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Read Ebook: The Collector's Handbook to Keramics of the Renaissance and Modern Periods by Chaffers William
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Ebook has 665 lines and 49442 words, and 14 pages
Fig. 20 represents the St. George of Donatello, from the bronze statue in the church of Or San Michele, at Florence.
SIENA
After a long interval, the name of the town again appears on maiolica of a very characteristic description, accompanied by the names of the artists: Bartolomeo Terenze Romano in 1727, and Ferdinando Maria Campani, 1733 to 1747, the subjects being taken from Raphael, Annibale Caracci, and other masters .
PISA
This city was, about the middle of the 16th century, the centre of a considerable trade in the exportation of Italian fayence into Spain, and especially to Valencia, in exchange for the golden metallic lustre ware of that country. Antonio Beuter, a traveller, about 1550, praises the fayence of Pisa as well as those of Pesaro and Castelli. A specimen bearing the name "PISA," a large vase of fine form, covered with arabesques on white ground, was in the collection of the late Baron Alphonse de Rothschild.
VENICE
In 1753, the Senate of Venice conceded to the brothers Bertolini the establishment at Murano of a kiln for making fayence. But it did not succeed so well as the promoters anticipated, and it was probably discontinued about 1760, as the concession was annulled by a decree of April 1763.
NOVE
FLORENCE
Of the early maiolica made here little is known, but fayence of the 18th century is occasionally met with, marked with the letter F or Fl.
PADUA
Fig. 28, a plate, painted on grey ground, is inscribed on the reverse with the name of the place and the date 1548.
CASTELLI
Fig. 29, a bowl and cover, painted with nude figures after Annibale Caracci; and filled in with fruit, foliage, and cartouches, is signed "Liborius Grue P."
NAPLES
Maiolica was made in the city of Naples in the 17th century, but little is known respecting it. Examples of the fayence of the 18th century are frequently met with, signed FDV--F. del Vecchio; Giustiniani; the letter N crowned, and sometimes the letters H.F.
MONTE LUPO
The plates and dishes of coarse heavy earthenware, rudely painted with large caricature figures of soldiers and men in curious Italian costumes of the 17th and 18th centuries, in menacing and warlike attitudes, striding across the plates, holding swords, spears, and other weapons, are usually attributed to Monte Lupo, near Florence. The manufactory is still in existence.
Fig. 31, is signed on the back "Raffaello Girolamo fecit Monte Lupo 1639."
MILAN
No specimens can be identified of an earlier date than the 18th century. The fayence is usually painted with grotesque figures, but sometimes with flowers and scrolls in relief, also with Watteau or Chinese subjects.
Some pieces, apparently of a later date, are from the manufactory of Pasquale Rubati, and usually signed with his initials.
TURIN
That there was a manufactory of maiolica at Turin in the 16th century is proved by a dish with pierced border, painted on the inside with a boy carrying two birds on a long pole; it is marked underneath--Fatta in Torino adi 12 di Set?bre 1577 . The manufactory was in existence in the first half of the 18th century and was under Royal patronage, as a large dish which was in the collection of the Marquis D'Azeglio is inscribed on the back of the rim: "Fabrica Reale di Torino GR 1737." In the centre of the reverse is a monogram composed of F. R. T. .
FERRARA
BASSANO, NEAR VENICE
GENOA
Fig. 37, a bottle, painted in blue with birds and scroll ornaments, has this mark.
SAVONA
The manufactory of Savona was founded in the 17th century at the village of Albissola, situated on the coast, near Savona. The ware is generally ornamented in blue on white ground, the designs are roughly executed, and the mark, consisting of a shield of arms of the town, is often seen on the reverse. There are some other marks attributed to Savona: a double triangle with the letter S, called the "knot of Solomon" , the sun with G.S., the falcon mark, the tower mark, and the anchor mark, so called from these emblems being depicted on the ware. Fig. 38, a basket, perforated and with two handles, is rudely painted with scrolls in yellow, blue, and green; in the centre is a cartouche with the letters S.A.G.S.
LORETO
SGRAFFIATO OR INCISED WARE
SPAIN
The exact date of the introduction of enamelled pottery with lustre-pigment into Spain is unknown, but the existence of manufactures of "golden" pottery at Calatayud, in Aragon, is testified to by the Mohammedan geographer Edrisi in the 12th century.
The Hispano-Moresque period, which is best known to us from the numerous specimens preserved to our time, commences with the 14th century, when the Alhambra of Granada was erected by the Moors.
The earlier pieces of the 14th and 15th centuries may be distinguished by a golden yellow metallic lustre, and blue enamel on a white ground. The designs are Moorish, consisting of diaper patterns, foliage, fantastic and other animals, shields of arms of Spanish princes, &c., and sometimes Arabic inscriptions, transformed into ornamental designs.
Fig. 43, a vase, is decorated with leaves and conventional flowers, in reddish yellow lustre and blue.
MALAGA. The principal as well as the earliest centre for the manufacture of fayence was in this city, and the finest known specimen of Moorish fayence is the celebrated vase of the Alhambra, which is supposed to be as early as the palace itself, viz. the 14th century, and was probably made here. The colours of the decoration are a pure blue enamel, surrounded or heightened with a yellow lustre on white ground.
Figs. 45 and 46 are other specimens of the Spanish lustre ware, with shields of arms, of the 15th or 16th century.
As the keramic art in Spain declined, the Arabic inscriptions, which were perfect on the early vases like that of the Alhambra, were copied, but the painter, not knowing their signification, employed them as ornaments, until at last they became altogether confused and illegible. The arabesques were no longer in such elegant taste, and large coats of arms entirely filled the centres of vases and plates.
MANISES, near Valencia, was also celebrated from the 16th to the 18th century. The decorations appear to be of Oriental design, executed for the most part in a rich copper-coloured lustre. Some dishes with copper-colour lustre have upon them a mark of an open hand, which may be the emblem of the place, and are dated 1610 and 1611. Fig. 48, a vase, is painted in lustre, with foliage, birds and animals, and with a rudely executed shield of arms, seemingly of Sicily or Portugal.
The usual mark upon this fayence is the letter A in gold or colour.
Fig. 52, a bowl, is glazed, decorated within and without with a bull fight, storks, and trees, in green, orange and manganese.
CONTINENTAL FAYENCE
FRANCE
Maiolica and Fayence are essentially the same, being composed of the same material and covered with a tin glaze or opaque white enamel, which serves to hide the dingy colour of the clay, and forms a fine ground for the reception of colours.
SAINT PORCHAIRE. All the earliest writers on the subject appear to have thought that it was made in Touraine, and it was called HENRI DEUX ware.
The ware next became known as FA?ENCE D'OIRON, but in 1888 it was affirmed that the factory of this pottery was at Saint Porchaire.
APT. The fabrication of fayence is said to have commenced here about the middle of the 18th century, principally in imitation of jasper and brocatelle marble. The manufactory of M. Bonnet was established about 1780, and marbled ware and vases of a yellow colour were produced.
Fig. 55 is a yellow vase with masks and vine leaves.
BLOIS. A manufactory of fayence was in existence here throughout the 17th and 18th centuries. It was similar to that of Nevers and Rouen. Some specimens are signed Lebarquet.
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