Pennsylvania Museum BulletinNumber 24, October 1908 . vian origin, as it strongly suggestsNorwegian carved work of that period. A superb example of Chippendales best work may be seen in a massivehall table, which was figured in the Bulletin of July, 1905. The French 1 % 4 v., ^ \i^i **!& 1 J^ggg CARVED OAK CABINET Norwegian, Early XVI. Century Bloomfield Moore Collection 62 BULLETIN OF THE PENNSYLVANIA MUSEUM influence is revealed in the marble top, the Oriental in the elaborate beautiful piece was presented to the Museum bv R. D. Collet andT. J. W. Donath. RARE CERAMIC PLAQUES Th
Pennsylvania Museum BulletinNumber 24, October 1908 . vian origin, as it strongly suggestsNorwegian carved work of that period. A superb example of Chippendales best work may be seen in a massivehall table, which was figured in the Bulletin of July, 1905. The French 1 % 4 v., ^ \i^i **!& 1 J^ggg CARVED OAK CABINET Norwegian, Early XVI. Century Bloomfield Moore Collection 62 BULLETIN OF THE PENNSYLVANIA MUSEUM influence is revealed in the marble top, the Oriental in the elaborate beautiful piece was presented to the Museum bv R. D. Collet andT. J. W. Donath. RARE CERAMIC PLAQUES The Museum has recently come into possession of a most interesting pieceof pottery, which has been somewhat of a puzzle to experts. It is a plaque,sixteen inches in diameter, with a deep centre and modeled designs in reliefdecorating the marly, or ledge. The central portion, or cavetto, is in mottledbrown and yellow glaze, while the relief border is glazed in green. Thecentral portion shows English influence, as it strongly resembles the tortoise-. PORTUGUESE PLAQUETortoise-Shell Centre, Green Glazed Mar BULLETIN OF THE PENNSYLVANIA MUSEUM 63 shell ware of Thomas Whieldon, of the latter part of the eighteenth relief design around the border reveals Persian or Rhodian influence,while the peculiar form and glazing of the back is distinctly Korean. Theglaze is what is known as lead glaze and is minutely crackled over the entiresurface. A study of this plaque convinces us that it is of Portuguese originand dates back probably to about the middle of the nineteenth century. ThePortuguese potters imitated the wares of various countries and combined thecharacteristics of certain Oriental and Occidental wares. As late as 1876,ware of this particular character was being produced in Portugal, as thePortuguese exhibit at the Centennial Exhibition included some vases showingsimilar modeling and combination of colors. This plaque is interesting bothfrom an artistic and an historica
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