Italian, Ferrara, circa 1530

private collection, Lombardy, Italy

Overall the condition of the casket is good with wear and dirt to the surface consistent with age and handling. There are some losses, particularly to the corners and the top finial. In addition there are some losses to the scenes, including: four feet and an arm of the figures on the lid; foliage around the catch; the lower edge of the Orpheus scene; one arm, one hand, three feet of the goddesses, a bird's head, and a bird in the Paris scene; four feet, the horse's front leg and two birds in the scene on the reverse; the arms and head of Narcissus, the head of a bird, a bird, and some of the background on the right in the Narcissus scene. There are also some minor losses to the decoration. The inside has been re-lined with red silk. There is some minor movement in the hinges.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Pastiglia caskets were used to contain small semi-precious and 'studiolo' objects, such as seals and coins. The depiction of many scenes from famous classical romantic myths suggests that they were used as engagement gifts. Above all they express the Renaissance fascination with all things Antique.

The pastiglia decoration on these caskets is moulded into forms which are then glued to the surface. The applied forms are made of 87% white lead mixed with sulphate and a binder. It is believed that the small moulds used to make the individual parts were made of metal rather than wood or clay.  The exterior wood surface, usually alder, is prepared with a thin layer of gesso which is then punched to varying degrees of elaboration before the addition of red bole and gold leaf. This was followed by the application of the figures and decoration.

RELATED LITERATURE
P. M. de Winter, 'A little-known creation of Renaissance Decorative Arts: The white lead Pastiglia Box', Saggi e Memorie di storia dell'arte, 14, 1984, pp. 9-131