Polychrome epergne with the figures of the three Parcae, Clotho, Lachesis and Atropos, seated on a rocky base, which rests in turn on a rocaille scroll base that bears the inscriptions "ET ONTENITUR", "QUASI FLOS CREDITUR", and "ET FUGIT VELUT UMBRA".

According to Greek mythology the Parcae were responsible for the course of every person's life: thus they are depicted spinning, measuring and cutting the thread of life.

This large group made as a decorative piece for the dinner table is in effect the result of re-using three well-known figures that had been used previously to decorate the well-known Tempietto di Cortona created for the Accademia Etrusca of the city of Cortona in 1756 (see, among others, Pratesi, 1993, II, fig.38).

They represent the Parcae (supplied by Vincenzo Foggini, to whom payment was made on 10th. June, 1750) and as such they appear on page 87 in the factory's Inventory of Models, number 2: "A questo numero vi sono 4 figure... E l'altre le tre Parche. Colle forme" [In this number there are 4 figures....And the others the three Parcae. With their molds].

The group on display is interesting not only because of the rather original re-utilization of figures originally designed for other groups, but also because of the refined moulding of the scroll base, enriched by elegant highlights already reflecting a decidedly Rococo style. This again confirms that large decorative groups of this type continued to be appreciated well into the second half of the 18th. century, as can also be seen from the price list drawn up around 1760, (Ginori Lisci, 1963, p.309), which cites "Gruppi di maggior altezza e di maggior numero di figure..." [Larger groups consisting of larger figures....].at just over 133 Liras.

The only concession to the shift away from Baroque - a style Tuscany was slow to abandon - is precisely the Rococo moulding of the base . It is likely that such a base was included among those mentioned in the same document, which states that "tutti i predetti pezzi essendo dipinti si vendono il doppio, e quando vi è una Base di porcellana istoriata il prezzo aumenta a proporzione." [all the above-mentioned pieces are sold at twice the price when they are painted, and when there is a porcelain Base decorated with figures the price increases accordingly].

The same bases reflecting the later style are also found in "Perseus cutting off the head of the Medusa" and "Mercury cutting off Argus' head" (by Giovan Battista Foggini), now in the J.P.Getty Museum, Malibu (Melegati, 1996, p.56). A hypothesis that should not be excluded is that these groups might have been left in the warehouse for several years and then mounted later on more fashionable bases, a theory already put forward by Epifori (private communication, 1996). See Guidorizzi, 2000, ad vocem, for the Parcae. (L.M.)