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A History and Description of Italian Majolica - Primary Source Edition
William Burton,Louis Marc Solon
No preview available - 2014
Albert Museum Albissola Antonio artistic attributed blue bottega Cafaggiolo Castel-Durante Castelli centre ceramic ceramic art clay colours decoration Deruta dish Duke enamel established examples Faenza faience Fontana Fortnum Francesco Giovanni glaze graffito Gubbio inscribed inscription Isabella d'Este Italian Italian majolica Italy kiln Luca della Robbia Maestro Giorgio maioliche majolica majolica factories majolica painter majolist manufacture mark master Medici metallic lustres Montelupo Nicola Orazio Fontana origin ornamental painted Passeri Pesaro Piccolpasso pieces plate porcelain pot-works pottery productions Robbia Sassuolo Savona Siena sixteenth century specimens stanniferous enamel style tazza terra-cotta tile pavement tion town trade Urbino vases Venice vessels Victoria and Albert ware
Page 102 - A perfect similarity of technique," again quoting from Solon, "links the lustred ware of Diruta with that of Malaga and Valencia. Its technique plainly denotes an imitation of the Majorcan methods and, therefore, an early beginning may reasonably be suspected.
Page 34 - And if this artist had been accorded longer life" (eightyone years was a tolerable thread), "many other remarkable works would probably have proceeded from his hands, since, but a short time before his death, he had begun to paint figures and historical representations on a level surface.
Page 133 - Mercury — and there is no reason to doubt the accuracy of the statement — that...
Page 122 - Besides being assisted by his two brothers, Salimbene and Giovanni, and later on by his son Vincenzio, Maestro Giorgio opened his ateliers to all the talented majolists who chose to work in collaboration with him. Many of the best artists of the times did not disdain to see their painting enriched •with the metallic lustres of which alone he possessed the secret.
Page 34 - Luca sought to invent a method of painting figures and historical representations on flat surfaces of terra-cotta, which, being executed in vitrified enamels, would secure them an endless duration...
Page 102 - Body and glaze remain unaltered by this artistic transformation ; it is still Oriental ware with Italian designs. Public and private collections contain such a number of representatives of these typical dishes as to suggest that the production must have been considerable.
Page 102 - ... sober devices, and a well-balanced arrangement of lines, contribute not a little to produce a striking effect. The art of the master reaches its complete expression in numerous platters of large dimensions, bearing either the bust of a male or female personage accompanied by an inscribed banderole, the majestic figure of a patron saint, a sphinx, a chimera, or some other fabulous animal.
Page 183 - There was in its very coarseness and imperfection a variety of result through which each piece received a certain stamp of individuality which we miss in the mechanical earthenware of our own time.
Page 34 - ... with beautiful ornaments. For the bishop of Fiesole, in the church of San Brancazio, he also made a marble tomb on which are the recumbent effigy of the bishop and three other half-length figures besides, and in the pilasters of that work he painted, on the flat, certain festoons and clusters of fruit and foliage so skilfully and naturally, that, were they even painted in oil on panel, they could not be more beautifully or forcibly rendered.