the sacrifice of helen

7/29/2019 The Sacrifice of Helen

http://slidepdf.com/reader/full/the-sacrifice-of-helen 1/8

The Sacrifice of Helen

Author(s): Eda DiskantReviewed work(s):Source: Philadelphia Museum of Art Bulletin, Vol. 76, No. 329, A Limoges Plate by Jean deCourt (Summer, 1980), pp. 18-24Published by: Philadelphia Museum of Art

Stable URL: http://www.jstor.org/stable/3795269 .

Accessed: 28/01/2013 16:37

Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at .http://www.jstor.org/page/info/about/policies/terms.jsp

.JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of

content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms

of scholarship. For more information about JSTOR, please contact [email protected].

.

Philadelphia Museum of Art is collaborating with JSTOR to digitize, preserve and extend access to

Philadelphia Museum of Art Bulletin.

http://www.jstor.org

http://www.jstor.org/action/showPublisher?publisherCode=pma

http://www.jstor.org/stable/3795269?origin=JSTOR-pdf

http://www.jstor.org/page/info/about/policies/terms.jsp


http://www.jstor.org/stable/3795269?origin=JSTOR-pdf

http://www.jstor.org/action/showPublisher?publisherCode=pma



18EdaDiskant

The SacrificefHelen

When he arge imoges namel latebyJean eCourtwasacquired y heMuseum,he ubjectof tscentralcenewasdescribed,s it hadbeenin most arlier eferences,s the acrificefIphigeniaseefig. andcolorplate). owever,tnow ppearshat he ntique acrificeepictedsa much arer,fnotunique, arrativen thevisual rts,whose nterpretationas ostoverthe enturieswing othe nvolvementf hreedifferentrtistsnthis epresentation,rancescoSalviati,whoconceivedhe cene,NicolasBeatrizet,hoengravedt, ndJean eCourt,who ranslatedt nto namel.

1. Jean e CourtPlatewith scene f heSacrificefHelen seecolorplate)

Jean e Court ndthe therixteenth-centuryenamelersfLimoges nly arelyonceivedhecompositionshey sedon theirnamels.Narrativecenes ndportraits,hemost sualdecorationound nenamels,swell s theornamentallementsn therims ndbacks seepreviousrticle)were enerallydapted romwidelyvailable rints, ith he ame ourceoften eing sedby everal ifferentnamelers,andbymany ther raftsmenswell. Sources orthesenarrativecenesduringhe arly ixteenthcentury ere rimarilyerman ndFlemishwoodcuts, ithNew Testamentubjectspredominating.ater,mythologicalcenes

adapted romtalian ngravingsfterRenaissance aintingsnddrawingsecamepopular,ndfinally,ymid entury,renchookillustrationsndprints ithmythologicalndBiblical ubjectswere sed, he arlierourcescontinuing,owever,o be drawn ponoccasionallyhroughouthe entury.

copyingirectlyromncientRoman eliefsndfromaintingsnddrawingsyMichelangeloandRaphael ndtheirmany ollowers.Beatrizet'sngravingsere ublishedy everalpublishersndhe was oneof hemany ngraversmentionedyGiorgio asarin hisLives f hePainters,culptorsndArchitects1550)who"benefitedheworld,ndbroughto ightmanyworks fgreatmasters,ivinghosewhocannotgoto seethe riginal orksnopportunityfseeing hevariousnventions."2hisproductionwascentralizednRome n a numberfpublishingouses mployinggreat umber fengravers,nd lso ssuinghework f talian s

well s foreignrintmakers.

Many f hedrawingsnd ketchesfter hichthese rints eremade renow ost, ndthecompositionsave omedown ousonlythroughngravings.he whereaboutsf hedrawinghat erveds the ource or eatrizet'sprintsnotknown, ut hedesign asbeenattributedotheFlorentineainterrancescoelRossi,knowns II Salviati.3 orn n1510, alviatiwas activen Rome ndFlorenceetween 529and1563,with shorttaynFrancen1554-55.His workwasgreatlynfluencedyRaphael nd

Jean eCourt, uring isperiodf ctivityromabout1555 o1585, requentlyook s hisinspirationarrativerintsy heFrench rtistsEtienne elauneandJacques ndrouetuCerceau,nd,more ften, ernardalomon'sillustrationsfOvid'sMetamorphosesnd heBiblepublishednLyons yJean eToumes

between 553 nd1557), avoringubjects romtheOldTestament. ccasionally,e alsousedearlierources,mainlytalian rintsfterRaphael, ronzino,ndLuca Penni.

The sacrificecene n this namelwascloselycopied rom print y heFrenchngraverNicolasBeatrizetfig. ),'whowasbornnLorrainen1515, utwas argelyctivenRome,where eworked rom540untilhis deathn1565.Beatrizets notknown ohaveproducedany riginal esigns,ut imited iswork o

This content downloaded on Mon, 28 Jan 2013 16:37:47 PMAll use subject to JSTOR Terms and Conditions






19

2. NicolasBeatrizet(French,515-1565)"Sacrificef phigenia,"1553Engraving,23/417%"(32.3x 44.9cm)Pennsylvaniacademyfthe ineArts, hiladelphia.TheJohn.PhillipsCollection

41MtCHAE LI S TRAMEZI *IFOR&MI 4'CVM P, I, i.- iiO'SN'MMIP-

-v lDttl ^ .

Michelangelo as well as bytheMannerists.Vasari wroteof Salviati in the most audatoryterms, onsideringhimone ofthegreatestpainters n Italy. nhis most ambitiouswork,cycleof frescoes n the Palazzo Vecchio inFlorencewithscenes of the wars ofCamillusFurius,4 alviati demonstrated heknowledgeofantique art nd customshe acquiredfromstudyingRoman reliefs.His paintings nddrawingsreflect hisstudy ntheexactitude oftheirdetail and their ompressed, tagelikespace,much like that ofantique reliefs.

The date ofthe Salviati drawing hat must havebeen used for he Beatrizetprint s not known.We do know,however, hat between 1541and1543and again between 1553and 1555,Beatrizetand another ngraver, nea Vico,worked fromdrawings ndpaintingsbySalviati. The dateinscribed t the bottom oftheprint nder thename ofthepublisherMichaelis Tramezini is1553,butthedrawingmayhave been done before1542since an engraving yEnea Vico afterSalviati dated 1542 fig. )5has similar elementsto those in the Beatrizetprint,whichmayhavebeen taken from hesame Salviati drawing rfrom notherversion of the scenewiththe samefiguresn a differentrrangement.

The inscription n the altar ofthe Beatrizetprintidentifies hesubjectas Iphigenia.While a

numberofstoriesofhuman sacrifice ppear nGreekmythology,he Sacrificeof phigeniawasone of the mostwidelyknownand mostfrequently epresented.Ancienttexts called uponas its sourceswere theGreekplay phigenia inAulis byEuripides, nd,morefrequently,heMetamorphoses,tales bytheRoman poetOvid.Both tell thesame story.phigeniawas thedaughter fAgamemnon,kingofMycenae,whowas chosen to lead theGreekforces n theTrojanWar.Because he killed one ofArtemis's sacredstags,thegoddess showedherdispleasure bysendingunfavorablewinds,whichprevented he

Greeks from etting ail forTroy.To pacify hegoddess,Agamemnonwas told hemust sacrificehis daughterphigenia.Reluctantlyhe agreed,and Iphigenia, lthoughbeingsent for n a falsepretext, ltimately cceptedher fate.At the astmoment,however, hegoddessrelented, ndspirited phigeniatoTauris, eavinga deeron thealtar nher stead.







20

3. Enea Vico (Italian,1523-1567)PriestPouring Libationupon a SacrificialAltar,1542Engraving, /4x 51/2(15.8x 13.9cm)The MetropolitanMuseum ofArt,NewYork.Joseph ulitzerBequest Fund,1917.

In Ovid's Metamorphoses thispartof theIphigenia story eads:

AgamemnonLed Iphigenia to the solemn altar,And while she stood there, eadyfor heofferingOfher chaste blood, and even thepriestswereweeping,Diana [Artemis]yielded,veiled their yeswithcloud,And even while the rites wenton,confusedWithdarkness and the criesofpeople praying,Iphigenia was taken,and a deerLeft nherplace as victim, o thegoddessWassatisfied;herangerand theocean's

Subsided.6

Euripidesdescribesthescene even moreexplicitly: phigenia s slain,butshe vanishesand thesurprised rowd sees a bleedingdeer nherplace on the altar.7

In Roman times,thissacrificewas usuallydepictedwith phigeniabeingcarried o thealtarbytwo servants ndAgamemnon hidinghis faceinhis cloak.8DuringtheRenaissance,when thescene became popularand was representedn

paintings ndprints s well as on cassoni andtapestries,9he moment of acrificewas usuallyshown:Artemis nd Iphigenia appearon a cloudand the slain deer ies on the altar fig. ),whileshipsareoftendepicted n thebackground.

Ifthesubjectofthescene on theLimogesenameland inBeatrizet'sprint s Iphigenia, hen thescene mustrepresent he moment ustbeforethe sacrifice akesplace,with phigeniakneeling,resigned, eside the altar.However, n thetexts,the deer s said toappear miraculously nherstead after hesacrifice, utnot while she is stillalive. In addition,thebackgroundfigures restreaming ut of citytopray o a god,not to the

goddessArtemis.Althoughthese minorincongruities ould be attributed o Beatrizet'smisinterpretationf his source,theeagleclutching knife an onlybe interpretedsdeliberate.No eagle appears n anyofthetraditional iteraryources nor npictorialrepresentations f theSacrificeof phigenia,noris theeagle considered an attribute fArtemis.Salviati,withtheknowledgeoftheantique forwhich he was famous and his greatrespectfortradition,would hardlyhave ignored rchangedawell-knownmyth n a periodof uch interest n







21

4. Antonio empesta(Italian, 555-1630)Sacrificef phigenia,from vid'sMetamorphoses,Amsterdam,606Engraving,x 41/2(10.2 11.6 m)TheMetropolitanMuseum fArt, ewYork. heElishaWhittelseyollection,TheElishaWhittelseyFund, 951

the lassics hat ven hereveredainter itianwasseverelyriticizedor avingmisrepresenteda god.

How, hen, anweexplain hepresencef heeagle, n elementhat houldhave particularsignificancenthenarrative?houldwenot ookelsewherend onjecturehat,nspite f heinscriptionf phigenian the ltar,he namelandtheprint eally epictnothertoryfsacrifice f virgin,ne n which neagleplaysan mportantole? hissuggestion as firstadvanced y Frenchrt ollector,ierreMariette1694-1774). He interpretedhe

subject fBeatrizet'srints the acrificefmaiden alledHelen, storyecountedyPlutarch,nd ssertedhat he agleprovedhissupposition.e didnot laboratenthisattribution,nd pparentlyis uggestionasnotfurthernvestigated,lthought smentionedncertainater atalogues.

Thestoryf he acrifice fHelen ppearsnPlutarch's oralia, nd more laborate ersionisto be foundnLydus's iber e Mensibus.Accordingo Plutarch's arration:

When plaguehadoverspreadparta,hegodgave noracle hat t wouldcease f hey

sacrificednoblemaiden achyear.OncewhenHelenhad been hosenby ot and had been edforwarddorned or he acrifice,neagleswoopeddown, natched pthe word, arriedittotheherds f attle, nd et tfall n a heifer;whereforehe partansefrainedromheslaying fmaidens.

Lyduselaboratedon thestory,mentioning hat twas Helen'sfatheryndareus,ing f parta,who ed her o the acrificend ater acrificedtheheifernher tead.12

elementn theprinthat oesnot ppearn thenarrative.alviati,ndepictingnobscuretory,which e musthave aken romiteraryourcesalone,wouldhardly ave ransformedheheiferinto deer r dded deerwithout ause. twouldbe more easonableo assume hatBeatrizet,otknowinghe bscureegend fHelen ndthinkingewasengravingheSacrificef phigenia, hichwouldhavebeenmore amiliar,ddednot nly he nscriptionfIphigenianthe ltar ut lso thedeer hat s animportantart f hatmyth.ndeed,ntheprint,thedeersawkwardlyrawn,eeminglyavingnohindegs ndplaced n an mpossiblymall

spacebetweenhe xecutionerndthemaiden,suggestinghat hiswasthework f he opyistratherhan hat f heoriginator.

It s nterestinghat he toryf heSacrificefHelen hould avebeen o ittle nownn theRenaissanceor hisHelen s none ther han hewhose bductionaused heTrojanWar ndwhose ife,s told n Homer'sliad, nspiredinnumerableaintingsndotherworks f rt.But he acrificef heyoung elendoesnotfigurenthe liad,and Plutarch's oralia,nwhich he torystold,was notnearlyspopularas hisParallel ives f llustrious reeks nd

Inthisnarrativehe rucial ction aken y heeagle orrespondso theprominenceivent n

the namel ndprint. he egends followedcloselynall ts details: he aglehas ustsnatched heknife ndthe xecutioners ookingup namazement, is hand till aised.While hepriest emainsbsorbednthe eremony,hecrowd ehind im s astounded t the agle'sintervention.n thebackground, eople leave the

plague-riddenity oprayothegod, resumablyApollo,who was invokedfor hecure ofpestilence.

The deer behind Helen is theonly mportant







Romans, secondonlytoOvid as a narrativesource.However, twas not unusual for lateRenaissance artist uch as Salviati tochoose anobscuresubject,whether o showhis erudition rto create a fresh omposition.

Thereis a tradition hat statesthat phigeniawasin fact daughter fHelen andTheseus, Helen'sfirst usband,and that Helen gavethechild toAgamemnonand Clytemnestra o raiseas theirown. Severalparallelsmaybe drawnbetweenthesacrifices fHelen and of phigenia: n both casesit s thefather, powerfulking,who agreestosacrificehis daughter or hecommon good,and

in both,thedaughterwillingly cceptsher fate. 3

The meaningof themythsmaybe tracedback tothehalf-forgottenuman sacrifices f Greek

antiquity.Byhavingthe human sacrificeinterruptedt the astmomentand substitutingan animal for hegirl, hegods indicatethathuman sacrificeno longerpleases them.

Representations f ntique sacrificeswere notunusual during heRenaissance, and remnants fsuch scenes on ancientRoman archesandsarcophagiwerea ready ourcefor rtists n Italy.Beatrizethimself opied directly rom hesereliefs nd evenproduceda print f a friezedepicting nstruments sed in Roman

sacrifices.14 Antique reliefs enerally ollowthesame arrangement,with an altar nthecenter,priest bout toperformhepreliminary ites, nda bare-chested xecutionerholdingthe animal tobe sacrificed.5While Salviati must have beenfamiliarwith thesereliefs, e does not seem tohave copied theceremony otallyfrom nyonesource.He uses details that show a greatknowledgeof therituals,possiblyacquiredfrom

literary extssincethey re not found n Romansacrifice eliefs. ome of these appear n the

description f sacrifice n the liad: The first

step,"With WaterpurifyheirHands,"16sindicatedherebythe watercarrier. he priestcovershis headwith his cloak andperformsheceremonyofwine: "The PriesthimselfbeforehisAltar stands . . Pours theblackWine,and seestheFlames aspire." 7

Whilemost ofthenarrative cene is unusuallyfaithful otheantique,there re superpositionsof ntique and Christiantraditionswhichwere

quite common during he Renaissance. Althoughputti re seen on Roman reliefs fmarriagesacrifices8 and child assistantstakepart n the

ceremony, hepriestreadingfrom book heldbya putto s morereminiscent f Renaissance saints

who readfrom book heldbyan angel.19Helenherself arries palm leaf,which is a commonattribute f Christianmartyrs. inally, hegroupof the executioner nd theeagle is quite similarto the standardrepresentation fAbraham andtheangel in scenes ofthe Sacrificeof saac.20

Whilethecontent nddetailsof theenamel are

quite close toBeatrizet'sprint, noticeablechangehas takenplace in thestyle.Thecompressedfigures,many nprofile, estricted otheforegroundnd fillingmostofthespace, givetheprint n antique character;but,thenon-classical agitationof thefigures,speciallythe contorted oses ofthenude and the watercarriern theforeground,ndtheir xaggeratedmusculature, recharacteristic f talianMannerism.This stylewas brought o Francebysuch Italianpainters s Rosso21 nd Primaticcio,who were nvitedto work at the French ourtatFontainebleau,where tdeveloped nto what isknownas theFontainebleaustyle, haracterizedby great legance,elongated,graceful igures,nd

exquisite details.

It is notsurprisinghat n transposing heprint othe enamel Jean e Courtchanged tsmode toconform o thepopularFontainebleaustyle,addingsubtlecurvesand elongationsand a new

elegance ofgesture. nsteadofthestability ftheposes intheprint, hefiguresn the enamel leanforwards though bout tomove. The changetothe Fontainebleaustyle s especiallynoticeablein the ongfaceswithslopingchins and foreheadsand the elaboratebraidedhairstyle ndprofusionof ewels,which transformhe Greekwomenfromtheprintnto French ourt adies on the enamel.Details have been added andelaborated, beard

givento theexecutioner, nd a skirt n the statuein thetemplebeyond.The knifehandlehas beenturned nto an animal head,such as thoseseen onFrenchRenaissance knives, nd themixedcreatures n the altarhave the noded tails foundin theornament f theplate. Some ofJeandeCourt's changesadd an unexpectednewsymbolism.Helen, ina pose frequently sed fortheVirgin n scenes oftheAnnunciation, s alsoblessedwithgoldensunrays, ndherpalm leaf,merely ndicated n theprint, as become much

larger,more ike thatof Christianmartyr.

However,thegreatest hangefrom rint o

enamel, still n theFrench, fnot theFontainebleau,style, s due to thereductionofthefiguresnproportion o the andscape.Withthefigures urtherway from heforegroundnd

22







23

Notes

morespace betweenthem,thescene has lostmuch oftheresemblancetoRomanbas-reliefsthad in theprint.While thefigurative artof thenarrative cene was closelybased on Beatrizet's

print, helandscapebackgroundwas takenfroma differentource.All that remainsofthe

background ftheprint s theround, lassical

temple,somewhat incongruous n a landscapewitha Frenchfarmhouse, urrounded y tsfence, nd theFrench own,possiblyLimoges.The landscape on therighthas also changed:the

largetreeson theprinthave been replacedwith a

river, reesgrowing n rockyprominences,antique ruins, nd quietlyresting nimals that

could have been drawnfrom Flemishprint.22The two halves ofthe andscape are on a differentscale and could well have come from wodifferentrints. t was notunusual forJean eCourtto combine elementsfrom arious sourceson one enamel, and torepeatthem. n fact, artsof helandscape on thisplate reappear n otherofhis enamels.

Like other namelers,Jean e Courtoftenrepeated particularlyuccessfuldesign.Thereare threeother argeoval platesbythis artistwhich arealmost identical in size to theMuseum's plateand which have almost identical

grotesqueborders nd backs.23Two ofthese,representinghesame narrative cene,theCrossingof the Red Sea,24 reclearlytakenfromthesame source,but neither s an exact copyofeach othernor of thesource,a print yBernardSalomon.25Consideringthatgreat ibertiesweretakenwith the sources in theseenamels, it sremarkablehow closelyJean e Courtfollowedthe Beatrizetprint, hanging hestyle greatdealbut thecompositionvery ittle.

The Philadelphiaenamel,based on a printtranslatedfrom drawing, inally ecame a verypersonalstatementbyJeande Court, endowingalittle-known cene frommythologywith all the

richnesshisvirtuositywith enamels couldachieve. He represents heculminationof greattradition fLimogesnarrative namels and theMuseum's plate is a splendidexample ofthis

production.

The authorwould like to acknowledgethe aid ofDavid DuBon, who suggested hat thisarticlebewritten ndwithoutwhose continuedadvice and

encouragement twould nothave been possible,and to thankRichardHamilton ofBrynMawr

College, HenriZernerof HarvardUniversity,ndIrisCheneyoftheUniversity f Massachusettsfor heirgeneroushelp,as well as Janet yrne ftheMetropolitanMuseum of Art nd FrankGoodyearofthePennsylvaniaAcademyof theFineArts formakingtheprints vailable andRuthBlumkaformakingthe Beatrizet ourceknown.

1. AdamBartsch, e PeintreGraveur llustr6

(Wurzburg, 920),vol. 15,Beatrizet,no. 43. Threestatesoftheprint xist: one with thename of the

publisherTramezini,one withthename of

Rubeis,and onewith no publisher'sname,butwith a coat of rms.2. GiorgioVasari,The Lives ofthePainters,Sculptorsand Architects, rans.byA.B. Hinds

(London,1963),vol. 3, p.81.3. The attribution o Salviatiwas made byHermannVoss in "Kompositiones des FrancescoSalviati in der talienscherGraphikdes xviJahrhunderts,"nGesellschaftfurvervielfaltigende unstMittheilungenVienna,1912),pp.30-37; and in HermannVoss,Die

Malerei derSpatrenaissance in Romund Florenz(Berlin,1920),vol. 1,p.250. This attributionwasconfirmed y risH. Cheneyincorrespondencewiththeauthor.4. The wars ofCamillus Furius n the Saladell'Udienza of thePalazzo Vecchio.TheTriumph fCamillus is illustrated n FrederickHartt,History f talian Renaissance Art NewYork,1969),p.593.5. Bartsch, eintreGraveur,vol. 15,Eneo Vico,no. 38. The Salviati attribution,made byVoss inDie Malerei,vol. 1,p.250,was again confirmed

byCheneyin correspondence.6. Ovid,Metamorphoses,trans.byRolfeHumphries

Bloomington,nd., 1968),bk.XII,

lines 1-44.7. Euripides, phigeneia at Aulis, trans.byW.S.Merwin New York,1978), ines 2130-33.8. See, for xample,Pompeianwall paintingillustratedn Carlo Ragghianti, ittoridi Pompei(Milan, 1963),pl.68.9. See, for xample,Paul Schubring, assoni:Truhenund Truhenbilder er talienischerFrihrenaissance (Leipzig,1923),vol. 2, fig. 25;and Maurice Fenaille,Etatgeneraldes tapisseriesde la manufacturedes Gobelins (Paris,1923),vol. 1,p. 100.







24

10. P.J.Mariette,Abecedario, ed. byP. de 24. Illustrated nGeorgeSzabo, TheRobertChennevieresandA. de Montaiglon Paris,1853), Lehman Collection (New York,1975),pl. 170,vol. 1,p. 100. His opinionwas mentionedby and in Charles Hercules Read,TheWaddesdonJuliusMeyer nAllgemeinesKuinstler-Lexikon Bequest (London,1902), pl. xii.

(Leipzig,1885),vol. 3, p.236,butdismissed 25. Biblia Sacra, with llustrationsbyBernardbecause of the deer.There was no mention of the Salomon (Lyons,1554).eagle.11. Plutarch,Moralia, trans.byFrankColeBabbitt Cambridge,Mass., 1936),vol. 4, p.307,Parallel Stories 35.12. Joannis aurentiiLydi,Liber de Mensibus,edit.byR. Wuensch Leipzig,1898),pp. 165-66,no. 147.See also L. Preller,Griechische

Mythologie Berlin,1920),vol. 2,p. 339, for

discussion (inGerman)ofthe Helen legend.13. There are other torieswiththesametheme. Plutarch tells thestory fValeria whoalso was savedbyan eaglewho snatched a swordoutofherhand,but a numberofdetails do notcorrespond o thepicture.The Biblical story fAbraham and Isaac also comes tomind.14. Bartsch, eintreGraveur,vol. 15,Beatrizet,no. 93.15. See TheodorKraus,Das romischeWeltreich(Berlin,1967),figs. 05b and 208a.16. Homer,The Iliad, trans.byAlexanderPopeand ed. byReubenA. Brower nd W. H. Bond

(New York, 1965),p.59, line 586.17. Ibid., lines 606 and 608.

18. See Kraus,RdmischeWeltreich,no. 229(Marriage acrifice, alazzo Ducale, Mantua).19. See, for xample,LorenzoLotto,SanVincenzoFerrero, eproducednAdolfoVenturi,Storiadel'arte italiana, vol. 9,pt.4 (Milan, 1929),fig.17.20. An enamel withthatrepresentationsillustrated n PhilippeVerdier, he WaltersArtGallery: Catalogue ofthe Painted Enamels oftheRenaissance (Baltimore,1967),no. 237.21. Rosso painteda sacrifice cene intheGalleryof Francis at Fontainebleau that Salviatimayhave knownthrough heprints fBoyvinand Fantuzzi.

22. See the discussion of similar andscapebackground n another enamel byJean e Courtin Philippe Verdier, he FrickCollection,AnIllustratedCatalogue, Volume VIII: Enamels,Rugsand Silver New York,1977),p. 198.23. Apollo and theMuses, illustrated nVerdier,WaltersCatalogue, no. 169. MartialReymond lso made an enamel usingthe samesource.

Photographs f theLimogesplatebyWill BrownPrintedbyThe Falcon Press

This content downloaded on Mon, 28 Jan 2013 16:37:47 PM



the sacrifice of helen

Documents