{"meta":{"version":"2.1","_links":{"self":{"href":"https://api.vam.ac.uk/v2/object/O128965"},"collection_page":{"href":"https://collections.vam.ac.uk/item/O128965/"}},"images":{"_primary_thumbnail":"https://framemark.vam.ac.uk/collections/2006BG2283/full/!100,100/0/default.jpg","_iiif_image":"https://framemark.vam.ac.uk/collections/2006BG2283/","_alt_iiif_image":[],"imageResolution":"high","_images_meta":[{"assetRef":"2006BG2283","copyright":"© Victoria and Albert Museum, London","sensitiveImage":false},{"assetRef":"2007BR1953","copyright":"© Victoria and Albert Museum, London","sensitiveImage":false},{"assetRef":"2017JX3570","copyright":"©Victoria and Albert Museum, London","sensitiveImage":false}]},"see_also":{"_iiif_pres":"https://iiif.vam.ac.uk/collections/O128965/manifest.json","_alt_iiif_pres":[]}},"record":{"systemNumber":"O128965","accessionNumber":"1781-1855","objectType":"Dish","titles":[],"summaryDescription":"Ovid's <i>Metamorphoses</i>, recounting lively tales from Classical mythology, was much used by Renaissance artists. In 1497 a Venetian printer, Zoane Rosso, published a new edition of the text accompanied by allegorical interpretations and illustrative woodcuts that became essential sources for maiolica painters. The first Italian translation was printed in 1522, which greatly increased the popularity of Ovid and set the precedent for further translations into the vernacular. Ovid was extremely important to the humanistic tradition of the Renaissance, and was studied alongside Circero, Horace and Virgil.\r\n\r\nThis plate is painted with a scene from the story of Diana and Acteon, as told in Book III of Ovid's <i>Metamorphosis</i>. The prince, Acteon, watches the beautiful and chaste goddess, Diana, bathing with her nymphs. Upon discovering him, Diana transforms the intruder into a stag and sets his own hunting dogs on him. As the familiarity with classical subjects from myth and legend grew, so did the demand for works of art based on them. Allegory was extremely important in reconciling these classical myths with Christian principles, and this choice of subject has distinct moralising overtones. Such a plate would have been admired not just for its beauty and erudition but may also have appealed to the Renaissance inclination to the erotic.","physicalDescription":"Dish painted with the Metamorphosis of Actaeon (Ovid, <i>Metamorphoses</i>, III). Diana, standing in pool below a tree-crowned rock, is dashing water over Actaeon, whose transformation in to a stag is almost completed; behind her two nymphs are turning away in alarm; the stag is being attacked by two greyhounds. In the distance to the left, a town approached by two bridges and a fortress on a crag.","artistMakerPerson":[{"name":{"text":"Unknown","id":"A1848"},"association":{"text":"","id":""},"note":""}],"artistMakerOrganisations":[],"artistMakerPeople":[],"materials":[{"text":"earthenware","id":"x29356"},{"text":"tin glaze","id":"AAT233436"}],"techniques":[{"text":"painting","id":"x30598"}],"materialsAndTechniques":"Tin-glazed earthenware","categories":[{"text":"Ceramics","id":"THES48982"},{"text":"Maiolica","id":"THES49023"}],"styles":[],"collectionCode":{"text":"CER","id":"THES48594"},"images":["2006BG2283","2007BR1953","2017JX3570"],"imageResolution":"high","galleryLocations":[{"current":{"text":"001","id":"THES381243"},"free":"","case":"","shelf":"","box":""}],"partTypes":[[{"text":"Tazza plate","id":""}]],"contentWarnings":[{"apprise":"","note":""}],"placesOfOrigin":[{"place":{"text":"Urbania","id":"x38917"},"association":{"text":"made","id":"x28654"},"note":""}],"productionDates":[{"date":{"text":"ca. 1540","earliest":"1535-01-01","latest":"1544-12-31"},"association":{"text":"made","id":"x28654"},"note":""}],"associatedObjects":[],"creditLine":"","dimensions":[{"dimension":"Diameter","value":"30","unit":"cm","qualifier":"","date":{"text":"","earliest":null,"latest":null},"part":"","note":""}],"dimensionsNote":"","marksAndInscriptions":[],"objectHistory":"Formally in the Bernal Collection\n\nHistorical significance: This plate is painted with a scene from the story of Diana and Acteon, as told in Book III of Ovid's <i>Metamorphosis</i>. The prince, Acteon, watches the beautiful and chaste goddess, Diana, bathing with her nymphs. Upon discovering him, Diana transforms the intruder into a stag and sets his own hunting dogs on him. As the familiarity with classical subjects from myth and legend grew, so did the demand for works of art based on them. Allegory was extremely important in reconciling these classical myths with Christian principles, and this choice of subject has distinct moralising overtones. Such a plate would have been admired not just for its beauty and erudition but may also have appealed to the Renaissance inclination to the erotic.","historicalContext":"Ovid's <i>Metamorphoses</i>, recounting lively tales from Classical mythology, was much used by Renaissance artists. In 1497 a Venetian printer, Zoane Rosso, published a new edition of the text accompanied by allegorical interpretations and illustrative woodcuts that became essential sources for maiolica painters. The first Italian translation was printed in 1522, which greatly increased the popularity of Ovid and set the precedent for further translations into the vernacular. Ovid was extremely important to the humanistic tradition of the Renaissance, and was studied alongside Circero, Horace and Virgil.","briefDescription":"Dish depicting the myth of Diana and Actaeon, Urbania, ca. 1540.","bibliographicReferences":[{"reference":{"text":"","id":""},"details":"","free":"Rackham, B. <u>Italian Maiolica</u>.  London: Faber & Faber, 1952."},{"reference":{"text":"","id":""},"details":"","free":"Watson, Wendy M, <u>Italian Renaissance Ceramics From the Howard I. and Janet H. Stein Collection and the Philadelphia Museum of Art</u>, exh.cat. Philadelphia, The Philadelphia Museum of Art, 2001"},{"reference":{"text":"","id":""},"details":"","free":"Syson, Luke & Dora Thornton, <u>Objects of Virtue: Art in Renaissance Italy</u>, London: The British Museum Press, 2001"}],"production":"","productionType":{"text":"","id":""},"contentDescription":"","contentPlaces":[],"associatedPlaces":[],"contentPerson":[{"text":"Diana","id":"N145"},{"text":"Actaeon","id":"N158"}],"associatedPerson":[],"contentOrganisations":[],"associatedOrganisations":[],"contentPeople":[],"associatedPeople":[],"contentEvents":[],"associatedEvents":[],"contentOthers":[],"contentConcepts":[],"contentLiteraryRefs":["Ovid, <u>Metamorphoses<u>"],"galleryLabels":[],"partNumbers":["1781-1855"],"accessionNumberNum":"1781","accessionNumberPrefix":"","accessionYear":1855,"otherNumbers":[{"type":{"text":"Rackham (1977)","id":"THES56972"},"number":"580"}],"copyNumber":"","aspects":["WHOLE"],"assets":["2019LT4726","2019LU6851"],"recordModificationDate":"2026-02-11","recordCreationDate":"2006-11-03","availableToBook":false}}