The handle of this agate scallop-shaped bowl is an enameled, gold triton, a Greek deity distinguished by the fish-like lower portion of his body. Until recently, this bowl was regarded as a masterpiece from the workshop of Dionisio Miseroni (died 1661) who worked in Prague for Emperor Rudolph II. Scientific evidence now confirms that enamel work dates from the 19th century.

This rectangular tobacco box with chamfered corners is faced with sheets of malachite. Set in the lid is a panel of “verre églomisé,” a decorative technique in which a design is worked onto the reverse side of a sheet of glass that has been gilded. silvered, or painted-gold and black being the most common color combinations. In Russia, it was a popular art form not only for small items, but also for large pieces of furniture. Although much “verre églomisé” was produced at the Imperial Glass Factory in St. Petersburg, individuals, including Grand Duchess Marie Fedorovna, also practiced this technique. Represented in profile are the six older children of Paul I (1754-1801) and his second wife, Marie Fedorovna (1759-1828). The portraits replicate an aquatint by James Walker (1748-1808[?]), an English artist appointed engraver to the Court of Catherine II in 1785. His print, in turn, is based on a miniature by Marie Fedorovna dated 1790, which she presented to her husband on September 19 of that year. The subjects are Grand Dukes and Duchesses Alexander (later Alexander I), Constantine, Alexandra, Elena, Maria, and Catherine.

The scenes on this ivory read from bottom to top: the scenes begin at the lower left with the Temptation of Judas, the Payment of Silver, and the Arrest of Christ. The Crucifixion and Deposition occupy the middle level, and the Entombment and Holy Women at the Tomb are at the top. The architectural gables with pierced designs and rose windows resemble those of the great 13th-century cathedrals in and around Paris.

This crisply carved devotional statue was once completed by a throne and a gold crown for the Virgin. She rests her feet on a small dragon, symbolizing conquered evil, while the Christ Child raises his right hand in a gesture of blessing.

Croziers, or staffs of office in the form of shepherds’ crooks, were carried by both bishops and abbots. Carved on one face of the crozier are the Virgin and St. John flanking the Crucified Christ; on the other, the Virgin holds the Christ child between two candle-bearing angels. The fine carving of the figures is complemented by such details as the delicate vine leaves around the edges of the scenes. A few ivory croziers are known from this period, but the majority were made of pieces of rock crystal and enameled and gilded copper.