A tobacco pot and pipe holder, of legal interest, circa 1860-70
French porcelain, decorated likely in Naples, depicting various historical figures, satirising passages around the changes in law-making in Italy, the edge with gilt scrollwork and satirical portraits of historical figures, with a gilt metal chain and mounts, 13.5cm across
One of the figures can be recognised as the 18th century figure of Bernardo Tanucci, here seated on a stool named La Legge or 'The Law', presiding over a lawsuit of two donkeys (I ciucci) dressed as figures of the law. Tanucci is mostly credited for strengthening the division between State and Church. Governing under the principles of enlightened absolutism, he restricted the jurisdiction of the bishops, eliminated medieval privilege, closed convents and monasteries, and reduced the taxes forwarded to the pontifical Curia.
Tanucci's fall from grace came about over an argument with Queen Maria Carolina regarding Freemasonry, of which she was an adherent. Acting on orders from Charles III, Tanucci revived a law from 1751 banning Freemasonry in response to the discovery of a Masonic lodge among the royal regiment. Angered, the Queen expressed to Charles III her opinion that Tanucci was ruining the country through the medium of a letter written by her husband, thus making it look as if it was his idea. Resigned to the Queen's wishes, Ferdinand dismissed Tanucci in October 1776. The appointment of Tanucci's successor, the Marquis of Sambuca, represented the end of Spanish influence in Naples, hitherto virtually a province of that country. Maria Carolina proceeded to alienate large swaths of the nobility by replacing the influence of Spain with that of Austria. Her unpopularity among the nobility was increased by her attempts to curb their prerogative.
Others represented are famous figures from Neapolitan literary and public life just before the Risorgimento and they are depicted in a wild ensemble, on the border some figures from artistic life, including satirical figures of what appear to be Giuseppe Garibaldi and Giacinto Gigante, the border with Borbone bees and the Gallic cockerel, all likely symbolising French power under Napoleon, his brother Joseph and brother-in-law Murat.
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French porcelain, decorated likely in Naples, depicting various historical figures, satirising passages around the changes in law-making in Italy, the edge with gilt scrollwork and satirical portraits of historical figures, with a gilt metal chain and mounts, 13.5cm across
One of the figures can be recognised as the 18th century figure of Bernardo Tanucci, here seated on a stool named La Legge or 'The Law', presiding over a lawsuit of two donkeys (I ciucci) dressed as figures of the law. Tanucci is mostly credited for strengthening the division between State and Church. Governing under the principles of enlightened absolutism, he restricted the jurisdiction of the bishops, eliminated medieval privilege, closed convents and monasteries, and reduced the taxes forwarded to the pontifical Curia.
Tanucci's fall from grace came about over an argument with Queen Maria Carolina regarding Freemasonry, of which she was an adherent. Acting on orders from Charles III, Tanucci revived a law from 1751 banning Freemasonry in response to the discovery of a Masonic lodge among the royal regiment. Angered, the Queen expressed to Charles III her opinion that Tanucci was ruining the country through the medium of a letter written by her husband, thus making it look as if it was his idea. Resigned to the Queen's wishes, Ferdinand dismissed Tanucci in October 1776. The appointment of Tanucci's successor, the Marquis of Sambuca, represented the end of Spanish influence in Naples, hitherto virtually a province of that country. Maria Carolina proceeded to alienate large swaths of the nobility by replacing the influence of Spain with that of Austria. Her unpopularity among the nobility was increased by her attempts to curb their prerogative.
Others represented are famous figures from Neapolitan literary and public life just before the Risorgimento and they are depicted in a wild ensemble, on the border some figures from artistic life, including satirical figures of what appear to be Giuseppe Garibaldi and Giacinto Gigante, the border with Borbone bees and the Gallic cockerel, all likely symbolising French power under Napoleon, his brother Joseph and brother-in-law Murat.
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