune, which has
deprivedher of her worldly blessings, because sheis able to retain her moral and spiritual endow-ments intact. In the same way Arnutiusappearsto contemn and trampleon his worldlypossessions(in the shape of a garment),and to welcome thosewhich are of heaven (symbolized by the flameabove the clouds)." The explanation of the typeof Elisabetta's medal as Danae and the goldenrain, which occurs to most who see the design forthe firsttime, will not bear examination.
3. DOMBALTASAR,ABBOTOF VALLOMBROSA.I venture,with full appreciation of the uncer-
tainty which attends the identification of portraits,to regardas a likeness of this person the head on amedal of which two or three specimensareknown.'
Obv. Bust of a monk to left; inscription:INQVIETV'EST'COR'ME
Bronze. 45 mm., Pl. I, 3.The head of Christ is of the early type, which
appearsfor the first time on medals towards theend of the fifteenth century, being derived fromsome painting of the early Flemish school.10 Ata comparatively early period in the sixteenth
century,this type was supersededin popularityby
another, in which we can trace the influence,
more or less, but chiefly less, direct, of Leonardo.The great majority of the medals with this earlytype of the head of Christ may, in fact, be datedbetween about 1492 and 1520. Judging purelyfrom the style of the portrait head, the medal ofour monk is nearer the former than the latterdate,and may be assigned to about the year 1500. It
is not a first-ratepiece of work, but shows con-siderable vigour of characterization; in its treat-ment it is distinctly Florentine. What is more, it
is, as Mr.Rosenheimpoints out to me, almost cer-
tainly from the same hand as the medal of AlbertoBelli1'usually ascribedto Niccol6 Fiorentino. Themedal of Belli, again, comes very close to themedals of Savonarolaof the so-called della Robbiaclass." Our medal therefore falls into a definite
place in the Florentine series.Now in the Academy at Florence, under the
name of Perugino, is a pair of portraits of Dom
Biagio, Generalof the Order of Vallombrosa,andDom Baltasar,Abbot of that Convent.'s The onewhich concerns us and is reproducedin Plate I, 2,
is inscribed D" BALTASAR MONACO S[ervo]TVO SVCCVRRE. The portraitsare traditionallyascribed to Perugino, although a few critics, themost recent being F. A. Gruyer, wish to see inthem the hand of Raphael. If Perugino actuallypainted his Assumptionat Vallombrosa, he mayhave done the two portraits at the same time,and then they would date from 150o,the year towhich,on grounds of style alone, the medal shouldbe approximatelyassigned. However this may be,the resemblance in features between the paintedand the medallic portraitsseems to me sufficientlynear to give considerablesupportto the conjecturethat the medal was made for Dom Baltasar.
Apart from the resemblancein features,which is,it must be admitted,often a precariousfoundationfor argument,we have a most satisfactory coinci-dence in date and in locality. Of the two portraits,the medal seems to me to show more individualitythan the painting, in which certain asperitieshavebeen toned down. That is exactlywhatone would
expect in a portraitby Perugino,as comparedwiththe work of a Florentine medallistof this period.
4. NARCISSUS VERTUNNUS.
Obv. Bust to left,bearded,in robetrimmed withfur over doublet; around, NARCISSVS VER-TVNNVS.
Rev. Centaursagittarius,tramplingon a serpent;around,CAROLI V CAES ARCHIYAT
Bronze. 35 mm. Triangular stops at beginningand end of inscription on both sides; compass-rules for the inscriptions. P1. II, 3.
Although he describes himself as a chief
physician of the Emperor Charles V, nothingappears to be known of the medical attainments
I CamilloCamilli,' Impreseillustri,'Ven., 1586,PartI, p. I6.7 Lod. Dolce, ' Impresenobili,'Ven., 1578.
sIt maybe
objected,on the
groundof the
positionof
thestreamersof the mass of flame on the two medals,thatif theflameis coming down to Arnutius,then it mustbe going awayfromElisabetta. But I doubtwhetherthe artistcared for suchsubtleties.
9 Supino, p. 191, No. 609; cf, Armand III, p. 149b. Thespecimenherepublishedwas formerlyin the Rome collection(Sotheby's catalogue, 1904, No. 309).
10I havediscussedthis questionat length in the ' Reliquary'
for 1904, p. 173ff: 1905, p. 238ff.
11Heiss, 'Florence' I, Pl. V, I.12Armand I o05; II 46, z8 etc.13Accademia,No. 241-242 ; F. A. Gruyer,'Raphael,Peintrede
Portraits,' t. I, p. 129; Reinach, 'R6pert.' II, p. 207.
Eight ItalianMedalsof this man. He appears in two lists of themembers of the household of the Emperor: in alist of persons to whom arrearsof salarywere due
during the period 1520 to 1531, we find 'MaistreNarcisin Vertunes'; and in a list giving thesalaries
per diem of the household in 1532 he appearsmore correctly as ' Maistre Narcisus Vertunes,"'u
In both cases his department is the 'fourriBre'(harbingers); his daily salary was a fairly highone, to wit xxxs. It may be presumed that atthat time he was not yet 'archiatrus.' The medalhowever, can hardly be as early as 1532, but isratherof the middle of the century. The symbolof the centaur is appropriateto the profession ofVertunnus:
?qa/i 8toa-XKaXlvXfpowvoeorwv ; but the
significance of the serpent, which, placed as it is,can hardly be the attribute of Aesculapius, isnot so clear. It is perhapsmost naturalto supposethat it symbolizes disease.
5. VETTOR GRIMANI.
Obv.Bust of Grimani1.,bearded,wearing antiquecloak fastened on 1.shoulder; around: VICTOR
GRIMAN ?D" MAR"PROC.Rev. None.Lead. 63 mm. Compass-rules for lettering.
P1. II, 5.This is a good original cast in lead which has
been pierced to the right of the letter D in the
inscription. It is a fair specimen of the kind ofmedallic work from wax models, of which LeoneLeoni and Pastorinowere the great masters.
The date of the medal, judging purely from itsstyle, would seem to be about 1550-156o. Vettoredied in 1558. He was a person of considerabledistinction ; the son of Girolamoand grandson ofthe doge Antonio Grimani,he musthave been bornabout 1496, since he was twenty years old when
he qualified for admission to the MaggiorConsiglio on Ist December, I517. In 1523 hewas elected Procurator di sopra; served asambassador to CharlesV in 1543 and to Francein 1547; and filled many importantcharges from
1543 to the date of his death, 24th August, 1558,He married (in 1521) Elisabetta Giustinian; andhis portrait was to be seen in the Hall of the
Maggior Consiglio.'56. GIOVANNI ALVISE GONFALONIERI.
Obv. Bust to left of Gonfalonieri, bearded,wearing cuirass and scarf; around: IOANNESALVISIVS ?CONFALONERIVS On the trun-cation of the arm, traces of a signature.
Rev. None.
Lead. 68"5mm. P1. II, 4.A similar specimen with a reverse design illus-
tratedin P1. II, No. 4 (DOCE ME DOMINE:a ship on a stormy sea), is describedby Armand16who does not attemptto attribute it to any artist.There can, however, be little doubt that bothobverse and reverse are the work of Pietro PaoloGaleotti, (P. P. Romano). The signature on thetruncation of the arm, though not clear, appears
to be PPR; and this reading, if not confirmed, isnot negativedby the traces on the specimen de-scribed by Armand,of which a cast is before me,dueto the kindnessof M. H. de la Tour. A portraiton a smaller scale of Gonfalonieri,joinedto one ofhis wife Elisabetta Scotti, and signed on theobversePPR, exists in the BibliothequeNationale.'7The style of our medal is entirelyin keepingwiththe work of Galeotti.
This however is not the only interestingfeatureof the medal. On the British Museumspecimen,which is an original lead casting,it will be noticedthat the letters of the inscription are partiallyduplicatedby an accident which in the case of astruck piece we call double-striking, and with
which every student of coins is familiar. It isclear that thatpartof the model on which thelettersstood has slipped slightly in making the mould ;but it is equally clear that the bust itself has not
slipped. From this it follows that the inscriptionwas modelled (perhaps rather constructed withseparateletters or type) on a ring separate fromthe field which it enclosed. This method was
employed even in the fifteenth century, aswill be clear to anyone who examines various
specimens of the medal of Borso d'Este byAmadeo da Milano.'8 The inscriptions onobverse and reverse of various specimens of thismedal are from the same model. But if, forinstance,we compare the British Museum specimen"9with Heiss's illustrationof M.
Dreyfus'sspecimen,we find that on the obverse of the latter the
inscription DOMINVS, etc., begins almost underthe front point of the truncation of the bust, whileon the formerit begins about a centimetrefurtherto the left. A similardislocation maybe observedin the reverseinscriptions. It is obvious that theinscription ring was detachable, and was placeddifferently in making the moulds for the twospecimens of the medal.
7. FRANCESCO DA RAGOGNA.Obv. 'Z FRANCISCVS'RAGONENSIS.CANONICVS' SANCTIMARCI. Bust (to below
chest) to right of Francesco da Ragogna, withshort beard, wearing gown over undergarment
with pleated sleeves.Rev. None.
Bronze. 69'5 mm. Triangular stops. P1. II, 7.This medal has, in spite of the dryness of its
14Gachardet Piot,' Collectiondes Voyages des Souverainsdes Pays-Bas,' iii, pp. 312,394 (documentsin theRoyalArchivesat Brussels).
15 I owe all these details to the kindnessof Cav. Giomo,whomadethe necessaryresearches in the Venetianarchives. Seealso Cicogna,' Inscr,Ven.,' v, p. 542andvi, p. 743.
16II. 229. 22,
17Armand, I 229, 8.
18sHeiss,'Niccolo,Amad.da Mil.' etc,, P1. I, 4,19 BURLINGTONMAGAZINE,December, 1907, p. 147,P1,I111,6.
Eight Italian Medalstreatment,a certain attractiveness. Its date canbe fixed by a comparison (suggested to me by Mr.
Rosenheim) with the medals of Alvise Diedo andthe Doge Girolamo Priuli, dated 1566,20 which it
stronglyresemblesin style. Of Francesco,beyondwhat the medaltellsus, I have been able to discover
nothing in any publishedsources of information.
8. BALDASSARE BALDI.Bust of BaldassareBaldi to right,with shorthair,
beard and moustache, wearing doublet,cloak andruff;around:BALTASARBALDI
"1583'; tendrilornamentabove head; deep moulded border.
Rev. None.Lead. 68.5 mm. P1. II, 6. In the original the
moulded border is partlybrokenaway; this is re-storedin thecastfromwhich the illustrationis made.
I have been able to discover nothing as to the
identity of this person. The medal is cast hollow,all the details being clear on the back, as if the
piece were repousse. This is often the case withcast medals of the sixteenthcentury. We can onlyconjecture the natureof the process employed ; it
may be suggested that it was something of the
following kind: A wax model was first madeFrom this were prepared first a mould givingthe type and inscription in intaglio; secondly a
reproductionof the model in relief. The mouldand the reproduction are then placed together,the latter fitting into the former not closely butso as to leave a space, into which molten metalis then run. The thinner the interval betweenthe mould and the reproduction,ihe thinner wasthe resulting cast.Heiss, ' Venise et les Venitiens,' P1. xi, 5 and xv, 2.
SOME EARLY FURSTENBERG FIGURES OF ITALIAN COMEDIANS
u& BY DR. EDMUND WILHELM BRAUN &rURING the course of the last
fewyearstheinvestigationsof arthistoryhaveturned morecloselyto the study of eighteenthcenturyGermanporcelain. Themore the artisticand intellectualvalue of these 'porcelain dolls,'formerly collected only by
amateurs, was recognised, the more urgentlythe necessity for scientific investigation of the
development of this beautiful art was revealed.
Though something has been achieved by studiesin the archives of the porcelain manufactories,in
special exhibitions and in other places, there stillexists a great number of porcelainfigures,bearingno markat all, or some mark till now unexplain-able, which challenge the student to lift the veil
of their anonymity, and are of sufficient technicalvalue to make the labour worth while.
Now there are a number of figures, forming a
group, which long since aroused the keen interestof collectors and connoisseurs; figures represent-ing types of the Italian comedy, the modelling ofwhich shows great naturalness and movement.Their origin was unknown, and the scratched-in
signatures could not be brought into line withthose of the known manufactories. Only whenfor the first time a large number of these pieceswere seen together in one place-on the occasionof the exhibition of European porcelain at theKaiser Franz Josef Museum at Troppau in the
year 1906-was I enabled, through comparison
of the diverse indications,to identifythem. FromStegmann's book on Ftirstenberg, we knowthat the firstconsiderablesculptor of this manu-
factory, Feilner, about the year 1755, modelled
'a band of fifteen figures out of the Italian
comedy;' namely, as he states that they werecalled, Arlecchino, Dottore, Capitano, Scara-
all porcelain statuary in the eighteenth cen-tury was not for the most part the sculptors'original creation, but that they found their
patterns chiefly in printsaftergreat paintings andstatues. The patterns for the charming Italiancomedians of the Meissen Manufactory (somereproduced in Berling's book on Meissenporcelain, Plate XII) I found among the printsin Riccoboni's great book on the Italian theatre,which appearedin 1730 at Paris,and wasvery popu-lar in the eighteenth century. I could point outfurther that numerous figures and groups inOrientalcostumes made by divers German manu-factorieswerecopies after French prints. Dr. Chr.Scherer has minutely pointed out that at Ffirsten-burg the artistsliked to copy all sorts of paintings,sculptureand engravings; and I am sure, for thisreason, that systematicsearch will doubtless leadus to the discovery of the prints afterwhich Feil-ner modelled. He was moreover very skilful in
transferringthe two dimensions of the print intothe round of the plastic art. His figures ofwomen especially have a great if somewhat stiff
grace. The colouring is throughout good andcareful.
The series of the ladiesof thisband of comediansis opened by a figure,whose righthand is lying onher breast,while the left holds out the mask; anItalian kerchief covers the hair (fig. I). On thefoot of this figure is scratched: Be. The figure
stands in the castle of Wilhelmsthal near Kassel,which belongs to the German Emperor, and is
very rich in Chinese,Meissen and Fuldaporcelain.The same figure was in the collection of Mr.
Massey-Mainwaring in London, and probablycamewith the whole collection into the possessionof Mr. King. In the same collection is to be
