![]() 8) is similar, Niccolo Amastini's cameo copy in the British Museum (Tait, The Art of theJeweller, London 1984, no. Marchant's gem, widely available in impressions, was much copied in turn although the reconstruction by Louis Siriès (Babelon, Ernest, Histoire de la gravure sur gemmes en France, Paris 1902, pl. The Florentine engraver Berneabé based his reconstruction for Baron Stosch (Winckelmann, Description des pierres gravées du feu Baron de Stosch, Florence 1760, no.246) more closely than did Marchant on the relief in Palazzo Mattei (Winckelmann, Monumenti antichi inediti, Rome 1767, no.130), which contains several more attendant figures. The cameo, now considered to be of Renaissance origin, was frequently copied. On the once celebrated fragmentary cameo, now Boston Museum of Fine Arts, see Beazley, J D, The Lewes House Collection of Ancient Gems, Oxford 1920, pp. His six gems by Marchant, bequeathed to the British Museum, formed the core of the largest securely provenanced holding of his gems in a public collection. He owned several of Marchant's works, that under discussion being the most highly valued of all his gems in the inventory drawn up after his death. He bought Matthew Duane's Bacchus and Baccante while Marchant was in Italy and after his return saw a great deal of him: the two men visited Townley almost daily (information from Gerard Vaughan). 'Mild Cracherode', who never visited Rome, (he hardly ever left London), may have been in touch with Marchant by correspondence or through Charles Townley. Originally in the collection of the Revd Clayton Mordaunt Cracherode, a wealthy collector of antiquities of a retiring disposition his only portrait was drawn for Lavinia, Lady Spencer, by Marchant's friend Edridge, for as a fellow bibliophile he frequented Spencer House. Rudoe 'Engraved gems: the lost art of antiquity', in Kim Sloan with Andrew Burnett (eds), 'Enlightenment, Discovering the World in the Eighteenth Century', London 2003, p. 903, a version by Amastini).Īlthough the original was destroyed during the war, the Museum has a Tassie reproduction: 1873.0502.44. The relief of this subject from the Palazzo Mattei does not correspond and has several more attendant figures (see HG Cat. ![]() The cameo later in Albani Collection, now in Museum of Fine Arts in Boston. ![]() From a Cameo of Greek sculpture in the possession of Monsignor Ferretti, which formerly belonged to the Contessa Charofini the Cameo has been broken in the middle, and is incomplete: therefore part of the intaglio has been supplied to correspond with the subject'. LIV, 'The grief of Achilles upon the death of Patroclus. 'Catalogue of 100 Impressions from Gems engraved by Nathaniel Marchant', London 1792, no. Supplementary information to Dalton 1915. lxvii), who suggests Orestes and Pylades as the possible subject.įor the gem-engraver Marchant, see Introduction, p. One of Tassie's impressions at Munich is reproduced by Furtwängler (Antike gemmen, pl. 8), and on two gems in the Hermitage at St. The same subject is found on an intaglio by Siriès in the Cabinet des Médailles at Paris, formerly in the Pichon Collection (E. 129), though the female figure appears to be an addition of the eighteenth century. ![]() This gem copies a well-known Renaissance cameo, itself copying a relief in the Palazzo Mattei (Winckelmann, Monumenti antichi inediti spiegati ed illustrati, Rome 1767, ii, ch. ![]() Curator's comments Text from Dalton 1915, Catalogue of Engraved Gems: no. ![]()
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