A Descriptive Catalogue of the Maiolica, Hispano-Moresco, Persian, Damascus and Rhodian Wares in the South Kensington Museum: With Historical Notices, Marks and Monograms

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G.E. Eyre & W. Spottiswoode, 1872 - Majolica - 699 pages
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Page iv - Arranged to meet the requirements of the Syllabus of the Science and Art Department of the Committee of Council on Education, South Kensington.
Page 330 - ... Fontana has always occupied the highest place in the scanty list of Maiolica artists, although at the same time nothing was definitely known of his works. Unlike their contemporary, Xanto, the Fontana seem but rarely to have signed their productions, and consequently their reputation as yet rests almost entirely on tradition, on incidental notices in writings which date back to the age in which they flourished, and on facts extracted at a recent period from local records.
Page 259 - ... centre the facred monogram in relief, furrounded by rays, border of raifed acanthus leaves, alternating with pellets ; the relief ornamentation is grounded in gold and ruby luftres, on a white furface of great purity and brilliancy. This exquifite little piece exhibits the full power obtainable by the introduction of the luftre tints, in a degree, perhaps, unfurpafled by any other example in the collection ; the yellow luftre has a full rich golden tone, and the ruby a pure vivid red, peculiar...
Page 330 - ... of this notable race of induftrial artifts. The information I have fucceeded in getting together will eftablifh feveral facts hitherto unnoted, and, at any rate, lay the groundwork for a more detailed account. Orazio Fontana, whofe renown during his lifetime even, feems to have completely eclipfed that of the other members of his family, and in fact of all the other Urbinefe artifts, is firft mentioned by Baldi, at the beginning of the feventeenth century, in his eulogy of the ftate of Urbino,...
Page xvi - The employment of copper to produce a brilliant blue coloured enamel was very early, both in Babylonia and Assyria ; but the use of tin for a white enamel, as recently discovered in the enamelled bricks and vases of Babylonia and Assyria, anticipated, by many centuries, the re-discovery of that process in Europe in the fifteenth century, and shows the early application of metallic oxides.
Page 332 - ... of father and son. What became of Orazio's establishment after his death, whether continued by his brother Camillo, or reunited to that of the father, there is no evidence to show. With respect to the remaining members of the family, our information is of the scantiest kind. Camillo, who was inferior in reputation as a painter only to his elder brother, appears to have been invited to Ferrara by duke Alfonso II., and to have introduced the Maiolica manufacture into that city.
Page 333 - It has been already ftated that a confiderable proportion of the Fontana Majolica is doubtlefs ftill extant ; and it becomes now defirable to endeavour to identify the works of the individual members of the family, without which the mere knowledge of their exiftence is of very little moment : but this is no eafy...
Page 333 - Fatto in botega" &c. &c. : this mode of fignature, in fail, proves very little in determining individual characteristics, inafmuch as apparently nearly all the works fo infcribed, are painted by other hands than that of the proprietor of the Vaferia ; thus, in the cafe of pieces executed in the botega of Guido Fontana, we may...
Page 333 - Fontana maiolica is doubtless still extant ; and it is desirable to endeavour to identify the works of the individual members of the family, without which the mere knowledge of their existence is of very little moment ; but this is no easy task ; although specimens from the hands of one or other of them are to be undoubtedly found in almost every collection, the work of comparison and collation has as yet been scarcely attempted. The similarity of style and technical characteristics...
Page 332 - Fontana manufactories, — those of father and son. What became of Orazio's establishment after his death, whether continued by his brother Camillo, or reunited to that of the father, there is no evidence to show. With respect to the remaining members of the family, our information is of the scantiest kind. Camillo, who was inferior in reputation as a painter only to his elder brother, appears to have been invited to Ferrara by duke Alfonso II., and to have introduced the...

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