Documente Academic
Documente Profesional
Documente Cultură
Catherine Hess
ITALIAN CERAMICS
CATALOGUR OF THE J. PAUL GETTY MUSEUM COLLECTION
Getty Publications
1200 Getty Center Drive
Suite 500
Los Angeles, California 90049-1682
www.getty.edu
Project staff:
John Harris, Editor
Kurt Hauser, Designer
Amita Molloy, Production Coordinator
Jack Ross, Photographer
David Fuller, Map Designer
Kathleen Preciado, Indexer
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.
2001006148
CONTENTS
Foreword vii
Acknowledgments ix
Introduction I
Catalogue 18
Profiles 260
Index 263
FOREWORD
OPPOSITE: Drug jar for syrup of lemon juice (detail). See no. 16.
vviiii
ACKNOWLEDGMENTS
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 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
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 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
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 ular i n Europe i n m o d e r n times i n G e r m a n y and En
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 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 ,
doctrine of t h e four elements that m a k e u p t h e u n i 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 .
verse—may e x p l a i n some of t h e i r allure. T h e potter'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
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 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
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 t u r y B . C . ) a n d t h e Etruscans (seventh t o fifth century
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 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 .
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 The development a n d success o f t i n - g l a z e d earthen
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 ware, or m a i o l i c a , o n t h e peninsula i n t h e fourteenth,
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 fifteenth, and sixteenth centuries produced a particu
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 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
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 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
of c e r a m i c p r o d u c t i o n . 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
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 lamic, N o r t h African—helped determine n o t only the
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 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
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 v a r i e t y t h a t m a i o l i c a wares display.
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 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
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 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
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 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
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 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
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 . 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. 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
Karlsruhe, Badisches Landesmuseum. The decoration on this cup shows
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 ;
2 Introduction
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
3 Attributed to Jacopo della Pergola. Illuminated initial "M" from a Getty Museum's works illustrate. Moreover, maiolica
manuscript (detail), mid-fifteenth century. London, Victoria and Albert 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
Museum. The woman carting produce from her garden in a basket
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
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 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
beverage to the harvesters. (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
4 Bowl. Iran, thirteenth century. Lead-glazed earthenware. London,
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;
Victoria and Albert Museum. This bowl illustrates the runny nature
of fired lead glazes that have not been stabilized by the addition of 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).
tin oxide. 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
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.
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
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.
Introduction ~[
io Workshop of Guido Durantino (active i n Urbino, d. 1576). Plate of 11 Nicola da Urbino (Urbino, fl. 15 20-15 3 7/8). Plate of Apollo and
David and Goliath, from the Cardinal Duprat service, 1535. Diam: 44 Daphne, ca. 1525. London, British Museum, inv. MLA 1855, 1201,
cm (17 V3 in.). Paris, Musee du Louvre, inv. MR 2201. Photo: © Reunion 103. © The British Museum. The duchess of Urbino may have
des Musees Nationaux. The opening to the channel for draining off been referring to the service to which this plate belongs, comprising
liquid is cleverly located at the lowest point of the river, where i t twenty-one plates and bowls and marked with the Este-Gonzaga
disappears underground. coat of arms.
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 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
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 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
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 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
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 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 ,
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 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
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
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
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 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
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 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
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 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
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 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.
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 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
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 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
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 ings b o t h ) (fig. 12). Yet, since so m a n y p r i n t images ap
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 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
hidden i n the stream on the front. 1 6
D o c u m e n t s also t e l l 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
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 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
p a i n t e d w i t h bianco sopra bianco rather t h a n w i t h isto 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
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 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 ,
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 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
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 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
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 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
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 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
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
f i r i n g , l e a v i n g n o trace.
8 Introduction
12 Cipriano Piccolpasso. Detail of folio 57V from Li tie libri dell'arte del 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,
vasaio (1557). London, Victoria and Albert Museum. Ceramic painters
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
copy images from the paper tacked to the wall behind them onto the
bowls and jugs that they hold on their knees. 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
13 Pricked cartoon (backlit view). Castelli, late seventeenth to early eigh 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
teenth century. Los Angeles, Getty Research Institute, Gentili/Barnabei
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
Archive, cat. no. 170. A n unidentified engraving was used to transfer
the image onto a piece of maiolica by means of pricking. 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 15 Guido Reni (Italian, 1575-1642). Young Bacchus, 1620. O i l on canvas.
the Baptist (detail), ca. 1486/7. Fresco i n Santa Maria Novella, Florence. Florence, Galleria Palatina, Palazzo Pitti. Photo: Alinari/Art Resource,
Photo: Alinari/Art Resource, New York. A n albarello w i t h a lid, pre New York. The young boy i n the foreground holds a late sixteenth-
sumably holding a medicine to aid in childbirth or sleep, sits on a round century maiolica jug with compendiario decoration.
box between two lemons on the headboard of Saint Elizabeth's bed.
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
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 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
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 the region under Bourbon control. I n the mid-fifteenth
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 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
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 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
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 . 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
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 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
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 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
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 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
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 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
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 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
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 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
als that would transmute them into gold, thereby 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.
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 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
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 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
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 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
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 m o t i n g cultural and economic development during their
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 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
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 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
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 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
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 Spanish c r o w n , setting up the Buen Retiro factory out
t i n u e his experiments there. A l t h o u g h the philosopher's 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
stone eluded Bottger, his experiments w i t h the p h y s i c i s t 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
and m a t h e m a t i c i a n Ehrenfried Walter v o n Tschirnhaus Ferdinandea was f o u n d e d .
( 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 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
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 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
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 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
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), 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 .
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 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
e n n a f a c t o r y b y 1719. 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 -
T h e first I t a l i a n w o r k s h o p to produce this elusive 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
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 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 .
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 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
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 - 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
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 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
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 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
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 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 ,
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 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
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 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 ,
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 bone china, b e c o m i n g popular i n England and A m e r i c a .
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 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
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 duced i n Naples, Doccia, and elsewhere.
o u t s i d e F l o r e n c e has continued production, although 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
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. 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
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 trious nineteenth- and t w e n t i e t h - c e n t u r y collectors,
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 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
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- 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
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 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 ;
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 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 -
garding current m a i o l i c a research is the periodical 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
Faenza published by the M u s e o Internazionale delle 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
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. R o t h s c h i l d of L o n d o n .
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 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
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 1988 Italian Maiolica catalogue, c h a n g e d n o t o n l y t o
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 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
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 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
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 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
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 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
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 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
tions; A n d r e w Ladis on southern collections,- Jorg 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
Rasmussen o n the Robert L e h m a n collection, M e t r o p o l 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 -
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 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
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 , 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-
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 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
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 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
t h e Taft M u s e u m , C i n c i n n a t i . 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
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 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
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 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
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 developments i n Italian ceramic production during that
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 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
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
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
[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.
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.
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.
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.
;
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
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
1984].
84.DE.95
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 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
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 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
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 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
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 - 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
loche pattern encircling the neck and parallel lines d i 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
v i d i n g the piece i n t o decorative panels. 3
Also popular 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
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 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-
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
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
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 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
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 a t h i c k impasto, its typology m a y relate m o r e closely to
makers there. 5
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.
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.
maiolica that vary only slightly from Ballardini's schema (Cora 1973, 1: 9. According to Cora's classification of early Florentine ceramics, zaffera a
33). One must remember, however, that while useful, the conventional rilievo (his group V) dates from ca. 1410-50 and zaffera diluita (diluted
ized terms employed by Ballardini and others can prove misleading, es or thin-blue) (his group VI) dates from ca. 1410-80 (Cora 1973, 1:
pecially when used to identify the subjects of decorative motifs. Anna 73-83).
Moore Valeri (1984, 4 9 0 - 9 1 , no. 62) has pointed out, for example, that 10. Valeri 1984, 477-78.
the "Persian palmette" bears no resemblance to a palmette and that i n 11. Mallet 1998, 210.
the Near East the "peacock-feather" motif originally had no connection 12. Compare, for example, a mid-fifteenth-century archaic jug decorated
with peacocks, symbolizing instead the rising sun. with leaves i n copper green pigment from Viterbo (Galeazzi and Valen-
3. See Cora 1973, 2: figs. 6c, 8a-b, 11, 13a, 3 i a - d , 32, 33, 3 ioa-c, tini 1975,108-9) and a Tuscan jug with similar decoration but in
3 i 3 a - d , 318b; Francovich 1982, 28, 30-33, 36-37, 53, 95 passim. zaffera diluita (Bojani, Ravanelli Guidotti, and Fanfani 1985, no. 706).
4. See Cora 1973, 2: figs. 8a-b, 44c, 5 ia, 64b, 6sa-c, 69a, 69C-d, 7oa-c, For a similar jug with a "pecking bird" but painted i n relief cobalt blue,
7 i a - c , 137a, 138a, 309a-c. see Cora 1973, 2: pis. 64b, 65a-c.
5. Mazza 1983, 61, 92, 94, 114, 133, 137, 144 passim. 13. For examples of Islamic animal motifs, see Kiihnel 1971, figs. 51, 84,
6. Ravanelli Guidotti 1998, 89-90, 113-15, nos. 7, 14. 88, 90; Kiihnel 1925, pi. 99. For bird motifs on Hispano-Moresque
7. Mallet 1998, 10, 210, no. 4; see, for example, Mazza 1983, 114, works see Gonzalez Marti 1944-52, 1: figs, 150, 153, 183, 192, 277,
no. 146. 280, 356, 459, 494-96, 538, 612, 631, 640, 648-52, 700; 2: 4 7 2 -
8. One knows of works decorated with typical relief-blue leaves, dots, 78, figs. 556-63, 668, 670, 678-80, 6 8 9 - 9 1 .
and animals painted i n a thin copper green glaze, as on this jug, instead 14. First discussed i n Wallis 1900, ix-xxx; most recently examined in
of the much more common thick cobalt pigment (Giacomotti 1974, Spallanzani 1978, 100-102; Valeri 1984, 477-500.
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.
Relief-Blue Jar with CONDITION heritance to his widow, Elisabeth Lederer, 1985,-
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
;
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.
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
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
4E Jug. Late fourteenth-early fifteenth century. Tin-glazed earthenware,
H: 23.5 cm (9/4 in.). Siena, private collection. 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
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.
PROVENANCE BIBLIOGRAPHY
Luigi Grassi, Florence, sold to A. Lederer; August Rothenstein 1944, 205, pi. Q Cora 1973, 1: 78;
Tuscany, probably Florence
Lederer (d. 1936), Vienna; by inheritance to his 2: fig. 83c; Conti 1980, no. 48; GettyMusJ 14
ca. 1 4 2 0 - 4 0 widow, Serena Lederer, 1936; Serena Lederer (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
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.
Green-Painted Dish with MARKS A N D I N S C R I P T I O N S ing Pringsheim and his wife to emigrate to
None.
an Interlace Pattern Switzerland (sold, Sotheby's, London, July 19,
1939, lot 201, to E. L. Paget [according to sale cat.
CONDITION
notation]); E. L. Paget, London; A. Kauffman, Lon
A break w i t h areas of overpainting from r i m to r i m
Florence area or M o n t e l u p o don; [Rainer Zietz, Ltd., London, sold to the J. Paul
across the center of the dish and on the rim; a
Getty Museum, 1984].
Fifteenth century glaze fault and a few glaze chips around the rim.
Tin-glazed earthenware EXHIBITIONS
PROVENANCE
H : 4 . 4 c m ( i A in.)
3 None.
Alfred Pringsheim, Munich, by 1913; looted from
Diam: 25.3 cm (9 1 5
/i6 in.) Pringsheim's collection by the Nazis during BIBLIOGRAPHY
Kristallnacht, November 9, 1938; stored i n an an Falke 1914-23, 1: 4, fig. 4; 3: pi. 154, no. 236
84.DE.94
nex of the Bayerisches Nationalmuseum, Munich; (1); Cora 1973/ 2: no. sod, pi. 50; GettyMusJ 13
ordered exported to London by the German State (1985): 239, no. 152; Hess 1988A, 20-22, no. 4;
in 1938 for sale at auction in exchange for allow 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
46
6A Reverse.
6B Profile of dish.
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.
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].
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
50
7B Alternate view.
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.
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
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
1267); 1 4
formerly i n the O t t o Beit collection, L o n d o n ; 1 5
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 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
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
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.
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
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.
12. Sale cat., Christie's 1936, lot i ; Legge in Brody et al. 1980, 14-15;
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 .
;
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.
26. Berti 1999, 37-54; Cora and Fanfani 1982, no. i; Bojani, Ravanelli
Guidotti, and Fanfani 1 9 8 5 , no. 5 7 7 .
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).
2. For more on this mark, see Cora 1973, 1: 39 n. 2; 2: pi. 350 (M225);
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].
84.DE.100
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.
Jar with a Kufic Pattern MARKS A N D INSCRIPTIONS [Rainer Zietz, Ltd., London, sold to the J. Paul
On the underside of the unglazed bottom, marks Getty Museum, 1984].
were scratched after firing.
Montelupo EXHIBITIONS
PROVENANCE
pended for storage. I t is perhaps more credible that a inscription, however, suggests that either a fanciful Kufi-
pharmacist w o u l d have used this handle to grab the jar l i k e pattern was copied on a l l of the jars so inscribed or
from a crowded shelf. 2
else that the painter, misunderstanding Arabic orthogra
The blue decoration is divided i n t o horizontal bands phy, copied his o w n corrupted version of the blessing as
following the object's shape: scrolls around the neck; a a simpler, chiefly ornamental pattern. 8
scroll and stylized leaf design around the shoulder and on One finds an interesting m i x t u r e of Near and Far
the handle,- a wavy line w i t h stylized leaves around the
3
Eastern influences on this small jar. The scroll design
curved section above the unglazed foot; and hatched around its neck and shoulder can also be found on Is
fields and k n o t w o r k w i t h i n angular, discontinuous lines lamic w o r k s , although i t may originally have been de
9
around the body. The interior is t i n glazed. I t appears rived from a Far Eastern source. The k n o t w o r k on the
that this jar was made i n the Tuscan t o w n of Montelupo jar's body, c o m m o n l y found on pots and tiles from
since excavated fragments from k i l n sites i n that t o w n Malaga and Manises, can also be traced to Moorish and
match not only the scroll patterns around this vessel's Near Eastern sources. 10
Certainly, Kufic calligraphy was k n o w n throughout The marks on the underside may indicate the vol
Spain and Italy thanks to the spread of small and easily ume, weight, or price of the container (fig. I I B ) .
69
1 1 A Alternate view. 1 1 B Detail of underside.
Gauging the volume of storage jars, particularly drug must have been regulated and identifiable i n some way
jars, probably served to facilitate the sale or proper dis and that they followed different measuring systems de
t r i b u t i o n of the jars' contents. The jars whose dimen pending on the place of production and use. 12
sions are published fall i n t o general groups according to I n addition to this jar, there are twenty-four other
size: roughly one quarter of the jars measure between 17 k n o w n albarelli of similar form and related Kufic deco
and 18.5 c m high, slightly more than half of the jars mea ration. 13
These include examples i n the Victoria and
sure between 21 and 25 c m high, and three measure be Albert Museum (inv. 1143-1904, 1147-1904, 1150-1904,
tween 27.5 and 33.5 c m high. Rather than simple height and 372-1889); Museo Internazionale delle Ceramiche,
14
measurements, however, i t is the relative volume or ca Faenza (inv. 21100/C, 21058/C, and 24886); 15
Kunst-
pacity of jars that appears to be most significant. One gewerbemuseum, Berlin (inv. 14, 63); Musee National 16
scholar has shown that the volume of jars belonging to a de Ceramique, Sevres (inv. 22667); formerly Ducrot col
17
verifiable set relate to one another proportionally. I n ad lection, Paris,- Museo Nazionale, Palazzo del Bargello,
18
dition, i t seems that these measurements of capacity Florence (inv. 13795); private collection, Florence,- 19
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).
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.
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.
1368) and Ming (1368-1644) dynasties. See, for example, Krahl 1986,
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 ,
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.
MARKS A N D INSCRIPTIONS
EXHIBITIONS
T H I S VESSEL is of a gently waisted, cylindrical form indicate that this jar came from there. Given their nature
w i t h a tall, perpendicular r i m and two rope-twist handles as mistakes, these discards—which include examples
that terminate i n deep indentations. The body is divided of rope-twist handles (fig. I 2 D ) and similar zigzag, ten
into decorative panels that display on one side a blue and dril, dot, and splayed-lined motifs as on this vessel—
ocher testa di cavallo (horse's head, so called because of could n o t have been brought i n t o the area from else
its shape) shield against a light copper green half-circle where and must have been created at the site where
below blue tendrils and dots. The colors that could be 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 This proverb, w h i c h begins " A m a D i o e non fallire/fai
specific distinguishing features. A l t h o u g h the horizontal del bene e lascia dire/lascia dir lasciar chi vuole/ama D i o
stripes on this jar are painted i n ocher and blue, these di buon cuore" (Love God and do not fail/do good deeds
pigments may stand for any alternating light and dark and let i t be said/let i t be said by anyone/love God w i t h
colors, and thus this shield could belong to any one of a a good heart), was widely k n o w n i n sixteenth-century
number of prominent contemporary families. However, 1
Italy. A diagonal dash pattern i n blue ornaments the
the distinctive testa di cavallo shield of azure a fesse or base, a triangular m o t i f of splayed blue lines decorates
appears on a number of maiolica plates and drug jars the shoulder, and an ocher zigzag between blue stripes
from Deruta, where i t is identified as the arms of the embellishes the r i m . The interior is unglazed.
Baglioni of Perugia, a powerful family w h o periodically This w o r k belongs to the second phase of the severe
ruled Deruta, located a scant fifteen kilometers to the style, often referred to as the Gothic-floral family be
south. Indeed, one early sixteenth-century Deruta plate
2
cause central Italian ceramists drew not only on Islamic
displaying such a shield includes a banderole inscribed motifs but also on European Gothic ornament (in archi
w i t h the Baglioni name (fig. 12c). 3
tecture and miniature i l l u m i n a t i o n , for example) to dec
I n addition, recent public construction and u t i l i t y 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
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 ;
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).
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
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
78
I3B Jug, ca. 1480. Tin-glazed earthenware, H: 27 cm (io5/s in.).
Sevres, Musee National de Ceramique, inv. 21915. Photo:
13D Jug with degli Alessandri arms. Florence region, 1460-90. Tin-glazed
earthenware. Oxford, Ashmolean Museum.
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
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
a Young Man Minor glaze chips on the handles and rim; some
areas of glaze loss around the base that, because of
Sold, Christie's, London, October 3, 1 9 8 3 , lot 2 3 7
to R. Zietz; [Rainer Zietz, Ltd., London, sold to the
their spacing and roughly oval shape, appear to be 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
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. stiff leaves surrounded by dots, the X pattern formed by
The jar's embellishment is executed primarily i n blue four small marks extending from the sides to the middle
and ocher, although a light copper green colors the young of a square, and the stylized twisted rope m o t i f flanking
man's pointed hat on one side, and curving and straight the handles—appear on objects from Deruta (fig. 14D),
bands o n the other. The interior is lead glazed. most significantly o n fragments found i n excavations of
As w i t h the previous object, this jar underwent neu local k i l n sites. However, comparable elements—such
5
tron activation analysis i n spring 2001 under the direc as the profile bust w i t h hat, geometric motifs, stripe
t i o n of scientist Michael Hughes, formerly of the British decoration i n triangular shapes, rosettes, curved lines re
Museum, London. T h e analysis was carried out at the sembling a twisted rope, and fields of dots—also show
University of Missouri Research Reactor, and the data up on Montelupo examples, many of w h i c h originate, as
was compared against the British M u s e u m database. 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 of this jar must include both Deruta and Montelupo.
originated from the lower m i d - A r n o Valley, most l i k e l y The depiction of the young m a n i n contemporary
from either Deruta or Montelupo. I n fact, the informa dress corresponds to comparable depictions o n jars data
t i o n about this piece compared so closely w i t h that of ble to the last decades of the fifteenth century. These i n
no. 13 (inv. 84.DE.101) that the t w o objects can be attrib clude an albarello from Pesaro of ca. 1480-90 i n the
uted to the same center of production. Unfortunately the Victoria and Albert Museum, London (inv. 364-1889); 7
82
14A Alternate view.
14c Underside.
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.
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 vases, jars, and jugs decorated i n this manner were most
ject for display, although no evidence of either practice often produced for daily use and thus were frequently
has been found. broken or chipped. If this dish were used solely as a dis
Indeed, i t is not k n o w n whether this piece was used play piece, its function may explain its good state of
at the dinner table or simply for show. I n fourteenth- preservation.
and fifteenth-century paintings, c o m m o n vessels such as According to legend, the peacock-feather m o t i f was
maiolica jugs occasionally appear on dinner tables or as c o m m o n l y found on Faentine ceramics because i t was
flower vases, for example, but the more elaborate ware is thought to refer to Cassandra Pavoni (pavona is the Ital
entirely absent, and there is no proof that various depic ian word for peacock), the mistress of Galeotto Manfredi,
tions of display credenzas portray maiolica rather than 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. deed, this m o t i f appears to be of Islamic origin and w o u l d
This rare plate is b r i l l i a n t l y decorated i n dark and have been distributed throughout Italy by Islamic crafts
light blue, copper green, bright ocher, and manganese and craftsmen arriving from the eastern Mediterranean
purple, w i t h a star or flower medallion i n the center sur or N o r t h Africa or else via Spain.
rounded by a bold, eight-pointed w h o r l of stiff, tapering A l t h o u g h the shape of this plate eludes convincing
leaves alternating w i t h peacock feathers. This embel association w i t h a center of production, and the peacock
lishment is filled i n w i t h small blue scrolls, foliage, and feather m o t i f appears to be too widespread to be helpful
dots. The reverse displays a very unusual pattern of stars, i n attribution, the tapering leaves decorated w i t h incised
scrolls, and foliate motifs i n ocher, copper green, and scrolls and surrounded by delicate blue tendrils are
86
15A Reverse.
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.
ordered exported to London by the German State Damiron 1944, no. 27,- GettyMusf 13 (1985): 241,
Diam (max.): 12.4 cm (4% in.) in 1938 for sale at auction in exchange for allow no. 161; Hess 1988A, no. 17,- Cohen and Hess
84.DE.104 ing Pringsheim and his wife to emigrate to 1993, 27,- Museum Handbook 2001, 237,- Sum
Switzerland (sold, Sotheby's, London, June 7, mary Catalogue 2001, no. 355.
1939, lot 9, to "A. Recher" [according to sale cat.
T H I S W A I S T E D D R U G VESSEL displays a label indicating and ceramic shapes to those found on shards from k i l n
i t was meant to hold syrupus acetositatis cithomm, or site excavations and on objects documented as belonging
syrup of lemon juice. The label is bordered above and be to certain centers of production. These methods bring us
low w i t h scrolling leaves [a cartoccio) i n blue, green, to the t w o areas mentioned above—which are remark
ocher, and manganese purple. Meandering foliage i n blue ably distinct politically and geographically—but no fur
runs around the neck and the area above the foot. The i n ther. I t seems plausible that there was some sort of
terior is lead glazed. movement of ceramics or ceramists between these t w o
The lemon was widely used for pharmaceutical pur areas. Indeed, this matter is either explained or confused
poses throughout the Mediterranean, possibly as early as by the fact that i n Sicily maiolica painters copied deco
the second century, i n fever reducers, tonics, antiscorbu ration developed i n and typical of other parts of I t a l y —
tics, diuretics, and astringents. 1
Prospero Borgarucci such as Urbino, Castel Durante, Faenza, and, especially
described the preparation and use of syrup of lemon juice 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.
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 A l t h o u g h of l i m i t e d use i n determining the place of
files to contemporary depictions of Neapolitan nobles. 7
production, the Gothic-floral design does serve to date
It must be noted, however, that, i n general, the painted this w o r k to the second half of the fifteenth century
decoration on these south Italian jars appears markedly (see also nos. 12-13). The function of these drug jars is
less sophisticated than that on the present jar and on reflected i n their form: the waisted shape provided a good
Pesarese examples. 8
grasp for removing the jar from a shelf and for pouring,
The a t t r i b u t i o n of a dozen other comparable tall and the flanged l i p on its tall neck secured the string that
jars w i t h Gothic floral decoration, although traditionally held a parchment or leather cover i n place (fig. 1 6 E ) .
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
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
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
tional setting such as a private chapel. A l t h o u g h many of the above-named sculptors pro
Christ's long curling hair lies flat against his head, duced busts i n terra-cotta, sometimes polychromed,
closely following the shape of his head, neck, and shoul only a Bust of Christ attributed to Sansovino i n a private
ders. He wears a tunic decorated w i t h finely drawn geo Aretine collection is of glazed earthenware, or maiolica
metric patterns and a cloak over his left shoulder. His (fig. 17E). This w o r k displays a similar noble gaze, long
eyebrows, eyes, and beard are painted w i t h t h i n , blackish and curling hair, and plain w h i t e glaze ground, w i t h only
blue lines; the crown of thorns is painted w i t h a m i x t u r e a few details (eyes and eyebrows) picked out w i t h t h i n
of the same dark cobalt pigment and emerald green. The dark blue lines as i n the Getty Museum's example, al
neck of the tunic and the low, p l i n t h l i k e base have been 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. It does appear that the Getty bust resulted from the
This remarkable w o r k possesses a sculptural force collaboration of a sculptor and ceramist. From the un
and sophistication almost never found i n maiolica. derside one learns that the basic form of the bust was
A l t h o u g h the artist is u n k n o w n , the incisive depiction b u i l t using coils of clay of varying lengths that were at
of a taut and sinewy face displaying a proud, almost tached to one another and smoothed together on the ex
haughty demeanor can be most closely compared to the terior surface (fig. 1 7 c ) . This method is one of the most
w o r k of late fifteenth-century Tuscan sculptors such as basic and widespread of all pottery-building techniques,
Lorenzo Vecchietta (1412-80), Matteo C i v i t a l i (1436- and one must assume that a potter was responsible for
1501), Andrea Sansovino (ca. 1460-1529), Andrea del 2
this phase of manufacture. However, the important job
9 6
IJA Back.
98 Bust of Christ
1 7 B Alternate view.
of modeling the face appears to have been left to a tal Given the difficulty i n pinning down a specific cen
ented sculptor, possibly one w h o was active or educated ter of production, this object underwent neutron activa
i n the circle of a Florentine master toward the end of the t i o n analysis i n spring 2001 under the direction of
fifteenth century. Finally, to judge from the colors and scientist Michael Hughes, formerly of the British M u
patterns employed, the surface decoration—its glazing, seum, London. The analysis was carried out at the U n i
painting, and firing—was the w o r k of a ceramist who versity of Missouri Research Reactor, and the data was
was w o r k i n g i n Tuscany or influenced by Tuscan sculp compared against the British M u s e u m database. The re
7
ture. The w o r k displays not only a palette of v i v i d and sults of the analysis show that the clay of this bust orig
saturated yellow, green, and blackish blue but also pat inated i n Montelupo.
terns—such as the cube and cloverleaf patterns on Indeed, several scholars m a i n t a i n that the produc
Christ's t u n i c — t y p i c a l of this area of production t i o n of sculptural devotional figures and altarpieces was
(figs. 17D, 17F). 6
a specialty of Montelupine ceramic workshops i n the
1502-5. Tin-glazed earthenware. Arezzo, Ivan Bruschi collection. ters from Montelupo were active i n Pistoia i n the 1580s,
Ceramiche, inv. 24885—Donazione A. Fanfani, 1989. 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
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.
Dish with Saint Peter MARKS A N D INSCRIPTIONS [Rainer Zietz, Ltd., London, sold to the J. Paul
None. Getty Museum, 1984].
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
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
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 close i n scale to the Getty plate but the shape—rimless with a small
to Cafaggiolo and dated ca. 1510-15 in the Herzog Anton Ulrich- base and sloping sides—is very similar as well.
Museum, Braunschweig (inv. 837; Lessmann 1979, no. 83, pi. 1), and 4. Giacomotti 1974, 6 0 - 6 1 , no. 240; although similar in conception, the
an early sixteenth-century plate w i t h the subject of the fall of Phaeton, two plates different greatly in style and could not be by the same hand.
also attributed to Cafaggiolo, in the Victoria and Albert Museum, Lon 5. It is uncertain whether the shape of this plate relates to the unusual one
don (inv. C.2082-1910; Cora and Fanfani 1982, no. 106; Rackham of the Getty piece since it is described as a coppa svasata (open bowl)
1940, 1: 109, no. 314; 2: pi. 52). with a jitta filettatura (dense line pattern) on the reverse (Studio Felsina
2. Cora and Fanfani 1982, no. 23. 1984, 74-75) its attribution to Faenza is convincing since the profile
;
3. See Ravanelli Guidotti 1998, 163-64, 178, 206, 220, figs. 29g, 30c, of the woman is rendered i n a caricature style typical of a certain type of
33b, 42b, 48b) as well as a Faentine plate of Hercules and Cerberus Faentine ceramic painting around the turn of the sixteenth century (see
dated ca. 1520 i n the Herzog Anton Ulrich-Museum, Braunschweig Ravanelli Guidotti 1998, 199-200, no. 39).
(inv. 4; Lessmann 1979, 98, no. 17.) Interestingly, not only is the latter
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.
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 dish, all of these works are marked J° chafagguolo on
lowish buff color. the reverse.
This type of delicate foliage and floral embellish A t one point this inscription was interpreted as the
ment i n blue on a w h i t e ground, typical of Chinese signature of a certain "Jacopo," identified as Jacopo d i
porcelain, was m u c h sought after i n fifteenth- and six Stefano di Filippo, son and nephew of the two brothers
teenth-century Italy (fig. 19B). I t was i m i t a t e d success Stefano and Piero, w h o moved i n 1498 from their native
fully i n maiolica—thanks to the medium's brilliant Montelupo to w o r k i n the Cafaggiolo workshop—rented
w h i t e ground and stable cobalt oxide pigment—and out to them by members of the Medici family—just
called alia porcellana decoration. This w o r k is a particu north of Florence i n the Mugello Valley. Jacopo di Ste 9
larly elaborate example from a group of similarly deco fano di Filippo, however, was born i n the 1530s, twenty
rated alia porcellana bowls executed i n Cafaggiolo i n the years after the alia porcellana group of tondini seems to
first quarter of the sixteenth century. Eight other k n o w n have been produced.
pieces from this group include a small b o w l or rounded Indeed, many Cafaggiolo marks have yet to be fully
dish [tondino) decorated w i t h a long-beaked bird (Cam understood. For example, of the roughly seventy-five
bridge, F i t z w i l l i a m Museum); a dish w i t h a bird holding
1
marked objects published i n Gaelazzo Cora and Angiolo
a serpent i n its beak (Faenza, Museo Internazionale delle Fanfani's 1982 volume La maiolica di Cafaggiolo, more
Ceramiche); 2
a tondino w i t h flowers (Faenza, Museo 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
19c
Dish with arms of the Gonzaga.
Cafaggiolo, early sixteenth century.
Tin-glazed earthenware. London,
Victoria and Albert Museum,
inv. C.2145-1910.
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).
Lustered Plate with MARKS A N D INSCRIPTIONS London, sold to the J. Paul Getty Museum,
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
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
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
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.
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
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
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
OPPOSITE: 2i[.i]
118
2 1 A Alternate view of [. i ].
OPPOSITE! 2l[.2]
Woman and Distaff. Engraving. London, British Museum, British Museum, inv. 1895-9-15-87. Photo: © The British
inv. 1895-9-15-86. Photo: © The British Museum. Museum.
Atheneum i n Hartford, Connecticut (inv. 1917.430), possible thematic connection among the jars. Identifi
comprise the t h i r d group i n the B/B° group, measuring cation of the coat of arms on the Hartford example w o u l d
roughly t h i r t y centimeters i n height. The former is dec also be helpful.
orated w i t h the figure of Venus (after an engraving by On the basis of their inscription, these works were
Marcantonio Raimondi of the b i r t h of Venus, w h i c h may attributed almost a century ago to the Sienese workshop
have been inspired by a print by Jacopo de' Barbari); the 28
of Maestro Benedetto. 30
Their style, however, differs con
latter is decorated w i t h the figure of a knight holding siderably from that of other k n o w n works by this artist.
a shield w i t h an unidentified coat of arms. 29
The set or Moreover, marks like this B or B° w o u l d normally indi
sets to w h i c h these larger jars belong are l i k e l y incom cate the workshop i n w h i c h the pieces were executed,
plete, and the discovery of missing pieces and possible the pharmacy to w h i c h they belonged, or the pharmacist
print sources for the painted images m i g h t w e l l clarify w h o used them. A similar mark on a sixteenth-century
the iconography of the individual subjects as w e l l as a 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
Cappella San Sebastiano (also called Cappella Vaselli However, the same type of geometric border patterns
after its patron) of San Petronio, Bologna. 33
There is also appears on shards found at Deruta excavation sites
no indication that the San Petronio floor and the B/B° 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
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
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 these plates and bowls are no longer thought to form
like. T h e dark reddish amber pigment appears to be bole, a consistent group—appearing to be the work of various
a variety of clay colored red by iron oxide, w h i c h is found ceramic painters—they display similarities to the
i n A r m e n i a and Tuscany and was used to decorate Iznik Lehman b o w l . These similarities include the depiction
pottery. The reverse displays a band of blue and white fo of chubby putti, imaginative and festive grotesques, tro
liate scrolls i n the alia porcellana style. phies, masks, invented beasts, pearls, and m u s i c a l i n
The medallions display a bald man i n classical dress struments set against a dark blue ground. It is possible
and a bearded man wearing a turbanlike hat. The appear that the " G i o v a n n i M a r i a " of the Lehman b o w l is
ance of these two figures calls to m i n d representations of G i o v a n n i M a r i a Mariano, a man identified by documents
M o h a m m e d II (1432-1481), who became the sultan of as being i n U r b i n o i n 1520, i n Venice i n 1523, and back
the O t t o m a n Turks i n 1 4 5 1 , and John VIII Palaeologus
2
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 the maiolica objects associated w i t h the Lehman b o w l
Italy i n the early fifteenth century to discuss a possible 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
u n i o n between the Greek and L a t i n churches. 3
It has fluence, that is, between the D u c h y of U r b i n o and Venice
also been suggested that the bald man might represent i n the first decades of the sixteenth century.
C i c e r o . A n y identification of these medallion figures
4
Three tondini form a group w i t h the Getty plate and
must be considered tentative, however, since similarities appear to have been decorated by the same hand. They
w i t h k n o w n portraits do not appear convincing; these include a tondino also showing a putto on a hobbyhorse
busts may s i m p l y represent generalized Eastern types. 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.
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
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
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
BIBLIOGRAPHY
THIS COPPA, OR FOOTED CONCAVE DISH, falls w i t h i n the Rutulians. Lavinia's parents favored this union, but
the transition to the so-called stile hello (beautiful style) Latinus had been warned by his o w n father i n a dream
of the early sixteenth century, w h e n istohato decoration that Lavinia's husband w o u l d be a foreigner and that this
reached its height of popularity and pictorial sophistica u n i o n w o u l d produce a race destined to conquer the
t i o n . O n the obverse is a finely painted scene of a k i n g
1
world. T h i s foreigner was Aeneas, who, after vanquish
seated on a high throne w i t h groups of w o m e n and men ing Turnus i n battle, claimed Lavinia as his wife.
to his right and left, respectively. A winged putto stands The coppa's scene appears to be based on a passage
i n the foreground holding a blank scroll that elegantly (bk. 12,11. 5 4 - 8 0 ) i n w h i c h A m a t a (Lavinia's mother, the
echoes the scrolling supports of the throne. T h i s istoh kneeling w o m a n i n the foreground) pleads w i t h Turnus
ato piece is painted i n blue, yellow, pale orange, pale yel (the young warrior before her) to refrain from fighting the
l o w i s h green, pale purple, and opaque white on a pale Trojans for fear that he, her daughter's intended husband,
blue ground. Blue radiating leaves filled w i t h concentric w i l l die. Lavinia (the hooded figure surrounded by at
6
dark ocher lines cover the reverse, encircling the foot. tendants), hearing her mother's entreaty, is filled w i t h
O n the underside of the coppa is a circle divided into emotion, "her burning cheeks steeped i n tears, w h i l e a
four sections, w i t h a smaller circle i n each of the four deep blush k i n d l e d its fire, and mantled o'er her glowing
quarters (fig. 2 3 A ) . Since 1858 this mark has been face" (11. 6 5 - 6 7 ) . Turnus then "fastens his looks upon
identified as the pyros rota (fire wheel), believed to be the the maid; [and], fired more for the fray, briefly he ad
mark and punning device of the Faentine Casa Pirota dresses A m a t a : 'Nay, I beseech thee, not w i t h tears, not
workshop. However, this attribution was questioned by
2
w i t h such omen, as I pass to stern war's conflicts, do
scholars as early as 1 8 8 0 , 3
and recent scholarship has thou send me forth, O m y mother[-in-law] nor truly has;
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.
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.
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.
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).
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
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,
THIS TALL A N D WAISTED CYLINDRICAL DRUG VESSEL small amounts of cobalt were added to an impure bianco
is painted w i t h a label describing its contents i n dark i n order to produce a more gray ground rather than more
blue, surrounded by fruit, foliate arabesques, and inter yellow-tinted glaze ground that w o u l d result from the
lacing i n yellow, ocher, dark blue, green, and white. 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 by the particularly strong and hard to control cobalt pig
gular pattern i n dark blue and white, and around the ment was certainly possible. However, it seems more
shoulder is a garland i n yellow, ocher, and green; a l l of l i k e l y that berettino-coloxtd glazes were purposefully
this embellishment is painted on a light blue berettino produced i n i m i t a t i o n of similar colors on M i d d l e East
ground. T h e white t i n glaze that covers the inside of this 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 In addition, shards found i n Faenza and i n areas to
of most maiolica, berettino works are traditionally dis w h i c h Faentine products were exported indicate that a
tinguished by a lavender-gray ground produced by tinting large number of maiolica wares decorated w i t h wreaths,
the white glaze w i t h a small amount of cobalt oxide. One flowers, and fruit on a berettino ground were pro
scholar believes that this tinting first occurred inadver duced i n various Faentine workshops i n the third and
tently from attempts to produce a white glaze ground fourth decades of the sixteenth century. According to
that was as neutral as possible. According to this theory, 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
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 .
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 ;
84.DE.117
144
Frustratingly little is k n o w n about this important appears i n a l l three services, w i t h the interpretations on
exponent of early istohato painting. From the inscrip
8
the Getty M u s e u m and the Este-Gonzaga pieces being 18
maiolica i n the sixteenth century. A b o u t 1525, for ex In addition to A p o l l o and Marsyas, Nicola's plate
ample, he produced a splendid credenza, or table service, presents the contest between A p o l l o and Pan. According
for Isabella d'Este. 11
Other credenze attributed to N i c o l a to the ancient legend, Pan, god of woodlands and player
include the so-called Correr service of ca. 1 5 1 7 - 2 0 i n the of the syrinx, challenged A p o l l o , god of music and mas
M u s e o Correr, V e n i c e , 12
a Valenti-Gambara service of 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
ca. 1 5 1 8 - 2 5 after a plate i n the M u s e o del Castello was judged the winner. T h i s competition represents, i n
Sforzesco, M i l a n , - 13
a M a n z o l i credenza of the same gen essence, the struggle between wildness and carnal desire,
eral period after a plate listed above i n the C h u r c h of represented by Pan, and w i s d o m and sophistication, rep
Santo Stefano, Novellara,- and two services dating to 14
resented by A p o l l o . In the second scene, Athena, shown
the 1530s: one executed for D u k e Federico Gonzaga, on the far left of the plate, made a flute that she played
Isabella's son, and another for Federico and his wife, beside a stream. (Here, A t h e n a plays a bagpipe, w h i c h is
Margherita Paleologo. 15
not an unusual substitution.) 20
Watching her reflected
The Getty Museum's plate belongs to yet another image i n the water, she saw her face become blue and her
service, sometimes referred to as the ladder service, that cheeks swollen, so she threw down the instrument and
was either commissioned by or given to a member of the laid a curse on anyone who picked it up. Marsyas stum
Brescian C a l i n i family, whose coat of arms appears i n the bled on the pipes, w h i c h , inspired by the memory of
central s h i e l d . 16
U s i n g Nicola's two signed and dated Athena's music, made beautiful sounds. H e then invited
works together w i t h the dates ascribed to his table ser A p o l l o to a contest. The sly A p o l l o challenged Marsyas
vices, one may place the C a l i n i set roughly i n m i d - to play his instrument upside down, k n o w i n g that this
career, that is, i n the mid-1520s, between the earlier, could be done w i t h the lyre but not w i t h the pipes. The
more delicate, blue-toned style of the Correr service and Muses declared the winner to be A p o l l o , who took cruel
the warmer, compositionally more complex painting of revenge by flaying Marsyas alive. The figures of A t h e n a
the 1528 Saint C e c i l i a plate. T w o plates i n the Correr and Pan on this plate (figs. 2 5 B —c) are adapted from
service—those depicting A p o l l o and Marsyas and Solo illustrations to the 1497 Venetian edition of Ovid's
m o n adoring an idol—display the same temple and deity Metamorphoses. 11
Curiously, the two scenes are some
sculpture as those depicted on the Getty plate, thereby what conflated on the plate since Pan, rather than
associating the two services at least i n terms of the Marsyas, is shown retrieving Athena's instrument.
source of these images. 17
However, i n both style and Including the Museum's plate, there are eleven
palette the C a l i n i service is closest to the Este-Gonzaga k n o w n works from the C a l i n i service. T h e i r subjects are
group. Indeed, the same subject—Apollo and Marsyas— A p o l l o and Pan (London, British M u s e u m inv. M L A 1855,
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.
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.
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.
84.DE.111 None.
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)
;
26A Reverse.
profitableness i n r e v e n u e / 73
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.
inv. 1943.56.
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
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.
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.
;
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.
Bust of a Man nose that has been repaired and several smaller Figeac, in the south of France; remained in situ on
losses to the beard, mouth, ear, and curls. A fine the courtyard facade of Chateau d'Assier under
crack runs 24.1 cm diagonally from the top of the successive owners, until the late eighteenth cen
G i r o l a m o della Robbia (1488-1566)
head to the proper left side. Two small angular tury; Plantade printing house, Cahors, from the
Florence or southern France protrusions at the back of the head have been col 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 Vitry and Briere [1904-11] 1969, 13, pi. 42, no. 3;
in 1995, returning results that the material is con Gentilini 1992, 2: 366-67; Burlington Magazine
95.sc.21
sistent with the expected age of the object (i.e., 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
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 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
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 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 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 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
G i r o l a m o della Robbia. T h i s provenance and attribution
2
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
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 Great. This, along w i t h the c l a s s i c i z i n g or military
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 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 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 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 .
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 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
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 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 .
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
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
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 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
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 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
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
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
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 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
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 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 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 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
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
w i t h a central courtyard and round towers punctuating
160
28A Alternate view. 28B Alternate view.
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
Notes date by stating that, even if some construction began in 1524 or 1525,
1. Crepin-Leblond 1996, 19 n. 57. the decoration of the palace cannot date before 1526, the year Galiot
2. Vitry and Briere [1904-11] 1969, 13, pi. 42, no. 3. was named grand ecuyer, since the emblem of his position appears on
3. Gentilini 1993, 2: 366-67; Bellandi in Gellandi 1998, 306-7, no. IV.12. the exterior. See also Tollon 1993.
4. Guy Ladriere, Paris; reproduced in Vitry and Briere [ 1904-11] 1969, 11. Reproduced in Gebelin 1927, pi. 93, no. 175, and Galabert 1902, oppo
pi. 42, no. 8; Gentilini 1993, 2: 367. Most recently, see Bellandi in site 50.
Gellandi 1998; Crepin-Lablond (1996) accepts both these busts as part 12. The Chateau d'Assier was apparently owned by the dukes of Uzes in the
of the group associated with Chateau d'Assier but is uncertain that they seventeenth century but was abandoned by the family after the death of
can be traced to the chateau itself. They surely came from the same dec Francois de Crussol, duke of Uzes, in 1680. By the end of the eighteenth
orative program, since both bear traces of a grayish violet glaze on the century the palace was given away to avoid maintenance costs, the con
back, likely from the background of the medallions into which they tents and the exterior decorations were sold or stripped away, and parts
were originally set. Unless further information becomes available, it of the building were demolished. Not until 1841 was the building
seems reasonable to accept Vitry and Briere's association of these busts classified as a historic monument. See Galabert 1902, 54.
with the Chateau d'Assier. 13. I am grateful to Mark Aronson of the Yale University Art Gallery for as
5. Vitry and Briere [1904-n] 1969, pi. 42, no. 6; Gentilini 1993, 2: 367. certaining the presence of a small drop of purple glaze above the proper
6. For the two Louvre busts, see Beaulieu 1978, 64-65, nos. 104-5; Tollon left ear of the bust at Yale.
1993/ 137-49/ esp. 144. 14. Lesueur 1937, 200; Gentilini 1993, 362.
7. Vitry and Briere [1904-11] 1969, pi. 42, no. 5. 15. See Chatenet 1987, 196, 212, 215, figs. 13-14, 40, 44, for images by Jean
8. Visible in a photograph reproduced in Gebelin 1927, pi. 5, no. 9; see also Marot as well as by du Cerceau.
Tollon 1993 144. 16. The bust is in the Metropolitan Museum of Art, New York, and the sur
9. The Yale bust was first associated with the Assier group by McGraw round is in the Louvre,- see Gentilini 1993, 366-67; Bellandi in Gen
1955, 4-7; see also Gentilini 1993, 367; Bellandi in Gentilini 1998, 306. tilini 1998.
10. Galabert (1902, 50) gives 1524 as the date of initial construction on the 17. Marquand 1920, 167-74. See also Domestici 1998, 39.
building, but Gebelin (1927, 48) and Vitry (1938, 332-33) qualify the
Bust of a Man 16 5
29
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
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.
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
166
2 9 A Reverse.
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
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].
170
3 OA Reverse.
30B Alvise Vivarini (Italian, 1442/5 3-1503/5). Saint Clare (detail). Venice,
Accademia. Photo: Alinari/Art Resource, New York.
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 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
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 (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
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
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
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 don, Victoria and A l b e r t M u s e u m , inv. 4343-1857); 7
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
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
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-
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).
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 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
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 tion, Cipriano Piccolpasso writes i n a caption below a
b l u e o n a l i g h t b l u e berettino ground. 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 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 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 -
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 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
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 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
decoration. O n e finds the m o s t c l o s e l y related t r o p h y Vinegia 8 lire. 7 / 6
Piccolpasso's statement m a y i m p l y that
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 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
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 U r b i n o and i n Venice.
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 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
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 and background scrolling ornament, c a n be f o u n d o n
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 , 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
D . C . , and the other i n the M u s e o Internazionale delle 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 —
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 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
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 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
None.
Marine Scenes None.
CONDITION BIBLIOGRAPHY
Cracks and restorations on the side loops and on GettyMusJ 13 (1985): 243-44, no. 177; Hess
Fontana w o r k s h o p (possibly
the screw top. 1988A, no. 32; Summary Catalogue 2001, 372.
Orazio; 1510-71)
PROVENANCE
Urbino
Thomas F. Flannery Jr., Winnetka, Illinois,- by in
ca. 1 5 6 5 - 7 0 heritance to Joanna Flannery, Winnetka, Illinois;
Tin-glazed earthenware Chicago (sold, Sotheby's, London, November 22,
1983, lot 160, to E. Lubin); [Edward Lubin, New
H : 44.1 c m (17 Vs in.)
York, sold to R. Zietz],- [Rainer Zietz, Ltd., London,
W (max.): 28.6 c m (11 A in.) l
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
186
34A Alternate view.
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
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.
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].
192
35A Reverse.
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 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
paintings i n ancient R o m a n houses, s u c h as Nero's 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
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. 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
T h a t these houses were excavated f r o m beneath the 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 ,
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 London; Wadsworth A t h e n e u m , Hartford, Connecticut;
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 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;
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 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
ceramic decoration. 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 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 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
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 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 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 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
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 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
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,
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,
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
restituted to him after the war by the French gov 2001, 244; Summary Catalogue 2001, no. 374.
scratched under the glaze and painted with blue
ernment; by inheritance to Baron Guy (Edouard
glaze; on the rim, three hatch marks inscribed
Alphonse Paul) (b. 1909) and Baroness Marie-
before the glaze firing.
Helene (i927-1999) de Rothschild, Paris, sold
CONDITION to Curarrow Corp.; [Curarrow Corporation N . V ,
Firing crack in the lip (fig. 36c) and small chip on Curacao, Antilles, sold to the J. Paul Getty
the rim of the foot, which occurred after the Museum, 1986].
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.
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.
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
"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
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
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].
90.SC.42.1-.2
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
O P P O S I T E : 37 [.1]
204
3 7 A Alternate view of [. i ].
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
O P P O S I T E : 37 [.2]
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 ;
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 ].
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].
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
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].
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
222
39A Detail.
39E Underside.
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.
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
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
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
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
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
OPPOSITE: 4 0 [.2]
The Cozzi artist or artists w h o painted these vases power was based on control of the A d r i a t i c — i s likewise
drew upon contemporary p r i n t sources for their principal shown triumphant, accompanied by her attributes of
scenes. The scene of the river t o w n conflates t w o prints
10
power and authority. Opposite her, the cityscape of the
of similar subjects—one of a t o w n w i t h a clock tower, Piazzetta di San Marco supplies a quintessential view, at
the other w i t h longshoremen, ships, and distant ma once scenographic and descriptive, of the political and
rina—designed by Marco Ricci ( 1 6 7 6 - 1 7 2 9 ) and en cultural heart of the Republic. The pairing of Venice and
graved by Giuliano Giampiccoli ( 1 7 0 3 - 1 7 5 9 ) , Ricci's Neptune—female and male, land and sea—was a com
son-in-law, and published i n 1750 (figs. 40 G — H ) . 1 1
The m o n theme i n Venetian cultural and political life,- i n
view of the Piazzetta di San Marco reproduces a p r i n t deed, the u l t i m a t e expression of Venetian state liturgy
by Francesco Z u c c h i ( 1 6 9 2 - 1 7 6 4 ) published i n 1740 was Venice's "marriage to the Sea." O n this yearly occa
(fig. 4 0 1 ) . 12
The ships i n the foreground of the Z u c c h i sion the doge w o u l d ride his ceremonial barge i n t o the la
p r i n t have been shifted, apparently to conform to the goon, and w i t h the words "We espouse thee, o sea, as a
shape of the vase, yet the distant v i e w of the piazzetta is sign of true and perpetual d o m i n i o n , " he w o u l d throw a
reproduced w i t h delicate precision. The figure of Venice gold wedding ring i n t o the water. I n marrying the sea, ac
appears to derive from the figure i n a colophon of the cording to Venetian law, the "husband," or doge, repre
Venetian publisher Giovanni Battista A l b r i z z i ( 1 6 9 8 - senting the city of Venice w o u l d establish legitimate
1777) (fig. 4OJ). 13
A source for the Neptune has yet to be rights over his " w i f e " the sea, represented by Neptune,
identified. God of the sea and personification of the A d r i i n this way supporting the doge's claim to sovereignty
atic, he is shown triumphant, accompanied by the sea's over trade routes. 14
riches. Opposite h i m , an invented landscape, or capric- A l t h o u g h this proposed political schema of the vases
cio, illustrates a typical and picturesque river t o w n of celebrates the Veneto's urban and rural settings as w e l l as
the Veneto. Venice—personification of a republic whose the Republic's imperial and mercantile prerogatives,
Notes
40H Giuliano Giampiccoli and Giambattista Tiepolo after Marco Ricci. 1. When the Museum acquired these vases, they were accompanied by lids
Marina with Longshoremen, 1743/44. Engraving. Photo: Courtesy that, because of differences i n paste and pigment as well as i n painting
Foligraf s.n.c, Mestre. 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.
;
Although he died in Egypt, his body was supposedly transferred from for painting the colored circle around the r i m of a piece of porcelain, an
Alexandria to Venice i n the early ninth century, and it was i n Saint other would draw the flowers that yet a third would paint; some would
Mark's honor that the eponymous Venetian basilica was built (Cham paint nothing but water and mountains, others nothing but birds and
bers 1970, 16-17; Zorzi 1983, 243). For the allegorical representation of other animals, and yet others would execute human figures."
Venice see, for example, Muir 1981, 229-30, 239, 295. 11. From the model book for artists Raccolta di paesetti intagliati in rame,
6. For more information on the factory see Hess 1990A, 141-56. published by Albrizzi in 1750.
7. Kaolin—a silicate of aluminum that, when combined with feldspathic 12. The Zucchi print is entitled Prospetto della piazza verso il mare i n
rock, fuses into a glassy matrix when fired i n a kiln—was found in the G. B. Albrizzi's edition Forestiere illuminato intorno le cose piu rare,
Vicenza hills near Venice. The director of the Sevres manufactory, e curiose, antiche, e moderne della citta di Venezia (Venice, 1740) (fig.
Alexandre Brongniart (1770-1847), first classified the Cozzi product as a 401); it ostensibly copies a print designed and executed by Luca Carl-
"hybrid soft-paste porcelain" because it was fired at lower temperatures evarijs (1663-1730)—Veduta della Piazza S. Marco verso l'horologio—
than German or French hard-paste wares but, nevertheless, contained published i n G. B. Finazzi's edition Le fabriche e vedute di Venetia
kaolin. The Cozzi factory also produced maiolica (see Gobbi and Alpi (Venice, 1603).
2001, 28-47). 13. Found, for example, at the end of Componimenti poetici per 1'ingresso
8. A report documenting these figures was sent by arts inspector Gabrielle solenne alia dignita di proccuratore di S. Marco per merito di Sua Ecce-
Marcello to the board of trade (cited i n Molfino 1976, 26-27; Stazzi lenza il Signore Locovico Manin (Venice, 1764) (fig. 407).
1982, 47, with an erroneous date). 14. Pope Alexander clearly defines this relationship when he says, while
9. See, for example, Morazzoni i960, 1: figs. 46b, 51, 58, 61a, 68a-c, 69a- giving Doge Ziani the ritualistic ring, "Take this [ring] . . . so that pos
b, 70-71, 72a-b, 73a-c, 74-75, pi. 6. terity knows . . . that the sea was placed under your dominion, as a wife
10. Easily, more than one painter could have contributed to the decoration is to a husband" (Francesco Sansovino, Venetia [Venice, 1663], 501; as
of these works. In a painters' guidebook Roger de Piles (1772, 95) explains cited i n Muir 1981, 124, n. 53). It is not surprising, therefore, that the
that for porcelain painting, "The work . . . is distributed among a large term for "the sea" in Venetian dialect changes the masculine and Latin-
number of craftsmen in the same workshop: one would be responsible derived il mare into the feminine la mar.
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 tion, Madrid, by 1953, and by descent in the same
across the ankle; across the upper left thigh of the family, sold to Same Art Ltd.; [Same Art Ltd.,
(1720-1793)
Christ Child; and under the left arm of the Christ Zurich, 1990, sold to the J. Paul Getty Museum,
Probably modeled by Gennaro Laudat o Child, beginning at the front and continuing 1991].
(active 1790s) around to the back of his upper chest. There are
EXHIBITIONS
Naples some minor losses of glaze near these cracks as
Possibly shown at Esposizione nazionale di belle
well as small chips in several places, for example,
1790s arti, Naples, 1877. 3
glazed earthenware) 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
H : 53.8 c m J2i /8 in.)
3
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 MusJ 20 (1992): 179, no. 78; Donatone 1993B, 40;
MARKS A N D INSCRIPTIONS the base for the same reason. Close examination Donatone 1996, 32-33, 42, fig. 4; Donatone 1997,
None. of the areas where the piece has been chipped (i.e., 49; Fusco 1997, 45; Masterpieces 1997, 91;
Joseph's left hand and an area of his cloak on his Museum Handbook 1997, 263; Summary
CONDITION
proper left side) shows that the clay is covered Catalogue 2001, no. 380; Fogelman and Fusco
There are no losses, breaks, or old repairs in the
with a white lead glaze over which colored glazes 2002, no. 42.
piece. There are some firing cracks, which are
were applied.
238
4 1 A Alternate view.
4 I D Base.
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
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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
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