THE CELLINI SARDONYX EWER, MOUNTED IN ENAMELLED GOLD, AND SET WITH GEMS—ITALIAN. SIXTEENTH CENTURY.
It is quite impossible for me to invite my reader to an exploration of the loan collections. Some of the ancient jewellery and gold work which has been, or is, shown here is not only intrinsically priceless and beautiful, but also historical, e.g., the Mexican sun-opal; the largest known aqua-marine, set as a sword-hilt, formerly belonging to the King of Naples (Joachim Murat); a cat’s-eye (largest known), formerly belonging to King Candy; a piece of amber in which is a small fish—all of which have been loaned by Beresford Hope, M.P. But the great treasure belonging to this gentleman, and long exhibited here, was the famous Cellini ewer. Previous to the great Revolution, it was part of the crown-jewels of France, and Mr. Hope has recently sold it to a collector in that country. This matchless work is ten and a half inches in height; the body is formed of two convex pieces of carved sardonyx, with a similar piece for pedestal; the handle and spout are of gold, covered with masks and figures richly enamelled, and set with rubies and diamonds. In place of this fragment of old French royalty, which the explosion sent flying and the Republic has lured back, is the brilliant gold missal case of Henrietta Maria. Some of the most beautiful specimens of ancient repoussé gold work and enamels were, until recently, in a case made up chiefly from the collection of Mr. Gladstone, whose fondness for things of this kind, though rather indiscriminate, has done something to popularize the taste for them. In a recent Christmas satire, “The Fijiad,” the Prime Minister has been portrayed rather cleverly in his right environment:
“Great Homer’s bust upon the table stood—
Homer much talked of, little understood;
Around the bust were ranged, with curious care,
Gems of old Dresden or of Chelsea ware,
Cracked teapots, marvels of ceramic art,
Choice Faïence and Palissy set apart;
For great Gladisseus, warrior of renown,
For plates and pottery ransacked the town.
Made dowagers and virtuosi stare,
Collectors, jealous, tear their scanty hair.”
When the Gladstone collection was brought to the hammer, it did not require many hours for the same cases to be refilled with objects quite as beautiful from the large accumulation which the museum always has on hand or obtainable in excess of its present room for their exhibition. It is rather droll, however, to find one of Mr. Gladstone’s specimens of sacred art replaced by a wonderful racing prize, a silver cup three feet high, representing the “Birth of the Horse.” The winged steed is rampant on top, while the gods and goddesses of Olympus gather around it in homage. It is modern English work, and would do for an allegorical representation of the august divinities of Parliament adjourning to honor the American winged winner of the Derby in 1881.
CHÂSSE, OR RELIQUARY—LIMOGES ENAMEL. THIRTEENTH CENTURY.