those found on this cup, was in the possession of Mr. W. Rogers, and was exhibited to the Society of Antiquaries, in 1843. (Described in their printed Minutes, vol. i., p. 15.)
By Mr. Farrer.—A remarkable triptych altar-piece, representing the Resurrection and final Judgment. This striking work of art bears the monogram of Albert Altdorfer, born at Altdorf, in Bavaria, 1488. In the foreground are a series of kneeling figures, exhibiting very curious peculiarities of armour and costume. They appear to be of three generations—the eldest bears arg. a lion rampant guardant, or, impaling barry of six, arg. and sa. His wife kneels near him. The son (?) bears on his breast the same lion, and, on his armorial tabard, his maternal coat; behind him is his wife, her arms are, Gu. a bend arg. between six fleurs de lys. Behind them appears their daughter, and on the opposite side, behind the first pair, is her husband. Several children are seen near them; their patron Saints, with other curious details, Paradise and eternal punishment, complete this highly interesting early example of the German school.
By Mr. Webb.—A remarkably fine enamelled painting, of the earlier part of the fifteenth century, with rich transparent colours, the enamel laid upon foil, or paillons, imitating gems, and admirably illustrative of the style of art previously to the introduction in France of an Italian character of design. The subject is the Annunciation. The Virgin appears kneeling at a fald-stool, on which is a book; in front is seen Gabriel, kneeling on one knee, and pointing with a jewelled sceptre to a figure of the Almighty, above, represented with the Papal tiara, and orb; the Holy Spirit descending from his bosom. There are several attendant angels, and an arched canopy studded with sparkling paillons, rests on an architrave supported by columns. On the architrave are figures of two aged men, with scrolls inscribed, "O mater dei memento mei." The accessories and hangings of the chamber are singularly elaborate; in front stands a vase, with a lily. The transparent enamels of the robes are of great brilliancy.
Also an enamel, painted by Leonard Limousin, in 1539: the portrait of Martin Luther; a choice specimen of the art of Limoges.—An ewer, of the peculiar fabrication termed "faïence de Henri II.," of the greatest rarity,[1] It is an admirable specimen, and in the most perfect state of preservation. This kind of manufacture is attributed to some of the Italian artists brought to France by Francis I., the precursors of the revival of decorative fictile works in that country, in the time of Bernard Palissy.—An exquisite sculpture in wood, representing the Virgin and Infant Saviour. It is the work of Hans Schaufelein, a painter and skilful engraver on wood, in the style of Albert Durer, and who, like that great artist and others, hiscontemporaries, occasionally executed small sculptures in wood or stone. He died about 1550.—An exquisite Flemish carving, in pear-wood, representing Adam and Eve in Paradise, surrounded by a frame of most elaborate and delicate workmanship, in which is introduced, above, the Lamb slain and placed on the altar, with the words, "Dlam is van aendegin gedoot." On one side is the conflict of the Demon with Man, on the other the Demon victorious. Beneath,—"Invidia autem diaboli mors introivit in orbem terrarum, imitantur autem illum qui sunt ex parte illius." Date, about 1600.
By Mr. J. H. Le Keux.—Two pairs of knives and forks, beautiful exam-
- ↑ See Brongniart, Traité des Arts Céramiques, vol. ii., p. 175.
