Silver handbell with a silver clapper suspended from a silver bar and ending in a large, octagonally faceted terminal knop. The smooth interior surface, with an early scratched set of numerals (on the rim) 286, is polished and contrasts with the dull silver of the exterior, which has a deliberately roughened and scored surface covered with a profusion of applied castings (partly taken from the life) in very high relief. The bell is divided into five horizontal zones. At the base is a band of leaves, buds or fruit, apparently applied haphazardly and on top of each other in high relief and in the round. This band is bordered at the bottom by a narrow moulding in the form of an intricate chain with a very fine mesh; the upper border consists of an irregular beaded ribbon, often overlapped by applied elements in the wide zone above. This principal zone comprises a basic pattern, repeated four times, but is so obscured in the wealth of applied cast ornament that it tends to be lost. At the top of this zone, six applied lion-masks, equidistantly placed, grip in their jaws heavy festoons of fruit, flowers and foliage; alternating between the lion-masks are two motifs: a pendant classical-style label and a pendant trilobed shield bearing a fruit (pomegranate?) in relief. Perching on or above some of these hanging festoons are winged insects, probably cast from the life. Below the centre of each alternate festoon is a basket copiously filled with fruits and supported on the head of a bearded satyr-mask with horns attached to a three-dimensional concave panel of strapwork. Between the hanging festoons, immediately below the six lion-masks, are six applied small lizards, their heads projecting above the upper border of the bottom zone. They are arranged in pairs, facing each other, with a large winged insect or grasshopper applied in the space between their heads and just below the luxuriant festoon of fruit and flowers. The third horizontal zone is narrow and bordered by a dentil-like ribbon on either side. This zone is ornamented with six bearded satyr-heads in very high relief with a profusion of fruit and flowers clustered on either side; in between each head there is, alternately, a basket of fruit and a classical ram's skull. The fourth zone has a convex surface as the bell narrows to the apex and the juncture with the handle. The seemingly chaotic surface enrichment of this zone has an underlying pattern, created by the regular division of the area into six ovals. These ovals are formed by two luxuriant branches (or leafy fronds of foliage) extending upwards from the clusters of fruit on either side of the satyr-heads in the zone below. In each oval area is a pendant cartouche on which is placed in high relief a fruit, and immediately below a beetle facing downwards. Between these six oval reserves among the encrusted foliage and flowers, there is alternately a snail carrying its house on its back and a toad with a cockleshell beneath. At the top of this zone a ring of twisted rustic elements forms a border, from which the six pendant cartouches are suspended. The gently domed, ribbed central roundel supports the plain collar at the base of the handle. The handle is thick (L. of cylindrical hole 1.8 cm) but designed as a two-sided cast relief, alike on both sides, with a narrow, plain strip separating the two. The handle is pierced in the centre by a large, circular aperture. The relief represents the bust of a draped female figure, emblematical of Caritas (Charity), holding a nude bambino under each arm; they join hands in the centre but turn their heads so that they are, like Caritas, full-face. They frame with their bodies the upper
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