ITALIAN CERAMICS

Catherine Hess

ITALIAN CERAMICS
CATALOGUR OF THE J. PAUL GETTY MUSEUM COLLECTION

THE J. PAUL GETTY MUSEUM LOS ANGELES

© 2002 J. Paul Getty Trust

Getty Publications
1200 Getty Center Drive
Suite 500
Los Angeles, California 90049-1682
www.getty.edu

Christopher Hudson, Publisher

Mark Greenberg, Editor in Chief

Project staff:
John Harris, Editor
Kurt Hauser, Designer
Amita Molloy, Production Coordinator
Jack Ross, Photographer
David Fuller, Map Designer
Kathleen Preciado, Indexer

Typography by G & S Typesetters

Printed by Mondadori Printing

Unless otherwise specified, all photographs are courtesy of the institution

owning the work illustrated.

Front cover: Pilgrim flask w i t h marine scenes (detail). See no. 34.
Back cover: Plate w i t h a winged putto on a hobbyhorse. See no. 22.
Front inside flap: Lustered plate with a female bust. See no. 20.
Half-title page: Green-painted jug with a bird (detail). See no. 3.
Title page: Drug jar for theriac (detail). See no. 37[.2].
Opposite: Basin with Deucalion and Pyrrha (reverse). See no. 35.

A l l catalogue entries are by Catherine Hess except no. 28 (written by

Peggy Fogelman) and no. 41 (written with Marietta Cambareri).

In the provenance sections, square brackets indicate the names of dealers.

Library of Congress Cataloging-in-Publication Data

Hess, Catherine, 1957-

Italian ceramics : catalogue of the J. Paul Getty Museum collection /
Catherine Hess,
p. cm.
Includes bibliographical references and index.
ISBN 0-89236-670-2
1. Majolica, Italian—16th century—Catalogs. 2. Majolica—
California—Malibu—Catalogs. 3. J. Paul Getty Museum—Catalogs.
I. J. Paul Getty Museum. I I . Title.
NK4315 .H47 2002
738.3''o945'07479493 —dc2i

2001006148
 CONTENTS

Foreword vii

Acknowledgments ix

Ceramic Production Centers x

Introduction I

Catalogue 18

Literature Cited 245

Profiles 260

Index 263
 FOREWORD
I N T H E E A R L Y 1 9 8 0 s t h e M u s e u m ' s h o l d i n g s of I t a l i a n
c e r a m i c s c o n s i s t e d p r i m a r i l y of w o n d e r f u l a n c i e n t ex­
amples f r o m Etruria, I m p e r i a l Rome, and M a g n a Graecia.
A l t h o u g h t h e M u s e u m already o w n e d a n i m p r e s s i v e c o l ­
l e c t i o n of s e v e n t e e n t h - and eighteenth-century French
d e c o r a t i v e arts, i n c l u d i n g pieces p r o d u c e d at Sevres, t h e
I t a l i a n p e n i n s u l a was r e p r e s e n t e d b y a m e r e h a n d f u l of
fine objects p r o d u c e d i n t h o s e same years.
T h e n , i n a s i n g l e g r o u p a c q u i s i t i o n i n 1984, the
G e t t y b e c a m e t h e r e p o s i t o r y of one of t h e m o s t i m p o r ­
t a n t c o l l e c t i o n s of I t a l i a n Renaissance t i n - g l a z e d e a r t h e n ­
w a r e , or m a i o l i c a , i n t h e U n i t e d States a n d Europe.
A l t h o u g h s m a l l , t h i s g r o u p of objects is e x c e p t i o n a l l y
fine and includes h i g h l y i n v e n t i v e l u x u r y i t e m s w i t h an
i l l u s t r i o u s provenance, s u c h as t h e s p l e n d i d a n d b i z a r r e
V e n e t i a n p l a t e d e c o r a t e d w i t h grotesques t h a t w a s once
o w n e d b y Q u e e n V i c t o r i a . I t also c o n t a i n s m o r e h u m b l e
r a r i t i e s , s u c h as t h e s p i r i t e d d r u g jar m a d e f o r Santa
M a r i a d e l l a Scala i n Siena, t h e site of o n e of t h e m o s t
i m p o r t a n t p h a r m a c i e s of i t s day. T h u s , t h e Museum's
h o l d i n g s p r o v i d e a r e m a r k a b l y c o m p r e h e n s i v e p i c t u r e of
I t a l i a n Renaissance m a i o l i c a p r o d u c t i o n .
Since 1984, several objects have b e e n added t o c o m ­
p l e m e n t and r o u n d o u t the c o l l e c t i o n . A few earlier
S p a n i s h pieces, a n d a n a s t o n i s h i n g Baroque b a s i n a n d
Rococo tabletop, bracket the predominantly Renais­
sance m a t e r i a l . T h e a c q u i s i t i o n of t h e M e d i c i p o r c e l a i n
f l a s k i n 1986, at t h a t t i m e one of o n l y t h r e e s u c h ob­
jects left i n p r i v a t e hands, e x t e n d e d t h e c o l l e c t i o n i n t o
t h e area of I t a l i a n p o r c e l a i n , w h i c h also offers rich
c o m p a r i s o n s w i t h t h e M u s e u m ' s e m i n e n t c o l l e c t i o n of
French porcelain.
OPPOSITE: Drug jar for syrup of lemon juice (detail). See no. 16.
D u e t o i t s process of f i r i n g c o l o r e d glazes o n t o a c l a y
body, Renaissance m a i o l i c a preserves a n unchanging
p a l e t t e , a n d i t s p a i n t e d scenes offer a n e n l i g h t e n i n g
c o u n t e r p a r t t o p a i n t i n g s f r o m t h e same p e r i o d , w h o s e
p i g m e n t s m a y have faded or a l t e r e d w i t h t i m e . O n e of
t h e m a n y b e n e f i t s of t h e n e w i n s t a l l a t i o n s at t h e G e t t y
C e n t e r has been t h e c h a n c e t o v i e w t h e m a i o l i c a c o l l e c ­
t i o n i n b e a u t i f u l l y designed galleries one f l o o r b e l o w t h e
galleries of I t a l i a n Renaissance p a i n t i n g s . T h e o p p o r t u ­
n i t y t o r e l a t e these w o r k s of v e r y d i f f e r e n t m e d i a , b u t of
c o m p a r a b l y e r u d i t e subject m a t t e r a n d v i r t u o s i c t e c h ­
n i q u e , is a n u n e x p e c t e d b o n u s t o t h e M u s e u m v i s i t o r .
T h i s v o l u m e is a r e w o r k i n g of t h e 1988 catalogue of
t h e I t a l i a n m a i o l i c a at t h e G e t t y . I w o u l d l i k e t o t h a n k
Catherine Hess, A s s o c i a t e C u r a t o r of S c u l p t u r e and
W o r k s of A r t , for h e r e x c e l l e n t research a n d w o r k o n b o t h
t h e o r i g i n a l c a t a l o g u e a n d t h i s r e v i s e d e d i t i o n . T h e en­
s u i n g f o u r t e e n years have seen great advances i n r e l e v a n t
s c h o l a r s h i p a n d archaeology. A s a r e s u l t , t h e p r e s e n t cat­
alogue n o t o n l y f u l l y presents, for t h e f i r s t t i m e , t h e M u ­
seum's I t a l i a n p o r c e l a i n i n a d d i t i o n t o i t s m a i o l i c a b u t
also p r o v i d e s n e w a n d m o r e a m p l e s c i e n t i f i c , i c o n o -
graphic, and h i s t o r i c a l i n f o r m a t i o n .
DEBORAH GRIBBON
Director, T h e J. Paul G e t t y M u s e u m
Vice-President, T h e J. Paul G e t t y Trust
vviiii
 ACKNOWLEDGMENTS
I N T H E D O Z E N Y E A R S since t h e G e t t y M u s e u m ' s Italian
Maiolica c a t a l o g u e w a s p u b l i s h e d , a n u m b e r of s i g n i f i ­
c a n t advances have b e e n m a d e i n t h e s t u d y of I t a l i a n
c e r a m i c s . N e w a r c h a e o l o g i c a l e v i d e n c e a n d t h e use of
archaeometry—once a n u n c o m m o n t o o l of i n q u i r y i n
the field—have helped connect baffling ceramic typolo­
gies w i t h t h e i r centers of p r o d u c t i o n . I n cases w h e r e
f i r m e v i d e n c e is l a c k i n g , o l d p r e j u d i c e s r e g a r d i n g at­
t r i b u t i o n — g i v i n g unfair hegemony to certain towns
over o t h e r s — c o n t i n u e t o g i v e w a y t o a n e w prudence
and circumspection. A n d archival w o r k continues to u n ­
cover c r i t i c a l d e t a i l s r e g a r d i n g t h e a c t i v i t i e s of p o t t e r s
and potteries.
Negotiating and incorporating this n e w research
w o u l d have b e e n i m p o s s i b l e w e r e i t n o t for t h e h e l p
of several i m p o r t a n t i n d i v i d u a l s , c o l l a b o r a t o r s really,
f r o m w i t h i n and w i t h o u t the G e t t y M u s e u m . I n G e t t y
T r u s t P u b l i c a t i o n s I a m i n d e b t e d t o M a r k Greenberg a n d
John H a r r i s for t h e i r c o n s t a n t e n c o u r a g e m e n t a n d fine
e d i t o r i a l skills,- t o designer K u r t Hauser for h i s i n s p i r e d
eye a n d t o C e c i l y G a r d n e r a n d K i m b e r l y R i b a c k for t h e i r
; e n t h u s i a s m for t h e subject. I a m b e h o l d e n t o t h e v a r i o u s
h e l p i n g a t h e r i n g v i s u a l m a t e r i a l s . A m i t a M o l l o y over­
saw t h e c o m p l e x i t i e s of t h i s b o o k ' s p r o d u c t i o n ; K a t h l e e n
Preciado prepared t h e i n d e x ; a n d D a v i d F u l l e r created
a n e w m a p for t h i s e d i t i o n . E l l e n S o u t h , staff a s s i s t a n t
i n t h e D e p a r t m e n t of S c u l p t u r e a n d W o r k s of A r t , pro­
v i d e d regular assistance w i t h grace a n d t a l e n t . Jack Ross
of P h o t o Services w o r k e d h i s m a g i c i n t h e luscious
OPPOSITE: Plate w i t h a winged putto on a hobbyhorse (detail). See no. 22.
p h o t o g r a p h s r e p r o d u c e d here. D a v i d S c o t t of t h e G e t t y
Research I n s t i t u t e a n d B r i a n C o n s i d i n e , Jane Bassett,
a n d A r l e n H e g i n b o t h a m of t h e D e c o r a t i v e A r t s and
Sculpture Conservation laboratory helped obtain and
assess t h e i n f o r m a t i o n gleaned f r o m s u c h procedures as
X-radiography, thermoluminescence, and nuclear-activa­
tion testing. Finally, Getty interns and research
assistants James H i n t o n , K a t h r i n Holderegger, K a r e n
H u n g , A n n e I v e r s o n , a n d Bobbye T i g e r m a n assisted i n
various and i m p o r t a n t ways t h r o u g h o u t the project.
Outside the G e t t y fold I found inspiration and bril­
l i a n t s u p p o r t f r o m T i m o t h y W i l s o n of t h e A s h m o l e a n
M u s e u m , O x f o r d . I w i l l a l w a y s be g r a t e f u l t o h i m for h i s
generosity, e n c o u r a g e m e n t , a n d f r i e n d s h i p . I a m t h a n k ­
f u l t o John M a l l e t , a n o t h e r p r e e m i n e n t s c h o l a r i n t h e
area of m a i o l i c a studies, w h o s e c o m m e n t s a n d sugges­
tions considerably i m p r o v e d this manuscript. I w o u l d
also l i k e t o t h a n k scholars A l e s s a n d r o A l i n a r i , M i c h a e l
Brody, G u i d o D o n a t o n e , M a r c o S p a l l a n z a n i , a n d A n n a
M o o r e V a l e r i for a n s w e r i n g q u e s t i o n s a n d s h a r i n g t h e i r
scholars, s c i e n t i s t s , a n d c u r a t o r s w h o c o n t i n u e t o w o r k
a n d p u b l i s h i n t h e area of I t a l i a n c e r a m i c s , t h e r e b y fur­
t h e r i n g research a n d c o n f i r m i n g t h e s o m e t i m e s over­
l o o k e d place of I t a l i a n c e r a m i c s within the broader
h i s t o r y of art. F i n a l l y , s u p p o r t o n t h i s p r o j e c t , as o n so
m a n y things, was p r o v i d e d b y m y husband, Laurence
F r a n k , t o w h o m t h i s b o o k is dedicated.
ix
CERAMIC PRODUCTION CENTERS
 INTRODUCTION

There were no mortal men until, with the consent of the goddess Athene, Prometheus, son of
Iapetus, formed them in the likeness of gods. He used clay and water of Panopeus of Phocis,
and Athene breathed life into them. Hesiod, THEOGONY

And the Lord God formed man of the dust of the ground, and breathed into his nostrils the
breath of life; and man became a living soul. GENESIS 2: 7

Objects of terra-cotta . . . fulfill us, giving us the tiles for roofs, the bricks for walls, the recep­
tacles for wine, the tubes for water, and all of those objects which one makes on the wheel
and forms with one's hands. For these reasons, Numa established as seventh college that of
the potters. Pliny the Elder, NATURAL HISTORY

C E R A M I C O B J E C T S h a v e e x i s t e d i n m a n y shapes a n d i n
m a n y c o u n t r i e s for t h o u s a n d s of years. T h a t t h e y are p r o ­
d u c e d f r o m e a r t h m i x e d w i t h w a t e r , d r i e d b y air, a n d
b a k e d b y f i r e — e m b o d y i n g , thereby, t h e m e t a p h y s i c a l
doctrine of t h e four elements that m a k e u p t h e u n i ­
verse—may e x p l a i n some of t h e i r allure. T h e potter's
s e e m i n g l y d i v i n e a c t of u s i n g a m e d i u m r e p r e s e n t i n g t h e
e l e m e n t s o f t h e u n i v e r s e t o create f o r m f r o m n o n f o r m
h e l p s a c c o u n t f o r t h e c r o s s - c u l t u r a l appeal o f c e r a m i c
w o r k , w h i c h l o n g ago i n c l u d e d n o t o n l y u t i l i t a r i a n ves­
sels b u t also v o t i v e offerings t o t h e gods. M o r e i m p o r ­
t a n t l y , h o w e v e r , i t is clay's a b i l i t y t o g i v e shape t o
f u n c t i o n a l objects t h a t e x p l a i n s t h e l o n g h i s t o r y a n d re­
m a r k a b l y w i d e geographical and c u l t u r a l d i s s e m i n a t i o n
of c e r a m i c p r o d u c t i o n .
T h i s l o n g h i s t o r y a n d w i d e d i s s e m i n a t i o n c a n be at­
t r i b u t e d t o t h r e e c h i e f factors: f i r s t , t h e r a w m a t e r i a l s re­
q u i r e d — t h e d i f f e r e n t clays f o r t h e c e r a m i c body, a n d t h e
m i n e r a l s , ash, a n d sand f o r t h e p i g m e n t s a n d glazes—are
a b u n d a n t a n d accessible; second, c e r a m i c w a r e is e a s i l y
shaped (by h a n d , o n a w h e e l [ f i g . 1], o r i n a m o l d ) a n d
h a r d e n e d (by d r y i n g o r f i r i n g ) ; a n d t h i r d , t h e objects p r o ­
d u c e d are f u n d a m e n t a l l y u t i l i t a r i a n .
f i r e d at a t e m p e r a t u r e h i g h e n o u g h t o m a k e t h e b o d y
s o m e w h a t v i t r i f i e d , is h a r d a n d dense a n d w a s m o s t pop­
ular i n Europe i n m o d e r n times i n G e r m a n y and En­
g l a n d . F i n a l l y , p o r c e l a i n , also f i r e d at h i g h t e m p e r a t u r e s ,
is t r a n s l u c e n t , w h i t e , a n d v i t r e o u s .
E a r t h e n w a r e s have b e e n p r o d u c e d i n I t a l y since an­
c i e n t t i m e s . T h e c o l o n i z i n g G r e e k s ( n i n t h t o e i g h t h cen­
t u r y B . C . ) a n d t h e Etruscans (seventh t o fifth century
B . C . ) , f o r e x a m p l e , w e r e able, e v e n m a s t e r f u l c e r a m i s t s .
The development a n d success o f t i n - g l a z e d earthen­
ware, or m a i o l i c a , o n t h e peninsula i n t h e fourteenth,
fifteenth, and sixteenth centuries produced a particu­
l a r l y r i c h c h a p t e r i n t h i s h i s t o r y . C e r t a i n l y , I t a l y ' s loca­
t i o n i n t h e M e d i t e r r a n e a n b a s i n , at t h e c e n t e r of a n area
t o u c h e d b y diverse c u l t u r a l i n f l u e n c e s — B y z a n t i n e , Is­
lamic, N o r t h African—helped determine n o t only the
h i g h l e v e l o f t e c h n i c a l v i r t u o s i t y b u t also t h e b e a u t y a n d
v a r i e t y t h a t m a i o l i c a wares display.
T h e t e r m maiolica is c o m m o n l y t h o u g h t t o d e r i v e
f r o m t h e n a m e o f t h e Balearic i s l a n d o f M a j o r c a ( M a ­
j o l i c a ) , w h i c h served as a n e n t r e p o t f o r t h e M o r e s q u e
l u s t e r w a r e b o u n d for t h e I t a l i a n m a r k e t i n t h e f o u r t e e n t h
a n d f i f t e e n t h c e n t u r i e s . H o w e v e r , i t is m o r e l i k e l y trace­
1

C l a y is m a d e o f e a r t h f o r m e d b y t h e d e c o m p o s i t i o n able t o t h e S p a n i s h n a m e f o r l u s t e r p r o d u c t s , obra de
of f e l d s p a t h i c r o c k s . A n a l m o s t l i m i t l e s s v a r i e t y o f clays mdlequa. 2
M e d i e v a l p o t t e r i e s at Malaga [mdlequa), as
exists, d e p e n d i n g o n t h e a m o u n t o f m i n e r a l a n d o r g a n i c w e l l as M u r c i a a n d A l m e r i a i n t h e M o o r i s h s o u t h , s e e m
m a t t e r and of i m p u r i t i e s t h a t either a c c u m u l a t e d u r i n g t o have b e e n t h e first t o p r o d u c e c e r a m i c l u s t e r s i n
s e d i m e n t a t i o n o r are added. T h r e e general types o f ce­ Spain. U n t i l t h e s i x t e e n t h c e n t u r y maiolica referred ex­
r a m i c w a r e c a n be p r o d u c e d f r o m t h e v a r i o u s clays: c l u s i v e l y t o wares d e c o r a t e d w i t h i r i d e s c e n t l u s t e r s o f
earthenware, stoneware, and porcelain. Earthenware, Spanish or I s l a m i c o r i g i n . O n l y later d i d this t e r m come
3

f i r e d at r e l a t i v e l y l o w t e m p e r a t u r e s , i s p o r o u s , coarse, t o refer t o I t a l i a n e a r t h e n w a r e s , i n c l u d i n g t h e u n l u s t e r e d
a n d ranges i n c o l o r f r o m l i g h t y e l l o w t o red. S t o n e w a r e , variety.

OPPOSITE: Basin with Deucalion and Pyrrha (detail). See no. 35. I
1 Style of the Centaur Painter. Detail of black-figure cup, ca. 540-30 B.C.
Karlsruhe, Badisches Landesmuseum. The decoration on this cup shows
a potter trimming a kylix on a potter's wheel. A robed companion,
possibly the person who had ordered the cup, watches h i m at work.
2 Albarello. Valencia (Manises), early fifteenth century. Tin-glazed
earthenware, H: 38 cm (15 in.). London, Victoria and Albert Museum.
This Spanish jar is decorated with Kufic script and knot, interlace, and
tree of life patterns.
2 Introduction
T i n glazes c a n l i k e w i s e be t r a c e d t o S p a i n f r o m as
e a r l y as A . D . i o o o . B u t a r o u n d 1300 I b n a l - A h m a r s N a s -
4 ;
r i d k i n g d o m , w h i c h had u n i t e d Malaga w i t h M u r c i a and
Granada, became increasingly unstable, and M o o r i s h
masters were forced n o r t h to the m o r e prosperous Valen-
c i a n c e r a m i c centers. T h e y b r o u g h t w i t h t h e m I s l a m i c
motifs and techniques that were t h e n exported to Italy
t h a n k s t o a c t i v e c o m m e r c e a n d t h e m o v e m e n t of a r t i ­
sans b e t w e e n S p a n i s h w o r k s h o p s a n d t h e g r o w i n g I t a l i a n
c e n t e r s of p r o d u c t i o n (fig. 2).
T h e t e c h n i q u e of t i n - g l a z i n g c e r a m i c s reached I t a l y
for t h e f i r s t t i m e b y t h e e l e v e n t h c e n t u r y , w h e n p o t t e r s
and p o t t e r y f r o m the eastern M e d i t e r r a n e a n and M a g h r i b
reached southern Italy. Geometric patterns, Islamic
m o t i f s , ships, a n d a n i m a l figures i n green, b r o w n , a n d
y e l l o w predominate, w i t h cobalt blue p i g m e n t appearing
i n t h e t w e l f t h c e n t u r y . T h i s so-called p r o t o m a i o l i c a c a n
also be f o u n d i n Pisa, w h e r e p o l y c h r o m e b o w l s w e r e set
i n t o c h u r c h w a l l s — p o s s i b l y t o create a c o l o r i s t i c effect
m u c h l i k e stone m o s a i c — a l t h o u g h w h e t h e r i t arrived
v i a s h i p or o v e r l a n d is n o t k n o w n . 5
I n the f o u r t e e n t h c e n t u r y Near Eastern craftsmen
transmitted the technique across northwest Africa
t h r o u g h S p a i n t o E u r o p e . T r a d e a n d m i g r a t i o n also car­
ried ceramics along this route. I t was this later i m p o r t a ­
t i o n — c o m p r i s i n g p o t t e r y of M o o r i s h S p a i n together
w i t h I s l a m i c w a r e s — t h a t e x e r t e d t h e strongest s t y l i s t i c
influence o n early I t a l i a n m a i o l i c a .

3 Attributed to Jacopo della Pergola. Illuminated initial "M" from a
manuscript (detail), mid-fifteenth century. London, Victoria and Albert
Museum. The woman carting produce from her garden in a basket
on her head also holds a maiolica jar in her right hand. The jar was
probably used in the cultivation or harvest of the crop or to carry a
beverage to the harvesters.
4 Bowl. Iran, thirteenth century. Lead-glazed earthenware. London,
Victoria and Albert Museum. This bowl illustrates the runny nature
of fired lead glazes that have not been stabilized by the addition of
tin oxide.
B y t h e e n d of t h e fifteenth c e n t u r y t h e n u m b e r of
H i s p a n o - M o r e s q u e c e r a m i c s i n I t a l y f e l l as I t a l i a n p o t ­
ters b e c a m e adept i n t h e t i n - g l a z e m e d i u m . I t a l i a n tastes
h a d also changed, a n d q u i n t e s s e n t i a l l y Renaissance e m ­
b e l l i s h m e n t s s u c h as n a r r a t i v e e l e m e n t s s u p p l a n t e d t h e
medieval and Islamic-inspired m o t i f s s t i l l found on
S p a n i s h wares f r o m t h e same p e r i o d . I n a d d i t i o n , b y t h e
fifteenth century Chinese p o r c e l a i n — w i t h its t h i n walls
a n d elegant b l u e a n d w h i t e d e c o r a t i o n — h a d b e g u n t o
r e a c h Italy, s t i r r i n g c o l l e c t o r s ' desire a n d i n f l u e n c i n g l o ­
cal earthenware p r o d u c t i o n .
W h i l e r e t a i n i n g s o m e of t h e o r i g i n a l g l a z i n g t e c h ­
n i q u e s , I t a l i a n Renaissance m a i o l i c a f e a t u r e d d i s t i n c ­
t i v e l y I t a l i a n c o l o r s a n d o r n a m e n t a t i o n , as m a n y of t h e
Getty Museum's works illustrate. Moreover, maiolica
w a r e of t h e fifteenth a n d s i x t e e n t h c e n t u r i e s served a
range of purposes t h a t crossed s o c i a l strata: f r o m p r a c t i ­
c a l c o m m o n - w a r e vessels of t h e e v e r y d a y household
(fig. 3) t o elaborate p o t t e r y of rarefied subject matter
p o i n t i n g u p t h e taste a n d e r u d i t i o n of i t s p a t r i c i a n o w n ­
ers. I n i t i a l l y , t h e shape a n d glaze of these wares f o l l o w e d
t h e i r f u n c t i o n as receptacles; later on, however, the
shape a n d surface d e c o r a t i o n b e c a m e a e s t h e t i c concerns,
t a k i n g o n s i g n i f i c a n c e i n a n d of t h e m s e l v e s .
I t a l i a n m a i o l i c a of t h e Renaissance displays ex­
ceptionally brilliant and colorful surface decoration.
T h i s d e c o r a t i o n was m a d e possible b y advances i n glaz­
i n g a n d firing t e c h n i q u e s , d e v e l o p m e n t s i n p i c t o r i a l rep­
r e s e n t a t i o n , a n d a c t i v e patronage t h a t s o u g h t o u t a n d
rewarded q u a l i t y and i n n o v a t i o n . M a i o l i c a decoration
was a c h i e v e d b y c o v e r i n g already fired e a r t h e n w a r e w i t h
a p r i m a r y bianco ( w h i t e ) glaze. T h e bianco glaze w a s
m a d e u p of a glassy l e a d o x i d e o p a c i f i e d b y t h e a d d i t i o n
of t i n o x i d e (ashes), a l o n g w i t h a s i l i c a t e of p o t a s h m a d e
f r o m w i n e lees m i x e d w i t h sand. T h e p a i n t e d o r n a m e n t
was t h e n a p p l i e d t o t h e r a w glaze i n t h e f o r m of m e t a l l i c
oxides. F i r i n g again i n t h e k i l n fused t h e p a i n t e d p i g ­
m e n t s t o t h i s w h i t e g r o u n d . T h e i n n o v a t i o n of a d d i n g t i n
n o t o n l y e n a b l e d t h e p o t t e r s t o p r o d u c e a n opaque w h i t e
g r o u n d b u t also m a d e t h e glazes m o r e stable w h e n fired;
p r e v i o u s l y , t h e p i g m e n t s h a d t e n d e d t o r u n or b l u r (fig. 4).
M a i o l i c a p a i n t e r s o f t e n reserved t h e t i n g l a z e s — w h i c h
Introduction 3
were imported from C o r n w a l l v i a Flanders, making
t h e m e x p e n s i v e — f o r t h e f r o n t of a d i s h or t h e e x t e r i o r
6

of a p o t , w h e r e t h e glaze's b r i l l i a n c e a n d s t a b i l i t y for
painted decoration were most important, relegating the
less p r i c e y l e a d glaze t o t h e reverse side or i n t e r i o r .
L a t e m e d i e v a l m a i o l i c a displays a l i m i t e d range of
c o l o r s c o m p o s e d p r i m a r i l y of green f r o m acetate or car­
b o n a t e p r o d u c e d b y t h e a c t i o n of v i n e g a r o n copper,
w h i t e f r o m t i n ( t h o u g h n o t u s e d o v e r a l l at t h i s e a r l y
date), a n d p u r p l i s h b r o w n f r o m manganese. A l t h o u g h
rare, l i g h t b l u e a n d y e l l o w also appear at t h i s t i m e . 7

By the early f o u r t e e n t h century, especially i n E m i l i a -

R o m a g n a a n d T u s c a n y , one f i n d s t h e f i r s t k n o w n d a r k
b l u e - g l a z e d w o r k s of t h e C h r i s t i a n West. B y t h e m i d -
Q u a t t r o c e n t o , I t a l i a n vasai, or p o t t e r s , h a d d e v e l o p e d a
r i c h p a l e t t e t h a t i n c l u d e d a deep b l u e f r o m c o b a l t o x i d e
m i x e d w i t h q u a r t z or sand, a m o r e p u r p l e - c o l o r e d m a n ­
ganese b r o w n , a n d b r i l l i a n t y e l l o w s a n d oranges f r o m
m i x i n g a n t i m o n y a n d f e r r i c o x i d e . A l t h o u g h r e d occa­
s i o n a l l y appeared, n o t r u e r e d f r o m v e r m i l i o n w a s u s e d
before 1700, since t h i s p i g m e n t p r o v e d t o o v o l a t i l e t o
survive contemporary firing techniques.
T h e a p p l i c a t i o n of s i l v e r a n d copper o x i d e s before a n
a d d i t i o n a l f i r i n g p r o d u c e d t h e g o l d , red, or p e a r l y m e t a l ­ 5 Cipriano Piccolpasso (Italian, 1523-1579). Folio 49V from Li tie libri
l i c r e f l e c t i o n s c h a r a c t e r i s t i c of l u s t e r w a r e . T h e s e oxides dell'arte del vasaio (1557). London, Victoria and Albert Museum.
w e r e s p r i n k l e d or p a i n t e d i n a t h i n w a s h o n t o t h e sur­ Resinous fuel is added below the kiln while plates placed above the kiln
serve as test pieces that the workmen periodically check to determine
faces of t h e c e r a m i c s . I n t r o d u c i n g s m o k e i n t o t h e k i l n
when the right temperature has been reached to develop the luster.
d u r i n g f i r i n g b y n a r r o w i n g t h e a i r i n l e t s t o t h e fire c h a m ­
ber a n d a d d i n g w e t or r e s i n o u s f u e l (such as r o s e m a r y or
j u n i p e r b r a n c h e s [ f i g . 5]) r e m o v e d t h e o x y g e n f r o m the
p i g m e n t s , l e a v i n g t h e p a i n t e d areas w i t h a t h i n m e t a l
coat. W h e n r u b b e d , these m e t a l deposits p r o d u c e d t h e
s h i m m e r i n g , i r i d e s c e n t surface c h a r a c t e r i s t i c of l u s t e r .
S o m e t i m e s a f i n a l coperta (cover) glaze w a s a p p l i e d t o es­
p e c i a l l y p r e c i o u s objects, w h i c h f u n c t i o n e d l i k e a clear
varnish, fusing the pigments and leaving a particularly
s h i n y , j e w e l l i k e surface. ( A coperta is c o m p o s e d of
marzacotto [ c o o k i n g m i x t u r e ] m a d e b y f u s i n g sand w i t h
c a l c i n e d w i n e lees.)
M a i o l i c a p a i n t e r s n e e d e d a sure h a n d : once a p p l i e d ,
p i g m e n t s w e r e p a r t l y absorbed i n t o t h e r a w t i n glaze
and could not be imperceptibly altered or erased.
T h e s e a r t i s t s also n e e d e d a t h o r o u g h k n o w l e d g e of t h e i r

4 Introduction
6 Vannoccio Biringuccio. Illustration from chapter 14, book 9, of De la 7 Cipriano Piccolpasso. Folio 3 from Li tie libri dell'arte del vasaio
pirotechnia (Venice, 1540). Los Angeles, Getty Research Institute, (1557). London, Victoria and Albert Museum. Potters collecting clay
Special Collections. Two potters use two different types of potter's from a riverbed.
wheels next to a kiln in their workshop.

m a t e r i a l s t o ensure t h a t t h e d e c o r a t i o n desired b e c a m e libri delVaite del vasaio at t h e s u g g e s t i o n of C a r d i n a l

t h e d e c o r a t i o n a c h i e v e d , since r a w p i g m e n t s appear i n F r a n c o i s de T o u r n o n w h e n t h e c a r d i n a l was visiting
shades of gray a n d beige w h e n a p p l i e d a n d o n l y develop Castel Durante as a guest of t h e duke of Urbino.
t h e i r c o l o r w i t h f i r i n g . L u c k i l y , p a i n t e d m a i o l i c a decora­ Piccolpasso i n s t r u c t e d n o v i c e p o t t e r s t o prepare and
t i o n has t h e great advantage of n e v e r d u l l i n g or d a r k e n ­ l i g h t t h e k i l n " a l far d e l l a l u n a . . . r a c c o r d a n d o s i far sem-
i n g w i t h age, u n l i k e fresco or o i l p a i n t i n g of t h e same pre t u t t e l e cose c o l n o m e d i Jesu C r i s t o " (by t h e l i g h t of
period. A l t h o u g h l i m i t e d b y available materials and tech­ t h e m o o n . . . r e m e m b e r i n g t o do a l l t h i n g s i n t h e n a m e
n i q u e s , m a i o l i c a p i g m e n t s t h u s p r o v i d e s o m e of t h e f e w of Jesus C h r i s t ) . 9

e x a m p l e s of c o l o r s used i n t h e Renaissance t h a t have re­ T h a n k s t o Piccolpasso, w e are able t o r e c o n s t r u c t

m a i n e d u n c h a n g e d b y t i m e or use. c o n t e m p o r a r y m e t h o d s of g a t h e r i n g (fig. 7) a n d f o r m i n g
Fifteenth- a n d s i x t e e n t h - c e n t u r y experts in such clay, m a k i n g a n d a p p l y i n g glazes, a n d f i r i n g ceramic
subjects as p y r o t e c h n y , m e t a l l u r g y , a n d m i n e r a l o g y — pieces. H i s m a n u a l r e c o r d e d for t h e first t i m e " t u t t i g l i
s u c h as V a n n o c c i o B i r i n g u c c i o ( 1 4 8 0 - c a . 1539) (fig. 6) segreti de Parte d e l vasaio . . . q u e l l o che gia t a n t ' a n n i e
and Georgius Agricola (ne Bauer, 1494-155 5 ) — 8
stato a s c o s t o " ( a l l of t h e secrets of t h e p o t t e r ' s a r t . . .
h e l p e d advance t h e t e c h n i q u e s of m a i o l i c a p r o d u c t i o n . w h i c h have b e e n k e p t h i d d e n for m a n y y e a r s ) . 10
Besides
O t h e r s e x p l a i n e d h o w t h e " d i v i n e " p r o p e r t i e s of fire b e i n g h i d d e n (ascosto), these s e c r e t s — t h e k e y s t o suc­
m a d e p o s s i b l e t h e p o t t e r s ' g i f t of l i f e (permanence) to cess a n d f a m e — w e r e j e a l o u s l y g u a r d e d as w e l l . T h i s
e a r t h (clay), m u c h as t h e gods of t h e c r e a t i o n m y t h s of e x p l a i n s w h y , despite t h e m o b i l i t y of c e r a m i s t s and
t h e M e d i t e r r a n e a n w o r l d gave l i f e t o m a n . References t o t h e i r wares, one c a n o f t e n d i s t i n g u i s h t h e m e t h o d s , ce­
t h e m y s t i c a l a n d d i v i n e n a t u r e of t h e c e r a m i c craft r a m i c shapes, a n d d e c o r a t i v e s t y l e s of d i f f e r e n t centers of
are f o u n d i n t h e m o s t e x h a u s t i v e a n d d i d a c t i c s i x t e e n t h - production.
century manual on ceramic production. Cavaliere Some types of m a i o l i c a d e c o r a t i o n b e c a m e t h e spe­
C i p r i a n o Piccolpasso of C a s t e l D u r a n t e w r o t e Li tie c i a l t i e s of t h e centers i n w h i c h t h e y w e r e developed.

Introduction 5
E s p e c i a l l y i n T u s c a n y one finds zaffeia a rilievo, or r e l i e f Francesco d i A n t o n i o A n t i n o r i s t r u c k a c o n t r a c t with
b l u e d e c o r a t i o n (see nos. 4 - 5 , 7 - 9 ) . T h e t e r m zaffeia may twenty-three potters from neighboring Montelupo
w e l l r e l a t e t o t h e I t a l i a n t e r m zaffiro for " s a p p h i r e / 7
a w h e r e b y A n t i n o r i w o u l d b u y t h e e n t i r e p r o d u c t i o n of
g e m s t o n e p r i z e d for i t s b r i l l i a n t b l u e c o l o r . Zaffeia deco­ the contracted workshops for t h e subsequent three
r a t i o n was rendered i n cobalt oxide, a costly m a t e r i a l years. W h a t he i n t e n d e d t o do w i t h t h i s s t o c k is n o t
t h a t , l i k e t i n , r e q u i r e d i m p o r t a t i o n , i n t h i s case f r o m k n o w n , a l t h o u g h one scholar s u r m i s e s t h a t Antinori
n o r t h e r n A f r i c a or t h e e a s t e r n M e d i t e r r a n e a n . M a i o l i c a m i g h t have seen t h e s i t u a t i o n as a n o p p o r t u n i t y t o m a k e
p a i n t e r s u s e d t h i s c o b a l t p i g m e n t t h a t was h i g h i n lead, m o n e y b y m o n o p o l i z i n g M o n t e l u p o p r o d u c t i o n and sell­
o u t l i n e d w i t h manganese b r o w n , to p a i n t m o t i f s resem­ i n g i t i n Florence, w h e r e t h e m a i o l i c a i n d u s t r y h a d b e g u n
b l i n g o a k leaves a n d b e r r i e s , 11
sometimes framing figural to decline. 14

s ubjects a n d h e r a l d i c devices. Because of t h e l o w e r m e l t ­ F i g u r a l d e c o r a t i o n began t o p r e d o m i n a t e o n l u x u r y

i n g p o i n t of lead, t h e d e c o r a t i o n s w e l l e d w i t h firing, m a i o l i c a b y 1520. Yet s o m e p a i n t e r s at Faenza, C a s t e l
m a k i n g i t s t a n d o u t i n r e l i e f f r o m t h e jar (see n o . 4 ) . 1 2
D u r a n t e , a n d U r b i n o c h a m p i o n e d istoiiato (historiated),
T h e East i n f l u e n c e d alia poicellana, or p o r c e l a i n ­ ware, o n w h i c h painted "stories"—usually historical,
l i k e d e c o r a t i o n , t h r o u g h Persian designs, T u r k i s h I z n i k r e l i g i o u s , or m y t h o l o g i c a l — c o v e r m o s t , i f n o t a l l , of
p o t t e r y , a n d e s p e c i a l l y C h i n e s e p o r c e l a i n of t h e M i n g dy­ t h e surface (see n o . 29). Istoiiato p a i n t i n g shows the
nasty (1368-1644), w h i c h arrived i n Italy i n the fifteenth i n f l u e n c e of c o n t e m p o r a r y p a n e l , fresco, a n d o i l p a i n t ­
century. T h i s decoration i m i t a t e d porcelain, w i t h painted ing, particularly i n its illusionistic representation of
b l u e f o l i a g e a n d f l o r a l sprays o n a w h i t e g r o u n d (see deep space. B u t t h e t i m e a n d s k i l l r e q u i r e d l i m i t e d i t s
n o . 19). A l t h o u g h p o p u l a r as w e l l i n T u s c a n y , Emilia- o u t p u t , m a k i n g istoiiato w a r e , i n spite of w h a t w e s t u d y
R o m a g n a , a n d t h e M a r c h e s , alia poicellana embellish­ a n d see i n m u s e u m s , o n l y a s m a l l p o r t i o n of t h e m a i o l i c a
m e n t b e c a m e a s p e c i a l t y of V e n e t i a n w o r k s h o p s , proba­ that was produced.
b l y because of t h e c i t y ' s l o c a t i o n o n t h e A d r i a t i c Sea, a I n e a r l i e r m a i o l i c a f o r m s one finds a u n i o n of shape,
s trategic p o s i t i o n for t r a d e w i t h t h e East. decoration, a n d use. I n istoiiato ware, however, the
L i k e alia poicellana m o t i f s , beiettino glazes m a y p a i n t e d stories w e r e of p r i m a r y i m p o r t a n c e , w h i c h ex­
h ave o r i g i n a t e d i n V e n i c e as a r e s u l t of M i d d l e a n d Far p l a i n s w h y m u c h f u l l - s c a l e istoiiato p a i n t i n g w a s exe­
E a s t e r n i n f l u e n c e s . C e r a m i s t s a c h i e v e d beiettino's char­ c u t e d o n s h a l l o w , concave vessels w h o s e surfaces w e r e
a c t e r i s t i c lavender-gray c o l o r b y m i x i n g t i n - w h i t e glaze l a r g e l y u n i n t e r r u p t e d b y r i m s , depressions, or m o l d e d
w i t h a s m a l l a m o u n t of c o b a l t . T h i s d e l i c a t e b l u e served designs. T h e s h i f t i n e m p h a s i s f r o m f u n c t i o n a l c e r a m i c
as a g r o u n d o n w h i c h t h e y p a i n t e d designs ( p r i m a r i l y receptacles t o p i c t o r i a l glazed surfaces is r e f l e c t e d n o t
f l o w e r s , foliage, a n d g r o t e s q u e s ) 13
i n intense blue high­ o n l y i n istoiiato c e r a m i c s b u t also i n m a i o l i c a p l a q u e s
l i g h t e d w i t h t h r e a d l i k e bands of w h i t e (see nos. 24, 3 2 - a n d p i a t t i da pompa ( s h o w dishes), w h i c h w e r e p r o d u c e d
3 3). A s i m i l a r beiettino b l u e g r o u n d was also p o p u l a r i n s o l e l y for d i s p l a y (see n o . 35). T h e l a r g e l y u n a n s w e r e d
F aenza and, later, i n L i g u r i a . q u e s t i o n of w h e t h e r fancy, istoiiato m a i o l i c a was ever
Around the b e g i n n i n g of t h e sixteenth century, u s e d at t h e d i n i n g t a b l e has p r o v o k e d a great a m o u n t of
painted figural and abstract decorations were equally discussion among scholars. No evidence exists of
p o p u l a r o n m a i o l i c a pieces p r o d u c e d i n t h e r i v a l c e n t e r s m a i o l i c a objects b e i n g u s e d for d i s p l a y o n a s i d e b o a r d
o f D e r u t a , Faenza, Florence, G u b b i o , a n d M o n t e l u p o . (fig. 8), w h e r e a s t h e r e is n o l a c k of d e p i c t i o n s of m e t a l
F a e n z a — f r o m w h i c h t h e t e r m faience d e r i v e d — w a s one p l a t e b e i n g u s e d i n t h i s m a n n e r (fig. 9 ) . 1 5
O n e has y e t t o
o f t h e m o s t p r o d u c t i v e a n d w e l l o r g a n i z e d of these cen­ find i n c o n t r o v e r t i b l e e v i d e n c e o n t h e surface of a n isto­
t ers a n d was, as a r e s u l t , one of t h e m o s t influential. iiato piece t h a t i t h a d h e l d f o o d (for e x a m p l e , v i r t u a l l y
O t h e r centers were l i k e w i s e developing sophisticated i n v i s i b l e fine cracks o n t h e surface of a d i s h , c a l l e d craz­
c o m m e r c i a l o p e r a t i o n s . A s e a r l y as 1490, t h e F l o r e n t i n e i n g , c a n b e c o m e p r o n o u n c e d w h e n s t a i n e d w i t h food) or

6 Introduction
8 Plate with Soderini arms. Valencia (Manises), early fifteenth century.
Tin-glazed earthenware, Diam: 20 cm (8 in.). London, British Museum.
Photo: © The British Museum. According to the inventory of his
estate, Giovanni Soderini kept elegant plates like this one i n his study,
indicating that he considered such Hispano-Moresque maiolica, together
with his other precious and edifying objects, worthy of admiration. He
might have also used these plates for the occasional special meal.

9 Circle of Francesco Granacci (active in Florence, 1469-1543), possibly

Bartolomeo di Giovanni. The Lapiths and the Centaurs (detail), late
fifteenth century. Cassone panel. Wiltshire, England, Longleat. A lavish
display of metalwork appears on the credenza behind the dinner table.

Introduction ~[
io Workshop of Guido Durantino (active i n Urbino, d. 1576). Plate of
David and Goliath, from the Cardinal Duprat service, 1535. Diam: 44
cm (17 V3 in.). Paris, Musee du Louvre, inv. MR 2201. Photo: © Reunion
des Musees Nationaux. The opening to the channel for draining off
liquid is cleverly located at the lowest point of the river, where i t
disappears underground.
b e e n scarred b y e a t i n g u t e n s i l s , t h e n r e l a t i v e l y c o m m o n
i n I t a l i a n c o u r t s . M o r e o v e r , t h e r e is n o t one representa­
t i o n of a n istohato p l a t e i n a n I t a l i a n Renaissance p a i n t ­
i n g . O n e scholar, John M a l l e t , believes t h a t t h e n e w a n d
great v a r i e t y of shapes g i v e n t o m a i o l i c a plates m u s t
have d e v e l o p e d as a r e s u l t of t h e p l a t e s v a r i e d f u n c t i o n s
7
at t h e d i n i n g t a b l e . Indeed, s o m e e v i d e n c e does e x i s t t o
suggest t h a t istohato m a i o l i c a m i g h t have b e e n used, a l ­
b e i t rarely, for d i n i n g . For e x a m p l e , M a l l e t p o i n t s o u t t h e
u n a m b i g u o u s f u n c t i o n of a large p l a t e of 1535 f r o m a
service b e l o n g i n g t o a n i l l u s t r i o u s F r e n c h p a t r o n , C a r d i ­
n a l D u p r a t (fig. 10). T h i s p l a t e , d e p i c t i n g t h e subject of
D a v i d a n d G o l i a t h , i n c l u d e s a clever o u t l e t for g r a v y or
some other l i q u i d o n its underside, o r i g i n a t i n g f r o m and
hidden i n the stream on the front. 1 6
D o c u m e n t s also t e l l
us t h a t Pope C l e m e n t V I I preferred t o eat f r o m m a i o l i c a
p a i n t e d w i t h bianco sopra bianco rather t h a n w i t h isto­
hato d e c o r a t i o n , w h i c h h e h a d lesser c h u r c h officials
use. H i s o p i n i o n w o u l d s e e m t o have b e e n shared b y
Isabella d'Este's m o t h e r , E l e o n o r a , w h o gave h e r d a u g h ­
t e r a n i m p o r t a n t istohato m a i o l i c a service i n 1524 a n d
n o t e d t h a t t h i s s e r v i c e w a s s u i t a b l e for use i n t h e casual
s e t t i n g of Isabella's c o u n t y v i l l a (fig. n ) . 1 7
8 Introduction
11 Nicola da Urbino (Urbino, fl. 15 20-15 3 7/8). Plate of Apollo and
Daphne, ca. 1525. London, British Museum, inv. MLA 1855, 1201,
103. © The British Museum. The duchess of Urbino may have
been referring to the service to which this plate belongs, comprising
twenty-one plates and bowls and marked with the Este-Gonzaga
coat of arms.
U s e d t o i l l u s t r a t e these n a r r a t i v e c e r a m i c s , p r i n t s
a n d engravings, w h i c h p r o l i f e r a t e d i n t h e m i d - f i f t e e n t h
c e n t u r y , b r o u g h t once esoteric i m a g e r y i n t o w i d e r c i r c u ­
l a t i o n . E s p e c i a l l y i n t h e M a r c h e s r e g i o n of c e n t r a l I t a l y ,
m a i o l i c a painters used p r i n t s b y G e r m a n and I t a l i a n
m a s t e r s s u c h as M a r t i n Schongauer, A l b r e c h t D i i r e r , a n d
M a r c a n t o n i o R a i m o n d i as c a r t o o n s for t h e i r ceramic
p a i n t i n g s (see nos. 25, 29). T h e y adapted t h e scenes a n d
figures f r o m t h e p r i n t s t o t h e g e n e r a l l y c i r c u l a r shapes of
t h e c e r a m i c s a n d t r a n s f e r r e d t h e designs t o t h e wares.
F r o m Piccolpasso w e k n o w t h a t c e r a m i s t s c o p i e d w o r k s
o n paper f r e e h a n d ( p r o b a b l y i n c l u d i n g p r i n t s a n d d r a w ­
ings b o t h ) (fig. 12). Yet, since so m a n y p r i n t images ap­
pear r e p e a t e d l y — a n d a l m o s t i d e n t i c a l l y — o n istohato
plates, i t appears t h a t p a i n t e r s used t h e c a r t o o n s as sten­
c i l s or t e m p l a t e s i n order t o c o p y m o r e p r e c i s e l y t h e de­
s i r e d scenes a n d figures. T h e y w o u l d have t r a n s f e r r e d
these images b y p r i c k i n g a c a r t o o n w i t h s m a l l h o l e s ,
p l a c i n g t h e c a r t o o n o n t h e c e r a m i c surface, a n d t a p p i n g
i t w i t h a bag f i l l e d w i t h a d a r k p o w d e r (fig. 13). T h i s p r o ­
cess l e f t a series of s m a l l dots u n d e r t h e c a r t o o n t h a t
served t o g u i d e t h e p a i n t i n g y e t b u r n e d a w a y d u r i n g
f i r i n g , l e a v i n g n o trace.
12 Cipriano Piccolpasso. Detail of folio 57V from Li tie libri dell'arte del
vasaio (1557). London, Victoria and Albert Museum. Ceramic painters
copy images from the paper tacked to the wall behind them onto the
bowls and jugs that they hold on their knees.
13 Pricked cartoon (backlit view). Castelli, late seventeenth to early eigh­
teenth century. Los Angeles, Getty Research Institute, Gentili/Barnabei
Archive, cat. no. 170. A n unidentified engraving was used to transfer
the image onto a piece of maiolica by means of pricking.
I n a d d i t i o n t o d r a w i n g o n sources i n t h e v i s u a l arts,
m a i o l i c a p a i n t e r s also u s e d t h e w o r k s of c o n t e m p o r a r y
l i t e r a r y figures t o o r n a m e n t t h e i r wares. T h e i n s c r i p t i o n s
and mottoes often w r i t t e n o n decorative banderoles
p a i n t e d across t h e f r o n t of vases, plates, a n d jugs w e r e
u s u a l l y r e c o r d i n g s of p o p u l a r w i s d o m t h a t frequently
e m p h a s i z e d a clever t u r n of phrase. F a m o u s c o n t e m p o ­
r a r y w r i t e r s w e r e s o m e t i m e s engaged t o i n v e n t these w i t ­
t i c i s m s , c a u s i n g A n g e l o P o l i z i a n o t o c o m p l a i n i n 1490 of
those w h o wasted his t i m e by e m p l o y i n g h i m to c o m ­
pose " u n m o t t o . . . o u n verso . . . o u n a i m p r e s a . . . p e i
i c o c c i d i casa" (a m o t t o . . . verse . . . or device . . . for
household pots). 18
T h o u g h he l a m e n t e d s u c h a t t e m p t s t o
display e r u d i t i o n , w i t , and status b y e m b l a z o n i n g even
household crockery w i t h w i t t y mottoes and heraldic
a r m s , t h e d e m a n d for t h e l a t e s t f a s h i o n a n d cleverest
m a x i m served o n l y t o increase c o m p e t i t i o n a m o n g w o r k ­
shops. T h i s c o m p e t i t i o n e x i s t e d i n t h e area of t e c h n i q u e ,
p i c t o r i a l rendering, and style, thereby h e l p i n g to p r o m o t e
innovations i n the m e d i u m .
I n c o n t r a s t t o these h u m a n i s t i c i n n o v a t i o n s i n deco­
r a t i o n , p o t t e r y shapes c o n t i n u e d t o r e f l e c t l a t e m e d i e v a l
forms w e l l i n t o the fifteenth and sixteenth centuries.
Introduction 9
14 Domenico Ghirlandaio (Italian, 1448/9-1494). The Birth of Saint John
the Baptist (detail), ca. 1486/7. Fresco i n Santa Maria Novella, Florence.
Photo: Alinari/Art Resource, New York. A n albarello w i t h a lid, pre­
sumably holding a medicine to aid in childbirth or sleep, sits on a round
box between two lemons on the headboard of Saint Elizabeth's bed.
T y p i c a l a m o n g these shapes, jugs, t w o - h a n d l e d jars, ton-
dini ( s m a l l , r o u n d e d b o w l s ) , a n d albarelli (cylindrical
storage jars) are r e p r e s e n t e d i n t h e M u s e u m ' s c o l l e c t i o n .
Albaielli w e r e m o s t o f t e n u s e d i n t h e h o m e (fig. 14) a n d
i n public and private pharmacies for c o n s e r v i n g a n d
t r a n s p o r t i n g p r e p a r a t i o n s i n v i s c o u s , paste, or d r y f o r m ,
i n c l u d i n g p h a r m a c e u t i c a l s as w e l l as v a r i o u s n o n m e d i c i -
n a l spices, herbs, dyes, a n d o i n t m e n t s (see nos. 5, 1 0 - 1 2 ,
14, 16, 2 1 , 24). T h e y w e r e c l o s e d w i t h a l i d or w i t h a
piece of paper, p a r c h m e n t , or c l o t h t i e d a r o u n d t h e r i m .
T h e i r n a m e m a y d e r i v e f r o m a n A r a b i c t e r m t h a t refers
t o c o n t a i n e r s m a d e of s e c t i o n s of b a m b o o t h a t w e r e used
i n the East. 19
D u r i n g t h e second h a l f of t h e s i x t e e n t h century
t h e r e w e r e s i g n i f i c a n t changes i n t h e p o t t e r y shapes,
reflecting a n e w interest i n h i g h l y decorative, u n d u l a t i n g
f o r m s . T o w a r d t h e m i d d l e of t h e c e n t u r y , as p i c t o r i a l
m a i o l i c a d e c o r a t i o n w a s passing f r o m vogue, p o t t e r s a n d
p a i n t e r s began b r e a k i n g u p a n d r e a r r a n g i n g i n t o c o m ­
p a r t m e n t s b o t h t h e c e r a m i c surface a n d t h e p a i n t e d dec­
o r a t i o n . M a i o l i c a p o t t e r s i n v e n t e d t h e crespina form i n
10 Introduction
15 Guido Reni (Italian, 1575-1642). Young Bacchus, 1620. O i l on canvas.
Florence, Galleria Palatina, Palazzo Pitti. Photo: Alinari/Art Resource,
New York. The young boy i n the foreground holds a late sixteenth-
century maiolica jug with compendiario decoration.
i m i t a t i o n of h i g h l y v a l u e d m e t a l repousse v e s s e l s . 20
T h e s e crespine w e r e g a d r o o n e d (the r o u n d e d m o l d i n g
w a s d e c o r a t i v e l y n o t c h e d ) , embossed, and m o l d e d i n
s h e l l , m a s k , a n d o t h e r o r n a t e shapes (see n o . 31). O n e
finds t h e u l t i m a t e e x p r e s s i o n of t h i s fondness f o r i r r e g u ­
l a r surfaces a n d surface decoration i n the sculptural
flasks, basins, vases, a n d w i n e coolers of t h e l a t e six­
t e e n t h c e n t u r y (see n o . 35), as w e l l as i n t h e s k e t c h y
compendiario ( s h o r t h a n d ) s t y l e of p a i n t i n g (fig. 15).
Compendiario p a i n t i n g — e x e c u t e d i n a l i m i t e d palette,
o f t e n o n wares w i t h p u r e w h i t e g r o u n d s ( c a l l e d bianchi)—
also e n a b l e d w o r k s h o p s t o t u r n o u t large n u m b e r s of
finished pieces q u i c k l y a n d e f f i c i e n t l y i n order t o m e e t
t h e d e m a n d s of a n e x p a n d i n g m a r k e t . I n San Casiano
o n a t r i p t h r o u g h T u s c a n y i n 15 8 1 , M i c h e l de M o n t a i g n e
o b s e r v e d t h a t these w h i t e wares "are l i k e p o r c e l a i n , t h e y
are so w h i t e a n d c l e a n . Indeed, t h e y are so r e f i n e d a n d
s u c h a b a r g a i n t h a t t h e y s e e m b e t t e r s u i t e d for t a b l e w a r e
t h a n t h e F r e n c h wares of p e w t e r , e s p e c i a l l y t h o s e served
i n h o t e l s , w h i c h are r e a l l y filthy/'21
 taste, a n d splendor. I n d e s c r i b i n g N i c c o l o N i c c o l i , t h e
wealthy fifteenth-century h u m a n i s t a n d c o l l e c t o r of art,
Vespasiano da B i s t i c c i w r i t e s : " T h e r e w a s n o h o u s e i n
F l o r e n c e t h a t w a s m o r e a d o r n e d t h a n h i s or w h e r e t h e r e
w e r e m o r e r e f i n e d t h i n g s t h a n i n h i s , so t h a t w h o e v e r
w e n t there, w h a t e v e r h i s i n t e r e s t s , f o u n d a n infinite
n u m b e r of w o r t h y t h i n g s . " 2 3

A l t h o u g h m u c h of t h e m a i o l i c a t h a t has s u r v i v e d i n ­
t a c t consists of t h e s p l e n d i d i t e m s — " w o r t h y t h i n g s " —
t h a t w e r e c a r e f u l l y k e p t a n d d i s p l a y e d , o t h e r , less l u x u ­
r i o u s pieces t h a t have e n d u r e d h e l p i l l u m i n a t e n o t o n l y
t h e vessels 7
s i g n i f i c a n c e b u t also t h e s o c i a l p r a c t i c e s
w i t h w h i c h t h e y w e r e associated. T h e s t u d y of m a i o l i c a ,
a n d of t h e m i n o r arts i n general, affords t h e o p p o r t u n i t y
to understand b e t t e r t h e d a i l y l i f e of v a r i o u s s o c i a l
classes, since t h e objects w e r e n o t d e s t i n e d s o l e l y for use
by c o u r t l y patrons and the C h u r c h .
16 Cipriano Piccolpasso. Folio 11 from Li tie libri dell'arte del vasaio O n e gets a n idea of t h e r o l e of c o u r t s h i p , m a t r i m o n y ,
(1557). London, Victoria and Albert Museum. The various parts of
a n d c h i l d b e a r i n g — a n d y o u t h , beauty, h o s p i t a l i t y , a n d
a parturition set.
d e c o r u m — i n Renaissance l i f e w h e n one considers t h e
o f t e n elaborate m a i o l i c a f o r m s m a d e t o serve these s o c i a l
p r a c t i c e s a n d h o n o r these ideals. Bella donna (beautiful
W h y w a s t h i s c e r a m i c a r t so p o p u l a r a n d so h i g h l y lady) plates a n d so-called coppe amatorie (love cups)
d e v e l o p e d i n Renaissance I t a l y ? I t m i g h t w e l l be t r u e w e r e o f t e n d e c o r a t e d w i t h c l a s s i c i z e d b u s t s of b e a u t i f u l
t h a t e a t i n g off of glazed c e r a m i c s was m o r e p a l a t a b l e w o m e n or h e r o i c m e n or w i t h a lover's p o r t r a i t ac­
t h a n e a t i n g off of w o o d or p e w t e r . Y e t t h e q u e s t i o n re­ c o m p a n i e d b y a n a m e or l o v e m o t t o ; piatti da ballata
m a i n s : W h y is i t t h a t , i n t h e Renaissance, b e a u t i f u l ( p a r t y plates) w e r e used t o offer sweets t o houseguests;
t h i n g s — t h a t is, objects m a d e v a l u a b l e b y t h e i r crafts­ m a i o l i c a flasks, ewers, hnfrescatoi (coolers), a n d basins
manship rather t h a n b y their i n t r i n s i c worth—appear h e l d s c e n t e d w a t e r offered t o guests t o w a s h t h e i r h a n d s
for t h e f i r s t t i m e so p e r v a s i v e l y a n d i n s u c h numbers? a n d c o o l e d w i n e glasses a n d b o t t l e s ; a n d scodelle da
Richard G o l d t h w a i t e , a p r o m i n e n t scholar outside the parto w e r e vessels u s e d b y a n d g i v e n t o p r e g n a n t w o m e n
r a n k s of a r t h i s t o r y , believes t h a t t h e Renaissance c a n be or n e w m o t h e r s (fig. 16). T h e s e c o n f i n e m e n t dishes,
d i s t i n g u i s h e d f r o m p r e v i o u s p e r i o d s b y a great n e w de­ o f t e n used during the period i m m e d i a t e l y following
m a n d for secular a r c h i t e c t u r e , c o m p r i s i n g n o t o n l y c i v i c childbirth, could comprise various components—bowls,
m o n u m e n t s b u t also p r i v a t e residences. These struc­ a saltcellar, a trencher, sometimes a n eggcup, a n d a
t u r e s w e r e n o w g a t h e r e d i n u r b a n centers r a t h e r t h a n c o v e r — p i e c e d t o g e t h e r i n t h e shape of a vase. I n these
i n a c o u n t r y s i d e c o n t r o l l e d b y f e u d a l i s m . O n e r e s u l t of dishes w o m e n w o u l d be served specials foods d u r i n g
t h i s n e w c o n s t r u c t i o n w a s t h a t " f u r n i s h i n g s of e v e r y pregnancy and p a r t u r i t i o n .
k i n d , f r o m p o t t e r y a n d beds t o p a i n t i n g s a n d frescoes, I n a d d i t i o n t o i t s d o m e s t i c use, m a i o l i c a w a s also
p r o l i f e r a t e d t o fill u p i n t e r i o r s p a c e s / 722
T h i s n e w need c o m m i s s i o n e d b y a n d p r e s e n t e d as p r i z e d gifts t o t h e
for objects not only redefined spending habits but aristocracy. M a r c h e s a Isabella d Este, 7
Pope J u l i u s I I ,
also c h a n g e d t h e w a y t h e u p p e r classes c l a i m e d t h e i r Pope Leo X , G r a n d D u k e C o s i m o I de 7
Medici, Duke
place i n society, t h a t is, v i a a d i s p l a y of e r u d i t i o n , G u i d o b a l d o da M o n t e f e l t r o , a n d D u k e Francesco M a r i a

Introduction 11
d e l l a Rovere a l l c o m m i s s i o n e d w o r k s b y t h e f o r e m o s t
m a i o l i c a a r t i s t s of t h e i r t i m e . T h e m a i o l i c a v o g u e s o o n
spread t o o t h e r c o u n t r i e s t h r o u g h gifts a n d f o r e i g n c o m ­
m i s s i o n s ; t h e h o u s e h o l d s of A n d r e a s I m h o f i n N u r e m ­
berg a n d C o n s t a b l e A n n e de M o n t m o r e n c y i n Franc e
i n c l u d e d pieces of I t a l i a n m a i o l i c a . 2 4
Indeed, t h e M u ­
seum's t r i l o b e d b a s i n (no. 35) m a y o r i g i n a t e f r o m a d u c a l
collection i n Urbino. A l t h o u g h unable t o afford the
m o s t r e f i n e d pieces b y t h e m o s t sought-after ceramists,
f a m i l i e s of lesser f a m e b u t of a c e r t a i n affluence als o
commissioned and collected maiolica. Three of the
M u s e u m ' s m a i o l i c a objects (nos. n , 2 5 - 2 6 ) w e r e e i t h e r
o r d e r e d b y or g i v e n t o t h e w e l l - t o - d o f a m i l i e s w h o s e
a r m s t h e y bear.
A l s o of n o b l e h e r i t a g e is t h e M u s e u m ' s sixteenth-
c e n t u r y p o r c e l a i n flask m a d e i n t h e g r a n d - d u c a l f a c t o r y
f o u n d e d b y Francesco I de' M e d i c i , (no. 36). T h i s r e m a r k ­
able object is a p a r t i c u l a r l y f i n e e x a m p l e of t h i s rare p r o ­
d u c t i o n — t h e f i r s t of i t s k i n d i n t h e W e s t — a n d is t h e
v e r y i t e m t h a t set i n m o t i o n t h e r e v i v a l of i n t e r e s t i n
these objects i n t h e n i n e t e e n t h c e n t u r y after several cen ­
turies of oblivion. Named for a type of "little
p i g " - s h a p e d [porcellus i n L a t i n ) s h e l l , p o r c e l a i n is dis ­
t i n g u i s h e d f r o m e a r t h e n w a r e b y t h e v e r y q u a l i t i e s of t h e
s h e l l after w h i c h i t w a s n a m e d : i t is t r a n s l u c e n t , s m o o t h ,
w h i t e , and hard. T h e m o r e porous earthenware requires
a v i t r e o u s glaze surface t o be w a t e r t i g h t , w h e r e a s porce ­
l a i n (and t o a c e r t a i n degree stoneware) a c t u a l l y v i t r i f i e s
w h e n f i r e d at h i g h t e m p e r a t u r e s . P o r c e l a i n glaze a n d p i g ­
m e n t d e c o r a t i o n are e n t i r e l y d e c o r a t i v e , w i t h n o r e a l
practical function.
M e d i c i p o r c e l a i n as w e l l as t h e F r e n c h v e r s i o n s m a d e
17 Figure of Beltrame di Milano. Meissen manufactory, ca. 1720. Hard-
at S a i n t C l o u d a n d R o u e n i n t h e s e v e n t e e n t h century paste porcelain, H: 16.5 cm (6 Vi in.). Los Angeles, J. Paul Getty Museum,
w e r e of a t y p e c a l l e d soft paste, w h i c h served as a s u b s t i ­ 86.DE.542.
t u t e for t r u e , or hard-paste p o r c e l a i n before t h e secret o f
hard-paste m a n u f a c t u r e w a s d i s c o v e r e d i n t h e West. T h i s
secret e n t a i l e d m i x i n g k a o l i n ( f o u n d i n a l i m i t e d n u m b e r
of deposits w o r l d w i d e ) w i t h a feldspathic rock that,
w h e n f i r e d at a h i g h t e m p e r a t u r e ( a r o u n d 1300 degree s
centigrade), fuses i n t o a glassy m a t r i x . B y c o m p a r i s o n ,
soft paste is g e n e r a l l y m a d e of w h i t e c l a y m i x e d w i t h
g r o u n d glass a n d t h e n f i r e d at a l o w e r t e m p e r a t u r e . A l ­
t h o u g h porcelaneous ( t h a t is, v i t r e o u s or glassy), sof t

12 Introduction
paste is, i n d e e d , less h a r d t h a n t r u e p o r c e l a i n ( a l t h o u g h
t h e t e r m s hard a n d soft refer, i n fact, t o t h e h i g h e r or
l o w e r f i r i n g t e m p e r a t u r e s ) . W i t h i t s o w n q u a l i t i e s of
paste a n d p i g m e n t , soft paste c o n t i n u e d t o be i n f a s h i o n
e v e n after h a r d paste w a s s u c c e s s f u l l y m a n u f a c t u r e d .
I n Europe, hard-paste p o r c e l a i n was f i r s t d e v e l o p e d
at t h e G e r m a n M e i s s e n f a c t o r y i n t h e e a r l y years of t h e
e i g h t e e n t h c e n t u r y . A s i n t h e d e v e l o p m e n t of m a i o l i c a
l u s t e r , t h e r o l e of a l c h e m i s t s w a s a c e n t r a l one. Since t h e
M i d d l e Ages t h e desire h a d b e e n s t r o n g t o f i n d t h e " p h i ­
losopher's s t o n e " : t h a t a n c i e n t " m e d i c i n e " for base m e t ­
als that would transmute them into gold, thereby
l e a d i n g t o t h e d i s c o v e r y of a m e d i c i n e t h a t w o u l d t r e a t
t h e m a l a d i e s of m a n . A t t h e t u r n of t h e e i g h t e e n t h cen­
t u r y Johann B o t t g e r ( 1 6 8 2 - 1 7 1 9 ) , a n apothecary's ap­
p r e n t i c e i n Saxony, c l a i m e d t h a t h e c o u l d create g o l d b y
t r a n s m u t a t i o n . F r e d e r i c k I , t h e f i r s t k i n g of Prussia, ar­
rested B o t t g e r a n d o r d e r e d h i m t o do j u s t t h a t . A u g u s t u s
t h e Strong, k i n g of P o l a n d a n d e l e c t o r of Saxony, i n t e r ­
ceded, b r i n g i n g B o t t g e r t o D r e s d e n so t h a t he c o u l d c o n ­
t i n u e his experiments there. A l t h o u g h the philosopher's
stone eluded Bottger, his experiments w i t h the p h y s i c i s t
and m a t h e m a t i c i a n Ehrenfried Walter v o n Tschirnhaus
( 1 6 5 1 - 1 7 0 8 ) l e d t o t h e c r e a t i o n of Europe's f i r s t w h i t e
t r u e p o r c e l a i n a r o u n d 1710 (fig. 17). T w o c r a f t s m e n e m i ­
g r a t e d f r o m M e i s s e n t o V i e n n a and, w i t h t h e h e l p of
D u t c h m a n C l a u d i u s I n n o c e n t i u s d u Paquier (d. 1751),
succeeded i n p r o d u c i n g hard-paste p o r c e l a i n at t h e V i ­
e n n a f a c t o r y b y 1719.
T h e first I t a l i a n w o r k s h o p to produce this elusive
m a t e r i a l was e s t a b l i s h e d b y Francesco and Giuseppe
V e z z i i n V e n i c e i n 1720; i t l a s t e d o n l y seven years. T r u e
p o r c e l a i n was t h e n p r o d u c e d i n France a r o u n d m i d -
c e n t u r y and i n England s l i g h t l y later. F o l l o w i n g the
V e z z i w o r k s h o p i n V e n i c e was t h e C o z z i factory, w h o s e
o w n e r , G e m i n i a n o C o z z i , m a d e use of lessons l e a r n e d
f r o m o t h e r factories (he h a d b e e n a p a r t n e r i n t h e M e i s ­
sen-based H e w e l c k e f a c t o r y d u r i n g i t s b r i e f t e n u r e i n
V e n i c e f r o m 1758 t o 1763), e v e n l u r i n g c r a f t s m e n a w a y
f r o m r i v a l enterprises. E l s e w h e r e i n I t a l y , t h e f a c t o r y
e s t a b l i s h e d b y M a r q u i s C a r l o G i n o r i i n 1737 at D o c c i a
o u t s i d e F l o r e n c e has continued production, although
l e a v i n g G i n o r i h a n d s i n 1896, t o t h e p r e s e n t day.
A n o t h e r area of i n t e n s e c e r a m i c a c t i v i t y i n I t a l y was
the region under Bourbon control. I n the mid-fifteenth
c e n t u r y , s o u t h e r n I t a l y a n d S i c i l y w e r e u n i t e d i n t o one
s t a t e — t h e K i n g d o m of t h e T w o S i c i l i e s — u n d e r t h e Si­
c i l i a n r u l e r A l f o n s o V of A r a g o n . I n t h e l a t e 1730s t h e i n ­
fante D o n C a r l o s of t h e H o u s e of B o u r b o n b e c a m e k i n g
of these " T w o S i c i l i e s " (i.e., s o u t h e r n I t a l y , e s s e n t i a l l y
N a p l e s , a n d S i c i l y ) as C h a r l e s V I I , b e c o m i n g k i n g of
S p a i n as C h a r l e s I I I i n 1759 a n d t h e n l e a v i n g t h e c r o w n
of N a p l e s t o h i s son, F e r d i n a n d I . B o u r b o n c o n t r o l l a s t e d
u n t i l t h e u n i f i c a t i o n of I t a l y i n t h e m i d - n i n e t e e n t h cen­
t u r y , w h e n s o v e r e i g n t y passed t o t h e H o u s e of Savoy.
T h i s b r i e f a c c o u n t of I t a l i a n p o l i t i c a l c o m p l e x i t i e s is
r e l e v a n t t o t h e p r o d u c t i o n of I t a l i a n p o r c e l a i n since
C h a r l e s and, later, F e r d i n a n d w e r e b o t h i n t e r e s t e d i n p r o ­
m o t i n g cultural and economic development during their
reigns. I n 1743 C h a r l e s e s t a b l i s h e d a r o y a l f a c t o r y for
soft-paste p o r c e l a i n at C a p o d i m o n t e o u t s i d e N a p l e s . H e
b r o u g h t t h i s f a c t o r y w i t h h i m w h e n he a s s u m e d t h e
Spanish c r o w n , setting up the Buen Retiro factory out­
side M a d r i d i n 1760 a n d l e a v i n g h i s successor t o r e v i v e
N e a p o l i t a n p r o d u c t i o n i n 1 7 7 1 , w h e n t h e Real Fabbrica
Ferdinandea was f o u n d e d .
A r o u n d t h e m i d d l e of t h e e i g h t e e n t h c e n t u r y , E n ­
g l i s h p o t t e r s f r o m Staffordshire d e v e l o p e d a f i n e e a r t h e n ­
w a r e w i t h a c r e a m - c o l o r e d b o d y a n d l e a d glaze that
offered a s u b s t i t u t e for t h e m o r e expensive p o r c e l a i n .
C r e a m w a r e , also k n o w n as Queen's w a r e after t h e E n ­
g l i s h q u e e n C h a r l o t t e , created t h i n , durable, a n d l i g h t -
c o l o r e d c e r a m i c s t h a t b e c a m e t h e s p e c i a l t y of Josiah
W e d g w o o d ' s f a c t o r y i n t h e second h a l f of t h e c e n t u r y .
T h e p o p u l a r i t y of t h i s w a r e — w h i c h was c a l l e d faience
fine i n France a n d terraglia i n I t a l y — d r o v e o u t of t h e
m a r k e t a n u m b e r of t i n - g l a z e d e a r t h e n w a r e factories a n d
e v e n t h r e a t e n e d p o r c e l a i n ones. H o w e v e r , l e d b y t h e
G e r m a n M e i s s e n a n d t h e F r e n c h Sevres m a n u f a c t o r i e s ,
p o r c e l a i n p r o d u c t i o n c o n t i n u e d t o do w e l l i n t o t h e n i n e ­
t e e n t h c e n t u r y , w i t h a s l i g h t l y less e x p e n s i v e v e r s i o n ,
bone china, b e c o m i n g popular i n England and A m e r i c a .
A f t e r t h e e i g h t e e n t h c e n t u r y , I t a l i a n p o r c e l a i n was p r o ­
duced i n Naples, Doccia, and elsewhere.
W. B. H o n e y , f o r m e r keeper of t h e D e p a r t m e n t of
C e r a m i c s at t h e V i c t o r i a a n d A l b e r t M u s e u m , w r o t e i n
Introduction 13
 18
Giovanni Battista Quadrone.
Vergognosa (detail), 1875. O i l on
panel, 26.5 x 26.3 cm (10/4 x i o / s in.).
3

Turin, Galleria Civica d'Arte Moderna

e Contemporanea, Bequest of Antonio
Abrate, 1926, inv. 991. The artist's
studio i n this painting is bedecked
with a variety of objects. On the
cabinet above the nude model is a
late sixteenth-century Urbino vase.
It would have been prized by a nine­
teenth-century collector as a romantic
evocation of another time and place.

t h e 1950s: " T h e n e g l e c t of I t a l i a n p o r c e l a i n b y s t u d e n t s C l a i r e Le C o r b e i l l e r , L e o n a r d o G i n o r i - L i s c i , A l e s s a n d r a
of a r t h i s t o r y i n v i e w of t h e i m p o r t a n c e of t h e w a r e s i n M o t t o l a M o l f i n o , a n d A n g e l a C a r o l a - P e r r o t t i — m u c h re­
t h e e v o l u t i o n of E u r o p e a n p o r c e l a i n is a piece of i r o n y . m a i n s t o be e x p l o r e d a n d u n d e r s t o o d i n t h e f i e l d . T h e
N o s t u d y a d e q u a t e t o t h e i m p o r t a n c e of t h e wares has h e g e m o n y of F r e n c h a n d G e r m a n p o r c e l a i n s seems t o
ever b e e n p u b l i s h e d , a n d a f u l l s u r v e y has l o n g b e e n have h i n d e r e d e x p l o r a t i o n of t h e I t a l i a n v e r s i o n s .
overdue/ 7 2 5
T h i s s t a t e m e n t appears i n t h e f o r e w o r d t o B y c o n t r a s t , i n t h e f i e l d of m a i o l i c a one m i g h t c l a i m
one s u c h s u r v e y p u b l i s h e d i n 1954, t h a t of A r t h u r Lane, t h a t t h e f i r s t s u r v e y was p r e s e n t e d i n t h e m i d - s i x t e e n t h
Honey's successor as keeper of t h e Department of c e n t u r y b y C i p r i a n o Piccolpasso i n h i s t r e a t i s e / tie
C e r a m i c s . A l t h o u g h H o n e y passes over t h e w o r k done b y libii delVaite del vasaio that includes a section i n w h i c h
N i n o B r a b a n t i n i and M o r a z z o n i between the wars, his t y p o l o g i e s a n d styles are c a t e g o r i z e d b y c e n t e r of p r o ­
c o m m e n t does r e v e a l t h e r e l a t i v e l a c k of i n t e r e s t i n t h e d u c t i o n . H o w e v e r , t h e f i r s t serious a n d s y s t e m a t i c at­
f i e l d . T h e year after Lane's b o o k , A l i c e W i l s o n F r o t h i n g - tempts i n Europe to identify and catalogue Italian
h a m , c u r a t o r at t h e H i s p a n i c S o c i e t y of N e w Y o r k , p u b ­ Renaissance m a i o l i c a began i n t h e e i g h t e e n t h c e n t u r y
l i s h e d h e r s t u d y of p r o d u c t i o n u n d e r C h a r l e s I I I . I n i 9 6 0 w h e n G i a m b a t t i s t a Passeri p u b l i s h e d h i s Istoiia delle
a basic t w o - v o l u m e s u r v e y appeared, b e g u n b y t h e M i ­ pittuie in majolica fatte in Pesaio. By the late nine­
lanese professor G i u s e p p e M o r a z z o n i a n d f i n i s h e d at teenth and early t w e n t i e t h centuries collectors and
M o r a z z o n i ' s d e a t h b y a n o t h e r M i l a n e s e c e r a m i c s scholar, a r t h i s t o r i a n s w i t h a n i n t e r e s t i n m a i o l i c a — s u c h as
Saul Levy. A l t h o u g h several f i n e s t u d i e s of I t a l i a n porce­ C . D . E. F o r t n u m , A l f r e d D a r c e l , O t t o v o n Falke, B e r n a r d
l a i n , s o m e c o n c e n t r a t i n g o n specific centers, have ap­ Rackham, Gaetano Ballardini, Giuseppe Liverani, and
peared m o r e r e c e n t l y — s u c h as t h o s e b y Francesco Stazzi, H e n r y W a l l i s — b e g a n p r o d u c i n g c o l l e c t i o n catalogues

14 Introduction
as w e l l as b o o k s a n d a r t i c l e s o n t h e subject. M o r e re­
c e n t l y , t h e l i s t of E u r o p e a n p i o n e e r s i n m a i o l i c a s t u d i e s
i n c l u d e s Galeazzo C o r a , Paride B e r a r d i , C a r m e n Ra-
v a n e l l i G u i d o t t i , John M a l l e t , T i m o t h y W i l s o n , and
o t h e r s . O n e of t h e r i c h e s t sources for i n f o r m a t i o n re­
garding current m a i o l i c a research is the periodical
Faenza published by the M u s e o Internazionale delle
C e r a m i c h e t h a t h a d b e e n f o u n d e d b y B a l l a r d i n i i n 1908.
I n t h e U n i t e d States t h e f i e l d of m a i o l i c a s c h o l a r s h i p
is m o r e l i m i t e d . I n t h e l a t e n i n e t e e n t h c e n t u r y A r t h u r
B e c k w i t h p u b l i s h e d h i s Majolica and Fayence. This vol­
u m e was f o l l o w e d b y several catalogues of A m e r i c a n
c o l l e c t i o n s , i n c l u d i n g t h o s e b y Joan P r e n t i c e v o n E r d b e r g
a n d M a r v i n C . Ross o n t h e W a l t e r s A r t G a l l e r y ( n o w M u ­
seum), B a l t i m o r e ; B r u c e C o l e o n m i d w e s t e r n c o l l e c ­
tions; A n d r e w Ladis on southern collections,- Jorg
Rasmussen o n the Robert L e h m a n collection, M e t r o p o l ­
i t a n M u s e u m of A r t , N e w Y o r k ; W e n d y W a t s o n o n t h e
W i l l i a m A . C l a r k C o l l e c t i o n , C o r c o r a n G a l l e r y of A r t ,
Washington, D.C.; T i m o t h y W i l s o n on the N a t i o n a l
G a l l e r y of A r t , W a s h i n g t o n D . C . ; a n d Jessie M c N a b o n
t h e Taft M u s e u m , C i n c i n n a t i .
T h e J. P a u l G e t t y M u s e u m ' s c o l l e c t i o n of I t a l i a n ce­
r a m i c s is c o m p o s e d of objects of o u t s t a n d i n g q u a l i t y a n d
i n f i n e c o n d i t i o n . I t is n o s u r p r i s e t h a t o n e c a n trace t h e
p r o v e n a n c e of a great n u m b e r of these w o r k s t o i l l u s ­
trious nineteenth- and t w e n t i e t h - c e n t u r y collectors,
s u c h as C h a r l e s D a m i r o n of Lyons,- A l f r e d P r i n g s h e i m of
M u n i c h ; W i l h e l m v o n Bode of Berlin,- A n d r e w F o u n t a i n e
of N o r f o l k (fig. 19); A l e s s a n d r o C a s t e l l a n i of R o m e ;
J. P i e r p o n t M o r g a n of N e w York,- a n d Baroness M a r i e -
H e l e n e a n d Barons G u y E d o u a r d A l p h o n s e a n d A l p h o n s e
M a y e r of Paris, as w e l l as L o r d N a t h a n i e l C h a r l e s Jacob
R o t h s c h i l d of L o n d o n .
T h e present v o l u m e is a r e w o r k i n g of t h e M u s e u m ' s
1988 Italian Maiolica catalogue, c h a n g e d n o t o n l y t o
c o r r e c t a n d u p d a t e i n f o r m a t i o n r e s u l t i n g f r o m t h e ensu­
i n g d o z e n years of research b u t also t o i n c l u d e t h e o t h e r
I t a l i a n c e r a m i c objects i n t h e G e t t y M u s e u m ' s c o l l e c t i o n
t h a t h a p p e n n o t t o be m a d e of m a i o l i c a . O f t h e f o r t y - o n e
e n t r i e s ( i n c l u d i n g f o u r pairs of objects), t h i r t y - s i x are ob­
jects m a d e of m a i o l i c a ( t i n - g l a z e d e a r t h e n w a r e ) , o n e is
m a d e of t e r r a - c o t t a ( e a r t h e n w a r e b a k e d b u t n o t t i n -
glazed), a n o t h e r one is m a d e of t e r r a g l i a ( w h i t e - b o d i e d
e a r t h e n w a r e ) , a n d t h r e e are m a d e of p o r c e l a i n : one soft-
paste ( w i t h o u t k a o l i n ) , one h y b r i d soft-paste ( w i t h k a o l i n
b u t l o w fired), a n d o n e hard-paste ( w i t h k a o l i n ) . T h e s e
objects span a l m o s t f o u r h u n d r e d years, f r o m t h e e a r l y
fifteenth c e n t u r y t o t h e e n d of t h e e i g h t e e n t h , and
so d e m o n s t r a t e the changing fashions and t e c h n i c a l
developments i n Italian ceramic production during that
p e r i o d . T w o e s s e n t i a l l y s c u l p t u r a l c e r a m i c objects (nos.

19 Composite photograph of the Andrew Fountaine maiolica collection, as displayed in the China Room at Narford Hall, Norfolk, ca. 1884.
Photo: Courtesy of Christie's.

Introduction 15
28, 4 ) have b e e n i n c l u d e d here a n d c a n be cross-refer­
1
appearance t h a t w e have n o t y e t l e a r n t v i s u a l c r i t e r i a t o
enced t o t h e i r m o r e c o m p l e t e e n t r i e s i n t h e M u s e u m ' s tell them apart." 2 7
L a c k i n g signatures and d o c u m e n t a r y
Italian and Spanish Sculpture (2002). T h e a l e r t reader i n f o r m a t i o n , stylistic groupings established by connois-
w i l l also n o t i c e t h a t t h e f i r s t t w o objects i n t h e c a t a l o g u e s e u r s h i p have b e e n t h e o n l y t o o l s a v a i l a b l e t o d i s t i n ­
are n o t I t a l i a n at a l l b u t S p a n i s h . T h e i n f l u e n c e of Span­ g u i s h t h e y i e l d of d i f f e r e n t centers of p r o d u c t i o n . N o w ,
i s h p o t t e r y , as d e v e l o p e d b y c r a f t s m e n f r o m t h e I s l a m i c a r c h a e o m e t r y — t h e s t u d y of a r t h i s t o r y a n d a r c h a e o l o g y
w o r l d , o n I t a l i a n postclassical ceramics was significant, u s i n g p h y s i c a l a n d b i o l o g i c a l sciences, i n t h i s case, t h e
a n d i t is o p p o r t u n e a n d r e v e a l i n g t o i l l u s t r a t e t h a t c h e m i c a l a n a l y s i s of c l a y s — c a n be added t o t h e t o o l s
i n f l u e n c e here. at t h e h i s t o r i a n ' s d i s p o s a l . 28
H o w e v e r , as i n o t h e r cases,
For t h e past f i f t e e n years or so t h e B r i t i s h M u s e u m n o s i n g l e m e t h o d of a n a l y s i s is t o t a l l y s u f f i c i e n t t o eval­
has b e e n i n v o l v e d i n t h r e e l i n k e d p r o j e c t s a t t e m p t i n g t o u a t e a n object. For t h e m o s t c o m p l e t e u n d e r s t a n d i n g , a
e s t a b l i s h t h e g e o g r a p h i c a l sources of d i f f e r e n t groups of c o n c e r t of analyses m u s t be e m p l o y e d : s t y l i s t i c a n d doc­
tin-glazed earthenware u s i n g n e u t r o n a c t i v a t i o n analysis u m e n t a r y as w e l l as s c i e n t i f i c .
(NAA). 2 6
T h e t h r e e groups i n c l u d e H i s p a n o - M o r e s q u e
and other Spanish pottery, I t a l i a n m a i o l i c a , and N o r t h ­
ern European tin-glazed ceramics. These N A A investiga­
tions have been remarkably successful. Using as
b e n c h m a r k s objects w h o s e o r i g i n s are k n o w n , t h e a n a l y ­
sis has b e e n able t o d i s t i n g u i s h b e t w e e n d i s c r e t e groups
of objects, e s t a b l i s h i n g i n c o n t r o v e r t i b l e e v i d e n c e t h a t
t h e g r o u p s w e r e created i n d i f f e r e n t places (different
clays c o m e f r o m d i f f e r e n t g e o g r a p h i c a l settings). O f t h e
m a i o l i c a i t e m s i n t h e G e t t y c o l l e c t i o n w h o s e place of
origin had remained elusive, f o u r — n o s . 13-14, 17,
2 1 [ . 2 ] — w e r e c h o s e n for n e u t r o n a c t i v a t i o n a n a l y s i s o n
t h e g r o u n d s t h a t r e m o v i n g samples w o u l d n o t r i s k t h e
i n t e g r i t y of t h e pieces. T w o types of s t a t i s t i c a l a n a l y s i s
w e r e p e r f o r m e d o n t h e data o b t a i n e d f r o m t h e samples:
cluster analysis and d i s c r i m i n a n t analysis. I n i t i a l l y the
results confirmed that a l l were produced i n the Tus­
c a n y / U m b r i a r e g i o n s of c e n t r a l I t a l y . M o r e specifically,
w h e r e a s t h e c l u s t e r a n a l y s i s i n d i c a t e d t h a t nos. 13, 14,
a n d 2 1 d i s p l a y e d c h e m i c a l features associated w i t h c o m ­
parison pieces from Deruta, discriminant analysis
s h o w e d t h a t t h e s a m p l e s w e r e close t o M o n t e l u p o refer­
ence samples. I n t h i s case, s t y l i s t i c a s s o c i a t i o n s were
u s e d t o a t t r i b u t e t h e G e t t y pieces t o o n e of these t w o
centers. Results s h o w e d t h a t t h e clays used for nos. 13 a n d
14 are so s i m i l a r as t o s t r o n g l y suggest t h e y w e r e m a d e
f r o m t h e same center. B o t h c l u s t e r a n d d i s c r i m i n a n t
analyses of n o . 17 i n d i c a t e t h a t i t was m a d e i n M o n t e l u p o .
T i m o t h y W i l s o n a d m i t s t h a t pieces of e a r t h e n w a r e
from different areas "are sometimes so s i m i l a r in

16 Introduction
 Notes 24. Rasmussen 1984, 212-13, no. 142; Rasmussen 1989, 156-58, no. 91.
1. Maiolica specifically refers to tin-glazed earthenware dating from the 25. Lane 1954, vii.
Renaissance; majolica is an application of the original term to the color­ 26. See, for example, Hughes 1995, no. 3o Hughes et al. 1995, 7 7 - 8 1 ;
;

ful Renaissance-inspired wares of the nineteenth century championed Hughes and Gaimster 1999, 57-89.
by the Minton factory in England. 27. Wilson 1999, 8.
2. Caiger-Smith 1985, 127. Gaetano Ballardini (1922b, 60) reminds us, 28. In addition to neutron activation analysis (NAA), other analytical meth­
however, that by the mid-thirteenth century obra de mdlequa (alternate ods are now (or soon w i l l be) available to provenance clays. These in­
spellings include melica, melicha, maliqua, and malica), although cer­ clude electron microprobe analysis, proton induced X-ray emission
tainly referring to a place (Malaga), became a generic term for the pro­ (PIXE), proton induced gamma emission (PIGE), inductively coupled
cess (luster) much as the French term faience (from Faenza) was later plasma atomic emission spectrometry (ICP-AES), inductively coupled
applied to tin-glazed earthenware i n general. plasma mass spectrometry (ICP-MS), and laser ablation-icp (inductively
3. See, for example, Lightbown and Caiger-Smith 1980, 1: fols. coupled plasma), all of which have their own advantages and drawbacks.
46V, 47r, sor. Only a database of NAA information exists at present. To continue these
4. Caiger-Smith 1973, 54 n. 3. Because these t i n glazes could produce a promising archeometry studies, it w i l l be critical to compile an exten­
particularly white surface, they were crucial to the development and ap­ sive database for whichever method is ultimately determined to be the
peal of lusterware. Fired on the more common lead-based glazes, luster best, i.e., the most accurate, the least damaging, the most cost effective.
appears dull, whereas i t becomes fully brilliant when set off against a
stabler and purer white ground.
5. See Ragona 1999, 24-33; Ragona i n Cilia Platamone and Ragona 1995,
34-38, figs. 34-49,- Berti and Tongiorgi 1981.
6. Caiger-Smith 1973, 101.
7. Valeri 1986, 281.
8. See Biringuccio 15 40; Agricola 1556.
9. Lightbown and Caiger-Smith 1980, 1: fol. 64V.
10. Lightbown and Caiger-Smith 1980, 1: prologue.
11. Although once thought to depict oak leaves, the precise identification of
this foliate ornament has not been settled (Wallis 1903).
12. For more information on this decoration, see Conti et al. 1991.
13. So called after the decoration i n the ancient Roman ruins that had been
buried and so were called grottoes, grotesque embellishment is charac­
terized by fantastic and highly decorative combinations of animals and
humans (for two different approaches to grotesque embellishment on
maiolica, see nos. 33 and 35).
14. Cora 1973, 1: io8ff.
15. The Italian word for such a table service as well as for the sideboard on
which i t would have been displayed, signified the owner's monetary
worth, or "credit," hence credenza.
16. Mallet 1998, 35; Crepin-Leblond 1995, no. 31.
17. Spallanzani 1994, 129 n. 19; Palvarini 1987, 211 n. 2 (cited in
Mallet 1998, 35).
18. Bellini and Conti 1964, 27.
19. Conti 1976, 219. Conti believes that these Eastern jars were originally
made from sections of bamboo; this may help explain the origin of the
ceramic albarello shape.
20. From the Italian crespa, meaning wrinkle or ripple.
21. Montaigne [1774] 195 5, 21 5.
22. Goldthwaite 1987, 153-75. For other enlightening publications by
this scholar relevant to maiolica studies, see "The Florentine Palace
as Domestic Architecture," American Historial Review 77 (1972):
977-1012; "The Economic and Social World of Italian Renais­
sance Maiolica," Renaissance Quarterly 42 (1989): 1-32; The Build­
ing of Renaissance Florence: An Economic and Social History
(Baltimore, 1982); Wealth and the Demand for Art in Italy, 1300-
1600 (Baltimore, 1993).
23. As cited in Goldthwaite 1987, 172. OVERLEAF: Plate w i t h the Abduction of Helen (detail). See no. 29.

Introduction I ~f
CATALOGUE
 1

Tile Floor MARKS A N D I N S C R I P T I O N S EXHIBITIONS

On the scrolls across the hexagonal tiles, spera-
tens, ne oblyer-, on the square tiles, a coat of arms
Valencia region, probably Manises
of barry of six argent and gules.
Beyond Nobility: Art for the Private Citizen in the
Early Renaissance, Allentown Art Museum, Sep­
tember 28, 1980-January 4, 1 9 8 1 Italian Renais­
;

(Spain) sance Maiolica from the William A. Clark

ca. 1425-50 CONDITION
Collection, Los Angeles County Museum of Art,
Surface chips; numerous abraded areas. March 5-May 17, 1987.
Tin-glazed earthenware
Overall: 110 x 220 c m (42% x 8 5 % i n . ' PROVENANCE BIBLIOGRAPHY

Square tiles: 11.2 to 12.4 c m Luigi Grassi, Florence, before 1920, sold to Berendsen 1967, 76; Callmann 1980, n 5 - 1 6 ;
R. Blumka in i 9 6 0 ; [Ruth Blumka, New York, GettyMusJ 13 (1985): 239, no. 15 i Hess 1988A,
(4 /i6 to 4 % in.)
7 ;

sold to the J. Paul Getty Museum, 1984]. no. i ; Summary Catalogue 2 0 0 1 , no. 382.
Hexagonal tiles: 10.8 to 11.1 x 21 to
21.8 c m (4V4 to 4 % x8 A l
to 8 /i6 in.)
9

84.DE.747

T H I S P A V E M E N T c o n s i s t s of i n t e r l i n k e d o c t a g o n a l u n i t s
[alfardones) c o m p o s e d of square t i l e s (rajoles) w i t h a coat
of a r m s , s u r r o u n d e d b y h e x a g o n a l t i l e s [alfardones) with
a m o t t o o n s c r o l l s . B o t h t y p e s of t i l e s are p a i n t e d w i t h
c o b a l t b l u e foliage. T h e triangular fills [rigoletes de
puntes, n o t illustrated) m a y have been cut f r o m o l d tiles
at a l a t e r date. T h e coat of a r m s (barry of s i x a r g e n t a n d
gules) is p r o b a b l y T u s c a n , b u t t h e f a m i l y t o w h i c h i t be­
l o n g s has y e t t o be i d e n t i f i e d (fig. 1 A ) .
On t h e s c r o l l s , t h e m o t t o e s speratens a n d ne oblyer
("have h o p e " a n d " d o n o t f o r g e t " ) , p o s s i b l y r e l i g i o u s or
f a m i l y devices, are w r i t t e n i n G o t h i c s c r i p t . T h e s e m o t ­
toes m a y be d e r i v e d f r o m a n O l d C a t a l a n or O l d F r e n c h
dialect. 1

T h e floor's o c t a g o n a l u n i t s c o m p o s e d of square a n d
h e x a g o n a l t i l e s are c h a r a c t e r i s t i c of S p a n i s h p a v e m e n t s ,
a n d t h e f o l i a t e p a t t e r n is t y p i c a l of t h e c e r a m i c c e n t e r s of
M a n i s e s , Paterna, a n d V a l e n c i a . A l t h o u g h t h e design of
these t i l e s is c e r t a i n l y S p a n i s h i n o r i g i n , i t is n o t k n o w n
w h e t h e r t h e f l o o r w a s ever i n s t a l l e d i n Spain. V a l e n c i a n
1A Plate with the arms of the Bonacossi of Ferrara. Valencia, ca. 1450.
p o t t e r s p r o d u c e d large q u a n t i t i e s of s i m i l a r l y i n s c r i b e d Tin-glazed earthenware, Diam: 27 cm (io /s in.). Courtesy of the
5

t i l e s , as w e l l as c e r a m i c p l a t e s a n d vessels for e x p o r t t o Hispanic Society of America. Given the limited palette available, it is
Italy i n the fifteenth century. 2 difficult to securely identify simple coats of arms depicted on maiolica:
a light-colored bar, for example, might be painted in any available light-
M a t c h i n g h e x a g o n a l t i l e s i n s c r i b e d speratens are i n
colored pigment. However, the apparent Bonacossi interest in Valencian
the Kunstgewerbemuseum, B e r l i n (inv. 01,43c), and the
3
ceramics makes it at least possible that their coat of arms is the one on
M u s e e N a t i o n a l de C e r a m i q u e , Sevres ( i n v . M N C 8447), the Getty tiles.
a n d one i n s c r i b e d ne oblyer was f o r m e r l y i n the Robert
Forrer c o l l e c t i o n , Z u r i c h . A m a t c h i n g square t i l e w i t h
4

20
 IB Jaume Huguet (Spanish, ca. 1415-d. before 1492). Santa Tecla and San Sebastian with a Donor, mid-fifteenth
century. Barcelona, Museus de Arte de Barcelona, Museu de la Catedral. The floor depicted in this Spanish retable,
contemporary with the Getty tiles, is similar i n conception and design to the Museum's tile floor.

22 Tile Floor
s h i e l d is i n t h e M u s e u m B o i j m a n s - V a n B e u n i n g e n , R o t ­
t e r d a m . S i m i l a r , b u t n o t i d e n t i c a l , i n d i v i d u a l t i l e s are i n
5

t h e M u s e o N a c i o n a l de C e r a m i c a , V a l e n c i a ; t h e Victoria
and A l b e r t M u s e u m , L o n d o n (inv. 607-610, 1893); 6
the
Museo Arqueologico Nacional, Madrid; the Museu
d ' A r t s Industrials, Barcelona; the H i s p a n i c S o c i e t y of
A m e r i c a , N e w Y o r k ( i n v . E712); t h e A r t I n s t i t u t e of C h i ­
cago ( i n v . 1984.923); a n d the Museo Correr, Venice. 7

C o m p a r a b l e t i l e s can also be seen i n t h e p a n e l p a i n t i n g s

of Jaume H u g u e t (fig. I B ) , Pedro A l e m a n y , a n d Gabriel
Guardia, Spanish artists active f r o m the m i d - f i f t e e n t h to
the early sixteenth century. 8

Notes
1. Corti suggested this derivation in correspondence with the author, Janu­
ary 25, 1985.
2. Hausmann 1972, 50, no. 32. Frothingham (1953, 92) mentions Fer-
rarese notarial records of 1442 listing numerous Valencian ceramics
that had been carried to Italy on Majorcan ships.
3. Hausmann 1972, 50, no. 32.
4. Forrer 1901, pi. 38.
5. Berendsen 1967, facing 7 6.
6. Ray 2000, 316-17, nos. 617-20, colorpl. 70.
7. For an examination of these Museo Correr tiles, see Gonzalez Marti
1948, 91-92, pi. 22a; Concina 1975, 80-82. Produced in Valencia for
the church of Sant' Elena, Venice, these tiles are further evidence of the
active artistic exchange between Italy and Spain in the fifteenth cen­
tury. The hexagonal azulejos, inscribed Justiniano, and the square units,
decorated with a crowned eagle, may have been ordered by Francesco
Giustinian to embellish the tomb of his father, Giovanni, in Sant' Elena. ic This early twentieth-century photograph shows how the tiles were
In light of archival documents, Concina (1975, 82) has suggested dating made to fit into a small room i n a Tuscan villa, a previous (but not the
these tiles soon after 1460. original) setting. Later tiles fill in the gap between the perimeter of the
8. For examples, see Ainaud de Lasarte 1955, figs. 38, 48; Mayer 1922, pi. tile floor and the walls of the room. Photo courtesy of Ruth Blumka.
73; Post 1938, 7, pt. 1: fig. 116.

Tile Floor 23
 2

Hispano-Moresque Basin MARKS A N D I N S C R I P T I O N S EXHIBITIONS

On the obverse, in the center, IHS. Italian Renaissance Maiolica from the William A.
Clark Collection, Los Angeles County Museum of
Valencia region, Manises (Spain) CONDITION
Art, March 5-May 17, 1987.
M i d - f i f t e e n t h century Some minor chips and glaze faults.
BIBLIOGRAPHY
Tin-glazed earthenware
PROVENANCE Conti 1973, pi. 8; "The Sale-Room," Apollo, no.
H : 10.8 c m (4V4 in.) [Leonardo Lapiccirella, Florence]; (sold, Christie's, 122 (1985): 405, no. 5; GettyMusJ 14 (1986): 252,
D i a m : 49.5 c m (19V2 i n . ) London, July 1, 1985, lot 270, to R. Zietz); no. 214; Hess 1988A, no. 2 Hess 1990A, i;
;

[Rainer Zietz, Ltd., London, sold to the J. Paul Musacchio 1999, 93, fig. 74; Museum Handbook
85.DE.441
Getty Museum, 1985]. 2001, 236; Summary Catalogue 2001, no. 383.

T H I S B A S I N ( c a l l e d a brasero) has a f l a t b o t t o m , n e a r l y (figs. 2 D - F ) . 8

v e r t i c a l sides s l o p i n g s l i g h t l y o u t w a r d , a n d a flat r i m .
T h e p a i n t e d d e c o r a t i o n is e x e c u t e d i n c o b a l t b l u e p i g ­
m e n t a n d copper r e d luster,- S p a n i s h M o o r s h a d m a s t e r e d
T h i s f o l i a t e m o t i f spread f r o m S p a i n t o
Italy and became popular o n I t a l i a n wares—especially i n
t h e area a r o u n d F l o r e n c e — t o w a r d t h e e n d of t h e cen­
t u r y . W o r k s d e c o r a t e d i n t h i s m a n n e r w e r e also f a v o r e d
9

the m e t a l l i c luster technique by the eleventh century, a n d c o l l e c t e d i n France, w h e r e t h i s leaf-spray m o t i f is re­

a n d b y 1415 M a l a g a n a n d M u r c i a n p o t t e r s h a d b r o u g h t ferred t o as feuillages pers (greenish b l u e foliage). T h e y
this technique to the Valencian region. 1
are i n c l u d e d i n i m p o r t a n t i n v e n t o r i e s s u c h as t h a t of
T h e c e n t e r of t h e obverse is i n s c r i b e d IHS (Jesus K i n g Rene of A n j o u . 1 0

H o m i n u m Salvator). S a i n t B e r n a r d i n o of Siena, w h o d i e d M o r e s h a l l o w v e r s i o n s of t h i s t y p e of V a l e n c i a n d i s h
i n 1444, began i n 1425 t o h o l d u p t h i s m o n o g r a m sur­ m a y have b e e n u s e d as s e r v i n g dishes, whereas the
r o u n d e d b y rays of l i g h t for v e n e r a t i o n at t h e e n d of h i s deeper v e r s i o n s m a y have f u n c t i o n e d as refreshment
s e r m o n s , a n d i t c a m e t o be associated w i t h t h e s a i n t a n d coolers a n d w a s h b a s i n s (fig. 2 G ) . T h e large scale, elabo­
h i s m i s s i o n a r y w o r k (fig. 2 C ) . T h e m o n o g r a m , c o m p l e t e rate d e c o r a t i o n , a n d e x c e l l e n t state of p r e s e r v a t i o n of t h e
w i t h r a d i a t i n g shafts of l i g h t , appears o n I t a l i a n c e r a m i c s M u s e u m ' s d i s h suggest t h a t i t w a s i n t e n d e d for display,
datable from 1425 t o after 1450, t h e date of Saint perhaps o n a credenza. S i m i l a r dishes w i t h leaf-spray
Bernardino's c a n o n i z a t i o n . T h e m o n o g r a m o n this m i d -
2
e m b e l l i s h m e n t and the Saint Bernardino monogram,
f i f t e e n t h - c e n t u r y S p a n i s h b a s i n p r o b a b l y reflects t h e i n ­ m a n y of w h i c h are basins a n d d i s p l a y c o n c e n t r i c bands
creased i n t e r e s t at t h a t t i m e i n t h e saint's teachings, o n t h e reverse, i n c l u d e t h o s e i n t h e K u n s t m u s e u m , D i i s -
w h i c h w e r e spread t h r o u g h h i s S p a n i s h d i s c i p l e , Fray seldorf 11
formerly i n the Bak collection, N e w Y o r k ; 1 2
for­
M a t e o de A g r i g e n t o . 3
m e r l y i n the Vieweg collection, Braunschweig; 1 3
i n the
T h e p i e c e is f u r t h e r e m b e l l i s h e d w i t h a r a d i a t i n g leaf M u s e e d u L o u v r e , Paris ( i n v . O A 1 2 2 3 - 2 4 , 4029, 4032); i n
p a t t e r n t h a t extends over t h e r i m a n d d o w n t h e sides of t h e M u s e e de C l u n y , Paris ( i n v . 2 4 7 1 , 2 7 5 3 ) ; 1 4
i n the
t h e exterior,- t h e reverse d i s p l a y s a l t e r n a t i n g w i d e a n d M u s e o N a z i o n a l e , Palazzo d e l B a r g e l l o , F l o r e n c e ; 15
for­
n a r r o w c o n c e n t r i c bands. T h e floral a n d f o l i a t e decora­ m e r l y i n t h e M . B o y c o l l e c t i o n , Paris,- 16
i n the Victoria
t i o n i n c l u d e s a t h r e e - p a r t leaf i n b l u e i d e n t i f i e d as a and A l b e r t M u s e u m , L o n d o n (inv. C.2046-1910); 17
for­
b r y o n y leaf [brionia, a v i n e of t h e g o u r d f a m i l y ) or
4
fleur- m e r l y i n t h e E m i l e G a i l l a r d c o l l e c t i o n , Paris,- 18
i n the
d e - l i s , a s m a l l flower i n b l u e w i t h a g o l d l u s t e r c e n t e r
5
H i s p a n i c S o c i e t y of A m e r i c a , N e w Y o r k , - 19
i n the Toledo
s o m e t i m e s i d e n t i f i e d as a daisy [floi de margahta), 6
and M u s e u m of A r t ; 2 0
i n t h e G o n z a l e z M a r t i c o l l e c t i o n , Va­
t e n d r i l s b e a r i n g h a t c h m a r k s i n l u s t e r i d e n t i f i e d as ferns lencia,- 21
f o r m e r l y i n t h e Francis W i l s o n M a r k c o l l e c t i o n ,
[helechos). 7
O n e f i n d s t h i s leaf-spray e m b e l l i s h m e n t i n P a l m a de M a l l o r c a a n d L o n d o n , - a n d i n t h e B r i t i s h M u ­
22

v a r i o u s c o n f i g u r a t i o n s o n H i s p a n o - M o r e s q u e w a r e s of seum, L o n d o n . 2 3

t h e second a n d t h i r d q u a r t e r s of t h e f i f t e e n t h century

24
2A Reverse.

26 Hispano-Moresque Basin
2B Profile of basin.

2C Taddeo Crivelli (Italian, fl. 145 i - d . by 1479)- Saint Bernardino

of Siena from the Gualenghi-d'Este Hours, ca. 1469 (detail).
Los Angeles, J. Paul Getty Museum, Ms. Ludwig IX 13, fol. 195v.

Hispano-Moresque Basin 2J
 2 E - F A Hispano-Moresque platter (top) and ewer and bowl (bottom) can be
seen in these details from The Last Supper.

2D Jaime Ferrer I . The Last Supper (detail). Solsona, Spain, M u s e u

Diocesa i Comarcal. T h i s disciple is s h o w n d r i n k i n g f r o m a
Hispano-Moresque b o w l .

28 Hispano-Moresque Basin
1. Lane 1946, 251-52.
2. See, for example, a drug jar i n the Museo Internationale delle Ce-
ramiche, Faenza, dated to the second quarter of the fifteenth century
(Conti et al. 1991, no. 16), and a plaque of the second half of the
fifteenth century (Ravanelli Guidotti 1998, fig. n ) .
3. De Arechaga Rodriguez-Pascual and Manglano Baldovi 1985 (cited i n
Ray 2000, 77).
4. See, for example, Frothingham 1936, 158; Frothingham 1951, 139;
Martinez Caviro 19 91, 158.
5. In contemporary Italian inventories, this decoration is referred to as
fiordalisi [fioralixi) normally translated as fleurs-de-lis but also fre­
quently used to identify small carnations (Spallanzani 1986, 164-70).
Indeed, since these inventories were concerned with listing works so
that they could be readily identified, it is possible that a common and
easily recognizable flower such as the carnation might have been used
to describe this decoration.
6. Montagut 1996, 68, no. 10.
7. Martinez Caviro 1991, 158.
8. Ray 2000, 73; Barber 1915, 34.
9. See, for example, Bojani, Ravanelli Guidotti, and Fanfani 1985,
nos. 4 6 7 - 7 1 . For a further discussion of the extent to which Spanish
ceramics might have influenced the appearance of fifteenth-century
Tuscan wares, see Alinari and Berti 1991, 47-5^; Valeri 1996, 128-32.
10. Husband and Hayward 1975, 53.
11. Dusseldorf 1962, 266, no. 892, fig. 104.
12. Sotheby's 1965, lot 2.
13. Lepke 1930, lot 147.
14. Montagut 1996, 68, no. 10.
15. Conti 1971 A, no. 517; Conti 1980, pi. 68.
16. Galerie Georges Petit 1905, lot 53.
17. Ray 2000, 76-77, no. i 6 o Ainaud de Lasarte 1952, 10: 68, fig. 155.
;

18. Gaillard 1904, 85, no. 406.

19. Frothingham 195 1, 136, 138-39, figs. 98-99.
20. Toledo 1962, 58.
21. Gonzalez Marti 1944-52, 1: 461, pi. 17, fig. 565.
22. Blaikie Murdoch 1922, 201, no. 5.
23. Godman 1901, 34, nos. 48-50, i l l . nos. 252, 254 on pi. XXXIX and i l l .
no. 394 on pi. XXV.

2G Paolo Uccello (Italian, 13 97-1475). The Birth of the Virgin (detail), ca.
1436. Prato, Prato cathedral. Photo: Alinari/Art Resource, New York.
Saint Anne is depicted washing her hands i n a basin—possibly made of
maiolica—that is comparable in size and shape to the Getty piece.

Hispano-Moresque Basin 29
 3

Green-Painted Jug MARKS A N D I N S C R I P T I O N S EXHIBITIONS

with a Bird None. None.

CONDITION BIBLIOGRAPHY
A chip i n the base; minor chips on the handle and GettyMusJ 13 (1985): 239-40, no. 155; Hess
Southern Tuscany or possibly
r i m three apparent chips around the central sec­
; 1988A, no. 3; Summary Catalogue 2001, no. 342.
n o r t h e r n Lazio tion are areas of the clay body on which deposits
Early fifteenth c e n t u r y of calcined lime or other impurities have expanded
and "popped out/' or exploded, during firing.
Tin-glazed earthenware
H : 25 c m ( 9 % in.) PROVENANCE

Private collection, the Netherlands,- [Rainer Zietz,

D i a m (at lip): 9.5 c m ( 3 % in.)
Ltd., London, sold to the J. Paul Getty Museum,
W (max.): 16.2 c m (6 /8 in.) 3

1984].
84.DE.95

F O R M E D O F a n o v o i d body, strap h a n d l e , flared r i m , a n d b y berries a n d leaves, is b e l i e v e d t o have b e e n e x c a v a t e d

p i n c h e d s p o u t , t h i s j u g (or brocca) is a s i m p l e y e t elegant at O r v i e t o , a n d o t h e r e x a m p l e s have b e e n a t t r i b u t e d
p i e c e because of i t s g e n t l y a t t e n u a t e d s h a p e a n d s t r o n g l y
1
to makers i n Viterbo. 7
I n addition, the rather t h i c k l y
r e n d e r e d surface d e c o r a t i o n . A l o n g - b e a k e d b i r d stands p a i n t e d green glaze a n d t h e appearance of b e r r i e s a n d
o n t h e g r o u n d l i n e , f r o m w h i c h s p r o u t s foliage, against a l o b e d leaves r e l a t e t h i s d e c o r a t i o n t o t h e relief-blue
b a c k g r o u n d of berries a n d d o t s i n copper green a n d m a n ­ [zaffera a rilievo) embellishment popular i n southern
ganese b r o w n p i g m e n t s . T h e i n t e r i o r is l e a d glazed. T u s c a n y p r i m a r i l y i n t h e second q u a r t e r of t h e f i f t e e n t h
T h e o l d e s t p i e c e of m a i o l i c a i n t h e M u s e u m ' s c o l ­ c e n t u r y (see nos. 4 - 5 , 7 - 9 ) . 8

l e c t i o n , t h i s j u g corresponds t o t h e a r c h a i c s t y l e , accord­ Indeed, t h e c o n n e c t i o n s b e t w e e n e a r l i e r a r c h a i c ce­

i n g to Gaetano Ballardini's classification. T h e archaic 2
r a m i c s a n d zaffera a rilievo p r o d u c t s m a y be m o r e d i r e c t
style prevailed f r o m roughly the t h i r t e e n t h to the begin­ t h a n i n i t i a l l y t h o u g h t . T r a d i t i o n a l l y , a l l c e r a m i c s of t h e
n i n g of t h e f i f t e e n t h c e n t u r y a n d is g e n e r a l l y character­ relief-blue typology were dated to the fifteenth c e n t u r y . 9

i z e d b y s i m p l e m o t i f s — i n i t i a l s , coats of a r m s , s t y l i z e d
a n i m a l s — p a i n t e d i n copper green o u t l i n e d i n m a n g a n e s e
b r o w n . L i k e the present w o r k , archaic-style m a i o l i c a
jugs f r o m s o u t h e r n T u s c a n y c o m m o n l y d i s p l a y a g u i l -
loche pattern encircling the neck and parallel lines d i ­
v i d i n g the piece i n t o decorative panels. 3
Also popular
w a s t h e m o t i f of a s i n g l e b i r d , o f t e n p o r t r a y e d p e c k i n g at
a b e r r y or leaf (fig. 3 c ) . I n a d d i t i o n , e x a m p l e s of s i m i ­
4
l a r l y shaped or c o m p a r a b l y d e c o r a t e d c e r a m i c s have
b e e n e x c a v a t e d i n n o r t h e r n L a z i o or are a t t r i b u t e d t o
makers there. 5
R e c e n t a r c h a e o l o g i c a l e x c a v a t i o n s i n T u s c a n y have u n ­
e a r t h e d zaffera wares together w i t h f o u r t e e n t h - c e n t u r y
a r c h a i c types, h o w e v e r , so t h a t o n e c a n be c e r t a i n t h a t
r e l i e f - b l u e w o r k s w e r e a l r e a d y b e i n g p r o d u c e d i n t h e sec­
o n d h a l f of t h e f o u r t e e n t h c e n t u r y . 1 0
I t has b e e n sug­
gested t h a t , since t h e b l u e p i g m e n t of r e l i e f - b l u e w a r e
c o n t a i n s copper as w e l l as c o b a l t , t h e less p r e c i o u s relief-
green v a r i a n t m a y have r e s u l t e d f r o m s i m p l y o m i t t i n g
the cobalt. 11
A l t h o u g h t h e p r e s e n t j u g is n o t p a i n t e d w i t h
a t h i c k impasto, its typology m a y relate m o r e closely to
relief-blue decoration t h a n was p r e v i o u s l y b e l i e v e d . 1 2

A l t h o u g h s i m i l a r objects—jugs decorated w i t h a O n c e t h o u g h t t o be d e r i v e d d i r e c t l y f r o m I s l a m i c a n d
single b i r d — h a v e been found i n Faentine excavations, 6
Islamic-inspired ceramic decoration, 1 3
the stylized ani­
t h e p r e p o n d e r a n c e of t h e m o s t c l o s e l y r e l a t e d m a t e r i a l m a l d e s i g n s — i n c l u d i n g l i o n s , hares, leopards, a n d dogs
derives f r o m t h e area c o m p r i s i n g n o r t h e r n L a z i o a n d as w e l l as b i r d s — o n I t a l i a n w a r e s appear t o have b e e n
southern Tuscany. A plate i n the H o c k e m e y e r collection, based i n s t e a d o n l o c a l t e x t i l e s a n d o t h e r d e c o r a t i v e arts
B r e m e n , d e c o r a t e d i n green w i t h a s i n g l e b i r d s u r r o u n d e d of t h e f o u r t e e n t h a n d f i f t e e n t h c e n t u r i e s . T h e s e p r o d u c t s

30
 3A Alternate view.

32 Green-Painted Jug with a Bird

 3c Plate with a bird. Viterbo, first half of the fifteenth century. Tin-glazed
earthenware, Diam: 28.3 cm (11 A in.). Viterbo, private collection. The
l

similarity of the decoration on this plate to the Getty jug suggests that
this bird, leaf, and berry design was popular i n the early fifteenth cen­
tury. It is also possible that both objects were produced in the same
workshop. The acorn above the wing on the plate helps identify the
similar but harder-to-distinguish element in the same position on the
jug; its foliate motif depicts oak leaves.

3B Alternate view.

i n t u r n appear t o h a v e b e e n i n f l u e n c e d b y m o t i f s origi­ Notes

1. The form of this jug corresponds to Francovich's category A.7.1
n a t i n g i n the I s l a m i c eastern M e d i t e r r a n e a n . 1 4
Maiolica
(Francovich 1982, 128), which, he speculates, marks a transition from
decoration therefore may display Islamic m o t i f s that an earlier shape w i t h a higher foot and wider neck that was diffuse
were indirectly transmitted to the ceramic medium throughout Tuscany—with variants i n Umbria, Lazio, and Emilia-
t h r o u g h o t h e r Renaissance I t a l i a n decorative arts. Romagna, Liguria, the Veneto—and a later, broader one found more
specifically i n the area of the Maremma i n southern Tuscany; appar­
ently A.7.1 is also common to the Maremma area, especially the
Nicchia district.
2. See Ballardini 1933, 1: 13 -14; for a helpful schema see Ballardini
1938, 2: 10. Based on classifications of ancient pottery, Ballardini's
categories are organized according to the wares' decorative motifs. Al­
though scholars have become increasingly aware of the importance of
such factors as object shape as well as clay body and glaze composition
in grouping maiolica wares, Ballardini's classification remains helpful i n
establishing a basic chronology of maiolica decoration. More recently,
Galeazzo Cora established nineteen major categories of early Italian

Gieen-Painted Jug with a Bird 33

 3D Unknown fourteenth-century artist. Saint Guido Pours Out Water for Himself and Transforms Water into Wine for His Guest Gebeardo,
Archbishop of Ravenna (detail), 1316-20. Pomposa, Italy Church of Santa Maria. Maiolica jugs like the Getty example were functional
objects to be used at the dinner table.

34 Green-Painted Jug with a Bird

3E Unknown artist. Niche of the Sacred Oils (detail). Spilimbergo, Italy, Spilimbergo cathedral, Cappella Maggiore. Photo: Elio and Stefano Ciol, Casarsa PN.
As can be seen i n this fresco, the Getty's maiolica jug could have had an ecclesiastical function.
maiolica that vary only slightly from Ballardini's schema (Cora 1973, 1:
33). One must remember, however, that while useful, the conventional­
ized terms employed by Ballardini and others can prove misleading, es­
pecially when used to identify the subjects of decorative motifs. Anna
Moore Valeri (1984, 4 9 0 - 9 1 , no. 62) has pointed out, for example, that
the "Persian palmette" bears no resemblance to a palmette and that i n
the Near East the "peacock-feather" motif originally had no connection
with peacocks, symbolizing instead the rising sun.
3. See Cora 1973, 2: figs. 6c, 8a-b, 11, 13a, 3 i a - d , 32, 33, 3 ioa-c,
3 i 3 a - d , 318b; Francovich 1982, 28, 30-33, 36-37, 53, 95 passim.
4. See Cora 1973, 2: figs. 8a-b, 44c, 5 ia, 64b, 6sa-c, 69a, 69C-d, 7oa-c,
7 i a - c , 137a, 138a, 309a-c.
5. Mazza 1983, 61, 92, 94, 114, 133, 137, 144 passim.
6. Ravanelli Guidotti 1998, 89-90, 113-15, nos. 7, 14.
7. Mallet 1998, 10, 210, no. 4; see, for example, Mazza 1983, 114,
no. 146.
8. One knows of works decorated with typical relief-blue leaves, dots,
and animals painted i n a thin copper green glaze, as on this jug, instead
of the much more common thick cobalt pigment (Giacomotti 1974,
10-11, fig. 28). Cora (1973, 2: pi. 21a) reproduces an early fifteenth-
century Florentine fragment displaying similarly shaped and outlined
leaves, also painted in copper green.
9. According to Cora's classification of early Florentine ceramics, zaffera a
rilievo (his group V) dates from ca. 1410-50 and zaffera diluita (diluted
or thin-blue) (his group VI) dates from ca. 1410-80 (Cora 1973, 1:
73-83).
10. Valeri 1984, 477-78.
11. Mallet 1998, 210.
12. Compare, for example, a mid-fifteenth-century archaic jug decorated
with leaves i n copper green pigment from Viterbo (Galeazzi and Valen-
tini 1975,108-9) and a Tuscan jug with similar decoration but in
zaffera diluita (Bojani, Ravanelli Guidotti, and Fanfani 1985, no. 706).
For a similar jug with a "pecking bird" but painted i n relief cobalt blue,
see Cora 1973, 2: pis. 64b, 65a-c.
13. For examples of Islamic animal motifs, see Kiihnel 1971, figs. 51, 84,
88, 90; Kiihnel 1925, pi. 99. For bird motifs on Hispano-Moresque
works see Gonzalez Marti 1944-52, 1: figs, 150, 153, 183, 192, 277,
280, 356, 459, 494-96, 538, 612, 631, 640, 648-52, 700; 2: 4 7 2 -
78, figs. 556-63, 668, 670, 678-80, 6 8 9 - 9 1 .
14. First discussed i n Wallis 1900, ix-xxx; most recently examined in
Spallanzani 1978, 100-102; Valeri 1984, 477-500.
Green-Painted Jug with a Bird 35
 4

Relief-Blue Jar with CONDITION heritance to his widow, Elisabeth Lederer, 1985,-

Harpies and Birds Previously broken and repaired; some overpaint-

ing, particularly around the lip and neck on the
Elisabeth Lederer, Geneva; sold to the J. Paul Getty
Museum, 1 9 8 5 .
left of the side w i t h birds and on the right-hand
EXHIBITIONS
Probably the w o r k s h o p of Piero d i bird; approximately three-quarters of glaze on the
Ausstellung von Kunstwerken des Mittelalters
top r i m has worn off.
Mazzeo (Maseo, Mazeo) (b. 1 3 7 7 ) und der Renaissance aus Berliner Privatbesitz,
Florence or possibly Siena PROVENANCE Kunstgeschichtliche Gesellschaft, Berlin, May 2 0 -
Wilhelm von Bode, Berlin, by 1 8 9 8 , sold to July 3, 1 8 9 8 .
ca. 1 4 2 0 - 4 0
K. Glogowski; Kurt Glogowski, Berlin (sold,
Tin-glazed earthenware BIBLIOGRAPHY
Sotheby's, London, June 8, 1 9 3 2 , lot 5 8 , to
H : 3 1 . 1 c m ( 1 2 A in.)
l Bode 1 8 9 8 , 2 0 6 ; Berlin 1 8 9 9 , pi. 4 8 , fig. 2 Wallis
A. Lederer); August Lederer (d. Vienna,- by
}
1936),
1 9 0 3 , 9 , fig. 7 Bode 1 9 1 1 , pi. 1 4 ; Chompret
inheritance to his widow, Serena Lederer, 1 9 3 6 ;
;

D i a m (at lip): 14.3 c m (5 /s in.) 5

1 9 4 9 , 2 : fig. 6 4 8 ; Conti 1 9 6 9 , 4 7 , fig. n Conti

Serena Lederer, Vienna,- looted from Serena Led-
;

W (max.): 2 9 . 8 c m (n A 3
in.) 1971B, 22; Cora 1 9 7 3 , 1: 76; 2: pis. 6 1 - 6 2 , 63c,-
erer's collection by the Nazis, 1 9 3 8 ; stored in Nazi
85.DE.56 Conti 1980, pis. 45-46; Valeri 1984, fig. 4B;
depot i n Vienna at Bartensteingasse, 8 (it appears
GettyMusJ 14 (1986): 251, no. 211 Hess 1988A,
as no. 1 8 2 on inventory list); restituted by the
;

no. 5; Conti et al. 1 9 9 1 , 1 7 , 2 6 5 , fig. 3, no. 15 i

Austrian government to her son, Erich Lederer,
;
MARKS A N D I N S C R I P T I O N S
Summary Catalogue 2 0 0 1 , no. 3 4 3 .
On each side, a ladder surmounted by a cross; be­ 1 9 4 7 ; Erich Lederer (1896-1985), Geneva,- by in­
low each handle a P, possibly intertwined w i t h a
backward C.

THIS LARGE TWO-HANDLED J A R (or orciuolo biansato)

is of a n e x c e p t i o n a l l y b o l d a n d u n u s u a l shape. Indeed, i t s
w i d e c y l i n d r i c a l body, t a l l n e c k , h i g h foot, a n d r i b b e d ,
o u t w a r d - j u t t i n g handles comprise a singular f o r m , n o t
e n c o u n t e r e d i n o t h e r e x a m p l e s . T h e c e n t e r of each side
d i s p l a y s a s h o r t l a d d e r s u r m o u n t e d b y a cross f r a m e d o n
one side b y t w o b i r d s , s o m e t i m e s i d e n t i f i e d as p e a c o c k s , 1

a n d o n t h e o t h e r side b y t w o h u m a n - f a c e d b i r d s , or
H a r p i e s . T h e surface is f u r t h e r d e c o r a t e d w i t h leaves a n d
d o t s ( o f t e n c a l l e d bacche, " b e r r i e s " ) . T h i s d e c o r a t i o n is
painted i n an exceptionally thick, cobalt blue i m p a s t o 2

o u t l i n e d i n a n d s c a t t e r e d w i t h t o u c h e s of m a n g a n e s e
purple o n a p i n k i s h w h i t e ground. Vertical patterns i n
m a n g a n e s e p u r p l e of d o u b l e dashes b e t w e e n t h r e e p a r a l ­
l e l stripes b o r d e r each side of t h e jar's body. T h e i n t e r i o r
is t i n glazed.
T h e leaf d e c o r a t i o n o n t h i s j a r — a l t e r n a t e l y k n o w n
as pastoser Blau, zaffem a rilievo, r e l i e f - b l u e , or oak-leaf
d e c o r a t i o n — i s one of t h e f i r s t d e c o r a t i v e t y p o l o g i e s t o
be r e c o g n i z e d a n d discussed as a c o h e r e n t g r o u p . I n 1 8 9 8
both Federigo A r g n a n i a n d W i l h e l m v o n Bode first
g r o u p e d t h e m t o g e t h e r a n d d e s c r i b e d t h e i r p a i n t e d deco­
4A Alternate view.
r a t i o n as r a i s e d f r o m t h e surface of t h e c e r a m i c , a n d five
3

years later, H e n r y W a l l i s i d e n t i f i e d t h e m o t i f as o a k

36
 4.B Alternate view.

38 Relief-Blue Jar with Harpies and Birds

 leaves. 4
O t h e r s , h o w e v e r , h a v e described t h e p a i n t e d
d e c o r a t i o n as grape, w a l n u t , t u r k e y oak, or i v y leaves.
A c c o r d i n g t o one scholar, t h i s t y p e of o r n a m e n t a t i o n
was adapted i n F l o r e n c e f r o m H i s p a n o - M o r e s q u e ce­
r a m i c d e c o r a t i o n of v i n e s a n d f e a t h e r e d leaves, w h i c h ,
w h e n painted w i t h the Florentine t h i c k blue impasto,
b e c a m e s i m p l i f i e d t o r e s e m b l e o a k leaves. T h e H i s p a n o -
5

M o r e s q u e b a s i n i n t h e M u s e u m ' s c o l l e c t i o n (no. 2), f o r

e x a m p l e , d i s p l a y s t h i s t y p e of S p a n i s h c e r a m i c decora­
t i o n , especially prevalent i n Valencia. Recent scholar­
s h i p , h o w e v e r , favors c o n n e c t i n g t h i s leaf decoration
w i t h earlier t e x t i l e p a t t e r n s , a r c h i t e c t u r a l m o t i f s , a n d
i l l u m i n a t e d m a n u s c r i p t border e m b e l l i s h m e n t rather
than w i t h Hispano-Moresque sources. 6
Arguably the
m o s t c o n v i n c i n g l i n e of r e a s o n i n g traces t h i s T u s c a n leaf
p a t t e r n o n e a r l y m a i o l i c a t o l o c a l s i l k (fig. 4 c ) a n d l i n e n
(fig. 4D) d a m a s k s t h a t w e r e , i n t u r n , i n f l u e n c e d b y Is­
l a m i c fabrics, s u c h as t h o s e of t h e T u r k i s h M a m l u k s . 7

T h e m a r k s b e l o w each h a n d l e — a P, p o s s i b l y i n t e r ­
t w i n e d w i t h a backward C — m a y indicate the Florentine
w o r k s h o p of Piero d i M a z z e o a n d c o m p a n y , a c t i v e at t h e

4c Lorenzo Monaco (Italian, 1370/75 i-1425/30?). The Madonna and

Child with Six Saints (detail). Florence, Fondazione Home. From
Federico Zeri, Giorno per giorno nella pitura (Turin, 1988). Courtesy
Allemandi & Co. The lavish fabric covering the floor in this scene has
a decoration—paired animals on a winding foliate ground—similar to
that on the Getty jar. In particular, the addorsed birds recall the Harpies
on the Getty example, who turn their heads to look back toward one
another.

4D Domenico Ghirlandaio (Italian, 1448/49-1494). The Last Supper

(detail), late fifteenth century. Florence, Chiesa di Ognissanti. Photo:
Scala/Art Resource, New York. Simple fabrics, such as this so-called
"towel from Perugia" serving as table linen, also featured patterns of
paired animals. Here the animals are fantastic creatures, like the Getty
jar's Harpies.

Relief-Blue Jar with Harpies and Birds 39


4E Jug. Late fourteenth-early fifteenth century. Tin-glazed earthenware,
H: 23.5 cm (9/4 in.). Siena, private collection.
40 Relief-Blue far with Harpies and Birds
t i m e t h e jar was m a d e . F r o m 1395, d i M a z z e o w o r k e d as
a c e r a m i s t i n h i s h o m e t o w n of B a c c h e r e t o before m o v i n g
t o n e a r b y Florence, w h e r e he b e c a m e h e a d of a n i m p o r ­
t a n t w o r k s h o p i n 1422 t o g e t h e r w i t h t w o p a r t n e r s a n d a
g r o u p of c r a f t s m e n , m a n y of w h o m also c a m e f r o m t h e
t o w n . B a c c h e r e t o appears t o have b e e n a n a c t i v e p o t t e r y
8
center f r o m the f o u r t e e n t h century, c l a i m i n g m o r e t h a n
forty active potters by the fifteenth century. One potter, 9
A n t o n i o d i Branca, w a s a n a t i v e of V i t e r b o a n d is k n o w n
t o have w o r k e d i n d i M a z z e o ' s w o r k s h o p f r o m r o u g h l y
1427 t o 1 4 2 9 . 10
D i Branca's presence i n d i M a z z e o ' s
w o r k - s h o p m a y e x p l a i n t h e u n u s u a l presence of a fantas­
t i c beast w i t h h u m a n h e a d — m o r e c o m m o n o n w o r k s
f r o m centers s u c h as O r v i e t o a n d V i t e r b o — o n t h i s jar of
Tuscan origin. 1 1
T h e H a r p y w a s a m o n s t e r said t o t o r m e n t m i s e r s a n d
was c o m m o n l y used d u r i n g t h e Renaissance as a s y m b o l
of avarice. I t is u n c e r t a i n w h e t h e r t h e H a r p i e s here are
i n v e s t e d w i t h t h i s m e a n i n g . T h e y m i g h t have served as
a d m o n i t o r y e m b l e m s r e f e r r i n g t o t h e g e n e r o s i t y of t h e
h o s p i t a l f o r w h i c h t h i s d r u g jar w a s m a d e . H a r p i e s also
decorate a F l o r e n t i n e d r u g jar f o r m e r l y i n t h e W i l h e l m
v o n Bode c o l l e c t i o n , B e r l i n , 1 2
and another i n the Musee
du Louvre, Paris. 13
T h e u n u s u a l l y close r e s e m b l a n c e of a
H a r p y o n a j u g i n a Sienese p r i v a t e c o l l e c t i o n (fig. 4 E ) t o
t h e H a r p i e s o n t h e G e t t y j a r — w i t h e l o n g a t e d heads,
p r o m i n e n t u p p e r l i p , a n d eyes m a d e of a d o t w i t h i n a
s i n g l e c u r v i n g l i n e — s u g g e s t s t h a t t h e same p a i n t e r w a s
r e s p o n s i b l e for t h e d e c o r a t i o n of b o t h objects. T h e asso­
c i a t i o n of t h e G e t t y ' s r e l i e f - b l u e vessel w i t h t h i s green-
p a i n t e d j u g , a n e a r l y t y p o l o g y , c o n f i r m s t h e e a r l y date of
t h e G e t t y piece.
F u r t h e r e x a m p l e s of c l o s e d vessels d i s p l a y i n g s y m ­
m e t r i c a l l y p l a c e d s t r i p e d b i r d s , p o s s i b l y peacocks, are i n
t h e M u s e o N a z i o n a l e , Palazzo d e l B a r g e l l o , Florence, a n d
in the M u s e o Internazionale delle Ceramiche, D o n -
azione Cora, Faenza. 14
A s h o r t ladder s u r m o u n t e d b y a cross is t h e e m b l e m
of t h e h o s p i t a l of Santa M a r i a d e l l a Scala i n Siena, w h e r e
t h i s jar w o u l d have served as a d r u g c o n t a i n e r i n t h e
h o s p i t a l ' s p h a r m a c y . I t s e m b l e m refers t o t h e h o s p i t a l ' s
l o c a t i o n i n f r o n t of t h e steps [scala) of t h e c i t y ' s cathe­
d r a l . Santa M a r i a d e l l a Scala w a s p r i m a r i l y a f o u n d l i n g
hospital. 1 5
Established around the t e n t h century, the
h o s p i t a l became increasingly i m p o r t a n t and was de­
s c r i b e d i n t h e s i x t e e n t h c e n t u r y as " t h e m o s t b e a u t i f u l
i n the w o r l d . " 1 6
O n M a y 17, 1316, t h e F l o r e n t i n e t o w n
c o u n c i l a u t h o r i z e d t h e o p e n i n g of a b r a n c h i n t h e T u s c a n
c a p i t a l o n w h a t w a s t o be c a l l e d via della Scala. T h e Flo­
rentine branch became p r o m i n e n t , m a i n t a i n i n g almost
c o m p l e t e a u t o n o m y u n t i l 1535, w h e n i t w a s c o m b i n e d
w i t h t h e F l o r e n t i n e Ospedale d e g l i I n n o c e n t i . 1 7
Since ap­
p a r e n t l y a l l T u s c a n branches of t h e Santa M a r i a d e l l a
Scala h o s p i t a l u s e d t h e cross-and-ladder e m b l e m , one
c a n n o t be c e r t a i n for w h i c h b r a n c h t h e p r e s e n t jar w a s
produced. M a i o l i c a products displaying the e m b l e m i n ­
clude mid-fifteenth-century two-handled drug j a r s 1 8
and
mid-sixteenth-century dishes. 19

Notes
1. Bojani, Ravanelli Guidotti, and Fanfani 1985, 1: nos. 181, 222,
225, 707-
2. The liquid pigment includes a large proportion of lead.
3. Argnani 1898; Bode 1898, 206-17.
4. Wallis 1903, xx. Both Bode (1898) and Wallis (1903) published the
present jar.
5. Hausmann 1972, 96.
6. Valeri 1984, 490-93; Valeri 1996, 128-32; Wardwell 1976-77,
177-226.
7. Wardwell 1976-77, especially 186-87.
8. Roncaglia 1992, 16-17.
9. Roncaglia 1992, 17.
10. Cora 1973, 1: 76; Roncaglia 1992, 16.
11. See, for example, Soler et al. 1992, nos. 92, 94, 107, 113, 116, 118,
122-24; Mazza 1983, nos. 81, 182, 193, 205.
12. Wallis 1903, 22, fig. 20; Chompret 1949, 2: fig. 635; Bode 1911, 14
right; sale cat., Sotheby's 1965, lot 19.
13. Inv. OA 3982; Giacomotti 1974, 12-13, no. 30.
14. Cora 1973, 2: fig. 68; Conti 1971A, no. 509; Bojani, Ravanelli Guidotti,
and Fanfani 1985, 276, no. 707.
15. Park 1985, 104, no. 60.
16. Bellucci and Torriti 1991, 46; this source also discusses medical
arrangements at the hospital (44-50).
17. Cora 1973, 1: 76.
18. Cora 1973, 2: figs. 91, 92c.
19. See Ballardini 1933, 1: nos. 64-67; Rackham 1940, 1: nos. 642-43.

Relief-Blue Jar with Harpies and Birds 4 1

 5

Relief-Blue Jar with CONDITION EXHIBITIONS

a Fish Minor chips and overpainting on the rim. None.

PROVENANCE
Luigi Grassi, Florence, sold to A. Lederer; August
Tuscany, probably Florence
Lederer (d. 1936), Vienna; by inheritance to his
ca. 1 4 2 0 - 4 0 widow, Serena Lederer, 1936; Serena Lederer
BIBLIOGRAPHY
Rothenstein 1944, 205, pi. Q Cora 1973, 1: 78;
2: fig. 83c; Conti 1980, no. 48; GettyMusJ 14
(1986): 251, no. 213; Hess 1988A, no. 6 Conti ;

Tin-glazed earthenware (d. 1943), Vienna; looted from Serena Lederer's col­ et al. 1991, 258, no. 94; Summary Catalogue
lection by the Nazis, 1938; stored in Nazi depot in 2001, no. 344.
H : 1 6 . 5 c m (6V2 in.)
Vienna at Bartensteingasse, 8 (it appears as no. 183
D i a m (at lip): 9 . 7 c m (3 / i 6 in.) 1 3

on inventory list); restituted by the Austrian gov­

W (max.): 1 2 . 2 c m (4 1 3
/i6 in.) ernment to her son, Erich Lederer, 1947,- Erich
85.DE.57 Lederer (1896-1985), Geneva; by inheritance
to his widow, Elisabeth Lederer, 1985; Elisabeth
Lederer, Geneva; sold to the J. Paul Getty Mu­
MARKS A N D I N S C R I P T I O N S
seum, 1985.
None.

THIS ESSENTIALLY CYLINDRICAL VESSEL, though c e r a m i c s i d e n t i f i e d as T u s c a n p u b l i s h e d i n a n e x t e n s i v e

s l i g h t l y w i d e r at t h e base, is c h a r a c t e r i s t i c of t h e al- c o m p e n d i u m of t h i s t y p o l o g y ( e x c l u d i n g f o u r groups of
barello f o r m , a c o n t a i n e r shape t h a t w a s used t o store fragments), 126 are t w o - h a n d l e d jars (orciuoli), 3 5 are
drugs a n d o t h e r m a t e r i a l s (fig. 5 B ) . T h e surface is p a i n t e d jugs (boccali), 6 are plates, 2 are w e t - d r u g jars (utelli), 1 is
w i t h a v e r t i c a l l y p l a c e d fish s u r r o u n d e d b y leaves a n d a b u c k e t , a n d o n l y 3 are c y l i n d r i c a l jars [albarelli], the
dots (or " b e r r i e s " ) i n t h i c k c o b a l t b l u e p i g m e n t [zaffera a p r e s e n t e x a m p l e b e i n g m u c h t h e s m a l l e s t of t h e g r o u p . 4

hlievo) o u t l i n e d i n manganese purple o n a p i n k i s h w h i t e T w o e x a m p l e s of s m a l l c y l i n d r i c a l jars i d e n t i f i e d as f r o m

g r o u n d . T h e b a c k g r o u n d is s c a t t e r e d w i t h m a n g a n e s e Faenza a n d a larger e x a m p l e f r o m V i t e r b o are also l i s t e d ,
dots a n d c u r v e d l i n e s t h a t echo t h e d o t shapes. D o w n b u t a l l t h r e e of these d i s p l a y surface d e c o r a t i o n s i g n i f i ­
one side a n d a r o u n d t h e r i m , w a v y m a n g a n e s e l i n e s are c a n t l y different f r o m that o n the present jar. 5
Whether
p u n c t u a t e d b y b l u e dots. T h e i n t e r i o r is t i n glazed. T h e t h i s was a shape n o t c o n s i d e r e d p r a c t i c a l or, conversely,
vessel's s m a l l size suggests t h a t i t m u s t be a quartuccio, w h e t h e r objects of t h i s shape w e r e u s e d e x t e n s i v e l y —
or q u a r t e r m e a s u r e . t h u s s u f f e r i n g f r e q u e n t damage or d e s t r u c t i o n — i s n o t
Although c o m m o n l y t h o u g h t t o be of H i s p a n o - known.
M o r e s q u e d e r i v a t i o n , t h i s fish m o t i f appears t o be de­
rived instead f r o m I t a l i a n archaic m a i o l i c a prototypes Notes
1. Valeri 1984, 478, 480, 481 n. 24.
t h a t m a y i n t u r n have b e e n based d i r e c t l y o n I s l a m i c
2. Cora 1973, 2: fig. 82; Valeri 1984, 480 n. 24, 494 n. 85.
m o d e l s . A d r u g jar i n a p r i v a t e F l o r e n t i n e c o l l e c t i o n t h a t
1
3. For other examples see Cora 1973, 2: figs. 83a-b, 84a-c, pi. 85; Bojani
d i s p l a y s a h o r i z o n t a l l y p l a c e d fish m a y be one of t h e f e w 1990, 170, pi. i ; Cole 1977, 84-85, 100-101, nos. 40, 51. For ex­
amples on archaic maiolica, see Cora 1973, 2: pis. 14a, 16a, 17a, 20.
m a i o l i c a objects w i t h t h i s m o t i f t h a t d i r e c t l y r e l a t e t o
4. Conti et al. 1991, 248-68.
H i s p a n o - M o r e s q u e or N e a r E a s t e r n t y p e s . T h i s fish m o ­
2

5. Conti et al. 1991, 269, 291.

t i f i n t h e m o r e c o m m o n v e r t i c a l p o s i t i o n is f o u n d o n
o t h e r e a r l y F l o r e n t i n e jars, a l t h o u g h of t h e t w o - h a n d l e d
f o r m , also w i t h o a k - l e a f a n d b e r r y e m b e l l i s h m e n t . 3

A l t h o u g h the fish—both as a v e r t i c a l a n d h o r i z o n t a l
d e c o r a t i v e e l e m e n t — i s r a t h e r c o m m o n , t h e s m a l l al-
barello shape of t h i s p i e c e is n o t . O f t h e L73 r e l i e f - b l u e

42
 5A Alternate view.

44 Relief-Blue Jar with a Fish

SB Carlo Crivelli (Italian, 1430/3 5 ?-before 1495). The Annunciation with Saint Emidius (detail), i486. O i l on canvas, transferred
from wood, 207 x 146.7 cm (81 Vi x 57/4 in.). London, National Gallery, inv. N G 739. On a shelf above the Virgin's bed are a
number of useful household items, including a covered albarello.

Relief-Blue Jar with a Fish 45

 6

Green-Painted Dish with
an Interlace Pattern
Florence area or M o n t e l u p o
Fifteenth century
Tin-glazed earthenware
H : 4 . 4 c m ( i A in.)
3 None.
Diam: 25.3 cm (9
84.DE.94
MARKS A N D I N S C R I P T I O N S
None.
CONDITION
A break w i t h areas of overpainting from r i m to r i m
across the center of the dish and on the rim; a
glaze fault and a few glaze chips around the rim.
PROVENANCE
Alfred Pringsheim, Munich, by 1913; looted from
1 5
/i6 in.) Pringsheim's collection by the Nazis during
Kristallnacht, November 9, 1938; stored i n an an­
nex of the Bayerisches Nationalmuseum, Munich;
ordered exported to London by the German State
in 1938 for sale at auction in exchange for allow­
ing Pringsheim and his wife to emigrate to
Switzerland (sold, Sotheby's, London, July 19,
1939, lot 201, to E. L. Paget [according to sale cat.
notation]); E. L. Paget, London; A. Kauffman, Lon­
don; [Rainer Zietz, Ltd., London, sold to the J. Paul
Getty Museum, 1984].
EXHIBITIONS
BIBLIOGRAPHY
Falke 1914-23, 1: 4, fig. 4; 3: pi. 154, no. 236
(1); Cora 1973/ 2: no. sod, pi. 50; GettyMusJ 13
(1985): 239, no. 152; Hess 1988A, 20-22, no. 4;
Summary Catalogue 2001, no. 345.

T H I S M O D E S T D I S H is i n t h e f o r m of a b a s i n , or bacino, t o t h i s bacino is a F l o r e n t i n e b a s i n f r o m t h e f i r s t h a l f of
w i t h a flat b o t t o m a n d r a t h e r v e r t i c a l sides. I n s p i t e of i t s the fifteenth century i n the F i t z w i l l i a m M u s e u m , Cam­
s i m p l e f o r m , t h e piece d i s p l a y s s o p h i s t i c a t e d g e o m e t r i c b r i d g e (fig. 6 c ) . A l t h o u g h a l m o s t t w i c e t h e size of t h e
1

a n d v e g e t a l d e c o r a t i o n i n green, ocher, a n d pale b r o w n ­ G e t t y piece, t h i s b a s i n displays v e r y s i m i l a r d e c o r a t i o n ,

i s h p u r p l e . T h e r a d i a t i n g s e c t i o n s of s c a l e l i k e o r n a m e n ­ i n c l u d i n g the " s h u t t l e " m o t i f around the w e l l w a l l and
tation around the r i m , slanting "shuttle" pattern the "scale" p a t t e r n around the r i m . T h i s r i m embellish­
a l t e r n a t i n g w i t h w a v y l i n e s a r o u n d t h e deep w e l l border, m e n t is p l a u s i b l y d e s c r i b e d as a " b o u n d l a u r e l w r e a t h "
and curvilinear pattern i n the w e l l a l l c o m p l e m e n t the t h a t w o u l d i n d i c a t e t h e a r r i v a l of Renaissance features
object's s i m p l e shape. M o r e o v e r , t h i s d i s h is one of t h e o n t h i s " a r c h a i c " m a i o l i c a of e s s e n t i a l l y n o n f i g u r a t i v e ,
rare u n d o u b t e d l y f u n c t i o n a l pieces t h a t have s u r v i v e d i n l a t e m e d i e v a l d e c o r a t i o n . O n t h e G e t t y piece, h o w e v e r ,
2

good c o n d i t i o n . A l t h o u g h unembellished, the reverse t h e b i n d i n g appears as s t r a i g h t l i n e s r a t h e r t h a n c u r v e d

s h o w s traces o f l e a d a n d t i n glazes.
T h e t y p e of d e c o r a t i o n f o u n d o n t h i s b a s i n m a r k s a n
important development i n maiolica embellishment. I n
t h e second q u a r t e r of t h e f i f t e e n t h c e n t u r y , n e w designs
d r a w n f r o m a v a r i e t y of m e d i a (such as t e x t i l e s , a r c h i t e c ­
t u r a l decoration, manuscript i l l u m i n a t i o n , and ceram­
ics), o r i g i n a t i n g i n c e n t e r s o u t s i d e t h e p e n i n s u l a (such
as S p a i n a n d t h e N e a r East), s t r o n g l y i n f l u e n c e d I t a l i a n
maiolica painted motifs. Examples of t h i s kind of
e m b e l l i s h m e n t i n c l u d e s u c h diverse types of p a i n t e d
d e c o r a t i o n as r e l i e f - b l u e , I t a l o - M o r e s q u e , G o t h i c - f l o r a l ,
p e a c o c k feather, Persian p a l m e t t e , a n d alia porcellana.
T h i s dish's w e l l d i s p l a y s l o o p e d s c r o l l s a n d leaf
sprigs t h a t e m a n a t e f r o m a c r u c i f o r m m o t i f a n d grace­
f u l l y feed i n t o a b a n d a r o u n d t h e w e l l , a l l reserved o n a
ones, m a k i n g i t s r i m less r e c o g n i z a b l e as a g a r l a n d .
S i m i l a r d e c o r a t i o n , p a r t i c u l a r l y of t h e w e l l a n d w e l l
border, is f o u n d o n T u s c a n m a i o l i c a f r a g m e n t s d a t i n g
f r o m t h e l a t e f o u r t e e n t h t h r o u g h t h e l a t e f i f t e e n t h cen­
t u r y t h a t appear t o be p a r t i c u l a r l y c o m m o n t o M o n ­
t e l u p o since a n u m b e r of t h e m have b e e n f o u n d i n
e x c a v a t i o n s there, s o m e near k i l n sites. A c c o r d i n g t o
t h e i r a r c h a e o l o g i c a l c o n t e x t , t h e e x c a v a t e d e x a m p l e s are
datable t o t h e second h a l f of t h e f i f t e e n t h c e n t u r y . I t is
p o s s i b l e t h a t , since s o m e of t h e M o n t e l u p o e x a m p l e s ap­
pear m o r e l o o s e l y a n d f r e e l y rendered, t h e y represent a
s l i g h t l y l a t e r phase of t h e t y p e of d e c o r a t i o n f o u n d o n
the Getty example. 3
F r a g m e n t s of a s i m i l a r p l a t e w e r e
also e x c a v a t e d f r o m a site l o c a t e d b e t w e e n Siena a n d
M o n t e l u p o (fig. 6 D ) . 4

h a t c h e d ground. A r g u a b l y the piece m o s t closely related

46
 6A Reverse.

6B Profile of dish.

48 Green-Painted Dish with an Interlace Pattern

6c Dish. Florence or Florence district, ca. 1420-50. Tin-glazed earthen­ 6D Plate called a rinfrescatoio excavated at Semifonte, Comune di Barberino
ware, H: 7 cm [2V4 in.) Diam: 43 cm (17 in.). Cambridge, Fitzwilli am
; Valdelsa, Province of Florence, second half of the fifteenth century. Tin-
Museum, inv. c.25-1932. glazed earthenware, H: 4.5 cm (1/4 in.) Diam: 24.5 cm ( 9 V 8 in). Soprint-
;

endenza Archeologica della Toscana, material kept in the Museo Civico,

Certaldo.

Notes
1. Bode 1911, 13; Rackham 1935, 1: no. 2164; Cora 1973, 2: no. 50c;
Poole 1995, 95-96, no. 153; Poole 1997, 18-19, no. 4.
2. Poole 1995, 96; Poole 1997, 18.
3. See Berti 1997, pis. 42, 47-49, 51-52, 54; Cora 1973, 2: figs. 24b,
28a; Rackham 1940, 1: 20, no. 76; 2: pi. 5.
4. Francovich 1982, 117, no. 47a, fig. 154.

Green-Painted Dish with an Interlace Pattern 49

 7

Relief-Blue Jar with MARKS A N D INSCRIPTIONS EXHIBITIONS

Rampant Lions Below each handle, a six-pointed asterisk. None.

CONDITION BIBLIOGRAPHY
A crack runs from under one handle to the base; Cora 1973, 1: 83, 4 5 7 ; 2, pi. 1 n GettyMusf 13
Tuscany, probably Florence
}

two small losses in the neck are filled and painted; (1985): 2 4 0 , no. 157; Hess 1988A, no. 7; Conti
ca. 1425-50 small chips around the r i m and along the handles. et al. 1991, 2 5 4 , no. 59; Masterpieces 1997, 9,
Tin-glazed earthenware no. 2; Summary Catalogue 2 0 0 1 , no. 346.
PROVENANCE
H : 3 9 . 4 c m ( 1 5 Vi in.) Count Alessandro Contini-Bonacossi (d. 1956),
D i a m (at lip): 19.3 c m (y A in.) s
Villa Vittoria, Florence, sold to N . Longari; [Nella
Longari, Milan, sold to R. Zietz]; [Rainer Zietz,
W (max.): 4 0 c m [is A 3
in.)
Ltd., London, sold to the J. Paul Getty Museum,
84.DE.97
1984].

T H I S T W O - H A N D L E D d r u g jar is t h e l a r g e s t k n o w n ves­ i m a g e o n wares f r o m V a l e n c i a n c e n t e r s s u c h as Paterna

sel of i t s k i n d . I t s h i g h - s h o u l d e r e d , o v o i d b o d y is e m b e l ­ or M a n i s e s , 5
is c o m m o n l y t h o u g h t t o be of H i s p a n o -
l i s h e d o n each side w i t h a r a m p a n t l i o n a m o n g dots (or M o r e s q u e o r i g i n . R e c e n t s c h o l a r s h i p also suggests t h a t i t
" b e r r i e s " ) a n d b r a n c h e s of leaves i n a t h i n b l u e i m p a s t o m a y d e r i v e f r o m I t a l i a n h e r a l d r y or a r c h a i c c e r a m i c s . 6

o u t l i n e d i n a n d s u r r o u n d e d b y dashes a n d w a v y l i n e s i n T h e w h i t e , s t a r l i k e d i s k o n t h e l i o n ' s chest, a d e s i g n

m a n g a n e s e p u r p l e . T h e s h o r t n e c k a n d strap h a n d l e s are w h o s e s i g n i f i c a n c e has y e t t o be e x p l a i n e d , appears o n
l i k e w i s e p a i n t e d w i t h b l u e dots a n d m a n g a n e s e l i n e s H i s p a n o - M o r e s q u e w o r k s (fig. 7E) a n d m a y have b e e n
o n a t h i n b l u i s h w h i t e g r o u n d . T h e i n t e r i o r is glazed b u t t r a n s f e r r e d t o I t a l i a n c e r a m i c s w i t h t h e i n f l u x of S p a n i s h
m u c h abraded. wares i n t h e f i f t e e n t h century. 7
T h i s d e s i g n also ap­
T h i s piece d i s p l a y s a p a i n t e d a s t e r i s k b e l o w each pears o n a n i m a l s e m b e l l i s h i n g c o n t e m p o r a r y a n d e a r l i e r
h a n d l e , w h i c h m a y serve a p u r e l y o r n a m e n t a l f u n c t i o n ,
since asterisks w e r e a c o m m o n d e c o r a t i v e m o t i f . 1
Be­
cause t h e areas b e l o w h a n d l e s o n jugs a n d jars are c o n ­
v e n t i o n a l l y inscribed w i t h maker's marks, however, i t
is also p o s s i b l e t h a t t h e asterisks o n t h i s w o r k indi­
cate a g i v e n w o r k s h o p . G a l e a z z o C o r a i d e n t i f i e d t h e six-
p o i n t e d a s t e r i s k o n t h i s d r u g jar (fig. 7 A ) as t h e m a r k of
t h e w o r k s h o p of G i u n t a d i T u g i o d i G i u n t a (ca. 1 3 8 2 - c a .
1 4 5 0 ) , o n e of t h e m o s t i m p o r t a n t m a i o l i c a c e r a m i s t s of
h i s t i m e i n F l o r e n c e . H o w e v e r , t h e a s c r i p t i o n of a l l jars
2

m a r k e d w i t h t h e a s t e r i s k t o d i T u g i o is c u r r e n t l y u n d e r
question. 3
O n s t y l i s t i c g r o u n d s , i t has b e e n proposed
t h a t t h e t h i r t y - t h r e e r e l i e f - b l u e jars m a r k e d w i t h aster­
i s k s of t h e t o t a l 1 6 2 a t t r i b u t e d t o t h e F l o r e n t i n e area may,
i n fact, be t h e w o r k of at least seven d i f f e r e n t a r t i s t s . 4

L i o n s f r e q u e n t l y e m b e l l i s h zaffeia a rilievo, or relief-

b l u e c e r a m i c s (fig. 7 D ) a n d are p a r t i c u l a r l y a p p r o p r i a t e
as a F l o r e n t i n e m o t i f since t h e y m a y refer t o t h a t c i t y ' s
l i o n e m b l e m , or marzocco. T h e l i o n , also a p o p u l a r 7A Detail of maker's mark below handle.

50
7B Alternate view.

51 Relief-Blue far with Rampant Lions

jc Alternate view.

Relief-Blue far with Rampant Lions 53

 7D Bartholomew the Englishman. Detail from The Proprietor, translation by Friar Jean Corbichon. Paris, Biblio-
theque Nationale, French ms. 2 1 8 , fol. 111. In the center of the upper shelf behind the pharmacist is a drug jar,
possibly of Hispano-Moresque or Florentine maiolica, decorated w i t h a rampant lion similar to the one on the
Getty example.

54 Relief-Blue far with Rampant Lions

 Notes
1. For other examples, see Cora 1973, 2: fig. i42a-b.
2. Cora 1973, 1: 39 n. 12; 2: pi. 350 (M222-23); and for Cora's discus­
sion of the artist, see Cora 1973, 1: 54-58, 272-75.
3. Alinari and Berti 1991, 52-56; Alinari and Berti (1991, 52) believe
Cora's "constant preoccupation with finding links between archival in­
formation and specific ceramic objects even when the links appear
weak" is problematic (see also Wilson 1996, 6-7, no. 1).
4. Alinari and Berti 1991, 54-5 5.
5. For examples, see Gonzalez Marti 1944-1952, 1: figs. 290, 329, 641;
2: figs. 342, 644, 6 8 0 - 8 1 , 699, 799, 801-4, 942; 3: figs. 551-54.
6. Valeri 1984, 478 n. 7.
7. See Gonzalez Marti 1944-52, 1: figs. 276, 278-79, 282,- 3: fig. 575.
8. See, for example, a thirteenth-century Sicilian altar frontal w i t h em­
broidered leopards, parrots, and griffins in Santangelo 1959, pi. 4. As on
numerous examples of textiles, moreover, the animals here are symmet­
rically displayed, much in the same way that animal motifs are painted
facing one another or addorsed on oak-leaf jars; see also Valeri 1984,
480, figs. 4 - 6 . For a discussion of the importance of textiles as trans­
mitters of designs from the Islamic world to Italy, see Spallanzani 1978,
101-2.
9. See Wallis 1903, 23, fig. 21; Cora 1973, 2: fig. 81b; Wilson 1987A,
no. 20.
10. Hausmann 1972, 94-96, no. 7 1 .
11. Bellini and Conti 1964, 61.
7E Round plate (reverse). Valencia (Manises), 1469-74? Tin-glazed earthen­ 12. Cora 1973, 2: fig. 79c; Chompret 1949, 2: 80, fig. 636; Giacomotti
ware, H: 7 cm {2 A in.); Diam: 46.5 cm (18 A in.). Paris, Musee de Cluny,
3 l
1974, 12-13, n o
- 34-
inv. 1687. 13. Cora 1973, 2: fig. 80b.
14. Cora 1973, 2: fig. 8 i a Bossert 1928-35, 6: 17; Hannover 1925, 1:
;

100, fig. i i 2 ; Wallis 1903, fig. 32.

15. Cora 1973, 2: fig. 8 i c Rackham 1916, 76-77, no. 740.
;

fabrics, and these fabrics, possibly themselves influ­ 16. Sale cat., Sotheby's 1938, 75, lot 73.
e n c e d b y S p a n i s h or e a s t e r n M e d i t e r r a n e a n p r o t o t y p e s , 17. Cora 1973, 2: figs. 80a, 8oc Wilson 1987A, no. 23.
;

m a y h a v e s e r v e d as t h e s o u r c e for t h e c e r a m i c d e s i g n s . 8 18. Bode 1911, 18; Cora 1973, 2, fig. 57c; Wilson 1987A, no. 21.

Other Tuscan two-handled jars with leaves and

r a m p a n t lions include those i n the British M u s e u m , Lon­

don ( i n v . 1903, 5-15, i); 9

i n the Kunstgewerbemuseum,

Berlin (inv. 85, 621); 1 0

in the Fitzwilliam Museum,

C a m b r i d g e (inv. C 7 6 - 1 9 6 1 , C 7 7 - 1 9 6 1 ) ; 1 1
i n the Musee

National de Ceramique, Sevres (inv. 5292); 1 2

in the

R o c h e m a i o l i c a d r u g jar c o l l e c t i o n , B a s e l ; 1 3
i n the col­

lection of the princes of Liechtenstein, Vaduz (inv.

1267); 1 4
formerly i n the O t t o Beit collection, L o n d o n ; 1 5

formerly i n the D a m i r o n collection, L y o n s ; 1 6

and i n the

Wads w o r t h Atheneum, Hartford (inv. 1917.433). The

B r i t i s h M u s e u m also has a l a r g e albarello w i t h a ram­

p a n t l i o n (inv. M L A 1898, 5-23, i). 1 7

The most similarly

shaped large t w o - h a n d l e d j a r — w i t h high shoulder ac­

c e n t u a t e d b y t h e h a n d l e s — i s also i n t h e B r i t i s h M u s e u m

( i n v . M L A 1902, 4-24, i ) . 1 8

Relief-Blue Jar with Rampant Lions 55

 8

Relief-Blue Jar with manganese purple crutch; below each handle, a by inheritance to Sir Thomas Ingilby, Bt., Ripley
six-pointed asterisk surrounded by dots.
Running Boars Castle, Harrogate, North Yorkshire, England (sold,
Sotheby's, London, April 14, 1 9 8 1 , lot 13, to
CONDITION
R. Zietz); [Rainer Zietz, Ltd., London, sold to the
A crack runs from the base to the top of one of the
Florence J. Paul Getty Museum, 1984].
handles on one side; minor chips on the handles
ca. 1 4 3 0 and in the glaze of the body. EXHIBITIONS

Tin-glazed earthenware None.

PROVENANCE
H : 2 5 c m ( 9 % in.) According to Sir Thomas Ingilby, possibly acquired BIBLIOGRAPHY

D i a m (at lip): 1 2 . 5 c m J4 /i6

1 5
in.) by Sir John Ingilby i n Italy in 1743, though cer­ Norman 1981; Cuadrado 1 9 8 4 , 127; GettyMus]
tainly at Ripley Castle for several generations; by 13 (1985): 2 4 0 , no. 158; Hess 1988A, no. 8 Conti
W (max.): 2 4 . 5 c m (9V8 in.) ;

inheritance to Sir Joslan Ingilby, Bt., Ripley Castle, et al. 1991/ 255, fig. 7 1 ; Cohen and Hess 1993,
84.DE.98
Harrogate, North Yorkshire, England (offered for 29; Summary Catalogue 2 0 0 1 , no. 3 4 7 .
sale, Sotheby's, London, July 2, 1974, lot 2 6 1 ,
MARKS A N D I N S C R I P T I O N S withdrawn because of the owner's sudden death);
On each strap handle, a copper green and

T H E B O D Y O F T H I S t w o - h a n d l e d d r u g jar is c o v e r e d w i t h p i l g r i m s a n d travelers. T h e Santa M a r i a N u o v a h o s p i t a l ,

a yellowish w h i t e tin-glaze ground decorated with b y t h e m i d - f o u r t e e n t h c e n t u r y t h e largest i n Florence,
b r a n c h e s of leaves i n c o b a l t b l u e p i g m e n t , f r a m i n g o n was the first h o s p i t a l i n t h a t c i t y dedicated p r i m a r i l y to
each side a r u n n i n g saddleback boar, also i n b l u e . T h i s c a r i n g for t h e s i c k . F r o m d o c u m e n t s s u c h as t h e h o s p i ­
jar is t h e o n l y k n o w n r e l i e f - b l u e p o t d e c o r a t e d w i t h t h e tal's a c c o u n t b o o k s a n d M a t t e o V i l l a n i ' s Cronica, we
boar m o t i f . B l u e dots (or " b e r r i e s " ) a n d manganese k n o w t h a t Santa M a r i a N u o v a s u p p l i e d h i g h - q u a l i t y
p u r p l e l i n e s f u r t h e r e m b e l l i s h t h e body, n e c k , a n d r i b b e d m e d i c a l care t o a w i d e cross s e c t i o n of Florence's p o p u ­
strap h a n d l e s . T h e c o b a l t d e c o r a t i o n is o u t l i n e d i n m a n ­ l a t i o n w h i l e c o n c e n t r a t i n g o n t h e needs of t h e p o o r . 3

ganese p u r p l e . T h e i n t e r i o r is t i n glazed. A l s o used as a m o t i f o n S p a n i s h c e r a m i c s a n d i n

A copper green a n d m a n g a n e s e p u r p l e c r u t c h , e m ­ Italian manuscript illuminations, 4
t h e saddleback boar
b l e m of t h e F l o r e n t i n e Santa M a r i a N u o v a h o s p i t a l , is m i g h t have b e e n used t o refer e i t h e r t o one of t h e
p a i n t e d o n each of t h e t w o h a n d l e s (fig. 8 B ) . U n d e r t h e
d i r e c t i o n of h o s p i t a l m a n a g e r M i c h e l e d i F r o s i n o da
Panzano (elected 1 4 1 3 - d . 1443), i t appears t h a t a n e w
p h a r m a c y w a s o r d e r e d f o r Santa M a r i a N u o v a . T h i s r e n ­
o v a t i o n p r o b a b l y o c c u r r e d a r o u n d 1431 since i n J u l y of
t h a t year a c e r a m i s t w a s p a i d for n e w d r u g c o n t a i n e r s
"per l a n u o v a s p e z i e r i a " (for t h e n e w p h a r m a c y ) a n d i n
November a cabinetmaker was p a i d for m a k i n g the
" l ' a r m a r i o n u o v o d e l l a s p e z i e r i a " ( n e w c a b i n e t for t h e
p h a r m a c y ) . A l t h o u g h G i u n t a d i T u g i o has b e e n associ­
1

a t e d w i t h t h e a s t e r i s k m a r k (fig. 8 A ; see nos. 7, 9),

records s h o w t h a t several c e r a m i s t s , i n c l u d i n g M a s o a n d
M i n i a t o d i D o m e n i c o as w e l l as G i u n t a , s u p p l i e d t h e
h o s p i t a l w i t h m o r e t h a n f i v e h u n d r e d a n d one t h o u s a n d
d r u g jars, r e s p e c t i v e l y , a r o u n d 1 4 3 0 . 2

I n t h e e a r l y M i d d l e Ages h o s p i t a l s w e r e s i m p l e hos­
pices set u p o u t s i d e c i t i e s t o offer f o o d a n d l o d g i n g t o 8A Detail of maker's mark below handle.

56
 8B Alternate view.

58 Relief-Blue far with Running Boars

8c Alternate view.

Relief-Blue Jar with Running Boars 59

animal's many symbolic qualities—as one of the four
heraldic beasts of the hunt, i t represents speed and fe­
rocity— or to a scene from Greco-Roman mythology.
One finds similar boars on maiolica jugs, plates, and ce­
ramic fragments,- this animal can be seen as a heraldic
6
emblem on a Florentine jug of the t h i r d quarter of
the fifteenth century, as w e l l as on an early sixteenth-
7
century maiolica plate from Gubbio i n the Victoria and
Albert Museum, London (inv. 1725-1855); neither coat
of arms has been identified.
Including the Getty Museum's piece, approximately
twenty drug jars w i t h the Santa Maria Nuova crutch em­
blem are k n o w n . They include one decorated w i t h eagles
in the State Hermitage Museum,
the Volpi collection, Florence. 23
Cora also mentions a
drug jar from this same Santa Maria Nuova group, also
5
formerly i n the Volpi c o l l e c t i o n . 24
From the published
dimensions of these jars, they fall into two groups accord­
ing to size: fifteen jars measure between 18.5 and 22.2 cm,
and three jars measure between 30.8 and 31.5 cm.
Two other drug jars w i t h the crutch emblem of the
Santa Maria Nuova hospital but of slightly different
8
shape and later date and w i t h simplified leaf decoration
were formerly i n the Elie Volpi collection, Florence, one
of w h i c h was later sold at auction i n Paris. 25
Maiolica
jugs and jars bearing the same crutch emblem were also
produced for the Santa Maria Nuova hospital i n the six­
Saint Petersburg teenth and seventeenth centuries. 26

(H: 18.5 cm, inv. F-3118); two—one w i t h birds, the

9

other w i t h f i s h — i n the Musee du Louvre, Paris (H: 19

cm, inv. O A 6304; H : 19 cm, inv. O A 6305); 10
another
w i t h fish i n the Toledo M u s e u m of A r t (H: 30.8 c m ) ; 11
a
drug jar w i t h rampant dogs i n the National Gallery of
Victoria, Melbourne (H: 31 cm, inv. 3649.3); 12
another
w i t h running dogs i n the F i t z w i l l i a m Museum, Cam­
bridge (H: 20 cm),- 13
two—one w i t h rabbits, the other
with fleurs-de-lis—in the Victoria and Albert Museum,
London (H: 21 cm, inv. 389-1889; H : 21 cm, inv. C.2063-
1910); another w i t h fleurs-de-lis i n the Cleveland M u ­
14

seum of A r t ; 1 5
a t h i r d w i t h fleurs-de-lis i n the Museo
Nazionale di Capodimonte, Naples; 16
one w i t h geomet­
ric decoration i n the Osterreichisches M u s e u m fur ange-
wandte Kunst, Vienna (H: 20.5 c m ) ; one w i t h cranes i n
17

the Lehman collection, Metropolitan M u s e u m of A r t ,

N e w York (H: 31.5 c m ) ; 18
one w i t h leaf decoration i n the
M u s e u m of Fine Arts, Boston (H: 20.5 cm, inv. 23.268);
one w i t h Saint Bernardino monograms i n the Museo
Nazionale delle Ceramiche, Faenza (H: 18.5 cm, inv.
21054/c); one w i t h crowns formerly i n the collection of
19

the princes of Liechtenstein, Vaduz (inv. 1269); another 20

w i t h crowns cited as i n a private collection, M i l a n , and

probably the same as that from the Guido Rossi collec­
tion, M i l a n , that was offered for sale i n 1998 (H: 19.3
cm); 21
one w i t h profile portraits of a bearded man wear­
ing a pointed cap and a woman wearing a plumed hat i n
the Cleveland M u s e u m of A r t (H: 20.3 cm, inv. 43.54); 22

and one w i t h curly-haired figures i n profile formerly i n

60 Relief-Blue Jar with Running Boars

 Notes
1. Cora 1 9 7 3 , i : 5 6 .
2. Cora 1973, i: 54-61; see also Wilson 1996, 6 - 7 , no. 1 . Lacking more
precise information, Alinari and Berti ( 1 9 9 1 , 54) attribute the present
jar to their "painter C," who would also be responsible for the jar
with Saint Bernardino monograms in the Museo Internazionale delle
Ceramiche, Cora donation, Faenza, inv. 2 1 0 5 4 / c .
3. Park 1985, 1 0 2 - 3 , 106.

4. For ceramic examples, see Gonzalez Marti 1 9 4 4 - 5 2 , 2: fig. 6 7 3 ; 3:

fig. 5 7 5; for late medieval manuscript illuminations see, for example,

the version of the Tacuinum sanitatis i n the Bibliotheque Municipale,
Rouen, s.v. "ghiande" (Cogliati Arano 1 9 7 9 , 5 9 , pi. XV).
5. The Calydonian boar hunt, for example, was a popular subject for narra­
tive scenes (see Liverani i960, fig. 26); a plate from Deruta of ca. 1530

also displays a wild-boar hunt (with saddleback boar), allegorically inter­

preted as one of Hercules' labors (Conti 1 9 8 4 , no. 2 4 ) .
6. See Cora 1 9 7 3 , 2 : figs. 3 7 , 1 6 6 c , 1 8 8 c , 1 9 6 b ; Ravanelli Guidotti 1 9 9 0 ,
56-57, no. 22; Fuchs 1993, 177, no. 64.

7. Lepke 1 9 1 3 , lot 8 0 .
8. Rackham 1 9 4 0 , 1: no. 6 5 6 ; 2 : pi. 1 0 3 .
9. Kube 1 9 7 6 , no. i ; Bode 1 9 1 1 , 1 9 ; Conti et al. 1 9 9 1 , 2 5 1 , fig. 3 2 .
10. Giacomotti 1 9 7 4 , nos. 31-32; Conti etal. 1991, 252, 257, figs. 43,

86.

11. Sale cat., Christie's 1 9 3 6 , lot 2; Cora 1 9 7 3 , 2 : fig. 8 4 a ; Conti et al.

1991, 257, fig. 87.

12. Sale cat., Christie's 1936, lot i ; Legge in Brody et al. 1980, 14-15;

Conti et al. 1 9 9 1 , 2 5 6 , fig. 7 4 .

13. Poole 1995, 9 6 - 9 9 , no. 154; Poole 1997, 2 0 - 2 1 , no. 5.

14. Rackham 1 9 4 0 , 1: nos. 3 8 - 3 9 ; 2: pi. g Conti et al.

} 1991, 257, 259,

figs. 8 3 , 1 0 6 .
15. Cora 1 9 7 3 , 2 : fig. 8 8 a Conti et al. 1 9 9 1 , 2 6 0 , fig. 1 1 1 .
;

16. Cora 1 9 7 3 , 2 : fig. 8 9 a ; Conti et al. 1 9 9 1 , 2 6 0 , fig. 1 0 9 .

17. Bode 1 9 1 1 , 1 8 , pi. 1 9 ; Wallis 1 9 0 3 , 8; Lepke 1 9 1 3 , lot 2 3 ; Conti et al.
1991, 261, fig. 122.

18. Falke 1 9 1 4 - 2 3 , 1: no. 4, pi. 3,- Rasmussen 1989, 10: 4 - 5 , no. 2 ; Conti
et al. 1991, 252, fig. 41.

19. Bojani, Ravanelli Guidotti, and Fanfani 1 9 8 5 , no. 4 2 5 ; Cora 1 9 7 3 , 2 :

pi. 9 5 ; Conti et al. 1 9 9 1 , 2 6 0 , fig. 1 1 6 .
20. Cora 1 9 7 3 , 2 : fig. 9 0 c ; Bode 1 9 1 1 , 1 4 center; Conti et al. 1 9 9 1 , 2 6 0 ,
fig. 115 .

21. Cora 1 9 7 3 , 1 : 7 8 ; Trinity 1 9 9 8 , 8 - 9 , no. 2 .

22. Cora 1 9 7 3 , 2 : fig. 5 5 a - b Pillsbury 1 9 7 1 , no. 9 3 ; Conti et al. 1 9 9 1 ,
;

258, fig. 95.

23. Cora 1 9 7 3 , 2 : fig. 5 5 c ; Conti et al. 1 9 9 1 , 2 5 8 , fig. 9 6 .

24. Cora 1 9 7 3 , 1 : 8 0 , 2 : pi. 1 0 7 a ; Conti et al. 1 9 9 1 , 2 6 1 ,fig.1 2 1 .
25. The pair appeared for sale at Jandolo and Tavazzi, Rome, April 2 5 -
May 3, 1 9 1 0 , lots 261-62; lot 262 from the previous sale was then
sold at Hotel Drouot, December 1 5 , 19 7 6, lot 2 3 Conti et al. 19 9 1 , ;

256, fig. 77.

26. Berti 1999, 37-54; Cora and Fanfani 1982, no. i; Bojani, Ravanelli
Guidotti, and Fanfani 1 9 8 5 , no. 5 7 7 .

Relief-Blue Jar with Running Boars 61

 9

Relief-Blue Jar with Dots C O N D I T I O N by inheritance to Lederer's widow, Elisabeth

Two chips in the r i m chips along the handles,-
; Lederer, 1985; sold to the J. Paul Getty M u ­
a number of blind cracks in the body. seum, 1 9 8 5 .
Tuscany, probably Florence
ca. 1430-50 PROVENANCE EXHIBITIONS

Palazzo Davanzati, Florence (fig. 9D); Stefano None.

Tin-glazed earthenware
Bardini, Florence; Elie Volpi, Florence (sold, 1

H: 16.5 cm (6V2 in.) Jandolo and Tavazzi, Rome, April 25 -May 3,

B I B L I O G R A P H Y

Cora 1973, 1: 8 o 2: fig. 107b; GettyMusf 14

Diam (at lip): 10.5 cm (4V8 in.) 1910, lot 777, to Count H.-A. Harrach [informa­ ;

(1986): 2 5 1 , no. 212; Hess 1988A, no. 9; Conti

tion supplied by auction house]); Count Hans-
W (max.): 17.8 cm (7 in.) et al. 1 9 9 1 , fig. 17; Summary Catalogue 2 0 0 1 ,
Albrecht Harrach (d. 1963), Rome ( 1 9 0 0 - 1 9 1 4 ) ,
85.DE.58 no. 3 4 8 .
Munich ( 1 9 2 3 - 4 3 ) , and Niederarnbach, South
Germany (sold, Lempertz, Cologne, May 6, 1953,
lot 414); Dr. Robert Bak, New York (sold,
MARKS A N D INSCRIPTIONS
Sotheby's, London, December 7, 1965, lot 15, to
Below each handle, a six-pointed asterisk sur­
E. Lederer); Erich Lederer ( 1 8 9 6 - 1 9 8 5 ) , Geneva;
rounded by dots.

T H I S T W O - H A N D L E D VESSEL displays on each side four

horizontal zones delineated by manganese purple lines.
These zones display wavy manganese purple lines and a
double row of cobalt blue dots (or "berries") set into the
curves on a ground of small manganese dots. The interior
is lead glazed. The area below each strap handle bears
a six-pointed asterisk mark surrounded by dots, attrib­
uted to the Florentine workshop of Giunta di Tugio (see
nos. 7-8). 2
However, there is some question as to
whether the more than t h i r t y jars marked w i t h various
forms of asterisk a l l belong to di Tugio or even to a single
other potter. A n attempt has been made to stylistically
l i n k works by the same hand as that responsible for dec­
orating this jar. According to this grouping, a so-called
painter E w o u l d have decorated the Getty jar and the
small example w i t h an upright hare i n the Victoria and
Albert Museum, London (fig. 9 c ) . 3

Roughly a dozen examples of relief-blue jugs and

two-handled jars display similar repetitive, almost geo­
metric decoration (including patterns of tabs, dots,
dashes, and wedge shapes), rather than the more com­
mon leaf embellishment. The arrangement of rows of
4

repeating fingerlike cogs (called a goccioloni for "big

9A Alternate view. drops" of pigment) on several of these more abstractly
decorated pots has been associated w i t h the vair m o t i f
.deriving from heraldry. H o w these more simplified pat­
5

terns relate to the more c o m m o n relief-blue leaves has

yet to be fully considered.

62
 Notes
1. There were strong connections among Palazzo Davanzati, Stefano Bar­
dini, and Elie Volpi around the turn of the twentieth century. In the late
1860s Bardini was the most important antique dealer in Italy. With the
financial difficulties caused by changes in the economy and in inheri­
tance laws after Unification in 1 8 6 1 , many noble Italian families chose
to sell parts of their collections to have money on hand. Bardini took
advantage of this situation, having access, as he did, to the palaces and
villas of many important Florentine families such as the Strozzi, Torri-
giani, and Capponi. Bardini's clients included Wilhelm Bode, Oscar
Hainauer, and Albert Figdor. Elie Volpi was hired by Bardini during this
period to restore and copy works of art. Working for Bardini was excel­
lent training for Volpi's future career as antique dealer in Florence, an
activity that caused Volpi to fall out of Bardini's favor. As a dealer,
Volpi's clients included J. Pierpont Morgan, Sr., Enrico Caruso, Joseph
Widener, William Randolph Hearst, Isabella Stewart Gardner, and the
Metropolitan Museum of Art in New York. After buying the Palazzo
Davanzati in 1 9 0 4 , Volpi restored it and made it a private museum ded­
icated to the Florentine house of the Middle Ages and Renaissance. In­
terest in the Palazzo Davanzati helped promote an active and profitable
market for Volpi, especially in the United States in the first decades of
the twentieth century. After changes in the public's taste and scandals
involving the production of fakes, Volpi sold Palazzo Davanzanti i n
1 9 2 6 . The structure fell into disuse before reopening in 1 9 5 6 as the
present Museo Statale della Casa Fiorentina Antica (see Ferrazza 1994).

The Machiavellian world of today's art market is not new: a 1 9 2 3 cable

sent from the Paris office of Duveen Brothers (another very prominent
art dealership at the time) to their office i n New York states, "Bardini
going to Volpi's i n March. We must be careful. . . get friendly with
9B Alternate view. Volpi" (Duveen 1876-1981, box 2 6 0 , folder 1 8 ) .

2. For more on this mark, see Cora 1973, 1: 39 n. 2; 2: pi. 350 (M225);

see also no. 8 above.

3. Inv. 1 1 2 4 - 1 9 0 4 ; Rackham 1940, 1: no. 41, pi. j } 2: 1 1 ; Conti et al.
1991, 256, no. 81.

4. For examples, see Cora 1 9 7 3 , 2 : figs. 9 9 c , 1 0 1 c , i o 2 a - c , 1 0 3 a , 1 0 3 c ,

i o 4 a - b , 1 0 6 , 1 0 7 a , 1 0 7 c ; sale cat., Semenzato, Florence, November 1 1 ,
1987, lot 290; Conti et al. 1991, 250, 2 6 1 , nos. 20-26, 119-23.

5. Anna Moore Valeri (1984, 4 8 6 - 8 7 ) has suggested that the so-called a

goccioloni pattern on Florentine zaffera wares may derive from the me­
dieval vair, or squirrel pelt, which commonly served to line cloaks and
appears as a motif on furriers' coats of arms.

64 Relief-Blue Jar with Dots

9C Relief-blue jar with rampant hare. Florence area, first half
of the fifteenth century. Tin-glazed earthenware. London,
Victoria and Albert Museum, inv. 1124-1904.

9D Display cabinet in Palazzo Davanzati, late nineteenth century. Edizioni Brogi,

no. 2 1 9 1 6 . The Getty jar is second from the right on the middle shelf.

Relief-Blue far with Dots 65

 10

Jar with Foliate MARKS A N D INSCRIPTIONS EXHIBITIONS

None.
Decoration None.

C O N D I T I O N B I B L I O G R A P H Y

Chips on the rini; minor crack through the body GettyMusJ 13 (1985): 2 3 9 , no. 1 5 3 ; Hess 1988A,
Montelupo
with overpainting. no. i i ; Summary Catalogue 2 0 0 1 ,
Mid-fifteenth century no. 349.
PROVENANCE
Tin-glazed earthenware
Sold, Sotheby's, London, November 2 2 , 1 9 8 3 , l ot
H: 18.6 cm (7 /i6 in.)
5
1 9 4 , to R. Zietz; [Rainer Zietz, Ltd., London, sold
Diam (at lip): 10.5 cm (4V8 in.) to the J. Paul Getty Museum, 1984].

W (max.): 11.8 cm (4 /s in.)

5

84.DE.100

T H I S C Y L I N D R I C A L JAR, or albaiello, w i t h waisted neck

and tapering foot, is divided into horizontal zones by
light yellowish green bands outlined i n grayish blue. The
wide zone around the body displays a series of stylized
flowers enclosed i n circles and surrounded by foliate
scrolls. This area is bordered below by incised flat
leaves—sometimes called foglie di gelso, or mulberry
leaves —in alternating manganese and cobalt i n t e r m i n ­
1

gled w i t h t h i n , curved ones. Blue foliate scrolls inter­

spersed w i t h parallel lines ornament the shoulder, and
additional foliate scrolls r u n around the neck. 2

The incised flat-leaf m o t i f i n the lower section is de­

rived from Hispano-Moresque designs that spread to
Italy (fig. I O B ) , becoming popular i n Tuscany. I n par­
3 4

ticular, Montelupo potters i m i t a t e d various types of

Hispano-Moresque decoration, including metallic luster
and the so-called parsley leaf (foglia di prezzemolo) pat­
tern. Similar versions of the u n c o m m o n rosette m o t i f
5

also appear on Hispano-Moresque works (fig. 1 0 c ) , and

the Italian designs may be derived from, or at least have
been influenced by, that source. I t is equally likely, how­
6

ever, that such a generalized m o t i f was developed inde­

pendently i n Italy. 1 O A Alernate view.

Comparable decoration is found on ceramic frag­

ments excavated at k i l n sites i n the t o w n of Montelupo
(fig. I O D ) . These fragments display not only very similar
floral medallions, foliate scrolls, andHispano-Moresque-
inspired incised leaves, but also the same l i m i t e d palette
of blackish blue, pale green, and dark brown manganese.
Most of these works can be dated to the first decades of
the second half of the fifteenth century, although the
rather archaic quality of this jar's decoration suggests
that i t was executed shortly before mid-century.
For essentially functional maiolica objects such as
7
this drug jar, efficiency of production was a prime
concern. Apparently painted i n haste, this w o r k affords

66
 one the opportunity to view the artist's hand i n its
painted decoration. For the green stripes the artist dipped
the brush once i n t o pigment, placed the color-laden
brush on the body, and as the jar was turned, the color be­
came depleted, leaving a m u c h lighter green where the
end of the stripe meets the beginning. I n addition, the
artist painted the rosette motifs w i t h o u t considering
the size of the piece, so that the last rosette was forced to
fit i n t o the remaining space and as a result appears more
oval than round.

Notes
1. Conti 1 9 8 0 , pi. 7 0 .
2. For other examples of this scroll motif, derived from the Chinese
"classic scroll," see no. 11 below, especially note 3 .
3. Examples are found in Frothingham 19 5 1, figs. 8 5 , 8 7 .
4. See, for example, Rackham 1 9 4 0 , 2 : nos. 6 7 , pi. u ; 8 0 , pi. 1 3 .
5. Berti 1997, 303-30.
i O B Albarello. Valencia (Manises), third quarter of the fifteenth century. 6. See Frothingham 1951, figs. 70-72.
Tin-glazed earthenware, H : 3 9 . 5 cm ( 1 5 / 2 in.). London, Victoria and 7. Berti 1997, 2 4 5 - 3 0 1 passim, especially nos. 92, 9 5 - 9 6 , 98, 119-21,
Albert Museum, inv. 53-1907. 1 6 8 , Berti 1 9 9 9 , fig. 4 5 .

i o c Deep dish. Valencia, ca. 1 4 5 0 . Tin-glazed earthenware, Diam: 3 9 . 5 I O D Fragments of a jug. Montelupo, 1460-70. Tin-glazed earthenware,

cm (15 Vi in.). New York, Hispanic Society of America, inv. E5 5 5. H : 2 3 . 5 cm (9 'A in.). Restored from fragments found i n excavation at
Palazzo Podestarile, Montelupo. Montelupo, Museo Archeologico e della
Ceramica.

68 Jar with Foliate Decoration

 11
Jar with a Kufic Pattern MARKS A N D INSCRIPTIONS
On the underside of the unglazed bottom, marks
were scratched after firing.
Montelupo
Mid-fifteenth century C O N D I T I O N
Hairline crack opposite handle runs from lip down
Tin-glazed earthenware
neck and then forks; minor chips at lip, handle,
H: 18.1 cm (jVs in.)
and base.
Diam (at lip): 9.5 cm (3 /4 in.)
3
PROVENANCE
W (max.): 13 cm (5 Vs in.) Dr. Joseph Chompret, Paris (sold, Hotel Drouot,
84.DE.96 Paris, December 1 5 , 1 9 7 6 , lot 1 9 , to R. Zietz);
T H I S JAR'S C Y L I N D R I C A L B O D Y , wide m o u t h , indented
collar, and slight foot are characteristic of the most com­
m o n albarello shape i n the fifteenth century. The small
handle, however, is an unusual addition. There are only
three other examples of such a handle, and they are a l l
found on jars belonging to the same set as the Getty
piece. Too small to grip well, this handle may have been
1
used to tie together a group of jars that could then be sus­
pended for storage. I t is perhaps more credible that a
pharmacist w o u l d have used this handle to grab the jar
from a crowded shelf. 2
The blue decoration is divided i n t o horizontal bands
following the object's shape: scrolls around the neck; a
scroll and stylized leaf design around the shoulder and on
the handle,- a wavy line w i t h stylized leaves around the
3
curved section above the unglazed foot; and hatched
fields and k n o t w o r k w i t h i n angular, discontinuous lines
around the body. The interior is t i n glazed. I t appears
that this jar was made i n the Tuscan t o w n of Montelupo
since excavated fragments from k i l n sites i n that t o w n
match not only the scroll patterns around this vessel's
neck but also its peculiar Kufic decoration. 4
This rather stylized Kufic script pattern on Spanish
jars and dishes has been identified as the Arabic inscrip­
t i o n signifying the w i s h of good health, alafia. 5
I t is pos­
sible that the angular line decoration—which appears i n
identical form on a l l jars from this group—was meant to
copy this k i n d of inscription, a c o m m o n blessing i n Ara­
bic and one that w o u l d be particularly appropriate for a
jar meant to hold medication (fig. l i e ) .
Certainly, Kufic calligraphy was k n o w n throughout
Spain and Italy thanks to the spread of small and easily
[Rainer Zietz, Ltd., London, sold to the J. Paul
Getty Museum, 1984].
EXHIBITIONS
None.
B I B L I O G R A P H Y
GettyMusJ 13 (1985): 240, no. 156; Hess 1988A,
no. i o ; Summary Catalogue 2001, no. 350.
transportable goods—such as textiles, 6
leather- and
metalwork, as w e l l as ceramics (fig. I I D ) — d e c o r a t e d
w i t h the script. Especially i n Tuscany, Kufic designs had
a strong influence, and there are Kufic inscriptions i n
paintings by important Tuscan artists from the late thir­
teenth to the late fifteenth century, such as Duccio, Fra
Angelico, Gentile da Fabriano (fig. H E ) , Filippo Lippi,
and Domenico Ghirlandaio. The illegibility of the jar's
7
inscription, however, suggests that either a fanciful Kufi-
l i k e pattern was copied on a l l of the jars so inscribed or
else that the painter, misunderstanding Arabic orthogra­
phy, copied his o w n corrupted version of the blessing as
a simpler, chiefly ornamental pattern. 8
One finds an interesting m i x t u r e of Near and Far
Eastern influences on this small jar. The scroll design
around its neck and shoulder can also be found on Is­
lamic w o r k s , although i t may originally have been de­
9
rived from a Far Eastern source. The k n o t w o r k on the
jar's body, c o m m o n l y found on pots and tiles from
Malaga and Manises, can also be traced to Moorish and
Near Eastern sources. 10
Because of the large quantity of Hispano-Moresque
ceramics arriving i n Italy by the fourteenth and fifteenth
centuries, Spanish rather than eastern Mediterranean
products were largely responsible for the spread of Is­
lamic decoration to that country. However, the Islamic-
inspired ornamentation on the vessel under discussion
may have been influenced less by patterns on Spanish
jars than by the blue decoration on a type of early
fifteenth-century tile from Manises. 11
The marks on the underside may indicate the vol­
ume, weight, or price of the container (fig. I I B ) .
69
1 1 A Alternate view.
Gauging the volume of storage jars, particularly drug
jars, probably served to facilitate the sale or proper dis­
t r i b u t i o n of the jars' contents. The jars whose dimen­
sions are published fall i n t o general groups according to
size: roughly one quarter of the jars measure between 17
and 18.5 c m high, slightly more than half of the jars mea­
sure between 21 and 25 c m high, and three measure be­
tween 27.5 and 33.5 c m high. Rather than simple height
measurements, however, i t is the relative volume or ca­
pacity of jars that appears to be most significant. One
scholar has shown that the volume of jars belonging to a
verifiable set relate to one another proportionally. I n ad­
dition, i t seems that these measurements of capacity
1 1 B Detail of underside.
must have been regulated and identifiable i n some way
and that they followed different measuring systems de­
pending on the place of production and use. 12
I n addition to this jar, there are twenty-four other
k n o w n albarelli of similar form and related Kufic deco­
ration. 13
These include examples i n the Victoria and
Albert Museum (inv. 1143-1904, 1147-1904, 1150-1904,
and 372-1889); Museo Internazionale delle Ceramiche,
14
Faenza (inv. 21100/C, 21058/C, and 24886); 15
Kunst-
gewerbemuseum, Berlin (inv. 14, 63); Musee National 16
de Ceramique, Sevres (inv. 22667); formerly Ducrot col­
17
lection, Paris,- Museo Nazionale, Palazzo del Bargello,
18
Florence (inv. 13795); private collection, Florence,- 19
Jar with a Kufic Pattern ~f I
lie Unknown artist. An Apothecary's Shop (detail) from Avicenna's Canon, 1ID Jar. Probably Manises, ca. 1 4 0 0 . Tin-glazed earthen­
ca. 1 4 4 0 . Tempera on vellum. Bologna, Biblioteca Universitaria, ware, H : 3 1 cm ( 1 2 / 8 in.). Madrid, Instituto de Valencia
Ms. 2197, fol. 492A, 38B. Maiolica albarelli decorated with Kufic script de Don Juan.
fill the shelves of this shop as the pharmacist prepares a drug using a
mortar and pestle.

Museo Nazionale di Capodimonte, Naples (inv. 46); 20

Hoffmann-La Roche collection, Basel (inv. 244); 21

Na­
tional M u s e u m of Stockholm,- 22
formerly Spano col­
lection, Messina; 23
early pharmacy of the M i n o r i t e
brothers at San Romano Valdarno, near Pisa; and an ex­ 24

ample presently on the art market. 25

Two of the twenty-
five jars are adorned on the front w i t h a coat of arms
w i t h i n a wreath—identified as belonging to either the
Marzalogli or Buffoni families of Bologna—and, one can
assume, originate from a pharmacy belonging to the
patron f a m i l y . 26

72 Jar with a Kufic Pattern

 2 : nos. 5 7 1 , 5 8 1 , 5 8 3 , 5 8 6 , 5 9 3 , 5 9 5 . For another example on Italian
maiolica, see Carswell 1 9 8 5 , 1 5 0 , no. 9 0 .
4. Kufi is an angular, early Islamic style of the handwritten alphabet. This
script was used to record the Qur'an and for inscriptions on tombstones,
coins, and buildings. Berti 1997, 2 5 6 - 6 3 , especially nos. 92, 94-96;

Berti 1 9 9 9 , 1 2 6 , fig. 4 3 .
5. Ray 2000, 4 6 - 4 7 , 56, 6 6 - 6 8 , nos. 94, 96, 122, 1 3 4 - 3 9 ; Rackham
1940, 1 : 1 3 - 1 4 , no. 5 0 ; 2 : no. 5 0 in pi. 10.

6. Islamic fabrics, desired for their rich decoration, were imported into
Italy i n large quantities i n the fifteenth century and likely served as a
primary source for ceramic embellishment, including Kufic patterns
(Lightbown 1980, 449-55).

7. For a discussion of this phenomenon, see Soulier 1924, 347-58.

8. I would like to thank Tarek Naga for his help i n interpreting these in­
scriptions. For more information on this subject, see Contadini 1 9 9 9 ,
esp. 5-9.

9. See, for example, a blue, black, and white albarello of the first half of
the fifteenth century from Damascus i n the Musee des Arts Decoratifs,
Paris (Spallanzani 1 9 7 8 , pi. 1). Although this work was likely produced
for the Florentine market, aside from the shield with fleur-de-lis, its
painted motifs derive from eastern Mediterranean products.
10. Caiger-Smith 1 9 7 3 , 5 9 . For examples of this knotwork design on Is­
lamic metalwork, see Baer 1 9 8 3 , fig. 1 8 0 . For this pattern on Hispano-
Moresque ceramics, see Gonzalez Marti 1944-52, 2: 3 5 5 - 7 4 passim,
especially figs. 472-73; Caiger-Smith 1973, fig. 10.

11. Hausmann 1 9 7 2 , 9 9 ; for further examples see Gonzalez Marti 1 9 4 4 -

5 2 , 3: pi. 4, figs. 90-94/ 142, 174-

12. Montagut 1990, 41-45.

13. Berti 1999, 127-28, 238-39, pis. 11-15.

14. Rackham 1940, 1: nos. 5 1 - 5 2 , 68, 7 0 ; 2: pis. 12-13.

i I E Gentile da Fabriano (Italian, 1370-1427). Madonna and Child (detail), 15. Two from the Cora collection (Bojani, Ravanelli Guidotti, and Fanfani
ca. 1424-25. Tempera on panel, 91.4 x 62.9 cm (36 x 24 /4 in.). New
3
1985, nos. 436-37) and one from the Fanfani collection (Ravanelli
Haven, Connecticut, Yale University Art Gallery, University Purchase Guidotti 1990, 2 2 - 2 5 , n o
- l)-
from James Jackson Jarves. 16. Hausmann 1 9 7 2 , no. 7 6 .
17. Giacomotti 1 9 7 4 , no. 5 4 .
18. Ballardini 1934, pi. 3, nos. 5-6; Chompret 1949, 2: nos. 655-56; sale
cat., Sotheby's, London, April 2 3 , 1 9 7 4 , lot 3 8 , from the collection of
Thomas Harris, London; sale cat., Semenzato, Florence, November 1 1 ,
1987, lot 319.

19. Conti 1971A, no. 339; Cora 1 9 7 3 , 2: no. 132b.

Notes
20. Museo e Gallerie Nazionali di Capodimonte 1 9 5 8 , 2 3 , no. 4 6 .
1. One is in the Victoria and Albert Museum, London (Rackham 1 9 4 0 , 1 :
21. Mez-Mangold 1 9 9 0 , 9 9 top,- Thomann 1 9 6 2 , pi. 8; Castiglioni 1 9 2 2 ,
no. 5 2 ; 2 : pi. 1 2 ; Wallis 1 9 0 4 , fig. 2 3 ) ; a second is in the collection of
pi. 8 c Mariaux 1 9 9 5 , 7 4 , 1 6 6 , no. 1 2 .
;
the Fitzwilliam Museum, Cambridge (Poole 1995, 108-10, no. 164);
22. Dahlback-Lutteman 1 9 8 1 , 4 8 , fig. 6 .
and a third was formerly i n the della Gherardesca collection, Bolgheri
23. Ravanelli Guidotti 1 9 9 0 , 2 4 , fig. 7 m
(sold, Finarte, Milan, November 21-22, 1963, lot 141, pi. 75). This
24. Pedrazzini 1 9 3 4 , 1 4 7 .
third example is the closest to the Getty jar regarding shape, scale, and
25. Gardelli 1 9 9 9 , no. 1 4 6 .
decoration. Other single handles are found on a few jars, but their longer
26. Rackham 1 9 4 0 , 1: no. 7 0 ; 2 : pi. 1 3 ; Gardelli 1 9 9 9 , no. 1 4 6 .
form, extending down the body of the vessel, suggests they served for
gripping w i t h the hand rather than for suspension.
2. Suggested by John Mallet i n May 2 0 0 1 .
3. The scrollwork around the neck and above the shoulder is nearly identi­
cal to, and apparently derived from, the Chinese "classic scroll" motif
used as border decoration primarily on porcelain from the Yuan (1271-

1368) and Ming (1368-1644) dynasties. See, for example, Krahl 1986,

Jar with a Kufic Pattern 73

 12

Armorial Jar PROVENANCE B I B L I O G R A P H Y

Alfred Pringsheim, Munich, by 1 9 1 3 ; looted from Falke 1914-23, 1: no. 11, pi. 8; Bellini and Conti
Pringsheim's collection by the Nazis during fig.A; GettyMus]
Deruta 1964, 89, 13 ( 1 9 8 5 ) : 2 4 0 ,

Kristallnacht, November 9 , 1 9 3 8 ; stored i n an an­ no. 1 5 9 ; Bojani 1 9 8 8 , 5 4 - 5 5 , fig. 1 4 ; Fiocco and

ca. 1460-90 nex of the Bayerisches Nationalmuseum, Munich; Gherardi 1988, 1: 5 4 - 5 5 ,fig.1 4 ; Hess 1988A,

Tin-glazed earthenware ordered exported to London by the German state no. 12; Donatone 1993A, pis. 46, i62d ; Fiocco
H: 22.2 cm (8 /4
3
in.) in 1 9 3 8 for sale at auction i n exchange for allow­ and Gherardi 1994A, 145, no. 6; Fiocco and
ing Pringsheim and his wife to emigrate to Gherardi 1 9 9 4 , 1 4 5 , no. 6; Summary Catalogue
Diam (at rim): 11.4 cm (4V2 in.)
Switzerland (sold, Sotheby's, London, July 1 9 , 2001, no. 351.

W (max.): 23.4 cm (9 /i6

3
in.) 1 9 3 9 , lot 3, to A. Spero [according to sale cat. no­
84.DE.99 tation]); [Alfred Spero, London]; [Rainer Zietz, Ltd.,
London, sold to the J. Paul Getty Museum, 1984].

MARKS A N D INSCRIPTIONS
EXHIBITIONS

On one side, AMA.DIO. Italian Renaissance Maiolica from the William A.

Clark Collection, Los Angeles County Museum of
C O N D I T I O N
Art, March 5 - M a y 1 7 , 1 9 8 7 .
Glaze chips on the handles, body, and r i m loose
;

glaze on the lower left of the shield side near the

base due to soluble-salt damage; a hairline crack i n
the neck on reverse.

T H I S VESSEL is of a gently waisted, cylindrical form
w i t h a tall, perpendicular r i m and two rope-twist handles
that terminate i n deep indentations. The body is divided
into decorative panels that display on one side a blue and
ocher testa di cavallo (horse's head, so called because of
its shape) shield against a light copper green half-circle
below blue tendrils and dots. The colors that could be
indicate that this jar came from there. Given their nature
as mistakes, these discards—which include examples
of rope-twist handles (fig. I 2 D ) and similar zigzag, ten­
dril, dot, and splayed-lined motifs as on this vessel—
could n o t have been brought i n t o the area from else­
where and must have been created at the site where
they were found. 4

fired on maiolica i n the fifteenth century were l i m i t e d On the other side of this jar, stylized leaves, tendrils,
to shades of blue, green, ocher, and purple. I t is there­ and dots frame the inscription AMA.DIO (love God). 5

fore difficult to identify coats of arms that do not have
specific distinguishing features. A l t h o u g h the horizontal
stripes on this jar are painted i n ocher and blue, these
pigments may stand for any alternating light and dark
colors, and thus this shield could belong to any one of a
number of prominent contemporary families. However, 1
the distinctive testa di cavallo shield of azure a fesse or
appears on a number of maiolica plates and drug jars
from Deruta, where i t is identified as the arms of the
Baglioni of Perugia, a powerful family w h o periodically
ruled Deruta, located a scant fifteen kilometers to the
south. Indeed, one early sixteenth-century Deruta plate
2
displaying such a shield includes a banderole inscribed
w i t h the Baglioni name (fig. 12c). 3
I n addition, recent public construction and u t i l i t y
This proverb, w h i c h begins " A m a D i o e non fallire/fai
del bene e lascia dire/lascia dir lasciar chi vuole/ama D i o
di buon cuore" (Love God and do not fail/do good deeds
and let i t be said/let i t be said by anyone/love God w i t h
a good heart), was widely k n o w n i n sixteenth-century
Italy. A diagonal dash pattern i n blue ornaments the
base, a triangular m o t i f of splayed blue lines decorates
the shoulder, and an ocher zigzag between blue stripes
embellishes the r i m . The interior is unglazed.
This w o r k belongs to the second phase of the severe
style, often referred to as the Gothic-floral family be­
cause central Italian ceramists drew not only on Islamic
motifs but also on European Gothic ornament (in archi­
tecture and miniature i l l u m i n a t i o n , for example) to dec­
orate their works. Single figurative elements began to
6

projects i n Deruta have unearthed k i l n discards that appear on objects of this early period, w h i c h flourished

74
I2A Alternate view. 1 2 B Alternate view.

from roughly 1460 to 1490. The form of this jar and its
7

glaze color and decoration are also found on similar

works attributed to central Italy and so attest to the
"cross-pollination" among potteries—due to the move­
ment of craftsmen as w e l l as objects—and to the com­
m o n vocabulary of ceramic form and decoration that
extended throughout central Italy. 8

Jars w i t h similar rope-twist handles, splayed-line

motifs around the shoulder, slanted lines around the
neck and/or base, and panels of decoration on the front
and back bordered by repetitive curved lines i m i t a t i n g a
twisted rope include a jar i n the Museo Internazionale
delle Ceramiche (inv. 21097/0), the Minneapolis M u ­
seum of A r t (inv. 43.21.2), and the Museo Nazionale,
Palazzo del Bargello, Florence (inscribed MARIA; Dia-
monstein bequest 1984).

76 Armorial far
 Notes
1. Such as the Fabbrini of Florence or Sanseverino of Salerno. Guido Dona-
tone (1993A, pis. 46, i62d) proposes the latter in reference to this jar,
suggesting that the Getty vessel was made in Naples.
2. The plates include one formerly i n the Adda collection, Paris (Rackham
1959, no. 343, pi. 148b); another formerly in the Charles Damiron col­
lection, Lyons (art market, London, late 1990s), a third plate sold at
Christie's, London, July 2 , 1 9 9 0 , lot 1 9 5 ; a fourth sold at Galerie
Georges Petit, Paris, May 9 - 1 0 , 1 9 2 7 , lot 2 7 (reprod. upside down i n
sale cat.); a fifth sold at Sotheby's, Florence, October 1 9 , 1 9 7 0 , lot 5 1 ;

and a sixth i n the Lehman Collection, Metropolitan Museum of Art,

New York (Rasmussen 1989, 3 6 - 3 7 , 70-71, nos. 23, 40). Another
plate in the Museo Regionale della Ceramica di Deruta exhibits the
Baglioni shield impaled with another (Busti and Cocchi 1 9 9 9 , 2 4 3 ,
no. 1 5 8 ) . The two-handled jars include one from the Blumka collection,
sold at Sotheby's, New York, January 9 , 1 9 9 6 , lot 1 2 ; another in the
Victoria and Albert Museum, London (Fiocco and Gherardi 1 9 9 4 , 1 5 3 ,
no. 16); a third in the Lehman Collection, Metropolitan Museum of Art,
12C Dish with coat of arms of the Baglioni family. Deruta, ca. 1515-20. New York (Rasmussen 1989, 3 6 - 3 7 , no. 23); and a fourth in the Musee
Tin-glazed earthenware, Diam: 4 0 cm {i$ A in.). Bequest of John Rin­
3
du Louvre, Paris (Giacomotti 1 9 7 4 , 2 8 , no. 8 8 ) .
gling, Collection of The John and Mable Ringling Museum of Art, the 3. John and Mable Ringling Museum of Art, Sarasota, Florida, inv. S.N.
State Art Museum of Florida, in v. 7 0 4 5 . The beginning of the inscrip­ 7045 (Ladis 1989, 5 8 - 5 9 , no. 10).
tion reads "Long live the Baglioni family." 4. Busti and Cocchi 1987, 1 4 - 2 0 , pi. 5c; Fiocco and Gherardi 1988, 5,

no. 1: 2 5 9 - 5 0 , nos. 152-53,- Fiocco and Gherardi 1994, 144-45,

nos. 5 - 7 ; Bojani 1 9 9 2 , fig. 3 2 .

5. Carmen Ravanelli Guidotti (19 8 5 B , 9 5 , no. 6 9) discusses Luci Lenzi's
analysis ( 1 9 8 2 , 2 2ff) of the original oral proverb or prayer on which this
inscription is based.
6. Liverani i960, 22.

7. Ballardini 1 9 7 5 , 5 3 .
8. Documentary sources describe the movement of craftsmen as well as
their products, which was probably determined as much by economic
factors as by the quest for new talent and novel styles. Although these
sources date from the late fifteenth and sixteenth centuries, they do not
exclude the possibility of earlier exchanges (see, for example, Ballardini
I922A, 144-47).

1 2 D Page of Comunitatis Castri Diruta, 1 4 8 9 . Deruta, Catasto del Comune,

ASP, ASCP, Catasti II gruppo, 4 3 , C.5R. The decorated initial on this
page from local communal documents prominently features a jar made
in Deruta with two rope-twist handles.

Armorial Jar 77
 13

Jug with Bust Medallion incised circles on the left side and on the area of Savile, Rufford Abbey, Nottingham (sold, Knight,
hair below the chin some extensive repainting of
; Frank, and Rutley in association w i t h Christie's,
the blue leaf decoration on the left side near the on Rufford Abbey premises, October 11-20, 1938,
Deruta or Montelupo
top. The jug underwent thermoluminescence lot 879); [Alfred Spero, London] (sold, Sotheby's,
ca. 1460-90 analysis i n 1987, returning a result that the mate­ London, December 4, 1956, lot 24); Robert
Tin-glazed earthenware rial is consistent with the expected age of the ob­ Strauss, England (sold, Christie's, London, June 21,
ject (i.e., that the material was last fired between 1976, lot 7); [Rainer Zietz, Ltd., London; sold to
H: 34.6 cm (i3 /s in.)
5

390 and 600 years ago). Neutron activation analy­ the J. Paul Getty Museum, 1984].
Diam (at rim): 9.8 cm (3 /s in.) 7

sis has determined that this jug was produced w i t h

W (max.): 33 cm (13 in.) clay originating in the lower mid-Arno Valley, EXHIBITIONS

showing the closest similarities to examples from None.

84.DE.101
Deruta and Montelupo.
B I B L I O G R A P H Y

MARKS A N D INSCRIPTIONS
PROVENANCE Christie's Review 1976, 394; Morley-Fletcher and
None. Ancestors of the Savile family, Rufford Abbey, Mcllroy 1984, 26, fig. 3; GettyMusJ 13 (1985):
Nottingham, active i n collecting since the late 239, no. 154; Hess 1988A, no. 13; Fiocco and
C O N D I T I O N
seventeenth century,- by inheritance to John Savile Gherardi 1994, 154, no. 18; Fiocco and Gherardi
Touched-in glaze chips on the left side of the bust
Lumley-Savile, second Lord Savile (d. 1931), 2000, 15-16 andfig.2; Summary Catalogue
near the foliate scrolls; filling and repainting at the
Rufford Abbey, Nottingham; by inheritance to 2001, 352.
top and bottom of the spout; repainting around the
George Halifax Lumley-Savile (b. 1919), third Lord

THIS LARGE OVIFORM J U G has a wide strap handle,

small m o u t h and neck, and long spout projecting almost
horizontally from the upper body. Given its rudimentary
and robust form, this jug m i g h t have been used for the
transport or serving of w i n e or water.
Based on its characteristic decoration, this piece can
be identified as an early example of the so-called Gothic-
floral family dating from roughly 1460 to 1490. The area 1

below the spout is decorated w i t h a bust i n blue and olive

green reserved against a background of stylized, feathered
leaves, all enclosed i n a circular band of copper green dots
and heavily applied manganese pigment incised w i t h
scrolls l i n k i n g circles. Wide, scrolling leaves [a cartoccio)
i n dark and light blue, manganese purple, and green sur­
round the circular band. The handle and rear t h i r d of this
vessel are undecorated. The interior is lead glazed.
A l t h o u g h the subject's style of dress, w i t h full
sleeves and turned-back collar, is typical of m i d -
fifteenth-century masculine fashion, the long hair w o u l d
suggest that the subject is a woman. Also ambiguous is
whether the bust depicts a young or old subject. I t is pos­
sible that, although awkward, the lines on the neck and
face of this figure were not meant to indicate wrinkles
but, rather, to shape and define the image. I n the second
13A Alternate view.
half of the fifteenth century potters were just learning
the necessary techniques to render the figural decoration

78
 I3B Jug, ca. 1480. Tin-glazed earthenware, H: 27 cm (io5/s in.).
Sevres, Musee National de Ceramique, inv. 21915. Photo:

© Reunion des Musees Nationaux.

13 c Jug. Probably Deruta or Montelupo, second half of the fifteenth

century. Tin-glazed earthenware, H : 31 cm (12/8 in.). Formerly
in the collection of Paul Damiron, Lyons (sold, Sotheby's,
London, November 22, 1983, lot 206). Photo: Courtesy of
Sotheby's.

13D Jug with degli Alessandri arms. Florence region, 1460-90. Tin-glazed
earthenware. Oxford, Ashmolean Museum.

80 fug with Bust Medallion

then i n fashion. Perhaps the jug's painter was beginning
to develop his skills i n rendering three-dimensional
figures using metallic oxides on an unforgiving, two-
dimensional, raw glaze ground. 2

I n spring 2001 this object underwent neutron activa­

t i o n analysis under the direction of scientist Michael
Hughes, formerly of the British Museum, London. The
analysis was carried out at the University of Missouri
Research Reactor, and the data was compared against the
British Museum database. The results of the analysis
3

show that the clay of this jug originated from the lower
mid-Arno Valley, most l i k e l y from either Deruta or M o n ­
telupo. To help determine attribution, stylistic compar­
isons were made between the jug and ceramics securely
attributed to both centers.
The interesting yet somewhat frustrating results of
these comparisons show that the jug displays compelling
similarities to objects from both places. For example,
important recent finds of k i l n refuse at two sites i n
Deruta include examples w i t h similar patterns of incised 13 E Fragments of a plate. Montelupo, 1480-90. Tin-glazed earthenware.
Montelupo, Museo Archeologico e della Ceramica.
circles and scrolls i n manganese. Other fragments dis­
4

play comparable wide, three-color leaves that curl under

at the tips. Numerous examples of completed pots and
5

plates w i t h similar decoration—scrolling leaves, incised

scrolls, busts framed i n reserve, and feathered leaves i n
blue—are currently attributed to Deruta. 6
Notes
However, of the two other jugs of this idiosyncratic 1. Ballardini 1975, 53-55.
2. See, for example, the awkward rendering of a woman with prominent
shape that are known—one i n the Musee National de
circles under her eyes, which was surely meant to depict a young and
Ceramique, Sevres (inv. 21915; fig. 13B), and another 7

handsome figure on a Deruta plate i n the Musee Adrien-Dubouche,

formerly i n the D a m i r o n collection, Lyons (fig. 1 3 c ) — 8
Limoges (Giacomotti 1974, 181-82, no. 591).

the former D a m i r o n object is decorated w i t h a central 3. See conclusion of the introduction for more information on neutron
activation analysis as an analytical tool.
wreath on the front of the jug that is typical of pieces
4. Bojani 1992, figs. 21-25.
found i n excavations of k i l n sites at Montelupo. 9
One 5. Fiocco and Gherardi 1988, 1: pis. 5a, 6a Bojani 1992, fig. 31.
;

jug, i n particular, at the Ashmolean Museum, Oxford, 6. See, for example, Fiocco and Gherardi 1994, nos. 5, 11-13, 19-26.
7. Duret-Robert 1973, 129-34, no. 2; Giacomotti 1974, no. 69.
and identified as from the Florence region, displays not
8. Sale cat., Sotheby's, London, November 22, 1983, lot 206.
only a very similar wreath to the former D a m i r o n jug of 9. See Berti 1998, nos. 42-44, and related pieces not found in excava­
this shape but also what appears to be the same coat of tions: Berti 1998, nos. 140, 154,- Berti 1999, nos. 69, 80, 105, 263.
arms belonging to the Florentine degli Alessandri family 10. Berti 1999, no. 263.
11. Berti 1997, nos. 79, 118-20; Berti 1999, nos. 23-27, 38-39, 45, 59;
(fig. 1 3 D ) . 10
I n addition, several Montelupo pieces dis­
Berti 1998, nos. 91, 114-26; Berti 1999, nos. 23-27, 38-39.
play scrolling Gothic leaves i n manganese and blue, as
w e l l as some inscribed blue decoration, similar to those
on the Getty example (fig. 13E). For now, the attribution
11

of this jug must include both Deruta and Montelupo.

fug with Bust Medallion 81

 14

Jar with the Profile of C O N D I T I O N PROVENANCE

a Young Man Minor glaze chips on the handles and rim; some
areas of glaze loss around the base that, because of
their spacing and roughly oval shape, appear to be
Sold, Christie's, London, October 3, 1 9 8 3 , lot 2 3 7
to R. Zietz; [Rainer Zietz, Ltd., London, sold to the
J. Paul Getty Museum, 1984].

Deruta or Montelupo finger marks made when the ceramist gripped the
EXHIBITIONS
piece to dip it upside down into glaze. (The oil
ca. 1460-80 None.
from his fingers would have kept the glaze from
Tin-glazed earthenware adhering properly to the jar.) The object underwent B I B L I O G R A P H Y

H: 22.9 cm (9 in.) thermoluminescence analysis i n 1 9 8 7 , returning a GettyMusJ 13 (1985): 240, no. i 6 o Hess
; 1988A,

Diam (at lip): 11.2 cm [4.V16 in.) result that the material is consistent with the ex­ no. 1 4 ; Donatone 1 9 9 3 A , pis. 4 7 , 1 6 2 bottom left;
pected age of the object (i.e., that the material was Summary Catalogue 2 0 0 1 , no. 3 5 3 .
W (max.): 23.8 cm J9 /s in.) 3

last fired between 4 0 0 and 6 1 0 years ago). Nuclear

84.DE.102 activation analysis has determined that this jug
was produced with clay originating i n the lower
MARKS A N D I N S C R I P T I O N S mid-Arno Valley, showing the closest similarities
Under the foot, marks inscribed after firing to examples from Deruta and Montelupo.
(fig. 14c). 1

T H I S G E N T L Y W A I S T E D JAR w i t h t w o ribbed handles is a t t r i b u t i on remains inconclusive, as does that of the pre­

painted on one side w i t h the profile bust of a young man
i n a feathered hat bordered by unusually slender scroll­
ing foliage, and on the other w i t h a geometric X pattern,
flowers, and flat leaves placed vertically surrounded by
dots. T h e decoration on both sides is painted i n panels
bordered by a vertical braid design. The jar's long and up­
wardly slanting neck—an u n c o m m o n feature—displays
ceding object. As before, to help determine attribution,
stylistic comparisons were made between this t w o -
handled jar and ceramics securely attributed to both
centers.
Like no. 13, this jar displays similarities to objects
from both places: for example, comparable profile busts
appear on drug jars and plates attributed to both D e r u t a 3

a distinctive pattern comprised of triangular sections of and M o n t e l u p o . The decorative motifs—such as the
4

curved stripes interspersed w i t h areas of thinner lines.
The jar's embellishment is executed primarily i n blue
and ocher, although a light copper green colors the young
man's pointed hat on one side, and curving and straight
bands o n the other. The interior is lead glazed.
As w i t h the previous object, this jar underwent neu­
stiff leaves surrounded by dots, the X pattern formed by
four small marks extending from the sides to the middle
of a square, and the stylized twisted rope m o t i f flanking
the handles—appear on objects from Deruta (fig. 14D),
most significantly o n fragments found i n excavations of
local k i l n sites. However, comparable elements—such
5

tron activation analysis i n spring 2001 under the direc­
t i o n of scientist Michael Hughes, formerly of the British
Museum, London. T h e analysis was carried out at the
University of Missouri Research Reactor, and the data
was compared against the British M u s e u m database.
as the profile bust w i t h hat, geometric motifs, stripe
decoration i n triangular shapes, rosettes, curved lines re­
sembling a twisted rope, and fields of dots—also show
up on Montelupo examples, many of w h i c h originate, as
2
well, from k i l n sites (fig. 14E). For now, the a t t r i b u t i o n
6

The results of the analysis show that the clay of this jug
originated from the lower m i d - A r n o Valley, most l i k e l y
from either Deruta or Montelupo. I n fact, the informa­
t i o n about this piece compared so closely w i t h that of
no. 13 (inv. 84.DE.101) that the t w o objects can be attrib­
uted to the same center of production. Unfortunately the
of this jar must include both Deruta and Montelupo.
The depiction of the young m a n i n contemporary
dress corresponds to comparable depictions o n jars data­
ble to the last decades of the fifteenth century. These i n ­
clude an albarello from Pesaro of ca. 1480-90 i n the
Victoria and Albert Museum, London (inv. 364-1889); 7

82
14A Alternate view.

14B Alternate view.

14c Underside.

84 Jar with the Profile of a Young Man

another albarello of ca. 1470-1500 i n the British M u ­
seum, London (inv. M L A 1878, 12-30, 415); and a wet- 8

drug jar dated to the end of the fifteenth century i n the

Musee des Arts Decoratifs, Lyons (from the Paul Gillet
collection). 9

Notes
1. See discussion of marks for no. 11 above.
2. See conclusion of the introduction for more information on neutron
activation analysis as an analytical tool.
3. Fiocco and Gherardi 1994, 150, figs. 26 - 2 7 .
4. Berti 1998, figs. 18, 70, 94, 118.
5. Busti and Cocchi 1987, pi. Va-b; Fiocco and Gherardi 1988: pi. VIa ;

Bojani 1992, fig. 32; Busti and Cocchi 1999, 140, no. 20.
6. Berti 1997, nos. 187, 243, 248; Berti 1998, figs. 9-10, 15, 18-19,
45-46, 4 9 - 5 ^ 94/ n 8 . 14D Basin w i t h dragon and concentric geometric patterns. Deruta, ca. 1480-
7. Rackham 1940, 1: no. i i o 2: pi. 20; Berardi 1984, 282, fig. 70.
; 1500. Tin-glazed earthenware, Diam: 38.2 cm (15 in.). Washington,
8. Wilson 1987A, 36-37, no. 31 (attributed to central Italian regions of D.C., Corcoran Gallery of Art, William A. Clark Collection, inv. 26.315.
Emilia-Romagna, the Marches, or Umbria).
9. Giacomotti 1962, 33.

14E Fragments of a plate. Montelupo, 1480-95. Tin-glazed earthenware,

Diam: 21.4 cm (8 /8 in.). Montelupo, Museo Archeologico e della Ceram-
3

ica. Compare, in particular, the triangular areas of both vertical and

horizontal lines around the rim w i t h similar patterns between the lip
and shoulder on the Getty jar.

far with the Profile of a Young Man 85

 15

Dish with a Peacock C O N D I T I O N 1976, lot 14, to C. Humphris),- [Cyril Humphris,

Feather Pattern Glaze chips at the center and r i m some repainti n g

;

around cracks,- six metal staples along a hairline

London, sold to R. Zietz]; [Rainer Zietz, Ltd., Lon­
don, sold to the J. Paul Getty Museum, 1984].
crack i n the underside.
EXHIBITIONS
Probably Deruta
PROVENANCE Italian Renaissance Maiolica from the William A.
ca. 1470-1500 Sir William Stirling-Maxwell (1818 - 1 8 7 6), Bt., Clark Collection, Los Angeles County Museum of
Tin-glazed earthenware K.T., Keir (near Stirling), Scotland; by inheritance Art, March 5-May 17, 1987.
to Lt. Col. W. J. Stirling, Keir, Scotland (sold,
H: 6.3 cm (2 Vi in.) B I B L I O G R A P H Y
Sotheby's, London, June 18, 1946, lot 79, to
Diam: 39 cm (15 /s in.)3

F. D. Lycett-Green [according to sale cat. nota­

Rasmussen 1984, 7 1 n. 1 (attributed to "Faenza
84.DE.103 or more probably Tuscany"),- GettyMus] 13 (1985):
tion]),- F. D. Lycett-Green, Goudhurst, Kent (sold,
2 4 1 , no. 162; Hess 1988A, no. 15,- Summary
Sotheby's, London, October 14, i 9 6 0 , lot 24, wi t h
Catalogue 2 0 0 1 , no. 354.
MARKS A N D INSCRIPTIONS
incorrect provenance, to R. Strauss); Robert
None. Strauss, England (sold, Christie's, London, June 2 1 ,

THIS I S A N U N U S U A L L Y S H A P E D D I S H w i t h a small, blue on a grayish w h i t e lead-glazed ground. The clay 1

slightly bossed center and wide, sloping sides. The potter body is of a p i n k i s h buff color.
pierced t w o holes i n one edge before the first firing. I t has Very few such works—painted w i t h purely orna­
been suggested that such holes served to hang plates for mental motifs and w i t h o u t coats of arms, animals, pro­
firing, thereby o p t i m i z i n g available k i l n space. I t seems file busts, or pictorial scenes—have survived. Plates, 2

more l i k e l y that such holes were used to suspend the ob­
ject for display, although no evidence of either practice
has been found.
Indeed, i t is not k n o w n whether this piece was used
at the dinner table or simply for show. I n fourteenth-
and fifteenth-century paintings, c o m m o n vessels such as
maiolica jugs occasionally appear on dinner tables or as
flower vases, for example, but the more elaborate ware is
entirely absent, and there is no proof that various depic­
tions of display credenzas portray maiolica rather than
vases, jars, and jugs decorated i n this manner were most
often produced for daily use and thus were frequently
broken or chipped. If this dish were used solely as a dis­
play piece, its function may explain its good state of
preservation.
According to legend, the peacock-feather m o t i f was
c o m m o n l y found on Faentine ceramics because i t was
thought to refer to Cassandra Pavoni (pavona is the Ital­
ian word for peacock), the mistress of Galeotto Manfredi,
lord of Faenza i n the late fifteenth century. A l t h o u g h 3

metalwork. Moreover, the possibility that such maiolica this m o t i f does appear on ceramics from Faenza, as
ware m i g h t have been used for eating on special occa­ confirmed by excavation shards and other documenta­
sions cannot be ruled out. Since forks were s t i l l a novelty tion, 4
i t also appears on ceramics from other centers
i n the fifteenth century, maiolica w o u l d have been largely such as Pesaro, M o n t e l u p o , Deruta, and Naples. I n ­
5 6 7 8

preserved from scratches caused by scraping utensils.
This rare plate is b r i l l i a n t l y decorated i n dark and
light blue, copper green, bright ocher, and manganese
purple, w i t h a star or flower medallion i n the center sur­
rounded by a bold, eight-pointed w h o r l of stiff, tapering
leaves alternating w i t h peacock feathers. This embel­
lishment is filled i n w i t h small blue scrolls, foliage, and
dots. The reverse displays a very unusual pattern of stars,
scrolls, and foliate motifs i n ocher, copper green, and
deed, this m o t i f appears to be of Islamic origin and w o u l d
have been distributed throughout Italy by Islamic crafts
and craftsmen arriving from the eastern Mediterranean
or N o r t h Africa or else via Spain.
A l t h o u g h the shape of this plate eludes convincing
association w i t h a center of production, and the peacock
feather m o t i f appears to be too widespread to be helpful
i n attribution, the tapering leaves decorated w i t h incised
scrolls and surrounded by delicate blue tendrils are

86
15A Reverse.

88 Dish with a Peacock Feather Pattern

 reminiscent of several objects convincingly attributed to
Deruta. 9

I n particular, a plate fragment i n the Museo Re­

gionale delle Ceramiche di Deruta displays decoration
on the obverse and, especially, the reverse that is very
close to that on the Getty plate (figs. 15 B - c ) . A l t h o u g h
the origins of this plate fragment are u n k n o w n , i t ap­
pears to have been part of the original donation to the
Museo Regionale i n the late nineteenth century. 10

Notes
1. Roughly similar embellishment is found on the reverse of a small plate
formerly i n the Beckerath collection, Berlin, attributed to Faenza of
ca. 1480 (Lepke 1913, lot 58).
2. One such example is a tondino in the Hamburg Museum fur Kunst und
Gewerbe decorated, however, with scrolling leaves rather than the
''eyes" of peacock feathers (inv. 1909.256; Rasmussen 1984, no. 39).
3. See Strocchi 1913, 105-8; Carmen Ravanelli Guidotti (correspon­
dence w i t h the author, February 1988), however, mentions Faentine
documents from which one learns that maiolica painters employed
peacock-feather decoration as early as 1460, thus predating Manfredi's
relationship with Pavoni. Therefore, although the duke might have
popularized this pattern, it could not have originated with him (see
Bettini 1991, 12-18). For a general examination of Faentine society
under the Manfredi see Gioia Tavoni 1975, 94-105.
4. Ravanelli Guidotti 1998, 15 3-68.
5. Berardi 1984, figs. 41, 43-44, 4 6 - 4 9 .
6. Donatone 1993A, for example, pis. 5, 9, 18, 45, 76, 111-64 passim.
7. Berti 1998, 243-46.
8. Fiocco and Gherardi 1994, figs. 5, 24, 49-50; Busti and Cocchi 1987,
pi. VIII.
9. Fiocco and Gherardi 1994, figs. 23-25.
10. Busti and Cocchi 1999, 145,110.29.

15 B - C Obverse and reverse of plate fragment. Deruta, second half of the

fifteenth century. Tin-glazed earthenware. Deruta, Museo Regionale
delle Ceramiche.

Dish with a Peacock Feather Pattern 89

 16

Drug Jar for Syrup MARKS A N D INSCRIPTIONS

notation]); A. Recher,- Charles Damiron, Lyons, by
On the banderole, S. ACETOSITATI CIT[RUS].
of Lemon Juice 1944; by inheritance to Paul Damiron (sold,
Sotheby's, London, November 22, 1983, lot 212);
C O N D I T I O N

[Rainer Zietz, Ltd., London, sold to the J. Paul

Slightly abraded glaze at the r i m minor flaws in
Probably Pesaro or possibly Kingdom of
;
Getty Museum, 1984].
the glaze at the base.
Naples (Naples or Sciacca) EXHIBITIONS
PROVENANCE

ca. 1480 None.

Alfred Pringsheim, Munich, by 1913; looted from
Tin-glazed earthenware Pringsheim's collection by the Nazis during B I B L I O G R A P H Y

H: 31.5 cm (i2 /s in.)

3
Kristallnacht, November 9, 1938; stored in an an­ Falke 1914-23, 1: no. 22, pi. 15; Hannover 1925,
nex of the Bayerisches Nationalmuseum, Munich; 1: fig. 117 (mistakenly identified as i n the Louvre);
Diam (at lip): 11.1 cm (4 /s in.)
3

ordered exported to London by the German State
Diam (max.): 12.4 cm (4% in.) in 1938 for sale at auction in exchange for allow­
84.DE.104 ing Pringsheim and his wife to emigrate to
Switzerland (sold, Sotheby's, London, June 7,
1939, lot 9, to "A. Recher" [according to sale cat.
Damiron 1944, no. 27,- GettyMusf 13 (1985): 241,
no. 161; Hess 1988A, no. 17,- Cohen and Hess
1993, 27,- Museum Handbook 2001, 237,- Sum­
mary Catalogue 2001, no. 355.

T H I S W A I S T E D D R U G VESSEL displays a label indicating
i t was meant to hold syrupus acetositatis cithomm,
syrup of lemon juice. The label is bordered above and be­
low w i t h scrolling leaves [a cartoccio) i n blue, green,
ocher, and manganese purple. Meandering foliage i n blue
runs around the neck and the area above the foot. The i n ­
terior is lead glazed.
The lemon was widely used for pharmaceutical pur­
poses throughout the Mediterranean, possibly as early as
the second century, i n fever reducers, tonics, antiscorbu­
tics, diuretics, and astringents. 1
Prospero Borgarucci
described the preparation and use of syrup of lemon juice
and ceramic shapes to those found on shards from k i l n
or site excavations and on objects documented as belonging
to certain centers of production. These methods bring us
to the t w o areas mentioned above—which are remark­
ably distinct politically and geographically—but no fur­
ther. I t seems plausible that there was some sort of
movement of ceramics or ceramists between these t w o
areas. Indeed, this matter is either explained or confused
by the fact that i n Sicily maiolica painters copied deco­
ration developed i n and typical of other parts of I t a l y —
such as Urbino, Castel Durante, Faenza, and, especially
Venice—for local maiolica decoration. 3

(which he called sciroppo d'acetosita di cedro) i n his The Getty jar can be grouped together w i t h t w o
Delia fabrica de gli spetiali. According to Borgarucci, comparable drug jars because of the similarity of the
this syrup served to reduce inflammations of the viscera, form and decoration, particularly the idiosyncratic neck
calm fevers (especially the "poisonous and pestilential and foot motifs. One of the t w o jars, decorated w i t h pea­
fevers of the summer"), quench thirst, and help counter­ cock feathers and bearing a painted label, appeared w i t h
act drunkenness and dizziness. 2
the Getty piece at auction i n 1983 and is presently i n the
Tall, slender albarelli w i t h so-called Gothic floral Musee National de Ceramique, Sevres (inv. M N C 25141;
decoration—such as scrolling leaves and peacock- fig. 16 C); another, likewise w i t h painted label but w i t h
feather eyes—appear to have originated i n t w o m a i n delicate scrolling foliage, rosettes, and dotted back­
areas of production: Pesaro and the Kingdom of Naples. ground, was published i n 1949 as formerly i n the Gira-
The Kingdom of Naples during the late fifteenth century sole collection, Naples (fig. I 6 D ) . This small group of
4

comprised the area around Naples as w e l l as Sicily (also three jars, w h i c h must have originated i n the same cen­
united by the Kingdom of T w o Sicilies under the ter of production, share specific motifs and, i n one case,
Aragonese). A m o n g the only ways of securing the origin the shape of an albarello neck and l i p , found on frag­
of maiolica pieces is the matching of decorative motifs ments from a Pesarese excavation. 5

90
 i 6 A Alternate view.

92 Drug Jar for Syrup of Lemon fuice

i 6B Alternate view.

Drug Jar for Syrup of Lemon Juice 93

 16c Drug jar. Probably Pesaro or possibly the Kingdom of Naples, late
fifteenth century. Tin-glazed earthenware, H : 31.7 cm (12/2 in.).
Sevres, Musee National de Ceramique a Sevres, inv. 25141.
Photo: © Reunion des Musees Nationaux.
1 6 D Drug jar. Probably Pesaro or possibly the Kingdom of
Naples, late fifteenth century. Tin-glazed earthenware.
Formerly in the Girasole collection, Naples, illustrated i n
J. Chompret, Repertoire de la majolique italienne (Paris,
1949), vol. 2, fig. 370 on p. 49.

However, they also share the distinct Gothic floral described as Faentine, should be seriously reconsidered.
scroll decoration and slender jar form w i t h a preponder­ These include a jar that sold at auction i n 1990; two 9

ance of Neapolitan albarelli (that is, from the Kingdom i n the Lehman collection, Metropolitan M u s e u m of
of Naples). The a t t r i b u t i o n of these jars is based on their Art, New York, 10
one i n the National Gallery of A r t ,
distinguishing marks: they bear Neapolitan arms, the Washington, D . C . ; 11
one i n the State Hermitage M u ­
mark of a local hospital, or are inscribed either w i t h the seum, Saint Petersburg (inv. F 1593); one i n the Musee 12

name of a prominent Sicilian potter from Sciacca or du Louvre, Paris (inv. O A 5971); 13
t w o formerly i n the
w i t h a m o t t o i n Sicilian dialect. I n addition, a number
6
Robert Strauss collection, England; 14
one formerly i n the
of similarly painted and formed albarelli include profile Fernandez collection,- 15
and three formerly i n the Bak
busts i n reserve that one scholar has convincingly pro­ collection, N e w Y o r k . 16

posed are Neapolitan, given the resemblance of the pro­
files to contemporary depictions of Neapolitan nobles.
It must be noted, however, that, i n general, the painted
decoration on these south Italian jars appears markedly
less sophisticated than that on the present jar and on
Pesarese examples. 8
The a t t r i b u t i o n of a dozen other comparable
jars w i t h Gothic floral decoration, although traditionally
A l t h o u g h of l i m i t e d use i n determining the place of
7
production, the Gothic-floral design does serve to date
this w o r k to the second half of the fifteenth century
(see also nos. 12-13). The function of these drug jars is
reflected i n their form: the waisted shape provided a good
grasp for removing the jar from a shelf and for pouring,
tall and the flanged l i p on its tall neck secured the string that
held a parchment or leather cover i n place (fig. 1 6 E ) .

94 Drug Jar for Syrup of Lemon Juice

 1 6E Illustration of "siropus acetosus"
from Theatrum sanitatis (Northern
Italy, late fourteenth century).
Rome, Biblioteca Casanatense,
Ms. 4182, fol. 183R. The druggist's
pharmaceuticals are stored i n what
appear to be maiolica albarelli
and wet-drug pitchers on the shelf
behind him. The preparation
illustrated here, "vinegar syrup,"
was used to calm coughs and
cure diarrhea.

Notes jar (with the arms of Duke Alfonso), although of different shape, is deco­
1. Grieve 1971, 474-76. rated with scrolling leaves remarkably similar to those on the Getty
2. Borgarucci 1567, 117. albarello (Governale 1995, fig. 318); see also Navarra 2001, 50-55-
3. See Governale 1986, passim. 7. Donatone 1993A, 32-38.
4. Sale cat., Galardelli, Florence, Collection de Mr. Carlo Giovene de Gira- 8. See, for example, the comparable, finely rendered Gothic inscriptions
sole, objets d'art et de haute curiosite, February 26, 1925, lot 189; sale illustrated in Berardi 1984, figs. 38-39, 401-J-
cat., Sotheby's, London, November 22, lot 2 1 1 and Chompret 1949,
;
9. Sale cat., Christie's, London, July 2, 1990, lot 191.
2: fig. 370. 10. Rasmussen 1989, nos. 2 0 - 2 1 .
5. Berardi 1984, figs. 28 (especially c and n), 31 (especially 1), 37, 5 1 11. Shinn 1982, 11, no. 10.
(especially d). For more information on Pesarese maiolica production 12. Kube 1976, no. 5.
see Bettini 1997, 31-95; Bettini 1991, 12-18. 13. Giacomotti 1974, no. 127.
6. Governale 1986, figs. 449, 457, for the work of Nicola Lo Sciuto 14. Sale cat., Sotheby's, London, June 21, 1976, lot 10.
(Luxutusu) of Sciacca, and fig. 452b, for a jar belonging to the Ospedale 15. Chompret 1949, 2: fig. 367.
Grande di Messina, Sicily; Governale 1995, figs. 2 9 0 - 9 1 (with a motto 16. Sale cat., Sotheby's 1965, lots 22-23, 5 -2

identified as " i t must happen" i n Sicilian dialect); Donatone 1993A,

pis. 13 (with arms of Ferrante of Aragon, king of Naples), 24, 42-43
(with arms of Alfonso V of Aragon, duke of Calabria). Finally, a globular

Drug Jar for Syrup of Lemon Juice 95

 17

Bust of Christ C O N D I T I O N Zietz, Ltd., London, sold to the J. Paul Getty Mu­
Minor cracks and glaze faults; proper right tip of seum, 1987].
the beard is chipped; some original gilding has
Montelupo EXHIBITIONS
worn off the neck of the tunic and the base; the
ca. 1500 None.
crown displays holes into which thorns, possibly
Tin-glazed earthenware of wood or ivory, may have been inserted. The
1
B I B L I O G R A P H Y

bust underwent thermoluminescence analysis in Burlington Magazine 129 (March 1987): i

H: 60.3 cm (23 A in.) 3
;

1986 that indicated that the material is consistem II giornale dell'arte, no. 45 (1987): 90, fig. 50;
W: 59.7 cm (23 Vi in.) with the expected age of the object (i.e., that GettyMusJ 16 (1988): 180, no. 77; Hess 1988A,
D: 26 cm (IO /A
1
in.) the material was last fired between 370 and no. 16; Fusco 1997, 67; Summary Catalogue
87.SE.148 570 years ago). 2001, no. 356.

PROVENANCE

MARKS A N D INSCRIPTIONS Private collection, Belgium (sold, Sotheby's, Lon­

None. don, April 7, 1987, lot 44, to R. Zietz); [Rainer

T H I S S C U L P T U R E I S A B U S T OF C H R I S T C R O W N E D w i t h Verrocchio (i435?-i488), and the so-called Master of the

thorns. Like devotional images of the subject i n other
media, the bust is half-length, terminating above the el­
bows and through the chest. As befits this image of
Christ before his accusers after being scourged, his face
is drawn and gaunt and his bearing is righteous. Presum­
ably the sculpture was intended for an intimate devo­
Marble Madonnas (fl. ca. 1470-1500). Like the Museum's
example i n maiolica, busts of Christ by these artists are
vigorously modeled and depict Christ w i t h curling hair,
parted beard, and a crown of thorns (sometimes pierced
w i t h holes, perhaps to hold thorns made of another ma­
terial), and always w i t h an air of authority. 3

tional setting such as a private chapel.
Christ's long curling hair lies flat against his head,
closely following the shape of his head, neck, and shoul­
ders. He wears a tunic decorated w i t h finely drawn geo­
metric patterns and a cloak over his left shoulder. His
eyebrows, eyes, and beard are painted w i t h t h i n , blackish
blue lines; the crown of thorns is painted w i t h a m i x t u r e
of the same dark cobalt pigment and emerald green. The
neck of the tunic and the low, p l i n t h l i k e base have been
A l t h o u g h many of the above-named sculptors pro­
duced busts i n terra-cotta, sometimes polychromed,
only a Bust of Christ attributed to Sansovino i n a private
Aretine collection is of glazed earthenware, or maiolica
(fig. 17E). This w o r k displays a similar noble gaze, long
and curling hair, and plain w h i t e glaze ground, w i t h only
a few details (eyes and eyebrows) picked out w i t h t h i n
dark blue lines as i n the Getty Museum's example, al­
though i t has a gentler and less powerful aspect. 4

cold-gilded, and m u c h of this gilding has w o r n away. The Maiolica busts of Christ probably influenced by
back of this bust is finished i n a simple, unsculptural Verrocchio and produced i n the Florentine della Robbia
manner. Here, rather than naturalistically modeled, the workshop also exist, although they differ considerably i n
hair is hastily rendered w i t h incised lines, and the crown sculptural style and decoration from the present w o r k . 5

of thorns is l i n k e d at the back w i t h a painted cobalt loop.
This remarkable w o r k possesses a sculptural force
and sophistication almost never found i n maiolica.
A l t h o u g h the artist is u n k n o w n , the incisive depiction
of a taut and sinewy face displaying a proud, almost
haughty demeanor can be most closely compared to the
w o r k of late fifteenth-century Tuscan sculptors such as
Lorenzo Vecchietta (1412-80), Matteo C i v i t a l i (1436-
1501), Andrea Sansovino (ca. 1460-1529), Andrea del 2
It does appear that the Getty bust resulted from the
collaboration of a sculptor and ceramist. From the un­
derside one learns that the basic form of the bust was
b u i l t using coils of clay of varying lengths that were at­
tached to one another and smoothed together on the ex­
terior surface (fig. 1 7 c ) . This method is one of the most
basic and widespread of all pottery-building techniques,
and one must assume that a potter was responsible for
this phase of manufacture. However, the important job

9 6
IJA Back.

98 Bust of Christ
1 7 B Alternate view.

Bust of Christ tyty

17c Inside of bust.
of modeling the face appears to have been left to a tal­
ented sculptor, possibly one w h o was active or educated
i n the circle of a Florentine master toward the end of the
fifteenth century. Finally, to judge from the colors and
patterns employed, the surface decoration—its glazing,
painting, and firing—was the w o r k of a ceramist who
was w o r k i n g i n Tuscany or influenced by Tuscan sculp­
ture. The w o r k displays not only a palette of v i v i d and
saturated yellow, green, and blackish blue but also pat­
terns—such as the cube and cloverleaf patterns on
Christ's t u n i c — t y p i c a l of this area of production
(figs. 17D, 17F). 6
100 Bust of Christ
Given the difficulty i n pinning down a specific cen­
ter of production, this object underwent neutron activa­
t i o n analysis i n spring 2001 under the direction of
scientist Michael Hughes, formerly of the British M u ­
seum, London. The analysis was carried out at the U n i ­
versity of Missouri Research Reactor, and the data was
compared against the British M u s e u m database. The re­
7
sults of the analysis show that the clay of this bust orig­
inated i n Montelupo.
Indeed, several scholars m a i n t a i n that the produc­
t i o n of sculptural devotional figures and altarpieces was
a specialty of Montelupine ceramic workshops i n the
i7D Detail.

Bust of Christ 101

17E Attributed to Andrea Sansovino (Italian, ca. 1467-1529). Bust of Chrisi
1502-5. Tin-glazed earthenware. Arezzo, Ivan Bruschi collection.
17F Single-handled albarello. Siena or Cafaggiolo, 1500-1525. Tin-glazed
earthenware, H : 21.9 cm [8 A in.). Faenza, Museo Internazionale delle
5
Ceramiche, inv. 24885—Donazione A. Fanfani, 1989.
102 Bust of Christ
sixteenth century. I t is k n o w n , for example, that pot­
8
ters from Montelupo were active i n Pistoia i n the 1580s,
creating figures, many i n very high relief, for the della
Robbia frieze on the Ospedale del Ceppo (fig. 17G). 9
Moreover, a document of 1527 confirms the association
of Florentine ceramic sculptors w i t h Montelupo potters
when clay from the quarry serving Montelupo was sent
to Giovanni d'Andrea della Robbia and Santi Buglioni,
the most famous ceramic sculptors active i n Florence at
the t i m e . More research w i l l be required to understand
10
the production of Montelupo ceramic sculptures better.
Further substantiating a t t r i b u t i o n of this bust to a
Montelupo artist is the fact that the very unusual use of
gilding around the base of the bust is actually not that
unusual i n Montelupo. The sculptural handles on a se­
ries of jars made i n Montelupo and dating to the t u r n of
the seventeenth century are similarly gilded. 11
 Notes
1. This theory was postulated by John Pope-Hennessy (1964, 233-34,
no. 232) to explain similar holes on Giovanni della Robbia's Ecce Homo
in the Victoria and Albert Museum, London.
2. In particular, his Baptism of Christ (Boucher 1991, 2: fig. 1). Sanso-
vino's association with and possible influence on ceramic production
stems from his early career when he worked principally in terra-cotta.
Moreover, Vasari reports that Sansovino's altar depicting the Virgin in
glory with saints, Church of Santa Chiara, Monte San Savino, was
glazed by the della Robbia workshop (Boucher 1991, 1: 5-6; Batini
et al. 1986, 133-41).
3. See, for example, Passavant 1969, fig. 37; Pope-Hennessy 1964, nos.
202-3, 227, 4 3 0 - 3 1 , 433; Middeldorf 1973, 234-36, especially pis.
1-2, 4 - 5 .
4. Batini etal. 1986, 132, 135-37. Also close to the Getty bust is the
half-figure Saint John the Baptist by Sansovino i n the Museo Bardini,
Florence.
5. Della Robbia figures in sculpture and relief typically appear more mild
and less vigorously modeled than the present work and display mono­
chromatic areas of pigmented glaze, without the lively tracings and geo­
metric motifs displayed by this bust (see, for example, Gentilini 1998,
nos. II.1, II.14, II.16, II.18-19; see also no. 28 below).
6. For information on albarelli decorated with both cube and cloverleaf
patterns, see Ravanelli Guidotti 1990, 117-19, no. 70; Fanfani 1984,
pis. i o 3 a - d Ricci 1988, 102-3, no. 30.
;

7. See conclusion of the introduction for more information on neutron ac­

tivation analysis as an analytical tool.
8. Berti 1999, i 8 i Paolucci 1985, 155.
;

9. Berti 1999, 181-82.

10. Berti 1999, 82.
11. Berti 1999, 320-22, nos. 210-15.

17G Filippo Lorenzo de' Paladini (Italian, 1544-1615). Giving Drink to the
Thirsty (detail), 1583-86. Tin-glazed earthenware. Ospedale del Ceppo.
Photo: © Aurelio Amendola. Actual ceramic bowls have been included
in the fully three-dimensional portions of this relief.

Bust of Christ 103

 18

Dish with Saint Peter MARKS A N D INSCRIPTIONS [Rainer Zietz, Ltd., London, sold to the J. Paul
None. Getty Museum, 1984].

Probably Faenza C O N D I T I O N EXHIBITIONS

ca. 1500-1520 Repainted cracks through the body in the area of None.
the keys, rim, face, and blue background; minor
Tin-glazed earthenware B I B L I O G R A P H Y
chips in the rim.
H: 4.8 cm (1 /s in.)
7
GettyMusf 13 (1985): 242, no. 170; Hess 1988A,
PROVENANCE no. 20; Summary Catalogue 2001, no. 357.
Diam: 27.3 cm ( i o A in.)
3

Private collection, Switzerland, sold to R. Zietz;

84.DE.108

T H I S U N U S U A L L Y S H A P E D P L A T E w i t h small base and A similar sixteenth-century plate attributed to

wide, sloping sides displays a finely painted, striking Faenza, likewise decorated w i t h the portrait of an apos­
close-up portrait of Saint Peter i n blue, orange, ocher, tle (Saint Paul; fig. I8B), is i n the Musee de la Renais­
green, and yellow against a dark blue background. The sance, Ecouen (Cluny 2975). Another plate i n a private
4

saint is pointing w i t h his right hand to a pair of keys held collection, of similar dimensions and w i t h a large profile
i n his left hand, w h i c h is out of view; to the right and left bust of a woman, brings to m i n d the Getty example. 5

of his head are the initials SP (for San Pietro, or Saint

Peter). The r i m inventively forms part of the saint's yel­
low halo, so that the circular shapes of nimbus and r i m
complement each other. Saint Peter's cloak is decorated
w i t h a geometric interlace border. The reverse of the
plate displays t w o manganese purple bands among con­
centric lines i n blue on a p i n k i s h w h i t e ground. The clay
body is of a reddish buff color.
This plate is one of very few works painted w i t h dra­
matic close-up busts covering the entire obverse surface;
i t is v i r t u a l l y unique i n its forceful and vigorous paint­
ing. I t has been suggested that this piece was produced i n
the Tuscan center of Cafaggiolo because a few plates at­
tributed to that c i t y exist showing similarly dramatic
close-up figures rendered w i t h lively brushstrokes i n a
saturated palette. 1
Furthermore, the unusual rimless
shape of the present plate appears i n Cafaggiolo i n the
early sixteenth century. 2
Faenza is more l i k e l y to be
the source of this plate, however. Faentine workshops
excelled, even more than those of Cafaggiolo, i n vigor­
ously rendered, lively subjects painted i n an especially
b r i l l i a n t and saturated palette. Moreover, although used
i n other centers, the reverse concentric-circle design i 8 A Reverse.
[a calza, l i k e the threads of a stocking) (fig. I 8 A ) was
most c o m m o n i n the Faentine decorative repertory. 3

104
 i8B Plate with Saint Paul. Faenza, early 1500s. Tin-glazed earthenware. Ecouen, France, Musee de la Renaissance,
inv. Cluny 2975/2418.
Notes
1. See, for example, a plate w i t h the subject of Marcus Curtius attributed
to Cafaggiolo and dated ca. 1510-15 in the Herzog Anton Ulrich-
Museum, Braunschweig (inv. 837; Lessmann 1979, no. 83, pi. 1), and
an early sixteenth-century plate w i t h the subject of the fall of Phaeton,
also attributed to Cafaggiolo, in the Victoria and Albert Museum, Lon­
don (inv. C.2082-1910; Cora and Fanfani 1982, no. 106; Rackham
1940, 1: 109, no. 314; 2: pi. 52).
2. Cora and Fanfani 1982, no. 23.
3. See Ravanelli Guidotti 1998, 163-64, 178, 206, 220, figs. 29g, 30c,
33b, 42b, 48b) as well as a Faentine plate of Hercules and Cerberus
dated ca. 1520 i n the Herzog Anton Ulrich-Museum, Braunschweig
(inv. 4; Lessmann 1979, 98, no. 17.) Interestingly, not only is the latter
106 Dish with Saint Peter
close i n scale to the Getty plate but the shape—rimless with a small
base and sloping sides—is very similar as well.
4. Giacomotti 1974, 6 0 - 6 1 , no. 240; although similar in conception, the
two plates different greatly in style and could not be by the same hand.
5. It is uncertain whether the shape of this plate relates to the unusual one
of the Getty piece since it is described as a coppa svasata (open bowl)
with a jitta filettatura (dense line pattern) on the reverse (Studio Felsina
1984, 74-75) its attribution to Faenza is convincing since the profile
;
of the woman is rendered i n a caricature style typical of a certain type of
Faentine ceramic painting around the turn of the sixteenth century (see
Ravanelli Guidotti 1998, 199-200, no. 39).
 19

Blue and White Dish C O N D I T I O N EXHIBITIONS

with a Merchant Ship Very small chips and slight rubbing on the inner
and outer borders of the r i m three stilt marks in
;
Italian Renaissance Maiolica from the William
A. Clark Collection, Los Angeles County Museum
the well. of Art, March 5-May 17, 1 9 8 7 .
Cafaggiolo
PROVENANCE B I B L I O G R A P H Y

ca. 1510 Charles Loeser (1865-1928), Villa Gattaia, Tus­ Cora and Fanfani 1982, 66, fig. 48; Morley-
Tin-glazed earthenware cany; by inheritance in his family (sold, Sotheby's, Fletcher and Mcllroy 1984, 44, fig. i ; GettyMusf
London, December 8, 1959, lot 5 5, to A. Spero 13 (1985): 242, no. 1 7 1 ; Hess 1988A, no. 2 1 ;
H: 4.8 cm (1 /s in.)
7

[according to sale cat. notation]); [Alfred Spero, Mariaux 1995, 8o,- Summary Catalogue 2 0 0 1 ,
Diam: 24.3 cm {9V16 in.) London, sold to R. Strauss]; Robert Strauss, no. 3 5 8 .
84.DE.109 England (sold, Christie's, London, June 2 1 , 1976,
lot 19, to R. Zietz); [Rainer Zietz, Ltd., London,
MARKS A N D INSCRIPTIONS
sold to the J. Paul Getty Museum, 1984].
On the reverse, in blue, f° chafagguolo.

T H E W E L L OF T H I S D E E P TONDINO displays a merchant Fanfani),- a small b o w l w i t h a spotted coiling aquatic

3

ship w i t h i n interlocking ogival quatrefoils w i t h fleurs- animal (Florence, Museo Nazionale, Palazzo del Bargello,-
de-lis and foliage sprays. The r i m is decorated w i t h four fig. 1 9 D ) ; a tondino
4
w i t h a small branch bearing two
musical trophies—a harp w i t h sheets of music, a lute pears (Florence, Museo Nazionale, Palazzo del Bargello); 5

w i t h a scroll inscribed MVSICA, a reed pipe and w i n d two small dishes w i t h carracks, one erroneously said
blower, and an u r n and dulcimer—divided by stylized fo­ to be located i n storage at the Museo Nazionale, Palazzo
liage sprays and arabesques. The reverse is embellished del Bargello, Florence (present location unknown); and 6

w i t h three sprays of scrolling foliage and marked i n the the other i n the B. Hockemeyer collection, Bremen,- and 7

center J° chafagguolo. A l l of the painted decoration is ex­ a tondino w i t h a small branch bearing three acorns
ecuted i n blue pigment on a thin, creamy, yellowish (private collection, Berlin). Like the Getty Museum's
8

w h i t e ground. The clay body itself is of a very light yel­
lowish buff color.
This type of delicate foliage and floral embellish­
ment i n blue on a w h i t e ground, typical of Chinese
porcelain, was m u c h sought after i n fifteenth- and six­
teenth-century Italy (fig. 19B). I t was i m i t a t e d success­
fully i n maiolica—thanks to the medium's brilliant
w h i t e ground and stable cobalt oxide pigment—and
called alia porcellana decoration. This w o r k is a particu­
dish, all of these works are marked J° chafagguolo on
the reverse.
A t one point this inscription was interpreted as the
signature of a certain "Jacopo," identified as Jacopo d i
Stefano di Filippo, son and nephew of the two brothers
Stefano and Piero, w h o moved i n 1498 from their native
Montelupo to w o r k i n the Cafaggiolo workshop—rented
out to them by members of the Medici family—just
north of Florence i n the Mugello Valley. Jacopo di Ste­ 9

larly elaborate example from a group of similarly deco­
rated alia porcellana bowls executed i n Cafaggiolo i n the
first quarter of the sixteenth century. Eight other k n o w n
pieces from this group include a small b o w l or rounded
dish [tondino) decorated w i t h a long-beaked bird (Cam­
bridge, F i t z w i l l i a m Museum); a dish w i t h a bird holding
1
a serpent i n its beak (Faenza, Museo Internazionale delle
Ceramiche); 2
a tondino w i t h flowers (Faenza, Museo
fano di Filippo, however, was born i n the 1530s, twenty
years after the alia porcellana group of tondini seems to
have been produced.
Indeed, many Cafaggiolo marks have yet to be fully
understood. For example, of the roughly seventy-five
marked objects published i n Gaelazzo Cora and Angiolo
Fanfani's 1982 volume La maiolica di Cafaggiolo, more
than half are marked SP or SP , of w h i c h three also i n ­
r

Internazionale delle Ceramiche, donazione Angiolo clude the words in Cafaggiolo and two the words in

107
 Galiano. 10
I t is u n l i k e l y that SP refers to a single artist
since i t appears on maiolica spanning nearly a century. 11

It is possible, however, as is commonly thought, that the

mark stands for the "S[tefano di Filippo] P[iero di Fil­
ippo]" workshop and that the workshop continued pro­
duction even after the death of its founders and had, i n
addition, a branch i n nearby Gagliano.
The mark on the nine objects i n the group to w h i c h
the Getty tondino belongs is more difficult to compre­
hend. J° m i g h t refer to the same artist or workshop pre­
sumed to be named "Jacopo," given that a similar
inscription, Jac°, w h i c h is the orthographic contraction
of the name "Jacopo," appears on the back of a masterful
plate depicting Judith w i t h the head of Holofernes i n the
Victoria and Albert Museum, London. However, J° of J°
12

chafagguolo (or, i n other instances, I , I , Jn, /.) m i g h t

1 1

more persuasively signify the word in since the inscrip­

t i o n in Cafaggiolo frequently appears either alone or i n
conjunction other marks (such as SP, Jac°, AF, c and a t r i ­7

19A Reverse. dent). Significantly, on one example, the mark appears as

f°n chafaggiuolo accompanied by SP-, 13
here the f°n
might simply indicate the word in rather than the cipher
of a "Jacopo" whose name, i n that case, w o u l d be mean-
inglessly followed by the letter n.
Whether all nine bowls of the present group belong
to the same or to separate services is not yet k n o w n .
A l t h o u g h all nine are of the same shape—indeed, seven
of the nine measure between 24.2 and 24.5 c m i n diame­
t e r — w i t h the same signature and reverse decoration, the
painting on the obverse displays certain variations. The
r i m patterns on seven of the nine examples are very sim­
ilar, including arabesquelike tracings interspersed w i t h
sets of rhombuses enclosing rows of small dots. A n
eighth bowl, one of the t w o i n Faenza, encloses the
rhombuses i n an elegant circle of interlacing ogives. This
same pattern appears i n the w e l l of the Getty example,
surrounding the merchant ship.
Indeed, i t is only the r i m of the Getty example that
differs i n any significant way from the others. Here, i n ­
stead of rhombuses, the blue tracings surround groups of
finely drawn musical instruments. Similar musical i n ­
struments, along w i t h spotted coiling creatures i n the
w e l l like the one on the Bargello tondino, appear on a

Blue and White Dish 109

 19B
Andrea Mantegna (Italian, ca.
1431-1506). The Adoration of the
Magi (detail), ca. 1495-1505. Dis­
temper on linen, 48.5 x 6 5.6 cm
(19 A x 25 /s in.). Los Angeles,
l 7

J. Paul Getty Museum, 8 5 .PA.417.

The Magus offers his gift to the
Christ Child i n a small blue and
white bowl, an early example of
Chinese porcelain imported to
Europe.

19c
Dish with arms of the Gonzaga.
Cafaggiolo, early sixteenth century.
Tin-glazed earthenware. London,
Victoria and Albert Museum,
inv. C.2145-1910.

110 Blue and White Dish

very elaborate Cafaggiolo plate i n the Victoria and Albert
Museum, London, w i t h the arms of the Gonzaga of Man­
tua and signed / chafagguolo on the reverse (fig. 19c). 14

Notes
1. Inv. C.4-1960; Poole 1997, 42-43, no. 16; Poole 1995, 132-33, no.
190; Cora and Fanfani 1982, no. 43; Bellini and Conti 1964, 75.
2. Inv. 21224; Ravanelli Guidotti 1990, 113, figs. 68c-d Bojani,
;

Ravanelli Guidotti, and Fanfani 1985, no. 389; Cora and Fanfani
1982, no. 44.
3. Inv. 24921; Ravanelli Guidotti 1990, 96, 112-14, o . 68,- Cora
n

and Fanfani 1982, no. 51; Bellini and Conti 1964, 75; Liverani i960,
fig. 13 •
4. Inv. 483; Bargello 1987; Conti 1971A, no. 483; Cora and Fanfani 1982,
no. 53; Liverani 1980, no. 42.
5. Inv. 484,- Bargello 1987, no. 2; Conti 1971A, no. 484; Cora and Fanfani
1982, no. 58.
6. Cora and Fanfani (1982, no. 60) mistakenly describe it as in storage at
the Museo Nazionale, Palazzo del Bargello, Florence.
7. Mallet 1998, 148-49, 254-55, no. 22; Trinity 1992, no. 4.
8. Sale cat., Christie's, London, April 12, 1976, lot 175. 19D Dish w i t h an aquatic animal. Cafaggiolo, early sixteenth century. Tin-
9. Alinari 1990, 134-39; Cora and Fanfani 1982, 16-20. In summer glazed earthenware, Diam: 24.5 cm [g A in.). Florence, Museo Nazionale
5

1999 an excavation campaign at the Villa of Cafaggiolo began, spon­ del Bargello, inv. 483.
sored by Earthwatch Institute, which supplied volunteers and the major­
ity of funding; the University of Florence, which supplied the
archeological team; the Comune of Barberino; and others, including the
four owners of the villa. The goals were to determine the range and
types of pottery produced there and the exact location of the kilns and
waster dump sites as well as to better understand the chronology of pro­
duction and the relationship of the maiolica produced at Cafaggiolo and
nearby Montelupo and Gagliano. The original plan was developed by
maiolica historian Alessandro Alinari and has been carried out w i t h the
assistance of many other experts, including Guido Vannini, Anna Moore
Valeri, Tommaso Zoppi, and Michael Brody. Although most of the exca­
vating has been completed, the project continues, now involved i n cata­
loguing, analyzing, and, hopefully, publishing the results.
10. Cora and Fanfani 1982, nos. 1-7, 14-17, 20-22, 27-28, 31-32, 34,
38-39, 45, 47, 57, 61, 65, 73, 75-76, 87-88, 9 0 - 9 1 / 93/ 99-100,
102-3, 109, 112, 114, 117, 129-30, 132-34, 136-39, 141-42.
11. Alinari 1990, 139.
12. Cora and Fanfani 1982, no. 50; Rackham 1940, 1 and 2: no. 306.
13. Cora and Fanfani 1982, no. 47.
14. Cora and Fanfani 1982, no. 72; Rackham 1940: no. 339. Apparently
these plates were popular among the Florentine upper classes since a
number of similar pieces display the arms of Florentine families, includ­
ing Pazzi, Gaddi, Altoviti, Buonarroti, Tornabuoni, Salviati, Ridolfi,
Strozzi, and, most noteworthy, Medici (Cora and Fanfani 1982, nos. 14,
17, 27, 29, 35, 79, 99, 102, 112, 117, 123, 132,- sale cat., Finarte,
Milan, November 21-22, 1963, no. 45, pi. 27; sale cat., Drouot, Paul
Renaud, Paris, April 6, 2001, lot 5 3).

Blue and White Dish I I I

 20

Lustered Plate with MARKS A N D INSCRIPTIONS London, sold to the J. Paul Getty Museum,

a Female Bust On the scroll, VIVIS ERO VIV[U]S E

ERO VIV[U]S.
MORTV[U]S 1984].

EXHIBITIONS

C O N D I T I O N None.
Deruta
Chips along the rim and base.
ca. 1510-40 B I B L I O G R A P H Y

PROVENANCE Rackham 1959, 143, no. 354b, pi. 23 i ; Morley-

Tin-glazed earthenware w i t h
R. W. M . Walker, London (sold, Christie's, London, Fletcher and Mcllroy 1 9 8 4 , 5 2 , fig. j - Getty-
copper luster July 2 5 , 1 9 4 5 , lot 7 3 , to " N y b u r g " [according MusJ 13 (1985): 243, no. 172; Hess 1988A,

H : 8.8 c m ( 3 V 2 i n . ) to sale cat. notation]); Nyburg; Adda collec­ no. 2 2 ; Cohen and Hess 1 9 9 3 , 9 2 ; Master­
tion, Paris (sold, Christie's, London, Novem­ pieces 1 9 9 7 , 1 1 , no. 4 ; Summary Catalogue
D i a m : 42.8 c m (16% in.)
ber 2 0 , 1 9 6 7 , lot 8 7 ) ; [Rainer Zietz, Ltd., 2 0 0 1 , no. 359.
84.DE.110

THE CENTER OF THIS BLUE AND GOLD LUSTERED

PLATE displays an idealized bust of a young woman i n
profile wearing a winged headdress and tied bodice; the
background is decorated w i t h a vertical scroll and floral
spray. The whole is surrounded by a garland and an a
quartieh (quartered or sectioned) r i m of alternating scale
patterns, formal foliage, and radiating bands. The reverse
is painted w i t h a transparent lead glaze, a less precious
m e d i u m than the t i n glaze used for the obverse. Before
the first firing, t w o holes were pierced through the foot
ring, a c o m m o n feature of plates from Deruta. The func­
t i o n of such holes is unclear, although they may have
served to hang the object for display on a w a l l or shelf.
The scroll i n s c r i p t i o n — w h i c h means "When alive, I
shall be among the living, and when dead, I shall [re­
main] among the l i v i n g " — m a y be a statement of undy­
1

ing love,- a memento m o r i signifying the patron's eternal

2

love for a woman w h o had died, depicted as the figure i n

profile; or a vanitas subject (the transitory nature of life
3

had been a dominant theme i n Italian art since the

20A Reverse.
Middle Ages). 4

Idealized female images like the one on this plate, as

w e l l as other subjects on Deruta piatti da pomp a, were
influenced by, i f not copied from, the w o r k of certain
painters from U m b r i a — t h e region i n w h i c h Deruta is lo­
cated—such as Perugino (ca. 1450-1523) and, especially,
Pinturicchio (1454-1513; figs. 20B — E ) . Some of these
plates reproduce images for w h i c h no prints exist and
w h i c h were located i n what were then inaccessible
places, such as the Vatican, so that potters could hardly

112
have made sketches of the works i n situ. Indeed, one 20B Bernardino Pinturicchio (Italian, 1454-1513). The Visitation (detail),
1 4 9 2 - 9 4 . Rome, Vatican Palace, Borgia Apartment, Hall of the Saints.
scholar has associated the female profile that appears on
Photo: Vatican Museums.
the Getty plate, as w e l l as on the others listed below, to
the profile of a w o m a n w i t h horns i n the fresco of Saint 2 0 c Lustered plate w i t h a female bust. Deruta, first quarter of the sixteenth
A n t h o n y and Saint Paul i n the Vatican Borgia Apart­ century. Tin-glazed earthenware, Diam: 44 cm [IJYS in.). Paris, Musee du
Louvre, Cluny inv. 2 4 3 0 .
ments. 5
I t seems more likely, however, that another
image i n these apartments—the w o m a n w i t h bowed
head and loose head scarf holding a distaff i n the fresco
depicting the V i s i t a t i o n — m i g h t have influenced the
type of female profile that appears on a plate i n the
Louvre (figs. 2 0 B — c ) . A l t h o u g h i t has been suggested,
though never proven, that Pinturicchio was married to
the daughter of a ceramist from Deruta, i t seems u n l i k e l y
that he or his colleague, Perugino, w o u l d have collabo­
rated w i t h local potters. Nevertheless, some circulation
of sources, possibly drawings from drawings, must have
existed.
The images, often v i r t u a l l y identical i n pose and ap­
pearance, were presumably reproduced from a workshop's

114 Lustered Plate with a Female Bust

2 0 D Large plate with a female bust. Deruta, ca. 15 15 - 4 0 . Tin-glazed earthen­ stock repertory of cartoons. These cartoons could have
ware, Diam: 4 1 . 3 cm [i6 A in.). Washington, D.C., National Gallery of
3

been copied freehand or, more likely, used as a template

Art, Widener Collection, in v. 1942.9.3 2 3 [C-48]DA.
for the decoration. The cartoon as template w o u l d have
20E Bernardino Pinturicchio. The Death of Saint Bernardino (detail). Rome, been pricked w i t h holes, placed against the raw glaze
church of Santa Maria in Aracoeli. Photo: Scala/Art Resource, New York. surface of the plate, and tapped w i t h a bag filled w i t h
dark powder. Lifted away from the ceramic, the template
w o u l d leave behind a series of dots that were then filled
i n w i t h pigment. 6

Given the often formulaic nature of the busts and

r i m embellishments, Deruta potteries probably turned
out these works at a fast pace. The Museum's plate is a
particularly fine and beautifully rendered example, how­
ever. The young woman is shown i n a self-assured pose,
w i t h her chin up. The modeling of her face is especially
subtle, and an outline of blue pigment delicately sets off
her head and the banderole from the background.
Plates very similar to this o n e — w i t h a quartieri
r i m decoration, a vertical scroll, and a female figure

Lustered Plate with a Female Bust 115

i n profile adorned w i t h unusual headdress and tied 20F Bernardino Pinturicchio. Eritrean Sibyl (detail). Spello, Italy, Santa Maria
Maggiore. Photo: Scala/Art Resource, New York.
bodice—include those i n the National Gallery of A r t ,
Washington, D.C. (inv. 1942.9.323 [C.48]; fig. 2 0 D ) ; Bos­ 7
2 0 G Lustered plate with a female bust. Deruta, first quarter of the sixteenth
ton Atheneum (inv. A t h 307); A r t Institute of Chicago
8
century. Tin-glazed earthenware. Paris, Musee du Louvre, inv. O A 1 4 3 3 .
Photo: © Reunion des Musees Nationaux.
(inv. 1937.843); Musee de la Renaissance, Ecouen (inv.
C l u n y 2449); Musee du Louvre, Paris (inv. O A 1238);
9 10

2OH OPPOSITE LEFT: Bernardino Pinturicchio. The Enthroned Virgin and Child
formerly Pringsheim collection, M u n i c h ; 1 1
Museo and Saints (detail). Spello, Italy, Chiesa di Sant'Andrea.

Nazionale di Ravenna, collezione Classense; 12

Museo
201 OPPOSITE RIGHT: Lustered plate with an angel in prayer. Deruta, first
Regionale della Ceramica di D e r u t a ; 13
and two that sold quarter of the sixteenth century. Tin-glazed earthenware, Diam: 4 2 cm
at a u c t i o n . That a number of other similar plates exist
14
( 1 6 / 2 in.). Paris, Musee du Louvre, inv. O A 1 4 5 7 . Photo: © Reunion des
suggests that the image copied on these plates was a very Musees Nationaux.

popular one and that the pattern presumably used was

available i n numerous copies. 15
Such a source might
have copied Pinturicchio's Death of San Bernardino
fresco i n the church of Santa Maria i n Aracoeli, Rome
(fig- 2,OE).

[ 16 Lustered Plate with a Female Bust

 Notes
1. Bernard Rackham, however, has posited that the inscription should be
read Vivis ero vivus ero mortuis em vivus (alive I shall be among the
living, and alive I shall be among the dead); see Rackham 1959, 143, 5.
no. 3 54b, pi. 231. Since maiolica painters often did not compose and 6.
possibly did not even understand the words they copied for inscription, 7.
both the abbreviated forms and the meaning of this phrase must be con­ 8.
sidered open to interpretation.
2. Like that expressed in the amorous inscription Sogie tovesero perfihi- 9.
vivo epo[i]lamorte (I w i l l be subject to you as long as I live and even af­ 10.
ter death) on a basin i n the Corcoran Gallery of Art, Washington, D.C. 11.
(Watson 1986, 78, no. 28.) 12.
3. The memento mori theme also appears explicitly on maiolica plates; 13.
see, for example, a lustered tondino of ca. 1525 attributed to the work­ 14.
shop of Maestro Giorgio Andreoli i n the Ringling Museum of Art, Sara­
sota (Duval and Karcheski 1983, 91-92, no. 82). 15.
4. Other Deruta plates with similar female busts and similar inscrip­
tions concerned w i t h the transience of life include two formerly in the
Adda collection, Paris: one inscribed Non e si vago e fioie che no[n]
i[n]bia[n]ca o casca (no flower is so fair that it does not fade or fall) and
the other inscribed Um bel morire tuta la vita onoia (a beautiful death
makes honorable a whole life); see Rackham 1959, nos. 344, 354. This
concern may well have been influenced by the plague, a constant men­
ace in early Renaissance Italy that had at one point reduced by half the
population of certain centers (Braudel 1972-73, 1: 332).
Marabottini Marabotti 1982, 3 0 - 3 1 .
For further information on this technique see Hess 1999, 4-22.
Timothy Wilson i n National Gallery 1993, 152-54.
M y thanks to Timothy Wilson for bringing this and the following object
to my attention.
Giacomotti 1974, no. 516; Sarasino 1924, 61, pi. 52.
Giacomotti 1974, no. 586.
Falke 1914-23, 1: no. 124, pi. 68.
Liverani and Reggi 1976, 58, fig. 58.
Busti and Cocchi 1999, 170, no. 57.
Sale cat., Hotel Drouot (Piasa), Paris, June 28, 2000, lot 75; and sale
cat., Finarte, November 21-22, 1963, pi. 80, lot 158.
See Chompret 1949, 2: figs. 200, 203-7, 820, 823-24; Giacomotti
1974, nos. 517, 582-85, 587.
Lustered Plate with a Female Bust 117
 21

Jar with a Lame Peasant MARKS A N D INSCRIPTIONS 1965, lot 54, to "Goldbaum" [according to sale

a n d Jar with a Woman On the back of each jar, B°. cat. notation]); Goldbaum; Benjamin Sonnenberg,
New York (sold, Sotheby's, New York, June 5,
and Geese C O N D I T I O N

[.1] Small chips on the rim and base.

1979, lot 356); [Rainer Zietz, Ltd., London, sold
to the J. Paul Getty Museum, 1984].
[.2] Restorations on the base, bottoms, and rim,
Deruta or Montelupo and some painted areas (upper right corner of sky EXHIBITIONS

and woman's apron and right sleeve). Purportedly i n the Metropolitan Museum of Art,
Early sixteenth century
New York, 1913-16; [.2]: Italian Renaissance
Tin-glazed earthenware PROVENANCE
Maiolica from the William A. Clark Collection,
J. Pierpont Morgan Sr. (1837-1913), New York, by
[.i] H: 24.8 cm (g A in.)
3
Los Angeles County Museum of Art, March 5 -
inheritance to J. Pierpont Morgan Jr., (1867-1943),
May 17, 1987.
Diam (at lip): 12.9 cm (5 /\e in.)l

New York, by 1915 passed to Duveen, 1916 ;

Diam (max.): 15.9 cm (6 A in.) l

[Duveen Brothers, New York, sold to J. Widener, B I B L I O G R A P H Y

1916]; Joseph E. Widener, Elkins Park, Pennsylva­

1
Rackham 1915, 50,- Widener 1935, 67-68;
[.2] H : 24.8 cm ( 9 A in.)
3

nia (sold, Samuel T. Freeman and Co., Philadel­ Bellini and Conti 1964, 100, pis. A, C Rasmussen
Diam (at lip): 12.9 cm (5 V\e in.)
;

phia, June 20, 1944, lots 326-27, to R. Bak); 1984, 84, 86; GettyMusJ 13 (1985): 241, no. 163;
Diam (max.): 16.8 cm (6 /s in.) 5
[French and Company, New York]; Dr. Robert Bak, Hess 1988A, no. 24; Summary Catalogue 2001,
84.DE.112.1-.2 New York (sold, Sotheby's, London, December 7, no. 360.

T H E C Y L I N D R I C A L B O D I E S of these two containers are (Washington, D.C., Corcoran Gallery of A r t , inv. 26.400,
painted i n tones of orange, blue, green, and yellow w i t h 26.404); a cupid holding a rope, referring to the bonds of
4

single figures—on the first a lame peasant, possibly a love (Cologne, Kunstgewerbemuseum, inv. E 1921); a 5

beggar, w i t h a crutch holding a ceramic jug, and on the cupid whose genitals are exposed, leading a dog on a
second a woman w i t h a distaff beside three fighting or leash, i m p l y i n g either fidelity or exemplary action (Paris,
mating geese—within panels bordered by blue lines. The Musee du Louvre, inv. O A 2629); a cupid w i t h a v i o l i n 6

upper right corner of each figurative panel is painted and a cupid bearing a tree t r u n k and rope (formerly i n the
w i t h orange rays. Decorative geometric patterns r u n Peter Harris collection, London); a cupid w i t h a drum 7

around the shoulder and the base of each albarello. and one w i t h a horn and skull (formerly i n the Pring-
These jars belong to a set of twenty-four k n o w n sheim collection, M u n i c h ) ; a female figure,- 8 9
Temper­
albarelli, similar i n shape and decoration and, except ance, holding a wine cup and p i t c h e r , 10
a chivalrous
for three, inscribed B or B° on the reverse. The vessels
2
y o u t h holding a shield and banner and another holding
are clearly the w o r k of different hands, since they vary a pierced heart and standing beside a fire on an anvil,
significantly i n style. Another feature distinguishing
3
a symbol of ardent love (Berlin, private collection); 11
a
these jars is their size, according to w h i c h the works can woman lifting her skirt, exposing her genitals (Balti­
be roughly divided into three sets. Each piece i n the first more, Walters A r t Gallery, inv. 48.2234); 12
a woman lift­
group, including as many as eighteen of the twenty-two ing her skirt to a winged phallus (Hamburg, Museum fur
pieces, is smaller (approximately twenty to twenty-two Kunst und Gewerbe, inv. 1959.151); 13
a man holding a
centimeters high) and can be characterized by predomi­ small sphere facing a woman whose right foot rests on
nantly amorous or erotic subjects. The consistency of a larger sphere, identified as Venus protecting man
subject matter, w i t h the frequent occurrence of cupids (Naples, Museo Nazionale della Ceramica "Duca di
and other love imagery, suggests an intentional thematic M a r t i n a / inv. 95 5),- a figure identified as G l u t t o n y rid­
7 14

program for this set of jars. ing a p i g ; 15

a putto holding a t r i d e n t ; 16
and the t w i s t i n g
The subjects depicted include a cupid holding a figure of Saint Sebastian pierced by nine arrows, i n the
pierced heart and a blindfolded cupid on a cushion beside Galleria Nazionale d'Arte Antica, Palazzo Barberini,
his broken bow, otherwise identified as Eros and Anteros Rome (inv. 2798). 17

OPPOSITE: 2i[.i]

118
 2 1 A Alternate view of [. i ].

120 Two Jars

2 1 B Alternate view of [. i ].

Two Jars 121

21 c Alternate view of [.2]. 21 D Alternate view of [.2].

The drug jars i n the second group are larger (approxi­

mately twenty-four to twenty-five centimeters high) and
fewer i n number. This group includes three jars i n the
Louvre (inv. O A 7 3 9 0 - 9 1 , O A 6306) decorated w i t h the
Annunciate Angel, a y o u t h bearing an animal on his
shoulders and probably representing either the Good
Shepherd or Abel, and Prudence—one of the four cardi­
nal virtues adopted by the Church to teach moral les­
sons—holding a compass and mirror,- 18
and the Getty
Museum's two albarelli.
I n addition, i n the upper right-hand corner of the
scenes on all five jars from this second group, rays em­
anate from the sky. These rays appear on only one of the

OPPOSITE! 2l[.2]

Two Jars 123

smaller albarelli, however. 19
Similar rays decorate vari­
ous contemporaneous luster dishes from Deruta and
may signify God's benediction on the subject. 20

The t w o Marcantonio Raimondi prints that are

copied on the Bo jars—Temperance (also k n o w n as
Woman Watering a Plant) and Venus Protecting Man
(also k n o w n as Man and Woman with Spheres)—have
been dated to before 1510 and ca. 1506, respectively, 21

providing, at least, a terminus post quern for the group.

A l t h o u g h for the Louvre jars a religious theme m i g h t
l i n k the group, the figures on the final t w o albarelli from
this group, those i n the Getty Museum, are more prob­
lematic. Indeed, they are arguably the most unusual and
perplexing of the set. They do not appear to depict
images w h i c h are religious, mythological, allegorical,
sexual, or amorous. Rather, their subjects, dressed
i n contemporary peasant clothes, seem to be genre
figures. 22

The distaff—an instrument for spinning w o o l and

therefore a symbol of domestic labor—was a conven­
tional attribute of the industrious, righteous wife i n the
sixteenth century and c o m m o n l y appears i n female por­
traiture and allegorical representations. 23
However, i t
was also used i n a negative context as a symbol of domes­
tic discord. I n sixteenth-century European art and liter­
24

11 E Vase. Deruta, end of the fifteenth century. Tin-glazed earthenware,

ature, moreover, spinning represented erotic activity. 25

H : 29 cm ( n Vi in.). Faenza, Museo Internazionale delle Ceramiche,

As one scholar has pointed out, i n the Renaissance a inv. 24909.
lame peasant could represent the moralizing emblem of
mutuum auxilium—meaning reciprocal assistance or
m u t u a l love—or else the biblical episode of Saint Peter
Apostle, i n w h i c h he heals a lame beggar on the steps of
the Temple,- the latter could be the interpretation of a
scene on a drug jar i n Faenza (fig. 2 I E ) . 2 6
Several other
images on jars from this group derive from prints by the
fifteenth-century painter and engraver Jacopo de' Bar-
bari, m a k i n g i t possible that the Getty examples do so as
w e l l . De' Barbari engraved a pair of figures—a woman
w i t h a distaff holding a child and a man w i t h a maiolica
jug holding a cradle (figs. 2 1 F - G ) — t h a t m i g h t relate to
the figures on the Getty jars, although these figures ap­
pear less peaceful than those i n de' Barbari s engravings.
; 27

It appears that t w o other jars, one i n the Cleveland

M u s e u m of A r t (inv. 40.12) and one i n the Wadsworth

124 Two Jars

 2IF Jacopo de' Barbari (Italian, ca. 1460/70-before 15 16).
Woman and Distaff. Engraving. London, British Museum,
inv. 1895-9-15-86. Photo: © The British Museum.
Atheneum i n Hartford, Connecticut (inv. 1917.430),
comprise the t h i r d group i n the B/B° group, measuring
roughly t h i r t y centimeters i n height. The former is dec­
orated w i t h the figure of Venus (after an engraving by
Marcantonio Raimondi of the b i r t h of Venus, w h i c h may
have been inspired by a print by Jacopo de' Barbari); the 28
latter is decorated w i t h the figure of a knight holding
a shield w i t h an unidentified coat of arms. 29
The set or
sets to w h i c h these larger jars belong are l i k e l y incom­
plete, and the discovery of missing pieces and possible
print sources for the painted images m i g h t w e l l clarify
the iconography of the individual subjects as w e l l as a
21 G Jacopo de Barbari. Man with a Cradle. Engraving. London,
7
British Museum, inv. 1895-9-15-87. Photo: © The British
Museum.
possible thematic connection among the jars. Identifi­
cation of the coat of arms on the Hartford example w o u l d
also be helpful.
On the basis of their inscription, these works were
attributed almost a century ago to the Sienese workshop
of Maestro Benedetto. 30
Their style, however, differs con­
siderably from that of other k n o w n works by this artist.
Moreover, marks like this B or B° w o u l d normally indi­
cate the workshop i n w h i c h the pieces were executed,
the pharmacy to w h i c h they belonged, or the pharmacist
w h o used them. A similar mark on a sixteenth-century
albarello from Deruta i n the Museo Nazionale del
Two Jars 12 5
Bargello, Florence, has been described as "probably closely related to the B/B° set,- and variegated stripes
40

referring to the pharmacy [to w h i c h the jar] belonged." 31

running horizontally through border decoration that
The most recent attempt to identify the B° mark— appears on a number of B/B° jars. 41
Of potential interest
by associating i t w i t h a potter active i n U r b i n o — i s not is a Montelupo fruit b o w l i n the Musee National de
credible. 32
I t has also been suggested that the B or B° Ceramique, Sevres, that, although of a very different
mark m i g h t refer to the names Betini and Bolognesi, type than these pharmacy jars, is likewise marked w i t h
w h i c h are inscribed on the hexagonal tiles i n the B° on the reverse. 42

Cappella San Sebastiano (also called Cappella Vaselli
after its patron) of San Petronio, Bologna.
no indication that the San Petronio floor and the B/B°
However, the same type of geometric border patterns
33
There is also appears on shards found at Deruta excavation sites
and related plates,- more significantly, the unusual and
43

albarelli were produced by the same hand or even i n the beautifully rendered figures on such B/B° examples as
same workshop. the jars i n Rome and Hartford seem to relate very closely
A previous attempt, i n the late 1980s, was made to the w o r k of the so-called Master of the San Francesco
to l i n k the B/B° set w i t h ceramics from another center pavement from Deruta. 44

of production: Castelli d'Abruzzo. This proposition is

34
Of the four pieces i n the Getty's collection that have
based on the similarity between the drug jars' form, eluded a t t r i b u t i o n and were, therefore, subjected to neu­
palette, and decorative motifs and those of works of the tron activation analysis, three were determined to origi­
"Orsini-Colonna" typology, recently and convincingly nate from the lower mid-Arno Vallery, i n particular,
attributed to C a s t e l l i . The association of the "Orsini-
35
from Deruta or Montelupo. The preponderance of this
Colonna" group w i t h the Getty albarelli is unpersuasive. unusual a t t r i b u t i o n among the least-understood works
To aid i n attributing these jars to a specific center, i n the collection indicates not only that there is m u c h
jar .2 underwent neutron activation analysis i n spring w o r k to be done to better understand the ceramics from
2001 under the direction of scientist Michael Hughes, these centers of production, but also that there appears
formerly of the British Museum, London. The analysis to have been m u c h "cross-pollination" of styles and pos­
was carried out at the University of Missouri Research sibly also movement of potters between these t w o cen­
Reactor, and the data was compared against the British tral Italian towns.
M u s e u m database. 36
The results of the analysis show
that the clay of this jar originated from the lower
mid-Arno Valley, most l i k e l y from either Deruta or
Montelupo. To help determine attribution, stylistic
comparisons were made between these t w o jars and w i t h
ceramics securely attributed to both centers.
Examples of ceramics that have been excavated from
Montelupo k i l n sites display certain characteristics that
can be found on B/B° jars or on jars related to that set.
These characteristics include geometric incised blue
decoration similar to that found on the Wadsworth
Atheneum jar,- 37
floral rosettes similar to those on
the Museo Nazionale della Ceramica "Duca di M a r t i n a "
and the Galleria Nazionale d'Arte Antica examples,- 38

geometric ornament and small tufts of grass i n the

background similar to those found on many B/B° ex­
amples,- 39
the so-called "nodo orientale" found on a jar

126 Two Jars

 Notes
1. Duveen 1876-1981, no. M M . 8 7 , boxes 164, 193.
2. See notes 13, 16, and 27 below.
3. At least four different hands can be identified, falling into the following
groups: the jar with the Annunciate Angel in the Louvre and the two
Getty pieces; the two jars with young men in courtly costume, the jar
with the figure of Gluttony, and the jar with a woman before a winged
phallus; the two jars in the Corcoran depicting Eros and Anteros,- and,
finally, the jar with a putto and trident and one with a violin.
4. Watson 1986, 4 6 - 4 7 , nos. 8-9.
5. Klesse 1966, 147, no. 270.
6. Giacomotti 1974, 62, no. 245.
7. Rackham 1932, 343, fig. 4; the albarello with a cupid bearing a tree
trunk is now in a private collection, Florence (see Conti 1980, no. 142).
8. Falke 1914-23, 1: nos. 86-87, pi- 5 - 1
9. This work is cited as being in the Grassimuseum, Leipzig (Rasmussen
1984, 84), although i n correspondence with the Getty Museum dated
June 17, 1986, the Leipzig museum shows no record of the object.
10. Rasmussen (1984, 84, no. 13) located this jar in the Museo Civico,
Bologna, although it appeared i n a 1987 Florentine sale (Semenzato,
November 11, lot 305). See also Ballardini 1934, pi. 12; Bolognesi
23. For example, Maerten van Heemskerck's Portrait of Anna Pietersd
Codde and Cornelis Bos's engraving The Righteous Wife, both illus­
trated in Grosshans 1980, pis. 4, 147.
24. See, for example, Israhel van Meckenem's Battle for the Pants, repro­
duced in Marie 1971, 2: fig. 486.
25. See, for example, an anonymous northeastern Italian engraving of an al­
legory of sensual pleasures (Levenson, Oberhuber, Sheehan 1973, 526-
27); Barthel Beham's print Spinning Room (1524; Geisberg 1974,
no. 154); and two sixteenth-century paintings of lovers by Pieter
Pietersz. (Renger 1970, figs. 78-79). Alison Stewart (1986, 286) has
pointed out that late medieval French, English, and German words for
spindle could mean phallus, presumably because of their similar shapes.
Even today the Italian filare (to spin wool) colloquially refers to making
love or courting (Cortelazzo and Zolli 1979, s.v. "fila"). Examples on
maiolica objects of the distaff portrayed as sexual instrument include
a plate by Maestro Giorgio Andreoli dated 1528 i n the Museo Civico,
Arezzo, showing Hercules suggestively pointing a distaff at Queen
Omphale, whom he served as a slave.
26. Ravanelli Guidotti 1990, 160.
27. Servolini 1944, pi. LXVIII, nos. B . i o - 1 1 .
28. Falke 1914-23, 1: nos. 85a-b, pi. 5o Fiocco and Gherardi 1986,
;

1955, pi. 3a. This figure is based on an engraving by Marcantonio pi. 96a; Milliken 1940, 33-34. The subject and style of the panel
Raimondi entitled Young Woman Watering a Plant (Oberhuber 1978, figure together with the passages of alia porcellana decoration on the
27: no. 383 [292]), which, i n turn, because of stylistic similarities, may body relate this jar most directly to the Temperance albarello formerly
have been based on a print by Jacopo de' Barbari. in the Ducrot collection, Paris (see note 10 above).
11. Rackham 1915, 5 1, pis. IIIo-p. 29. Roth 1987, 72-73, no. 8.
12. Conti 1980, no. 130 (incorrectly described as located i n the Museum 30. Otto von Falke i n Rackham 1915, 50.
fur Kunst und Gewerbe, Hamburg). 31. Alinari and Spallanzani 1997, 3 8 - 40, no. 13.
13. Rasmussen 1984, 85, no. 129. 32. Gardelli 1999, 2 0 2 - 1 1 .
14. Arbace 1996, 91-94, no. 112. The subject is based on a print by 33. Bolognesi 1955, 8; the existence of a Betini factory in Faenza, however,
Marcantonio Raimondi after Francesco Francia (reprod. in Oberhuber was questioned by Fortnum (1896, 254) when he noted that the in­
1978, 27: no. 377-1 [286]) in which a woman holds a flaming urn, scription BE FAVE [N]T [I]CIE following the names of three women
symbol of sexual passion. (Chornelia, Zetila, and Xabeta) might more convincingly be read bella
15. Sold at Sotheby's, Zurich, December 5, 19 91, lot 6 6. Faentina (beauty of Faenza). This pavement is illustrated i n Liverani
16. Sold at Sotheby's, Zurich, December 5, 1991, lot 67. i960, pi. 12.
17. Mazzucato 1990, no. 35; Tittoni Monti and Guarino 1992, 84. Al­ 34. Rubini 1990, 27-28; Ravanelli Guidotti 1990, 199-200, no. 109;
though this jar lacks the B° mark and includes, unusually, an inscrip­ Governale 1989, 72-73; Fiocco and Gherardi 1986, 290-94,
tion of its pharmaceutical contents, the similarity of its shape, pis. 94-98.
decorative scheme, and various decorative motifs—such as the circle 3 5. See Pompeis et al. 1985, 3-36.
and line pattern above the foot (identical to that on the Good Shepherd 36. For more information on neutron activation analysis as an analytical
jar in Paris) and the foliate and rosette pattern on the reverse (identical tool see conclusion of the Introduction.
to that on the jar in Naples)—confirms its inclusion i n the group. 37. Berti 1998, 2 8 6 - 9 1 , nos. 114-26; Berti 1999, 287, nos. 125-28.
18. Giacomotti 1974, 62-63, nos. 234, 244, 246. 38. Berti 1998, 271, 284, nos. 86-87, 1 1 1
; Berti 1999, 286, no. 124.
19. Decorated with a cupid bearing a tree trunk and rope (see note 6 above). 39. Berti 1998, 254-58, 264, nos. 45-56, 69.
20. Caiger-Smith 1985, 80, pi. 23. 40. Berti 1998, 309-11, nos. 158-64. B/B° related piece is a drug jar that
21. Hind 1909-10, 1: 369, no. 16; Faietti and Oberhuber 1988, 132-34, sold at Sotheby's, London, June 29, 1964, lot 35.
no. 22. 41. Berti 1998, 264, no. 69.
22. A similar image of a lame peasant embellishes a jar formerly i n the Im- 42. Giacomotti 1974, 73, no. 289; Berti 1998, 346, nos. 241-42.
bert collection (sale cat., Sotheby's, London, March 11, 1980, lot 38). 43. Especially those with "petal-back" decoration on the reverse. See Busti
Other examples of women with distaffs adorning maiolica objects in­ and Cocchi 1987, pi. Via; Busti and Cocchi 1999, 148, no. 31.
clude a brocca of the early sixteenth century from Rimini that sold at 44. Batini et al. 1986, 3 9 - 4 1 and cover,- Fiocco and Gherardi V1994, espe­
auction i n Milan (sale cat., Semenzato Nuova Geri Sri, November 5, cially 241, 248-49, figs. 138, 143.
1986, lot 123; the figure is unconvincingly identified as "possibly
Atropos") and a crespina of ca. 1540 from Faenza, attributed to the
workshop of Virgiliotto Calamelli (Conti 1984, no. 37).

Two Jars I 2 J
 22

Plate with a Winged CONDITION Robert Strauss, England (sold, Christie's, London,
Minor glaze chips on the rim. June 2 1 , 1 9 7 6 , lot 2 2 ) ; [Cyril Humphris, London],-
Putto on a Hobbyhorse [Rainer Zietz, Ltd., London, sold to the J. Paul
PROVENANCE
Getty Museum, 1984].
Alessandro Castellani, Rome (sold, Hotel Drouot,
Possibly Urbino area, Venice, or Pesaro
Paris, May 2 7 , 1 8 7 8 , lot 3 4 , to "Fanien" [according EXHIBITIONS
ca. 1 5 1 0 - 2 0 to sale cat. notation]); Fanien; [Duveen Brothers, None.
Tin-glazed earthenware Paris (stock no. 3275), 1 9 1 4 - 1 6 , transferred to
BIBLIOGRAPHY
Duveen Brothers, New York, 1 9 1 6 (stock
H : 2.4 cm ( i / i 6 in.)
5

Rackham 1937A; Chompret 1 9 4 9 , 2: pi. 13, fig. 93;

no. 25892), sold 1923 to A. Seligmann, Rey and
Diam: 23.5 cm (9V4 in.) Co.]; [Arnold Seligmann, Rey and Co., New
1
Christie's Review 1 9 7 6 , 3 9 6 ; Morley-Fletcher and
Mcllroy 1984, 66, fig. 3,- GettyMusJ 13 ( 1 9 8 5 ) : 2 4 3 ,
84.DE.116 York]; Charles Damiron, Lyons (sold, Sotheby's,
no. 174; Hess 1988A, no. 29; Summary Catalogue
London, June 16, 1 9 3 8 , lot 60, to M . & R. Stora);
2001, no. 361.
MARKS A N D INSCRIPTIONS [M. &. R. Stora, Paris]; Luzarche d'Azay, Paris (sold,
None. Palais Galliera, Paris, December 6, 1 9 6 2 , lot 24);

T H E W E L L O F T H I S TONDINO is decorated w i t h a winged York, inscribed 1508 adi 12 de sete[m]br[e] facta fu i[n]
5

putto on a hobbyhorse before a lagoon landscape w i t h i n Castel dura[n]t[e] Zova[n] maria v[asa]w (made i n
a narrow white band. T w o male busts i n medallions are Castel Durante by the potter G i o v a n n i M a r i a on Sep­
reserved on a ground of Harpies, monsters, cornucopias, tember 12, 1508; fig. 2 2 E ) . T h i s signed and dated piece
and strings of beads around the wide r i m . The blue, dark has been used as a benchmark for attributing a number
reddish amber, brown, yellow, green, purple, and opaque of maiolica plates and bowls to the artist. A l t h o u g h 6

white embellishment is exceptionally brilliant and jewel­
like. T h e dark reddish amber pigment appears to be bole,
a variety of clay colored red by iron oxide, w h i c h is found
i n A r m e n i a and Tuscany and was used to decorate Iznik
pottery. The reverse displays a band of blue and white fo­
liate scrolls i n the alia porcellana style.
The medallions display a bald man i n classical dress
and a bearded man wearing a turbanlike hat. The appear­
ance of these two figures calls to m i n d representations of
M o h a m m e d II (1432-1481), who became the sultan of
the O t t o m a n Turks i n 1 4 5 1 , and John VIII Palaeologus
2
these plates and bowls are no longer thought to form
a consistent group—appearing to be the work of various
ceramic painters—they display similarities to the
Lehman b o w l . These similarities include the depiction
of chubby putti, imaginative and festive grotesques, tro­
phies, masks, invented beasts, pearls, and m u s i c a l i n ­
struments set against a dark blue ground. It is possible
that the " G i o v a n n i M a r i a " of the Lehman b o w l is
G i o v a n n i M a r i a Mariano, a man identified by documents
as being i n U r b i n o i n 1520, i n Venice i n 1523, and back
i n U r b i n o i n the 1530s. It is possible, therefore, that
7

( 1 3 9 0 - 1 4 4 8 ) , the Byzantine emperor w h o traveled to
Italy i n the early fifteenth century to discuss a possible
u n i o n between the Greek and L a t i n churches.
also been suggested that the bald man might represent
C i c e r o . A n y identification of these medallion figures
4
must be considered tentative, however, since similarities
w i t h k n o w n portraits do not appear convincing; these
busts may s i m p l y represent generalized Eastern types.
the maiolica objects associated w i t h the Lehman b o w l
fall w i t h i n the sphere of G i o v a n n i M a r i a Mariano's i n ­
3
It has fluence, that is, between the D u c h y of U r b i n o and Venice
i n the first decades of the sixteenth century.
Three tondini form a group w i t h the Getty plate and
appear to have been decorated by the same hand. They
include a tondino also showing a putto on a hobbyhorse
i n the A s h m o l e a n M u s e u m , Oxford (fig. 2 2 c ) ; one w i t h 8

T h i s dish was, at one time, attributed to a " G i o v a n n i a putto riding a dolphin i n the Victoria and Albert M u ­
M a r i a " active i n Castel Durante because of its similarity seum, London (inv. C . 2 0 8 7 - 1 9 1 0 ) (fig. 22D); 9
and one
to a b o w l i n the Metropolitan M u s e u m of A r t , N e w displaying a putto w i t h a shield i n the N a t i o n a l Gallery

128
2 2 A Reverse.

130 Plate with a Winged Putto

22B Plate with a winged putto standing, armed, in a landscape. Probably
Urbino district or Venice, ca. 1510-20. Tin-glazed earthenware,
Diam: 23.2 cm (9/4 in.). Washington, D.C., National Gallery of Art,
Widener Collection, inv. 1942.9.313.

22c Plate with a winged putto on a hobbyhorse. Probably made in the Urbino
region, ca. 1 5 10-20. Tin-glazed earthenware, Diam: 22.8 cm (8 /s in.).
7

Oxford, Ashmolean Museum.

22D Attributed to Giovanni Maria. Plate with a winged putto on a dolphin,

ca. 15 15. Tin-glazed earthenware, London, Victoria and Albert Museum,
inv. c.2087-1910.

Plate with a Winged Putto 131

 of Art, Widener Collection, Washington, D . C . (fig. 22B). 1 0

That the putti on a l l four tondini appear before a land­

scape reminiscent of Venetian lagoon settings w o u l d
support placing them w i t h i n G i o v a n n i M a r i a Mariano's
area of activity. These four pieces are so close i n size and
design w i t h comparably fine painting i n a remarkably
brilliant palette that they may w e l l have been part of a
single service; one scholar has even referred to the group
as the "playing putto s e r i e s / 711
The porcelainlike gar­
land on the reverse of three of the four plates is virtually
identical to the N a t i o n a l Gallery tondino garland,
although running i n the opposite direction and rendered
w i t h a slightly finer l i n e . 12

Other tondini w i t h comparable decoration of central

figures surrounded by bust portraits or other heads or
trophies and grotesque decoration include one w i t h a
putto riding a goose i n the British M u s e u m , London (inv.
M L A 1855, 12-1, 1 0 7 ) ; 13
a dish w i t h Saint Jerome i n the
Victoria and Albert M u s e u m , London (inv. C . 2 1 4 8 -
HE Giovanni Maria or his workshop. "Julius II" bowl, 1508. Tin-glazed 1910); 14
a tondino w i t h a putto holding a shield i n the
earthenware, Diam: 32.4 cm [n A in.). New York, The Metropolitan
3
boss formerly i n the Pringsheim collection, M u n i c h ; 1 5

Museum of Art, Lehmann Collection, inv. 1975.1.1015. another showing a young man playing a lute i n the
Musee des Arts Decoratifs, Lyons,- and a plate depict­ 16

ing Leda and the Swan, formerly i n the Alexander Barker

collection and currently on the Italian art m a r k e t . 17

A pitcher i n the M u s e o di Capodimonte, collezione

de C i c c i o , Naples, and a vase i n the Herzog A n t o n
U l r i c h - M u s e u m , Braunschweig (inv. 379), display a can-
delieri 18
decoration w i t h grotesques, cornucopias, putti,
and bead swags very similar to those on the Getty
Museum's tondino.19

M o s t of the above-mentioned works have been at­

tributed to Castel Durante of ca. 1 5 1 0 - 2 0 ; Faenza and
Cafaggiolo, however, have also been suggested, as has
Venice. 20
M o s t recently, the "playing putto" series has
been attributed to Pesaro given the stylistic similarities
between the above-mentioned tondini and fragments ex­
cavated at Pesaro and datable to the early sixteenth cen­
tury. 21
A cornucopia, round putto head, grotesques, and
scrolling foliage finely painted i n reserve on a dark
ground, as w e l l as porcelainlike motifs found on these
fragments, relate very closely to the group of tondini to
w h i c h the Getty plate belongs.

132 Plate with a Winged Putto

 Notes
1. Duveen 1876-1981, no. 25892, boxes 11, 13, 15, 17, 100, 1 9 1 . When the
plate was sent to New York in 1 9 1 6 its price was thirty-five hundred
dollars; this price was reduced in 1 9 2 3 (the year of its sale) to two thou­
sand dollars. A n invoice of February 5, 1 9 2 4 , lists the buyer as A. Selig-
man, Rey and Co., New York.
2. See the portrait medal of the sultan by Costanzo da Ferrara, illustrated
in Wilson 1 9 8 3 , 4 2 , no. 2 (obverse).
3. See Weiss 1966, frontis., pis. 6, 9 - 1 2 , 14-16.

4. See catalogues of Hotel Drouot, Sotheby's, and Christie's sales cited

above under provenance and bibliography.
5. Rasmussen 1989, 1 0 0 - 1 0 4 , no. 62.

6. See Rackham 1928A, 4 3 5 - 4 5 ; Rackham 1929, 88-92.

7. It is unclear whether, in addition to directing a workshop, "Giovanni

Maria" was also a potter. For documentary references see Negroni 1 9 8 5 ,
14, 17 n. 2 8 , 18 n. 2 9 ; Berardi 1 9 8 4 , 9 .
8. Wilson 1989, 2 6 - 2 7 , no. 9; Fortnum 1896, pi. 19 (attributed to Faenza of
ca. 1520).

9. Rackham 1928A, pt. 2, 90, fig. 22; Rackham 1 9 4 0 , 1: no. 5 3 2 ; 2: pi. 83

(attributed to Castel Durante of ca. 1515).

10. Timothy Wilson in National Gallery 1993, 130-33.

11. Wilson 1 9 8 9 , 2 6 .
12. The reverse decoration on maiolica plates is often very useful when
attempting to identify a distinctive hand or center of production.
13. Solon 1907, fig. io; Rackham 1929, 90, fig. 21; Wilson 1987A, no. 119

(attributed to "perhaps the Marches or Venice" of ca. 1505-25).

14. Rackham 1 9 2 9 , 8 9 , fig. 2 0 ; Rackham 1 9 4 0 , 1: no. 5 2 9 ; 2: pi. 8 3 .

15. Chompret 1 9 4 9 , 2: fig. 92; Falke 1 9 1 4 - 2 3 , 2: no. 157, pi. 84.

16. Giacomotti 1 9 6 2 , 2 9 (attributed to Castel Durante or Cafaggiolo

of ca. 1510).

17. This plate is purportedly signed "Zoan Maria in Casteldurante." That

this signature has never been reproduced and was not noted by previous
scholars when documenting the object—when the plate was on loan to
the Victoria and Albert Museum, London, in the 18 6 0 s , for example—
suggests that the signature is spurious. The plate itself was given a
thermoluminescence test at Oxford in 1 9 9 1 with results indicating it
was created between 2 5 0 and 4 0 0 years ago, consistent with its pre­
sumed date of ca. 1 5 2 0 (Magnani 1 9 9 1 , 21 and cover).
18. Like a candelabra, that is, arranged symmetrically around a central axis.
19. Omodeo, 1 9 7 0 , 4 8 , no. 8; Lessmann 1 9 7 9 , no. 16, pi. 17.
20. Wilson 1987A, no. 176; Wilson 1987B, 186 n. 8.

21. Piccioli 2000, 65-82.

Plate with a Winged Putto 13 3

 23

Dish with Am at a and MARKS A N D INSCRIPTIONS EXHIBITIONS

On the underside, a crossed circle with a smaller

Turnus circle in each of the four quarters.
None.

BIBLIOGRAPHY

CONDITION GettyMusf 13 (1985): 241, no. 164; Hess 1988A,

Probably Faenza
Small hairline crack across the kneeling woman at no. 18; Summary Catalogue 2001, no. 361.
ca. 1515-25 the lower left toward the center of the plate; minor
Tin-glazed earthenware rim repairs; the male figure on the far right-hand
edge has been restored.
H : 5.4 cm (2 Vs in.)
Diam: 24.6 cm J9 /i6
n
in.) PROVENANCE

Sold, Sotheby's, London, November 21, 1978, lot

84.DE.106
42, to R. Zietz; [Rainer Zietz, Ltd., London, sold to
the J. Paul Getty Museum, 1984].

THIS COPPA, OR FOOTED CONCAVE DISH,
the transition to the so-called stile hello (beautiful style)
of the early sixteenth century, w h e n istohato
reached its height of popularity and pictorial sophistica­
t i o n . O n the obverse is a finely painted scene of a k i n g
1
seated on a high throne w i t h groups of w o m e n and men
to his right and left, respectively. A winged putto stands
i n the foreground holding a blank scroll that elegantly
echoes the scrolling supports of the throne. T h i s
ato piece is painted i n blue, yellow, pale orange, pale yel­
l o w i s h green, pale purple, and opaque white on a pale
blue ground. Blue radiating leaves filled w i t h concentric
falls w i t h i n the Rutulians. Lavinia's parents favored this union, but
Latinus had been warned by his o w n father i n a dream
decoration that Lavinia's husband w o u l d be a foreigner and that this
u n i o n w o u l d produce a race destined to conquer the
world. T h i s foreigner was Aeneas, who, after vanquish­
ing Turnus i n battle, claimed Lavinia as his wife.
The coppa's scene appears to be based on a passage
(bk. 12,11. 5 4 - 8 0 ) i n w h i c h A m a t a (Lavinia's mother, the
istoh­ kneeling w o m a n i n the foreground) pleads w i t h Turnus
(the young warrior before her) to refrain from fighting the
Trojans for fear that he, her daughter's intended husband,
w i l l die. Lavinia (the hooded figure surrounded by at­
6

dark ocher lines cover the reverse, encircling the foot.
O n the underside of the coppa is a circle divided into
four sections, w i t h a smaller circle i n each of the four
quarters (fig. 2 3 A ) . Since 1858 this mark has
identified as the pyros rota (fire wheel), believed to be the
mark and punning device of the Faentine Casa Pirota
workshop. However, this attribution was questioned by
2
scholars as early as 1 8 8 0 , 3
and recent scholarship has
tendants), hearing her mother's entreaty, is filled w i t h
emotion, "her burning cheeks steeped i n tears, w h i l e a
deep blush k i n d l e d its fire, and mantled o'er her glowing
been face" (11. 6 5 - 6 7 ) . Turnus then "fastens his looks upon
the maid; [and], fired more for the fray, briefly he ad­
dresses A m a t a : 'Nay, I beseech thee, not w i t h tears, not
w i t h such omen, as I pass to stern war's conflicts, do
thou send me forth, O m y mother[-in-law] nor truly has;

cast further doubt on i t . 4

Turnus freedom to delay his death'"(11. 7 0 - 7 5 ) . Latinus,
Long misinterpreted as a betrothal scene, the coppa's enthroned and holding a scepter, presides over the scene.
painted decoration appears to depict instead a debate T h i s scene from the Aeneid is so rarely depicted i n
over a betrothal described i n an episode from Virgil's postclassical art as to be almost untraceable. However,
Aeneid, a w o r k from w h i c h istoriato-ware subjects were thanks to recent literary exegesis, its meaning on this
c o m m o n l y drawn i n the sixteenth century. 5
A s re­ plate may not be so recondite. The portrait of A m a t a i n
7

counted i n the Aeneid, K i n g Latinus of L a t i u m was ap­ the Aeneid is of a mother infuriated that her choice of
proaching old age w i t h o u t a male descendant. H e did husband for her daughter is ignored. Later i n the story, af­
have one daughter, Lavinia, who was sought i n marriage ter the scene outlined above, A m a t a becomes unhinged
by many neighboring chiefs, i n c l u d i n g Turnus, k i n g of w h e n her husband does not take heed after she gently

i34
23A Reverse.

136 Dish with Amata and Turnus


2 3B Attributed to the Saint John Painter. Plate with Hercules and
Cerberus, ca. 1520. Tin-glazed earthenware, Diam: 27.3 cm (10-/4 in.).
Braunschweig, Herzog Anton Ulrich-Museum, inv. Maj. 4.
23c Attributed to the Master C.I. Plate with Samson in the Temple,
ca. 1520-30. Tin-glazed earthenware. Krakow, Muzeum Narodowe,
inv. XIII-1712.
complains to h i m of his presumption. In ancient Rome
there was a tradition of maternal prenuptual consulta­
tion, and disregard of this tradition w o u l d bring dishonor
to the mother. Rather than simply depicting an erudite
8
passage from an ancient text, this plate may represent
maternal authority and entitlement, possibly i n refer­
ence to its owner.
The posture of the flying putto i n the upper left sug­
gests that the artist intended h i m to represent C u p i d
aiming his bow and arrow, attributes the artist may have
simply forgotten to include after the figure had been
painted. In the context of this passage from the Aeneid,
the appearance of C u p i d a i m i n g his darts at Turnus
w o u l d be appropriate both because Turnus had been
promised to Lavinia i n marriage and because C u p i d was
Aeneas's brother.
It is also possible that the omission of Cupid's bow
and arrows was not an oversight but, rather, a way to
represent Anteros, Cupid's rival. In classical mythology
Anteros symbolized both reciprocity i n amorous rela­
tions and terrestrial love (as opposed to Cupid/Eros, who
represented celestial love). According to an interpreta­
9
tion current i n the sixteenth and seventeenth centuries,
Anteros symbolized physical love rejected and chastised
and therefore represented amor viitutis, or the castiga-
tor of l o v e . 10
Identification of the coppa's figure w i t h
Anteros instead of Eros might be more appropriate,
since the intended u n i o n of Turnus and Lavinia never
came to pass.
A plate i n the Herzog A n t o n U l r i c h - M u s e u m , Braun­
schweig, depicting Hercules and Cerberus (fig. 23B); an­
other depicting Samson i n the Temple i n the M u z e u m
Narodowe, Krakow, Poland (fig. 2 3 c ) ; and a panel i n the
Victoria and Albert M u s e u m , London, depicting the
Deputation of Coriolanus (fig. 2 3 D ) display such close
stylistic parallels to the A m a t a and Turnus plate that the
three must have been produced by the same painter. 11
Such distinctive details as the men's short, curly hair,-
the stiff-legged poses; the delicate facial features, includ­
ing eyes composed of dots and small slants for eyebrows,-
the elegant feet and overly large helmets; the deep, short
folds i n the drapery,- and the "abdominal" muscles on
the cuirasses, rendered as a curved row of sausagelike
shapes, l i n k the four pieces. 12
Dish with Amata and Turnus 13 7
 23D Attributed to the Master C.I. Plaque with the Deputation of Coriolanus, ca. 15 15. Tin-glazed earthenware. London, Victoria and Albert
Museum, inv. 4277-1857.

138 Dish with Amata and Turnus

 The plate i n Braunschweig, however, was identified Notes
1. According to Ballardini 1 9 3 3 , 1: 1 3 - 1 4 ; 2 : i o Ballardini 1975/ 5 9 ~ 7 i /
by R a c k h a m as the work of the so-called Saint John
;

92.
Painter, after a plate depicting the saint i n the Victoria 2. Robinson 1 8 5 8 , 1: 1 3 - 1 4 .

and Albert M u s e u m , L o n d o n . 13
These two plates were 3. See Malagola 1880, 1 4 0 - 4 1 ; Genolini 1881, 57.

4. Of the two known pieces with inscriptions indicating their manufacture

then grouped w i t h a third, also attributed to the Saint
John Painter, depicting the Erythraean Sibyl and for­
merly i n the Frassineto and Caruso collections. Under
scrutiny, these three works do not appear to be painted
by the same individual.
R a c k h a m identified the panel of Coriolanus as work
of the so-called Master C . I. after a plate i n the State Her­
in the Casa Pirota (located in the Museo Civico, Bologna, and in the
Musee National de Ceramique, Sevres) neither bears the crossed-circle
14
mark. Moreover, variants of the crossed circle appear on works from
centers other than Faenza (such as Gubbio and Castel Durante) as
simple decorative motifs or as spheres. When depicted in the hands of
small boys, for example, it resembles apallone (pneumatic ball). Finally,
if the Faentine examples were intended to represent spheres, there
would be no reason to associate them with the Casa Pirota, since they

mitage M u s e u m , Saint Petersburg, inscribed w i t h those would not also have been understood as wheels. For more information
regarding the crossed-circle mark see Ballardini 1940, 6 6 - 7 2 , pis. 14-17;
initials (or possibly G . I.). 15
M o r e recently, the Samson
Norman 1969, 4 4 7 - 4 8 ; Mallet 1974, 1 2 - 1 3 , pis. XlVa-b.
plate i n Kracow has been associated w i t h the same 5. See, for example, Ballardini 1 9 2 9 , pi. 17,- sale cat., Sotheby's, 1 9 3 9 , lot
artist. 16
Rather than the roughly eighteen objects attrib­ 7 7 ; sale cat., Sotheby's, London, March 18, 1 9 7 5 , lot 36; sale cat.,

uted to this artist, it seems more prudent to revise Sotheby's, London, March n , 1980, lots 16-17.

6. I would like to thank Dr. William Wesley Trimpi, Professor of English,

the number to between five and seven. These fewer ob­
Emeritus, Stanford University, for his assistance in identifying the
jects— displaying strong and idiosyncratic stylistic con­ scene.
nections—are a plate w i t h a m o n k and naked boy i n the 7. Brazouski 1991, 1 2 9 - 3 6 .

8. Grimal 1963, 8 9 - 9 1 ; Phillips 1978, 7 0 - 7 3 ; Dixon 1988, esp. 6 2 - 6 3 , 196,

Musee de la Renaissance, E c o u e n ; a plate w i t h Perseus
17

211, 2 1 6 - 1 7 , 2 2 7 - 2 8 (as cited in Brazouski 1991, 129 and note 1).

and Andromeda and a plate of a bearded figure and Mer­ 9.
cury surrounded by a berettino r i m i n the Victoria and 10.
Albert M u s e u m , L o n d o n ; 18
a plate w i t h D i a n a and A c - 11.
taeon i n the Musee des Arts Decoratifs, Lyons,- possi­ 19
Cartari [1647] 1963, 2 5 8 .
Alciati 1 6 2 1 , no. i n .
Lessmann 1 9 7 9 , 9 8 , no. 17, pi. 18; Zboinska-Daszynska 1 9 5 2 , no. 12,
pis. XIV, XLI (cited in Ravanelli Guidotti 1 9 9 6 , 3 3 , 36 n. 9, fig. 4f-g);

Rackham 1 9 4 0 , 1: 8 1 - 8 2 , no. 259; 2: pi. 43.

bly a plate after a drawing attributed to Jacopo R i p a n d a 20

12. A decorative rendering of the serratas anterior and rectus abdominus

or Jacopo da B o l o g n a 21
i n the British M u s e u m , London,- 22
muscles.
and a plate w i t h Judith and Holofernes i n the Musee de 13. Rackham 1 9 4 0 , 1: no. 2 6 6 ; 2: pi. 4 2 .
14. Sale cat., Sotheby's, London, March 2 0 , 1 9 7 3 , lot 2 7 .
la Renaissance, E c o u e n . 23
Excluded from this group is
15. Darcel 1 8 8 5 , pi. XLIII.
the Coriolanus panel and the Samson plate, now associ­ 16. Ravanelli Guidotti 1 9 9 6 , 3 6 .
ated w i t h the A m a t a and Turnus painter. 17. Giacomotti 1974, 8 8 - 9 0 , no. 342.

18. Rackham 1940, 1: nos. 258, 260; 2, pi. 41.

R a c k h a m also identifies and attempts to group to­
19. Giacomotti 1 9 6 2 , 2 5 , fig. 3.
gether the work of several other maiolica painters active 20. Wilson 1 9 8 7 A , 1 1 5 , 1 1 7 ,fig.XV.
i n Faenza just after the turn of the sixteenth century, 21. Faietti and Oberhuber 1988, 311-14, no. 93.

including the so-called A s s u m p t i o n Painter, Master 22. Wilson 1987A, 115-17, no. 184,- the slightly more static grouping of
figures, more exaggerated musculature, and more adept and precise ren­
Gonela, the Lucretia Painter, and the Master of the Res­
dering of the background with buildings in perspective than in other
urrection P a n e l . 24
A l l of the pieces attributed to these works here attributed to the Master C. I. may be explained by the fact
artists are i n need of reexamination and reevaluation. 25
that, on this plate, the artist is copying a painter's drawing rather than
What is certain are the stylistic similarities shared by inventing the composition himself.
23. Giacomotti 1974, 9 0 - 9 1 , no. 343; this plate was attributed to the
early istohato artists active i n Faenza around 1520, i n ­
Master C. I. by Prentice von Erdberg 1950, 2 8 3 - 8 7 .
cluding those i n the Casa Pirota w o r k s h o p . 26
Indeed, 24. Rackham 1 9 4 0 , 1: 8 4 - 9 0 ; 2 : nos. 266-78, pis. 42-45.

their style anticipates and may w e l l have influenced that 25. For a further discussion of this issue and for other related examples see
Wilson 1996, 1 0 4 - 6 , no. 48.
of their compatriot and fellow maiolica artist Baldassare
26. See, for example, Mallet 1 9 9 6 , figs. 1 - 4 .
Manara (active ca. 1 5 2 6 - 4 7 ) (see no. 30).

Dish with Amata and Turnus 139

 24

Drug Jar for Persian MARKS A N D INSCRIPTIONS Sotheby's, London, November 22, 1983, lot 197);

Philonium On the banderole, FILONIJ P[ER]SICHI. [Rainer Zietz, Ltd., London, sold to the J. Paul
Getty Museum, 1984].
CONDITION

Minor chips around the rim. EXHIBITIONS

Faenza
None.
PROVENANCE
ca. 1 5 2 0 - 4 0
[M. & R. Stora, Paris, sold to W. Warren]; Whitney BIBLIOGRAPHY
Tin-glazed earthenware
Warren (1864-1943), New York; by inheritance to GettyMusf 13 (1985): 242, no. 166; Hess 1988A,
H : 37 cm ( i 4 / i 6 in.)
9

his widow, New York (sold, Parke Bernet Galleries, no. 25; Summary Catalogue 2001, no. 363.
Diam (at lip): 12.5 cm (4 /i6
15
in.) New York, October 7, 1943, lot 418); (sold,

Diam (max.): 16.5 cm (6 Viz in.)

84.DE.105

THIS TALL A N D WAISTED CYLINDRICAL DRUG
is painted w i t h a label describing its contents i n dark
blue, surrounded by fruit, foliate arabesques, and inter­
lacing i n yellow, ocher, dark blue, green, and white. The
VESSEL small amounts of cobalt were added to an impure bianco
i n order to produce a more gray ground rather than more
yellow-tinted glaze ground that w o u l d result from the
iron impurities. The "contamination" of a w h i t e ground
2

areas around the neck and above the base display a trian­
gular pattern i n dark blue and white, and around the
shoulder is a garland i n yellow, ocher, and green; a l l of
this embellishment is painted on a light blue
ground. T h e white t i n glaze that covers the inside of this
by the particularly strong and hard to control cobalt pig­
ment was certainly possible. However, it seems more
l i k e l y that berettino-coloxtd glazes were purposefully
berettino produced i n i m i t a t i o n of similar colors on M i d d l e East­
ern ceramics imported at the t i m e . 3

jar is unusual; before the early sixteenth century, areas There are two general types of Faentine berettino
that were rarely seen, such as the undersides of plates decoration: that on w h i c h the light blue decoration of
and interiors of jars, more c o m m o n l y displayed less pre­ grotesques, cherubs, trophies, scrolls, and other motifs is
cious lead-based glazes. painted i n reserve i n dark blue (see nos. 27, 32) and that
The jar's inscription is a variant of philonium per- on w h i c h the light blue ground is further embellished
sicum (Persian philonium), named after the first-century with delicate designs of floral and foliate sprays,
B . C . physician P h i l o n of Tarsus. T h i s pharmaceutical arabesques, cherubs' heads, grotesques, garlands, inter­
electuary was prepared from o p i u m and other ingredi­ lacing knotwork, and trophies i n dark blue w i t h touches
ents, including saffron, white pepper, camphor, honey of white (although green and yellow were sometimes
of roses, and ground bloodstone, pearls, and amber. The used for decorative emphasis, as on this albarello).
resultant confection served to relieve pain, induce Ceramics decorated w i t h the latter type, referred to i n
sleep, improve blood circulation, prevent miscarriages, contemporary documents as gentilezze and vaghezze
and reduce the pain of hemorrhoids and of heavy (refinements and embellishments), are listed i n Faentine
menstruation. 1
documents as being exported to Bologna i n the 1 5 2 0 s . 4

In place of the w h i t e tin-glaze ground characteristic
of most maiolica, berettino works are traditionally dis­
tinguished by a lavender-gray ground produced by tinting
the white glaze w i t h a small amount of cobalt oxide. One
scholar believes that this tinting first occurred inadver­
tently from attempts to produce a white glaze ground
that was as neutral as possible. According to this theory,
In addition, shards found i n Faenza and i n areas to
w h i c h Faentine products were exported indicate that a
large number of maiolica wares decorated w i t h wreaths,
flowers, and fruit on a berettino ground were pro­
duced i n various Faentine workshops i n the third and
fourth decades of the sixteenth century. According to
Giuseppe Liverani, " i n this type of ornament we find the

140
most highly developed use of color by the artists of the
Faventine s c h o o l / 7 5

T h e origin of the term berettino has been a subject of

m u c h conjecture. Thanks to a mid-sixteenth-century
document belonging to a Faentine pottery that lists the
ingredients of a pigment, one does k n o w that the term
refers to a specific azzuhno claw, or light blue color. 6

The term, however, may be of Venetian origin since it

seems to have been used i n the Veneto region i n the early
fourteenth century to refer to a sort of ordinary fabric. 7

The relationship of such fabrics to a color found on Faen­

tine maiolica remains unclear. Nevertheless, the appeal
of berettino decoration spread north from Faenza, be­
coming popular on mid-century Venetian (see no. 33)
and, later, Ligurian products.
Other albarelli similarly decorated w i t h festoons
and arabesques on a light blue berettino ground include
those i n the State Hermitage M u s e u m , Saint Petersburg
(inv. F 3 0 8 7 ) ; 8
one formerly i n the Adda collection,
Paris; one reproduced i n 1 9 7 4 ;
9 10
one sold at auction i n
Milan,- 11
and one i n a private Italian c o l l e c t i o n . 12
The
Museum's jar is distinguished by being both the tallest of
these examples and the only one labeled w i t h an i n ­
scribed banderole. A n ovoid vase w i t h similar decoration
is i n the M u s e o Internazionale delle Ceramiche, Faenza
(inv. 2 1 2 9 7 / c ) . 13

Notes
1. Drey 1978, 202, 222; Borgamcci 1567, 453-54.
2. Munarini 1990, 209.
3. Liverani 1958, 32 (cited in Ravanelli Guidotti 1998, 306). For examples
of Middle Eastern ceramics see Fehervari 1973, colorpl. G Klein 1976,
;

pis. 8-10; Fehervari 2000, especially nos. 132-37, 218-20, 222-32, 290,
295-96, 302). 24A Alternate view.
4. Liverani i960, 40.
5. Liverani i960, 40.
6. Ravanelli Guidotti 1998, 306.
7. Tassini 1961, 70 (cited in Mazzucato 1970, 17 n. 1).
8. Kube 1976, no. 13.
9. Rackham 1959, no. 127A; Chompret 1949, 2: fig. 563.
10. Liverani and Bosi 1974, pi. 10.
11. Sale cat., Semenzato Nuova Gerl Sri, Milan, November 5, 1986, lot 89.
12. See also Wilson 1996, 112-13, n o s
- 51-52.
13. Bojani, Ravanelli Guidotti, and Fanfani 1985, 57, no. n o .

142 Drug Jar for Persian Philonium

24B Alternate view. 24c Alternate view.

Drug Jar for Persian Philonium 143

 25

Armorial Dish with the MARKS A N D INSCRIPTIONS Rothschild (1829-1911), London,- sold, Christie's,
None.
Flaying of Marsyas London, April 1 2 , 1 9 7 6 , lot 1 7 9 , pi. 1 3 ; [Rainer
Zietz, Ltd., London, sold to the J. Paul Getty Mu­
CONDITION
seum, 1984].
Broken and repaired, with breaks generally
N i c o l a d i Gabrielle Sbraghe
confined to the top half of the piece; overpainting EXHIBITIONS
(or Sbraga), k n o w n as N i c o l a da U r b i n o in small areas of the landscape to the left, in None.
(ca. 1480-1537/38) bianco sopra bianco, and above the head of the
BIBLIOGRAPHY
putto on the right side.
Urbino Morley-Fletcher and Mcllroy 1 9 8 4 , 6 5 , fig. 8;
Mid-i520s PROVENANCE GettyMusf 13 (1985): 2 4 3 , no. 175; Hess 1988A,

Ralph Bernal, London (sold, Christie's, London, no. 3 0 ; Cohen and Hess 1 9 9 3 , i o Masterpieces
Tin-glazed earthenware ;

March 5, 1 8 5 5 , lot 1 7 6 7 , to "Wareham" [according 1 9 9 7 , 2 2 , no. 1 4 ; Summary Catalogue 2 0 0 1 ,

H : 5.7 c m (2 A in.)
l

to sale cat. notation] for Baron Gustave de no. 364.

D i a m : 41.4 c m (i6 /i6 in.)
5
Rothschild),- Baron Gustave Samuel James de
1

84.DE.117

THE WELL OF THIS LARGE A R M O R I A L PLATE displays a

coat of arms on a shield held by two putti surrounded by
bianco sopra bianco decoration. The wide r i m is ele­
gantly painted w i t h two mythological scenes of m u s i c a l
contests, both of w h i c h involve A p o l l o : the competition
between A p o l l o and Pan and the flaying of Marsyas. The
palette consists of blue, ocher, copper green, grayish
green, yellowish green, yellow, brown, brownish orange,
black, and opaque white. A white glaze ground covers
the reverse, w h i c h is otherwise undecorated.
T h i s plate was painted by arguably the most talented
and celebrated maiolica master of the Cinquecento,
N i c o l a da U r b i n o . T h e artist has been identified thanks
to a handful of pieces that bear his signature or mono­
gram: a coppa painted w i t h a seated king, dated 1521
(Saint Petersburg, State Hermitage inv. R 363); a plate 2

fragment w i t h a scene inspired by Raphael's Parnassus

(Paris, Musee du Louvre, inv. O A 1244); a plate dated 3

1528 w i t h a scene inspired by Raphael's Martyrdom of

Saint Cecilia (Florence, M u s e o Nazionale, Palazzo del
2 5 A Reverse.
Bargello); a plate w i t h the O l d Testament subject of
4

Joseph and H i s Brothers (Novellara, Santo Stefano); and, 5

perhaps, a plate w i t h the scene of an animal sacrifice i n

the British M u s e u m , London (inv. M L A 1855, 3-13, 2 3 ) . 6

According to archival documents, N i c o l a seems to be a

man k n o w n as N i c o l a di Gabriele Sbraghe (or Sbraga),
the only potter recorded i n U r b i n o whose name and
dates of activity correspond to those of the artist we have
come to k n o w as N i c o l a da U r b i n o . 7

144
 Frustratingly little is k n o w n about this important
exponent of early istohato painting. From the inscrip­
8
tion on the Saint C e c i l i a plate we k n o w that N i c o l a
worked, possibly as a visiting master, i n the large and
successful U r b i n o bottega of G u i d o da Castel Durante,
otherwise k n o w n as G u i d o D u r a n t i n o . That N i c o l a was
9
also Guido's father, a m a n mentioned i n documents as
N i c o l o Pellipario, is no longer accepted. 10
Nicola's w o r k is characterized by a delicate and so­
phisticated rendering of figures and space i n a rich and
varied palette. Because of Nicola's great s k i l l , he was
m u c h admired and sought after by important patrons of
maiolica i n the sixteenth century. A b o u t 1525, for ex­
ample, he produced a splendid credenza, or table service,
for Isabella d'Este. 11
Other credenze attributed to N i c o l a
include the so-called Correr service of ca. 1 5 1 7 - 2 0 i n the
M u s e o Correr, V e n i c e , 12
a Valenti-Gambara service of
ca. 1 5 1 8 - 2 5 after a plate i n the M u s e o del Castello
Sforzesco, M i l a n , - 13
a M a n z o l i credenza of the same gen­
eral period after a plate listed above i n the C h u r c h of
Santo Stefano, Novellara,- and two services dating to 14
the 1530s: one executed for D u k e Federico Gonzaga,
Isabella's son, and another for Federico and his wife,
Margherita Paleologo. 15
The Getty Museum's plate belongs to yet another
service, sometimes referred to as the ladder service, that
was either commissioned by or given to a member of the
Brescian C a l i n i family, whose coat of arms appears i n the
central s h i e l d . 16
U s i n g Nicola's two signed and dated
works together w i t h the dates ascribed to his table ser­
vices, one may place the C a l i n i set roughly i n m i d -
career, that is, i n the mid-1520s, between the earlier,
more delicate, blue-toned style of the Correr service and
the warmer, compositionally more complex painting of
the 1528 Saint C e c i l i a plate. T w o plates i n the Correr
service—those depicting A p o l l o and Marsyas and Solo­
m o n adoring an idol—display the same temple and deity
sculpture as those depicted on the Getty plate, thereby
associating the two services at least i n terms of the
source of these images. 17
However, i n both style and
palette the C a l i n i service is closest to the Este-Gonzaga
group. Indeed, the same subject—Apollo and Marsyas—
146 Armorial Dish with the Flaying of Marsyas
appears i n a l l three services, w i t h the interpretations on
the Getty M u s e u m and the Este-Gonzaga pieces being 18
the most closely related.
The classicized, circular temple favored by N i c o l a
was l i k e l y inspired by actual buildings of this type,
such as Donato Bramante's Tempietto. T h o u g h sepa­
rated by a generation, both Bramante and N i c o l a were
born in Castel Durante, and on more than one
occasion N i c o l a seems to have drawn on Bramante's
architectural achievements—such as his celebrated
domed and niched circular structures—for his o w n archi­
tectural inventions. 19
In addition to A p o l l o and Marsyas, Nicola's plate
presents the contest between A p o l l o and Pan. According
to the ancient legend, Pan, god of woodlands and player
of the syrinx, challenged A p o l l o , god of music and mas­
ter of the lyre, to a test of m u s i c a l s k i l l i n w h i c h A p o l l o
was judged the winner. T h i s competition represents, i n
essence, the struggle between wildness and carnal desire,
represented by Pan, and w i s d o m and sophistication, rep­
resented by A p o l l o . In the second scene, Athena, shown
on the far left of the plate, made a flute that she played
beside a stream. (Here, A t h e n a plays a bagpipe, w h i c h is
not an unusual substitution.) 20
Watching her reflected
image i n the water, she saw her face become blue and her
cheeks swollen, so she threw down the instrument and
laid a curse on anyone who picked it up. Marsyas stum­
bled on the pipes, w h i c h , inspired by the memory of
Athena's music, made beautiful sounds. H e then invited
A p o l l o to a contest. The sly A p o l l o challenged Marsyas
to play his instrument upside down, k n o w i n g that this
could be done w i t h the lyre but not w i t h the pipes. The
Muses declared the winner to be A p o l l o , who took cruel
revenge by flaying Marsyas alive. The figures of A t h e n a
and Pan on this plate (figs. 2 5 B —c) are adapted from
illustrations to the 1497 Venetian edition of Ovid's
Metamorphoses. 11
Curiously, the two scenes are some­
what conflated on the plate since Pan, rather than
Marsyas, is shown retrieving Athena's instrument.
Including the Museum's plate, there are eleven
k n o w n works from the C a l i n i service. T h e i r subjects are
A p o l l o and Pan (London, British M u s e u m inv. M L A 1855,
2 5B The Contest between Apollo and Marsyas. Fol. 49V from Ovid, Metamorphoses (Venice, 1497)- Woodcut. Washington, D.C.,
Library of Congress, Rare Book and Special Collections Division, Rosenwald cat. no. 322.

25c The Contest between Apollo and Pan. Fol. 93R from Ovid, Metamorphoses (Venice, 1497)- Woodcut. Washington, D.C., Library
of Congress, Rare Book and Special Collections Division, Rosenwald cat. no. 322.

Armorial Dish with the Flaying of Marsyas 147

 Notes
i 2 - i , 73); 22
the sacrifice of Iphigenia (Ecouen, Musee de
1. Bohn 1857, 185, no. 1767.
la Renaissance, inv. C l u n y 1 8 6 3 ) ; 23
the death of A c h i l l e s 2. Kube 1976, no. 58.
(New York, Metropolitan M u s e u m of A r t , inv. 84.3.2J,- 24
3. Giacomotti 1974, no. 829.
and an allegorical scene w i t h Calliope and a youth 4. Conti 1971A, no. 16.
5. Liverani 1985, nos. 4-6, pi. 125; Wilson 1987A, 44-45, 49, no. 62;
(Washington, D . C . , Corcoran G a l l e r y of A r t , inv. 26.
Palvarini 1994, 10-17.
348). 25
Five other pieces w i t h scenes of Saint George and 6. Wilson 1987A, 50, no. 63.
the Dragon, Perseus and Andromeda, the Brazen B u l l of 7. Darcel 1864, 181; Berardi 1984, 17 n. 9; Negroni 1985, 15-20; Mallet
Phalaris, Cygnus changed into a swan, and an uniden­ 1987, 284-86.
8. For an examination of the artist's life and work see, in addition to the
tified subject are i n the Royal Scottish M u s e u m , Edin­
works cited above, Rasmussen 1972, 51-64; Wilson 1987A, 44-51;
burgh. 26
A final plate w i t h the Rape of Europa, whose Palvarini 1994, 11-12.
present whereabouts are u n k n o w n , was formerly i n the 9. Mallet 1998, 286.
10. Wallen 1968, 95-105; Negroni 1985, 13-20.
Damiron collection, L y o n s . 27
Subjects drawn from
11. Examples from this service are reproduced in Chambers and Martineau
Ovid's Metamorphoses—and loosely based on the illus­
1981, nos. 131-33, 135-36, 138; Rasmussen 1989, 110-11, no. 66; for
trations to the 1497 Venice edition of that book —pre­ 28
the dating of this set see Mallet, "The Gonzaga and Ceramics," in
dominate on the C a l i n i service. The i n c l u s i o n of the Chambers and Martineau 1981, 40.
12. Also called the Ridolfi Service. Wallis 1905; Mariacher 1958, 8-27;
Brazen B u l l subject from the first-century moralizing an­
Cherido 1986, 73-79.
ecdotes of Valerius M a x i m u s (available i n Italian at the 13. Palvarini 1989-90, 151-64.
time) and the thirteenth-century Golden Legend tale of 14. Palvarini 1994, 10-17.
Saint George and the D r a g o n , 29
makes a unified icono- 15. Mallet, "The Gonzaga and Ceramics," in Chambers and Martineau
1981, 40; see also examples reproduced as nos. 194-95, 197.
graphic program for the C a l i n i service elusive.
16. The arms include a ladder, whose rungs are called scalini in Italian. The
A n intriguing subject for further research involves word becomes calini when pronounced with a Brescian accent that
the possibility that a group of individuals from Brescia drops the initial "s" sound in words where the "s" is followed by a con­
sonant (I am grateful to Brescian architect and historian Valentino Volta
and Mantua, l i n k e d by family and politics, might have
for his information regarding this and other things Brescian). For
helped to spread Nicola's fame and expand his patronage identification of these arms see Ravanelli Guidotti 1985A, 394-99; for
i n the early 1520s. (It w o u l d not have been unusual for a discussion of the Calini family see Schrattenhofen 1927, 243-57; and
them to discuss the appeal of maiolica table services for the postulation that this service may have been executed for Luigi
Calini on the occasion of the 1525 birth of his first son, Muzio Calini,
decorated w i t h beautiful painting and intellectually
see Watson 1986, 112-14. F ° further biographical information, see
r

stimulating iconography, along w i t h other topics of Spreti [1928-35] 1969, 2: 246, s.v. "Calini"; Dizionario biografico
artistic and humanist interest.) Certainly we k n o w that i 9 6 0 - 725, s.v. "Calini."

during this period N i c o l a produced services for two M a n - 17. The woodcuts are reproduced in Wallis 1905, 39, 51, figs. 16, 22.
18. Mallet 1981, 175-78, in particular, no. 133.
tuans (Isabella d'Este Gonzaga and Federico Gonzaga),
19. For a discussion of architecture in Nicola's work see Rackham 1945,
for one Brescian family (the C a l i n i , heirs to the Gambara 144-48; for a general examination of architecture painted on maiolica
family), 30
and for the marriage of a M a n t u a n man (Va- see Bernardi 1980. See also Manara 2000, 83-101.
20. Renaissance artists often replaced the ancient aulos (reed flute) men­
lente Valenti, who was given an important concession by
tioned in the legend with its contemporary counterpart, the zampogna
Francesco Gonzaga i n 1518) to a Brescian woman (bagpipe) (Winternitz 1959, 187-89).
(Violante Gambara who, l i k e Isabella d'Este, was a 21. The woodcuts are reproduced in Wallis 1905, 39-40, figs. 16-17.
w o m a n of letters). It is interesting to note that the M a n - 22. Wilson 1987A, no. 53.
23. Giacomotti 1974, no. 820.
z o l i fragment belonging to Nicola's final service from
24. Rackham 1928B, pi. 3D.
this period ended up i n the collection of the counts of 25. Watson 1986, no. 45.
Gonzaga of Novellara, possibly passed on by a member of 26. Curnow 1992, 59-63, nos. 62-66. Except for the Getty Museum's plate,

the M a n z o l i family to a Gonzaga on the transfer of the all the Calini pieces are illustrated in Rackham 1928B, pis. 1-4.
27. Sale cat., Sotheby's, 1938, lot 57; Rackham 1937B, 256, fig. 9.
title of patriarch of Alessandria. 31

28. See, for example, the comparisons made by Rackham 1928B, pi. 3D.

148 Armorial Dish with the Flaying of Marsyas

29. For a further discussion of the iconography of these two plates, see
Curnow 1992, 59-60, 63, nos. 62, 66
30. It is interesting to note that at the time of this commission, the Calini
family owned a small house on what was then called via delle
Maioliche, later renamed via Fiume because of its proximity to the local
river [fiume in Italian). Given both the original name of this street and
that a river (potential source for clays and for energy to run mills) would
have been a necessity for an active pottery, it is tempting to hypothesize
that the Calini family had a long-standing interest and was possibly in­
volved in maiolica production. The Calini were to inhabit the adjoining
Palazzo Avogadri—renamed Palazzo Calini ai Fiumi in the seventeenth
century—which presently serves as seat of the university law school.
The Calini palazzo in the fifteenth and sixteenth centuries was that
constructed by the family on Vicolo Borgondio and referred to as Casa
Borgondio della Corte. The palazzo's main salone was decorated with
early sixteenth-century frescoes by Floriano Ferramola, which were dis­
mantled in the 1860s and 1870s. The large fresco of a contemporary
tournament in Brescia was acquired by the Victoria and Albert Museum
in 1861 (shadows of this fresco still remain in situ); the majority of the
other frescoes entered the Pinacoteca Tosio e Martinengo, Brescia,
around 1875 (see Lechi 1974, 2: 181-83, 9 i Kauffmann 1973, 1: 102-
I 1

3). There appears to be no connection between this fresco cycle and the
Calini maiolica subjects.
31. For examinations of these links, see two articles by Mariarosa Palvarini
Gobio Casali (1989-90 and 1994) and the entry by Timothy Wilson
for a plate from the Valenti-Gambara service in Ausenda 2000,
182-84, no. 193.

Armorial Dish with the Flaying of Marsyas 149

 26

Lustered Armorial Plate D i a m : 39.9 c m (15 iVis in.) EXHIBITIONS

84.DE.111 None.

Workshop of G i o r g i o d i Pietro BIBLIOGRAPHY

A n d r e o l i , called M a e s t r o G i o r g i o MARKS A N D INSCRIPTIONS GettyMusf 13 (1985): 243, no. 173; Hess 1988A,
On the reverse, in the center, M°G° 1524. no. 23; Mattei and Cecchetti 1995, I 8 I Summary
(ca. 1 4 6 5 - c a . 1553)
;

Catalogue 2001, no. 365.

Gubbio CONDITION

Small glaze fault on the inside of the rim.

1524
Tin-glazed earthenware w i t h silver PROVENANCE

Sold, Sotheby's, London, November 21, 1978, lot

luster
41, to C. Humphris,- [Cyril Humphris, London,
H : 7.3 c m [i A in.)
7

sold to R. Zietz]; [Rainer Zietz, Ltd., London, sold

to the J. Paul Getty Museum, 1984].

THE WELL OF THIS BRILLIANTLY LUSTERED PLATE dis­

plays a shield bearing the coat of arms of the Vegerio fam­
i l y of Savona (fig. 2 6 B ) . The wide r i m is decorated w i t h
1

four heart-shaped motifs interspersed w i t h four dol­

phins, a l l surrounded by leaf scrolls. The gold and ruby
luster embellishment fills i n the blue background deco­
ration, w h i c h is accented w i t h green and black. Four
large and four small foliate scrolls i n gold luster decorate
the reverse, w h i c h is inscribed i n the center w i t h the
mark for the workshop of Maestro Giorgio and the date
1524, also i n gold luster, a l l on a p i n k i s h white ground.
Born near Lake Maggiore, apparently i n the 1470s, 2

Giorgio A n d r e o l i moved around 1490 to Gubbio, i n cen­

tral Italy, where he became director of an active maiolica
workshop and was granted citizenship and exempted
from paying taxes and duties by the duke of U r b i n o . In
1519 Pope Leo X renewed Andreoli's exemptions " i n
consideration of the honor w h i c h accrues to the city . . .
and i n consideration of [his wares ] great usefulness and
7

26A Reverse.
profitableness i n r e v e n u e / 73

The Hispano-Moresque products that served as mod­

els for Italian lusterware display predominantly blue and
gold or monochrome decoration, color schemes imitated
i n Deruta. Lusterware from Gubbio, however, is distin­
guished not only by its characteristic red, gold, or silver
iridescence but also by the vibrant polychrome decora­
tion upon w h i c h the lusters were fired. In addition to ap­
plying the metallic lusters that appeared after a final
reduction firing (that is, i n a k i l n atmosphere rich i n car­
bon monoxide), A n d r e o l i and his workshop may also

150
2 6B Cardinal Marcus Vigerius (Italian, 1446-15 16). Frontispiece to
Decachordum Christianum (Fano, 1507). Woodcut. Los Angeles, Getty
Research Institute, Special Collections, inv. 84-Bi 1239.

26c Artist close to Francesco Granacci (active in Florence, 1469-1543). The

Story of Tobias (detail). Cassone panel. Berlin, Bode Museum. Like the
Getty plate, the maiolica jugs and basin on this cupboard are decorated
with a prominent coat of arms. Located in a dining area, the cupboard
probably served to store useful tableware as well as display it.

152 Lustered Armorial Plate

26D Workshop of Giorgio Andreoli (active in Gubbio, ca. 1465/70-1555). 26E Workshop of Giorgio Andreoli. Lustered armorial plate with border of
Lustered armorial plate with border of foliate scrollwork, 1524. floriate scrollwork, dolphin heads, and cornucopias, 1524. Tin-glazed
Tin-glazed earthenware, Diam: 36.2 cm (14/4 in.). Washington, D.C., earthenware, Diam: 36.2 cm (14/4 in.). Washington, D.C., National
National Gallery of Art, Widener Collection, inv. 1 9 4 2 . 9 . 3 3 1 ( 0 5 6 ^ . Gallery of Art, Widener Collection, inv. 1942.9.332(C-57)DA.

have applied the polychrome decoration of the second

firing to the luster products bearing his mark. 4
Because
of this s k i l l i n lustering ceramics, the Andreoli work­
shop was apparently engaged, at least i n the 1530s, to
luster the wares from U r b i n o and environs, possibly by
such famed artists as Francesco Xanto A v e l l i of Rovigo
and N i c o l a di Gabriele Sbraghe. Indeed, after adorning
5

the works of other masters w i t h his luster, Andreoli of­

ten inscribed these works w i t h his o w n mark. 6

T h i s lustered plate is one of six k n o w n pieces from a

Vegerio family service, a l l dated to 1524. These include
two i n the N a t i o n a l Gallery of A r t , Washington, D . C .
(figs. 2 6 D - E ) one formerly i n the Robert de Rothschild
;
7

collection, Paris, that sold at auction i n 1995 (fig. 2 6 F ) ;

8

one i n the Cleveland M u s e u m of A r t (inv. 1943.56)

(fig. 2 6 G ) ; and one i n the Hetjens-Museum, Diisseldorf
9

Lustered Armorial Plate 15 3


26F Workshop of Giorgio Andreoli. Lustered armorial plate with border
of foliate scrollwork and grotesques, 1524. Tin-glazed earthenware,
Diam: 36 cm (14/8 in.). Galerie Moatti, Paris.
26c Workshop of Giorgio Andreoli. Lustered armorial plate with border
of foliate scrollwork and trophies, 1524. Tin-glazed earthenware,
Diam: 38.5 cm (15 A in.). Cleveland, Ohio, Cleveland Museum of Art,
l
inv. 1943.56.
154 Lustered Armorial Plate
(fig. 2 6 H ) . 1 0
T h e r i m s o n a l l s i x of t h e r e m a i n i n g V e g e r i o
plates display a remarkable a m o u n t of i n v e n t i o n a n d
variety given their otherwise simple and circumscribed
d e s i g n . N o t w o r i m s are a l i k e b u t , rather, m o d i f y a n d re-
c o m b i n e t h e m o t i f s , w i t h s o m e of t h e p l a t e s — t h o s e i n ­
cluding dolphins and grotesque animals—appearing
m o r e finely r e n d e r e d a n d o t h e r s — w i t h t r o p h i e s — l e s s so.
M a r c o Vegerio is one of t h e several noteworthy
m e m b e r s of t h i s f a m i l y . B o r n i n S a v o n a i n 1446, V e g e r i o
was a cardinal bishop, learned humanist, and grand-
n e p h e w of F r a n c e s c o d e l l a R o v e r e ( w h o b e c a m e P o p e S i x -
t us I V i n 1471). H e d i e d i n 1516 a n d so c o u l d n o t h a v e
b e e n t h e o w n e r of t h i s s e r v i c e , w h i c h m i g h t have be­
l o n g e d to h i s n e p h e w , Stefano V e g e r i o (d. 1570). Stefano,
a w r i t e r , m o v e d f r o m S a v o n a to P e r u g i a , n e a r G u b b i o ,
e a r l y i n h i s career, w h e n h e w a s n a m e d V i c e - T r e a s u r e r of
P e r u g i a b y t h e p o p e a n d C o u n t P a l a t i n e of t h e L a t e r a n b y
his uncle. H i s wife, Caterina Gastodengo, was l i k e w i s e
n o t a b l e as a n i l l u s t r i o u s w o m a n of l e t t e r s . 11
 Notes
1. Vigerius 1507, frontispiece.
2. Mattei and Cecchetti 1995, 43-45; for further documentary information
regarding the artist see Fiocco and Gherardi 1995, 256-61.
3. Liverani i960, 46.
4. For a presentation of the various hypotheses see Mattei and Cecchetti
1995, 132-34-
5. See Wilson in National Gallery 1993, 171.
6. For work of these and other artists bearing Giorgio Andreoli's luster see
Fiocco and Gherardi 1998, 32-44. A plate in the Petit Palais, Paris, pro­
vides at least one example of a work that was not only lustered but also
painted by Andreoli or someone in his workshop; this piece is signed in
unlustered blue (Join-Dieterle 1984, 172-73, no. 54).
7. Widener Collection, inv. 1942.9.331-32,- Wilson in National Gallery
1993. 173-76.
8. Ballardini 1933, 1: no. 146; sold at Hotel Drouot, Paris, November 28,
1995, lot 181, to Alain Moatti, Paris.
9. Inscribed W or M on the rim: Molinier 1892, 4: no. 160 bis,- Rackham
1916, 2: no. 807,- Ballardini 1933, 1: no. 147; Rothenstein 1944, 205,
pi. B William M . Milliken, "Italian Majolica," Bulletin of the Cleve­
;

land Museum of Art 31 (January 1944): n right.

10. Formerly in the museum at Treves; Rothenstein 1944, 205, pi. A Klein
;

1980, 133, fig. 140.

11. Information on this family is meager. Details about certain Vegerio fam­
26H Workshop of Giorgio Andreoli. Lustered armorial plate with border
ily members are available in Baldassare and Bruno 1981, 246-49, s.v.
of foliate scrollwork and trophies, 1524. Tin-glazed earthenware,
"Vegerio" (I am endebted to Guido Farris for bringing this source to my
Diam: 27 cm (io /s in.). Diisseldorf, Hetjens-Museum, inv. 38/67.
s

attention); Moroni i860, 97-98; D. R. Campbell in New Catholic Ency­

clopedia, s.v. "Vigerio."

Lustered Armorial Plate 15 5

 27

Plate with Hero MARKS A N D INSCRIPTIONS 1959, lot 142, to R. Strauss); Robert Strauss,

and Leander On the reverse, in the center, a swan. England (sold, Christie's, London, June 21, 1976,
lot 24, to R. Zietz); [Rainer Zietz, Ltd., London,
CONDITION
sold to the J. Paul Getty Museum, 1984].
Minor repair to the upper border; several chips in
Faenza
the rim. EXHIBITIONS
ca. 1525 None.
PROVENANCE
Tin-glazed earthenware
Henri Gautier, Paris (sold, Hotel Drouot, Paris, BIBLIOGRAPHY
H : 3.8 c m (1V2 in.) May 4, 1929, lot 28, to G. Durlacher [according to Chompret 1949, 2: fig. 458; Christie's Review
D i a m : 44 c m (IJVIS in.) sale cat. notation]); [Durlacher Bros., London] J
976, 397; Morley-Fletcher and Mcllroy 1984, 36,
(sold, Christie's, London, April 6-7, 1938, lot 26, fig. 5; GettyMusJ 13 (1985): 241, no. 165; Hess
84.DE.113
to H . S. Reitlinger); H . S. Reitlinger, Maidenhead 1988A, no. 26; Summary Catalogue 2001, no. 366.
(sold by his executors, Sotheby's, London, April 27,

THE WELL OF THIS LARGE DISPLAY PLATE [piatto da illustrates that once the artist applied pigments and
pompa) i s d e c o r a t e d w i t h a scene f r o m t h e s t o r y of H e r o glazes, c h a n g e s — i f t h e y w e r e n o t to be p e r c e p t i b l e —
a n d L e a n d e r i n p i g m e n t s of green, y e l l o w , b l a c k , o c h e r , c o u l d be m a d e o n l y b y c o m p l e t e l y w a s h i n g off the
orange, g r a y i s h green, o p a q u e w h i t e , a n d gray ( p r o d u c e d p a i n t e d scene a n d a p p l y i n g t h e c o l o r s a n e w .
by p a i n t i n g w h i t e o n black). T h e w i d e r i m is decorated In b o t h s t y l e a n d c o l o r t h e p a i n t e d d e c o r a t i o n o n t h i s
w i t h s c r o l l i n g foliage, c h e r u b s heads, a n d " m a n - i n - t h e -
7
p l a t e i s s i m i l a r to t h a t o n w o r k s a t t r i b u t e d to t h e " G r e e n
m o o n " m o t i f s r e s e r v e d i n l i g h t b l u e w i t h t o u c h e s of M a n . " F i r s t i d e n t i f i e d i n 1873, t h i s a r t i s t w a s g i v e n h i s
w h i t e a n d c o b a l t b l u e o n a berettino glaze ground. A cen­ s o b r i q u e t b e c a u s e h e p a i n t e d h i s figures w i t h y e l l o w p i g ­
t r a l s w a n , p o s s i b l y a m a k e r ' s m a r k c o n s i s t i n g of t h e m e n t over a l i g h t b l u e g r o u n d , r e s u l t i n g i n g r e e n - t o n e d
artist's or w o r k s h o p ' s rebus, s u r r o u n d e d b y t w o c o n c e n ­ f l e s h . B e r n a r d R a c k h a m a t t r i b u t e d to t h i s a r t i s t a series
2

t r i c b a n d s of alia porcellana decoration i n light and dark of w o r k s d a t i n g f r o m 1524 to 1 5 5 0 , 3

including a bowl
b l u e a n d w h i t e (fig. 27A), e m b e l l i s h e s t h e reverse. d a t e d 1529 a n d i n s c r i b e d " m a d e i n t h e w o r k s h o p of M a e ­
T h e istoriato scene o n t h e o b v e r s e t e l l s t h e sad s t o r y stro P i e r o B e r g a n t i n o . " M o r e t h a n o n e a r t i s t is a l m o s t
4

of H e r o , p r i e s t e s s of V e n u s , w h o f e l l i n l o v e w i t h L e a n ­ certainly represented i n R a c k h a m ' s G r e e n M a n group.

der, a y o u t h f r o m A b y d o s . A c c o r d i n g to t h i s myth,
L e a n d e r w o u l d s w i m across t h e D a r d a n e l l e s f r o m A b y ­
dos to Sestos e v e r y n i g h t t o v i s i t h i s b e l o v e d i n h e r
tower. W h e n Leander was d r o w n e d one n i g h t i n a t e m ­
pest, t h e d e s p a i r i n g H e r o t h r e w h e r s e l f f r o m t h e t o w e r
S t y l i s t i c s i m i l a r i t i e s a l s o e x i s t b e t w e e n t h e p a i n t e r of
this plate and other artists active i n Faentine potteries i n
t h e first decades of t h e s i x t e e n t h c e n t u r y , s u c h as t h o s e
R a c k h a m n i c k n a m e d t h e " M a s t e r C . I." a n d " M a s t e r
G o n e l a " (see n o . 23), as w e l l as w o r k s f r o m t h e " C a s a
5

i n t o t h e sea a n d p e r i s h e d . O n c e t h o u g h t a n i m p o s s i b l e P i r o t a " w o r k s h o p . T h i s l o o s e c o n f o r m i t y of s t y l e i s n o t
6

feat, t h e s w i m m i n g of t h e s t r a i t b e t w e e n A s i a a n d E u ­ s u r p r i s i n g g i v e n t h e a c t i v e y e t i n s u l a r n a t u r e of p o t t e r i e s
r o p e w a s p r o v e d p o s s i b l e w h e n L o r d B y r o n a c t u a l l y per­ w o r k i n g i n the same s m a l l t o w n .
formed it himself and recounted it i n his p o e m "The The figure of L e a n d e r i n t h e left f o r e g r o u n d of t h e
B r i d e of A b y d o s . " 1
G e t t y p l a t e d e r i v e s f r o m t h e figure of a s t r u g g l i n g n u d e
L e a n d e r i s p a i n t e d t h r e e t i m e s o n t h i s p l a t e , so t h a t w o m a n i n a d r a w i n g by L u c a Signorelli i n the M u s e e d u
his story unfolds i n a continuous narrative. T h e tower L o u v r e (fig. 2 7 B ) . T h e d r a w i n g l o o s e l y relates to
7
figures
f r o m w h i c h H e r o gazes s e e m s to project a w k w a r d l y f r o m i n t h e Preaching of the Antichrist fresco of 1 5 0 0 - 1 5 0 4
t h e sea, e v i d e n c e t h a t t h e a r t i s t m i s c a l c u l a t e d t h e c o m ­ i n t h e S a n B r i z i o c h a p e l of O r v i e t o c a t h e d r a l . 8
It is
p o s i t i o n a n d a t t e m p t e d to r e c t i f y t h e error b y p a i n t i n g n o t k n o w n w h e t h e r t h e F a e n t i n e m a i o l i c a a r t i s t of t h e
o v e r t h e b o t t o m p o r t i o n of t h e t o w e r w i t h b l u e p i g m e n t G e t t y p l a t e h a d t h e a c t u a l S i g n o r e l l i d r a w i n g i n f r o n t of
to w i d e n t h e e x p a n s e of w a t e r . T h i s i n t e r e s t i n g m i s t a k e h i m w h e n h e d e c o r a t e d t h e plate,- i t m a y be m o r e l i k e l y

156
 27A Reverse.

that he used a d r a w i n g made f r o m the original. N e v e r ­ donazione Fanfani, inv. 2 5 0 0 9 ; 1 4

Braunschweig, Herzog
theless, t h i s e x a m p l e of a m a i o l i c a p l a t e c o p y i n g a d r a w ­ Anton Ulrich-Museum, inv. 1155; 1 5
and Dortmund,
i n g b y an i m p o r t a n t U m b r i a n artist is remarkable and M u s e u m fur K u n s t u n d K u t u r g e s c h i c h t e der Stadt D o r t ­
m a y h e l p s h e d l i g h t o n t h e m e t h o d s of a n a c t i v e R e n a i s ­ m u n d , Schloss Cappenberg, inv. C 6 9 0 9 ) ; 1 6
a plate w i t h a
sance p o t t e r y . 9
scene of t h e R a p e of E u r o p a ( T o r o n t o , G e o r g e R . G a r d i n e r
T h e M u s e u m ' s p l a t e f o r m s part of a g r o u p of t h i r t e e n M u s e u m of C e r a m i c A r t ) ; 1 7
o n e w i t h t h e R a p e of H e l e n
large piatti da pompa t h a t c o m b i n e istohato subjects that was recently sold f r o m the R o t h s c h i l d c o l l e c t i o n ,
w i t h berettino d e c o r a t i o n , a l l of w h i c h m e a s u r e be­ London,- 18
and two plates—one w i t h an architect hand­
t w e e n f o r t y a n d fifty c m i n d i a m e t e r . T h i s g r o u p i n ­ i n g t h e m o d e l of a c h u r c h to a R o m a n g e n e r a l , n o w i n t h e
c l u d e s t w o p l a t e s w i t h t h e subject of A l e x a n d e r a n d M u s e e d u L o u v r e , Paris,- a n d the s e c o n d w i t h the T e m p ­
D i o g e n e s ( W a s h i n g t o n , D . C . , C o r c o r a n G a l l e r y of A r t , t a t i o n of A d a m a n d E v e , n o w i n t h e State H e r m i t a g e ,
inv. 26.309, 10
and formerly Berlin, Schlossmuseum, inv. Saint Petersburg—that h a v e b e e n a t t r i b u t e d to t h e so-
K1834); 1 1
t h r e e p l a t e s w i t h t h e J u d g m e n t of P a r i s ( L o n ­ c a l l e d M a s t e r of t h e Taft O r p h e u s , p o s s i b l y i n t h e F a e n -
don, V i c t o r i a and A l b e r t M u s e u m , inv. C.2110-1910; 1 2
t i n e w o r k s h o p of C a s a P i r o t a . 1 9

a n d E c o u e n , M u s e e de l a R e n a i s s a n c e , C l u n y n o s . 2 4 3 6 - T h e fact t h a t m a n y subjects are repeated suggests

37); 13
t h r e e p l a t e s w i t h t h e subject of D i a n a a n d A c t a e o n t h a t a l i m i t e d n u m b e r of p r i n t or d r a w i n g s o u r c e s w e r e
(Faenza, Museo Internazionale delle Ceramiche, u s e d , f r o m w h i c h t h e c e r a m i c scenes w o u l d h a v e b e e n

158 Plate with Hero and Leander

 copied. A l t h o u g h the Alexander and Diogenes plates
s e e m t o b e r e w o r k i n g s of t h e c o m p o s i t i o n b y t h e s a m e
a r t i s t , p i e c e s i n o t h e r g r o u p s — s u c h as t h e J u d g m e n t of
P a r i s a n d t h e D i a n a a n d A c t a e o n p l a t e s — a p p e a r t o be b y
different hands. O n s t y l i s t i c grounds, the G e t t y e x a m p l e
c a n be g r o u p e d m o s t c o n v i n c i n g l y w i t h t h e s m a l l e r of
t h e t w o J u d g m e n t of P a r i s p l a t e s i n t h e L o u v r e (fig. 27c).
G i v e n t h a t v a r i o u s p i e c e s b e a r dates r a n g i n g f r o m 1524
t o 1535 a n d t h a t f o u r of t h e m bear f o u r different c o a t s of
arms, 2 0
t h e s e t w e l v e p l a t e s b e l o n g e d t o a n u m b e r of dif­
f e r e n t credenze. T o g e t h e r w i t h t h e G e t t y p l a t e , t h e ex­
amples i n Faenza and Braunschweig display identical
reverse d e c o r a t i o n w i t h the c e n t r a l swan, i n d i c a t i n g that
these three, a l t h o u g h p r o b a b l y n o t p a i n t e d b y the same
person, were u n d o u b t e d l y made i n the same w o r k s h o p .

27B Luca Signorelli (Italian, ca. 145 o -15 2 3). Four Struggling Nude Figures,
ca. 1500. Paris, Musee du Louvre, inv. 1794. Photo: © Reunion des Notes
Musees Nationaux. 1. Byron 1813.
2. Fortnum 1873, 479.
3. Rackham 1940, 1: 99-100.
4. Liverani 1939, 3-9; Ravanelli Guidotti 1998, 351-55, no. 86.
5. Rackham 1940, 1: 81-84, 86; 2: nos. 258-65, 270, pis. 41-42.
6. For example, the tondino of 1525 with Casa Pirota mark in the Musee
de Ceramique, Sevres, inv. M N C 24734 (Mallet 1996, figs. 1-2).
7. Bacou 1968, no. 1 o; I would like to thank Laurence Kanter for help­
ing make this important connection by bringing this drawing to my
attention.
8. Baldini 1966, pi. X La Coste-Messeliere 1975, pis. 70-144. Bringing to­
;

gether this drawing with the Getty plate confirms a connection between
Signorelli and Faentine maiolica production in the very early sixteenth
century. This connection was first 'minted at" as early as 1907 (Solon
1907, caption to pi. VI); the quote is from Rackham (1951, 106-n), who
also discusses this connection; see also Verlet 1937, 13-184; Wilson
1987A, 42, no. 45; Massing 1991, 150-56.
9. For further information on this topic see Hess 1999.
10. Watson 1986, 48-49, no. 10.
11. Ballardini 1938, 2: fig. 165.
12. Rackham 1940, 1: no. 297.
13. Chompret 1949, 2: figs. 462, 464; Giacomotti 1974, nos. 335-36.
14. Ravanelli Guidotti 1990, 284-86, no. 146.
15. Lessmann 1979, 29, 99, no. 19.
16. Lepke 1930, lot 155.
17. Falke 1914-23, 2: pi. 94, fig. i8o Palmer and Chilton 1984, 26.
;

18. Sale cat., Christie's, London, July 8, 1999, lot 143.

19. McNab 1995, 2: 521-25, figs. 2-3.
20. The plates in the Corcoran Gallery of Art, Washington D . C . Victoria
;

27c Plate depicting the Judgment of Paris. Faenza, ca. 1525. Tin-glazed and Albert Museum, London; former Schlossmuseum, Berlin; and that
earthenware. Paris, Musee du Louvre, Cluny inv. 2438. Photo: © Reu­ which sold at auction in London in 1999.
nion des Musees Nationaux.

Plate with Hero and Leander 15 9

 28

Bust of a Man nose that has been repaired and several smaller
losses to the beard, mouth, ear, and curls. A fine
crack runs 24.1 cm diagonally from the top of the
G i r o l a m o della Robbia (1488-1566)
head to the proper left side. Two small angular
Florence or southern France protrusions at the back of the head have been col­
Figeac, in the south of France; remained in situ on
the courtyard facade of Chateau d'Assier under
successive owners, until the late eighteenth cen­
tury; Plantade printing house, Cahors, from the
1860s until at least 1902,- [Guy Ladriere, Paris,
1

1526-35 ored with a grayish violet glaze, possibly indicat­ sold to the J. Paul Getty Museum, 1995].
ing the color of the background medallion into
Tin-glazed earthenware EXHIBITIONS
which the bust was set; an iron bolt set into the
H : 46.4 c m (18 A in.) l
None.
bottom of the bust during manufacture must have
W: 40 c m (i5 /4 in.)
3
been part of the original mounting system. The BIBLIOGRAPHY

D : 19.7 c m (7 A in.) 3
bust underwent two thermoluminescence analyses
in 1995, returning results that the material is con­
95.sc.21
sistent with the expected age of the object (i.e.,
Vitry and Briere [1904-11] 1969, 13, pi. 42, no. 3;
Gentilini 1992, 2: 366-67; Burlington Magazine
136 (September 1994): i l l . x "Acquisitions/1995,"
;

that the material was last fired between 315 and GettyMusf 24 (1996): 136, no. 85; Crepin-Leblond
MARKS A N D INSCRIPTIONS
615 years ago). 1996, 16; Bassett and Fogelman 1997, 42; Fusco
None.
1997, 42; Alfredo Bellandi in Gentilini 1998, 306;
PROVENANCE
CONDITION Peggy Fogelman in Masterpieces 1998, 24; Fogel­
Commissioned by Jacques, called Galiot, de
There is a loss to the bottom left portion of the man and Fusco 2002, no. 4.
Gourdon de Genouillac, Chateau d'Assier, near

BUST OF A MAN DEPICTS A H A N D S O M E BEARDED male a n d a f e a t h e r e d h e l m e t , a l s o set i n t o a m e d a l l i o n , n o w

dressed i n R o m a n - s t y l e a r m o r a n d drapery, r e n d e r e d i n lost. 7
A m a l e b u s t , p r e s u m a b l y i n stone, i s set i n t o a
three-quarter relief. T u r n i n g h i s h e a d s l i g h t l y to the w r e a t h e d m e d a l l i o n a n d is s t i l l i n s i t u o n t h e c o u r t y a r d
r i g h t , h e appears to l o o k u p f r o m u n d e r n e a t h h i s expres­ w a l l of t h e C h a t e a u d ' A s s i e r ' s w e s t w i n g . A n o t h e r w o r k
8

s i v e l y m o d e l e d b r o w . T h e e n t i r e f r o n t surface of t h e b u s t t h a t has b e e n r e l a t e d to t h e A s s i e r g r o u p is a w h i t e - g l a z e d
has b e e n c o l o r e d w i t h a w h i t e glaze, p e r h a p s i n i m i t a t i o n t e r r a - c o t t a b u s t of a w o m a n i n t h e Y a l e U n i v e r s i t y A r t
of m a r b l e , e x c e p t for t h e p u p i l s of t h e eyes, w h i c h w e r e G a l l e r y , N e w H a v e n (fig. 28F), w h i c h is i d e n t i c a l to t h e fe­
painted black. m a l e bust i n the L o u v r e . 9

P a u l V i t r y a n d G a s t o n B r i e r e first i d e n t i f i e d a g r o u p
of s i x b u s t s , i n c l u d i n g t h e G e t t y Bust of a Man, as c o m ­
i n g f r o m t h e C h a t e a u d ' A s s i e r a n d a t t r i b u t e d t h e m to
G i r o l a m o della Robbia. T h i s provenance and attribution
2
have been accepted b y G i a n c a r l o G e n t i l i n i and Alfredo
Bellandi. 3
T h e G e t t y b u s t a n d a n o t h e r of t h e g r o u p , a
w h i t e - g l a z e d t e r r a - c o t t a b u s t of a beardless m a l e fig­
ure, c r o w n e d a n d d r a p e d i n a toga, n o w o w n e d b y M a r v i n
a n d J a c q u e l i n e K o s o f s k i i n L o s A n g e l e s (fig. 28E), w e r e
b o t h i n the same Paris c o l l e c t i o n i n 1995. T h e other 4
b u s t s p u b l i s h e d b y V i t r y a n d B r i e r e are a w h i t e - g l a z e d
t e r r a - c o t t a b u s t , n o w l o s t , of a y o u n g m a n i n c l a s s i c a l ar­
mor w i t h a b u n d a n t c u r l y hair,- a d r a p e d m a l e b u s t i n
5
stone, c r o w n e d w i t h a l a u r e l w r e a t h a n d set i n t o a r o u n d
m e d a l l i o n , a c q u i r e d b y t h e L o u v r e i n 1 9 i o a b u s t of a
; c o m p l e t i o n of c o n s t r u c t i o n . A c c o r d i n g to a w a t e r c o l o r
w o m a n w i t h b r a i d e d h a i r a n d a d r a p e d chest, cast i n re­
c o n s t i t u t e d stone, w h i c h w a s a c q u i r e d b y t h e L o u v r e i n
1 9 3 6 ; a n d a s t o n e b u s t of a m a n w e a r i n g e l a b o r a t e a r m o r
6
A l t h o u g h a n e x a c t i d e n t i f i c a t i o n of subject c a n n o t
be f o u n d for e v e r y b u s t i n t h i s g r o u p , t h e c r o w n e d m a n
i n a toga a n d t h e c u r l y - h a i r e d y o u t h i n a r m o r appear to
represent, r e s p e c t i v e l y , C o n s t a n t i n e a n d A l e x a n d e r t h e
Great. This, along w i t h the c l a s s i c i z i n g or military
n a t u r e of t h e c o s t u m e s , suggests t h a t t h e series as a
w h o l e d e p i c t e d l e g e n d a r y figures of t h e a n c i e n t w o r l d .
The c l a s s i c a l a r m o r of t h e G e t t y b u s t i n d i c a t e s t h a t i t
t o o w a s i n t e n d e d to p o r t r a y a R o m a n or G a l l i c h e r o .
T h e b u i l d i n g of t h e C h a t e a u d ' A s s i e r , near F i g e a c , i n
s o u t h e r n F r a n c e , w a s b e g u n i n 1524 b y Jacques, c a l l e d
G a l i o t , de G o u r d o n de G e n o u i l l a c , a n d i t s d e c o r a t i o n
c o m m e n c e d i n 1526 after h i s a p p o i n t m e n t as grand
ecuyer to F r a n c i s I . 1 0
A n i n s c r i p t i o n of 1535 m a r k s t h e
by F r a n c o i s - R o g e r de G a i g n e r e s of a b o u t 1680, the
c h a t e a u w a s d e s i g n e d as a large q u a d r a n g u l a r e d i f i c e
w i t h a central courtyard and round towers punctuating

160
28A Alternate view. 28B Alternate view.

162 Bust of a Man

28c Back view. 28D Alternate view.

Bust of a Man 163

 n a t i o n a l r e p u t a t i o n for d e l l a R o b b i a n art. A f t e r a b r i e f re­
t u r n to F l o r e n c e i n 1525 (the year of h i s father's d e a t h
a n d F r a n c i s I's i m p r i s o n m e n t ) , G i r o l a m o r e c e i v e d c o m ­
m i s s i o n s for the p o l y c h r o m e - g l a z e d t e r r a - c o t t a decora­
t i o n s of t h e C h a t e a u de M a d r i d , t h e C h a t e a u de Sansac,
a n d t h e C h a t e a u d ' A s s i e r . G a l i o t de G e n o u i l l a c m a y
h a v e b a s e d h i s d e c i s i o n to e m p l o y G i r o l a m o o n h i s o w n
k n o w l e d g e of a n d taste for I t a l i a n R e n a i s s a n c e a r c h i t e c ­
ture and ornament (acquired d u r i n g F r e n c h m i l i t a r y
c a m p a i g n s i n I t a l y i n 1494, 1501, a n d 1515), as w e l l as o n
t h e o f f i c i a l , r o y a l s a n c t i o n i n g of G i r o l a m o ' s s t y l e at t h e
C h a t e a u de M a d r i d , w h i c h w a s r o u g h l y c o n c u r r e n t w i t h
G a l i o t ' s b u i l d i n g . I n fact, i t is l i k e l y t h a t G i r o l a m o ' s
designs for o n e c h a t e a u i n f l u e n c e d h i s ideas for the
other. L i k e the C h a t e a u d'Assier, the s o u t h e l e v a t i o n
of the C h a t e a u de M a d r i d f e a t u r e d g l a z e d terra-cotta
p o r t r a i t m e d a l l i o n s i n h i g h relief, set i n t o t h e s p a n d r e l s
b e t w e e n t h e a r c h e s of t h e first t w o stories, as c a n be
28E Girolamo della Robbia. Bust of a Man (Constantine?), between 1526 seen i n Jacques Androuet du Cerceau's engraving. 15

and 1535. Glazed terra-cotta, H : 47 cm (18I/2 in.). Los Angeles, collec­ For t h e C h a t e a u de Sansac, G i r o l a m o c r e a t e d a g l a z e d
tion of Marvin and Jacqueline Kosofski.
t e r r a - c o t t a b u s t of F r a n c i s I, the s u r r o u n d of w h i c h bears
t h e date 1 5 2 9 . 16

For h i s d e c o r a t i o n of t h e C h a t e a u d ' A s s i e r , G i r o l a m o
d r e w o n s e v e r a l p r e c e d e n t s f r o m t h e w o r k of t h e F l o r e n ­
the four c o r n e r s . 11
T h e c o u r t y a r d facade of t h e west t i n e d e l l a R o b b i a s t u d i o . M o s t r e l e v a n t i s t h e series of
wing—the o n l y i n t e r i o r facade fully visible i n the s i x t y - s i x p o r t r a i t m e d a l l i o n s of s a i n t s a n d p r o p h e t s p r o ­
e n g r a v i n g a n d t h e o n l y o n e to s u r v i v e to t h e p r e s e n t d u c e d i n 1523 b y t h e w o r k s h o p u n d e r G i o v a n n i d e l l a
d a y — i n c o r p o r a t e d portrait m e d a l l i o n s i n h i g h relief
1 2
R o b b i a for t h e c l o i s t e r of t h e C e r t o s a i n V a l d ' E m a . 1 7
The
b e t w e e n t h e engaged c o l u m n s a n d p i l a s t e r s of t h e s e c o n d p r o b i n g gazes, d r a m a t i c f a c i a l e x p r e s s i o n s , n a t u r a l i s t i c
story. T h i s facade m a y h a v e p r o v i d e d t h e o r i g i n a l c o n t e x t modeling, animated hairstyles, and costumes of the
for t h e G e t t y b u s t ; t h e r e i t s d i m e n s i o n a l i t y a n d reflec­ C e r t o s a h e a d s s e e m to h a v e i n f l u e n c e d G i r o l a m o d u r i n g
t i v e surface w o u l d h a v e c r e a t e d a s t r i k i n g c o n t r a s t w i t h h i s v i s i t to F l o r e n c e i n 1525. G i r o l a m o rejected Gio­
t h e flat, gray w a l l s a g a i n s t w h i c h i t w a s set. T h e t o u c h e s v a n n i ' s b r i g h t p a l e t t e i n favor of t h e a l m o s t u n i f o r m
of p u r p l e - g r a y g l a z e at t h e b a c k of t h e G e t t y b u s t , a l s o w h i t e of the G e t t y Bust of a Man and the other related
present o n the K o s o f s k i and Yale busts, m a y recall the heads, h o w e v e r , s u g g e s t i n g h i s preference for a m o r e
c o l o r u s e d to f i l l i n t h e b a c k g r o u n d s of t h e m e d a l l i o n s . 1 3
c l a s s i c i z i n g a p p r o a c h to a r c h i t e c t u r a l d e c o r a t i o n at t h e
G i r o l a m o d e l l a R o b b i a m a y h a v e c o m e to F r a n c e at Chateau d'Assier.
t h e e n d of 1517, s i n c e b y M a y 1, 1518, h e w a s r e c e i v i n g PEGGY FOGELMAN

a royal stipend. 1 4
P r e c e d i n g o t h e r F l o r e n t i n e a r t i s t s re­
c r u i t e d b y t h e F r e n c h k i n g — s u c h as A n d r e a d e l Sarto,
G i o v a n n i Francesco Rustici, Rosso Fiorentino, and Ben-
v e n u t o C e l l i n i — G i r o l a m o w a s a p i o n e e r i n s p r e a d i n g the
i n f l u e n c e of I t a l i a n s t y l e a n d e s t a b l i s h i n g a m o r e i n t e r ­

164 Bust of a Man

28F Attributed to Girolamo della Robbia. Bust of a Young Girl, ca. 1530.
Glazed terra-cotta, H (without socle): 47 cm (18/2 in.). New Haven,
Yale University Art Gallery purchased through the Maitland F. Griggs
(BA 1896) Fund, inv. 1950.138.
Notes
1. Crepin-Leblond 1996, 19 n. 57.
2. Vitry and Briere [1904-11] 1969, 13, pi. 42, no. 3.
3. Gentilini 1993, 2: 366-67; Bellandi in Gellandi 1998, 306-7, no. IV.12.
4. Guy Ladriere, Paris; reproduced in Vitry and Briere [ 1904-11] 1969,
pi. 42, no. 8; Gentilini 1993, 2: 367. Most recently, see Bellandi in
Gellandi 1998; Crepin-Lablond (1996) accepts both these busts as part
of the group associated with Chateau d'Assier but is uncertain that they
can be traced to the chateau itself. They surely came from the same dec­
orative program, since both bear traces of a grayish violet glaze on the
back, likely from the background of the medallions into which they
were originally set. Unless further information becomes available, it
seems reasonable to accept Vitry and Briere's association of these busts
with the Chateau d'Assier.
5. Vitry and Briere [1904-n] 1969, pi. 42, no. 6; Gentilini 1993, 2: 367.
6. For the two Louvre busts, see Beaulieu 1978, 64-65, nos. 104-5; Tollon
1993/ 137-49/ esp. 144.
7. Vitry and Briere [1904-11] 1969, pi. 42, no. 5.
8. Visible in a photograph reproduced in Gebelin 1927, pi. 5, no. 9; see also
Tollon 1993 144.
9. The Yale bust was first associated with the Assier group by McGraw
1955, 4-7; see also Gentilini 1993, 367; Bellandi in Gentilini 1998, 306.
10. Galabert (1902, 50) gives 1524 as the date of initial construction on the
building, but Gebelin (1927, 48) and Vitry (1938, 332-33) qualify the
28c Back view of fig. 28F.
date by stating that, even if some construction began in 1524 or 1525,
the decoration of the palace cannot date before 1526, the year Galiot
was named grand ecuyer, since the emblem of his position appears on
the exterior. See also Tollon 1993.
11. Reproduced in Gebelin 1927, pi. 93, no. 175, and Galabert 1902, oppo­
site 50.
12. The Chateau d'Assier was apparently owned by the dukes of Uzes in the
seventeenth century but was abandoned by the family after the death of
Francois de Crussol, duke of Uzes, in 1680. By the end of the eighteenth
century the palace was given away to avoid maintenance costs, the con­
tents and the exterior decorations were sold or stripped away, and parts
of the building were demolished. Not until 1841 was the building
classified as a historic monument. See Galabert 1902, 54.
13. I am grateful to Mark Aronson of the Yale University Art Gallery for as­
certaining the presence of a small drop of purple glaze above the proper
left ear of the bust at Yale.
14. Lesueur 1937, 200; Gentilini 1993, 362.
15. See Chatenet 1987, 196, 212, 215, figs. 13-14, 40, 44, for images by Jean
Marot as well as by du Cerceau.
16. The bust is in the Metropolitan Museum of Art, New York, and the sur­
round is in the Louvre,- see Gentilini 1993, 366-67; Bellandi in Gen­
tilini 1998.
17. Marquand 1920, 167-74. See also Domestici 1998, 39.
Bust of a Man 16 5
 29

Plate with the MARKS A N D INSCRIPTIONS PROVENANCE

On the reverse, in blue, M.D.XXXIIII/Quest'el Sold, Sotheby's, London, November 21, 1978,
Abduction of Helen pastor che mal mird'l bel/volto/D'Helena Greca, lot 44; [Rainer Zietz, Ltd., London, sold to the
e, quel famoso rapto/pel qua! fu'l mondo sotto J. Paul Getty Museum, 1984].
Francesco X a n t o A v e l l i (Rovigo, sopra volto. /.Fra[ncesco]:Xa[n]to. A[velli]. Ida
EXHIBITIONS
Rovigo, i[n]lUrbino.
ca. 1 4 8 6 / 8 7 - c a . 1544) Objects for a "Wunderkammer," P. D. Colnaghi
Urbino and Co. Ltd., London, June 10-July 31, 1981.
CONDITION

1534 Minor cracks and repairs, partly overpainted, on BIBLIOGRAPHY

Tin-glazed earthenware the rim break in the upper-left section of the dish,
; Christie's Review 1976, 397; Gonzalez-Palacios
with moderate to heavy overpainting; some glaze 1981A, 124-25, no. 65; GettyMusJ 13 (1985): 243,
H : 6.3 c m (2V2 in.)
faults; seven stilt marks on the obverse along the no. 176; Bojani 1988, 129; Hess 1988A, no. 31;
D i a m : 46.1 c m (18 Vs in.) rim (originally there were eight, but one is missing Roseo 1995, fig. 19; Summary Catalogue 2001,
84.DE.118 because of the repair). no. 367.

T H E ENTIRE OBVERSE SURFACE OF THIS LARGE istoh- e v e n t s a n d therefore assist i n e s t a b l i s h i n g a b i o g r a p h y of

ato p l a t e i s p a i n t e d w i t h a s c e n e of t h e A b d u c t i o n of H e ­ t h e artist, as w e l l as a c h r o n o l o g y of h i s w o r k . 4

l e n b y t h e T r o j a n s i n b r i l l i a n t b l u e , y e l l o w , b r o w n , ocher, B o r n i n R o v i g o , X a n t o m o v e d to U r b i n o b y 1530, t h e
buff, orange, m a n g a n e s e p u r p l e , t u r q u o i s e , s e v e r a l t o n e s y ear i n w h i c h h e b e g a n i n s c r i b i n g in Urbino on his
of green, b l a c k , a n d o p a q u e w h i t e . T h e w a r m , orange- wares, 5
a n d for t h e following decade a n d a h a l f he
t o n e d p a l e t t e of t h i s w o r k i s t y p i c a l of X a n t o ' s p r o d u c ­ e x e c u t e d a vast n u m b e r of s i g n e d w o r k s e x h i b i t i n g a n ex­
t i o n a n d of istohato p a i n t i n g i n U r b i n o a b o u t 1530. T h e c e p t i o n a l c o n s i s t e n c y of s t y l e . T i m o t h y W i l s o n has sug­
c e n t e r of t h e reverse i s i n s c r i b e d i n b l u e w i t h t h e date g ested t h a t a trade d i s p u t e of 1530 i n w h i c h X a n t o w a s
a n d artist's s i g n a t u r e as w e l l as a verse, a d a p t e d from e m b r o i l e d m a y have i n d u c e d the artist to b e g i n s i g n i n g
P e t r a r c h ' s " T r i u m p h of L o v e , " 1
describing the painted h i s plates w i t h his full n a m e . 6

m y t h o l o g i c a l scene: 1534 —This is the shepherd who ill- A c c o r d i n g to d o c u m e n t s , X a n t o w a s c l e a r l y a w o r k ­

fatedly admired the beautiful face of Helen of Greece— s h o p e m p l o y e e at t h e t i m e of t h i s d i s p u t e . H e a t t e m p t e d
and that famous abduction for which the world was to i m p r o v e h i s p o s i t i o n b y b a n d i n g together w i t h other
thrown into confusion. Francesco Xanto Avelli da employees (dipendenti delVarte figulina) to demand
Rovigo in Urbino (fig. 29A). h i g h e r wages,- i n response, a g r o u p of w o r k s h o p heads
X a n t o w a s t h e m o s t t a l e n t e d a n d p r o l i f i c r i v a l of t h e [capi-bottega] agreed to r e s i s t t h e e m p l o y e e s ' d e m a n d s
celebrated early sixteenth-century ceramic artist N i c o l a a n d s i m p l y n o t h i r e t h e m w i t h o u t t h e c o n s e n t of t h e
da U r b i n o . 2
A l t h o u g h an abundance of X a n t o ' s w o r k s o t h e r capiJ It i s c e r t a i n l y p o s s i b l e t h a t b y s i g n i n g h i s
have c o m e d o w n to u s — m a n y of w h i c h are signed, w a r e s X a n t o w a s a t t e m p t i n g to w r e s t c o n t r o l of h i s p r o d ­
dated, a n d o t h e r w i s e i n s c r i b e d — l i t t l e i s k n o w n a b o u t ucts f r o m the w o r k s h o p directors.
t h e a r t i s t . H e appears t o h a v e b e e n a n e d u c a t e d and X a n t o ' s w o r k s are d i s t i n g u i s h e d b y d y n a m i c a n d v i g ­
m u l t i t a l e n t e d m a n . F o r h i s istoriato works and their i n ­ orously modeled figures i n c r o w d e d c o m p o s i t i o n s fre­
s c r i p t i o n s , h e d r e w u p o n a v a r i e t y of i m p o r t a n t a r t i s t i c q u e n t l y based o n engravings by M a r c a n t o n i o R a i m o n d i
and l i t e r a r y sources, w h i c h he often i n v e n t i v e l y m o d i ­ a n d others, w h i c h h e o f t e n i n v e n t i v e l y a n d e c l e c t i c a l l y
fied to s u i t h i s c o m p o s i t i o n s a n d verse. X a n t o w a s a l s o a e x c e r p t e d a n d r e c o m b i n e d . F o r t h e p r e s e n t plate's istori­
poet, w r i t i n g a series of s o n n e t s i n h o n o r of F r a n c e s c o ato d e c o r a t i o n , X a n t o d r e w u p o n a n e n g r a v i n g of t h e
M a r i a I d e l l a R o v e r e , D u k e of U r b i n o (r. 1508-38). 3
s a m e subject e i t h e r b y M a r c a n t o n i o or b y M a r c o D e n t e ,
T h e s e s o n n e t s c o n t a i n n u m e r o u s a l l u s i o n s to h i s t o r i c a l c a l l e d M a r c o da R a v e n n a (active 1 5 1 0 - 2 7 ) , after R a p h a e l

166
2 9 A Reverse.

168 Plate with the Abduction of Helen

 29B
Marcantonio Raimondi (Italian,
ca. 1470/82-1527/34) after
Raphael (Italian, 1483-1520).
The Abduction of Helen,
ca. 1510-20. Engraving. Vienna,
Graphische Sammlung Albertina,
inv. 1970/425.

(fig. 2 9 B ) . T h i s image was a p p a r e n t l y a f a v o r i t e of the Notes

1.
a r t i s t a n d h i s peers, i n c l u d i n g N i c o l a da U r b i n o , s i n c e i t
appears w i t h s l i g h t v a r i a t i o n s o n n u m e r o u s p l a t e s of the
early sixteenth century. T h e c o n s i s t e n c y of t h e s e A b ­ 2.
d u c t i o n of H e l e n s c e n e s i n d i c a t e s t h a t i n s t e a d of c o p y i n g
the engraving freehand, the artists m a y have u s e d a t e m ­
p l a t e of s o m e s o r t — p r o b a b l y e i t h e r t r a c e d or punched
w i t h holes, t h r o u g h w h i c h p o w d e r was f o r c e d — t o trans­
fer t h e i m a g e to t h e c e r a m i c p l a t e s . 8 3.
O t h e r v e r s i o n s of t h i s s u b j e c t e i t h e r s i g n e d b y or at­
t r i b u t e d to X a n t o i n c l u d e t w o plates i n the Musee du 4.
L o u v r e , P a r i s (inv. C l u n y 915, O A 1 8 3 9 ) ; o n e f o r m e r l y i n
9
5.
the S c h l o s s m u s e u m , B e r l i n (probably destroyed); o n e i n 1 0
"Trionfo d'amore," bk. i , 11. 136-38: "Seco e '1 pastor che mal i l suo bel
volto /miro si fiso, ond'uscir gran tempeste,/e funne i l mondo sottosopra
volto."
See no. 30 below. For information on Xanto Avelli see the various and
informative publications by Julia Triolo, including "The Armorial
Maiolica of Francesco Xanto Avelli" (Ph.D. diss., Pennsylvania State
University, 1996); "Francesco Xanto Avelli's Pucci Service (1532-1533):
A Catalogue," Faenza 74 (1988): 37-44, 228-84; an<
3 her entries in the
forthcoming Castello Sforzesco, Milan, catalogue.
These sonnets are presently in the Vatican Library; see Cioci 1987. For
other examples of Xanto as a literary amateur see Wilson 1990, 321-27,-
Holcroft 1988, 225-34.
See Mallet 1984, 384-402.
According to a plate dated 1530 in the Castello Sforzesco, Milan
(inv. M232).

6. Wilson 1987A, 52; see also Mallet 1987, 33.

the C o l o c c i H o n o r a t i c o l l e c t i o n , J e s i ; 1 1
and one formerly
7. Interestingly, these documents indicate that the workshop heads in­
i n the P r i n g s h e i m c o l l e c t i o n , M u n i c h . 1 2
A n o t h e r p l a t e of volved in the dispute included Guido Durantino and Nicola di Gabriele
the subject formerly in the Pringsheim collection is Sbraghe (Negroni 1986, 18, no. 33).
8. For further information on this topic see Hess 1999, 14-19; Rondot
a t t r i b u t e d to N i c o l a da U r b i n o ; 1 3
and two others, for­
1994, 18-49; Talvacchia 1994, 121-53; Petruzzellis-Scherer 1980,
m e r l y a t t r i b u t e d to X a n t o , are n o w g i v e n to t h e so-called 321-71.
P a i n t e r of the Apollo Basin. 1 4
In addition, numerous 9. Chompret 1949, 2: figs. 988, 995; Giacomotti 1974, nos. 856, 866.
p l a t e s b y X a n t o c o p y p o r t i o n s of t h e engraving rather 10. Ballardini 1938, 2: no. 191.
11. Ballardini 1938, 2: no. 41.
t h a n the entire scene. 1 5
M a n y of t h e s e p l a t e s b e a r i n ­
12. Sale cat., Christie's, London, February 28, 1994, lot 130; Ballardini 1938,
s c r i p t i o n s t h a t are i d e n t i c a l or n e a r l y so to t h a t o n the 2: no. 192, fig. 182; Falke 1914-23, 2: no. 267, pi. 138.
G e t t y ' s plate, w h i c h is a m o n g the largest and m o s t faith­ 13. Sale cat., Christie's, New York, October 6, 1993, lot 24.
f u l to t h e o r i g i n a l e n g r a v i n g . 14. One in the Victoria and Albert Museum, London (inv. c. 2232-1910;
Rackham 1940, 1: no. 634; 2: pi. 100), and the other in the Museo Inter-
nazionale delle Ceramiche, Faenza ("Accessioni al Museo," Faenza 32
[1946]: pi. 19a). For this new attribution see J. V. G. Mallet's forthcoming
publication of a paper given in Gubbio.
15. See, for example, Poole 1995, 340-42, no. 392.

Plate with the Abduction of Helen 169

 30

Dish with Saint Clare the scroll, PETRE DILIGIS ME; on the underside, EXHIBITIONS

Baldasara Manara fa[e]n[tino] or Baldasara Man­ Italian Renaissance Maiolica from the William A.
ara fa[e]n[za], Clark Collection, Los Angeles County Museum of
Baldassare M a n a r a (active ca. 1526-47)
Art, March 5-May 17, 1987.
Faenza CONDITION

Minor chips around the rim, repainted; one chip in BIBLIOGRAPHY

ca. 1535
the base. Damiron 1944, no. 79; Chompret 1949, 1: 77; 2:
Tin-glazed earthenware fig. 500; Sotheby's 1983-84, 290; GettyMusJ 13
PROVENANCE
H : 3.8 c m (1V2 in.) (1985): 242, no. 167; Hess 1988A, no. 19; Ravanelli
[M. &. R. Stora, Paris, sold to C. Damiron]; Charles
D i a m : 21.5 c m (8 /i6 in.)
7 Guidotti 1991, figs. XXIXd, XXXVId, XXXVIIIe,
Damiron, Lyons (sold, Sotheby's, London, June 16,
XLIa; Ravanelli Guidotti 1996, 206-9, o . 34;
n

84.DE.107 1938, lot 20, to "Recher" [according to sale cat.

Summary Catalogue 2001, no. 368.
notation]),- A. Recher Paul Damiron (sold,
;

MARKS A N D INSCRIPTIONS
Sotheby's, London, November 22, 1983, lot 209);
On the obverse, at the top, a shield with a holy [Rainer Zietz, Ltd., London, sold to the J. Paul
cross flanked by M and C below the annulets,- on Getty Museum, 1984].

PAINTED I N OLIVE GREEN, BLUE, YELLOW, OCHER, 1228 and, later, to I n n o c e n t I V i n 1 2 5 3 . B o t h r e q u e s t s

3

g r a y i s h y e l l o w , o p a q u e w h i t e , a n d b l a c k , t h i s coppa de­ were granted.

picts three saints i n a m o u n t a i n o u s landscape w i t h a c i t y B a l d a s s a r e M a n a r a w a s a m e m b e r of a f a m i l y of pot­
or large c a s t l e i n t h e b a c k g r o u n d . I n t h e c e n t e r i s a fe­ ters l i v i n g i n F a e n z a i n t h e first h a l f of t h e s i x t e e n t h c e n ­
m a l e s a i n t w e a r i n g a b l a c k v e i l over a w h i t e h o o d w i t h tury. In Faentine records he is described as figulus
an u r n i n one h a n d and a l i l y i n the other. She is f l a n k e d (potter) of t h e p a r i s h of S a i n t T h o m a s . M a n a r a ' s n a m e ap­
b y S a i n t P e t e r — i d e n t i f i a b l e b y h i s k e y s : t h e d a r k k e y of pears as e a r l y as 1526, a n d h e i s k n o w n to h a v e d i e d be­
h e l l a n d g o l d e n k e y of h e a v e n — a n d a generic martyr fore June 15, 15 4 7 . 4

s a i n t h o l d i n g aloft h e r a t t r i b u t e of a p a l m f r o n d . T w o T h i r t y - s i x p i e c e s are a t t r i b u t e d — p e r h a p s overgener-

p u t t i appear above t h e s a i n t s s u p p o r t i n g a s h i e l d b e a r i n g
a cross h e l d b y t w o n a i l s a n d flanked b y t h e l e t t e r s M a n d
C b e l o w a n n u l e t s ( p r o b a b l y t h e m a r k of a r e l i g i o u s or­
der). T h e reverse of t h e d i s h i s p a i n t e d w i t h a y e l l o w a n d
ocher scale p a t t e r n and is signed b y the artist i n the cen­
ter of t h e r a i s e d foot.
T h e c e n t r a l figure has b e e n c o n v i n c i n g l y i d e n t i f i e d
as S a i n t C l a r e of A s s i s i (fig. 30B). 1
A s s u m i n g a l i f e of
p o v e r t y a n d prayer, she f o u n d e d a n o r d e r of F r a n c i s c a n
women—the O r d e r of P o o r L a d i e s , or Clares—hence
h e r F r a n c i s c a n h o o d . O n t h e p l a t e she faces S a i n t Peter,
directing t o w a r d h i m the words o n the scroll—"Peter,
do y o u l o v e m e ? " — t h e q u e s t i o n Jesus p o s e d to Peter
2
t h r e e t i m e s (John 21). T h e p l a t e ' s a s s o c i a t i o n of C l a r e
w i t h Jesus m i g h t be e x p l a i n e d i n p a r t b y t h e fact t h a t
o u s l y — t o this artist; 5
thirteen are s i g n e d . W i t h the
G e t t y plate, these signed pieces i n c l u d e a plate w i t h
N a r c i s s u s and another w i t h the Resurrection, i n the
V i c t o r i a a n d A l b e r t M u s e u m , London,- a p l a t e w i t h t h e
Vestal T u c c i a and a plaque with Captain Battistone
C a s t e l l i n i , i n t h e B r i t i s h M u s e u m , London,- a p l a t e w i t h
A e s a c u s and Hesperia, formerly i n the P r i n g s h e i m col­
lection, M u n i c h ; a plate w i t h A t a l a n t a and H i p p o m e n e s ,
in t h e F i t z w i l l i a m M u s e u m , Cambridge,- a p l a t e w i t h
P y r a m u s a n d T h i s b e , i n t h e P e t i t P a l a i s , Paris; a p l a t e
w i t h Joseph F i n d i n g t h e G o l d C u p , i n t h e M u s e u m of In­
d u s t r i a l A r t , Prague; a p l a t e w i t h t h e T r i u m p h of T i m e
a n d a n o t h e r w i t h C a e s a r R e c e i v i n g t h e H e a d of P o m p e y ,
i n the A s h m o l e a n M u s e u m , Oxford; and a plate w i t h
A p o l l o and Pan, i n a private c o l l e c t i o n . O f these signed
6

C l a r e , o n t w o o c c a s i o n s , m a d e a p p e a l s to p a p a l a u t h o r i t y plates, f o u r are d a t e d 1534, o n e i s d a t e d 1535, a n d o n e

to a l l o w h e r to p r a c t i c e t h e a b s o l u t e , C h r i s t - l i k e p o v e r t y is d a t e d 1536.
p r e s c r i b e d b y S a i n t F r a n c i s , first to P o p e G r e g o r y I X i n

170
3 OA Reverse.

172 Dish with Saint Clare

 Notes
1. Ravanelli Guidotti 1996, 206.
2. I am grateful to Hannes Piitz, Monchengladbach, and Frederick
Hammond, Annandale-on-Hudson, for helping me understand this
inscription.
3. Catholic Encyclopedia, s.v. "Clare of Assisi."
4. See Ravanelli Guidotti 1996, 89-91; Grigoni 1932, 181.
5. Ravanelli Guidotti 1996.
6. Ravanelli Guidotti 1996, 108-21 5, nos. 1-36; signed examples are
nos. 2-4, 12, 16, 21, 23, 25, 27-28, 32, 34, 36.

30B Alvise Vivarini (Italian, 1442/5 3-1503/5). Saint Clare (detail). Venice,
Accademia. Photo: Alinari/Art Resource, New York.

Dish with Saint Clare 17 3

 31

Molded Dish with an MARKS A N D INSCRIPTIONS EXHIBITIONS

Allegory of Love None. None.

CONDITION BIBLIOGRAPHY

Glaze chip on the underside; minor chips GettyMusJ 13 (1985): 242, no. 168; Hess 1988A,
Faenza
at the rim. no. 27; Cohen and Hess 1993, 62; Summary Cata­
ca. 1535 logue 2001, no. 369.
PROVENANCE
Tin-glazed earthenware
Prince Thibaut d'Orleans, Paris (sold, Sotheby's,
H : 7.3 c m (2% in.) London, February 5, 1974, lot 30); [Rainer Zietz,
D i a m : 28 c m ( n in.) Ltd., London, sold to the J. Paul Getty Museum,

84.DE.114 1984].

C E R A M I C CRESPINE — FROM T H E ITALIAN CRESPA, p i e c e , Medol limfamio tua: piu ch[e] [i]l morire (your
m e a n i n g p l e a t or w r i n k l e — w e r e f o r m s m o l d e d i n i m i t a ­ disgrace [of me] h u r t s m o r e t h a n death), expresses a par­
t i o n of g a d r o o n e d m e t a l w o r k d e s i g n s w h i c h w e r e p o p u ­ t i c u l a r l y p a i n f u l v i e w of l o v e . I n c o n t r a s t to t h e g l o r i f i e d
lar f r o m r o u g h l y t h e s e c o n d q u a r t e r of t h e sixteenth i m a g e s of l o v e p o p u l a r o n c e r a m i c coppe amatorie, the
c e n t u r y o n . T h e s h a l l o w b o d y of t h i s f o o t e d crespina is series of m o l d e d d i s h e s to w h i c h t h e G e t t y M u s e u m ' s
m o l d e d w i t h flutes t h a t i s s u e f r o m a l o w c e n t r a l boss. crespina b e l o n g s p o r t r a y s l o v e as a b i t t e r s w e e t force t h a t
T h i s c o n v e x boss, s u r r o u n d e d b y a p a i n t e d rope m o t i f , holds its v i c t i m s captive.
d i s p l a y s a y o u t h i n c o n t e m p o r a r y c o u r t l y dress seated
a g a i n s t a n d b o u n d to a tree p a i n t e d i n o c h e r , y e l l o w , a n d
blue, heightened w i t h w h i t e on a light blue ground.
L i g h t b l u e leaves, f o l i a t e s c r o l l s , a n d s t y l i z e d d o l p h i n s ,
accented w i t h w h i t e and reserved o n alternately dark
b l u e and ocher grounds, decorate the petal-shaped a
quartieh (sectioned) p a n e l s a r o u n d t h e boss. T h e reverse
is g l a z e d w i t h t h e s a m e l i g h t b l u e berettino and is
p a i n t e d w i t h a l t e r n a t e l y d a r k b l u e a n d o c h e r dashes f o l ­
l o w i n g t h e m o l d e d p a n e l s shapes a r o u n d t h e foot.
7

T h e c e n t r a l figure o n t h e r a i s e d boss r e p r e s e n t s a n a l ­
l e g o r y of l o v e : t h e y o u n g m a n i s t i e d t o l o v e m u c h as h e
is b o u n d to t h e tree. L o v e p o r t r a y e d i n t h i s m a n n e r w a s a
p o p u l a r subject of t h e t i m e . T h e s a m e a l l e g o r y appears,
for e x a m p l e , i n a F l o r e n t i n e e n g r a v i n g o f c a . 1 4 6 5 - 8 0 en­
t i t l e d Woman and Captive's Heart, m a d e for t h e decora­
t i v e c o v e r of a w o m a n ' s t o i l e t r i e s b o x or w o r k b o x , i n
w h i c h a s t a n d i n g y o u t h b o u n d to a tree faces a y o u n g
w o m a n w h o h o l d s h i s h e a r t i n h e r h a n d (fig. 3 1 B ) . 1
A
l u s t e r e d p l a t e f r o m t h e w o r k s h o p of G i o r g i o A n d r e o l i of
G u b b i o ( N e w Y o r k , M e t r o p o l i t a n M u s e u m of A r t , i n v .
65.6.10) p o r t r a y s a m a n b o u n d to a tree c o n f r o n t e d b y a
w o m a n w i t h a k n i f e . W h e t h e r she i n t e n d s to l i b e r a t e or
w o u n d the m a n is unclear, but the i n s c r i p t i o n o n this 31A Reverse.

174
 A t t r i b u t i o n of s u c h crespine to F a e n z a is c o n f i r m e d
b y t h e e x i s t e n c e of s e v e r a l s u c h b o w l s w i t h F a e n t i n e
m a r k s . S i m i l a r shapes a n d designs appear o n l a t e r p r o d ­
2
ucts f r o m M o n t e l u p o , a l t h o u g h these T u s c a n examples
m o l d e d b o w l s w i t h J u d i t h a n d t h e h e a d of H o l o f e r n e s
(a subject t h a t m a y h a v e m e a n t to flatter i t s f e m a l e re­
c i p i e n t ; Paris, M u s e e d u L o u v r e , i n v . O A 1760; a n d L o n ­
don, Victoria and A l b e r t M u s e u m , inv. 4343-1857); 7

display a warmer palette and looser drawing style. 3

a n o t h e r w i t h a h a l b e r d i e r (Sevres, M u s e e N a t i o n a l de
Crespine w e r e p r o b a b l y u s e d for t h e d i s p l a y of f r u i t , as Ceramique, inv. 2317); a dish w i t h C u p i d leaning o n an
8

numerous pictorial and trompe-Poeil ceramic examples u r n a n d a n o t h e r w i t h a t h r e e - q u a r t e r i m a g e of a y o u t h

attest (fig. 3 1 c ) . 4
b o u n d to a tree a n d p i e r c e d t h r o u g h t h e h e a r t b y a n a r r o w
T h e m o s t c l o s e l y r e l a t e d crespine to t h e G e t t y ex­ ( L o n d o n , V i c t o r i a a n d A l b e r t M u s e u m , i n v . 1611-1855
a m p l e i n c l u d e o n e w i t h t h e i m a g e of a s t a n d i n g y o u t h a n d 4 6 2 6 - 1 8 5 8 ) ; four crespine
9
w i t h single female figures
b o u n d to a tree ( L o n d o n , W a l l a c e C o l l e c t i o n ) ; o n e dis­
5
h o l d i n g a staff (or a n a r r o w or javelin); a p l a t e w i t h
1 0

p l a y i n g a s t a n d i n g w o m a n b o u n d to a tree ( H a m b u r g , Venus and C u p i d i n a private Italian collection,- 11

three—
M u s e u m fur K u n s t u n d G e w e r b e , i n v . 1 8 8 0 . 5 1 1 ) ; 6
two w i t h a seated w o m a n h o l d i n g a h e a r t a n d dagger, t h e

3 I B Unknown artist. Woman and Captive's Heart, ca. 1465-80. Engraving.

London, British Museum, inv. 1852-4-24-7. Photo: © The British Museum.

176 Molded Dish with an Allegory of Love

 Notes
1. Hind 1938-48, 2: pi. 144, A.IV.15.
2. Ravanelli Guidotti 1998, 366-67, figs. 1-2; Rackham 1959, no. 317 in
fig. 125; Kube 1976, no. 17.
3. It is possible that either Faentine potters brought these designs with
them on their transfer to Montelupo or else that ceramic clientele
influenced local pottery production to provide them with examples of
objects they had seen elsewhere and desired for themselves. For ex­
amples see Berti 1998, 350-56, nos. 252-64.
4. See, for example, crespine farcite (filled) created in Faenza and then later
in Montelupo, Ravanelli Guidotti 1990, 287-88, 298, 304-5, no. 148;
Berti 1998, 345~47, figs. 239, 242-43, 245.
5. Norman 1976, 1: 126-27, no. C56.
6. Rasmussen 1984, 110-12, no. 72.
7. Giacomotti 1974, 305-7, no. 935; Rackham 1940, 1: no. 302; 2: pi. 50.
8. Giacomotti 1974, 305-6, no. 934.
9. Rackham 1940, 1: nos. 300-301; 2: pi. 50.
10. Rackham 1959, no. 318, fig. 124; Watson, 50-51, no. n ; Falke 1907,
114, fig. 52; Hausmann 1972, 174-76, no. 131.
11. Ravanelli Guidotti 1992, fig. 34m
12. Wilson 1996, 128-34, n o s
- 60-62.
13. Lessmann 1979, 102, no. 24.
14. The other two bowls are those at Sevres (Giacomotti 1974, no. 934) and
the piece published by von Falke (1907, 114, fig. 52).

3 i c Vincenzo Campi (Italian, i 5 30/35-1 591). La fruttivendola (detail),

1583. O i l on canvas. Sold Sotheby's, London, December 9, 1987.
Photo: Courtesy of Sotheby's.

figure of F o r t i t u d e e m b r a c i n g a c o l u m n (her attribute),

and a w o m a n seated against a tree h o l d i n g a distaff—in
another private Italian collection,- 1 2
a n d a crespina with
a w o m a n h o l d i n g a dog, i n the Herzog A n t o n Ulrich-
Museum, Braunschweig. 1 3
A l l of t h e a b o v e e x a m p l e s d i s ­
p l a y a r e m a r k a b l e v a r i e t y of s h a p e a n d d e c o r a t i o n . T h r e e
of t h e m — i n c l u d i n g t h e G e t t y crespina—appear to h a v e
b e e n created i n the same m o l d . 1 4

Molded Dish with an Allegory of Love IJ "J

 32

Jug with a Musical CONDITION EXHIBITIONS

Restorations around the rim and neck on either Loan Exhibition of the J. Pierpont Morgan Collec­
Theme side,- glaze faults (crawling), particularly in tion, Metropolitan Museum of Art, New York,
areas of yellow glaze; chips on the handle and 1914-16; Catalogue of a Group of Old Masters,
Faenza around the rim. Renaissance Italian Furniture, Majolika, Vases,
and Other Objects from the Collection of Carl W.
1536 PROVENANCE
Hamilton, New York, California Palace of the Le­
Tin-glazed earthenware Alessandro Castellani, Rome (sold, Hotel Drouot,
gion of Honor, San Francisco, September 1, 1927-
Paris, May 27-29, 1878, lot 230); J. Pierpont
H : 32.5 c m ( i 2 / i 6 in.)
13
January 6, 1928.
Morgan Sr. (1837-1913), New York, passed to
D i a m (at lip): 13.3 c m (5 A in.) l

Duveen, 1916; [Duveen Brothers, New York, sold BIBLIOGRAPHY

W (max.): 26 c m (10V4 in.) to C. W. Hamilton, 1919]; Carl W. Hamilton,

1
Metropolitan 1914, 56-57 and illus.; Legion of
84.DE.115 New York, at least until 1936; George R. Hann, Honor 1927, 15, no. n GettyMusJ 13 (1985): 242,
;

Sewickley Heights, Pennsylvania (sold, Christie's, no. 169; Hess 1988A, no. 28; Ravanelli Guidotti
on the Hann premises, Treetops, Sewickley 1998, 289-90, fig. 20; Summary Catalogue 2001,
MARKS A N D INSCRIPTIONS
Heights, May 19, 1980, lot 91, to R. Zietz); [Rainer no. 370.
On each of the four tablets under the medallions,
Zietz, Ltd., London, sold to the J. Paul Getty
IS36; in one medallion, Elixeo beside a bearded
Museum, 1984].
and turbaned old man.

THIS JUG HAS A N OVOID BODY WITH PINCHED SPOUT may connect the popular, m y t h o l o g i c a l , and biblical
a n d b r o a d , r i b b e d h a n d l e . T h r e e large m e d a l l i o n s o r n a ­ figures i n t h e m e d a l l i o n s , s u g g e s t i n g t h a t t h e p a t r o n for
m e n t t h e body. T h e y d e p i c t a b e a r d e d a n d t u r b a n e d o l d w h o m t h e j u g w a s e x e c u t e d w a s a l o v e r of m u s i c or per­
m a n reading a book; a m a n , perhaps Orpheus, p l a y i n g a haps a m u s i c i a n h i m s e l f .
lira da braccio (fig. 3 2 A ) ; a n d a m u s i c i a n i n c o n t e m p o ­ A s i m i l a r i m a g e of E l i s h a appears o n a crespina pub­
r a r y dress p l a y i n g a l u t e (fig. 3 2 B ) . 2
L a u r e l g a r l a n d s en­ l i s h e d i n 1999 (fig. 3 2 E ) . B o t h t h e G e t t y j u g a n d t h i s
circle the m e d a l l i o n s and r u n d o w n the handle. The crespina d r e w u p o n t h e same, as y e t u n i d e n t i f i e d , p r i n t
o c h e r , y e l l o w , green, b l a c k , a n d o p a q u e w h i t e d e c o r a t i o n s o u r c e for t h i s p o r t i o n of t h e i r d e c o r a t i o n . 3

is s u r r o u n d e d b y a d a r k b l u e reserve set a g a i n s t a l i g h t T h i s j u g i s rare b e c a u s e of i t s large s i z e , u n u s u a l

b l u e berettino g r o u n d , w h i c h c o v e r s t h e rest of t h e b o d y form, and exceptionally beautiful painting. There are
a n d c o n s i s t s of c h e r u b s , d o l p h i n s , b o o k s , a n d f o l i a t e v e r y f e w k n o w n v e s s e l s f r o m t h e large g r o u p of F a e n t i n e
s c r o l l s . S m a l l l a b e l s i n s c r i b e d w i t h t h e date 1536 appear berettino wares w i t h c o m p a r a b l y elaborate grotesque
under each m e d a l l i o n and under the handle, and a w a v y d e c o r a t i o n . O r p h e u s p l a y i n g t h e lira da braccio s e e m s to
r i b b o n p a t t e r n e m b e l l i s h e s t h e areas a r o u n d t h e r i m a n d h a v e b e e n a p o p u l a r subject for berettino ceramics, given
base. T h e i n t e r i o r i s t i n g l a z e d . t h a t t h e figure appears o n a p a i r of jars a n d a p l a t e i n L o n ­
The o l d m a n l a b e l e d Elixeo (fig. 3 2 D ) r e p r e s e n t s t h e don, o n a p l a t e i n P a r i s , and, i n m o n o c h r o m e berettino,
Old T e s t a m e n t p r o p h e t E l i s h a (or E l i s e u s i n t h e N e w on a crespina i n Faenza. H o w e v e r , the G e t t y Orpheus
4

Testament [ L u k e 4:27]). Indeed, a n i n c i d e n t f r o m the s e e m s to h a v e b e e n i n s p i r e d m o r e b y a B e n e d e t t o M o n -

prophet's life may establish a thematic connection tagna p r i n t 5
than by the M o d e r n o plaquette c o n v i n c ­
a m o n g t h e t h r e e m e d a l l i o n figures o n t h e j u g . Before i n g l y p r o p o s e d b y C a r m e n R a v a n e l l i G u i d o t t i as the
f o r e t e l l i n g t h e s u c c e s s of t h e i r e x p e d i t i o n a g a i n s t M o a b s o u r c e for t h e o t h e r f o u r e x a m p l e s . 6

to t h e a l l i e d k i n g s of Israel, J e h o s h a p h a t and Edom, In a p r i v a t e F l o r e n t i n e c o l l e c t i o n i s a F a e n t i n e j u g of

E l i s h a a s k e d for a m i n s t r e l to p e r f o r m m u s i c ; t h e m u s i c s i m i l a r height (thirty-eight centimeters) and f o r m but
i n d u c e d an ecstatic state i n w h i c h E l i s h a m a d e his d e c o r a t e d w i t h d e l i c a t e f r u i t , f l o w e r s , a n d leaves; i t w a s
p r o p h e c y (2 K i n g s 3:1 sff.). S u c h m u s i c a l a s s o c i a t i o n s e x e c u t e d i n t h e w o r k s h o p of V i r g i l i o t t o C a l a m e l l i a n d i s

178
32A Alternate view. 32B Altenate view.

d a t e d t o t h e s e c o n d h a l f of t h e s i x t e e n t h c e n t u r y . 7
An­ Notes
1. Duveen 1876-1981, no. M . M . 15 (29054), box 193, where the price is
other comparable jug, slightly taller than the Getty
listed as $1,250.
e x a m p l e b u t of s i m i l a r s h a p e a n d w i t h v e r y s i m i l a r l a u ­ 2. A similar figure of a musician, also wearing a contemporary cap and dis­
rel w r e a t h e n c i r c l i n g a decorative m e d a l l i o n , is i n the playing rugged, chiseled features, appears in the sixteenth-century por­
trait engraving of Philotheo Achillini by Marcantonio Raimondi after
V i c t o r i a and A l b e r t M u s e u m , London. 8

Francesco Francia (Hind 1923, fig. 37,- Oberhuber 1978, 27: no. 469 [349]).
3. Gardelli 1999, 116-17, no. 59 (identified as on the art market).
4. Rackham 1940, 1: nos. 303-4; 2: pi. 50; Join-Dieterle 1984, 124-25,
no. 35; Ravanelli Guidotti 1998, 333-34, no. 80.
5. Hind 1909-10, 1: no. 6,fig.22.
6. Ravanelli Guidotti 1998, 334,fig.8oe.
7. Liverani 1975, 140, pis. 88a-b, 89a, 9oa-b.
8. Rackham 1940, 1: no. 286; 2, pi. 46; Ravanelli Guidotti 1998, 289,
fig- 19-

180 Jug with a Musical Theme

 3 2 D Detail of inscription.

32c Alternate view.

32E Workshop of Francesco Mezzarisa (Italian, 1527-1581). Crespina, sec­

ond half of the sixteenth century. Tin-glazed earthenware, Diam: 20 cm
[j A in.). Lugano, Collection ITALIKA inv. no. M259. Reproduction
7

kindly granted by EDIT, Faenza.

Jug with a Musical Theme 181

 33

Plate with Grotesques CONDITION BIBLIOGRAPHY

Hairline cracks on the right edge and on the left Marryat 1857, 34, fig. 18 (described as "probably
side, with retouching. after a design of B. Franco"); Fortnum 1873, 596;
Venice
Christie's Review 1976, 400; Morley-Fletcher and
ca. 1 5 4 0 - 6 0 PROVENANCE
Mcllroy 1984, 86, fig. 1 (unconvincingly attributed
Collection of Queen Victoria (reigned 1837-1901),
Tin-glazed earthenware to the master of the Venetian dish of ca. 1520 with
London, by 1857 and at least until 1873; Robert
1

H : 5.7 c m (2 A in.)
l arms of the Imhof and Schlaudersbach families,
Strauss, England (sold, Christie's, London, June 21,
formerly in the Adda collection, Paris ) i Getty -
;

D i a m : 47.7 c m (18% in.) 1976, lot 52, to R. Zietz); [Rainer Zietz, Ltd., Lon­
MusJ 13 (1985): 244, no. 178; Hess 1988A, no. 33
84.DE. 120 don, sold to the J. Paul Getty Museum, 1984].
and cover; Conti and Grosso 1990, fig. 54; Mariaux
EXHIBITIONS 1995, 82; Melegati 1996A, 42; Masterpieces 1997,
MARKS A N D INSCRIPTIONS On loan to the Victoria and Albert (South Kensing ­ 24, no. 16; Summary Catalogue 2001, no. 371.
On the obverse, .S.P.Q.R. ton) Museum, London, by 1873 (Fortnum 1873,
596).

T H I S P L A T E I S E M B E L L I S H E D w i t h a c e n t r a l m a l e figure, are s t r o n g l y r e m i n i s c e n t of t h e larger V e n e t i a n e x a m p l e .

cherubs, cherubs' heads, griffins, cornucopias, bead T h i s k i n d of d e c o r a t i o n has t r a d i t i o n a l l y b e e n asso­
swags, drapery, a n d d o l p h i n s , a l l e l e g a n t l y i n t e r t w i n e d c i a t e d w i t h C a s t e l D u r a n t e , a n d objects d e c o r a t e d i n t h i s
a n d a r r a n g e d a candelieri b e n e a t h a s w a g of d r a p e d fab­ s t y l e are o f t e n d e s c r i b e d as p a i n t e d i n t h e maniera du-
r i c . T h e c e n t r a l figure s u p p o r t s a b a s k e t o n h i s h e a d rantina. 4
J o h n M a l l e t traces t h e h a b i t of c a l l i n g t h i s t y p e
flanked b y b i r d s a n d s u r m o u n t e d b y the i n s c r i b e d p a n e l . 2
of d e c o r a t i o n — g r o t e s q u e s p a i n t e d i n reserve b l u e o n a
T h e grotesque decoration is p a i n t e d i n greenish grisaille l i g h t b l u e or w h i t e g r o u n d — t o O t t o v o n Falke's no
(that i s , i n v a r i o u s t o n e s of gray as a t r o m p e l ' o e i l m a r b l e l o n g e r a c c e p t e d b e l i e f t h a t N i c o l a da U r b i n o d e v e l o p e d i t
relief) e n r i c h e d w i t h w h i t e a n d r e s e r v e d o n a d a r k b l u e w h i l e he was i n C a s t e l D u r a n t e . 5

g r o u n d . T h e reverse d i s p l a y s a r o w of r a d i a t i n g dashes
a n d a b o r d e r of s c r o l l i n g alia poicellana foliage i n d a r k
b l u e o n a l i g h t b l u e berettino ground.
T h i s p l a t e appears to be a u n i q u e m a s t e r p i e c e . N o
o t h e r k n o w n w o r k of t h e p e r i o d a p p r o a c h e s i t s M a n n e r ­
ist elegance a n d s o p h i s t i c a t e d r e n d e r i n g of figures a n d
decoration. O n e finds the m o s t c l o s e l y related t r o p h y
a n d a candelieri d e s i g n s — o f t e n i n g r i s a i l l e , o n a l i g h t or
d a r k b l u e g r o u n d a n d w i t h " f i l l e d - i n " b a c k g r o u n d s of
w h i t e s c r o l l i n g r i b b o n s — o n w a r e s f r o m t h e first h a l f
of t h e s i x t e e n t h c e n t u r y f r o m U r b i n o a n d V e n i c e . T w o
b o w l s — o n e i n t h e N a t i o n a l G a l l e r y of A r t , W a s h i n g t o n ,
D . C . , and the other i n the M u s e o Internazionale delle
C e r a m i c h e , F a e n z a — p r o b a b l y m a d e i n t h e U r b i n o dis­
t r i c t p r o v i d e e s p e c i a l l y c l o s e a n a l o g i e s to t h e Getty
In h i s s i x t e e n t h - c e n t u r y t r e a t i s e o n c e r a m i c p r o d u c ­
tion, Cipriano Piccolpasso writes i n a caption below a
d r a w i n g of g r o t e s q u e d e c o r a t i o n v e r y s i m i l a r to t h a t o n
t h e G e t t y plate, " L e g r o t e s c h e . . . g l i e u n a d e l i c a t a p i t -
t u r a , l ' u s o d e l l a q u a l ' i o n o ' so d i dove s i d i v i n i . Q u e s t e
p a g a n s i d o i f i o r n i n i per i l s t a t o [di U r b i n o ] i l c e n t o , e l a
Vinegia 8 lire. 7 / 6
Piccolpasso's statement m a y i m p l y that
the d e c o r a t i o n w a s p a r t i c u l a r l y c o m m o n i n t h e d u c h y of
U r b i n o and i n Venice.
S i m i l a r s t y l i s t i c e l e m e n t s , s u c h as t h e f a c i a l features
and background scrolling ornament, c a n be f o u n d o n
p i e c e s a t t r i b u t e d to G i o v a n n i M a r i a , a c e r a m i s t a c t i v e i n
C a s t e l D u r a n t e w h o t r a v e l e d b e t w e e n the U r b i n o a r e a —
w h e r e C a s t e l D u r a n t e i s l o c a t e d — a n d V e n i c e i n t h e first
decades of the s i x t e e n t h c e n t u r y (see n o . 22). W h i l e t h i s
7

plate. 3
A l t h o u g h t h e i r s t y l e predates t h a t of t h e G e t t y plate's s t y l e is U r b i n a t e , i t s shape a n d c o l o r are c h a r a c ­
example b y t w e n t y - f i v e years or m o r e , their finely t e r i s t i c a l l y V e n e t i a n . It i s a l t o g e t h e r p o s s i b l e t h a t t h e
p a i n t e d , s y m m e t r i c a l l y p l a c e d designs i n g r i s a i l l e i n ­ a r t i s t w h o p a i n t e d t h i s p i e c e w a s b o r n or t r a i n e d a r o u n d
clude fantastic animals, ribbons, and beads—modeled U r b i n o a n d m o v e d to V e n i c e to create t h i s p l a t e a r o u n d
u s i n g s m a l l l i n e s t h a t f o l l o w t h e shape of t h e e l e m e n t s — the m i d d l e of the c e n t u r y .

182
 U n u s u a l l y large p l a t e s w i t h w i d e , s h a l l o w w e l l s
were produced i n Venice, and b o t h the blue-and-white
e n a m e l o n a l i g h t g r a y i s h b l u e g r o u n d a n d t h e reverse
alia porcellana b o r d e r o n t h e s a m e berettino g r o u n d are
t y p i c a l of V e n e t i a n w a r e s . 8
A n a l o g o u s to t h e present
w o r k i s a g r o u p of f o u r s m a l l V e n e t i a n d i s h e s or b o w l s
datable to t h e 1530s a n d 1 5 4 0 s . T h e s e p i e c e s , p o s s i b l y
9

part of a s i n g l e s e r v i c e , share w i t h t h e G e t t y p l a t e i t s e l ­
egant g r i s a i l l e d e c o r a t i o n as w e l l as a s i m i l a r s t y l e : f i n e
f a c i a l features, sharp n o s e s a n d c h i n s , s m a l l m o u t h s , a n d
d o t l i k e eyes, w i t h objects u n c o m m o n l y w e l l s i t u a t e d i n
space (albeit l i m i t e d space). I n p a r t i c u l a r , o n e of t h e s e
four d i s p l a y s a m a l e h e a d w i t h a n o p e n - m o u t h e d ex­
33A Reverse. p r e s s i o n of s u r p r i s e a n d a c u i r a s s t h a t a c c e n t u a t e s t h e
a n a t o m y of a n e l o n g a t e d a n d t w i s t i n g m a l e b a c k ; t h e s e
elements c a n a l s o be f o u n d o n t h e c e n t r a l figure of
the G e t t y p l a t e . 10

T h e d e c o r a t i o n o n t h e p r e s e n t w o r k i s of s u c h h i g h
q u a l i t y , a n d t h e s t y l e of p a i n t i n g i s so r e m a r k a b l y c u r ­
r e n t w i t h t h e p r e v a i l i n g M a n n e r i s t t e n d e n c i e s of t h e first
h a l f of t h e s i x t e e n t h c e n t u r y , t h a t o n e w o u l d w i s h to at­
t r i b u t e i t s d e s i g n to a c o n t e m p o r a r y m a s t e r . 11
Around
the m i d - s i x t e e n t h c e n t u r y artists Battista Franco ( 1 4 9 8 -
1561) a n d T a d d e o Z u c c a r o ( 1 5 2 9 - 1 5 6 6 ) b o t h p r o d u c e d
designs for m a i o l i c a p l a t e s f r o m w h i c h s e v e r a l p i e c e s
w e r e c o m m i s s i o n e d b y D u k e G u i d o b a l d o II d e l l a R o v e r e
of U r b i n o (r. 1 5 3 8 - 7 4 ) a n d e x e c u t e d b y s u c h w o r k s h o p s
as t h a t of t h e F o n t a n a i n U r b i n o . 1 2
A l t h o u g h Joseph M a r -
r y a t suggested t h a t t h e G e t t y p l a t e c o p i e s a d e s i g n b y
Franco, 1 3
F r a n c o ' s as w e l l as Z u c c a r o ' s m a i o l i c a designs
e m p h a s i z e t h e o f t e n c o m p l i c a t e d p l a c e m e n t of figures i n
t h r e e - d i m e n s i o n a l space, a n i n t e r e s t a l m o s t c o m p l e t e l y
l a c k i n g i n the M u s e u m ' s p l a t e . 14

T h e G e t t y M u s e u m ' s p l a t e i s d i s t i n g u i s h e d b y i t s ex­
ceedingly mannered and refined p a i n t i n g style. T h e cen­
t r a l figure i s a l m o s t a s t o n i s h i n g l y b i z a r r e , a f a v o r i t e
effect of M a n n e r i s t a r t i s t s . T h i s figure's e x p r e s s i o n of
surprise, elongated proportions, and t w i s t e d torso that
ends i n foliage a n d leafy s c r o l l s at t h e t h i g h s a n d s h o u l ­
ders a l l c o n t r i b u t e to i t s f a n t a s t i c n a t u r e . A l s o f a v o r e d b y
33B Marcantonio Raimondi (Italian, ca. 1470/82-1527/34). Ornamental
t h e M a n n e r i s t s w a s a n e x t r e m e elegance i n surface dec­
panel, late fifteenth-early sixteenth century. Engraving. London,
British Museum, inv. 1873-8-9-758. Photo: © The British Museum.
oration, e xe mplif ie d i n the present work by such
d e t a i l s as t h e elegant d r a p e r y a l o n g t h e plate's upper

184 Plate with Grotesques


3 3 c Design depicting the Getty plate with grotesques, Cantagalli manufac­
tory Florence, late nineteenth century. Watercolor, 52.5 x 57 cm
(20/4 x 22 VA in.). Faenza, Fondo Cantagalli. Even in the late 1800s the
Getty plate was still being used as a workshop pattern for Cantagalli
ceramics, an indication of the high esteem in which it was held.
edge a n d t h e w a y i n w h i c h t h e g r o t e s q u e figure o n t h e
r i g h t g r a c e f u l l y crosses h i s left h a n d over h i s r i g h t a r m ,
t h r o w i n g a s h a d o w o n h i s e x t e n d e d f o r e a r m . T h e t y p e of
g r o t e s q u e s o n the p r e s e n t p l a t e m i g h t i n s t e a d h a v e b e e n
i n s p i r e d b y p r i n t s of c o n t e m p o r a r y o r n a m e n t , s u c h as
t h o s e e x e c u t e d b y t h e engravers A g o s t i n o M u s i ( c a l l e d
A g o s t i n o V e n e z i a n o ; ca. 1 4 9 0 - c a . 1 5 4 0 ) , 15
Giovanni A n ­
t o n i o da B r e s c i a (active ca. 1 4 9 0 - a f t e r 1525), or M a r c a n ­
t o n i o R a i m o n d i (ca. 1 4 8 0 - 1 5 3 4 ) (fig. 3 3 B ) .
Notes
1. As cited in Marryat 1857, 34; Fortnum 1873, 596.
2. S.P. Q.R. [Senatus populusque romanus) does not indicate specific
Roman patronage but, rather, serves a decorative and generalized sym­
bolic function, since it commonly appears on maiolica wares, most of­
ten with trophy motifs, from pottery centers throughout Italy.
3. Timothy Wilson in National Gallery 1993, 136-37; Ravanelli Guidotti
1990, 2 1 0 - n , 230, no. 116. These bowls belong to a group of roughly
ten similarly painted examples (listed in National Gallery 1993); they
are among the finest of the group and are, therefore, more closely com­
parable to the later, extraordinary Venetian plate.
4. For examples of comparable decoration on works believed to be from
Castel Durante see Giacomotti 1974, nos. 747-72; Chompret 1949, 2:
figs. 65-101; Ballardini 1933, 1: pi. 28, figs. 213, 217-20, 223; Rackham
1940, 1: no. 615; 2: pi. 97; Corradi 1982, no. 50; della Chiara 1979,
nos. 83, 85. One finds similarly mannered grotesque decoration on the
rim of a plate of uncertain origin in the Victoria and Albert Museum,
London, which according to Rackham, "points to Castel Durante"
(Rackham 1940, 1: no. 994), as well as around the rim of a large plate
of about the mid-sixteenth century in the Museo Civico, Pesaro, also
attributed to Castel Durante (della Chiara 1979, no. 79).
5. Mallet 1996, 230, no. 14; Falke 1917, no. 1.
6. "Grotesque painting . . . is very refined; I don't know where its use origi­
nates. It costs two florins per hundred in the State of Urbino and, in
Venice, it costs eight" (Lightbown and Caiger-Smith 1980, 1: folio 67
recto; 2: 113).
7. See, for example, Rackham 1940, 2: nos. 535-37, pi. 84.
8. For Venetian plates that are similar in shape and decoration see Alvera
Bortolotto 1981, pis. 36c-d, 43a, 46a, 48a-e, 51, 55a; Alvera Bortolotto
1980, 154, figs. 1-2; Wilson 1987B, pis. 3-8. For a discussion of Venet­
ian wares with berettino glaze and alia porcellana motifs see ibid. [Wil­
son 1987B ?], 63-66; Alvera Bortolotto 1983, 310-12, pis. 82-85;
Wilson 1987A, 184-89.
9. Sale cat., Christie's, London, October 3, 1983, lot 215; Alvera Bortolotto
1988, 43 (identified as in a private Venetian collection); sale cat.,
Sotheby's, March 22, 1977, lot 51, dated 1544; a fourth example is in a
private Italian collection, perhaps made in the workshop of Jacomo da
Pesaro (Wilson 1996, 424-26, no. 164).
10. Wilson 1996, 424-26, no. 164.
11. In general maiolica designs were somewhat old-fashioned in relation to
contemporary oil and fresco painting; for example, the depiction of
three-dimensional space in maiolica painting was only attempted about
1500, two centuries after Giotto and nearly a century after Alberti's per­
spective studies. Ceramic artists were apparently fully occupied with
mastering the new and difficult techniques of maiolica production—
including the particularly demanding tasks of glaze manufacture, paint­
ing, and firing—and were less concerned with rivaling the stylistic in­
novations of other art forms.
12. The painting style, however, differs significantly from any of the artist's
known maiolica designs. For a discussion of Battista Franco and
maiolica see Fagiolo 1981, 245-48; Clifford and Mallet 1976, 387-410.
For an examination of Taddeo Zuccaro's maiolica designs see Gere 1963,
306-15; Laskin 1978, 2: 281-84, pis. 1-2; Watson 1987, 177-82.
13. Marryat 1857, 34, fig. 18.
14. See, for example, the nude man seen from the rear on the left-hand side
of Zuccaro's design for Banquet in a Piazza (Laskin 1978: pi. 1).
15. Oberhuber 1978, 27: nos. 564-II [396], 579-II [399].
Plate with Grotesques 185
 34

Pilgrim Flask with MARKS A N D INSCRIPTIONS EXHIBITIONS

None.
Marine Scenes None.

CONDITION BIBLIOGRAPHY

Fontana w o r k s h o p (possibly
Orazio; 1510-71)
Urbino
ca. 1 5 6 5 - 7 0
Tin-glazed earthenware
H : 44.1 c m (17 Vs in.)
W (max.): 28.6 c m (11 A in.)
Cracks and restorations on the side loops and on GettyMusJ 13 (1985): 243-44, no. 177; Hess
the screw top. 1988A, no. 32; Summary Catalogue 2001, 372.
PROVENANCE
Thomas F. Flannery Jr., Winnetka, Illinois,- by in­
heritance to Joanna Flannery, Winnetka, Illinois;
Chicago (sold, Sotheby's, London, November 22,
1983, lot 160, to E. Lubin); [Edward Lubin, New
York, sold to R. Zietz],- [Rainer Zietz, Ltd., London,
l

sold to the J. Paul Getty Museum, 1984].

84.DE.119.1-.2

T H I S V E S S E L I S M O L D E D I N T H E F O R M of a p i l g r i m f l a s k N i c o l a a n d h i s n e p h e w F l a m i n i o w e r e a l s o m a i o l i c a pot­
w i t h a t a l l , t a p e r i n g n e c k a n d s c r e w top s u r m o u n t e d b y ters, a l t h o u g h O r a z i o appears to h a v e b e e n t h e m o s t c e l ­
a v a s e - s h a p e d k n o p (figs. 3 4 C - D ) . C i p r i a n o P i c c o l p a s s o e b r a t e d of t h e F o n t a n a c e r a m i s t s .
discusses and illustrates with specificity the clever S t y l i s t i c a n a l o g i e s e x i s t b e t w e e n t h i s flask a n d a vase
m e t h o d u s e d b y p o t t e r s to create s c r e w tops (figs. 3 4 E — i n the B r i t i s h Museum,- its i n s c r i p t i o n establishes that
F). 1
H i s particular interest i n this technique m a y have t h e vase w a s " m a d e i n t h e w o r k s h o p of M a s t e r O r a z i o
b e e n d u e t o t h e fact t h a t h e w a s w r i t i n g h i s t r e a t i s e at F o n t a n a . " B o t h flask a n d vase are d e c o r a t e d w i t h r i c h l y
2

around the same t i m e that these screw-top flasks were c o l o r e d istoriato scenes, a p p l i e d m a s k s , a n d c o i l i n g ele­
most popular. ments,- o n t h e flask t h e y are t h e " b e a r d s " a n d h o r n s of
B o t h n e c k a n d c o v e r of t h e f l a s k are d e c o r a t e d w i t h t h e m a s k s , o n t h e vase t h e s e are t h e s n a k e h a n d l e s . T h e
b l a c k b i r d s a m o n g c l o u d s . T h e h a n d l e s , i n t h e f o r m of n a r r a t i v e scenes o n t h i s flask a l s o b r i n g to m i n d the
h o r n e d grotesque masks, have c u r l i n g "beards" that scene of t h e l a n d i n g of t h e G r e e k s before T r o y o n a
b e c o m e r e l i e f v o l u t e s c o m p l e m e n t i n g t h e shape of t h e m o l d e d w i n e c o o l e r t h a t s o l d at a u c t i o n i n 1 9 5 0 . T h i s 3

flask body. T h e ceramic pilgrim-flask form reflects p i e c e of ca. 1 5 6 5 - 7 1 i n c l u d e s a b a n d of grotesques

t h e i n f l u e n c e of m e t a l p i l g r i m flasks p a t t e r n e d after t h e a r o u n d t h e istoriato scene a n d o n t h e u n d e r s i d e a n d i s
dried gourds used b y travelers to carry d r i n k i n g water, s i g n e d o n t h e reverse Fatto in Urbino in Botega di Ora-
w h i c h were suspended f r o m side l o o p s . T h e horned tio Fontana.
m a s k s o n t h e sides of t h e M u s e u m ' s flask a n d t h e h o l e s O r a z i o w o r k e d i n h i s father's s h o p at least u n t i l t h e
c u t f r o m e i t h e r side of t h e base w o u l d n e v e r h a v e b e e n 1540s. E v i d e n c e of h i s c e r a m i c a c t i v i t y i s l a c k i n g for t h e
u s e d to s u s p e n d t h e object; t h e y w e r e r e t a i n e d as decora­ e n s u i n g t w e n t y years, d u r i n g w h i c h t i m e h e appears to
t i v e r e m i n i s c e n c e s of t h e e a r l i e r f u n c t i o n a l f o r m s . have been traveling around N o r t h e r n Italy. 4
In 1565
The flask i s p a i n t e d o n b o t h sides w i t h marine O r a z i o f i n a l l y set u p h i s o w n bottega n o t far f r o m t h a t of
scenes: a T r i t o n a b d u c t i n g a N e r e i d o n o n e a n d t w o fight­ h i s father i n U r b i n o ' s B o r g o S a n P a o l o , a n d i t r e m a i n e d
i n g T r i t o n s o n t h e o t h e r . T h e p a l e t t e c o n s i s t s of b l u e , a c t i v e for s e v e r a l years after h i s d e a t h i n 1 5 7 L . 5
During
buff, d a r k m a n g a n e s e p u r p l e , c o p p e r green, yellowish this time Orazio occupied himself m a i n l y w i t h luxuri­
green, b r o w n i s h o c h e r , y e l l o w , t u r q u o i s e , b l a c k , a n d o u s c e r a m i c s (fig. 3 4 F ) , o f t e n c o m b i n i n g istoriato scenes
opaque w h i t e . O r a z i o Fontana (1510-1571) was the eld­ w i t h g r o t e s q u e o r n a m e n t , p r o b a b l y l e a v i n g to h i s father
est s o n of t h e m a s t e r p o t t e r G u i d o D u r a n t i n o , w h o t o o k the plainer, and probably m o r e profitable, w h i t e and
t h e F o n t a n a f a m i l y n a m e after h e m o v e d to U r b i n o f r o m c o m m o n w a r e s . W h e t h e r O r a z i o c o n t i n u e d to p a i n t t h e
6

his native C a s t e l Durante. Orazio's brothers C a m i l l o and p i e c e s p r o d u c e d i n h i s w o r k s h o p after 1565 or w h e t h e r

186
34A Alternate view.

188 Pilgrim Flask with Marine Scenes

34B Alternate view.

Pilgrim Flask with Marine Scenes 189

34c Detail of screw threads. 34D Detail of top.

34E Cipriano Piccolpasso (Italian, 1523-1579). Folio 5R from Li tre libri

dell'arte del vasaio (1557). London, Victoria and Albert Museum.

h e t h e n f u n c t i o n e d s o l e l y as capo-bottega (workshop di­

rector) is not known.
Fontana flasks with very similar marine-inspired
d e c o r a t i o n a n d of i d e n t i c a l s h a p e a n d s i z e , v e r y p o s s i b l y
m a d e f r o m the s a m e m o l d as t h e p r e s e n t w o r k , i n c l u d e
e x a m p l e s i n the H e r z o g A n t o n U l r i c h - M u s e u m , B r a u n ­
s c h w e i g (inv. 9 1 9 ) , 7
and i n the H e l e n F o r e s m a n Spencer
M u s e u m of A r t , L a w r e n c e , K a n s a s (inv. 6 0 . 7 6 ) . 8
Another
34F Cipriano Piccolpasso (Italian, 1523-1579). Detail of folio 5v from Li tre
libri dell'arte del vasaio (1557). London, Victoria and Albert Museum. flask of t h e same shape but decorated w i t h the subject

Piccolpasso illustrates the manner in which tops could be made with of M y r r h a and A d o n i s is i n t h e Corcoran Gallery of
threads to screw a top securely onto a flask or bottle. Parallel strips Art, Washington, D . C . 9
S t i l l other Fontana workshop
would be formed using a toothed instrument; they would then be cut
e x a m p l e s of t h e same flask form but with grotesque
and shifted to create spiral threads. The Getty flask uses a male neck
that fits into a female top, whereas Piccolpasso illustrates the reverse d e c o r a t i o n are i n t h e V i c t o r i a a n d A l b e r t M u s e u m , L o n ­

method. don (inv. 8408-1863, 8409-1963), 1 0

and formerly in

190 Pilgrim Flask with Marine Scenes

 the B a s i l e w s k i c o l l e c t i o n , P a r i s . 1 1
Five s i m i l a r l y shaped
flasks p r o d u c e d i n a F o n t a n a w o r k s h o p are i n t h e Museo
Nazionale, Palazzo del Bargello, Florence. 1 2
Like the
Getty M u s e u m ' s example, a pilgrim flask of t h e late
15 60s or e a r l y 1570s i n t h e Nationalmuseum, Stock­
h o l m (inv. N M 60), d i s p l a y s m a r i n e s u b j e c t s ( A m p h i t r i t e
or Galatea crowned by a putto, a T r i t o n abducting a
N e r e i d , a n d o t h e r sea c r e a t u r e s , a g a i n s t a n o v e r a l l b a c k ­
g r o u n d of b l u e w a v e s ) . 1 3

A r g u a b l y the c l o s e s t i n s t y l e to t h e Getty flask are

the p h a r m a c y c o n t a i n e r s m a d e i n the F o n t a n a w o r k s h o p
at t h e e n d of t h e s i x t e e n t h c e n t u r y for t h e S a n t a C a s a d i
Loreto. 1 4
C e r t a i n of t h e s e jars a n d t h e flask are d e c o r a t e d
with c o m p a r a b l y rendered horses (hippocampi on the
flask) w i t h a n i m a t e d facial expressions, finely propor­
t i o n e d f i g u r e s i n t h e a t r i c a l p o s e s , a n d d r a m a t i c s w a t h s of
drapery. A l t h o u g h t h e jars are f i r s t m e n t i o n e d i n a n i n ­
v e n t o r y of 1608, e v i d e n c e suggests t h a t t h e y w e r e a gift
of G u i d o b a l d o II, d u k e of U r b i n o , a n d so m u s t h a v e b e e n
p r o d u c e d before t h e d u k e ' s d e a t h i n 1 5 7 4 . 1 5

Notes
1. Lightbown and Caiger-Smith 1980, 1: folios 5 recto and verso.
2. Wilson 1987A, 64, no. 91.
3. Sale cat., Parke-Bernet Galleries, New York, March 9, lot 183.
34G Jan Roos or Roosen (known as Giovanni Rosa or Rosso Genovese) 4. He marries a Venetian woman and is documented in the service of the
(Antwerp 1591-Genoa 1638). Pirates with Loot (detail), seventeenth duke of Savoy (Liverani 1957, 133, no. 6).
century. Rome, Galleria Colonna. This sixteenth-century Urbino vase 5. It is known that Orazio's brother, Flaminio, produced several important
decorated with narrative scenes is shown grouped together with other pieces of maiolica between the years 1571 and 1574, including a signed
precious objects—such as small bronzes, metalwork, and jewelry— rinfrescatoio in the Wallace Collection, London (Norman 1976, 218-23,
attesting to the value given such maiolica ware at the time. no. 107).
6. Mallet 1987, 287-88.
7. Lessmann 1979, no. 230
8. Broun 1978, 28-29,- Cole 1977, no. 37; Chompret 1949, 1: 194; 2: 130,
fig. 1033; s a i
e cat., Christie's 1884, lot 376.
9. Watson 1986, 158-59, no. 62.
10. Rackham 1940, 1: nos. 840-41; 2: pi. 133.
11. Darcel and Delange 1867, pi. 97; Darcel and Basilewsky 1874, 158,
no. 410.
12. Conti 1980, figs. 291-92; these flasks figure among the wares tradition­
ally thought to have been executed for the table service of Duke
Guidobaldo II della Rovere of Urbino, although proof of this commis­
sion has not yet come to light. See also Conti I97IA, nos. 25, 27, 46,
50, 52..
13. Dahlback-Lutteman 1981, no. 20.
14. I am grateful to Timothy Wilson for bringing this comparison to my
attention. See, for example, Grimaldi and Bernini 1979.
15. Grimaldi and Bernini 1979, 10-11.

Pilgrim Flask with Marine Scenes 191

 35

Basin with Deucalion CONDITION EXHIBITIONS

Broken and repaired at the top and in the proper Italian Renaissance Maiolica from the William A.
and Pyrrha right lobe; a small area of crawled glaze at the Clark Collection, Los Angeles County Museum of
lower right of the medallion has been repaired. Art, March 5-May 17, 1987.
Fontana w o r k s h o p (Orazio or F l a m i n i o ) PROVENANCE BIBLIOGRAPHY

Urbino Baron Adolphe (Carl) de Rothschild (1823-1900), Antiquitaten-Zeitung, no. 25 (1985): 6 i i ; Getty-

ca. 1 5 6 5 - 7 5 Paris, between 1870 and 1890; by inheritance to Musf 15 (1987): 216, no. 114; Hess 1988A, no. 34;
Maurice (Edmond Charles) de Rothschild, Paris Mariaux 1995, 130; Masterpieces 1997, 21, no. 13;
Tin-glazed earthenware
(1881-1957), sold to Duveen 1913/14; [Duveen, Museum Handbook 2001, 243; Summary Cata­
H : 6.3 c m (2 Vi in.) New York, inv. 26967; sold to N . Simon, logue 2001, no. 373
D i a m : 4 6 . 3 c m ( 1 8 A in.)
l
March 1965]; Norton Simon Foundation, Fullerton
(sold, Parke-Bernet Galleries, New York, 1971, lot
86.DE.539
81); private collection, Stuttgart (sold, Reimann
and Monatsberger, Stuttgart, January 1986);
MARKS A N D INSCRIPTIONS
[Alain Moatti, Paris, sold to the J. Paul Getty
None.
Museum, 1986].

BASINS O F T H I S T Y P E W E R E G E N E R A L L Y U S E D to hold of t h e h a n d l e s — w a s apparently a sought-after form,

s c e n t e d w a t e r , w h i c h w a s offered to guests at t h e d i n i n g g i v e n t h e p r i c e D u v e e n a s k e d for t h e e w e r compared
t a b l e so t h a t t h e y c o u l d w a s h t h e i r h a n d s b e t w e e n the w i t h t h e o n e h e a s k e d for i t s b a s i n . T h e e w e r w a s s o l d
1

courses of a m e a l . T h i s t r i a n g u l a r basin's elaborate o n J a n u a r y 2 5 - 2 7 , 1926, to H e n r y E . H u n t i n g t o n for t e n

m o l d e d a n d p a i n t e d d e c o r a t i o n , h o w e v e r , suggests t h a t i t t h o u s a n d d o l l a r s a n d has b e e n o n d i s p l a y at t h e H u n t ­
m a y also, i f n o t s o l e l y , h a v e s e r v e d for d i s p l a y . T h e t h r e e i n g t o n A r t C o l l e c t i o n s i n c e 1929; t h e b a s i n w e n t u n s o l d
m o l d e d l o b e s are p a i n t e d to r e s e m b l e s h e l l s . D e l i c a t e u n t i l the 1960s. 2

grotesques o n a p a i n t e r l y w h i t e ground fill these lobes T h e c e n t r a l m e d a l l i o n of t h e b a s i n d i s p l a y s t h e s c e n e

a n d r u n a r o u n d t h e r i m , w h e r e t h e y are d i s p e r s e d a can-
delieri around cameo-like medallions s h o w i n g single
figures i n s i l h o u e t t e . A f i s h e r m a n c a t c h i n g a large f i s h ,
a sea n y m p h r i d i n g a sea m o n s t e r , a n d a N e r e i d e i t h e r
r i d i n g or b e i n g a b d u c t e d b y a T r i t o n are p a i n t e d o n a
b a c k g r o u n d of b l u e w a v e s b e t w e e n t h e t h r e e s h e l l - l i k e
cartouches. T h e blue wave decoration continues o n the
reverse, o n w h i c h s i x s w a n s are m o l d e d i n r e l i e f f o l l o w ­
i n g t h e c o n t o u r s of t h e basin's t h r e e l o b e s (fig. 3 5 A ) .
Molded strapwork encircles each of t h e three pairs
of s w a n s a n d i s d e c o r a t e d w i t h g e o m e t r i c p a t t e r n s p r i ­
m a r i l y i n o c h e r , orange, a n d b l a c k . T h e r e m a i n d e r of t h e
d e c o r a t i o n i s e x e c u t e d i n t o n e s of ocher, y e l l o w , b l u e ,
g r a y i s h green, y e l l o w i s h green, t u r q u o i s e , buff, b l a c k ,
and opaque w h i t e .
T h i s basin was accompanied by its m a t c h i n g trilobed
e w e r w h e n b o t h objects e n t e r e d t h e s t o c k of D u v e e n
B r o t h e r s , N e w Y o r k , i n e i t h e r 1913 or 1914 (fig. 3 5 c ) .
T h e u n u s u a l , r e m a r k a b l y a n i m a t e d f o r m of t h i s e w e r —
w i t h b i z a r r e griffins w h o s e e l o n g a t e d m o u t h s f o r m p a r t
of D e u c a l i o n a n d P y r r h a ( O v i d , Metamorphoses, b k . 1,11.
3 1 5 - 4 1 5 ) , c o p i e d f r o m t h e L y o n s e d i t i o n of 1559 (fig.
3 5 D ) . D e u c a l i o n , s o n of P r o m e t h e u s a n d C l y m e n e , w a s
the N o a h of G r e e k m y t h o l o g y . A f t e r s u r v i v i n g the d e l u g e
sent b y Z e u s , D e u c a l i o n a n d h i s w i f e , P y r r h a , w i t h ­
d r e w to a t e m p l e o n M o u n t P a r n a s s u s to a s k t h e gods
how t h e t w o m i g h t r e n e w t h e h u m a n race. T h e o r a c l e
t o l d t h e c o u p l e to cast b e h i n d t h e m t h e b o n e s of t h e i r
mother. Pyrrha was horrified, but D e u c a l i o n understood
t h a t the o r a c l e w a s r e f e r r i n g to t h e i r m o t h e r the earth.
T h e t w o b e g a n to cast stones, w h i c h , u p o n h i t t i n g t h e
g r o u n d , a s s u m e d h u m a n shape. T h e s t o n e s t h r o w n b y
D e u c a l i o n b e c a m e m e n a n d t h o s e t h r o w n b y P y r r h a be­
came w o m e n .
T h i s basin's t y p e of g r o t e s q u e o r n a m e n t (fig. 3 5 B ) —
d e l i c a t e a n d s i n u o u s f a n t a s t i c figures a n d a n i m a l s i n t e r ­
t w i n i n g against a w h i t e g r o u n d — b e g a n to appear o n
U r b i n o c e r a m i c s of t h e 1560s a n d w a s a s p e c i a l t y of t h e
F o n t a n a and, later, P a t a n a z z i w o r k s h o p s . T h e o r n a m e n t
w a s i n s p i r e d b y R a p h a e l ' s frescoes of ca. 1520 i n t h e

192
35A Reverse.

194 Basin with Deucalion and Pyrrha

3 5 B Detail.

Basin with Deucalion and Pyrrha 195

 e s t a b l i s h e d t h a t t h e g r o t e s q u e s o n at least f o r t y U r b i n o
c e r a m i c s of t h i s p e r i o d c o p y e n g r a v i n g s — t h e Petites
grotesques—by Jacques Androuet du Cerceau (active
1 5 4 9 - 8 4 ) that, i n t u r n , appear to c o p y e n g r a v i n g s b y
E n e a V i c o of ca. 1 5 4 0 . 3
T h e a v a i l a b i l i t y of t h i s p r i n t
s o u r c e , p u b l i s h e d first i n 1550 a n d l a t e r i n 1562 a n d
k n o w n to h a v e b e e n u s e d o n U r b i n o c e r a m i c s b y 1 5 6 3 /
m u s t h a v e i n f l u e n c e d t h e p r e v a l e n c e a n d p o p u l a r i t y of
U r b i n o grotesques.
N o t o n l y the painted e m b e l l i s h m e n t but also the
f o r m s of F o n t a n a w o r k s h o p c e r a m i c s reflect t h e n e w , or­
n a t e s t y l e of t h e m i d - s i x t e e n t h c e n t u r y . O v a l trays, re­
freshment coolers, basins, a n d jars w e r e molded in
h i g h l y d e c o r a t i v e , s c u l p t u r a l , a n d o f t e n f a n t a s t i c shapes,
m u c h l i k e t h e elegant g r o t e s q u e s t h a t o r n a m e n t them.
T h e M u s e u m ' s b a s i n has t r a d i t i o n a l l y b e e n t h o u g h t
to b e l o n g to a s e r v i c e of m a i o l i c a w a r e e x e c u t e d by
O r a z i o for D u k e G u i d o b a l d o II d e l l a R o v e r e of U r b i n o ,
a l t h o u g h n o p r o o f of t h i s c o m m i s s i o n has c o m e to l i g h t . 5

It is k n o w n t h a t O r a z i o a n d F l a m i n i o s e n t m a i o l i c a to
F r a n c e s c o de' M e d i c i i n 1569 a n d 1573, r e s p e c t i v e l y , i n ­
cluding examples decorated with grotesques. 6
Three
m o l d e d o v a l b a s i n s e m b e l l i s h e d w i t h c o m p a r a b l e narra­
t i v e scenes a n d g r o t e s q u e s o n a w h i t e g r o u n d are i n t h e
M u s e o Nazionale, Palazzo del Bargello, Florence, 7
and
3 5 c Fontana workshop (Orazio or Flaminio). Ewer, ca. 1565-75. Tin-glazed appear to h a v e e n t e r e d t h e B a r g e l l o f r o m t h e c o l l e c t i o n s
earthenware. Courtesy of the Huntington Library Art Collections, and
of F r a n c e s c o I, C a r d i n a l F e r d i n a n d o , a n d D o n A n t o n i o
Botanical Gardens, San Marino, California.
de' M e d i c i . 8
A fourth s u c h b a s i n was i n the S c h l o s s m u -
s e u m , B e r l i n , u n t i l t h e S e c o n d W o r l d W a r , at w h i c h t i m e
it was destroyed. 9

V a t i c a n Logge, w h i c h , i n t u r n , were i n s p i r e d by w a l l
paintings i n ancient R o m a n houses, s u c h as Nero's
G o l d e n H o u s e , t h a t h a d b e e n d i s c o v e r e d a r o u n d 1500.
T h a t these houses were excavated f r o m beneath the
g r o u n d i n g r o t t o - l i k e s e t t i n g s gave r i s e to t h e n a m e of
t h e i r w a l l d e c o r a t i o n . T h e s e s o - c a l l e d R a p h a e l e s q u e or
g r o t e s q u e m o t i f s b e c a m e g r e a t l y s o u g h t after for l u x u r y
ceramic decoration.
T h e s e g r o t e s q u e s b e g a n to d o m i n a t e the painted
d e c o r a t i o n of e l a b o r a t e c e r a m i c f o r m s , f o r c i n g t h e m o r e
t r a d i t i o n a l R e n a i s s a n c e n a r r a t i v e scenes i n t o c i r c u m ­
s c r i b e d m e d a l l i o n s or c a r t o u c h e s . R e c e n t r e s e a r c h has
T h i s b a s i n is o n e of a g r o u p of s i x of i d e n t i c a l f o r m
d e c o r a t e d w i t h s o m e c o m b i n a t i o n of a n a l o g o u s g r o t e s q u e
o r n a m e n t a n d n a r r a t i v e scenes. I n a d d i t i o n to t h e G e t t y
basin, these i n c l u d e examples i n the B r i t i s h M u s e u m ,
London; Wadsworth A t h e n e u m , Hartford, Connecticut;
A s h m o l e a n M u s e u m , O x f o r d ; M u s e e d u L o u v r e , Paris;
a n d a f i f t h t h a t s o l d at a u c t i o n i n 1995 a n d h a d b e e n p a r t
of t h e V e n e z i a n i c o l l e c t i o n , R o m e . 1 0
W i t h i n this group,
t h e l o b e s of g r o t e s q u e o r n a m e n t s u r r o u n d e d b y m a r i n e
m o t i f s of t h e G e t t y b a s i n m a t c h m o s t c l o s e l y t h o s e of
t h e b a s i n i n H a r t f o r d , w h e r e a s s e v e r a l of t h e f r a m i n g
m o t i f s , i n c l u d i n g t h e t r a n s f o r m a t i o n of the l o b e s i n t o

196 Basin with Deucalion and Pyuha

 i n h e r i t e d the Fontana materials w h e n O r a z i o died i n
1571 i s n o t k n o w n .
O t h e r b a s i n s of t h i s s h a p e — e i t h e r p r o d u c e d i n t h e
s a m e or a s i m i l a r m o l d as t h e s i x l i s t e d above b u t w i t h
less p r e c i s e l y r e n d e r e d p a i n t i n g — i n c l u d e e x a m p l e s i n
t h e M u s e o C o r r e r , Venice,- M u s e o N a z i o n a l e d i S a n
M a r t i n o , Naples,- M u s e e d u L o u v r e , P a r i s , d e p o s i t e d at
t h e C h a t e a u d ' A z a y - l e - R i d e a u ; a n d o n e t h a t s o l d at auc­
tion i n 1981. 1 4

Notes
1. When the objects entered the stock of Duveen Brothers in 1913 or 1914,
the price of the ewer was $5,000 and that of the basin was $719.44 (Du­
veen 1876-1981, no. 960015, box 10, New York Stock, 1914-15, 153).
2. Duveen 1876-1981, no. 960015, box 20, New York Stock, 1926, sales
book folio 783.
3. Poke 2001, 332-44.
3 5D Deucalion and Pyrrha. P. 23, fol. 1 I R from Ovid, Metamorphoses
4. Poke 2001, 332, 334.
(Lyons, 1559). Los Angeles, Getty Research Institute, Special
5. Spallazani 1979, i n .
Collections, inv. 85-B8407.
6. Spallazani 1979, 115-18.
7. Conti 1971 A , nos. 21, 48, 54. The Bargello collection includes twenty-
nine other related Urbino basins, pitchers, vases, plates, coolers, and
s h e l l s , r e s e m b l e t h e e x - V e n e z i a n i e x a m p l e . T h e gro­ flasks traditionally identified as belonging to a service made for
tesques o n t h e b a s i n s i n t h e B r i t i s h M u s e u m , London,- Guidobaldo II (Conti 1971A, nos. 2-13, 15, 17-18, 24-25, 27, 34, 39,

the A s h m o l e a n M u s e u m , Oxford; and the M u s e e d u L o u ­ 44-46, 49-52, 57-58).

8. Spallanzani 1978, n 1-26; Spallanzani 1980, 78, 80-81, 84, 86. Other
vre, P a r i s , c o p y v a r i o u s p o r t i o n s of d u C e r c e a u ' s Petites
pieces may have arrived in Florence from Urbino with Vittoria della Ro-
grotesques p r i n t s , w i t h t h e grotesques o n t h e f o r m e r t w o vere on the occasion of her marriage to Ferdinando II de' Medici in 1637
being identical. 1 1
S o u r c e s for t h e grotesques o n t h e G e t t y (Passeri 1758, chap. 13; Vita 1924-25, 171, 182 n. 15; Rackham 1940,
no. 846. See also Fortnum 1873, 321 Falke 1907, n - 1 3 ; Spallanzani
basin have not been identified. ;

1979, 111-12).
O f great i n t e r e s t i s t h e fact t h a t t h e b a s i n i n t h e
9. Hausmann 1974, pi. 35a.
L o u v r e b e l o n g e d to a s e r v i c e m a d e for D u k e A l f o n s o II 10. Wilson 1987A, 153, 241; Rasmussen and Watson 1987, no. 14; Louvre
d ' E s t e of F e r r a r a w h i c h i s c o n v i n c i n g l y a t t r i b u t e d to t h e inv. O A 1467; Giacomotti 1974, 358, 361, no. 1081; sale cat., Christie's,
London, June 12, 1995, lot 367.
s l i g h t l y l a t e r P a t a n a z z i w o r k s h o p of U r b i n o , r a t h e r t h a n
11. Poke 2001, 336, 341, 343-44, nos. 13, 18, 36.
the Fontana. 1 2
T h e relationship between these two 12. The loose, sketchy quality of this work's painted decoration is quite dif­
w o r k s h o p s has y e t to be f u l l y e x a m i n e d a n d u n d e r s t o o d . ferent from the more precise designs of the Fontana and is associated,

P r o f e s s i o n a l as w e l l as p e r s o n a l c o n n e c t i o n s among rather, with ceramics made in the Urbino Patanazzi workshop

(ca. 1580-1625).
p o t t e r s w e r e c o m m o n . It i s k n o w n , for e x a m p l e , t h a t
13. Negroni 1998, 105-7.
Giovanni Patanazzi married Nicola di Gabriele 14. Correr inv. no. 789 CI IV, no. n o ; Fittipaldi 1992, no. 652; Giacomotti
Sbraghe's s i s t e r i n 1515 (see n o . 25) a n d t h a t h i s s o n , 1974, 258 (cited in entry for no. 1081); sale cat., Christie's, London, Feb­
ruary 23, 1981, lot 130. This list of the so-called swan-back basins was
Antonio, appears to have collaborated w i t h Orazio
compiled by Timothy Wilson, and I thank him for allowing me to pub­
F o n t a n a o n at least o n e o c c a s i o n . 1 3
W h e t h e r the t w o lish it.
w o r k s h o p s shared tools and materials (including the
m o l d for t h i s b a s i n , for e x a m p l e ) as w e l l as a s i m i l a r
p a i n t i n g s t y l e ( c o m p o s e d of d e l i c a t e grotesques on a
w h i t e ground) or w h e t h e r t h e P a t a n a z z i t o o k o v e r or

Basin with Deucalion and Pyrrha 197

 36

Pilgrim Flask bisque firing but before the decoration had been EXHIBITIONS

applied. (That the ceramists found no need to Exposition retrospective du Trocadero, Paris, 1878
mend or redo the chipped body is proof that they (Darcel 1878, 762).
M e d i c i P o r c e l a i n Factory (1575-early
were well satisfied with such a successfully
seventeenth century) formed and fired, albeit blemished, object in this
BIBLIOGRAPHY

Jacquemart 1859, 276; Jacquemart and Blant 1862,

Florence experimental medium.)
644, no. 5; Foresi 1869, 1511, 29 (erroneously lists
15 80s PROVENANCE Baron Gustave de Rothschild, Paris, as owner),
Soft-paste p o r c e l a i n William Blundell Spence, Florence, sold to reprint from Piovani Arlotto (July 1859); Darcel
H : 26.4 c m (io /s in.)
3 A. Foresi, 1857; Alessandro Foresi, Florence, sold 1878, 762; Davillier 1882, 39-41, 114-15, no. 29;
to G . Freppa; [Giovanni Freppa, Florence, sold to Grollier 1914, 1: no. 2309; Ricci 1919, 29, no. 22
D i a m (at lip): 4 c m (1V16 in.)
E. Piot]; Eugene Piot, Paris (sold, Hotel des Com- (also states erroneously that flask belonged to
W (max.): 20 c m (7% in.) missaires-Priseurs, Paris, March 19, i860, lot 82, Gustave de Rothschild and was passed to his son,
86.DE.630 to M . A . de Rothschild); Baron (Mayer) Alphonse Robert); Liverani 1936, 31, no. 28; Lane 1954, 5,
de Rothschild (1827-1905), Paris,- by inheritance to pi. 3C; GettyMusJ 15 (1987): 216-17, no. 115;
Baron Edouard (Alphonse James) de Rothschild Hess 1988A, no. 36; Le Corbeiller 1988A, 119-26;
MARKS A N D INSCRIPTIONS
(1868-1949), Paris; appears to have been looted Masterpieces 1997, 27, no. 18; Mariaux 1995, 118;
On the underside, the dome of Santa Maria dei
from Rothschild's collection by the Nazis and then Thornton 1998, 29, pi. 47; Museum Handbook
Fiori accompanied by F a mark resembling 3
}

scratched under the glaze and painted with blue
glaze; on the rim, three hatch marks inscribed
before the glaze firing.
CONDITION
Firing crack in the lip (fig. 36c) and small chip on
the rim of the foot, which occurred after the
restituted to him after the war by the French gov­ 2001, 244; Summary Catalogue 2001, no. 374.
ernment; by inheritance to Baron Guy (Edouard
Alphonse Paul) (b. 1909) and Baroness Marie-
Helene (i927-1999) de Rothschild, Paris, sold
to Curarrow Corp.; [Curarrow Corporation N . V ,
Curacao, Antilles, sold to the J. Paul Getty
Museum, 1986].

THIS FLASK IS O N E O F T H E E A R L I E S T EXAMPLES of n e v e r u s e d to s u s p e n d t h e object f r o m a p i l g r i m ' s s h o u l ­

porcelain made i n Europe. 1
Produced i n the Medici der, a s s u m e t h e f o r m of s a t y r s ' m a s k s (fig. 3 6 B ) , reflect­
p o r c e l a i n f a c t o r y i n F l o r e n c e , i t i s o n e of o n l y s i x t y - o d d i n g t h e i n f l u e n c e of m a i o l i c a w a r e s f r o m U r b i n o d a t i n g
objects t h a t r e m a i n t o d a y f r o m p e r h a p s t h e t h r e e h u n ­ to t h e 1560s a n d 1570s (see n o . 34). T h e flask c o m b i n e s
d r e d t h a t w e r e m a d e at t h i s f a c t o r y . 2
C h a r a c t e r i s t i c of this typically Italian Renaissance form w i t h decoration
M e d i c i p o r c e l a i n w a r e s are t h e s i g n s of t h e i r e x p e r i m e n ­ f r o m t h e East, s p e c i f i c a l l y C h i n e s e b l u e a n d w h i t e p o r c e ­
t a l n a t u r e : t h e w h i t e c l a y base o f t e n d i s p l a y s a p i n k or l a i n of t h e e a r l y M i n g d y n a s t y ( 1 3 6 8 - 1 6 4 4 ) (fig. 3 6 E ) a n d
gray cast; t h e p i g m e n t i s f r e q u e n t l y b l u r r e d , w i t h s m a l l T u r k i s h I z n i k w a r e d a t i n g f r o m a b o u t 1500 (fig. 3 6 F ) . 5

b u b b l e s or a w i d e crackle,- a n d t h e c l a y b o d y is s o m e ­ M i n g p o r c e l a i n w a s a p a r t i c u l a r f a v o r i t e i n Italy,
t i m e s m i s s h a p e n , h a v i n g sagged o u t of s h a p e w h e n t h e p a r t l y b e c a u s e i t a p p e a r e d to u n i t e c h a r a c t e r i s t i c s of b o t h
object w a s f i r e d . T h e M u s e u m ' s f l a s k is a n e x c e p t i o n a l l y p o t t e r y (sturdiness, c o l o r f u l n e s s ) a n d glass (refinement,
b e a u t i f u l p i e c e s i n c e i t d i s p l a y s t h e f i n e s t q u a l i t i e s of t r a n s l u c e n c y ) , t w o crafts I t a l i a n a r t i s t s h a d m a s t e r e d b y
M e d i c i porcelain, including a well-formed, translucent the late fifteenth century. 6
I n d e e d I t a l i a n m a i o l i c a ce­
w h i t e body decorated w i t h clear designs i n b l u e under- r a m i s t s w e r e s u f f i c i e n t l y a w a r e of t h e s e C h i n e s e w a r e s
glaze, e v i d e n c e of a r e s t r a i n e d a n d s e n s i t i v e t o u c h . T h e to a t t e m p t to i m i t a t e t h e m i n t h e i r alia porcellana earth­
p a r t i c u l a r l y f i n e q u a l i t y of t h i s f l a s k c a n be a s s o c i a t e d e n w a r e d e c o r a t i o n (see, for e x a m p l e , n o . L 9 ) .
w i t h a p a i r of s i m i l a r l y d e c o r a t e d b o t t l e s d a t e d 15 8 1 . 3
However, the predominant decoration of blue
A l t h o u g h i t s e e m s l i k e l y t h a t p l a t e s of M e d i c i p o r c e ­ arabesques and the s t y l i z e d floral embellishment—in­
l a i n w e r e u s e d at t h e d i n n e r t a b l e , g i v e n i t s p r e c i o u s n e s s
4
c l u d i n g rose, c a r n a t i o n , t u l i p , a n d p a l m e t t e motifs—ap­
and chiefly ornamental shape, t h i s flask must have pears to be d e r i v e d f r o m a t y p e of p o t t e r y m a d e at I z n i k
s e r v e d as a d i s p l a y p i e c e . T h e a p p l i e d s i d e l o o p s , c e r t a i n l y i n T u r k e y ( n o r t h e a s t of I s t a n b u l ) t h a t i s c o m p o s e d of a

198
36A Alternate view.

200 Pilgrim Flask

 36c Detail of mouth of flask.

36B Alternate view. w h i t e , s l i p - c o v e r e d f r i t paste r a t h e r t h a n p o r c e l a i n . T r a d e

w i t h the O t t o m a n Empire, extending throughout the
M i d d l e East a n d N o r t h A f r i c a , brought ornamented
goods, p o s s i b l y i n c l u d i n g c e r a m i c s , t o I t a l y . 7
I n docu­
m e n t s , I z n i k w a r e s a n d C h i n e s e p o r c e l a i n can be i n d i s ­
t i n g u i s h a b l e , b o t h b e i n g referred t o i n v a r i o u s ways,
o f t e n i n t e r c h a n g e a b l y , as porcellana or domaschino. 8

B y t h e m i d - f i f t e e n t h c e n t u r y , these p o r c e l a i n a n d
p o r c e l a i n l i k e c e r a m i c s f r o m t h e East w e r e m a k i n g t h e i r
w a y i n t o c o l l e c t i o n s of t h e E u r o p e a n e l i t e . I n Italy, l a t e
fifteenth-century and early sixteenth-century invento­
ries of t h e S t r o z z i , P o r t i n a r i , M a r t e l l i , a n d o t h e r i m p o r ­
tant Florentine families include porcelain among the
objects l i s t e d . M o s t n o t a b l e w a s t h e c o l l e c t i o n b e g u n b y
9

Piero a n d h i s s o n L o r e n z o de' M e d i c i . B y m i d - c e n t u r y
t h e M e d i c i c o l l e c t i o n of p o r c e l a i n n u m b e r e d i n t h e h u n ­
dreds of objects, m a n y of w h i c h h a d b e e n sent as d i p l o ­
m a t i c gifts f r o m i m p o r t a n t Far a n d M i d d l e E a s t e r n e r s . 10

T h e a r r i v a l of f i n e c e r a m i c s f r o m C h i n a a n d t h e I s l a m i c
w o r l d m u s t have f u r t h e r fostered t h e taste for these l u x ­
u r i o u s a n d h a r d - t o - c o m e - b y objects. I t is n o t s u r p r i s i n g ,
therefore, t h a t m o r e t h a n one I t a l i a n c o u r t endeavored t o
36D Underside.
manufacture porcelain locally.

Pilgrim Flask 201

 In the late fifteenth and early sixteenth centuries,
V e n e t i a n a t t e m p t s at p o r c e l a i n p r o d u c t i o n r e s u l t e d i n
e x a m p l e s t h a t appear t o be n o t h i n g m o r e t h a n a porcel-
lana contrefacta ( c o u n t e r f e i t p o r c e l a i n ) of opaque w h i t e
lattimo glass p a i n t e d w i t h e n a m e l c o l o r s . 11
Contempo­
r a r y sources suggest t h a t Ferrarese p o t t e r s produced
p o r c e l a i n i n t h e 1560s a n d 1570s, a l t h o u g h n o n e of these
vessels have b e e n i d e n t i f i e d , a n d a r e c i p e of 1583 f r o m
Ferrara i n t h e M o d e n a a r c h i v e s i d e n t i f i e s t h e " p o r c e l a i n "
m a t e r i a l as m a d e of t h e same w h i t e t i n glaze a n d fine
clay t h a t were used to m a k e earthenware m a i o l i c a . 1 2

A f t e r h e h a d p u r c h a s e d t h e Palazzo P i t t i i n 1550,
G r a n d D u k e C o s i m o I de' M e d i c i b u i l t w o r k s h o p s be­
h i n d i t t o encourage t h e r e c o n d i t e arts of t a p e s t r y w e a v ­
ing, c r y s t a l c a r v i n g , pietra dura mosaic, and porcelain
p r o d u c t i o n . B e r n a r d o B u o n t a l e n t i w a s a p p a r e n t l y t h e su­
36E Vase. China, beginning of the sixteenth century. Hard-paste
p e r v i s o r f o r m o s t of t h e g r a n d duke's a r t i s t i c v e n t u r e s , porcelain, H : 36 cm ( 1 4 in.). Florence, Palazzo Pitti, Museo
a n d G i o r g i o Vasari, w r i t i n g of B u o n t a l e n t i i n 1568, pre­ degli Argenti. Photo: Antonio Quattrone. This Chinese blue
d i c t e d t h a t he " w i l l be m a k i n g vessels of p o r c e l a i n i n a and white vase was the type of porcelain collected by the
Medici. It appears to have entered the Medici collection i n
s h o r t t i m e , " i n d i c a t i n g t h a t n o n e y e t e x i s t e d . O n l y after
the sixteenth century and was only recently rediscovered in
t h e g r a n d duke's d e a t h i n 1574 w a s p o r c e l a i n finally p r o ­ an armoire in the Palazzo Pitti.
d u c e d i n t h e B o b o l i G a r d e n w o r k s h o p s u n d e r t h e pa­
t r o n a g e of h i s son, Francesco I . I n 1575 A n d r e a G u s s o n i ,
a V e n e t i a n ambassador t o Florence, w r o t e t h a t Francesco
h a d r e d i s c o v e r e d t h e m e t h o d of m a k i n g p o r c e l a i n a n d
t h a t a " L e v a n t i n e " (elsewhere referred t o as "a G r e e k
w h o had traveled to the Indies") helped teach h o w to pro­
duce i t . 1 3
T h i s porcelain production apparently contin­
u e d f o r a f e w decades f o l l o w i n g Francesco's d e a t h i n
1587, after w h i c h i t f e l l i n t o o b l i v i o n . S u r p r i s i n g l y , a l ­
m o s t a c e n t u r y passed before soft-paste p o r c e l a i n was
r e i n v e n t e d at R o u e n — b y L o u i s P o t e r a t — a n d t h e n at
Saint-Cloud i n the 1670s. 14

I t w a s t h e G e t t y f l a s k t h a t , c e n t u r i e s later, h e l p e d
M e d i c i p o r c e l a i n r e g a i n i t s f a m e . W h i l e v i s i t i n g t h e Flo­
r e n t i n e s t u d i o of t h e E n g l i s h a r t dealer, c o l l e c t o r , a n d
p a i n t e r W i l l i a m B l u n d e l l Spence i n 1857, t h e dealer
A l e s s a n d r o Foresi n o t i c e d t h e G e t t y f l a s k s i t t i n g o n a
chest of drawers, w h e r e i t was b e i n g u s e d t o h o l d p a i n t
brushes. 15
A l t h o u g h Spence t h o u g h t i t was a piece of
m a i o l i c a f r o m Faenza, Foresi r e c o g n i z e d t h e m a t e r i a l as
36F Plate. Turkey (Iznik), ca. 1 5 7 0 . Earthenware, Diam: 3 2 . 8 cm (13/4 in.).
p o r c e l a i n , t h i n k i n g i t m i g h t be f r o m t h e G i n o r i f a c t o r y Oxford, Ashmolean Museum, inv. x . 3 2 6 7 .
at D o c c i a w h o s e objects h a d once b e e n l i k e w i s e m a r k e d

202 Pilgrim Flask

w i t h Brunelleschi's cathedral cupola. 1 6
He consulted a numbered around four hundred i n 1 5 5 3 and far exceeded their collection
of native (Faentine and Urbinate) ceramics.
passage o n G i n o r i p o r c e l a i n i n M a r c o L a s t r i ' s L'osserva-
7. One scholar believes that Egyptian ceramics, rather than Turkish,
tore fiorentino to discover t h a t the M e d i c i had produced might have been a more probable source of inspiration for Medici porce­
o b j e c t s o f p o r c e l a i n at t h e e n d o f t h e s i x t e e n t h century lain designs (M. Rogers as cited i n National Gallery 1 9 9 3 , 2 3 8 n. 9 ) .

"non senza merito" (not without merit) and that 8. These terms most often indicate Far Eastern and Near Eastern (via the
market in Damascus) ceramics, respectively. Further confusing matters,
"v'e ancora c h i ne conserva qualche pezzo, e p o r t a i l
many Chinese wares arrived i n Italy via the Islamic world and were of­
segno d e l l a C u p o l a della M e t r o p o l i t a n a n e l rovescio, ten not distinguished from the Islamic ceramics that accompanied them
c o l l a l e t t e r a F " (fig. 3 6 D ) (a f e w pieces, m a r k e d w i t h t h e to Italy. See Spallanzani 1 9 7 8 , especially chaps. 2 - 3 .
9. Spallanzani 1 9 7 8 , 4 9 - 5 5.
c a t h e d r a l ' s d o m e a n d t h e l e t t e r F, are s t i l l k e p t i n p r i v a t e
10. Spallanzani 1978, 5 5 - 6 8 .
collections). 1 7
Foresi p u b l i s h e d his discovery, arousing
11. Lorenzetti 1 9 2 0 , 2 4 8 ; Schmidt 1 9 2 2 , fig. 5 6 .
a passion for t h i s rare p o r c e l a i n a m o n g European and 12. Campori 1871, 31-33; Lane 1954, 2 - 3 .

American collectors. 1 8
13. Lane 1 9 5 4 , 3 .
14. A curious addendum to Medici porcelain production before the late sev­
O n e finds t h e largest c o l l e c t i o n s of M e d i c i p o r c e l a i n
enteenth century consists of two small porcelaneous bowls in the Victo­
in the Victoria and Albert Museum, London (nine ria and Albert Museum, London, inscribed I.G.P.F. 1627 and G.C.P.F.
pieces); t h e M u s e e N a t i o n a l de C e r a m i q u e , Sevres ( e i g h t 1638 (Lane 1954, 6 - 7 , figs. 4 a - b ) . Arthur Lane (1954, 6 - 7 ) believes that
they may have been executed in Padua, but no evidence proving or dis­
pieces); t h e B r i t i s h M u s e u m , L o n d o n ( f o u r pieces); and
proving either their origin or date has been found.
the Metropolitan Museum of Art, New York (four
15. Spence recounts that Foresi "got from me a very valuable specimen of
pieces). 19
Only three other Medici porcelain pilgrim the very early blue and white Florentine china. It was brought to my
flasks are k n o w n t o e x i s t : t w o are i n the Musee du studio by a man for sale. I thought i t was Chinese and kept my brushes
in it. Nobody seemed to notice or value it. Now, Foresi had read about
L o u v r e , Paris, a n d d i s p l a y t y p i c a l l y Chinese-influenced
the china made by the Grand Duke Francesco and the mark of the
l a n d s c a p e decoration,- o n e is i n t h e V i c t o r i a a n d A l b e r t
cupola of Florence and had examined the piece once or twice and saw
M u s e u m , L o n d o n , w i t h a candelieh g r o t e s q u e decora­ the mark. He comes to the studio one day and, after praising my paint­
t i o n and, l i k e t h e present w o r k , a p p l i e d m a s k s for t h e lat­ ing, says, 'What do you do w i t h that bit of china? It w i l l be broken very
soon. Sell i t to me.' I said, 'It cost me 3 0 lire. You may have i t for the
eral loops. O n l y the G e t t y M u s e u m ' s flask displays the
same.' 'Thirty-five lire/ said he and pulled out the money. He wrapped
M e d i c i p o r c e l a i n f a c t o r y m a r k of a c a t h e d r a l d o m e and up the bit of china—a sort of hunting flask—and departed in a great
t h e l e t t e r F (for F r a n c e s c o I d e ' M e d i c i ) o n t h e underside. hurry. A few days later I heard he had sold i t to Freppa for 1,500 francs.
T h e c a t h e d r a l - d o m e m a r k is p a r t i c u l a r l y l a r g e a n d b e a u ­ Rothschild bought i t from Freppa for, I think, 3 or 4,000 francs" (British
Museum Add MSS.89900.270, as cited in Fleming 1 9 7 9 , 505 n. 8 1 . For
tifully painted, w i t h exceptional attention to detail. The
more information on Spence see Fleming 1979, 4 9 2 - 5 0 8 ; Callmann
o t h e r flasks are u n m a r k e d , a l t h o u g h t h e u n d e r s i d e o f o n e 1
999/ 338-48; Kerr-Lawson 1904, 3 1 0 - 1 1 ) .

of t h e L o u v r e flasks ( i n v . O A 3103) is i n s c r i b e d w i t h the 16. Such as on a large plate of ca. 1 7 4 5 i n the Musee des arts decoratifs,
w o r d prova (trial), suggesting t h a t i t was an early experi­ Paris (Ginori Lisci 1963, 48, 2 4 8 - 4 9 , fig. 24, no. 6). The mark on a
Medici porcelain plate in the Museo Internazionale delle Ceramiche,
mental piece. 2 0

Faenza, was even misidentified as belonging to the Doccia factory as re­

cently as 1 9 9 8 (Burresi 1 9 9 8 , 1 9 ) .
Notes 17. Lastri 1 8 2 1 , 1: 1 9 4 - 9 5 .

1. For a concise discussion of the history and development of Medici 18. Foresi 1869, 1 5 - 1 8 (reprinted from Piovano Arlotto [July 1859]).

porcelain and its appeal i n sixteenth-century Italy see Lightbown 1 9 8 0 , 19. Most of the Medici objects known to exist are reproduced i n Cora and
458-65. Fanfani 1 9 8 6 .
2. Spallanzani 1990, 3 1 6 - 1 7 , 319. 20. Other Medici porcelain marks include F surrounded by the letters
3. Le Corbeiller 1 9 8 8A, 1 2 6 . M.M.D.E. II, for "Franciscus Medicis Magnus Dux Etruriae Secundus"
4. See Spallanzani 1 9 9 4 , 1 3 0 ; Mallet 1 9 9 8 , 2 6 0 , no. 2 4 . (on a ewer i n the Louvre), and six balls inscribed F M M E D II, for
5. See, for example, Rackham 1959, pis. 20-96; Fiocco et al. 1986, 6 6 - 6 9 ; "Franciscus Medicis Magnus Etruriae Dux Secundus" (on a plate in the
Savage and Newman 1 9 8 5 , 1 5 9 . Metropolitan Museum of Art and on a large ewer in the Baron Elie de
6. For an incisive and thorough examination of the Medicis' love for and Rothschild collection, Paris).
extensive collection of Eastern, especially Chinese, ceramics, see
Spallanzani 1978; Spallanzani 1980, 7 3 - 9 4 ; according to these sources,
documents establish that the Medicis' collection of Chinese ceramics

Pilgrim Flask 203

 37

Drug Jar for Mithridate MARKS A N D INSCRIPTIONS ered with a layer of Prussian blue, the latter in use
None. only after the early eighteenth century.
and Drug Jar for Theriac
CONDITION PROVENANCE

The two lids exhibit a number of breaks and [Mario Tazzoli, London, sold to Siran Holding
A t t r i b u t e d t o A n n i b a l e Fontana
repairs. Cross-sectional analysis indicates that ini­ Corporation],- [Siran Holding Corporation, Geneva,
(1540-1587) 1
tially the jars were completely oil-gilded; this sold to the J. Paul Getty Museum, 1990].

N o r t h e r n I t a l y (possibly M i l a n ) surface was later completely covered w i t h lead-

EXHIBITIONS
white paint; finally the figural elements were oil-
ca. 1580 None.
gilded (rendering its present white and gilt
Terra-cotta w i t h w h i t e paint and gilt surface). The objects underwent thermolumines- BIBLIOGRAPHY
exterior and lead-glazed interiors cence analysis in 1 9 9 0 , returning a result that the GettyMusf 19 ( 1 9 9 1 ) : 1 6 4 , no. 57 ; Summary Cata­
[.1] H ( w i t h lid): 60 c m (23 /s in.) 5 material is consistent with the expected age of the logue 1 9 9 3 , 2 i i , no. 3 6 7 ; Fusco 1 9 9 7 , 2 3 ; Master­
objects (i.e., that the material was last fired be­ pieces 1 9 9 7 , 2 3 , no. 15; Summary Catalogue 2 0 0 1 ,
D i a m (max.): 39.4 c m c m (15 Vi in.)
tween 3 2 0 and 4 9 0 years ago [.1] and between 3 2 0 no. 375; Fogelman and Fusco 2002, no. 13.
[.2] H ( w i t h lid): 60 c m (23 /s in.) 5

and 500 years ago [.2]). The lower front cartouches

D i a m (max.): 39 c m (15 % in.) on both jars have two layers of white oil-paint cov­

90.SC.42.1-.2

T H E S E E L A B O R A T E L Y M O D E L E D D R U G JARS were made w r o t e t h e r e c i p e d o w n i n t h e f o r m o f verse, w h i c h w a s

t o c o n t a i n specific m e d i c i n a l p r e p a r a t i o n s . 2
T h e prepara­ preserved a n d discussed b y G a l e n of P e r g a m u m (A.D.
t i o n s c a n be i d e n t i f i e d t h a n k s t o t h e jars' r e l i e f scenes de­ 1 2 9 - ca. 2 1 6 ) . G a l e n p r e s e n t s t h e r i a c , as w e l l as h i s o w n
4

p i c t i n g t h e o r i g i n s of t h e d r u g each w a s i n t e n d e d t o store. v e r s i o n o f t h e a n t i d o t e c a l l e d G a l e n e , i n several b o o k s . 5

T h e s e scenes m a y w e l l c o p y a s - y e t - u n i d e n t i f i e d p r i n t T h e w o r k o f G r e e k w r i t e r s a n d p h y s i c i a n s , s u c h as
sources. T h e first jar was made t o h o l d antidotum D i o s c o r i d e s ( A . D . 4 0 - c a . 90) a n d C l a u d i u s G a l e n ( A . D .
Mithhdaticum, or m i t h r i d a t e , named for i t s inventor, 1 3 0 - ca. 201), g r e a t l y i n f l u e n c e d m e d i c a l t h e o r y a n d
M i t h r i d a t e s Eupator V I , k i n g of Pontus (120-163 B . C . ; practice i n Europe from the twelfth to the m i d -
reigned f r o m i n B . C . ) , whose image surmounts t h e l i d . seventeenth century. T h e late medieval revival of inter­
A n amateur pharmacist fearful of being poisoned b y h i s est i n c l a s s i c a l b o t a n y , t o g e t h e r w i t h t h e r e c o v e r y o f
e n e m i e s , as w a s c o m m o n i n a n c i e n t p o l i t i c a l warfare, ancient texts o n t h e m e d i c i n a l value of plants, l e d t o a
M i t h r i d a t e s concocted h i s o w n antidote. H e ingested r e n e w e d i n t e r e s t i n p h a r m a c o l o g y . I m p o r t a n t f o r t h e de­
t h i s a n t i d o t e o n a d a i l y basis after first t e s t i n g i t s p o w e r s v e l o p m e n t o f t h i s materia medica was the retrieval of
on criminals condemned t o death. F o l l o w i n g a failed p l a n t s d i s c u s s e d b y t h e a n c i e n t scholars, m o s t o f w h i c h
m i l i t a r y c a m p a i g n against t h e R o m a n E m p i r e , t h e k i n g c a m e f r o m t h e e a s t e r n M e d i t e r r a n e a n . For t h i s r e a s o n
decided t o c o m m i t suicide rather t h a n become a R o m a n Venice, w i t h i t s c o m m e r c i a l a n d p o l i t i c a l ties t o t h e
subject. B u t because o f h i s d i e t o f m i t h r i d a t e , t h e k i n g M i d d l e East, b e c a m e t h e m o s t i m p o r t a n t c e n t e r f o r t h e
w a s n o t affected b y t h e p o i s o n h e h a d s w a l l o w e d , a n d so r e c u p e r a t i o n o f t h e r i a c a n d m i t h r i d a t e (figs. 37E —F).
M i t h r i d a t e s was forced t o have h i m s e l f slain b y one of C o n c e r n over t h e q u a l i t y a n d a u t h e n t i c i t y o f t h e s e drugs
his o w n guards. 3
l e d V e n e t i a n officals i n 1172 a n d a g a i n i n 1258 t o o r d e r
T h e second j a r h e l d theriaca Andromachi, or the­ t h a t t h e drugs be p r e p a r e d i n t h e presence o f m u n i c i p a l
riac, n a m e d f o r A n d r o m a c h u s , c o u r t p h y s i c i a n t o t h e authorities. 6
T h e c o m p o u n d i n g o f these a n t i d o t e s t y p i ­
R o m a n e m p e r o r N e r o (reigned A . D . 5 4 - 6 8 ) . C o m m a n d e d cally featured l a v i s h ceremony, w i t h t h e city's p o l i t i c a l
b y N e r o t o revise M i t h r i d a t e s 7
famous elixir, Andro­ and religious authorities present. I n h i s diary entry for 7

m a c h u s added dozens o f n e w i n g r e d i e n t s , i n c l u d i n g t h e M a r c h 2 3 , 1646, B r i t i s h g e n t l e m a n a n d w r i t e r J o h n Eve­

f l e s h of v i p e r s . A s a r e s u l t t h i s a n t i d o t e was b e t t e r - s u i t e d l y n w r i t e s , " H a v i n g packed u p m y purchases of books,
t h a n m i t h r i d a t e t o counteract snake bites. A n d r o m a c h u s p i c t u r e s , glasses, t r e a c l e [i.e., t h e r i a c ] ( t h e m a k i n g a n d

O P P O S I T E : 37 [.1]

204
3 7 A Alternate view of [. i ].

206 Drug Jars

3 7 B Alternate view of [. i ].

Drug Jars 2QJ

37c Alternate view of [.2]. 37D Alternate view of [.2].

extraordinary ceremony whereof I had been curious to figures o n t h e jar a n d aspects of t h e l a t e w o r k of Jacopo
observe, for ' t i s e x t r e m e l y p o m p o u s a n d w o r t h seeing) I Sansovino ( i 4 8 6 - 1 5 7 0 ) , 1 0
i t is p o s s i b l e t h a t t h e jars w e r e
departed V e n i c e / 7
The resulting compounds i n paste p r o d u c e d i n t h e V e n e t o b y one of Sansovino s f o l l o w e r s .
7 1 1

f o r m w e r e d r i e d " f o r fifteen days . . . i n a vessel of lead, T h e figures 7

glass, or g o l d / 7 8
T h e G e t t y jars, w i t h t h e i r lead-glazed i n ­
teriors, c o u l d have been used i n a p a r t i c u l a r l y s u m p t u ­
ous p r e p a r a t i o n c e r e m o n y .
T h e elaborate s t r a p w o r k , m a s k s , a n d t h e r e l i e f a n d
figural o r n a m e n t a t i o n p r o v i d e a r i c h s a m p l i n g of I t a l i a n
e m b e l l i s h m e n t a r o u n d t h e t u r n of t h e s e v e n t e e n t h cen­
t u r y . G i v e n t h e i m p o r t a n c e of t h i s d r u g t o t h e c i t y of
d a n c e l i k e poses, t h e a n i m a t e d r e l i e f scenes,
a n d t h e v i g o r o u s l y f o r m e d y e t elegant n u d e s of s l i g h t l y
a t t e n u a t e d p r o p o r t i o n s — a t once sensuous a n d b i z a r r e —
are t y p i c a l of M a n n e r i s m a n d are m o s t c l o s e l y r e l a t e d
t o t h e w o r k of t h e M i l a n e s e s c u l p t o r A n n i b a l e F o n t a n a
(fig. 3 7 G ) . 1 2
(By t h e l a t e s i x t e e n t h c e n t u r y t h e r i a c h a d
b e c o m e a great a r t i c l e of c o m m e r c e i n several I t a l i a n
cities, i n c l u d i n g M i l a n . ) 1 3

Venice ( w h i c h had a long-standing m o n o p o l y o n its pro­

duction) 9
and the stylistic similarities between the

O P P O S I T E : 37 [.2]

Drug Jars 209

 Notes
1. This attribution results from research done by Peter Fusco and Victoria
Avery.
2. I would like to thank Simon Stock, Jennifer Montagu, and Richard
Palmer, London, for their assistance in studying these jars.
3. Other contemporary accounts blame Mithridates' son and successor
Pharnaces, for Mithridates' death (Cassius Dio, Roman History, bk. 3 7 ,
37E Georg Melich and Orazio Guarguanti. Frontispiece to Avertimenti 11 1 iff.). One source proposes that the more quixotic version was meant
nelle compositioni de' medicamenti per uso della spetiaria . . . (Venice, to divert accusations of patricide away form the new king (McGing
1605). Fondo Berio; Be.XVII.A.471. National Union Cat; fol. 5246.
1986, 166 n. 98).
Mithridates w i t h his mithridate and Andromachus w i t h his theriac 4. C. Galen, On Antidotes, bk. 1, chaps. 1 - 2 (translated in Brock 1 9 2 9 ,
dominate this frontispiece to a text on drug preparations that was 196-200).
compiled for the dello Struzzo pharmacy i n Venice. 5. These include Antidotes I, Antidotes II, and Theriake to Pamphilianus
(Watson 1 9 6 6 , 3).
37F Salomon Kleiner (German, 1703-1761). Illustration of a pharmacy 6. Palmer 1985, 100-117.
from Christopheri De Pauli pharmacopoei camera materialum ad 7. Swann 1 9 8 5 , 4 5 7 .
vivum delineata (1751), p. 11. Los Angeles, Getty Research Institute, 8. Carosi et al. 1 9 8 8 , 1 2 0 .
Special Collections, no. 861133. Mithridate and theriac, stored in 9. Micca 1 9 7 0 , 7 0 6 .
large and elaborate containers, are prominently displayed i n the eigh­ 10. See, for example, the elegant contortion of figures and the male facial
teenth-century Red Crawfish pharmacy i n Vienna designed for the type in Sansovino's Resurrection relief of the Porta della Sagrestia, San
De Pauli family. Marco, Venice, or the dynamic yet linear quality of drapery i n his Saint
Mark Dragged by Infidels relief on the Cantoria, San Marco, Venice.
11. Suggested by Manfred Leithe-Jasper, former director, Kunsthistorisches
Museum, Vienna, in correspondence, 1 9 9 0 .
12. This artist is not related to the Fontana family of ceramists mentioned
in nos. 34-35. See, in particular, Fontana's Birth of the Virgin relief
in the Biblioteca Ambrosiana, Milan; Nativity relief in the Contini-
Bonacossi collection, Florence; and figures in cartouches on the shafts
of the candlesticks in the Certosa, Pavia.
13. Watson 1 9 6 6 , 1 0 2 .

210 Drug Jars

37G After Annibale Fontana (Italian, 1 5 4 0 - 1 5 8 7 ) . The Adoration of the Shepherds (detail). Terra-cotta, 109.2 X 5 7 . 2 cm (43 x 22 Vi in.). Washington,
D.C., National Gallery of Art, Samuel H . Kress Foundation, inv. 1939.1.319.

Drug Jars 211

 38

Candelabrum with W: 34.5 c m (13 Vi in.) sockets had been broken off; they were reattached,
and the joins were repaired.
Mercury and Argus and D : 28 c m (11 in.)
[.2] H ( w i t h socle): 45.5 c m (17 A in.)
3
PROVENANCE
Candelabrum with W: 33 c m (13 in.) Private collection, England, sold to D. Katz ;

Perseus and Medusa D : 28 c m (11 in.)

[Daniel Katz, London, sold to A. Moatti]; [Alain
Moatti, Paris, sold to the J. Paul Getty Museum,
94.SE.76.1-.2 1994].
G i n o r i Porcelain Factory
EXHIBITIONS
(founded 1737) MARKS A N D INSCRIPTIONS
None.
[.1] On the underside, against the wall, I, written
Doccia (near Florence)
after manufacture. BIBLIOGRAPHY
Gaspero Bruschi (1701-1780) after
[.2] On the underside, against the wall, 11, written [.1] GettyMusf 23 ( 1 9 9 5 ) : 122, no. i o i ; Melegati
models by G i o v a n n i Battista Foggini after manufacture. 1996B, 2 6 - 3 7 , pis. 1, ia, 2, 2 a ; Fusco 1997, 22.

(1652-1725) [.2] Masterpieces 1 9 9 7 , 8 4 , no. 6 4 ; Summary

ca. 1750
Hard-paste porcelain, p a r t i a l l y g i l t
[.1] H ( w i t h socle): 45.5 c m (17 A in.) 3
CONDITION
Catalogue 2 0 0 1 , no. 3 7 6 ; Fogelman and Fusco
Firing cracks through the undersides of bases
2 0 0 2 , no. 33.
(figs. 38E, j). Mercury's caduceus and sword and
Perseus's sword are missing. The candlestick

THE SUBJECTS OF B O T H G R O U P S derive f r o m episodes T h e figures w e r e p r o d u c e d i n t h e p o r c e l a i n f a c t o r y

i n O v i d ' s Metamorphoses. T h e scene of M e r c u r y a n d A r ­
gus ( 1 : 6 6 8 - 7 2 1 ) is t a k e n f r o m t h e s t o r y of Jupiter's l o v e
affair w i t h t h e p r i n c e s s I o . W h e n Juno, Jupiter's w i f e , be­
c a m e s u s p i c i o u s of t h e l o v e r s , J u p i t e r c h a n g e d h i s m i s ­
tress i n t o a c o w t o disguise h e r i d e n t i t y . T o v e x t h e
c o u p l e , Juno a s k e d J u p i t e r for t h e c o w as a g i f t . After
agreeing t o h i s w i f e ' s request, J u p i t e r a p p o i n t e d t h e h u n ­
dred-eyed g i a n t A r g u s as Io's g u a r d i a n . I o w a s so t o r ­
m e n t e d , h o w e v e r , t h a t J u p i t e r sent M e r c u r y t o k i l l A r g u s
b y l u l l i n g h i m t o sleep a n d t h e n c u t t i n g off h i s head.
Eventually, after p r o m i s i n g Juno t h a t he would no
l o n g e r pay I o a n y a t t e n t i o n , J u p i t e r r e t u r n e d h e r to
h u m a n f o r m . T h e figures of Perseus a n d M e d u s a de­
r i v e f r o m t h e f a m o u s episode (54: 7 7 3 - 8 0 3 ) i n w h i c h t h e
hero surprised the snake-haired m o n s t e r Medusa i n her
sleep and, a v o i d i n g h e r d e a d l y gaze b y l o o k i n g at h e r
reflection i n his polished shield, decapitated her w i t h
his curved sword.
T h e figures of these groups, c a u g h t at t h e most
d r a m a t i c m o m e n t of t h e a c t i o n , are p l a c e d o n r o c k y p l a t ­
f o r m s w i t h t u f t s of grass t h a t s i t o n p o l y c h r o m e a n d par­
t i a l l y g i l t bases of elaborate s c r o l l s , a c a n t h u s leaves, a n d
rocaille elements. Small urns embellished w i t h green
f o u n d e d at D o c c i a , near Florence, b y M a r q u i s C a r l o
G i n o r i ( 1 7 0 1 - 1 7 5 7 ) . I n 1735 G i n o r i began
1
experiments
t o p r o d u c e p o r c e l a i n f r o m I t a l i a n clays, a feat t h a t h a d
n o t b e e n a c c o m p l i s h e d since t h e days of t h e M e d i c i fac­
t o r y i n t h e l a t e s i x t e e n t h c e n t u r y (see n o . 36). A r o u n d
t h a t t i m e he l u r e d A n r e i t e r v o n Z i r n f e l d away f r o m the
V i e n n e s e D u Pacquier f a c t o r y t o set u p a n d r u n the
p a i n t i n g studio, w i t h the F l o r e n t i n e sculptor Gaspero
B r u s c h i as c h i e f m o d e l e r .
Giovanni Battista Foggini—sculptor to the grand
duke of T u s c a n y — f i r s t created the c o m p o s i t i o n s of
these g r o u p s for e x e c u t i o n i n b r o n z e (fig. 3 8 L ) . 2
A s de­
p i c t i o n s of v i o l e n t s t r u g g l e i n a s c e n o g r a p h i c landscape
w i t h gestures a n d d r a p e r y t h a t a m p l i f y t h e t h e a t r i c a l i t y
of t h e scene, t h e y are t y p i c a l of Foggini's l a t e Baroque
s t y l e . A f t e r t h e a r t i s t ' s d e a t h i n 1725 t h e p i e c e - m o l d s of
m o s t of Foggini's b r o n z e s passed t o h i s s o n V i n c e n z o ,
w h o also served as r o y a l s c u l p t o r . B y 1741 G i n o r i h a d be­
g u n t o c o l l e c t m o d e l s a n d m o l d s t h a t h e i n t e n d e d t o use
i n t h e p r o d u c t i o n of p o r c e l a i n figures, a n d h i s a c c o u n t
b o o k s r e v e a l t h a t i n t h e f o l l o w i n g t w e l v e years h e re­
p e a t e d l y c o m m i s s i o n e d V i n c e n z o F o g g i n i t o cast w a x or
p l a s t e r m o d e l s f r o m h i s father's m o l d s . 3

leaves a n d g o l d d e c o r a t i o n at each of t h e f o u r c o r n e r s T h e s e groups m a y h a v e served as t h e candelabra ele­

served as c a n d l e s o c k e t s . m e n t i n a larger t a b l e c e n t e r p i e c e . Scenes of d e c a p i t a t i o n

O P P O S I T E : 38 [.1]

212
38A Alternate view of [. i ].

214 Candelabra
38B Alternate view of [. i ]. 38c Detail of [.1].

3 8 E Underside of [. 1 ].

38D Detail of [.1].

Candelabra 215
3 8 F Alternate view of [. 2 ].

O P P O S I T E : 38 [.2]

Candelabra 2 1 J
3 8 G Alternate view of [. 2 ].

2l8 Candelabra
38H Alternate view of [.2]. 381 Detail of [.2].

387 Underside of [.2].

Candelabra 219
3 8 K After Giovanni Battista Foggini. Mercury and Argus. Wax model from 3 8 L Giovanni Battista Foggini (Italian, 1652-1725). Perseus Slaying
the Doccia porcelain manufactory. Museo di Doccia, inv. D 3 5 8 [41 ]. Medusa, ca. 1690. Bronze, 40 x 3 8 . 1 x 22.2 cm (15 A x 15 x 8 /4 in.).
3 3

Courtesy of the Fogg Art Museum, Harvard University Art Museums,

Annie Swan Coburn Fund.

m i g h t s e e m a n o d d c h o i c e for d i n i n g t a b l e ornament.
H o w e v e r , r a t h e r t h a n e m p h a s i z i n g t h e g r i s l i n e s s of t h e
scenes, t h e c o m p o s i t i o n s d e p i c t A r g u s a n d M e d u s a n o t
as m o n s t e r s b u t as a m a n a n d w o m a n i n distress, t h e r e b y
emphasizing the drama rather t h a n the horror. A closely
r e l a t e d w o r k is t h e D o c c i a g r o u p of t h e T h r e e Fates (fig.
3 8 M ) , p r o d u c e d a r o u n d t h e same t i m e . A l t h o u g h i t s can­
4

d l e - s o c k e t u r n s are m i s s i n g , t h e base is i d e n t i c a l t o t h e
bases of t h e t w o G e t t y groups, as are t h e paste q u a l i t y
a n d p a l e t t e . I t seems l i k e l y t h a t t h e t h r e e f i g u r e g r o u p s
w o u l d have b e l o n g e d t o t h e same t a b l e c e n t e r p i e c e . Pay­
m e n t w a s m a d e t o V i n c e n z o F o g g i n i i n 1749 for w a x
m o d e l s of M e r c u r y a n d A r g u s (fig. 3 8K) a n d of Perseus
a n d M e d u s a a n d i n 1750 for t h e figures of t h e Three
Fates. 5

220 Candelabra
 Notes
1. For information on the Doccia factory see Ginori Lisci 1963; Lane 1954,-
Le Corbeiller 1985. A version of Mercury and Argus (in a private collec­
tion), made from the same model but not polychrome (i.e., in white),
was recently exhibited in Lucca (Lucca 2001, 215, no. 154).
2. The bronzes are described in the 1713 inventory of Grand Prince Ferdi­
nand de' Medici. Two bronze versions of the Mercury group (Museo
Nazionale del Bargello, Florence [with sword intact], and another for­
merly on the Paris art market, present location unknown) and one of the
Perseus group exist (Fogg Art Museum, Harvard University, Cambridge).
For the Mercury group see Lankheit 1962, fig. 122; Bargello 1989, 26,
no. 20. For the Perseus group see Metropolitan 1969, no. 78); Heim
Gallery 1980, no. 36. The late Leonardo Ginori Lisci thought, and Jen­
nifer Montagu currently concurs, that the composition of Mercury and
Argus derived, at least in part, and as was common for the artist, from a
print by Antonio Tempesta (Buffa 1984, 37: no. 647 [151]; see Detroit
1974, 416-17, no. 244).
3. Under the date September 9, 1749, i n the Florentine Archivio Ginori
Lisci are the entries regarding payments made to Vincenzo Foggini "per
gettare di cera i l gruppo di Perseo e Medusa" and "per gettare di cera . . .
i l gruppo di Mercurio che taglia la testa ad Argo" (C. R. 1749-50), which
refer to the creation of the original wax models for the Getty groups.
The models, and the molds taken from them, are also listed i n the 1780
inventory of the Doccia factory—where they remain today—as
"Gruppo di Perseo che taglia la testa a Medusa. D i Gio. Batta. Foggini i n
cera con forma" and "Gruppo di Mercurio che taglia la testa a Argo. D i .
Gio. Batta. Foggini i n cera con forma" (Lankheit 1982, 121, nos. 22:16,
38M Doccia porcelain manufactory. The Three Fates, ca. 1750. Hard-paste
22:18, figs. 131-32).
porcelain. Private collection, Florence.
4. Private collection (see Melegati 1996, fig. 3; and Lucca 2001, 216,
no. 155).
5. Lankheit 1982, 160 (87:2) and fig. 232. These figures were also used for
representations of the parts of the world on the renowned 1756 Doccia
group of the Temple Dedicated to the Glories of Tuscany, now in the
Museo dell'Accademia Etrusca, Cortona (see Ginori Lisci 1973, pi. 38).
6. Lankheit 1982,fig.128.
7. Liverani 1967, fig. 22; Morazzoni i960.
In the same w a y that G i o v a n n i Battista Foggini 8. Liverani 1967, pi. 36; Morazzoni i960, 2: pi. 248, where i t is attributed
reused m o d e l s of figures for different bronzes, slightly to Piamontini.

c h a n g i n g t h e p o s i t i o n o f t h e l i m b s as n e e d e d , D o c c i a
craftsmen r e c o m b i n e d elements f r o m different m o d e l s —
o c c a s i o n a l l y b y different a r t i s t s — t o create n e w c o m p o ­
sitions. For example, Foggini's Medusa reappears as
B e a u t y i n h i s Rape of Beauty by Time. 6
I n like manner
D o c c i a c r a f t s m e n c h o s e F o g g i n i ' s T h r e e Fates t o create
t h e t a b l e c e n t e r p i e c e d i s c u s s e d h e r e as w e l l as t o o r n a ­
ment the spandrels of Doccia's large Temple of the
G l o r i e s of T u s c a n y p o r c e l a i n group i n t h e M u s e o del-
l ' A c c a d e m i a E t r u s c a , C o r t o n a , w h e r e t h e y are a l l e g o r i c a l
figures,- 7
a n d F o g g i n i ' s Perseus w a s c o m b i n e d w i t h M a s -
similiano Soldani-Benzi's Andromeda for the Doccia
Perseus a n d A n d r o m e d a p o r c e l a i n g r o u p . 8

Candelabra 221
 39

Tabletop with Hunting TENUS SPICIS REDEMITA CAPILLOS and March 4, 1 9 8 6 , lot 2 4 [listed without mention
FORTUNAE SUAE QUISQUE FABER; on the of Warwick ownership], to W. Williams); [Winifred
Scenes horse's haunch i n the scene of Europeans hunting Williams, London, sold to the J. Paul Getty
a deer, SGP on the horse's haunch in the scene of
} Museum, 1986].

Francesco (or Filippo) Saverio M a r i a Moors hunting ostriches, FSG.

EXHIBITIONS
Grue, called Saverio M a r i a or CONDITION None.
Saverio Grue (1731-after 1802) Several chips and glaze faults.
BIBLIOGRAPHY
Castelli PROVENANCE Norman 1986; GettyMusJ 15 ( 1 9 8 7 ) : 2 1 7 , no. 116;

ca. 1760 Most likely acquired in Italy and brought to Guillaumin 1 9 8 7 , 12, fig. 4; Donatone 1 9 8 8 ,
Warwick Castle, Warwickshire, England, by 17-18, fig. i ; Hess 1988A, 1 1 6 - 1 9 , no. 35; Hess
Tin-glazed earthenware
George Greville, second earl of Warwick (1746- 1988B, 1 7 - 2 8 ; Masterpieces 1997, 87, no. 66;
H : 3.2 c m (1 A in.)
l

1 8 1 6 ) or his son, Henry Greville, third earl of Summary Catalogue 2 0 0 1 , no. 3 7 7 .

D i a m : 59.7 c m (23 V2 in.) Warwick (1779-1853); 1
removed from Warwick
86.DE.533 Castle and placed in another residence of the earls
of Warwick; by inheritance to David Greville,
eighth earl of Warwick, i n one of the residences
MARKS A N D INSCRIPTIONS
of the earls of Warwick (sold, Sotheby's, London,
On the obverse, i n two cartouches, FLAVA CERES

THIS MAIOLICA T A B L E T O P is p a i n t e d w i t h f o u r elabo­ T h i s w o r k is s i g n e d w i t h t w o m o n o g r a m s of t h e

rate Rococo cartouches interspersed with landscape a r t i s t : 5[averio] G [ r u e ] P [ i n x i t ] o n t h e horse's h a u n c h i n
scenes of b i r d s a n d hares i n t h e i r n a t u r a l h a b i t a t ; i n t e r ­ t h e scene of Europeans h u n t i n g a deer a n d P[rancesco or
t w i n i n g v e g e t a t i o n ; a n d floral a n d f r u i t swags i n a p a l e t t e i l i p p o ] S[averio] G [ r u e ] o n t h e horse's h a u n c h i n t h e
t y p i c a l of t h e G r u e w o r k s h o p : ocher, y e l l o w , p u r p l e , l i g h t scene of M o o r s h u n t i n g o s t r i c h e s (figs. 3 9 B , D ) . T h e t w o
a n d d a r k g r a y i s h b l u e , b l a c k , a n d several shades of c a r t o u c h e s o n t h e obverse are i n s c r i b e d i n L a t i n w i t h
g r e e n — i n c l u d i n g g r a y i s h green, y e l l o w i s h green, and " b l o n d Ceres, w h o s e h a i r is e n w r e a t h e d w i t h g r a i n / re­ 7

olive green—on a creamy white ground. The car­ f e r r i n g t o t h e R o m a n goddess w h o is p r o t e c t o r e s s of agri­

t o u c h e s — c o m p o s e d of s c r o l l s , shells, a c a n t h u s e s , a n d
vegetal motifs—enclose M o o r i s h and European h u n t i n g
scenes after e n g r a v i n g s b y A n t o n i o T e m p e s t a . T h e t w o
figures i n t h e f o r e g r o u n d of Saverio's deer h u n t scene are
c u l t u r e a n d of a l l f r u i t s of t h e e a r t h , a n d " e a c h m a n is t h e
m a k e r of h i s o w n f o r t u n e , " a n a n t i q u e p r o v e r b .
T h e r e is c o n f u s i o n r e g a r d i n g t h e p r o p e r n a m e of t h i s
artist: Francesco 3
or F i l i p p o . Sources do agree, h o w e v e r ,
4

based o n t h e t w o figures i n t h e f o r e g r o u n d of T e m p e s t a ' s t h a t h e w a s c a l l e d Saverio, w a s b o r n i n 1 7 3 1 , a n d w a s t h e

Deer Hunt f r o m H u n t i n g Scenes I I I (fig. 3 9 1 ) ; t h e car­ s o n of t h e p o r c e l a i n p a i n t e r Francesco A n t o n i o G r u e .
t o u c h e d i s p l a y i n g a n o s t r i c h h u n t is based o n T e m p e s t a ' s T h e r e n o w n e d Grue f a m i l y was l o n g connected w i t h the
e n g r a v i n g Ostrich Hunt f r o m t h e same series (fig. 391); m a n u f a c t u r e of p a i n t e d m a i o l i c a at C a s t e l l i , i n t h e I t a l ­
t h e e l e p h a n t h u n t scene is a c o n f l a t i o n of t w o separate i a n A b r u z z i r e g i o n ; Saverio w a s t h e l a s t t o p l a y a n i m ­
e n g r a v i n g s e n t i t l e d Elephant Hunt, also f r o m Hunting portant role i n maiolica production. Born i n A t r i , 5
he
Scenes I I I (figs. 3 9 K — L ) . A l t h o u g h t h e source has y e t t o m o v e d w i t h his parents to nearby Castelli, where he
be i d e n t i f i e d , i t is l i k e l y t h a t t h e deer h u n t i n t h e b a c k ­ l e a r n e d t o p a i n t . I n 1747 h e a n d h i s b r o t h e r , V i n c e n z o ,
g r o u n d of t h i s c a r t o u c h e is based o n a n o t h e r Tempesta received honorary N e a p o l i t a n citizenships f r o m King
e n g r a v i n g . T h e f i n a l c a r t o u c h e scene, a boar h u n t , is also C a r l o I I I i n h o n o r of t h e i r father, Francesco A n t o n i o , a
l i k e l y t o be based o n o n e or m o r e T e m p e s t a h u n t en­ r e n o w n e d m a i o l i c a p a i n t e r w h o h a d d e c o r a t e d a large se­
g r a v i n g s (boar h u n t s w e r e a f a v o r i t e subject of t h e en­ ries of jars f o r t h e h o s p i t a l " d e g l i i n c u r a b i l i " i n N a p l e s .
g r a v e r ) . T h e reverse is u n g l a z e d .
2
F r o m 1754 t o 1756 Saverio w o r k e d i n t h e r o y a l m a i o l i c a

222
39A Detail.

224 Tabletop with Hunting Scenes

39B Detail.

Tabletop with Hunting Scenes 22 5

39C Detail. 39D Detail.

factory at Caserta. T w o years later he applied to enter the

royal porcelain factory at Capodimonte, but the factory's
manager refused his application on the grounds that the
technique of miniature painting on porcelain was differ­
ent from that on maiolica, the m e d i u m to w h i c h he was
accustomed. Saverio finally entered the royal porcelain
6

factory i n 1772, at that t i m e under Ferdinand I V / even­

tually becoming director of the gabinetto di pittura
(painting studio) and, later, director of the tornanti (ce­
ramists w h o worked on the potter's wheel). 8

In porcelain Saverio executed statuettes, small

busts, and reliefs painted i n a refined style inspired by
Pompeian figures and ornament. O n maiolica objects
such as this tabletop, however, he painted m a i n l y land­
scape and genre scenes i n a loose, almost sketchy style,
emphasizing the "rustic" quality of the m e d i u m . The
decorative cartouches, i n t e r t w i n e d vegetal motifs, and

226 Tabletop with Hunting Scenes

 39F Detail of table base.

39E Underside.

3 9 G Detail of table base.

39H Table base.

Tabletop with Hunting Scenes 2 2 J

39i Antonio Tempesta. Ostrich Hunt from Hunting Scenes III, 1 5 9 8 . 39j Antonio Tempesta (Italian, 15 5 5 - 1 6 3 0 ) . Deer Hunt from Hunting
Engraving. London, British Museum, in v. 1980-U.43 i-no. 412. Scenes III, 1598. Engraving. London, British Museum, inv. 1980-U.438-

Photo: Courtesy of the Trustees of the British Museum. © The British no. 4 1 9 . Photo: Courtesy of the Trustees of the British Museum.
Museum. © The British Museum.

charming pastoral scenes on the tabletop exemplify the

eighteenth-century Rococo emphasis on freely handled
naturalistic motifs and fanciful curvilinear forms.
According to a chronology of style established by
L. Moccia, this tabletop, executed during Saverio's stay
at the royal porcelain factory, falls w i t h i n his t h i r d pe­
riod of production, w h i c h is typified by predominantly
"French" subjects rendered i n a delicate palette on a
w h i t e ground. One scholar has suggested that Saverio's
9

mature style was formed as the artist, inspired by his

travels abroad, attempted to decorate maiolica w i t h the
delicate designs more typical of porcelain. 10

Maiolica plaques, favored by the Grue family, were

developed as supremely pictorial objects from an origi­ 3 9 K Antonio Tempesta. Elephant Hunt from Hunting Scenes III, 1 5 9 8 .
nally functional plate form. Saverio Grue's tabletop is Engraving. London, British Museum, inv. i 9 8 o - u . 4 3 7 - n o . 4 1 8 .
particularly innovative since i t is an adaptation of the Photo: Courtesy of the Trustees of the British Museum. © The British
Museum.
circular maiolica plaque to serve a functional purpose.
The only other tabletop comparable to this one is a rect­
angular example measuring approximately 76.2 by 106.7
cm attributed to the workshop of Carlo A n t o n i o Grue
that sold at auction i n 1 9 8 6 . 11
Other objects by Saverio
Grue that are similar to this tabletop include t w o
plaques decorated w i t h classical scenes i n a private

228 Tabletop with Hunting Scenes

 Notes
1. A notice in the Gazzetta toscana of December 10, 1 7 7 4 , mentions that
a Lord Warwick was visiting Florence (Ingamells 1 9 9 7 , 5 1 ; my thanks go
to John Mallet for bringing this source to my attention).
2. For a discussion of Tempesta engravings as sources for a Sevres plaque
and a plate attributed to Candeloro Cappelletti of Castelli see Jestaz
1973, 117-18, figs. 19-22; for an examination of iconographic sources
for Castelli maiolica, including Tempesta engravings, see Moro 1 9 8 1 ,
399-400.

3. Thieme and Becker 1 9 0 7 , 1 5 : 1 2 4 ; Benezit 1 9 5 1 , 4 : 242,- Donatone

1971B, 3 6 - 3 7 ; Fittipaldi 1992, 102.

4. Cherubini 1 8 6 5 , n ; Arbace 1 9 9 3 , LV-LVI.

5. For a brief discussion of the artist and his fame see Rosa 1981, 44-46,

no. 5 6 ; Arbace 1 9 9 3 , XXIX-XLVII, as well as relevant information i n her

forthcoming catalogue of the Papparella-Treccia collection.
6. Minieri-Riccio 1 8 7 8 , 2 6 .
7. The Bourbon Capodimonte factory closed in 1 7 5 9 , and the royal factory
reopened a year later i n Buen Retiro, Madrid, under Charles III.
39L Antonio Tempesta. Elephant Hunt from Hunting Scenes III, 1 5 9 8 . Charles's son, Ferdinand IV, opened a royal porcelain factory in 1 7 7 1 i n
Engraving. London, British Museum, inv. i 9 8 o - u . 4 3 3 - n o . 4 1 4 . the Reale villa di Portici. For more information see A. Carola-Perrotti.
Photo: Courtesy of the Trustees of the British Museum. © The British 8. Thieme and Becker 1907, 15: 124; Donatone 197IA, 24-37.
Museum. 9. Moccia 1 9 6 8 , 24-25.

10. Levy 1964, 62-63.

11. Sale cat., Sotheby's, London, November 2 8 , lot 2 1 8 .

12. Levy 1964, pis. 80-81.

13. Gonzalez-Palacios 1981B, 657, pi. 2; Rackham 1940, 1: 3 8 2 - 8 3 ,

collection, Pescara, 12
and a plate i n the Victoria and no. 1 1 5 2 ; 2: pi. 184.

Albert Museum, London (inv. 241-1876) likewise deco­ 14. Indeed, the framing of maiolica bowls, plates, as well as plaques—par­
rated w i t h a scenic landscape i n w h i c h distant figures are ticularly eighteenth- and early nineteenth-century pieces from
Castelli—in ninteenth-century giltwood frames seems to have been a
occupied w i t h activities of country l i f e . 13

popular decorating scheme, reflecting stylistic predilections and serving

When the tabletop entered the M u s e u m i t was ac­ to display plaques and otherwise functional tableware as hanging ce­
companied by a giltwood base bearing a paper label i n ­ ramic paintings (see, for instance, Ravanelli Guidotti 1 9 9 2 , 3; Arbace
scribed Lord Warwick (fig. 3 9F), indicating that i t and its 1 9 9 3 , nos. 35-37/ 4 0 - 4 1 , 5^ 5 9 ~ 6 i / 6 6 , 7 ^ - 7 7 / 9^, 9 4 / 119, 123-25,

1 2 8 - 3 2 , 1 3 4 - 3 6 , 140, 1 4 7 - 5 1 , 153, 168, 1 8 4 - 8 9 , 1 9 7 - 2 2 7 , 2 3 5 - 4 0 , 257-

tabletop had come from Warwick Castle, Warwickshire.
65, 2 9 5 - 9 9 ; Bojani and Vossilla 1998, no. 10).
Physical analysis indicates this base started out as a gilt 15. I would like to thank Arlen Heginbotham for his help in analyzing the
frame of mahogany or similar dark, tropical wood, possi­ structure of the base.

bly made i n I t a l y , 14
that was used to hang the tabletop
against a w a l l (fig. 39G). The style of this framing ele­
ment and the fact that i t was produced w i t h the aid of a
banding saw indicate that i t was made sometime i n the
early nineteenth century. I t is possible that Lord War­
w i c k sent the framed piece of maiolica back to England
and subsequently decided to add the less expensive
poplar or pine legs i n order to use the ceramic as a table-
top (fig. 3 9 H ) . 15

Tabletop with Hunting Scenes 229

 40

Vase with Neptune and MARKS A N D INSCRIPTIONS ily, Rome, sold to E. de Unger, 1988; [Edmund
[.2] On one side, inscribed, Primo Esperimento
Vase with an Allegory of in Grande fatto li 15 Maggio 1769 Nella
de Unger, The Manor House, Surrey, England, sold
to the J. Paul Getty Museum, 1988].
Venice Privil[egiata] fabbrica di Geminiano Cozzi in
EXHIBITIONS
Canalregio; on the other side the Cozzi factory
Arte ceramica e vetraria, Museo Artistico-
mark, an anchor.
Factory of Geminiano Cozzi Industriale, Rome, 1889 (Gheltof 1889).
CONDITION
(active 1764-1812) BIBLIOGRAPHY
Several hairline cracks and two large firing cracks
Venice through the underside. A portion of the inscribed
Gheltof 1889, 151; Molfino 1976, 27; Stazzi 1982,
53; GettyMusJ 17 (1989): 146, no. 85; Battie 1990,
1769 mark underwent repair and has been overpainted.
102; Hess 1990B, 141-56; Summary Catalogue
Hybrid soft-paste porcelain PROVENANCE 1993, 213, no. 369; Museum Handbook 2001,
[.1] H: 30 cm (11 /i6 in.)
13
Centanini collection, Venice, by 1889; private col­ 266-67; Summary Catalogue 2001, no. 378.
Diam: 26.7 cm (10V2 in.) lection, Budapest, until the end of the 1930s and
then stored i n Switzerland during World War II;
[.2] H: 29.8 cm (n /4 in.) 3

recovered by the owners after World War II and

Diam: 27.3 cm (io /4 in.) 3
brought to Rome; by inheritance in the same fam­
88.DE.9.1-.2

THE BROAD, OVOID BODIES OF T H E S E VASES taper to

l o w rims that w o u l d have been surmounted by lids, now
lost, i n i m i t a t i o n of Eastern or Eastern-influenced forms
1

such as potiches 2
from China or baluster vases from the
German Meissen factory. That their forms are not the
most elegant is understandable, given the exigencies of
w o r k i n g i n the m e d i u m on such a large scale. Their 3

painted decoration, however, is executed w i t h a delicate

mastery. One vase displays the figure of Neptune holding
his trident and riding a throne pulled by dolphins. T w o
Nereids flank h i m , offering plates or baskets of riches.
Four p u t t i cavort above h i m , one of w h o m holds aloft
Neptune's drapery, w h i c h elegantly encircles the god's
crowned and bearded head. The other side is painted
w i t h a river t o w n landscape w i t h a clock tower and a
foreground scene of longshoremen at w o r k (fig. 4 0 A ) . A n
undulating rocaille border surrounds the r i m , w h i l e a
sawtooth pattern rings the base. Butterflies, delicate
4

bunches of fruit and flowers, and swags of rocaille ele­

ments fill i n the remainder of the surface (fig. 40B).
The allegorical figure of Venice ornaments the sec­
ond vase. She is shown w i t h her traditional attributes:
regal ermine cape and scepter, corno hat (worn by the
Venetian doge during public ceremonies), and recumbent 40A Alternate view of [.1 ].

l i o n . A male nude kneels below, facing her. Beside h i m

5

projects a staff resembling a trident or caduceus. These

OPPOSITE: 4 0 [.1]

230
 attributes refer to Neptune and Mercury, respectively,
and either god w o u l d have been an appropriate symbol
for "La Serenissima," given her location by the sea and
her mercantile activities. Above the figure of Venice,
four p u t t i support an elaborate cartouche w i t h an i n ­
scription that identifies the object as the "first large-
scale experiment executed M a y 15, 1769, i n the
privileged factory of Geminiano Cozzi i n Cannareggio"
(fig. 40E). A panorama of the Piazzetta di San Marco
w i t h foreground ships decorates the other side (fig. 4 0 D ) .
The piazzetta is viewed from the southwest across the
Grand Canal, roughly from the Isola d i San Giorgio.
Above, three p u t t i hold up a large anchor, the mark of the
Cozzi factory. The remainder is decorated i n a manner
similar to the Neptune vase.
A Modenese banker, Geminiano Cozzi first became
involved i n the business of ceramics as a partner of the
Hewelcke porcelain factory that was based i n Venice
from 1761 to 1763. After the factory moved back to its
native Dresden at the close of the Seven Years' War,
Cozzi founded his o w n factory i n Venice, located i n the
40B Alternate view of [.i].
Cannaregio parish of San Giobbe. Cozzi was a shrewd
businessman and i n the ensuing dozen years managed to
create a prosperous enterprise w i t h the support of the
Venetian Senate as w e l l as the board of trade (I cinque
savi alia mercanzia). Also fortunate was the factory's lo­
6

cation down river from sources of kaolin, the w h i t e clay

essential for producing hard-paste porcelain. By 1767 7

the factory included four porcelain kilns, forty-five em­

ployees, six apprentices, and a m i l l at Treviso. 8

The Cozzi factory turned out small-scale pieces such

as tea- and coffeepots, plates, cups, saucers, and figures,
as w e l l as the occasional large-scale tureen, w i n e cooler,
or vase. Compared w i t h other large-scale Cozzi porce­
9

lain, the form of the Getty vases appears less refined:

they are bottom-heavy, their walls are of uneven thick­
ness, their shoulders are rather l o w (creating a squat
appearance), and their undersides reveal significant fire-
cracks and chips (fig. 40F). Their inscription can be
trusted, therefore, since the vases are convincing as a
"first large-scale experiment" i n the newly discovered
porcelain material.
4 0 c Underside of [.1 ].

OPPOSITE: 4 0 [.2]

232 Two Vases

4-OD AUernate view of [.2].

234 Two Vases

4-OE Detail o f [.2].
The Cozzi artist or artists w h o painted these vases
drew upon contemporary p r i n t sources for their principal
scenes. The scene of the river t o w n conflates t w o prints
10
of similar subjects—one of a t o w n w i t h a clock tower,
the other w i t h longshoremen, ships, and distant ma­
rina—designed by Marco Ricci ( 1 6 7 6 - 1 7 2 9 ) and en­
graved by Giuliano Giampiccoli ( 1 7 0 3 - 1 7 5 9 ) , Ricci's
son-in-law, and published i n 1750 (figs. 40 G — H ) . 1 1
The
view of the Piazzetta di San Marco reproduces a p r i n t
by Francesco Z u c c h i ( 1 6 9 2 - 1 7 6 4 ) published i n 1740
(fig. 4 0 1 ) . 12
The ships i n the foreground of the Z u c c h i
p r i n t have been shifted, apparently to conform to the
shape of the vase, yet the distant v i e w of the piazzetta is
reproduced w i t h delicate precision. The figure of Venice
appears to derive from the figure i n a colophon of the
Venetian publisher Giovanni Battista A l b r i z z i ( 1 6 9 8 -
1777) (fig. 4OJ). 13
A source for the Neptune has yet to be
identified. God of the sea and personification of the A d r i ­
atic, he is shown triumphant, accompanied by the sea's
riches. Opposite h i m , an invented landscape, or capric-
cio, illustrates a typical and picturesque river t o w n of
the Veneto. Venice—personification of a republic whose
40F Underside o f [.2].
power was based on control of the A d r i a t i c — i s likewise
shown triumphant, accompanied by her attributes of
power and authority. Opposite her, the cityscape of the
Piazzetta di San Marco supplies a quintessential view, at
once scenographic and descriptive, of the political and
cultural heart of the Republic. The pairing of Venice and
Neptune—female and male, land and sea—was a com­
m o n theme i n Venetian cultural and political life,- i n ­
deed, the u l t i m a t e expression of Venetian state liturgy
was Venice's "marriage to the Sea." O n this yearly occa­
sion the doge w o u l d ride his ceremonial barge i n t o the la­
goon, and w i t h the words "We espouse thee, o sea, as a
sign of true and perpetual d o m i n i o n , " he w o u l d throw a
gold wedding ring i n t o the water. I n marrying the sea, ac­
cording to Venetian law, the "husband," or doge, repre­
senting the city of Venice w o u l d establish legitimate
rights over his " w i f e " the sea, represented by Neptune,
i n this way supporting the doge's claim to sovereignty
over trade routes. 14
A l t h o u g h this proposed political schema of the vases
celebrates the Veneto's urban and rural settings as w e l l as
the Republic's imperial and mercantile prerogatives,
Two Vases 235
 40G
Giuliano Giampiccoli (Italian,
1703-i759) and Giambattista
Tiepolo (Italian, 1696-1770)
after Marco Ricci (Italian, 1676-
1730). River Town with Clock
Tower, 1743-44. Engraving.
Venice, private collection.
Photo: Courtesy Foligraf s.n.c,
Mestre.

more than anything else i t honors the innovations and

talents of the factory that produced i t . The exaltation of
the Republic's beauty and d o m i n i o n becomes a backdrop
for their more obvious message: that the Venetian fac­
tory of Geminiano Cozzi, as early as 1769 and w i t h the
support of the Republic, could produce such large and
gloriously painted porcelain. As such, the vases m i g h t
have served as gifts given to the Venetian state i n grati­
tude. They m i g h t also have served as reminders of the
Republic's continued financial and legislative support
and been used as promotional display pieces for the
Cozzi establishment.

40H Giuliano Giampiccoli and Giambattista Tiepolo after Marco Ricci.
Marina with Longshoremen, 1743/44. Engraving. Photo: Courtesy
Foligraf s.n.c, Mestre.
Notes
1. When the Museum acquired these vases, they were accompanied by lids
that, because of differences i n paste and pigment as well as i n painting
quality, were determined to be modern replacements.
2. This French term refers to a type of handleless jar or vase w i t h a small
lid produced i n the Far East.
3. Indeed, below one vase is a sizable fire-crack (fig. 40F). This crack would
have resulted from imperfect drying or firing of the thick wall that was
made to sustain the form of the vases without having the malleable clay
collapse on itself.
4. While the geometric pattern appears to have been inspired by similar
designs on Vezzi porcelain of the 1720s, the rocaille decoration more
closely relates to scrollwork on other Cozzi pieces of the 1760s, reflect­
ing the current Rococo taste. Compare Lane 1954, figs. 11b, 12a; Molfino
1976, pis. 25, 35, 38-39, 52-66, 8o with Lane 1954, figs. i8a-c, 19a.
;

5. The winged lion, an apocalyptic beast, is associated with Saint Mark,

who came to personify the Venetian polity. According to legend, the
saint became fond of the city during an evangelizing trip through Italy.

236 Two Vases

401 Francesco Zucchi (Italian, 1692-1764). Prospetto della Piazza verso il
mare i n Giovanni Battista Albrizzi, Forestiere illuminate intorno le cose
piu rare . . . della citta di Venezia (Venice, 1740). Los Angeles, Getty
Research Institute, Special Collections, inv. 85-B4274.
Although he died in Egypt, his body was supposedly transferred from
Alexandria to Venice i n the early ninth century, and it was i n Saint
Mark's honor that the eponymous Venetian basilica was built (Cham­
bers 1970, 16-17; Zorzi 1983, 243). For the allegorical representation of
Venice see, for example, Muir 1981, 229-30, 239, 295.
6. For more information on the factory see Hess 1990A, 141-56.
7. Kaolin—a silicate of aluminum that, when combined with feldspathic
rock, fuses into a glassy matrix when fired i n a kiln—was found in the
Vicenza hills near Venice. The director of the Sevres manufactory,
Alexandre Brongniart (1770-1847), first classified the Cozzi product as a
"hybrid soft-paste porcelain" because it was fired at lower temperatures
than German or French hard-paste wares but, nevertheless, contained
kaolin. The Cozzi factory also produced maiolica (see Gobbi and Alpi
2001, 28-47).
8. A report documenting these figures was sent by arts inspector Gabrielle
Marcello to the board of trade (cited i n Molfino 1976, 26-27; Stazzi
1982, 47, with an erroneous date).
9. See, for example, Morazzoni i960, 1: figs. 46b, 51, 58, 61a, 68a-c, 69a-
b, 70-71, 72a-b, 73a-c, 74-75, pi. 6.
10. Easily, more than one painter could have contributed to the decoration
of these works. In a painters' guidebook Roger de Piles (1772, 95) explains
that for porcelain painting, "The work . . . is distributed among a large
number of craftsmen in the same workshop: one would be responsible
40J Colophon to Giovanni Battista Albrizzi, Componimenti poetici per
1'ingresso solenne alia dignita di proccuratore di S. Marco per merito di
Sua Eccellenza il Signor Lodovico Manin (Venice, 1764). Engraving. Los
Angeles, Getty Research Institute, Special Collections, inv. 85-B20471.
for painting the colored circle around the r i m of a piece of porcelain, an­
other would draw the flowers that yet a third would paint; some would
paint nothing but water and mountains, others nothing but birds and
other animals, and yet others would execute human figures."
11. From the model book for artists Raccolta di paesetti intagliati in rame,
published by Albrizzi in 1750.
12. The Zucchi print is entitled Prospetto della piazza verso il mare i n
G. B. Albrizzi's edition Forestiere illuminato intorno le cose piu rare,
e curiose, antiche, e moderne della citta di Venezia (Venice, 1740) (fig.
401); it ostensibly copies a print designed and executed by Luca Carl-
evarijs (1663-1730)—Veduta della Piazza S. Marco verso l'horologio—
published i n G. B. Finazzi's edition Le fabriche e vedute di Venetia
(Venice, 1603).
13. Found, for example, at the end of Componimenti poetici per 1'ingresso
solenne alia dignita di proccuratore di S. Marco per merito di Sua Ecce-
lenza il Signore Locovico Manin (Venice, 1764) (fig. 407).
14. Pope Alexander clearly defines this relationship when he says, while
giving Doge Ziani the ritualistic ring, "Take this [ring] . . . so that pos­
terity knows . . . that the sea was placed under your dominion, as a wife
is to a husband" (Francesco Sansovino, Venetia [Venice, 1663], 501; as
cited i n Muir 1981, 124, n. 53). It is not surprising, therefore, that the
term for "the sea" in Venetian dialect changes the masculine and Latin-
derived il mare into the feminine la mar.
Two Vases 237
 41

Saint Joseph with the visible primarily on the interior surface. Hairline PROVENANCE

cracks evident on the exterior are found: across Possibly i n the William Charlesworth Collection,
Christ Child Joseph's left ankle,- sloping diagonally downward Naples (sold, Galleria Sangiorgi, Rome, Janu­
from left to right across the lower part of Joseph's ary 29-February 3, 1901, lot 631 ); Bauza collec­
2

After a m o d e l by Giuseppe Sanmartin o yellow cloak near his right ankle and continuing
across the ankle; across the upper left thigh of the
(1720-1793)
Christ Child; and under the left arm of the Christ
Probably modeled by Gennaro Laudat o Child, beginning at the front and continuing
(active 1790s) around to the back of his upper chest. There are
Naples some minor losses of glaze near these cracks as
well as small chips in several places, for example,
1790s
tion, Madrid, by 1953, and by descent in the same
family, sold to Same Art Ltd.; [Same Art Ltd.,
Zurich, 1990, sold to the J. Paul Getty Museum,
1991].
EXHIBITIONS
Possibly shown at Esposizione nazionale di belle
arti, Naples, 1877. 3

at the tip of the second toe of Christ's right foot,

Polychrome terraglia (white-bodied, the back of Joseph's left hand, and along the edges BIBLIOGRAPHY

glazed earthenware)
H : 53.8 c m J2i /8 in.)
3
1
of Joseph's cloak. Several minor chips occur along Olivar 1953, 2: 109, 340, fig. 241; Martinez Caviro
the base of the piece. 1973, 20; Fittipaldi 1986, 2: 654-55, 699-700; Re­

The piece is open at the back (fig. 41c), where port 1991-92, 15; Catherine Hess in J. Paul Getty
91.SE.74
the paste was scooped out to ensure safe drying Museum Calendar (summer 1992): cover, i Getty - }

and firing; paste was removed from underneath
MARKS A N D INSCRIPTIONS the base for the same reason. Close examination
None. of the areas where the piece has been chipped (i.e.,
Joseph's left hand and an area of his cloak on his
CONDITION
proper left side) shows that the clay is covered
There are no losses, breaks, or old repairs in the
with a white lead glaze over which colored glazes
piece. There are some firing cracks, which are
were applied.
MusJ 20 (1992): 179, no. 78; Donatone 1993B, 40;
Donatone 1996, 32-33, 42, fig. 4; Donatone 1997,
49; Fusco 1997, 45; Masterpieces 1997, 91;
Museum Handbook 1997, 263; Summary
Catalogue 2001, no. 380; Fogelman and Fusco
2002, no. 42.

THE PIECE REPRESENTS T H E S T A N D I N G S A I N T JOSEPH T h e piece was f i r s t p u b l i s h e d i n 1953 b y M a r c a l

w i t h t h e C h r i s t C h i l d . T h e c o m p o s i t i o n of t h e g r o u p c o n ­ O l i v a r D a y d i as a p r o d u c t of t h e B u e n R e t i r o porce­
veys a sense of i n t i m a c y b e t w e e n the t w o figures. lain factory i n Madrid, w i t h a tentative a t t r i b u t i o n to
Joseph e m b r a c e s a n d s u p p o r t s t h e c h i l d w i t h h i s left G i u s e p p e G r i c c i a n d a date of ca. 1 7 6 5 . 5
This identi­
hand, h o l d i n g Christ's r i g h t foot i n his r i g h t hand. T h e f i c a t i o n was accepted b y B a l b i n a M a r t i n e z C a v i r o i n
i n f a n t Jesus reaches a r o u n d Joseph's b a c k a n d p o i n t s 1 9 7 3 . I n 1986 T e o d o r o F i t t i p a l d i n o t e d t h a t Saint
6
Joseph
t o w a r d h i m w i t h h i s left h a n d . B o t h figures l o o k d o w n ­ with the Christ Child w a s a c e r a m i c v e r s i o n of a m o n u ­
w a r d as i f t o engage a spectator b e l o w t h e m . S a i n t Joseph, m e n t a l m a r b l e s c u l p t u r e of 1 7 9 0 - 9 2 of t h e same subject
dressed i n a p u r p l e u n d e r g a r m e n t a n d a b r i g h t y e l l o w b y G i u s e p p e S a n m a r t i n o i n T a r a n t o c a t h e d r a l (fig. 41E)
c l o a k , stands f i r m l y o n h i s r i g h t leg, w i t h h i s l e f t f o o t a n d for t h i s reason c o u l d n o t have b e e n a p r o d u c t of t h e
s u p p o r t e d o n a s m a l l , c o l o r f u l , r o c k y ledge. T h e n u d e B u e n R e t i r o f a c t o r y d a t e d t o t h e 1760s. 7
F i t t i p a l d i also
C h r i s t C h i l d sits o n a b u r g u n d y r e d p i l l o w w i t h a y e l l o w n o t e d t h a t the G e t t y ceramic was closely related to a
tassel, p l a c e d a t o p a p e d e s t a l c o m p o s e d of b r i l l i a n t l y p i g ­ p o l y c h r o m e terra-cotta M a d o n n a and C h i l d signed b y
mented, r o c k y forms. T h e artist achieved remarkable G e n n a r o L a u d a t o (active 1790s) a n d d a t e d 1 7 9 1 , p o i n t i n g
v e r i s i m i l i t u d e i n t h e flesh t o n e s of t h e figures: buff p i n k out that both objects depended upon Sanmartino's
d a r k e n s t o r o s y orange i n t h e areas of t h e flesh t h a t are Taranto sculpture. 8
T h i s was t h e f i r s t step b o t h i n t h e
m o r e d e e p l y m o d e l e d a n d t o r e d i n t h e l i p s of b o t h proposed a t t r i b u t i o n to Laudato of t h e Getty Saint
f i g u r e s . A l l t h e c o l o r s u s e d i n t h e figures, drapery, a n d
4
Joseph a n d i n t h e i d e n t i f i c a t i o n of w o r k s b y t h i s o t h e r ­
c u s h i o n appear i n b r i g h t , s a t u r a t e d , p a t c h y areas i n t h e wise undocumented Neapolitan artist. G u i d o Donatone,
r o c k y f o r m a t i o n s of t h e base a n d s u p p o r t f o r t h e i n f a n t Je­ f o l l o w i n g Fittipaldi's argument, presented the ceramic i n
sus,- i n a d d i t i o n , a b r i g h t copper green is i n c l u d e d a m o n g p u b l i c a t i o n s i n 1991 a n d 1993 as t h e w o r k of L a u d a t o ,
these b r i l l i a n t c o l o r s . T h e f a n t a s t i c s u g g e s t i o n of l a n d ­ gathering together several pieces that either bear
scape is u n i f i e d b y t h e a p p l i c a t i o n of b r o w n p i g m e n t s .

238
 4 1 A Alternate view.

240 Saint Joseph with the Christ Child

4 1 B Alternate view. 4 1 c Alternate view.

4 I D Base.

Saint Joseph with the Christ Child 241

4I E Giuseppe Sanmartino. Saint Joseph with the Christ Child, 1790-92. 4IF Gennaro Laudato. Madonna and Child with Saint John the Baptist,
Marble. Taranto, cathedral, Chapel of San Cataldo. 1794. Terraglia. H : 34.6 cm (13 Ys in.). London, British Museum.
Photo: © The British Museum.

2^.2 Saint Joseph with the Christ Child

Laudato's s i g n a t u r e or c a n be g r o u p e d s t y l i s t i c a l l y w i t h the H o l y Family. H i s i n t i m a t e relationship w i t h Christ
t h e s i g n e d w o r k s . D o n a t o n e also asserted t h a t t h e G e t t y
9
was seen as a s i g n of h i s h o l i n e s s , a n d Joseph c a m e t o be
S a i n t Joseph was p r o d u c e d i n t h e R e a l Fabbrica, N a p l e s , seen as a p r o t e c t o r of t h e f a i t h f u l as he h a d been p r o t e c ­
a n d c o u l d be i d e n t i f i e d w i t h a c e r a m i c g r o u p represent­ t o r of Jesus. T h e G e t t y c e r a m i c stresses Joseph's h a n d ­
i n g S a i n t Joseph w i t h t h e C h r i s t C h i l d once i n t h e s o m e v i g o r , as S a n m a r t i n o d i d i n h i s T a r a n t o s c u l p t u r e .
Charlesworth collection, Naples, exhibited in the T h e r e t h e i m a g e c o n v e y e d t h e idea t h a t Joseph w o u l d act
Esposizione Nazionale di Belle Arti held i n Naples i n as p r o t e c t o r of h i s n a m e s a k e , A r c h b i s h o p Giuseppe
1877, a n d s o l d i n R o m e i n 1 9 0 1 . 1 0
Recently he proposed C a p e c e l a t r o , a n d t h a t t h e s a i n t and, i n t u r n , t h e a r c h ­
a date for t h e piece after 1 7 9 4 . 11
b i s h o p w o u l d act as p r o t e c t o r s of Taranto's faithful.
D o n a t o n e , w h o is c u r r e n t l y r e c o n s t r u c t i n g Laudato's G i v e n t h e p e r s o n a l resonance of t h e T a r a n t o c o m m i s ­
oeuvre, sees h i m as a s c u l p t o r a n d c e r a m i s t w o r k i n g i n s i o n , one m i g h t c o n s i d e r t h e p o s s i b i l i t y t h a t C a p e c e l a t r o
t h e c i r c l e of S a n m a r t i n o . 1 2
H i s conclusions derive f r o m also c o m m i s s i o n e d t h e c e r a m i c piece as a p r i v a t e r e c o r d
s t y l i s t i c a n a l y s i s of L a u d a t o r s i g n e d works,- t h e G e t t y of t h e m a r b l e s c u l p t u r e . 1 8

group's dependence o n a s t a t u e b y Sanmartino,- a n d t h e T h e c e r a m i c v e r s i o n differs f r o m t h e m a r b l e (and

fact t h a t a n o t h e r piece i n t e r r a g l i a s i g n e d b y L a u d a t o is p r e s u m a b l y f r o m t h e m o d e l for t h e statue) i n w a y s t h a t
based o n a d r a w i n g b y S a n m a r t i n o for a s i l v e r g r o u p of i n d i c a t e t h a t i t was r e w o r k e d s p e c i f i c a l l y for p r o d u c t i o n
Tobias a n d t h e A n g e l (executed b y t h e silversmiths i n the n e w m e d i u m , t a k i n g into account the possibilities
Giuseppe and Gennaro D e l G i u d i c e and completed i n offered b y p o l y c h r o m y , t h e l i g h t e r m a t e r i a l , s m a l l e r
1797, after S a n m a r t i n o ' s death), i n t h e c h a p e l of t h e scale, a n d p r i v a t e f u n c t i o n of t h e g r o u p as a d e v o t i o n a l
T r e a s u r y of San G e n n a r o i n Naples. 1 3
T h e terraglia object. For e x a m p l e , t h e figure of C h r i s t is b r o u g h t closer
M a d o n n a a n d C h i l d w i t h S a i n t John t h e B a p t i s t , s i g n e d t o Joseph, h i s r i g h t l e g b e n t s h a r p l y a n d h i s l e f t f o o t
and dated 1794 b y L a u d a t o i n t h e B r i t i s h Museum h a n g i n g free, w h e r e a s i n t h e h e a v i e r m a r b l e he presses
(fig. 4 I F ) , also derives f r o m S a n m a r t i n o ' s T a r a n t o S a i n t his left foot i n t o the r o c k y support w h i l e f u l l y extending
Joseph, p r o b a b l y k n o w n t o L a u d a t o f r o m a t e r r a - c o t t a h i s r i g h t leg. A b o v e a l l , t h e p o l y c h r o m y enhances t h a t
model by the master. 14
c o m p o s i t i o n , t h e f a n t a s t i c c o l o r s a c t i n g as a f o i l for t h e
I n 1790 t h e a r c h b i s h o p of T a r a n t o , t h e N e a p o l i t a n f l e s h tones. T h e fine m o d e l i n g of t h e f o r m s a n d t h e cre­
noble Giuseppe Capecelatro, c o m m i s s i o n e d the marble a t i v e r e w o r k i n g of t h e m o d e l , i n t e c h n i c a l a n d expressive
s t a t u e of S a i n t Joseph (fig. 4 1 E ) f r o m S a n m a r t i n o for h i s t e r m s , encourage seeing t h e piece as a n independent
seat at T a r a n t o c a t h e d r a l . 15
S a n m a r t i n o p r o d u c e d a terra­ w o r k of s c u l p t u r e i n i t s o w n r i g h t . 1 9
Perhaps S a n m a r t i n o
c o t t a m o d e l for t h e s c u l p t u r e , w h i c h w a s seen a n d p l a y e d a d i r e c t r o l e i n i t s c r e a t i o n , b u t s u r e l y i t was
a p p r o v e d b y C a p e c e l a t r o before N o v e m b e r 1 7 9 0 . 16
Thus L a u d a t o w h o f u l l y u n d e r s t o o d a n d e x p l o i t e d t h e possi­
L a u d a t o c o u l d have k n o w n t h e S a n m a r t i n o m o d e l as b i l i t i e s of t h e c e r a m i c m e d i u m .
e a r l y as 1790 a n d c e r t a i n l y k n e w i t b y 1 7 9 1 , t h e date of WITH MARIETTA CAMBARERI

h i s t e r r a - c o t t a M a d o n n a a n d C h i l d , w h i c h is c l e a r l y
based o n t h e T a r a n t o c o m p o s i t i o n . T h i s also p r o v i d e s a
l i k e l y t e r m i n u s p o s t q u e r n for t h e G e t t y S a i n t Joseph.
T h e G e t t y piece e m p l o y s a f o r m u l a t y p i c a l for i m ­
ages of t h e s t a n d i n g M a d o n n a a n d C h i l d b u t s u b s t i t u t e s
S a i n t Joseph for t h e V i r g i n . T h i s m a n n e r of p r e s e n t i n g
S a i n t Joseph b e c a m e p o p u l a r i n t h e s e v e n t e e n t h c e n t u r y
a n d is a clear i n d i c a t i o n of t h e d e v e l o p m e n t of t h e c u l t of
the saint. 17
Joseph w a s r e v e r e d for h i s p r i v i l e g e d r o l e as
h u s b a n d of M a r y , stepfather of C h r i s t , a n d p r o t e c t o r of

Saint Joseph with the Christ Child 243

 Notes
1. The piece has not yet been scientifically analyzed to determine the
material, so this identification remains tentative. Visual analysis sug­
gests that the piece is made of terraglia, the Italian version of white-
bodied, glazed earthenware made famous by Josiah Wedgwood i n the
later eighteenth century and known i n England as creamware to de­
scribe its creamy white color. In late eighteenth-century Naples the
medium was called "creta alFuso inglese" (earthenware i n the English
manner). Later called terraglia, this ceramic material was covered with
white or transparent lead glaze and sometimes, as in the case of the
Getty piece, polychromy. The medium was developed in the second half
of the eighteenth century as an alternative to hard- and soft-paste porce­
lain. It was less expensive and less difficult to work and could achieve
the whiteness valued i n porcelain, although it does not have the same
quality of translucency. For terraglia, see Morazzoni 1956; Borrelli 1985,
30-44; Carola Perrotti 1986, 586-87; Biavati 1988, 100-120; Donatone
1991; Fittipaldi 1992, 202-7.
2. See note 10 below for Donatone's theory about the Charlesworth
provenance.
3. See note 12 below for this theory.
4. The ability to achieve verisimilitude in polychromy was noted in the
nineteenth century as a characteristic of terraglia; see Donatone 1991,
12, citing Giuseppe Novi, a nineteenth-century historian of Neapolita n
ceramics.
5. Olivar 1953, 2: 109, 340, fig. 241. At this time the piece was i n the
Bauza collection, Madrid.
6. Martinez Caviro 1973, 20.
7. Sanmartino's sculpture decorates a niche in the vestibule of the Chapel
of San Cataldo i n Taranto cathedral, where it is paired with another
marble sculpture by Sanmartino, representing San Giovanni Gualberto
(1788-90). For the S. Giovanni Gualberto, see Carducci 1975, 135-58;
Marciano and Pasculli 1985.
8. Fittipaldi 1986, 2: 603-707, esp. 651-57 n. 66. The Madonna and Chil d
by Laudato is illustrated i n Borrelli 1970, 118, fig. 214; he locates it in
the Hermanin collection, Rome; it is also illustrated in Donatone 1991,
fig. 3. Fittipaldi (1992, no. 464) notes that the Madonna and Child is
dated 1791; this is important because it demonstrates that Laudato
knew Sanmartino's model for the Taranto figure by that date and so may
have worked directly w i t h the master, who died i n 1793.
9. Donatone 1991, 43, fig. 4; Donatone 1993B, 39-46.
10. A group representing Saint Joseph and the Christ Child shown i n the
Esposizione nazionale di belle arti in Naples in 1877 was described in
the catalogue (394) as a "gruppo in porcellana i n colori. Epoca IV.
Porterebbe la marca N coronata." Donatone (1991, 43) associated this
citation w i t h the Getty Saint Joseph, which he had seen only in a photo­
graph. Because the piece does not have the mark of the crowned N ,
doubt must be cast on it being the piece exhibited i n Naples i n 1877.
Donatone also asserts that a group described as "S. Giuseppe a Bam­
bino" [sic] offered at the 1901 sale at the Galleria Sangiorgi i n Rome of
the Charlesworth collection, and listed as no. 631, a "groupe en faience
coloriee vieux Naples," is the Getty group, providing a possible prove­
nance for i t i n a famous Neapolitan collection.
11. Donatone 1997, 9.
12. See, especially, Donatone 1993B and Donatone 1996, 31-43. For San­
martino, see Borrelli 1966; Fittipaldi 1980, 136-94; Catello 1988, with
additional bibliography,- Ferrari 1996, 27: 756-57.
244 Saint Joseph with the Christ Child
13. For the silver group, see Catello and Catello 1978, 49-51; Catello 1988,
97-98, fig. 132; Catello and Catello 1979, 2: 227, no. 484, and 218,
fig. XIV; Catello 1987, 23, 38, 74. The ceramic version (private collec­
tion), signed by Laudato, is illustrated i n Donatone 1993B, 44-45,
figs. 1-2.
14. "Selected Acquisitions, Sep ember-November 1987," British Museum
Society Bulletin, no. 57 (spring 1988): 30.
15. For Capecelatro, see Dizionario biografico 1975, 18: 136-94, w i t h bibli­
ography; Croce [1927] 1943, 159-82. For Sanmartino's sculpture of Saint
Joseph w i t h the Christ Child in the Cappellone di San Cataldo in
Taranto cathedral, see Carducci 1975; Marciano and Pasculli 1985, 103-
5. According to the terms of the contract, Sanmartino was to finish the
marble statue by April 1792; see Marciano and Pasculli 1985, 158,
doc. 20. No documents are known that relate to the execution, trans­
port, or installation of the statue, but we may assume that it was com­
plete or nearly so by Sanmartino's death i n 1793. Certainly it was
in place before 1799, when Capecelatro was removed from his arch­
bishopric in the aftermath of a short-lived revolt against the Bour­
bon monarchy.
16. See Marciano and Pasculli Ferrara 1985, 158-60, for the documents re­
lated to the commission, execution, and approval of Sanmartino's terra­
cotta model (e.g., 158, doc. 20, dated November 25, 1790: "E risapendosi
che i l piu celebre scutore di marmi in oggi sia i l detto signor Sanmartino
molto rinomato per le sue opere statuarie i n marmi a cui avendo
l'anzidetto monsignor Arcivescovo [Capecelatro] fatta la richiesta per
costituzione della suddetta statua con suo piedistallo ed iscrizzione i l
medesimo si e offerto eseguirle talche avendone a richiesta dello stesso
monsignor Arcivescovo formato i n creta ed avendoglielo rimesso i n
Taranto dal medesimo e stato approvato i n tutte le sue parti").
17. U n t i l the later fifteenth century Saint Joseph rarely appeared as the
principal subject of images. He was generally depicted i n narrative
scenes from the life of Mary (the Marriage of the Virgin) or the infancy
of Christ (the Nativity) and then generally as a doddering old man. In
the sixteenth and especially the seventeenth centuries he came to be
represented as a strong young man capable of protecting Christ and the
Virgin. Beauty, a sign of grace, became one of his features. See Male
1932, 313-25. See also Filas 1962, esp. 544-75.
18. Capecelatro was also directly involved i n the commission for the other
statue, the San Giovanni Gualberto by Sanmartino i n the Chapel of
San Cataldo, Taranto cathedral: he suggested the sculptor to the patron,
negotiated the terms of the contract, and, most interesting, kept
Sanmartino's terra-cotta model for himself; see Carducci 1975, 154-55,
esp. 155, doc. 2, a letter from Capecelatro in Naples to the patron in
Taranto, dated January 26, 1788: "Ho ricevuto la procura e si e con-
venuto che debba i l Signor S. Martino mandare a voi i l disegno della
statua di S. Giovanni e lasciarne anche un modello i n poter mio."
19. For recent tendencies toward considering ceramic figures and groups as
works of sculpture and the evaluation of ceramic artists alongside con­
temporary sculptors in marble, bronze, wood, and terra-cotta, see
Gonzalez-Palacios 1988; this issue is emphasized i n Nicholas Penny's
review of the book i n Burlington Magazine 132 (December 1990): 880-
81. See also Schmidt 1932, esp. 186-291, and, more recently, Le
Corbeiller 1988B, 22-28; Poole 1986; Tabakoff 1992, 12-20.
 LITERATURE CITED

AGRICOLA 1556 BALLARDINI 1916

Agricola, Georg. De re metallica. Basel. Ballardini, Gaetano. "L'arte della m a i o l i c a i n Faenza: Suoi ordina-
A l N A U D DE LASARTE I 95 2
m e n t i e sue relazioni c o i p o t e r i p u b b l i c i . " Faenza 4 : fasc. 1 , i - i o ;

fasc. 2 , 5 0 - 5 6 ; fasc. 3 , 6 5 - 7 0 ; fasc. 4 , 9 7 - 1 0 4 .

A i n a u d de Lasarte, Juan. Ars hispaniae: Histoha universal del arte
hispanico. Vol. 1 0 . Madrid. BALLARDINI 1922A

A I N A U D DE LASARTE 1955
Ballardini, Gaetano. " M a i o l i c a r i f a e n t i n i e u r b i n a t i a Firenze."
A i n a u d de Lasarte, Juan. Jaime Huguet. Madrid. Faenza 1 0 , nos. 3 - 4 : 1 4 4 - 4 7 .

BALLARDINI 1922B
ALCIATI 1621
A l c i a t i , Andrea. Emblemata. Padua. Ballardini, Gaetano. " ' O b r a de M a l i c a ' e ceramiche do Granada."
Faenza 1 0 , nos. 3 - 4 : 5 7 - 7 5 .
ALINARI 1990
BALLARDINI 1929
A l i n a r i , Alessandro. "Cafaggiolo i n M u g e l l o : U n a bottega f u o r i con-
Ballardini, Gaetano. " A l c u n i aspetti della m a i o l i c a faentina nella
testo." Ceramica toscana dal medioevo alXVIII secolo, 1 3 4 - 3 5 .
seconda m e t a del cinquecento." Faenza 1 7 , nos. 3 - 4 : 8 6 - 1 0 2 .
Edited by G i a n Carlo Bojani,. Exh. cat., June 2 - A u g u s t 2 6 , 1 9 9 0 .
M o n t e San Savino. BALLARDINI 1933
Ballardini, Gaetano. Le maioliche datate fine al 1530. V o l . 1 of Cor­
A L I N A R I A N D BERTI 1991
pus della maiolica italiana. Rome.
A l i n a r i , Alessandro, and Fausto Berti. "Zaffera fiorentina per lo
speziale e la mensa." I n C o n t i et al. 1 9 9 1 , 2 5 - 9 4 . BALLARDINI 1934

Ballardini, Gaetano. Le maioliche della collezione Ducrot. Milan.

ALINARI AND SPALLANZANI 1997
A l i n a r i , Alessandro, and M a r c o Spallanzani. Maioliche al Bargello: BALLARDINI 1938
Donazione Pillitteri. Exh. cat., Museo Nazionale del Bargello, 1 9 9 7 - Ballardini, Gaetano. Le maioliche datata dal 1531-1535. V o l . 2 of
9 8 . Florence. Corpus della maiolica italiana. Rome.
ALVERA BORTOLOTTO 1980 BALLARDINI 1940
A l v e r a B o r t o l o t t o , Angelica. " D u e p i t t o r i m a i o l i c a r i nella Venezia Ballardini, Gaetano. " A l c u n e marche d i Ca' Pirota." Faenza 28:6 6 -
del cinquecento." Arte veneta 3 4 : 1 5 4 - 5 8 . 72.

ALVERA BORTOLOTTO 1981 BALLARDINI 1975

A l v e r a B o r t o l o t t o , Angelica. Storia della ceramica a Venezia: Dagli Ballardini, Gaetano. Le maiolica italiana. Faenza.
albori alia fine della Repubblica. Florence.
BARBER 1915
ALVERA BORTOLOTTO 1983 Barber, E d w i n A t l e e . Hispano-Moresque Pottery in the Collection
A l v e r a B o r t o l o t t o , Angelica. " A proposito dei p i a t t i veneziani con of the Hispanic Society of America. N e w York.
decoro 'alia p o r c e l l a n a / " Faenza 6 9 , nos. 3 - 4 : 3 1 0 - 1 2 .
BARGELLO 1987
ALVERA BORTOLOTTO 1988 M u s e o Nazionale del Bargello. Maioliche marcate di Cafaggiolo.
A l v e r a B o r t o l o t t o , Angelica. La maiolica a Venezia nel Rinasci- Florence.
mento. Bergamo. BARGELLO 1989

ARBACE 1993 Museo Nazionale del Bargello. Bronzetti dal XV al XVII secolo:
Arbace, Luciana. Maioliche di Castelli: La raccolta Acerbo. Ferrara. Nuovo allestimento. Florence.
ARBACE 1996 BASSETT A N D F O G E L M A N 1997
Arbace, Luciana. La maiolica italiana: Museo della Ceramica Duca Bassett, Jane, and Peggy Fogelman. Looking at European Sculpture:
di Martina. Naples. A Guide to Technical Terms. Los Angeles.
ARGNANI1898 B A T I N I ET A L . 1 9 8 6
A r g n a n i , Federigo. II Rinascimento delle ceramiche maiolicate in B a t i n i , Georgia, et al. Omaggio a Deruta. Exh. cat., M o n t e San
Faenza. 2 vols. Faenza. Savino, M a y 2 4 - J u l y 2 2 , 1 9 8 6 . Perugia.
AUSENDA 2000 BATTIE 1990
Ausenda, Raffaella, ed. Museo dArti Applicate: Ceramiche. Milan. Battie, D a v i d . Sotheby's Concise Encyclopedia of Porcelain.
London.
BACOU 1968
Bacou, Roseline. Great Drawings of the Louvre Museum: The Ital­ BEAULIEU 1978
ian Drawings. N e w York. Beaulieu, M i c h e l e . Description raisonnee des sculptures de la Re­
naissance francaise. V o l . 2 of Musee du Louvre: Description raison­
BAER 1983
nee des sculptures du moyen age, de la Renaissance, et des temps
Baer, Eva. Metalwork in Medieval Islamic Art. Albany.
modernes. Paris.
BALDASSARE A N D B R U N O 198I
BELLINI AND CONTI 1964
Baldassare, Ernesto, and Renato Bruno. Schedario degli uomini il-
B e l l i n i , M a r i o , and G i o v a n n i C o n t i . Maioliche italiane del Rinasci­
lustri in Savona. Savona.
mento. M i l a n .
BALDINI 1966
Baldini, U m b e r t o . Luca Signorelli. Milan.

245
BELLUCCI A N D TORRITI I99I BODE 1898
Bellucci, Gualtiero, and Pietro T o r r i t i . Il Santa Maria della Scala in Bode, W i l h e l m v o n . " A l t f l o r e n t i n e r M a j o l i k e n . " fahrbuch der
Siena: L'ospedale dai mille anni. Genoa. koniglich preuzsischen Kunstsammlungen 19: 2 0 6 - 1 7 .

BENEZIT 1 9 5 I BODE 1911

Benezit, E m m a n u e l . Dictionnaire critique et documentaire des Bode, W i l h e l m v o n . Die Anfange der Majolikakunst in Toskana.
peintres, sculpteurs . . . frangais et etrangers. V o l . 2 . Paris. Berlin.
BERARDI 1984 BOHN 1857
Berardi, Paride. L'antica maiolica di Pesaro de XIV al XVII secolo. Bohn, H e n r y George. A Guide to the Knowledge of Pottery,
Florence. Porcelain, and Other Objects of Vertu: Comprising an Illustrated
Catalogue of the Bernal Collection. London.
BERENDSEN 1967
Berendsen, A n n e . Tiles: A General History. Translated by Janet BOJANI 1988
Seligman. L o n d o n . Bojani, G i a n Carlo. Ceramiche nelle Marche. Bergamo.
BERLIN 1899 BOJANI 1990
Ausstellung von Kunstwerken des Mittelalters und der Renaissance Bojani, G i a n Carlo, ed. Ceramica toscana dal medioevo al XVIII se­
aus Berliner Privatbesitz. Exh. cat., Kunstgeschichtliche colo. Exh. cat, I l Cassero, June 2 - A u g u s t 2 6 , 1 9 9 0 . M o n t e San
Gesellschaft, M a y 2 0 - J u l y 3 , 1 8 9 8 . B e r l i n . Savino.

BERNARDI 1980 BOJANI 1992

Bernardi, Carla. Immagini architettoniche nella maiolica italiana Bojani, G i a n Carlo. Ceramica fra Marche e Umbria dal medioevo al
del cinquecento. Exh. cat., Bassano, Palazzo S t u r m , M a y 3 1 - Rinascimento. Fabriano.
November 5, 1 9 8 0 . M i l a n .
BOJANI A N D VOSSILLA 1998
BERTI1997 Bojani, G i a n Carlo, and Francesco Vossilla. Capolavori di maiolica
Berti, Fausto. Le ceramiche da mensa dalle origini alia fine del della collezione Strozzi Sacrati. Exh. cat., M u s e o Internazionale
XV secolo. V o l . 1 of Storia della ceramica di Montelupo: Uomini e delle Ceramiche d i Faenza, M a y 3 - O c t o b e r 4 , 1 9 9 8 . Florence.
fornaci in un centro di produzione dal XIV al XVIII secolo. M o n ­
BOJANI, RAVANELLI G U I D O T T I , A N D FANFANI 1985
telupo F i o r e n t i n o .
Bojani, G i a n Carlo, C a r m e n Ravanelli G u i d o t t i , and A n g i o l o Fan­
BERTI1998 fani. La donazione Galeazzo Cora: Ceramiche dal medioevo al XIX
Berti, Fausto. Le ceramiche da mensa dal 1480 alia fine del XVIII secolo., Museo Internazionale delle Ceramiche d i Faenza. M i l a n .
secolo. V o l . 2 of Storia della ceramica di Montelupo: Uomini e for­
BOLOGNESI 1955
naci in un centro di produzione dal XIV al XVIII secolo. M o n t e l u p o
Bolognesi, G i o v a n n i . " D i a l c u n i m a i o l i c h e nella collezione
Fiorentino.
G i o v a n n i Bolognesi." Faenza 4 1 , nos. 1 - 2 : 8 - 1 1 no. 5 : 1 0 7 - 8 .
;

BERTI 1999
BORGARUCCI1567
Berti, Fausto. Le ceramiche da farmacia, pavimenti maiolicati, e
produzioni "minori." V o l . 3 of Storia della ceramica di Montelupo: Borgarucci, Prospero. Della fabrica de gli spetiali. Venice.
Uomini e fornaci in un centro di produzione dal XIV al XVIII sec­ BORRELLI 1966

olo. M o n t e l u p o F i o r e n t i n o . Borrelli, Gennaro. Sanmartino: Scultore per il presepe napoletano.

Naples.
BERTI A N D T O N G I O R G I 1981
Berti, Graziella, and Liana Tongiorgi. / bacini ceramici medievali BORRELLI 1970

delle chiese di Pisa. Rome. Borrelli, Gennaro. Il presepe napoletano. Naples.

BETTINI 1991 BORRELLI 1985

B e t t i n i , Alessandro. "Le m a i o l i c h e della discordia." CeramicAntica Borrelli, Gennaro. " I n e d i t i e r i v a l u t a z i o n i della ceramica D e l
(February): 1 2 - 1 8 . Vecchia." Napoli nobilissima 2 4 , nos. 1 - 2 : 3 0 - 4 4 .

BETTINI 1997 BOSSERT 1928-35

B e t t i n i , Alessandro. " L a ceramica a Pesaro tra i l X I V e i l X V I I se­ Bossert, H e l m u t h . Geschichte des Kunstgewerbes aller Zeiten und
colo." I n Fatti di ceramica nelle Marche dal trecento al novecento, Volker. 6 vols. B e r l i n .
3 1 - 9 5 . Edited by G i a n Carlo Bojani. M i l a n . BOUCHER 1991

BlAVATI I988 Boucher, Bruce. The Sculpture of Jacopo Sansovino. 2 vols.

Biavati, Eros. " L a terraglia i t a l i a n a all'uso d ' I n g h i l t e r r a . " Faenza 7 4 , N e w Haven.
nos. 1-3: 100-122. BRAUDEL 1972-73

BIRINGUCCIO 1540 Braudel, Fernand. The Mediterranean and the Mediterranean World
Biringuccio, Vannoccio. De la pirotechnia: Libri .x. dove ampia- in the Age of Philip II. Translated by Sian Reynolds. 2 vols. N e w
mente si tratta non solo di ogni sorte e diversitd di miniere. Venice. York.

BLAIKIE M U R D O C H 1922 BRAZOUSKI I99I

B l a i k i e M u r d o c h , W. G. "Pottery and Porcelain: M r . Francis W. Brazouski, A n t o i n e t t e . " A m a t a and H e r M a t e r n a l R i g h t . " Helios 1 8 ,

M a r k ' s C o l l e c t i o n of Hispano-Moresque P o t t e r y " Connoisseur 63 no. 2: 1 2 9 - 3 6 .

(August): 1 9 6 - 2 0 6 , 2 0 9 .

246 Literature Cited

BROCK 1 9 2 9 M u s e o Archeologico Nazionale, December 1 9 - A p r i l 3 0 , 1 9 8 7 .
Brock, A r t h u r J. Greek Medicine: Being Extracts Illustrative of Naples.
Medical Writers from Hippocrates to Galen. N e w York.
C A R O S I ET A L . 1 9 8 8
B R O D Y ET A L . 1 9 8 0 Carosi, A t t i l o , et al. Speziali e spezierie a Viterbo nel '400. V i t e r b o .
Brody, A n n e m a r i e , et al. Decorative Arts from the Collections of CARSWELL 1985
the National Gallery of Victoria. M e l b o u r n e . Carswell, John. Blue and White: Chinese Porcelain and Its Impact
BROUN 1978 on the Western World. Exh. cat., D a v i d and A l f r e d Smart Gallery,
Broun, Elizabeth, ed. Handbook of the Collection: Helen Foresman U n i v e r s i t y of Chicago, October 3 - D e c e m b e r i , 1 9 8 5 . Chicago.
Spencer Museum of Art. Lawrence, Kans.
CARTARI [1647] 1963
BUFFA 1 9 8 4 Cartari, Vincenzo. Imagini de gli dei de gli antichi. Reprint. Graz.
Buffa, Sebastian, ed. Antonio Tempesta: Italian Masters of the Six­ CASTIGLIONI 1922
teenth Century. V o l . 3 7 [formerly v o l . 1 7 , pt. 4 ] of The Illustrated
C a s t i g l i o n i , A r t u r o . " L a farmacia italiana del quattrocento nella
Bartsch. N e w York.
storia dell'arte ceramica." Faenza i o , nos. 3 - 4 : 7 6 - 8 8 .
BURRESI 1998
CATELLO 1988
Burresi, M a r i a g i u l i a , ed. La manifattura toscana dei Ginori: Doccia,
Catello, Elio. Sanmartino. Naples.
17 37-17 91. Exh. cat., M u s e o d i Palazzo Reale d i Pisa. Pisa.
CATELLO A N D CATELLO 1 9 7 8
BUSTI A N D C O C C H I I987
Catello, Elio, and Corrado Catello. " Q u a t t r o statue d'argento d i
Busti, G i u l i o , and Franco C o c c h i . " P r i m e considerazioni su a l c u n i Giuseppe Sanmartino." Antologia di belle arti 2 , no. 5 (March):
f r a m m e n t i da scavo i n D e r u t a . " Faenza 7 3 , nos. 1 - 3 : 1 4 - 2 1 .
49-51.
BUSTI A N D C O C C H I 1 9 9 9
CATELLO A N D CATELLO 1 9 7 9
Busti, G i u l i o , and Franco C o c c h i . Museo Regionale della Ceramica
Catello, Elio, and Corrado Catello. " A r g e n t i . " I n Civilta del '700 a
di Deruta: Ceramiche policrome, a lustro e terrecotte di Deruta dei
Napoli, 17 34-17 99. Exh. cat., 2 vols. M u s e o e Gallerie N a z i o n a l i d i
secoli XV e XVI. M i l a n . Capodimonte, December 1 9 7 9 - O c t o b e r 1 9 8 0 . Naples, 2 : 2 1 7 - 2 8 .
BYRON 1813
CHAMBERS 1970
Byron, George Gordon. The Bride of Abydos: A Turkish Tale.
Chambers, D a v i d . The Imperial Age of Venice, 1380-1580. London.
London.
CHAMBERS A N D M A R T I N E A U 1981
CAIGER-SMITH 1973
Chambers, D a v i d , and Jane M a r t i n e a u , eds. Splendours of the Gon-
Caiger-Smith, A l a n . Tin-glaze Pottery in Europe and the Islamic
zaga. Exh. cat., V i c t o r i a and A l b e r t M u s e u m , November 4 , 1 9 8 1 -
World: The Tradition of One Thousand Years in Maiolica, Faience,
January 3 1 , 1 9 8 2 . London.
and Delftware. London.
CHATENET 1987
CAIGER-SMITH 1985
Chatenet, M o n i q u e . Le Chateau de Madrid au Bois de Boulogne: Sa
Caiger-Smith, A l a n . Lustre Pottery: Technique, Tradition, and In­
place dans les rapports franco-it aliens autour de 1530. Paris.
novation in Islam and the Western World. London.
CHERIDO 1986
CALLMANN 1980
Cherido, Caterina M a r c a n t o n i . " U n a c i t t a e i l suo museo: U n secolo
C a l l m a n n , Ellen. Beyond Nobility: Art for the Private Citizen in
e mezzo d i c o l l e z i o n i c i v i c h e veneziane: I l servizio Correr." Bollet-
the Early Renaissance. Exh. cat., A l l e n t o w n A r t M u s e u m , Septem­
tino (Civici musei veneziani d'arte e di storia), n.s., 3 0 , nos. 1 - 4 :
ber 2 8 , 1 9 8 0 - F e b r u a r y 4 , 1 9 8 1 . A l l e n t o w n , Pa.
73-79-
CALLMANN 1999
CHERUBINI 1865
C a l l m a n n , Ellen. " W i l l i a m B l u n d e l l Spence and the T r a n s f o r m a t i o n
C h e r u b i n i , Gabriello. Dei Grue e della pittura ceramica in Castelli.
of Renaissance Cassoni." Burlington Magazine (June): 3 3 8 - 4 8 .
Naples.
CAMPORI 1871
CHOMPRET 1949
C a m p o r i , Giuseppe. Notizie storiche e artistiche della maiolica e
C h o m p r e t , Joseph. Repertoire de la majolique italienne. 2 vols.
della porcellana di Ferrara nei secoli XV e XVI. Modena.
Paris.
CARDUCCI 1975
CHRISTIE'S 1884
Carducci, A l b e r t o . "Le sculture ignorate del Sanmartino nella Cat-
The Celebrated Fountaine Collection of Majolica, Henry I I Ware,
tedrale d i Taranto." I n Studi in memoria di padre Adiuto Putignani,
Palissy Ware, Nevers Ware, Limoges Enamels. Sale cat., Christie's,
1 3 7 - 3 8 . Cassano [delle] M u r g e .
June 1 6 , 1 8 8 4 . London.
CAROLA-PERROTTI 1978
CHRISTIE'S 1936
Carola-Perrotti, Angela. La porcellana della Real Fabbrica Ferdi-
Highly Important Collection of Italian Majolica. Sale cat., H . Op-
nandea. Cava dei T i r r e n i , Italy.
penheimer c o l l e c t i o n , July 1 5 , 1 9 3 6 . London.
C A R O L A PERROTTI 1986
CHRISTIE'S REVIEW 1976
Carola Perrotti, Angela, ed., Le porcellane dei Borbone di Napoli,
Christie's Review of the Season. London.
17 43-1806: Capodimonte e Real Fabbrica Ferdinandea. Exh. cat.,

Literature Cited 247

CILIA PLATAMONE AND RAGONA 1995 CORA AND FANFANI 1986
C i l i a Platamone, Enza, and A n t o n i n o Ragona, eds. Caltagirone: Cora, Galeazzo, and A n g i o l o Fanfani. La porcellana dei Medici. Mi­
Museo Regionale della Ceramica. Palermo. lan.
CIOCI 1987 CORRADI1982
C i o c i , Francesco. Xanto Avelli e il duca di Urbino. Milan. Corradi, L . ed. La ceramica rinascimentale metaurense. Exh. cat.,
CLIFFORD A N D M A L L E T 1976
Palazzo Ducale Urbania, J u l y - O c t o b e r 1 9 8 2 . Rome.
Clifford, T i m o t h y , and J. V. G. M a l l e t . "Battista Franco as a Designer CORTELAZZO A N D ZOLLI 1979
of M a i o l i c a . " Burlington Magazine 1 1 8 (June): 3 8 7 - 4 1 0 . Cortelazzo, M a n i l o , and Paolo Z o l l i . Dizionario etimologico della
lingua italiana. V o l . 1 . Bologna.
COGLIATI ARANO 1979
C o g l i a t i A r a n o , Luisa. Tacuinum sanitatis. 2 d ed. M i l a n . CREPIN-LEBLOND 1995
Crepin-Leblond, T h i e r r y . Le dressoir du prince: Services d'apparat a
C O H E N A N D HESS 1993
la Renaissance. Exh. cat., Musee N a t i o n a l de la Renaissance, Octo­
Cohen, D a v i d Harris, and C a t h e r i n e Hess. Looking at European Ce­
ber 1 8 , 1 9 9 5 - F e b r u a r y 1 9 , 1 9 9 6 . Paris.
ramics: A Guide to Technical Terms. M a l i b u .
CREPIN-LEBLOND 1996
COLE 1977
Crepin-Leblond, T h i e r r y . "Le retable de la chapelle de Cognac et
Cole, Bruce. Italian Maiolica from Midwestern Collections. Exh.
Pinfluence de G i r o l a m o della Robbia en France." Bulletin de la So-
cat., Indiana U n i v e r s i t y A r t M u s e u m , September 4 - O c t o b e r 8 ,
ciete de l'histoire de l'art francais 1 6 : 9 - 2 0 .
1 9 7 7 . Bloomington, Ind.
CROCE [1927] 1943
CONCINA 1975
Concina, Ennio. " D o c u m e n t i ed a p p u n t i per la p a v i m e n t a z i o n e Croce, Benedetto. Uomini e cose della Vecchia Italia. Ser. 2 . Bari.
G i u s t i n i a n ad azulejos v a l e n z i a n i . " Faenza 6 1 , nos. 4 - 5 : 8 0 - 8 2 . CUADRADO 1984
Cuadrado, John A . "Prized Pottery T r i u m p h s of the I t a l i a n Renais­
CONTI 1969
sance." Architectural Digest 4 1 (February): 1 2 2 - 2 7 .
C o n t i , G i o v a n n i . " A p p u n t i sulla fortuna dell'antica m a i o l i c a ita-
liana." Antichita viva 8 , no. 5 : 3 9 - 5 1 . CURNOW 1992
C u r n o w , Celia. Italian Maiolica in the National Museums of Scot­
CONTI 1971A
land. Edinburgh.
C o n t i , G i o v a n n i . Catalogo delle maioliche: Museo Nazionale di
Firenze, Palazzo del Bargello. Florence. DAHLBACK-LUTTEMAN 1981
D a h l b a c k - L u t t e m a n , Helena. Majolika frdn Urbino andra orter i
CONTI 1971B
Italien i Nationalmuseum, Stockholm. Stockholm.
C o n t i , G i o v a n n i . "Per u n m i t o del vasaio: A p p u n t i sulla natura al-
c h e m i c a . " Gazzetta antiquaria 9 , no. 1 (January-February 1 9 7 1 ) : DAMIRON 1944
17-22. D a m i r o n , Charles. Majoliques italiennes. Privately p r i n t e d .

CONTI 1973 DARCEL 1864

C o n t i , G i o v a n n i . L'arte della maiolica in Italia. Milan. Darcel, A l f r e d . Notice des fayences peintes italiennes, hispano-
moresques, et francaises, et des terres cuites emaillees italiennes.
CONTI 1976
Paris.
C o n t i , G i o v a n n i , ed. Li tre libri delVarte del vasaio. C i p r i a n o Pic-
colpasso; 1 5 5 7 . Florence. DARCEL 1878

Darcel, H e n r i . "Les faiences francaises et les porcelaines au T r o -

CONTI 1980
cadero." Gazette des beaux-arts 1 8 (November): 7 5 3 - 6 8 .
C o n t i , G i o v a n n i . L'arte della maiolica in Ltalia. 2 d ed. M i l a n .
DARCEL 1885
CONTI 1984

C o n t i , G i o v a n n i . Una collezione di maioliche del Rinascimento. Darcel, A l f r e d . La collection Basilewsky. Paris.

Exh. cat., Galleria A n t i q u a r i a d i Carla Silvestri. M i l a n . D A R C E L A N D BASILEWSKY 1 8 7 4

Darcel, Alfred, and Alexander Basilewsky. Collection Basilewsky.

C O N T I A N D GROSSO 1990
Paris.
C o n t i , G i o v a n n i , and G i l d a Cefariello Grosso. La maiolica Canta-
galli e le manufatture ceramiche fiorentine. Rome. DARCEL AND DELANGE 1867
Darcel, Alfred, and H e n r i Delange, eds. Recueil des faiences itali­
C O N T I ET A L . 1 9 9 1
ennes des XV, XVI, XVII siecles. Paris.
C o n t i , G i o v a n n i , et al. Zaffera et similia nella maiolica italiana.
Viterbo. DAVILLIER 1882
D a v i l l i e r , Jean Charles. Les origines de la porcelaine en Europe.
CORA 1973
Paris.
Cora, Galeazzo. Storia della maiolica di Firenze e del contado: Se-
coli XLV e XV. 2 vols. Florence. DE A R E C H A G A RODRIGUEZ-PASCUAL A N D
M A N G L A N O BALDOVI 1985
CORA AND FANFANI 1982
de Arechaga Rodriguez-Pascual, C a r m e n , and V i n c e n t e M a n g l a n o
Cora, Galeazzo, and A n g i o l o Fanfani. La maiolica di Cafaggiolo.
Baldovi. " E l m o n o g r a m a IHS y el Beato Fray M a t e o de Agrigento,
Florence.
aportacion a la cronologia de la loza dorada del sigla X V . " I n Actas
del 1 Congreso de Arqueologia medieval espanola. Huesca.

248 Literature Cited

DETROIT 1974 FAIETTI A N D OBERHUBER 1988
Gli ultimi Medici: II tardo barocco a Firenze, 1670-1743. Exh. cat., Faietti, M a r z i a , and Konrad Oberhuber. Bologna e l'umanesimo,
D e t r o i t I n s t i t u t e of A r t , M a r c h 2 7 - J u l y 2 , 1 9 7 4 . Florence. 1490-1510. Exh. cat., Pinacoteca Nazionale, M a r c h 6 - A p r i l 2 4 ,
1 9 8 8 . Bologna.
DIXON 1988
D i x o n , Suzanne. The Roman Mother. London. FALKE 1907

DlZIONARIO BIOGRAFICO I960-C. 2000 Falke, O t t o v o n . Majolika. Berlin.

Dizionaho biografico degli Italiani. 5 5 vols. Rome. FALKE 1914-23

Falke, O t t o v o n . Die Majolikasammlung Alfred Pringsheim in

DOMESTICI 1998
D o m e s t i c i , Fiamma. " G i o v a n n i e i l C i n q u e c e n t o . " I n Delia Robbia: Miinchen. 2 vols. Leiden.
FALKE 1917
Art e dossier, 33-47. Florence.
Falke, O t t o v o n . " M a j o l i k e n v o n N i c o l a da U r b i n o . " Amtliche
DONATONE 1971A
Berichte aus den koniglichen Kunstsammlungen 3 9 , no. 1 : 3 - 1 6 .
Donatone, G u i d o . "La real fabbrica d i m a i o l i c h e d i Carlo d i Borbone
a Caserta." Faenza 5 7 , nos. 1 - 5 : 2 4 - 3 7 . FANFANI1984
Fanfani, A n g i o l o . " A n c o r a due righe su Cafaggiolo." Faenza 7 0 , nos.
DONATONE 1988
5-6:388-90.
Donatone, G u i d o . "Pasquale C r i s c u o l o e la m a i o l i c a napoletana del-
l'eta rococo." Centro Studi per la Storia della Ceramica Merid- FEHERVARI 1973
ionale (Quaderno 1988): 1 7 - 3 2 . Fehervari, Geza. Islamic Pottery: A Comprehensive Study Based on
the Barlow Collection. London.
DONATONE 1991
FEHERVARI 2 0 0 0
Donatone, G u i d o . La terraglia napoletana (1782-1860). Naples.
Fehervari, Geza. Ceramics of the Islamic World in the Tareq Rajab
DONATONE 1993A Museum. London.
Donatone, G u i d o . La maiolica napoletana del Rinascimento.
FERRARI 1996
Naples.
Ferrari, Oreste. "Sanmartino, Giuseppe." I n The Dictionary of Art,
DONATONE 1993B
2 7 : 7 5 6 - 5 7 . Edited by Jane Turner. N e w York.
Donatone, G u i d o . " L o scultore Gennaro Laudato e la terraglia della
Real Fabbrica d i N a p o l i . " Centro Studi per la Storia della Ceramica FERRAZZA 1994
Meridionale (Quaderno 1991): 3 9 - 4 6 . Ferrazza, Roberta. Palazzo Davanzati e le collezioni di Elia Volpi.
Florence.
DONATONE 1996
Donatone, G u i d o . " A g g i u n t e a Gennaro Laudato ed alia produzione FILAS 1962
di terraglia della Real Fabbrica d i N a p o l i / Centro studi per la storia
7
Filas, Francis Lad. Joseph: The Man Closest to Jesus. Boston.
della ceramica meridionale (Quaderno 1995): 3 1 - 4 3 .
FlOCCO AND GHERARDI I986
DONATONE 1997 Fiocco, Carola, and Gabriella Gherardi. "Sulla datazione del corredo
Donatone, G u i d o . " A n c o r a una scultura d i Gennaro Laudato." Cen­ ' O r s i n i - C o l o n n a ' e sul servizio ' B o . ' " Faenza 7 2 , nos. 5 - 6 : 2 9 0 - 9 6 .
tro Studi per la Storia della Ceramica Meridionale (Quaderno Fiocco AND GHERARDI 1988
1996): 48-51. Fiocco, Carola, and Gabriella Gherardi. Ceramiche umbre dal
DREY 1978 medioevo alio storicismo. 2 vols. Faenza.
Drey, R u d o l p h . Apothecary Jars: Pharmaceutical Pottery and Porce­ Fiocco AND GHERARDI 1 9 9 4
lain in Europe and the East, 1150-1850. London. Fiocco, Carola, and Gabriella Gherardi. La ceramica di Deruta dal
DURET-ROBERT 1973 XIII al XVIII secolo/Deruta Pottery from the Thirteenth to the
Duret-Robert, Frangois. "Faenza." Connaissance des arts, no. 2 5 4 : Eighteenth Century. Perugia.
129-34.
FIOCCO A N D GHERARDI 1995
DtJSSELDORF I 962 Fiocco, Carola, and Gabriella Gherardi. Museo Comunale di Gub-
Kunstmuseum Diisseldorf: Eine Auswahl. Diisseldorf. bio: Ceramiche. Perugia.

DUVAL A N D KARCHESKI 1 9 8 3 Fiocco AND GHERARDI 1998

D u v a l , C y n t h i a , and Walter J. Karcheski, Jr. Medieval and Renais­ Fiocco, Carola, and Gabrielle Gherardi. Mastro Giorgio da Gubbio:
sance Splendor: Arms and Armor from the Higgins Armory Mu­ Una carriera sfolgorante. Florence.
seum, Worcester, Massachusetts, and Works of Art from the John F i o c c o ET A L . 1 9 8 6
and Mabel Ringling Museum of Art, Sarasota, Florida. Exh. cat.,
Fiocco, Carola, et al. Storia delVarte ceramica. Bologna.
R i n g l i n g M u s e u m of A r t , M a r c h 2 - A p r i l 2 2 , 1 9 8 4 . Sarasota.
FITTIPALDI 1980
DUVEEN 1 8 7 6 - 1 9 8 1
F i t t i p a l d i , Teodoro. Scultura napoletano del settecento. Naples.
D u v e e n Brothers. Records, 1876-1981. G e t t y Research I n s t i t u t e ,
Special C o l l e c t i o n s . FITTIPALDI 1986

F i t t i p a l d i , Teodoro. "Bernardo Tanucci: A p p u n t i per una raccolta

FAGIOLO 1981
iconografica." I n Bernardo Tanucci: Statista, letterato, iurista, 2 :
Fagiolo, M a r c e l l o , ed. Virgilio nell'arte e nella cultura europea. Exh.
6 0 3 - 7 0 7 . Edited by Raffaele A j e l l o and M a r i o D ' A d d i o . 2 vols.
cat., Biblioteca Nazionale Centrale, September 2 4 - N o v e m b e r 2 4 ,
Naples.
1981.

Literature Cited 249

FITTIPALDI 1992 G A L E R I E GEORGES PETIT 1 9 0 5
F i t t i p a l d i , Teodoro. Ceramiche: Castelli, Napoli, altre fabbriche: Catalogue des objets d'art et de haute curiosite de l'antiquite, du
Museo di San Martino. Naples. moyen age, et de la renaissance, composant la collection de feu M.
Boy. Sale cat., Galerie Georges Petit, M a y 1 5 - 2 4 , 1 9 0 5 . Paris.
FLEMING 1979
F l e m i n g , John. " A r t D e a l i n g i n the Risorgimento I I . " Burlington GARDELLI 1999
Magazine 7 1 : 4 9 2 - 5 0 8 . Gardelli, G i u l i a n a . Italika: Maiolica italiana del Rinascimento.
Faenza.
F O G E L M A N A N D FUSCO 2002
Fogelman, Peggy, and Peter Fusco, w i t h M a r i e t t a Cambareri. Italian GEBELIN 1927
and Spanish Sculpture: Catalogue of the J. Paul Getty Museum Gebelin, Francois. Pes chateaux de la Renaissance. Paris.
Collection. Los Angeles.
GEISBERG 1 9 7 4
FORESI 1 8 6 9 Geisberg, M a x . The German Single-Leaf Woodcut, 1500-1550.
Foresi, Alessandro. Sulle porcellane medicee: Lettera al barone di Edited by Walter L. Strauss. N e w York.
Monville. Florence.
GENOLINI 1881
FORRER 1 9 0 1 G e n o l i n i , Angelo. Maioliche italiane: Marche e monogrammi.
Forrer, Robert. Geschichte der europaischen Fliesen-Keramik vom Milan.
Mittelalter bis zum fahre 1900. Strasbourg.
GENTILINI 1992
FORTNUM 1873 G e n t i l i n i , Giancarlo. I Della Robbia: La scultura invetriata nel Ri­
F o r t n u m , C. D r u r y E. Catalogue of the Maiolica, Hispano-Moresco, nascimento. Florence.
Persian, Damascus, and Rhodian Wares in the South Kensington
GENTILINI 1998
Museum. London.
G e n t i l i n i , Giancarlo, ed. I Della Robbia e l'arte nuova della scul­
FORTNUM 1896 tura invetriata. Exh. cat., Basilica d i Sant'Alessandro, M a y 2 9 - N o ­
F o r t n u m , C. D r u r y E. Maiolica: A Historical Treatise on the Glazed vember 1 , 1 9 9 8 . Florence.
and Enamelled Earthenwares of Italy. Oxford.
GERE 1963
FRANCOVICH 1982 Gere, J. A . "Taddeo Zuccaro as a Designer for M a i o l i c a . " Burlington
Francovich, Riccardo. La cerarnica medievale a Siena e nella Magazine 1 0 5 (July): 3 0 6 - 1 5 .
toscana meridionale (secc. XIV-XV). Florence.
GETTYMUSJ 13 (1985)
FROTHINGHAM 1936 " A c q u i s i t i o n s / 1 9 8 4 . " / . Paul Getty Museum Journal 13: 1 6 1 - 2 5 8 .
F r o t h i n g h a m , A l i c e W i l s o n . Catalogue of Hispano-Moresque Pot­
GETTYMUSJ 14 (1986)
tery in the Collection of the Hispanic Society of America. New
" A c q u i s i t i o n s / 1 9 8 5 . " / . Paul Getty Museum Journal 14: 1 7 5 - 2 8 6 .
York.
GETTYMUSJ 1$ (1987)
FROTHINGHAM 1951
"Acquisitions/i986." /. Paul Getty Museum Journal 15: 1 5 3 - 2 3 8 .
F r o t h i n g h a m , A l i c e W i l s o n . Lustreware of Spain. N e w York.
GETTYMUSJ 16 (1988)
FROTHINGHAM 1953
" A c q u i s i t i o n s / 1 9 8 4 . " / . Paul Getty Museum Journal 16: 1 3 5 - 9 9 .
F r o t h i n g h a m , A l i c e W i l s o n . "Valencian Lustreware w i t h I t a l i a n
GETTYMUSJ 17 (1989)
Coats of A r m s i n the C o l l e c t i o n of the Hispanic Society of A m e r ­
ica." Faenza 3 9 , nos. 3 - 5 : 9 1 - 9 3 . "Acquisitions/i 9 8 8 . " /. Paul Getty Museum Journal 17: 1 0 0 - 1 6 6 .

FUCHS 1993 GETTYMUSJ 19 (1991)

Fuchs, Charles D o m i n i q u e . Maioliche istoriate rinascimentali del " A c q u i s i t i o n s / 1 9 9 0 . " / . Paul Getty Museum Journal 19: 1 2 9 - 8 3

Museo Statale d'Arte Medioevale e Moderna di Arezzo. E x h . cat., GETTYMUSJ20 (1992)

Museo Statale d ' A r t e Medioevale e M o d e r n a d i Arezzo, M a y 2 9 - "Acquisitions/i991." /. Paul Getty Museum Journal 20: 140-92.
July 4 , 1 9 9 3 . Arezzo.
GETTYMUSJ 23 (1995)
Fusco 1 9 9 7 " A c q u i s i t i o n s / 1 9 9 4 . " / . Paul Getty Museum Journal 23: 60-122.
Fusco, Peter. Summary Catalogue of European Sculpture in the J.
GETTYMUSJ24 (1996)
Paul Getty Museum. Los Angeles.
" A c q u i s i t i o n s / 1 9 9 5 . " / . Paul Getty Museum Journal 24: 86-140.
GAILLARD 1904
GHELTOF 1889
Catalogue des objets d'art et de haute curiosite de la Renaisance,
Gheltof, U r b a n i de. " N o t e storiche ed artistiche sulla ceramica
tapisseries, tableaux anciens: Composant la collection Emile Gail­
lard. Sale cat., G a i l l a r d home, June 8 - 1 6 , 1 9 0 4 . Paris. i t a l i a n a . " I n Arte ceramica e vetraria, 1 8 - 1 6 2 . Edited by R. Erculei.
Exh. cat., Museo A r t i s t i c o - I n d u s t r i a l e . Rome.
GALABERT 1902
GIACOMOTTI 1962
Galabert, Francois. Galiot de Genouillac. Paris.
G i a c o m o t t i , Jeanne. "Les majoliques de la c o l l e c t i o n Paul G i l l e t au
GALEAZZI AND VALENTINI 1975 Musee Lyonnais des A r t s Decoratifs." Cahiers de la ceramique, de
Galeazzi, Lamberto, and Gaetano V a l e n t i n i . Maioliche arcaiche e ri­ verre, et des arts du feu, no. 2 5 : 2 1 - 4 5 .
nascimentali in raccolta privata. Foligno.

250 Literature Cited

GlACOMOTTI 1974 GRIMALDI A N D BERNINI 1979
G i a c o m o t t i , Jeanne. Catalogue des majoliques des Musees na- G r i m a l d i , Floriano, and D a n t e B e r n i n i . Le ceramiche da farmacia
tionaux. Paris. della Santa Casa di Loreto. Rome.

GINORI LISCI 1963 GROLLIER 1914

G i n o r i Lisci, Leonardo. La porcellana di Doccia. Milan. G r o l l i e r , Charles de. Manuel de 1'amateur de porcelaines: Manufac­
tures europeenes. 2 vols. Paris.
GIOIA TAVONI 1975
GROSSHANS 1980
G i o i a Tavoni, M a r i a . " S t r u t t u r e societa a Faenza nell'eta M a n f r e d i -
ana." Faenza 6 1 , nos. 4 - 5 : 9 4 - 1 0 6 . Grosshans, Rainald. Maerten van Heemskerck. Berlin.
GOBBI AND ALPI 2 0 0 1 GUILLAUMIN 1987
Gobbi, Ugo, and Elisabetta A l p i . " G i m i n i a n o Cozzi: Fabbricator d i
G u i l l a u m i n , Jacqueline. "Majoliques tardives: A prospecter." Con-
m a i o l i c h e . " CeramicAntica n , no. 5 (May): 2 8 - 4 7 .
naissance des arts, no. 4 1 9 : 1 2 .
GOD MAN 1901 HANNOVER 1925
The Godman Collection of Oriental and Spanish Pottery and Hannover, E m i l . Pottery and Porcelain: A Handbook for Collectors.
Glass, 1865-1900. London. 3 vols. London.

GOLDTHWAITE I 987 HAUSMANN 1972

G o l d t h w a i t e , Richard. " T h e Empire of T h i n g s : C o n s u m e r D e m a n d H a u s m a n n , T j a r k . Majolika: Spanische und italienische Keramik
i n Renaissance I t a l y . " I n Patronage, Art, and Society in Renaissance vom 14. bis zum 18. Jahrhundert. Exh. cat., Staatliche M u s e e n
Italy, 1 5 3 - 7 5 . Edited b y F. W. Kent and Patrick Simons, w i t h preussischer K u l t u r b e s i t z . B e r l i n .
J. C. Eade. Canberra.
HAUSMANN 1974
GOLDTHWAITE 1989 H a u s m a n n , T j a r k . " M a i o l i c h e italiane dello 'Schlossmuseum' d i
G o l d t h w a i t e , Richard. " T h e Economic and Social W o r l d of I t a l i a n Berlino perdute nella seconda guerra m o n d i a l e . " Faenza 6 0 , nos. 1 -
Renaissance M a i o l i c a . " Renaissance Quarterly 4 2 , no. 1 : 1 - 3 2 . 3: 2 4 - 4 0 .

GONZALEZ MARTI 1944-52 H E I M GALLERY 1 9 8 0

Gonzalez M a r t i , M a n u e l . Ceramica del Levante espanol: Sighs me- From Tintoretto to Tiepolo. Exh. cat., H e i m Gallery, June 1 0 - A u -
dievales. 3 vols. Barcelona. gust 2 9 , 1 9 8 0 . London.

GONZALEZ MARTI 1948 HENKEL A N D SCHONE 1976

Gonzalez M a r t i , M a n u e l . "Azulejos valenzianos exportados a H e n k e l , A r t h u r , and A l b r e c h t Schone. Emblemata: Handbuch zur
I t a l i a . " Faenza 3 4 , nos. 4 - 6 : 9 1 - 9 2 . Sinnbildkunst des XVI. und XVII. Jahrhunderts. Stuttgart.

GONZALEZ-PALACIOS 1981 HESS 1 9 8 8 A

Gonzalez-Palacios, A l v a r , ed. Objects for a "Wunderkammer." Exh. Hess, Catherine. Italian Maiolica: Catalogue of the Collections.
cat., P. D . C o l n a g h i and Co., L t d . , June 1 0 - J u l y 3 1 , 1 9 8 1 . London. Malibu.

GONZALEZ-PALACIOS 1988 HESS 1988B

Gonzalez-Palacios, A l v a r . Lo scultore Filippo Tagliolini e la porcel­ Hess, Catherine. " U n a m a i o l i c a d i Saverio Grue al J. Paul G e t t y
lana di Napoli. T u r i n . M u s e u m , M a l i b u . " Semestrale del Museo delle Ceramiche 1 , no. 2 :
17-28.
GOVERNALE I986
Governale, A n t o n e l l o . Rectoverso: La maiolica siciliana, secoli XVI HESS 1990A
e XVII: Maestri, botteghe, influenze. Palermo. Hess, Catherine. " T r i m o esperimento i n grande': A Pair of Vases
f r o m the Factory of G e m i n i a n o C o z z i . " GettyMusJ 18: 1 4 1 - 5 6 .
GOVERNALE I989
HESS 1990B
Governale, A n t o n e l l o . Ricerche sulla maiolica italiana. Palermo.
Hess, Catherine. " U n brasero ispano-moresco del J. Paul G e t t y M u ­
GOVERNALE 1995
s e u m . " II giornale dell'arte 8 1 (September): 2 .
Governale, A n t o n e l l o . Sciacca e la sua produzione in maiolica fra i
HESS 1 9 9 9
secoli XV e XVII. Palermo.
Hess, Catherine. Maiolica in the Making: The Gentili/Barnabei Ar­
GRIEVE 1 9 7 1
chive. Los Angeles.
Grieve, M . A Modern Herbal: The Medicinal, Culinary, Cosmetic,
and Economic Properties, Cultivation, and Folk-lore of Herbs, HIND 1909-10
Grasses, Fungi, Shrubs, and Trees with All Their Modern Scientific H i n d , A r t h u r M . Catalogue of Early Italian Engravings Preserved in
Uses. 2 vols., 1 9 3 1 . N e w York. the Department of Prints and Drawings in the British Museum. 2
vols. London.
GRIGONI 1932
G r i g o n i , Carlo. " D o c u m e n t i r e l a t i v i alia famiglia M a n a r a . " Faenza HIND 1923
2 0 , nos. 3-4: 152-81. H i n d , A r t h u r M . A History of Engraving and Etching from the Fif­
teenth Century to Year 1914. 3 d rev. ed. N e w York.
GRIMAL 1963
G r i m a l , Pierre. L'amour a Rome. Paris. HIND 1938-48
H i n d , A r t h u r M . Early Italian Engraving: A Critical Catalogue. 7
vols. London.

Literature Cited 25 I
H O L C R O F T I988 Chinese Ceramics in the Topkapi Saray Museum, Istanbul: A Full
H o l c r o f t , A l i s o n . "Francesco X a n t o A v e l l i and P e t r a r c h / ' Journal of Catalogue. London.
the Warburg and Courtauld Institutes, no. 5 1 : 2 2 5 - 3 4 .
KUBE 1976
HUGHES 1995 Kube, A l f r e d N i k o l a e v i c h . Italianskaia maiolica piatnadtsatogo-
Hughes, M i c h a e l J. " A p p l i c a t i o n of Scientific A n a l y t i c a l M e t h o d s t o vosemnadtsatogo vekovjItalian Majolica, XV-XVIII Centuries.
Spanish M e d i e v a l C e r a m i c s . " I n Spanish Medieval Ceramics in Moscow.
Spain and the British Isles, 3 5 9 - 6 6 . Edited by C h r i s t o p h e r M . Ger-
KUHNEL1925
rard, Alejandra Gutierrez, and A l a n G. Vince. Oxford.
K i i h n e l , Ernst. " D a t e n zur Geschichte der spanisch-maurischen
HUGHES AND GAIMSTER 1999 K e r a m i k . " Beitrage zur Kunst des Islam. V o l . 2 , pt. 2 of Jahrbuch
Hughes, M i c h a e l J . , and D a v i d Gaimster. " N e u t r o n A c t i v a t i o n der asiatischen Kunst. Leipzig, 1 7 0 - 8 0 .
A n a l y s i s of M a i o l i c a f r o m London, N o r w i c h , the L o w Countries,
KUHNEL1971
and I t a l y . " I n Maiolica in the North: The Archeology of Tin-Glazed
K i i h n e l , Ernst. The Minor Arts of Islam. Translated by Katherine
Earthenware in North-West Europe, c. 1500-1600, 5 7 - 8 9 . Edited b y
Watson. Ithaca, N . Y .
D a v i d Gaimster. L o n d o n .
L A COSTE-MESSELIERE 1975
H U G H E S ET A L . 1 9 9 5
Hughes, M i c h a e l , et al. " N e u t r o n A c t i v a t i o n A n a l y s i s of I t a l i a n La Coste-Messeliere, Marie-Genevieve de. Luca Signorelli. Brussels.
M a i o l i c a and O t h e r M e d i e v a l I t a l i a n Ceramics." Archaeological LADIS 1989
Sciences 6 4 : 7 7 - 8 1 . Ladis, Andrew. Italian Renaissance Maiolica from Southern Collec­
H U S B A N D A N D H A Y WARD 1975 tions. Exh. cat., Georgia M u s e u m of A r t , September 2 3 -
Husband, T i m o t h y B., and Jane H a y w a r d . The Secular Spirit: Life N o v e m b e r 2 6 , 1 9 8 9 . Athens, Ga.
and Art at the End of the Middle Ages. Exh. cat., T h e Cloisters, LANE 1946

M a r c h 2 5 - J u n e 3 , 1 9 7 5 . N e w York. Lane, A r t h u r . "Early Hispano-Moresque Pottery." Burlington Maga­

zine 8 8 (October): 2 4 6 - 5 2 .
INGAMELLS 1997
ingamells, John. A Dictionary of British and Irish Travellers in LANE 1954

Italy, ijoi-1800, Compiled from the Brinsley Ford Archive. New Lane, A r t h u r . Italian Porcelain, with a Note on Buen Retiro.
Haven. London.

JACQUEMART 1859 LANKHEIT 1962

Jacquemart, A l b e r t . " L a porcelaine des M e d i c i s . " Gazette des L a n k h e i t , Klaus. Florentinische Barockplastik: Die Kunst am Hofe
beaux-arts 4 (December): 2 7 5 - 8 8 . der letzten Medici, 1670-1743. Munich.

JACQUEMART A N D LE BLANT 1862 LANKHEIT 1982

Jacquemart, A l b e r t , and E d m o n d Le Blant. Histoire artistique, in- L a n k h e i t , Klaus. Die Mo dells ammlung der Porzellanmanufaktur
dustrielle, et commerciale de la porcelaine. Paris. Doccia: Ein Dokument italienischer Barockplastik. Munich.

JESTAZ 1973 LASKIN 1978

Jestaz, Bertrand. "Les modeles de la majolique historiee." Gazette Laskin, M y r o n , Jr. "Taddeo Zuccaro's M a j o l i c a Designs for the
des beaux-arts 8 1 , no. 2 (February): 1 0 9 - 2 8 . D u k e of U r b i n o . " I n Essays Presented to Myron P. Gilmore, 2 : 2 8 1 -
8 4 . Edited by Sergio B e r t e l l i and G l o r i a Ramakus. 2 vols. Florence.
JOIN-DlETERLE 1984
Join-Dieterle, C a t h e r i n e . Hispano mauresques, majoliques itali- LASTRI 1821

ennes, iznik, des collections Dutuit, Ocampo, et Pierre Marie. V o l . Lastri, M a r c o . L'osservatore fiorentino sugli edifizi della sua patria.
1 of Catalogue de ceramiques: Musee du Petit Palais. Paris. 8 vols. Florence.

KAUFFMANN 1973 LA VITA 1559

Kauffmann, C. M . Before 1800. V o l . 1 of Catalogue of Foreign Paint­ La vita et Metamorfoseo d'Ovidio: Figurato &) abbreviato in forma
ings, Victoria and Albert Museum. London. d'epigrammi da M. Gabriello Symeoni. Lyons.

KERR-LAWSON 1904 LECHI 1974

Kerr-Lawson, James. " T w o Portraits of W i l l i a m B l u n d e l l Spence." Lechi, Fausto. II Quattrocento. V o l . 2 of Le Dimore Bresciane in
Burlington Magazine 5: 3 1 0 , 3 1 9 . cinque secoli di storia. Brescia.

KLEIN 1976 LE CORBEILLER 1 9 8 5

Le Corbeiller, Clare. Eighteenth-Century Italian Porcelain.
K l e i n , Adalbert. Islamische Keramik. Baden-Baden.
N e w York.
KLEIN 1980
LE CORBEILLER 1988A
K l e i n , Adalbert. Fayencen Europas: Ein Handbuch fur Sammler
Le Corbeiller, Clare. " A M e d i c i Porcelain P i l g r i m Flask." /. Paul
und Liebhaber. Braunschweig.
Getty Museum Journal 1 6 : 1 1 9 - 2 6 .
KLESSE 1966
LE CORBEILLER 1988B
Klesse, B r i g i t t e . Majolika. Cologne.
Le Corbeiller, Clare. "Porcelain as Sculpture." I n Catalogue of the
KRAHL 1986 International Ceramics Fair and Seminar, 2 2 - 2 8 . London.
K r a h l , Regina. Yuan and Ming Dynasty Porcelains. V o l . 2 of

252 Literature Cited

L E G I O N OF H O N O R 1927 LIVERANI 1985
Catalogue of a Group of Old Masters, Renaissance Italian Furni­ L i v e r a n i , Francesco. " U n p i a t t o d i N i c o l a e a l t r o . " Faenza 7 1 , nos.
ture, Majolika, Vases, and Other Objects from the Collection of 4-6: 39^-93-
Carl W. Hamilton, New York. Exh. cat., C a l i f o r n i a Palace of the Le­
LIVERANI A N D BOSI 1974
g i o n of Honor, September 1 , 1 9 2 7 - J a n u a r y 6 , 1 9 2 8 . San Francisco.
Liverani, Francesco, and Roberto Bosi. Maioliche di Faenza. Imola.
LENZI1982
LIVERANI A N D REGGI 1976
Lenzi, L u c i . " A m a dio e n o n f a l l i r e . " Nueter 1 (June): 22-26.
L i v e r a n i , Francesco, and G i o v a n n i L. Reggi. Le maioliche del Museo
LEPKE 1913 Nazionale di Ravenna. Modena.
Die Majolikasammlung Adolf von Beckerath. Sale cat., R u d o l p h LORENZETTI I92O
Lepke's Kunst-Auctions-Haus, N o v e m b e r 1 - 5 , 1 9 1 3 . B e r l i n . Lorenzetti, G i u l i o . " U n a fiaschetta veneziana de vetro ' l a t t i m o ' dei
LEPKE 1930 p r i m i del secolo X V I . " Dedalo i : 2 4 8 - 4 9 .
Vieweg Collection, Braunschweig. Sale cat., R u d o l p h Lepke, M a r c h MAGNANI 1991
1 8 , 1 9 3 0 . Berlin. M a g n a n i , R o m o l o . " G l i a n t i q u a r i della ceramica a Palazzo Strozzi."
LESSMANN 1979 Ceramica Antica 1 , no. 8 [September]: 1 4 - 3 7 .
Lessmann, Johanna. Italienische Majolika: Katalog d. Sammlung
MALAGOLA 1880
Herzog-Anton-Ulrich-Museum Braunschweig. Braunschweig.
Malagola, Carlo. Memorie storiche sulle maioliche di Faenza, studi
LESUEUR 1937 e richerche. Bologna.
Lesueur, Pierre. " A r r i v e e de G i r o l a m o della Robbia en France/ 7
Bul­
MALE 1932
letin de la Societe de l'histoire de l'art frangais, 1 9 4 - 2 0 3 .
M a l e , E m i l e . L'art religieux apres le Concile de Trent. Paris.
LEVENSON, OBERHUBER, A N D SHEEHAN 1973
MALLET 1974
Levenson, Jay A . , Konrad Oberhuber, and Jacquelyn L. Sheehan.
Early Italian Engravings from the National Gallery of Art. Wash­ M a l l e t , John V. G. " A l c u n e m a i o l i c h e faentine i n raccolte i n g l e s i . "
ington, D.C. Faenza 6 0 , nos. 1 - 3 : 3 - 2 3 .
MALLET 198 I
LEVY 1964
M a l l e t , John V. G. " T h e Este-Gonzaga Service Made for Isabella
Levy, Saul. Maioliche settecentesche. Vol. 2 . M i l a n . d'Este, c. 1 5 2 5 , by N i c o l o da U r b i n o . " I n Chambers and M a r t i n e a u
1981, 175-78.
LIGHTBOWN 1980
L i g h t b o w n , Ronald. "L'esotismo." I n Storia dell'arte italiana, 445- MALLET 1984
8 7 . Edited by G i u l i o B o l l a t i and Paolo Fossati. Pt. 3 , v o l . 3 . T u r i n . M a l l e t , John V. G. " L a biografia d i Francesco X a n t o A v e l l i alia luce
LIGHTBOWN AND CAIGER-SMITH 1980 dei suoi s o n e t t i . " Faenza 7 0 , no. 4 - 6 : 3 8 4 - 4 0 2 .
L i g h t b o w n , Ronald, and A l a n Caiger-Smith. The Three Books of the
MALLET 1987
Potter's Art. A facsimile of the 1 5 5 7 manuscript Tre libri dell'arte
M a l l e t , John V. G. " I n bottega d i Maestro G u i d o D u r a n t i n o i n
del vasaio b y C i p r i a n o Piccolpasso. 2 vols. London.
U r b i n o . " Burlington Magazine 1 2 9 (May): 2 8 4 - 8 6 .
LIVERANI 1936
MALLET 1996
L i v e r a n i , Giuseppe. Catalogo delle porcellane dei Medici. Faenza. M a l l e t . John V. G. " A u Musee de ceramique a Sevres: Majoliques
LIVERANI 1939
historiees provenant de deux ateliers de la Renaissance." Revue du
Louvre et des musees de France 4 5 , no. 1 : 4 5 - 6 6 .
Liverani, Giuseppe. "Fata i n Faenza i n la botega de Maestro Piere
Bergantino." Faenza 2 7 , nos. 1 - 2 : 3 - 9 . M A L L E T A N D DREIER 1998
LIVERANI 1957 M a l l e t , John V. G., and Franz A d r i a n Dreier. The Hockemeyer Col­
Liverani, Giuseppe. " U n p i a t t o a M o n t p e l l i e r marcato da Orazio lection: Maiolica and Glass. Bremen.
Fontana ed a l t r i ancora." Faenza 4 3 , no. 6 : 1 3 1 - 3 4 .
MANARA 2000
LIVERANI 1958 Manara, Sandra. " L ' a r c h i t e t t u r a ' p i c t a ' sulla m a i o l i c a d i N i c o l a da
L i v e r a n i , Giuseppe. "La r i v o l u z i o n e dei b i a n c h i d i Faenza." Faenza U r b i n o . " Faenza 8 6 : 8 3 - 1 0 3 .
4 4 , no. 2: 2 7 - 3 2 .
MARABOTTINI MARABOTTI 1982
LIVERANI i960 M a r a b o t t i n i M a r a b o t t i , Alessandro."Fonti iconografiche e s t i l i s t i c h e
Liverani, Giuseppe. Five Centuries of Italian Majolica. N e w York. della decorazione nella m a i o l i c a rinascimentale." I n Maioliche um-
bre decorate a lustro: Il Rinascimento e la ripresa ottocentesca
LIVERANI 1967
Deruta, Gualdo Tadino, Gubbio, 2 5 - 5 7 . Edited b y Grazietta Guai-
L i v e r a n i , Giuseppe. Il Museo delle Porcellane di Doccia. Milan. t i n i . Exh. cat., C h i o s t r i d i San N i c o l o , June 2 6 - J u l y 1 8 , 1 9 8 2 .
Florence.
LIVERANI 1975

L i v e r a n i , Giuseppe. " D i u n boccale cinquecentesco faentino e d i al- M A R C I A N O A N D PASCULLI FERRARA,I985

tre cose." Faenza 6 1 , no. 6 : 1 4 0 - 4 3 . M a r c i a n o , Gabriella, and M i m m a Pasculli Ferrara, M . Il Cappellone

LIVERANI 1980 di S. Cataldo nella Cattedrale di Taranto. Taranto.
L i v e r a n i , Giuseppe. Italian Ceramics. V o l . 5 of Masterpieces of
Western and Near Eastern Ceramics. Tokyo.

Literature Cited 253

MARIACHER 1958 MCNAB 1995
Mariacher, G i o v a n n i . " M o s t r a d i m a i o l i c h e cinquecentesche del M c N a b , Jessie. " S i x t e e n t h - C e n t u r y I t a l i a n M a i o l i c a . " I n European
M u s e o Correr." Bollettino dei musei civici veneziani 3: 8 - 2 7 . Decorative Arts. V o l . 2 , pt. 1 of The Taft Museum, Its History and
Collections, 5 1 7 - 4 1 . Edited by Edward J. S u l l i v a n and R u t h Krueger
MARIAUX 1995
Meyer. N e w York.
M a r i a u x , Pierre-Alain. La majolique: La faience italienne et son de­
cor dans les collections suisses, XV -XVIII c
siecles. Exh. cat.,
e
MELEGATI 1996
Musee H i s t o r i q u e de Lausanne, February 1 0 - M a y 2 8 , 1 9 9 5 . Geneva. M e l e g a t i , Luca. "Scultura e porcellana nella m a n i f a t t u r a d i D o c c i a . "
CeramicAntica 6 , no. 2 (February): 2 6 - 3 7 .
MARLE 1971
M a r i e , R a i m o n d van. Iconographie de Van profane au moyen-age et METROPOLITAN 1914
a la Renaissance et la decoration des demeurs. 2 vols. N e w York. Guide to the Loan Exhibition of the J. Pierpont Morgan Collection.
Exh. cat., M e t r o p o l i t a n M u s e u m of A r t . N e w York.
MARQUAND 1920
METROPOLITAN 1969
Marquand, A l l a n . Giovanni della Robbia. Princeton.
Florentine Baroque Art from American Collections. Exh. cat., M e t ­
MARRYAT 1857
r o p o l i t a n M u s e u m of A r t , A p r i l 1 6 - J u n e 1 5 , 1 9 6 9 . N e w York.
M a r r y a t , Joseph. A History of Pottery and Porcelain, Mediaeval and
MEZ-MANGOLD 1990
Modern, id ed. L o n d o n .
M e z - M a n g o l d , Lydia. Apotheken-Keramik-Sammlung 'Roche' Kata-
MARTINEZ CAVIRO 1 9 7 3
log. Basel.
M a r t i n e z Caviro, Balbina. Porcelana del Buen Retiro: Escultura.
Madrid. MICCA 1970
M i c c a , G i o r g i o . " I l ' D e Theriaca e del M i t h r i d a t o ' d i Bartolomeo
MARTINEZ CAVIRO 1 9 9 1
M a r a n t a . " Minerva medica 6 1 , no. 1 5 (February): 7 0 5 - 1 5 .
M a r t i n e z Caviro, Balbina. Cerdmica hispanomusulmana, Andalusi
y Mudejar. M a d r i d . MlDDELDORF 1973
Middeldorf, U l r i c h . " A n Ecce H o m o by the Master of the M a r b l e
MASSING 1991
Massing, Jean-Michel. " N i c o l a da U r b i n o and Signorelli's Lost Madonnas." I n Album amicorum J. G. van Gelder. T h e Hague,
C a l u m n y of A p e l l e s . " I n W i l s o n 1 9 9 1 , 1 5 0 - 5 6 . 234-36.

MILLIKEN 1940
MASTERPIECES 1997
M i l l i k e n , W i l l i a m M . " I t a l i a n M a j o l i c a . " Bulletin of the Cleveland
Masterpieces of the J. Paul Getty Museum: Decorative Arts. Los
Museum of Art 2 7 (March): 3 2 - 3 5 .
Angeles.
MILLIKEN 1944
MASTERPIECES 1998
M i l l i k e n , W i l l i a m M . " I t a l i a n M a j o l i c a . " Bulletin of the Cleveland
Masterpieces of the J. Paul Getty Museum: European Sculpture. Los
Museum of Art 3 1 (January): 7 - 1 5 .
Angeles.
MINIERI-RICCIO 1878
MATTEI A N D CECCHETTI 1995
M i n i e r i - R i c c i o , C a m i l l o . Gli artefici ed e miniatori della real fab-
M a t t e l , Pietro, and T o n i n a C e c c h e t t i . Mastro Giorgio: L'uomo,
rica dalla porcellana di Napoli. Naples. C i t e d i n A l i c e W i l s o n
l'artista, Yimprenditore. Perugia.
F r o t h i n g h a m , Capodimonte and Buen Retiro Porcelains, Period of
MAYER 1922 Charles HI. N e w York, 1 9 5 5 .
Mayer, A u g u s t L . Geschichte der spanischen Malerei. Leipzig. MOCCIA 1968

MAZZA 1983 M o c c i a , L e l l o . Le antiche maioliche di Castelli d'Abruzzo. Exh.

Mazza, G u i d o . La cerarnica medioevale di Viterbo e dell'Alto cat., Palazzo Venezia, December 1 9 6 8 - F e b r u a r y 1 9 6 9 . Rome.
Lazio. V i t e r b o . MOLFINO 1976
MAZZUCATO 1970 M o l f i n o , Alessandra M o t t o l a . Il Veneto e la Toscana. V o l . 1 of L'arte
Mazzucato, O t t o . "Sulle m a i o l i c h e italiane dette ' b e r e t t i n e ' . " della porcellana in Italia. M i l a n .
Padusa 6 : 1 7 - 2 3 .
MOLINIER 1892
MAZZUCATO 1990 M o l i n i e r , E m i l e . "Les faiences italiennes, hispano-moresques, et
Mazzucato, O t t o , ed. Le ceramiche da farmacia a Roma tra '400 e orientales." I n La collection Spitzer 4 : 1 - 8 8 . Paris.
'600. Exh. cat. Palazzo Braschi, Rome, M a r c h 3 0 - M a y 6 , 1 9 9 0 .
MONTAGUT 1990
Viterbo.
M o n t a g u t , Robert. " L a questione delle d i m e n s i o n i . " I n Castelli e la
MCGING 1986 maiolica cinquecentesca italiana: Atti del convegno in Pescara,
M c G i n g , Brian Charles. The Foreign Policy of Mithhdates VI Eupa- 22-25 Aprile 1989, 4 1 - 4 5 . Pescara.
toi, King of Pontus. Leiden.
MONTAGUT 1996
MCGRAW 1955 M o n t a g u t , Robert. El refle]o de Manises: Cerdmica hispano-morisca
M c G r a w , Patricia. "Terracotta Bust: M a i t l a n d F. Griggs C o l l e c t i o n / ' del Museo de Cluny de Paris. Exh. cat., M a y - S e p t e m b e r 1 9 9 6 ,
Bulletin of the Associates in Fine Arts at Yale University 2 1 (July), M u s e o de Bellas Artes de Valencia. M a d r i d .
no. 3 : 4 - 7 .

254 Literature Cited

MONTAIGNE 1955 NORMAN 1976
M o n t a i g n e , M i c h e l de. Journal de voyage en Italie par la Suisse et N o r m a n , A . Vesey B. Pottery, Maiolica, Faience, Stoneware. V o l . 1
l'Allemagne en 1580 et 1581. Reprint. Paris. of Catalogue of Ceramics: The Wallace Collection. London.

MORAZZONI 1956 NORMAN 1981

M o r a z z o n i , Giuseppe. La terraglia italiana. Milan. N o r m a n , Geraldine. " D o c u m e n t e d H i s t o r y Helps Jar to M a k e Fifty-

six Thousand Pounds." Times (London), A p r i l 1 5 , 1 9 8 1 .
MORAZZONI i960
NORMAN 1986
M o r a z z o n i , Giuseppe. Le porcellane italiane. 2 vols. M i l a n . N o r m a n , Geraldine. "Top Price for Table Top." Times (London),
MORLEY-FLETCHER A N D MCILROY 1984 M a r c h 5, 1 9 8 6 .
Morley-Fletcher, Hugo, and Roger M c I l r o y , Christie's Pictorial His­ OBERHUBER 1978
tory of European Pottery. Englewood Cliffs, N.J. Oberhuber, Konrad, ed. The Works of Marcantonio Raimondi and
MORO 1981 His School. V o l . 2 7 [formerly v o l . 1 4 , pt. 2 ] of T h e Illustrated
M o r o , Franco. " A l c u n e f o n t i iconografiche delle m a i o l i c h e dei Bartsch. N e w York.
Castelli d'Abruzzo." Rassegna di studi e di notizie: Castello
OLIVAR 1953
sforzesco 9 , no. 8 : 3 9 9 - 4 4 0 .
O l i v a r D a y d i , M a r c a l . La porcelana en Europa desde sus origenes
MORONI i860
hasta principios del siglo XX. V o l . 2 . Barcelona.
M o r o n i , Gaetano. Dizionario di erudizione storico-
ecclesiastico. 6 vols. Venice. OMODEO 1970

MUIR 1981 Omodeo, A n n a . Bottiglie e bicchieri nel costume italiano. Milan.

M u i r , Edward. Civic Ritual in Renaissance Venice. Princeton. PALMER 1985

Palmer, Richard. "Pharmacy i n the Republic of Venice i n the Six­
MUNARINI 1990
t e e n t h Century." I n The Medical Renaissance of the Sixteenth Cen­
M u n a r i n i . Michelangelo. " M a i o l i c a berrettina." I n La cerarnica nel
tury, 1 0 0 - 1 1 7 . Edited by A . Wear, R. K. French, and I . M . Lonie.
Veneto: La terraferma dalXIII al XVIII secolo, 2 0 9 - 1 7 . Edited by
Cambridge.
G i u l i a n a Ericani and Paola M a r i n i . Verona.
PALMER A N D C H I L T O N 1984
MUSACCHIO 1999
Palmer, Jock Pegler, and M e r e d i t h C h i l t o n . Treasures of the George
Musacchio, Jacqueline M a r i e . The Art and Ritual of Childbirth in
R. Gardiner Museum of Ceramic Art. Toronto.
Renaissance Italy. N e w Haven.
PALVARINI 1987
M U S E O C I V I C O D I PESARO 1979
Maioliche del Museo Civico di Pesaro. Bologna. Palvarini Gobio Casali, Mariarosa. La cer arnica a Mantova. Ferrara.

MUSEO E GALLERIE N A Z I O N A L I D I CAPODIMONTE 1958 PALVARINI 1989-90

Museo e Gallerie N a z i o n a l i d i C a p o d i m o n t e . La donazione Mario Palvarini Gobio Casali, Mariarosa. "11 p i a t t o Valenti-Gambara di
de Ciccio. Naples. N i c o l a d ' U r b i n o ? " Rassegna di studi e di notizie, Castello sforzesco
15: 1 5 1 - 6 4 .
MUSEUM HANDBOOK 1997
PALVARINI 1994
The J. Paul Getty Museum Handbook of the Collections. 5 t h ed.
Palvarini Gobio Casali, Mariarosa. " U n episodio della storia d i
Los Angeles.
'Giuseppe ed i f r a t e l l i ' i n u n piatto d i m a i o l i c a d i N i c o l a d ' U r b i n o a
MUSEUM HANDBOOK 2001 Novellara." Faenza 8 0 , nos. 1 - 2 : 1 0 - 1 9 .
The J. Paul Getty Museum Handbook of the Collections. 6 t h . ed.
PAOLUCCI1985
Los Angeles.
Paolucci, A n t o n i o . Il Museo della Collegiata di S. Andrea in Em-
N A T I O N A L GALLERY 1993 poli. Florence.
Medieval, Renaissance, and Historicizing Styles, Including Metal-
PARK 1985
work, Enamels, and Ceramics. Part 1 of Western Decorative Arts.
Park, Katharine. Doctors and Medicine in Early Renaissance Flor­
Washington, D . C .
ence. Princeton.
NAVARRA 2 0 0 1
PAS S A V A N T 1969
Navarra, Vincent. " I protagonisti della m a i o l i c a d i Sciacca." Cer-
Passavant, Giinter. Verrocchio: Sculptures, Paintings, and
amica Antica 1 1 2 (February): 5 0 - 5 5 .
Drawings. Translated by Katherine Watson. London.
NEGRONI 1985
PASSERI 1758
N e g r o n i , Franco. " N i c o l o Pellipario: Ceramista fantasma." Notizie
Passeri, G i o v a n n i Battista. Istorie delle pitture in majolica fatte in
da Palazzo Albani 1 4 , no. 1 : 1 3 - 2 0 .
Pesaro. Venice.
NEGRONI 1998
PEDRAZZINI 1934
Negroni, Franco. " U n a famiglia d i ceramisti U r b i n a t i : I Patanazzi."
Faenza 8 4 , nos. 1 - 3 : 1 0 4 - 1 5 . Pedrazzini, Carlo. La farmacia storica ed artistica italiana. Milan.

NORMAN 1969 PETRUZZELLIS-SCHERER 1980

N o r m a n , A . V. B. " A N o t e on the So-called Casa Pirota M a r k . " Petruzzellis-Scherer, Jacqueline."Le opere d i Francesco Xanto A v e l l i
Burlington Magazine 1 1 1 (July): 4 4 7 - 4 8 . al Castelli sforzesco." Rassegna di studi e di notizie, Castello
sforzesco 8 : 3 2 1 - 7 1 .

Literature Cited 255

PHILLIPS 1978 RACKHAM 1929
P h i l l i p s , Jane E. " R o m a n M o t h e r s and the Lives of T h e i r A d u l t Rackham, Bernard. " D e r M a j o l i k a m a l e r G i o v a n n i M a r i a v o n Castel
Daughters." Helios 6 : 6 9 - 8 0 . D u r a n t e . Pt. 2 . " Pantheon 3 (February): 8 8 - 9 2 .
PICCIOLI 2000 RACKHAM 1932
P i c c i o l i , R o m i n a . " I t o n d i n i con ' p u t t i l u d e n t i : U n caso ancora
7
Rackham, Bernard. " L a raccolta Beit d i m a i o l i c h e i t a l i a n e . " Bollet-
aperto." Faenza 8 6 : 6 5 - 8 2 . tino d'arte 2 5 , no. 8 : 3 4 1 - 4 9 .

PILES 1772 RACKHAM 1935

Piles, Roger de. L'idea del perfetto pittore. Venice. Rackham, Bernard. Catalogue of the Glaisher Collection of Pottery
and Porcelain in the Fitzwilliam Museum, Cambridge. 2 vols.
PILLSBURY 1971
Cambridge.
Pillsbury, E d m u n d P. Florence and the Arts: Five Centuries of Pa­
RACKHAM 1937A
tronage. Exh. cat., Cleveland M u s e u m of A r t . Cleveland.
Rackham, Bernard. " T h e D a m i r o n C o l l e c t i o n of I t a l i a n M a i o l i c a —
POKE 2 0 0 1
I . " Apollo, no 2 5 : 6 1 - 6 7 .
Poke, Christopher. "Jacques A n d r o u e t I Ducerceau's T e t i t e s
Grotesques' as a Source for U r b i n o M a i o l i c a D e c o r a t i o n . " Burling­ RACKHAM 1937B
ton Magazine 1 4 3 (June): 3 3 2 - 4 4 . Rackham, Bernard. " T h e D a m i r o n C o l l e c t i o n of I t a l i a n M a i o l i c a —
I I . " Apollo, no 2 6 : 2 5 1 - 5 7 .
P O M P E I S ET A L . I985
Pompeis, C l a u d i o de, et al. " N u o v i c o n t r i b u t i per T a t t r i b u z i o n e a RACKHAM 1940
C a s t e l l i della t i p o l o g i a O r s i n i - C o l o n n a . " Quaderno: Museo della Rackham, Bernard. Catalogue of Italian Maiolica. 2 vols. London.
Genti d'Abruzzo 1 3 (November): 3 - 3 6 .
RACKHAM 1945
POOLE 1986
Rackham, Bernard. " N i c o l a Pellipario and Bramante." Burlington
Poole, Julia E. Plagiarism Personifiedl European Pottery and Porce­ Magazine 8 6 (June): 1 4 4 - 4 8 .
lain Figures. Exh. cat., F i t z w i l l i a m M u s e u m , July 1 5 - A u g u s t 3 1 ,
RACKHAM195 I
1 9 8 6 . Cambridge.
Rackham, Bernard. " I t a l i a n M a i o l i c a : Some Debated A t t r i b u t i o n s :
POOLE 1995 A Follower of S i g n o r e l l i . " Burlington Magazine 9 3 : 1 0 6 - n .
Poole, Julia E. Italian Maiolica and Incised Slipware in the
RACKHAM1959
Fitzwilliam Museum, Cambridge. Cambridge.
Rackham, Bernard. Islamic Pottery and Italian Maiolica: Illus­
POOLE 1997 trated Catalogue of a Private Collection. London.
Poole, Julia E. Italian Maiolica. Cambridge. RAGONA 1999

POPE-HENNESSY 1964
Ragona, A n t o n i n o . " L a p r o t o m a i o l i c a siciliana i n epoca angioino-
aragonese." CeramicAntica 9 , no. 2 (February): 2 4 - 3 3 .
Pope-Hennessy, John. Catalogue of Italian Sculpture in the Victoria
and Albert Museum. London. RASMUSSEN 1972
POST 1938 Rasmussen, Jorg. " Z u m Werk des M a j o l i k a m a l e r s N i c o l o da
Post, Chandler Rathfon. The Catalan School in the Late Middle U r b i n o . " Keramos 5 8 (December): 5 1 - 6 4 .
Ages and Early Renaissance. V o l . 7 , pt. 2 of A History of Spanish
RASMUSSEN 1984
Painting. Cambridge, Mass.
Rasmussen, Jorg. Italienische Majolika. Hamburg.
PRENTICE V O N ERDBERG 1950
RASMUSSEN 1989
Prentice v o n Erdberg, Joan. " M a i o l i c a b y K n o w n A r t i s t s i n the C o l ­
lections of the Musee de C l u n y . " Burlington Magazine 9 2 : 2 8 3 - 8 7 . Rasmussen, Jorg. Italian Majolica. V o l . 1 0 of The Robert Lehman
Collection. N e w York.
PRESSOUYRE 1968
RASMUSSEN A N D WATSON 1 9 8 7
Pressouyre, Sylvia. "Les Trois Graces Borghese d u Musee d u
Rasmussen, Jorg, and Wendy M . Watson. " M a j o l i c a . " I n R o t h 1 9 8 7 ,
L o u v r e . " Gazette des beaux-arts. 7 1 , pt. 1 : 1 4 7 - 6 0 .
58-81.
RACKHAM 1915
RAVANELLI G U I D O T T I I 9 8 5 A
R a c k h a m , Bernard. " A N e w Chapter i n the H i s t o r y of I t a l i a n Ravanelli G u i d o t t i , C a r m e n . "L'araldica della n o b i l e f a m i g l i a C a l i n i
M a i o l i c a . " Burlington Magazine 27 ( A p r i l and May): 28-35 (April), su a l c u n i p i a t t i c o m p e n d i a r i . " Faenza 7 1 , no. 4 - 6 : 3 9 4 - 9 9 .
4 9 - 5 5 (May).
RAVANELLI G U I D O T T I 1 9 8 5 B
RACKHAM 1916
Ravanelli G u i d o t t i , C a r m e n . Ceramiche occidental! del Museo
R a c k h a m , Bernard. Italian Majolica. V o l . 2 of Catalogue of Pottery Civico Medievale di Bologna. Bologna.
and Porcelain: Otto Beit Collection. London.
RAVANELLI G U I D O T T I 1 9 9 0
RACKHAM 1928A
Ravanelli G u i d o t t i , C a r m e n . La donazione Angiolo Fanfani: Ce­
R a c k h a m , Bernard. " D e r M a j o l i k a m a l e r G i o v a n n i M a r i a v o n Castel
ramiche dal medioevo al XX secolo. Faenza.
D u r a n t e . Pt. 1." Pantheon 2 (September): 4 3 5 - 4 5 .
RAVANELLI G U I D O T T I 1 9 9 1
RACKHAM 1928B
Ravanelli G u i d o t t i , C a r m e n . " D a un'idea d i Giuseppe L i v e r a n i : La
R a c k h a m , Bernard. "Some U n p u b l i s h e d M a i o l i c a b y Pellipario."
proposta per una monografia su 'Baldassare M a n a r a figulo faentino
Burlington Magazine 5 2 (May): 2 3 0 - 4 1 . del X V I secolo. " Faenza 7 7 , nos. 3 - 4 : 1 4 7 - 5 9 .
7

256 Literature Cited

RAVANELLI G U I D O T T I 1992 RUBINI 1990
Ravanelli G u i d o t t i , C a r m e n . Maioliche italiane: Collezione Chigi R u b i n i , Aleardo. " A n c o r a sul 'Corredo B o . ' " Castelli: Semestrale
Saracini del Monte dei Paschi di Siena. Exh. cat., Palazzo delle es- del Museo delle Ceramiche 2 (January-June): 2 7 - 2 8 .
posizioni, September 1 9 - O c t o b e r 25, 1992. Florence.
SANTANGELO 1959
RAVANELLI G U I D O T T I 1996 Santangelo, A n t o n i n o . Tessuti d'arte italiani dal XII al XVIII
Ravanelli G u i d o t t i , Carmen. Baldassarre Manara Faentino: Pittore secolo. M i l a n .
di maioliche nel cinquecento. Ferrara.
SARASINO 1924
RAVANELLI G U I D O T T I 1998 Sarasino, Ernesto. Le maioliche di Deruta. Milan.
Ravanelli G u i d o t t i , Carmen. Thesaurus di opere della tradizione di
SAVAGE A N D N E W M A N 1985
Faenza nelle raccolte del Museo Internazionale delle Ceramiche in
Faenza. Faenza. Savage, George, and H a r o l d N e w m a n . An Illustrated Dictionary of
Ceramics. N e w York.
R A Y 2000
SCHMIDT 1922
Ray, A n t h o n y . Spanish Pottery, 1248-1898: With a Catalogue of the
Collection in the Victoria and Albert Museum. London. Schmidt, Robert. Das Glas. B e r l i n .
SCHMIDT 1932
RENGER 1970
Renger, Konrad. Lockere Gesellschaft: Zur Ikonographie des ver- Schmidt, Robert. Porcelain as an Art and Mirror of Fashion.
lorenen Sohnes und von Wirtshausszenen in der Niederlandischen London.
Malerei. Berlin. S C H R A T T E N H O F E N I 927
Schrattenhofen, H e r m a n n v o n . "La nobile f a m i g l i a bresciana C a l i n i
R E P O R T 1991-92
d i C a l i n o . " Rivista del collegio araldico 25 (June): 2 4 3 - 5 7 .
Report: J. Paul Getty Trust. Los Angeles.
SERVOLINI 1944
R E U S N E R 15 81
Servolini, L u i g i . Jacopo de' Barbari. Padua.
Reusner, N i k o l a u s . Emblemata partim ethica et physica. Frankfurt.
SHINN 1982
RICCI1919
Shinn, Deborah. Sixteenth-Century Italian Maiolica: Selection
Ricci, Seymour de. "La porcelaine des M e d i c i s . " I n Museo Inter­ from the Arthur M. Sackler Collection and the National Gallery of
nazionale delle Ceramiche: L'opera d'un decennio, 1908-1918, 26- Art's Widener Collection. Exh. cat., N a t i o n a l Gallery of A r t , Sep­
32. Faenza. tember 5, 1982-January 2, 1983. Washington, D . C .
RICCI 1988 SOLER ET A L . 1992
Ricci, Seymour de. Antica maiolica italiana: La collezione Mor­ Soler, M a r i a Paz, et al. MediTERRAneum: Ceramica medieval en
timer L . Schiff. Ferrara. Espaha e Italia/Ceramica medievale in Spagna e Italia. M u s e o de
ROBINSON 1858 Ceramica de Barcelona, 1992. Viterbo.
Robinson, J. C. " C e r a m i c A r t . " I n Art Treasures of the United King­
SOLON 1907
dom from the Art Treasures Exhibition, Manchester, 1:1-32.
Solon, M a r c E m m a n u e l Lewis. A History and Description of Italian
Edited by J. B. Waring. London.
Majolica. London.
R O N C A G L I A I992
SOTHEBY'S 1938
Roncaglia, G i o v a n n i . " L ' a t t i v i t a ceramica n e l t e r r i t o r i o d i Bac-
A Very Choice Collection of Old Italian Maiolica, the Property of
chereto (secoli X I V - X V ) . " I n La sola delle ceramiche di Bacchereto
M. Damiron, Lyons. Sale cat., Sotheby's, June 16, 1938. London.
nel Museo Archeologico di Artimino, 15-32. Florence.
SOTHEBY'S 1939
RONDOT 1994
Pringsheim Collection: Renowned Collection of Superb Italian Ma­
Rondot, Bertrand."Six majoliques signees de Francesco X a n t o A v e l l i
jolica. Sale cat., Sotheby's, June 7, 1939. London.
au Musee des A r t s Decoratifs de L y o n : Sources et iconographie."
Bulletin des musees et monuments lyonnais, no. 4: 1 8 - 4 9 . SOTHEBY'S 1965
A Highly Important Collection of Early Italian Maiolica Formed
ROSA 1981
by Dr. Bak of New York. Sale cat., Sotheby's, December 7, 1965.
Rosa, Claudio. / Grue di Castelli. Rome. London.
ROSEO 1995 SOTHEBY'S 1 9 8 3 - 8 4
Roseo, Paola. " G l i i s t o r i a t i della collezione D o r i a - Art at Auction: The Year at Sotheby's and Parke-Bernet. London.
P a m p h i l j . " CeramicAntica 5, no. 10 (November): 3 2 - 4 7 .
ROTH 1987 SOULIER 1924

Roth, Linda H o r v i t z , ed. /. Pierpont Morgan, Collector: European Soulier, Gustave. "Les caracteres coufiques dans la peinture
Decorative Arts from the Wadsworth Atheneum. Exh. cat., toscane." Gazette des beaux-arts 5, no. 9: 347-58.
Wadsworth A t h e n e u m , January 1 8 - M a r c h 15, 1987. H a r t f o r d . SPALLANZANI1978
Spallanzani, M a r c o . Ceramiche orientali a Firenze nel Rinasci-
R O T H E N S T E I N I 944
mento. Florence.
Rothenstein, John. "Shorter Notices: T w o Pieces of I t a l i a n Pottery."
Burlington Magazine 85 (August): 205.

Literature Cited 257

SPALLANZANI 1979 TASSINI 1961
Spallanzani, M a r c o . " M a i o l i c h e d i U r b i n o nelle c o l l e z i o n i d i Tassini, Giuseppe. Feste, spettacoli, divertimenti, e piaceri degli an-
C o s i m o I , del Cardinale Ferdinando, e d i Francesco I de' M e d i c i . " tichi veneziani. Venice.
Faenza 65, no. 4: 111-26.
T H I E M E A N D BECKER 1907
SPALLANZANI 1980 T h i e m e , U l r i c h , and Felix Becker, eds. Allgemeines Lexikon der
Spallanzani, M a r c o . "Ceramiche nelle raccolte medicee." I n Le arti bildenden Kiinstler. V o l . 15. Leipzig.
delprincipato Mediceo, 7 3 - 9 4 . Florence.
THOMANN 1962
SPALLANZANI1986 T h o m a n n , Hans E. " D i e 'Roche'-Apotheken-fayencen-sammlung."
Spallanzani, M a r c o . " M a i o l i c h e d i Valenza e d i M o n t e l u p o i n una Mitteilungsblatt, Keramik-Freunde der Schweiz, no. 58-59: 11-79.
casa pisana del 1480." Faenza 72, nos. 3 - 4 : 1 6 4 - 7 0 .
THORNTON 1998
SPALLANZANI 1990 T h o r n t o n , Peter. Form and Decoration: Innovation in the Decora­
Spallanzani, M a r c o . " M e d i c i Porcelain i n the C o l l e c t i o n of the Last tive Arts, 1470-1870. London.
Grand-duke." Burlington Magazine 132, no. 1046 (May): 316-17, TITTONI MONTI AND GUARINO 1992
3i9- T i t t o n i M o n t i , M a r i a Elisa, and Sergio G u a r i n o . Invisibilia:
SPALLANZANI1994 Rivedere i capolavori, vedere, i progetti. Exh. cat., Palazzo dell espo-
Spallanzani, M a r c o . Ceramiche alia corte dei Medici nel Cinque- sizioni, February 1 9 - A p r i l 12, 1992. Rome.
cento. Modena.
TOLEDO 1962
SPRETI [1928-35] 1969 W i t t m a n n , O t t o . " N e w Accessions." Museum News: The Toledo
Spreti, V i t t o r i o . Enciclopedia storico-nobiliare italiana. 8 vols. Museum of Art 5, no. 3: 51-70.
Reprint. Bologna.
TOLLON 1993
STAZZI 1982 T o l l o n , Bruno. "Le Chateau d'Assier." I n Congres archeologique de
Stazzi, Francesco. Le porcellane veneziane di Geminiano e Vin- France, 147 session, 1989, Quercy, 1 3 7 - 4 9 . Paris.
s

cenzo Cozzi. Venice.

TREASURE OF SAN GENNARO 1987
STEWART 1986 The Treasure of San Gennaro: Baroque Silver from Naples. Exh.
Stewart, A l i s o n G " T h e First 'Peasant Festivals': Eleven Woodcuts cat., B r o o k l y n M u s e u m , October 28-January 18, 1988. B r o o k l y n .
Produced i n R e f o r m a t i o n N u r e m b u r g by Barthel and Sebald Beham TRINITY 1992
and Erhard Schon, ca. 1524-1535." Ph.D. diss., C o l u m b i a An Exhibition of European Works of Art, 1200-1800. Exh. cat.,
University. H a r a r i & Johns L t d . , sponsored by T r i n i t y Fine A r t L t d . , June 2 4 -
STROCCHI1913 July i o , 1992. London.
Strocchi, Giuseppe. " L a 'Pavona' cristiana e la T a v o n a ' de Galeotto TRINITY 1998
M a n f r e d i . " Faenza 1, no 4: 1 0 5 - 8 .
An Exhibition of Sculpture and Works of Art. Exh. cat., N e w h o u s e
STUDIO FELSINA 1984 Galleries, sponsored by T r i n i t y Fine A r t L t d , M a y 6 - M a y 15, 1998.
Maioliche Faentine dall'Arcaico al Rinascimento. Exh. cat., Studio London.
Felsina. Bologna. VALERI 1984
SUMMARY CATALOGUE 1993 Valeri, A n n a M o o r e . "Florentine 'Zaffera a Rilievo' Maiolica: A
Bremer-David, Charissa, w i t h Peggy Fogelman, Peter Fusco, Cather­ N e w L o o k at the ' O r i e n t a l I n f l u e n c e . ' " Archeologia medievale 11:
ine Hess. Decorative Arts: An Illustrated Summary Catalogue of 477-500.
the Collections of the J. Paul Getty Museum. Malibu.
VALERI 1986
SUMMARY CATALOGUE 2001 Valeri, A n n a M o o r e . " I l campanile d i G i o t t o e le o r i g i n i della
W i l s o n , G i l l i a n , and Catherine Hess. Summary Catalogue of Euro­ m a i o l i c a b l u i n Toscana." Faenza 72, nos. 5 - 6 : 2 8 1 - 8 9 .
pean Decorative Arts in the J. Paul Getty Museum. Los Angeles.
VALERI 1993
SWANN 1985 Valeri, A n n a M o o r e . " L a foglia d i quercia: Le sue o r i g i n i e i l suo
Swann, John Patrick. " T h e U n i v e r s a l D r u g : Theriac t h r o u g h the s v i l u p p o . " Faenza 79, nos. 3 - 4 : 128-34.
Ages." Medical Heritage 1, no. 6 (November-December): 457-58.
VERLET 1937
TABAKOFF 1992 Verlet, Pierre. " A Faenza Panel i n the V i c t o r i a and A l b e r t M u s e u m . "
Tabakoff, Sheila K. " I m i t a t i o n or I n v e n t i o n : Sources for Eighteenth- Burlington Magazine jr. 13-184.
C e n t u r y Porcelain Figures." I n Figures from Life: Porcelain Sculp­ VIGERIUS 1507
ture from the Metropolitan Museum of Art, ca. L7 40-1780, 12-20.
Vigerius, Marcus. Decachordum christianum. Fano.
Exh. cat., M u s e u m of Fine A r t s , M a r c h i - A p r i l 26, 1992. St. Peters­
burg, Fla. VITA 1924-25

TALVACCHIA 1994 V i t a , Alessandro D e l . "Le m a i o l i c h e n e l Museo C i v i c o d i Bologna,

Talvacchia, Bette. "Professional Advancement and the Use of the I I I : Le m a i o l i c h e M e t a u r e n s i . " Dedalo 5: 1 5 5 - 8 3 .
Erotic i n the A r t of Francesco X a n t o . " Sixteenth-Century Journal VITRY 1938

25: 121-53. V i t r y , Paul. "Chateau et eglise d'Assier." I n Congres archeologique

de France, 3 3 0 - 5 0 . Paris.

258 Literature Cited

 I969
V l T R Y A N D BRIERE [ 1 9 0 4 - n ] WILSON 1990
V i t r y , Paul, and Gaston Briere. Documents de sculpture francaise: W i l s o n , T i m o t h y . " X a n t o and A r i o s t o . " Burlington Magazine 132
The Middle Ages, the Renaissance. Reprint. N e w York. (May): 321-27.

WALLEN 1968 WILSON 1991

Wallen, Burr. " A M a j o l i c a Panel i n the Widener C o l l e c t i o n / I n Na­
7
W i l s o n , T i m o t h y , ed. Italian Renaissance Pottery: Papers Written
t i o n a l Gallery of A r t , Report and Studies in the History of Art, v o l . in Association with a Colloquium at the British Museum. London.
2: 95-105. Washington, D . C .
WILSON 1996
WALLIS 1900 W i l s o n , T i m o t h y . Italian Maiolica of the Renaissance. Milan.
Wallis, Henry. The Oriental Influence on the Ceramic Art of the
Italian Renaissance. London. WILSON 1999
W i l s o n , T i m o t h y . " I t a l i a n M a i o l i c a around 1500: Some Considera­
WALLIS 1903
tions o n the Background to A n t w e r p M a i o l i c a . " I n Maiolica in the
Wallis, Henry. Oak-Leaf Jars: A Fifteenth-Century Italian Ware
North: The Archeology of Tin-Glazed Earthenware in North-West
Showing Moresco Influence. London.
Europe, c. 1500-1600, 5 - 2 1 . Edited by D a v i d Gaimster. London.
WALLIS 1904 WINTERNITZ 1959
Wallis, Henry. Italian Ceramic Art: The Alharello, a Study in Early W i n t e r n i t z , Emanuel. " T h e Curse of Pallas A t h e n a . " Studies in the
Renaissance Maiolica. London. History of Art Dedicated to William E. Suida on His Eightieth
Birthday, 1 8 6 - 9 5 . London.
WALLIS 1905
Wallis, Henry. Seventeen Plates by Nicola Fontana da Urbino at ZBOINSKA-DASZYNSKA 1952
the Correr Museum, Venice: A Study in Early XVIth Cent[ur]y Zboinska-Daszynska, Bozena. Majoliki Wloskie w zbiorach Czarto-
Maiolica. London. ryskich w Krakowie. Krakow.

W A R D W E L L 1976-77 ZORZI 1983

Wardwell, A n n e E. " T h e Stylistic Development of Fourteenth- and Z o r z i , A l v i s e . Venice: The Golden Age, 1697-1797. N e w York.
Fifteenth-Century I t a l i a n S i l k Design." Aachener Kunstblatter 47:
177-226.
WATSON 1966
Watson, G i l b e r t . Theriac and Mithridatium: A Study in Therapeu­
tics. London.
WATSON 1986
Watson, Wendy M . Italian Renaissance Maiolica from the William
A. Clark Collection. Exh. cat., M o u n t H o l y o k e College A r t M u ­
seum, M a r c h 2 4 - M a y 25, 1986. London.
WATSON 1987
Watson, Wendy M . "Taddeo Zuccaro's Earliest D r a w i n g for
M a i o l i c a . " Paper delivered at I t a l i a n Renaissance Ceramics: A Spe­
cialist C o l l o q u i u m . B r i t i s h M u s e u m , September 2 - 5 , 1987. London,
177-82.

WEISS 1966
Weiss, Roberto. Pisanello's Medallion of the Emperor John VIII
Palaeologus. London.
WIDENER 1935
Inventory of the Objets d'Art at Lynnewood Hall, Elkins Park, Es­
tate of the Late P. A. B. Widener. Philadelphia.
WILSON 1983
W i l s o n , C a r o l y n C. Renaissance Small Bronze Sculpture and Asso­
ciated Decorative Arts at the National Gallery of Art. Washington,
D.C.

W I L S O N 1987A
W i l s o n , T i m o t h y . Ceramic Art of the Italian Renaissance. British
M u s e u m . London.
W I L S O N 1987B
W i l s o n , T i m o t h y . " M a i o l i c a i n Renaissance Venice." Apollo 125,
no. 301: 1 8 4 - 8 9 .

WILSON 1989
W i l s o n , T i m o t h y . Italian Maiolica. Oxford.

Literature Cited 259

 proFILED
I N A L L CASES T H E S C A L E IS 1:4.

N o . 2 (85.DE.441)

No. 20 ( 8 4 . D E . n o )

N o . 26 ( 8 4 . D E . I I l )

N o . 29 (84.DE.118)

N o . 25 (84.DE.117)

260
 N o . 15 (84.DE.103)

N o . 27 (84.DE.113)

N o . 33 (84.DE.120)

N o . 6 (84.DE.94) N o . 18 (84.DE.108)

N o . 23 (84.DE.106) N o . 19 (84.DE.109)

N o . 30 (84.DE.107) N o . 22 (84.DE.116)

Profiles 261
 N o . 35 (86.DE.539)

N o . 31 (84.DE.114)

262 Profiles
 INDEX

Page numbers for i l l u s t r a t i o n s are i n Berlin C a l a m e l l i , V i r g i l i o t t o , w o r k s h o p . See under

boldface. Beckerath ex-collection, 89n. 1 Faenza
Bode, W i l h e l m von, ex-collection, 15, 36 C a l i n i f a m i l y service, 146, 148, 148n. 16,
a calza design, 104, 104 Bode M u s e u m 149n. 30
a candelieri design, 132, 182, 192, 203 Story of Tobias, 152 Cambridge, F i t z w i l l i a m M u s e u m
Agricola, Georgius (ne Bauer), 5 Kunstgewerbemuseum dish, 46, 49
Agrigento, Mateo de, 24 jars, 55, 71 jars, 55, 60, 73m 1
albarelli, 42, 82, 118. See also drug jars tiles, 20 tondino, 107
covered, 10, 10, 45 private collections, 107, 118 Cambridge, Mass., Fogg A r t M u s e u m
p i c t u r e d i n a pharmacy, 95 albarello, 118 Perseus Slaying Medusa, 220, 220
single-handled, 102 tondino, 107 C a m p i , Vincenzo
w i t h incised flat-leaf m o t i f , 68 Schlossmuseum ex-collection, 158, 159n. La fruttivendola, 177
w i t h Kufic script, 2, 69, 71 20, 169, 196 candelabra, 212, 2 1 3 - 1 9
A l b r i z z i , G i o v a n n i Battista Bernardino of Siena, Saint, 24 Capodimonte, porcelain manufactory, 13,
Componimentipoetici, 235, 237 The Death of Saint Bernardino, 115, 116 226, 229m 7
Forestiere illuminate intorno le cose drug jar w i t h monograms of, 60, 61n. 2 capriccio, 235
piu rare, 235, 237 Saint Bernardino of Siena, 27 Carlevarijs, Luca, 237n. 12
alfardones, 20 Biringuccio, Vannoccio cartoons, 8, 9, 115
A l f o n z o V (king), 13 De la pirotechnia, 5, 5 Caruso, Enrico, 64n. 1
alia porcellana design, 6, 46, 107, 128, 156, boccali, 42 Caserta, 226
182, 184, 198, 202 Bode, W i l h e l m von, 64m 1. See also under cassone panels, 7, 152
A n d r e o l i , Giorgio, w o r k s h o p . See under Berlin Castel Durante, 6, 90, 132, 139n. 4, 146, 182
Gubbio Bologna, 140 Castelli, 222, 229n. 14
A n d r o u e t d u Cerceau, Jacques, 164, 196, 197 Biblioteca U n i v e r s i t a r i a p r i c k e d cartoon made i n , 8, 9
Arezzo An Apothecary's Shop, 72 tabletop made i n , 222, 2 2 3 - 2 7
Bruschi, Ivan, c o l l e c t i o n Cappella San Sebastiano C a s t e l l i d'Abruzzo, 126
Bust of Christ, 96, 102 tiles, 126 Cecilia, Saint, plate w i t h , 144, 146
Museo C i v i c o Museo C i v i c o , 139n. 4 Centaur Painter, style of
plate, 127n. 25 Bonacossi, plate w i t h arms of, 20 cup, 2
Augustus the Strong (king), 13 bone china, 13 C i v i t a l i , M a t t e o , 96
Borgarucci, Prospero Charles I I I (king), 13, 229m 7
Baglioni family, dish w i t h coat of arms of, Della fabrica de gli spetiali, 90 C h a r l o t t e (queen), 13
74, 77 Boston Chicago, A r t I n s t i t u t e of Chicago
Baltimore, Walters A r t G a l l e r y Boston A t h e n e u m plate, 116
albarello, 118 plate, 116 tile, 23
bamboo, 10, 17n. 19 M u s e u m of Fine A r t s Chinese. See also M i n g dynasty; Y u a n
Barbari, Jacopo de', 124, 125, 126n. 10 drug jar, 60 dynasty
Man with a Cradle, 125 Branca, A n t o n i o d i , 40 "classic s c r o l l " m o t i f , 68n. 2, 73n. 3
Woman and Distaff, 125 Braunschweig porcelain, 3, 107, 110, 198, 201, 202,
Barcelona Herzog A n t o n U l r i c h - M u s e u m 203m 6, 230
M u s e u d'Arts Industrials crespina, 177 Clare, Saint
tiles, 23 flask, 190 dish w i t h , 170, 171-72
Museus de A r t e de Barcelona plates, 106nn. 1, 3, 137, 137, 139, 158, p o r t r a i t of, 173
Santa Tecla and San Sebastian with 159 Cleveland, Cleveland M u s e u m of A r t
a Donor, 22, 23 vase, 132 jars, 60, 124
B a r t h o l o m e w the E n g l i s h m a n Vieweg ex-collection, 24 plate, 153, 154
The Proprietor, 54 Bremen, Hockemeyer, B., c o l l e c t i o n cluster analysis, 16
Basel dish, 107 Cologne, Kunstgewerbemuseum
Hoffmann-La Roche c o l l e c t i o n , 72 plate, 30 albarello, 118
Roche c o l l e c t i o n , 5 5 Brescia, 148 compendiario decoration, m a i o l i c a jug w i t h ,
basins Pinacoteca Tosio e M a r t i n e n g o , 149n. 30 10, 10
f r o m Deruta, 85 Brunelleschi, Filippo, 203 Comunitatis Castri Diruta, page of, 77
Hispano-Moresque, 24, 2 5 - 2 7 , 29, 29 Bruschi, Gaspero confinement dishes, 11, 11
w i t h D e u c a l i o n and Pyrrha, v, 192, candelabra, 212, 2 1 3 - 1 9 coperta glaze, 4
193-95, 1 9 6 - 9 7 B u g l i o n i , Santi, 102 coppa svasata, 106n. 5
Beham, Barthel Bust of Christ, 96, 97-99, 100, 100-101, coppe amatorie, 11, 174
Spinning Room, 127n. 25 102-3 corno hat, 230
berettino glazes, 6, 139, 140, 142, 156, 158, Bust of a Man, 160, 1 6 1 - 6 3 , 164-65 Cortona, Museo dell'Accademia Etrusca
174, 178, 182, 184 Temple of the Glories of Tuscany, 2 2 1 ,
Cafaggiolo, ceramics f r o m , 104, 132 221n. 5
dish, 107, 1 0 8 - 1 1 , 109, 111

263
Cozzi, G e m i n i a n o , 13, 232 Mercury and Argus, 220, 220 fitta filettatura pattern, 106n. 5
C o z z i factory. See under Venice domaschino, 201 flasks, 190, 191, 203
crazing, 6 D o r t m u n d , M u s e u m fur K u n s t u n d p i l g r i m , 186, 198, 199-200, 201, 201,
cream ware, 13 Kulturgeschichte 202-3
credenza, 17n. 15, 146 piatto dapompa, 158 fleurs-de-lis, 29n. 5, 60
crespine, 10, 174, 175, 1 7 6 - 7 7 , 177n. 4, 178 drug jars, 29m 2, 40, 42, 50, 54, 56, 66, 7 1 , Florence
C r i v e l l i , Taddeo 94. See also albarelli Bardini, Stefano, ex-collection, 62, 64m 1
The Annunciation with Saint Emidius, 45 for m i t h r i d a t e s , 204, 2 0 5 - 7 Cantagalli factory
Saint Bernardino of Siena, 27 for Persian p h i l o n i u m , 140, 141, 142, w o r k s h o p pattern, 185
c r u t c h e m b l e m , jars w i t h , 56, 60 142-43 Chiesa d i Ognissanti
for syrup of l e m o n juice, vi, 90, 9 1 - 9 3 , The Last Supper, 39
Damascus, Syria, 203 94-95 Contini-Bonacossi, Alessandro,
degli Alessandri arms, jug w i t h arms of, 80, for theriac, title page, 204, 2 0 8 - 9 ex-collection, 50
81 D u r a n t i n o , G u i d o , 146, 186 Fondazione H o m e
D e l l a Robbia, G i r o l a m o plate, 8 The Madonna and Child with Six
Bust of a Man, 160, 1 6 1 - 6 3 , 164-65 Durer, A l b r e c h t , 8 Saints, 39
Bust of a Man (Constantine!), 160, 164, Diisseldorf Foresi, Alessandro, ex-collection, 198,
164 Hetjens-Museum 202-3
Bust of a Young Girl, 160, 164, 165 plate, 153, 155 Galleria Palatina, Palazzo P i t t i
D e l l a Rovere, Francesco M a r i a (duke), Kunstmuseum vase, 202
11-12, 166 dish, 24 Young Bacchus, 10
D e l l a Rovere, Guidobaldo (duke), 184, 191, D u v e e n Brothers, 64m 1, 118, 128, 178, 192, Grassi, L u i g i , ex-collection, 20, 42
196 197n. 1 Mazzeo, Piero d i , w o r k s h o p
Deruta jar probably f r o m , 36, 3 6 - 3 8 , 3 9 - 4 1
Catasto del C o m u n e Ecouen, Musee de la Renaissance M e d i c i porcelain factory, 212
page of Comunitatis Castri Diruta, 77 plates, 104, 106, 116, 139, 148, 158 p i l g r i m flask, 198, 199-200, 201, 201,
Museo Regionale della Ceramica Edinburgh, Royal Scottish M u s e u m 202-3
plate fragment, 89 plates, 148 Museo Nazionale, Palazzo del Bargello
Deruta, objects f r o m , 6, 124, 125, 126, 150 Egyptian ceramics, 203m 7 basins, 196, 197n. 7
basin, 85 Evelyn, John, 204 bronzes, 221n. 2
dishes, 74, 77, 86, 8 7 - 8 8 , 89 ewer, 196 closed vessels, 40
jars, 74, 7 5 - 7 6 , 82, 8 3 - 8 4 , 85, 118, dishes, 107, 109, 111
1 1 9 - 2 3 , 124 fabrics. See textiles flask, 191
jug, 78, 7 8 - 8 0 , 81 Faenza jars, 7 1 , 76, 126
page of Comunitatis Castri Diruta, 77 C a l a m e l l i , V i r g i l i o t t o , w o r k s h o p , 178 plate, 144
plate fragment, 89 Casa Pirota w o r k s h o p , 134, 139, 139n. 4, Museo Statale della Casa Fiorentina
plates, 77n. 2 , 1 1 2 , 1 1 2 - 1 3 , 1 1 4 - 1 7 , 1 1 4 - 1 7 158 A n t i c a , 64n. 1
vase, 124 Museo Internationale della Ceramiche Ospedale degli I n n o c e n t i , 41
d i s c r i m i n a n t analysis, 16 bowls, 182 Palazzo D a v a n z a t i
dishes closed vessel, 40 display cabinet, 64n. 1, 65
a r m o r i a l , 144, 1 4 4 - 4 5 , 146, 1 4 8 - 4 9 jars, 29m 2, 7 1 , 76, 102 ex-collection, 62
blue and w h i t e , w i t h m e r c h a n t ship, 107 , plates, 158, 169n. 14 private collections
108, 109, 109, 111 tondino, 107 jars, 42, 71
confinement, 11, 11 vases, 124, 124, 142 The Three Fates, 221, 221
green-painted, w i t h interlace pattern, 46, Museo Nazionale delle Ceramiche Santa M a r i a N o v e l l a
4 7 - 4 8 , 49 drug jar, 60, 61n. 2 The Birth of Saint John the Baptist, 10
molded, w i t h allegory of love, 174, Faenza, ceramics f r o m , 6, 86, 90, 132 Santa M a r i a N u o v a , drug jars w i t h
174-75 dishes, 104, 1 0 4 - 5 , 107, 134, 135—36, 170, e m b l e m of, 56, 60
w i t h A m a t a and T u r n u s , 134, 135-36, 171-72, 174, 1 7 4 - 7 5 , 1 7 6 - 7 8 , 1 7 9 - 8 1 Spence, W i l l i a m B l u n d e l l , ex-collection,
137, 139 drug jar, 140, 1 4 1 - 4 3 198, 202
w i t h aquatic a n i m a l , 107, 111 jug, 178, 1 7 9 - 8 1 V o l p i , Elie, ex-collection, 60, 62, 64n. 1
w i t h arms of the Gonzaga, 110, 111 plates, 106, 156, 157, 158, 159, 159 Florence, ceramics f r o m , 6, 24
w i t h peacock-feather pattern, 86, 8 7 - 8 8 faience, 6, 13, 17n. 2 Bust of a Man, 160, 1 6 1 - 6 3 , 164-65
w i t h Saint Clare, 170, 171-72 Ferdinand I (king), 13 dishes, 46, 4 7 - 4 8 , 49, 49
w i t h Saint Peter, 104, 1 0 4 - 5 , 106 Ferrer I , Jaime jars, 36, 3 6 - 3 8 , 3 9 - 4 2 , 43—44, 50, 5 0 - 5 3 ,
distaffs, 124, 127nn. 22, 25, 177 The Last Supper, 28 56, 5 6 - 5 9 , 6 0 - 6 2 , 6 2 - 6 4 , 64, 65
Doccia, 13, 221, 221n. 3 Figdor, A l b e r t , 64n. 1 p i l g r i m flask, 198, 199-200, 201, 201,
G i n o r i porcelain factory, 13, 202, 203 Filippo, Jacopo d i Stefano d i , 107, 109 202-3
candelabra, 212, 2 1 3 - 1 9 , 2 2 0 - 2 1 fiordalisi decoration, 29n. 6 Foggini, G i o v a n n i Battista, after
Museo di Doccia fire-crack, 236n. 3 Mercury and Argus, 220, 220

264 Index
 Perseus Slaying Medusa, 220, 220, 221 basin, 24, 2 5 - 2 7 , 29 lira da braccio, 178, 180
Foggini, Vincenzo, 212, 220 i n The Last Supper, 28 London
foglia di prezzemolo pattern, 66 hospitals, 4 0 - 4 1 , 56 British Museum
foglie di gelso pattern, 66 Huguet, Jaume basin, 196, 197
Fontana, A n n i b a l e , a t t r i b u t e d to Santa Tecla and San Sebastian with a Deer Hunt, 222, 228
The Adoration of the Shepherds, 211 Donor, 22, 23 dish, 24
drug jars, 204, 2 0 5 - 8 , 209, 209, 210 H u n t i n g t o n , H e n r y E., 192 Elephant Hunt, 222, 228, 229
Fontana, F l a m i n i o , 186, 191n. 5, 192, 196 jars, 55, 85
Fontana, Orazio, 186, 192, 196, 197 Imhof, Andreas, 12 Madonna and Child with Saint John the
Fontana w o r k s h o p . See under U r b i n o Isabella d'Este (marchesa), 8, 11, 146, 148 Baptist, 238, 242, 243
forks, use of, 86 Islamic wares, 2, 3, 16, 33, 86 Man with a Cradle, 125
Fountaine, Andrew, c o l l e c t i o n , 15, 15 istoriato ware, 6, 8, 134, 139, 146, 156, 158, M e d i c i porcelain, 203
f r a m i n g of m a i o l i c a pieces, 229, 229n. 14 166, 186 o r n a m e n t a l panel, 184, 185
Frederick I (king), 13 I z n i k pottery, 6, 128, 198, 201, 202 Ostrich Hunt, 222, 228
plates, 7, 8, 139, 144, 146, 170
Gardner, Isabella Stewart, 64m 1 jars. See also albarelli; drug jars tondino, 132
Genouillac, G a l i o t de, ex-collection, 160 armorial, 74, 75, 76, 76, 77 vase, 186
G e n t i l e da Fabriano relief-blue, 36, 3 6 - 3 8 , 3 9 - 4 2 , 4 3 - 4 4 , 50, Woman and Captive's Heart, 174, 176
Madonna and Child, 69, 73 5 0 - 5 3 , 55-56, 5 6 - 5 9 , 6 0 - 6 2 , 6 2 - 6 3 , Woman and Distaff, 125
Ghirlandaio, D o m e n i c o , 69 64, 64 National Gallery
The Birth of Saint John the Baptist, 10 w i t h foliate decoration, 66, 6 6 - 6 7 , 68 The Annunciation with Saint Emidius,
The Last Supper, 39 w i t h Kufic pattern, 69, 70, 7 1 , 71, 7 2 - 7 3 45
G i a m p i c c o l i , G i u l i a n o , and G i a m b a t t i s t a w i t h lame peasant, 118, 1 1 9 - 2 1 , 123-27 Rothschild, Gustave (baron),
Tiepolo w i t h profile of a y o u n g man, 82, 8 3 - 8 4 , 85 ex-collection, 144
Marina with Longshoremen, 236 w i t h w o m a n and geese, 118, 1 2 2 - 2 2 , 123, V i c t o r i a and A l b e r t M u s e u m
River Town with Clock Tower, 236 123, 124-27 bowl, 3
G i n o r i , Carlo (marquis), 13, 212 Joseph, Saint, 243, 244n. 17 dishes, 24, 110, 111, 132, 176
G i n o r i porcelain factory. See under D o c c i a representations of, 238, 2 3 9 - 4 2 , 2 4 3 - 4 4 Ecce Homo, 103n. 1
Gonzaga, Federico (duke), 146, 148 jugs, 40, 80, 81 flask, 190, 203
Gonzaga arms, dish w i t h , 100, 111 green-painted, half-title page, 30, 3 1 - 3 2 , fresco, i 4 9 n . 30
Granacci, Francesco, circle of 33, 33, 35 illuminated initial " M , " 3
The Lapiths and the Centaurs, 7 probably f r o m D e r u t a or M o n t e l u p o , 80 jars, 2, 60, 62, 65, 68, 7 1 , 73n. 1, 77n. 2,
The Story of Tobias, 152 w i t h bust m e d a l l i o n , 78, 7 8 - 7 9 , 81 82
"Green M a n , " 156 w i t h degli Alessandri arms, 80, 81 jug, 180
G r i c c i , Giuseppe, 238 w i t h m u s i c a l theme, 178, 179, 180, 180-81 Li tre libri dell'arte del vasaio, 4, 5, 5,
grotesque embellishments, 6, 17n. 13, 18 2, Julius I I (pope), 11 9, 11, 14, 190
192, 196, 197 plaque w i t h D e p u t a t i o n of Coriolanus,
Grue, Carlo A n t o n i o , 228 k a o l i n , 12, 232, 237n. 7 137, 138, 139
Grue, Francesco A n t o n i o , 222 Karlsruhe, Badisches Landesmuseum plates, 60, 106n. 1, 128, 131, 139, 158,
Grue, Francesco Saverio M a r i a cup, 2 159n. 20, 169n. 14, 170, 185n. 4, 229
tabletop w i t h h u n t i n g scenes, 222, Kleiner, Salomon tiles, 23
2 2 3 - 2 5 , 226, 2 2 6 - 2 7 , 2 2 8 - 2 9 i l l u s t r a t i o n of a pharmacy, 210 Wallace C o l l e c t i o n
Guardia, Gabriel, 23 Krakow, M u z e u m Narodowe crespine, 176
Gubbio, 6, 139n. 4 plate, 137, 137, 139 Lorenzo M o n a c o
A n d r e o l i , Giorgio, w o r k s h o p Kufic script, 69, 73m 4 The Madonna and Child with Six Saints,
plates, 117n. 3, 127n. 25, 150, 1 5 0 - 5 1 , jars decorated w i t h , 2, 7 1 , 72 39
153-55, 174 Los Angeles
Gussoni, Andrea, 202 lattimo glass, 202 G e t t y Research I n s t i t u t e
Laudato, Gennaro, 243 C h r i s t o p h e r i De Pauli pharmacopoeia,
Hainauer, Oscar, 64n. 1 Madonna and Child with Saint John the 210
H a m b u r g , M u s e u m fur K u n s t u n d Gewer be Baptist, 238, 242, 243, 244m 8 Componimenti poetici, 235, 237
albarelli, 118 Lawrence, Kans., H e l e n Foresman Spencer Decachordum Christianum, 152
crespine, 176 M u s e u m of A r t De la pirotechnia, 5
tondino, 89n. 2 flask, 190 Deucalion and Pyrrha, 197
Hartford, Wadsworth A t h e n e u m Lazio, n o r t h e r n , ceramics possibly f r o m p r i c k e d cartoon, 9
basin, 196 jug, 30, 3 1 - 3 2 , 33, 33, 35 Prospetto della Piazza verso il mare,
jars, 55, 124-25, 126 Leo X (pope), 11, 150 235, 237
Hearst, W i l l i a m Randolph, 64n. 1 Liguria, 6, 33n. 1, 142 Kosofski, M a r v i n and Jacqueline,
Hispano-Moresque ceramics, 38, 39, 42, 50, Limoges, Musee A d r i e n - D u b o u c h e collection
66, 69, 150 plate, 81n. 2 Bust of a Man (Constantine!), 160, 164,
164

Index 265
Lucretia Painter, 139 M e l b o u r n e , N a t i o n a l G a l l e r y of V i c t o r i a Museo Nazionale d i San M a r t i n o
Lugano, C o l l e c t i o n , I T A L I K A drug jar, 60 basin, 197
crespina, 178, 181 M e l i c h , Georg, and Orazio G u a r g u a n t i Real Fabbrica, 243
Lyons Avertimenti, 210 Naples, ceramics f r o m
D a m i r o n family, ex-collection, 77m 2, 80, m e m e n t o m o r i theme, 117n. 3 drug jar, 90, 9 1 - 9 3 , 94, 94, 95
81, 90, 128, 170 Messina, Spano ex-collection, 72 Saint Joseph with the Christ Child, 238,
Musee des A r t s Decoratifs Mezzarisa, Francesco, w o r k s h o p 239-41, 243-44
plate, 139 crespina, 181 narrative scenes, 8, 196. See also istoriato
tondino, 132 Milan ware
w e t - d r u g jar, 85 Biblioteca Ambrosiana, 210n. 12 Nasrid kingdom, 2
Museo del Castello Sforzesco Nazis, ceramics looted by, 36, 42, 46, 74, 90,
Madrid plate, 146 198
Buen Retiro porcelain factory, 13, 229m 7, private c o l l e c t i o n n e u t r o n a c t i v a t i o n analysis, 16, 8 1 , 82, 100,
238 drug jar, 60 126
I n s t i t u t o de Valencia de D o n Juan Rossi, Guido, c o l l e c t i o n N e w Haven, Yale U n i v e r s i t y A r t G a l l e r y
jar, 72 drug jar, 60 Bust of a Young Girl, 160, 164, 165
Museo A r q u e o l o g i c o N a c i o n a l M i l a n , ceramics possibly f r o m Madonna and Child, 73
t i l e , 23 drug jars, 204, 2 0 5 - 9 , 209, 209, 210 N e w York
Maestro Benedetto, 125 M i l a n o , Beltrame d i , figure of, 12 Bak, Robert, ex-collection, 24, 94, 118
Maghrib, 2 M i n g dynasty, 6, 73m 3, 198 B l u m k a , R u t h , ex-collection, 20, 77m 2
majolica, 17n. 1 M i n n e a p o l i s , M i n n e a p o l i s M u s e u m of A r t Hispanic Society of A m e r i c a
Majorca, 1, 23n. 2 jar, 76 dishes, 24, 68
Malaga, 1, 2, 17n. 2, 24, 69 M i n t o n factory, 17n. 1 plate, 20
M a m l u k s , 39 M i t h r i d a t e s Eupator V I (king), 204, 210n. 3 t i l e , 23
Manara, Baldassare, 139, 170 m i t h r i d a t e s , 204 M e t r o p o l i t a n M u s e u m of A r t , 64n. 1
Dish with Saint Clare, 170, 171-72 Modena, 202 bust, 165n. 16
maniera durantina, 182 M o h a m m e d I I (sultan), 128 dish, 148
Manises, ceramics f r o m , 20, 50, 69 Montagna, Benedetto, 178 jars, 48, 60, 94
basin, 24, 2 5 - 2 7 , 29 M o n t e f e l t r o , Guidobaldo da (duke), 11 "Julius I I " b o w l , 128, 131
jars, 2, 68, 72 M o n t e l u p o , Museo Archeologico e della M e d i c i porcelain, 203
plates, 7, 50, 55 Ceramica plates, 77n. 2, 174
M a n n e r i s t style, 182, 184, 209 fragments of a jug, 66, 68 tile, 60
Mantegna, Andrea fragments of a plate, 81, 85 N i c c h i a d i s t r i c t , 33n. 1
The Adoration of the Magi, 110 M o n t e l u p o , ceramics f r o m , 6, 66, 86, 126, N i c o l a d i Gabriele Sbraghe da U r b i n o
M a n t u a , 148 176 w o r k s h o p . See under U r b i n o
M a r i a , G i o v a n n i , 128, 182 Bust of Christ, 96, 97-100, 100, 101, 102- 3 Norfolk, Narford Hall
"Julius I I " b o w l , 131 dish, 46, 4 7 - 4 8 , 49 m a i o l i c a c o l l e c t i o n , 15
plate, 131 fragments of a jug, 66, 68 N u r e m b e r g , 12
M a r k , Saint, 236n. 5 fragments of a plate, 81,85
marzocco e m b l e m , 50 jars, 66, 6 6 - 6 8 , 69, 7 0 - 7 0 , 7 1 , 71, 7 2 - 7 3 , obra de mdlequa, 1, 17n. 2
Master C. I . , 156 82, 8 3 - 8 4 , 85, 118, 1 1 9 - 2 3 orciuoli, 42
plaque w i t h D e p u t a t i o n of Coriolanus, jugs, 78, 7 8 - 8 0 , 8 1 , 81 orciuolo biansato, 36
137, 138, 139 M o n t m o r e n c y , A n n e (duke), 12 O r v i e t o , cathedral, 30, 156
plate w i t h Samson i n the Temple, 137, M o r g a n , Sr., J. Pierpont, 15, 64n. 1 O t t o m a n Empire, 201
137, 139nn. 22, 23 ex-collection, 118, 178 Ovid
Master Gonela, 139, 156 M u n i c h , Pringsheim, Alfred, ex-collection, Metamorphoses, 146, 147, 148, 192, 197
Master of the M a r b l e Madonnas, 96 46, 74, 90, 116, 118, 132, 169 Oxford, A s h m o l e a n M u s e u m
Master of the Resurrection Panel, 139 M u r c i a , 1, 2, 24 basins, 196, 197
Master of the Taft Orpheus, 158 M u s i , Agostino, 185 jug, 80, 81
materia medica, 204 plates, 128, 131, 202
Mazzeo, Piero d i , w o r k s h o p . See under Naples, 13, 86
Florence Charlesworth, W i l l i a m s , ex-collection, Painter of the A p o l l o Basin, 169
M c N a b , Jessie, 15 238, 243, 244n. 10 Paladini, F i l i p p o d i Lorenzo
M e d i c i , C o s i m o I de' (grand duke), 11, 202 Girasole ex-collection Giving Drink to the Thirsty, 103
M e d i c i , Ferdinand de' (grand prince), 221n. 2 drug jar, 90, 94 Palaeologus, John V I I I (emperor), 128
M e d i c i , Francesco I de' (grand duke), 12, 196, Museo Nazionale della Ceramica Paris
202, 203 albarello, 118 Adda ex-collection, 77n. 2, 112, 117n. 4,
M e d i c i porcelain factory. See under Florence M u s e o Nazionale d i C a p o d i m o n t e 142
Meissen porcelain factory, 230 jars, 60, 72 Basilewski ex-collection, 191
figure of Beltrame d i M i l a n o , 12 pitcher, 132 Bibliotheque N a t i o n a l e

266 Index
 The Proprietor, 54 Pisa, 2 The Death of Saint Bernardino, 115, 116
Boy, M . , ex-collection, 24 Pistoia, Ospedale del Ceppo Galleria Colonna
D u c r o t ex-collection, 7 1 , 127n. 28 Giving Drink to the Thirsty, 102, 103 Pirates with Loot, 191
Gaillard, E m i l e , ex-collection, 24 plague, 117n. 4 Galleria Nazionale d ' A r t e A n t i c a , Palazzo
Galerie M o a t t i plates Barberini
plate, 154 lustered, 112, 1 1 2 - 1 3 , 114, 115, 116, albarelli, 118, 126
Musee des A r t s Decoratifs 117, 117, 150, 1 5 0 - 5 1 , 153-55, 153-55 Hermanin collection
albarello, 73n. 9 piatti da balata, 11 Madonna and Child, 244m 8
Musee de C l u n y piatti da pompa, 6, 158 Vatican, 112, 196
dish, 24 w i t h abduction of Helen, 166, 167-68, 169 The Visitation, 114, 114
plate, 55 w i t h A p o l l o and Daphne, 8 Veneziana ex-collection, 196, 197
Musee d u Louvre w i t h arms of the Bonacossi, 20 Roos, Janoosen
basin, 1 9 6 - 9 7 w i t h female bust, 115, 116 Pirates with Loot, 191
bowls, 176 w i t h grotesques, 182, 183, 184, 184, 185 Rotterdam, M u s e u m Boijmans-Van
bust, 160 w i t h Hero and Leander, 156, 157, 158, Beuningen
bust surround, 165n. 16 158, 159 t i l e , 23
dish, 24 w i t h w i n g e d p u t t o , viii, 128, 129-31, Rouen, 12, 202
Four Struggling Nude Figures, 156, 159 132-33
jars, 40, 60, 77n. 2, 94, 118, 123, 124 " p l a y i n g p u t t o " series, 132 Saint-Cloud, 12, 202
M e d i c i porcelain, 203 Poliziano, Angelo, 9 Saint John Painter
plate fragment, 144 Pomposa, C h u r c h of Santa M a r i a plate a t t r i b u t e d to, 137, 137
plates, 8, 114, 114, 116-17, 159, 159, Saint Guido, 34 Saint Petersburg, State Hermitage M u s e u m
Petit Palais, 170 Poterat, Louis, 202 jars, 60, 94, 142
R o t h s c h i l d ex-collection, 153, 192, 198 potiches, 230, 236n. 2 plates, 139, 144, 158
p a r t u r i t i o n set, 11, 11 Prague, M u s e u m of I n d u s t r i a l A r t San M a r i n o , Calif., H u n t i n g t o n Library, A r t
Patanazzi, G i o v a n n i , 197 plate, 170 Collections, and Botanical Gardens
Patanazzi w o r k s h o p . See under U r b i n o Prato, cathedral ewer, 196
Paterna, 20, 50 The Birth of the Virgin, 29 Sanmartino, Giuseppe, 244n. 18
Paul, Saint, plate w i t h , 104, 106 Pringsheim, Alfred, 15, 74. See also under Saint Joseph with the Christ Child, 238,
pavements, 20, 21, 23 Munich 242, 243, 244nn. 7, 8
Pavia, Certosa, 210n. 12 p r i n t images, 8, 124, 158, 166, 185, 196 Sansovino, Andrea
Pavoni, Cassandra, 86, 89m 3 protomaiolica, 2 Bust of Christ a t t r i b u t e d to, 96, 102
Pergola, Jacopo della pyros rota mark, 134 Sansovino, Jacopo, 209, 210n. 10
i l l u m i n a t e d i n i t i a l " M " a t t r i b u t e d to, 3 Sarasota, T h e John and M a b l e R i n g l i n g
Perugino, 112, 114 Quadrone, G i o v a n n i Battista M u s e u m of A r t
Pesaro, Museo C i v i c o Vergognosa, 14 dish, 77
plate, 185n. 4 Queen's ware, 13 tondino, 117n. 3
Pesaro, ceramics f r o m , 86 scented water, 192
drug jar, 90, 9 1 - 9 3 , 94, 94, 95 R a i m o n d i , M a r c a n t o n i o , 8, 124, 125, 127nn. Schongauer, M a r t i n , 8
plate, 128, 129-30, 132 10, 14, 180n. 2 Sciacca, ceramics possibly f r o m
Pescara, private c o l l e c t i o n The Abduction of Helen, 166, 169 drug jar, 90, 9 1 - 9 3 , 9 4 - 9 5
plaques, 229 o r n a m e n t a l panel, 184, 185 scodelle da parto, 11
Peter, Saint rajoles, 20 screw tops, 186, 190
dishes w i t h , 104, 1 0 4 - 5 , 106, 170, 1 7 1 7 2 _
Ravenna, Museo Nazionale d i Ravenna Semifonte, plate excavated at, 49
pharmacology, 204 plate, 116 Sevres
Pharnaces, 210n. 3 Rene of A n j o u (king), 24 Musee N a t i o n a l de Ceramique
P h i l o n of Tarsus, 140 Reni, G u i d o b o w l , 176
Piccolpasso, Cipriano, 8, 182, 184 Young Bacchus, 10 jars, 55, 7 1 , 90, 94, 126
Li tre libri delVarte del vasaio, 4, 5, 5, 8, repousse vessels, 10 jug, 8o, 81
9, 11, 14, 190 retable, 22 M e d i c i porcelain, 203
Pietersz, Pieter, 127n. 25 Ricci, Marco, 235 tiles, 20
Piles, Roger de, 237n. 10 rigoletes de puntes, 20 porcelain factory, 13, 237n. 7
p i l g r i m flasks. See under flasks Ripanda, Jacopo, 139 Siena, private c o l l e c t i o n
P i n t u r i c c h i o , Bernardino Rococo style, 222, 228 jug, 40, 40
The Death of Saint Bernardino, 115, 116 Rome, 137 Signorelli, Luca
The Enthroned Virgin and Child and Biblioteca Casanatense Four Struggling Nude Figures, 156, 159
Saints, 117 Theatrum sanitatis, 95 Simon, N o r t o n , ex-collection, 192
Eritrean Sibyl, 116 Castellani, Alessandro, ex-collection, 15, Soderini, plate w i t h arms of, 7
The Visitation, 114, 114 128, 178 Soldani-Benzi, M a s s i m i l i a n o , 221
C h u r c h of Santa M a r i a i n A r a c o e l i Solsona, M u s e u Diocesva i Comarcal

Index 267
 The Last Supper, 28 basin, 192, 1 9 3 - 9 5 , 1 9 6 - 9 7 Vico, Enea, 196
Spain, 2, 16, 46, 50, 69, 86 ewer, 196 V i c t o r i a (queen), ex-collection, 182
Spello p i l g r i m flask, 186, 187-89, 190, 190, 191 Vienna, 13
Chiesa d i Sant'Andrea N i c o l a d i Gabriele Sbraghe da U r b i n o D u Pacquier factory, 212
The Enthroned Virgin and Child, 117 (Nicola da U r b i n o ) workshop, 153, Graphische S a m m l u n g A l b e r t i n a
Santa M a r i a Maggiore 166, 169, 182, 197 The Abduction of Helen, 169
Eritrean Sibyl, 116 dish, 144, 1 4 4 - 4 5 , 146, 148 dsterreichisches M u s e u m fur
Spilimbergo, cathedral plate, 8 angewandte K u n s t
Niche of the Sacred Oils, 35 Patanazzi workshop, 192 drug jar, 60
spinning, 124, 127n. 25 basin, 197, 197n. 12 Vigerius, Marcus (cardinal)
Staffordshire, 13 U r b i n o , ceramics f r o m , 198 Decachordum Christianum, 152
statistical analysis, 16 basins, 192, 1 9 3 - 9 5 , 1 9 6 - 9 7 Villani, Matteo
stile hello, 134 dish, 144, 1 4 4 - 4 5 , 146, 1 4 8 - 4 9 Cronica, 56
Stockholm, Nationalmuseum p i l g r i m flask, 186, 187-89, 190, 190, 191 Virgil
albarello, 72 plates, 128, 1 2 9 - 3 2 , 133-34, 166, Aeneid, 134, 137
p i l g r i m flask, 191 167-68, 169 Viterbo, 30, 35m 12, 40, 42
Strauss, Robert, ex-collection, 78, 86, 94, private c o l l e c t i o n
107, 128, 156, 182 Vaduz, princes of Liechtenstein c o l l e c t i o n plate w i t h a bird, 30, 33
Strozzi family, 111n. 14, 201 jars, 55, 60 Vivarini, Alvise
Valencia, 23n. 7 Saint Clare, 173
Taranto, cathedral M a r t i , Gonzalez, c o l l e c t i o n Volpi, Elie, 64n. 1. See also under Florence
Saint Joseph with the Christ Child, 238, dish, 24
242, 243 Museo N a c i o n a l de Ceramica W a r w i c k s h i r e , W a r w i c k Castle, 222, 229
Tempesta, A n t o n i o , 2 2 m . 2, 222 t i l e , 23 Washington, D . C .
Deer Hunt, 222, 228 Valencia region, ceramics f r o m , 39 Corcoran G a l l e r y of A r t
Elephant Hunt, 222, 228, 229 albarello, 2 basins, 85, 117n. 2
Ostrich Hunt, 222, 228 basin, 24, 2 5 - 2 7 , 29 flask, 190
terraglia, 13, 15, 238, 243, 244nn. 1, 4 dish, 68 jars, 118
testa di cavallo shield, 74 plates, 148, 158, 159n. 20
textiles, 39, 55, 55n. 8, 69, 73n. 6 t i l e floor, 20, 21, 23 Library of Congress
Theatrum sanitatis, 95 The Contest between Apollo and
theriac, 204, 209 Vasari, Giorgio, 202 Marsyas, 147
thermoluminescence, 133n. 17 vases, 230, 2 3 0 - 3 1 , 232, 2 3 2 - 3 4 , 235, 235, The Contest between Apollo and Pan,
Toledo, Toledo M u s e u m of A r t 236-37 147
dish, 24 Vecchietta, Lorenzo, 96 N a t i o n a l G a l l e r y of A r t
drug jar, 60 Vegerio, Marco, 154 The Adoration of the Shepherds, 209,
tondini, 10, 89n. 2, 107, 128 Vegerio f a m i l y service, 150, 153 211
Toronto, George R. Gardiner M u s e u m of Veneto, 33n. 1, 142, 235 b o w l , 182
Ceramic A r t Veneziano, A g o s t i n o . See M u s i , A g o s t i n o jar, 94
plate, 158 Venice, 90, 132, 204, 209 plates, 115, 116, 128, 132, 132, 153, 153
T o u r n o n , Francois de, 5 Accademia Wedgwood, Josiah, 13, 244n. 1
Tschirnhaus, Ehrenfried Walter von, 13 Saint Clare, 173 Widener, Joseph, 64n. 1
Tugio, G i u n t a d i , 50, 56, 62 C o z z i factory, 13 ex-collection, 118
T u r i n , Galleria C i v i c a d ' A r t e M o d e r n a e vases, 230, 2 3 0 - 3 1 , 232, 2 3 2 - 3 4 , 235, W i l t s h i r e , Longleat
Contemporanea 235, 2 3 6 - 3 7 The Lapiths and the Centaurs, 7
Vergognosa, 14 H e w e l c k e factory, 13, 232
Tuscany, southern, ceramics possibly f r o m Museo Correr X a n t o A v e l l i , Francesco, 153, 166, 169
jug, 30, 31-33, 33, 33, 35 basin, 197
Correr service, 146 Y u a n dynasty, 73n. 3
U c c e l l o , Paolo tiles, 23, 23n. 7
The Birth of the Virgin, 29 private c o l l e c t i o n zaffera wares, 64n. 5
U m b r i a , 33n. 1, 112 River Town with Clock Tower, 235, 236 a rilievo, 6, 30, 36, 42, 50
U n k n o w n artists San Marco, 210n. 10, 232, 235 diluita, 35nn. 9, 12
An Apothecary's Shop, 72 Venice, ceramics f r o m zampogna, 148n. 20
Niche of the Sacred Oils, 35 plates, 128, 129-30, 132, 132, 133, 182, Z i r n f e l d , A n r e i t e r von, 212
Saint Guido, 34 183, 184, 184, 185 Zuccaro, Taddeo, 184
Woman and Captive's Heart, 174, 176 vases, 230, 2 3 0 - 3 1 , 232, 2 3 2 - 3 4 , 235, Z u c c h i , Francesco, 235
235, 2 3 6 - 3 7 Prospetto della Piazza verso il mare, 237,
U r b i n o , N i c o l a da. See under U r b i n o
Venice, figure of, 232, 2 3 5 - 3 6 237m 12
U r b i n o , 6, 90, 150, 182
Verrocchio, Andrea del, 96 Z u r i c h , Forrer, Robert, ex-collection, 20
Fontana w o r k s h o p , 184
Vezzi, Francesco and Giuseppe, 13

268 Index