Asset number
1529722001
Description
A casket which comprises a wooden box with a hinged lid, the exterior surfaces (except the base) being covered in thin strips (and other shapes) of amber of different colours to create a marquetry effect - as on furniture with different coloured veneers. The main divisions between the amber strips is filled with thin silver. Flower-headed silver rivets (four on the lid, three on the front and five on the back) are also used, apparently almost entirely decoratively, within these flat areas covered by amber 'veneers'. However, the same flower-headed rivets are used (two on each side of the lid) to secure the engraved silver-gilt mount to the four sides of the lid; these eight rivets alternate with applied miniature silver scallop shells (three on the front, three on the back and one on each side). Three plain-headed rivets secure the silver key escutcheon, an openwork design of strapwork above a lion's mask. At the angle of each of the four corners a silver-gilt half-column, supported on a thin double-scroll protruding foot and a caryatid female torso, is attached diagonally. The four half-columns connect, at the top, with a flat silver-gilt strip that covers the upper narrow surface of all four sides; and, at the bottom, they connect with the mouldings of the silver-gilt mount that extends around the lower edge of all four sides and even extends a little way underneath the base of the casket. The silver-gilt mount surrounding the oval amber plaque on the lid is undecorated and is pierced by eight small round-headed rivets. The remaining six silver-gilt mounts for the quatrefoil amber plaques are also plain except for a scalloped rim to form 'claws' to grip the amber plaques and hold them securely in place. The seven plaques have a low, gently domed or convex surface which is smooth and polished. The reverse of each plaque is flat and cut in intaglio with the design: a reclining nude female figure in a landscape. Each is completely individual, but the attributes accompanying the figures (if any) are difficult to determine and recognise with certainty: 13/1: The oval plaque (on the lid): Within a Renaissance scrolling frame, a landscape with a gateway (?) to a hillside building or town (on the left) and a large tree (on the right). The reclining figure, facing left, is far less recumbent than on the remaining six plaques and is depicted resting on her left elbow in a contrapposto movement, with her right leg drawn up and holding up a large book (?) on the ground beside her left hip with her right hand; with her left hand, she appears to point to the closed pages of the book. 13/2: The pair of quatrefoil plaques (on the front): Both the reclining figures are in a similar pose, facing each other with feet almost touching, but whereas the figure (on the left-hand plaque) rests on the right elbow, the other figure rests on her left elbow. The right-hand plaque is better preserved and the reclining figure appears to gaze at the raised slab of stone (?) held up by the extended right hand close to the raised right knee; on the slab are clearly incised the Roman numerals: VI, XI. 13/3: The pair of quatrefoil plaques (on the back): They have been arranged so that the heads of the two reclining figures are close together and turned over their shoulders to look at each other. The figure in the left-hand plaque is resting on her left elbow and appears to be holding corn (?) in her left hand; the other figure, who seems uniquely depicted with her back to the viewer, appears to hold a mirror (?) in her raised right hand. The indeterminate landscapes seem to contain buildings on the horizon. 13/4: The pair of lobed plaques (on either side): Bot
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