ornamented with grotesques, reserved in white and shaded with a brownish yellow; or reserved in a paler greyish tone heightened with white, on a dark blue ground.A berettinoandsopra azzuroare the terms applied to this mode of decoration, and among examples of the former and perhaps earlier of the styles, are works of the highest quality of enamelled pottery and of admirable decoration and artistic painting. The woodcut is from a good plate of about 1520; at South Kensington, no. 1734: and we give also a copy of the mark on the reverse.
The work of at least three painters is discernible upon the wares of this establishment. First and foremost are those charming pieces of the greatest technical excellence by thepainter of the shallow bowl at South Kensington, no. 354, which is marked at the back with the crossed circle, having a pellet in one of the quarters, and has for subject, Mutius Scævola. By him are other pieces similarly shaped and decorated with borders of grotesques reserved in white, shaded in brownish yellow on the blue ground, and central subjects painted in a similar tone.
We next have the author of the fine plateau, no. 7158, and of the better examples of those abundant pieces having central subjects painted in a greenish yellow tone on theberettino, or coats of arms emblazoned, and wide borders covered with grotesques in a lighter tone heightened with white on the dark blue ground. This artist also ventured into bolder subjects uponplaques of considerable size, two of which, one representing the Adoration of the Magi, are in the British museum; over a portico which forms a background to the composition, the crossed circle and pellet, mark of the fabrique, and the date 1527 are inscribed, while on the reverse is a yellow roundel between the letters B. B. F. F. and the same date. Rather earlier, is the plate (in the woodcut p.168) which although by some attributed to Caffaggiolo, is probably of Faenza. The richly decorated back leads to this conclusion.
Not to be confounded with these masters, the last of whom by way of distinction is known among amateurs as the “green man,” are works by a more able artist who painted in colours of the richest tone with admirable disposition and vigorous design, and who also signed with the same initials. The finely treated subject of the Gathering of the Manna, on the plate no. 7680, is by this hand, whose works are neither ornamented at the back, nor signed with the mark of the fabrique.
B. The first notice we have of Baldasara Manara occurs in Zani’s “Enciclopedia Metodica,” in which work, under the name ofMannara, he refers to the signature of the artist upon asottocoppawith the accompanying mark. This tazza, now in the possession of the writer, is perhaps the most important signed example known, and represents the triumph of Time; it is one of a service decorated with orange scale-work on the yellow ground of the reverse, and of which other pieces still exist.
C. Wanting the inscribed name of the locality at which they were painted, we are quite prepared to acquiesce in the maturely considered opinion of signor Lazari, that the beautiful service, 17 pieces of which are in the Museo Correr at Venice, and other works painted by the same admirable early artist were produced at Faenza. They perfectly agree with the qualities lauded by Garzoni at the approximate period of their production, one of them being dated 1482; and no wares of that period could in their qualities of enamel be more worthy of the expressionbianche politethan the pieces of this service. We have no clue to the name of the painter. That they were the production of a botega distinct from the Casa Pirota seems assured, from their dissimilarity in technical quality and style of ornamentation to the wares of that productive house, and the absence of its distinctive mark; but there is great similarity in their glaze and other details to the pieces painted by another excellent hand who signs with the letters F. R.
D. A multitude of homeless casuals have been attributed to the workshops of Faenza, from technical characteristics and manner of decoration, while as many more of somewhat different complexion have been promiscuously charged upon Urbino. Our ignorance of the exact localities of their production from want of evidence leads to this doubtful generalization, and until the discovery of signed specimens by the same hands, or documental record, we must still in numerous cases rest content with our assumption.
Many early pieces, modelled in high relief and in the round, are probably of this origin. The very fine tazza, represented in the woodcut, is a good example. They differ from parallel pieces ascribed to Caffaggiolo in a certain rigidity of modelling, the use of a shading and outline of a darker or more indigo-like blue, and a free application of yellow and orange pigments; a more gothic sentiment also prevails from the influence of the German school, and we find subjects copied or derived from the works of Dürer, Martin Schön, &c., more frequently upon the higher class of Faentine wares than on those of painters working at the more southern centres of the art. The contemporary pieces of Caffaggiolo are more Italian in sentiment, the blue pigment of greater brilliancy, a purple also used, and a thicker glaze of great richness and moretendreeffect.
From an early period Faenza seems to have produced a largenumber of electuary pots and pharmacy bottles; a pair are in the hôtel Cluny, one bearing the nameFaenza, the other 1500. Many of these vases are decorated in the style known asa quartiere, being divided into compartments, painted in bright yellow, &c., on dark blue, with foliated and other ornament, and usually having a medallion with profile head or subject on one side, under which the name of the drug in gothic lettering is inscribed on a ribbon. A curious example is in the British museum; a large flask-shaped bottle of dark blue ground with yellow leafage and with twisted handles, upon the medallion of which is represented a bear clasping a column, with the inscription “et sarrimo boni amici,” allusive, in all probability, to the reconciliation of the rival houses of Orsini and Colonna in 1517.
We would here refer to the frequent occurrence on these vases, as occasionally upon other pieces, of pharmaceutical and ecclesiastical signs, letters, &c. surmounted by the archiepiscopal cross and other emblems which we believe have reference to the uses of monastic and private pharmacies for which the services were made, and not to be confounded, as has been too frequently the case, with the marks of boteghe or of the painters of the piece. These emblems have no other value to us than the clue which they might afford to patient investigation of the locality and brotherhood of the conventual establishment to which they may have belonged, and among the archives of which may be recorded the date and the fabrique by which they were furnished. But what are of far greater interest are those admirable early pieces, painted by ceramic artists of the first rank, who, beyond a rare monogram or date, have left no record of their place or name; and whose highly-prized works, for their authors are several, are jealously guarded in our public and private museums. Some of these, with reasonable probability, are believed to have been executed at Faenza. Several examples are preserved, of an early character, perhaps the work of one hand, who marked them on the back with a large M crossed by a paraphe. They are usuallyplateaux with raised centre, on which is a portrait head, or shallow dishes with flat border. Variations of the letter F are found on pieces, some of which are fairly ascribable to this fabrique, but we need not point out the fact that many other localities of the manufacture can claim the same for their initial letter, and that the characteristics and technical qualities of the pieces themselves are a necessary test.
Later in the sixteenth century, when subject painting covering the whole surface of the piece was in general fashion (istoriata), the unsigned works produced at Faenza are difficult to distinguish from those of other fabriques. Some examples exist in collections, as one in the Louvre with the subject of a cavalry skirmish and inscribed 1561in Faenca, but we have no knowledge of their painters, and even the occurrence of the name of that city is but rarely met with. Her wares are usually richly ornamented on the back with imbrication, as was the manner of Manara, or with concentric lines of blue, yellow, orange.
E. Of the pottery produced at Faenza during the seventeenth and the last century we have but little record. Some pharmacy vases are mentioned by M. Jacquemart signed “Andrea Pantales Pingit, 1616,” but the signature does not appear to be accompanied by the name of that city. In 1639 Francesco Vicchij was the proprietor of the most important fabrique.
A modern establishment professes to occupy the premises of the ancient Casa Pirota, where we have seen fairly good reproductions of the ordinarysopra azzuroplates of the old botega, but these are but weak imitations, and the glory of Faentine ceramic art must be looked for in museums.
Forlì, Ferrara, etc.
Thefirst notice we have of the pottery ofForlìis merely indirect, occurring in a document referred to by Passeri and dated as early as 1396, a passage in which speaks of John Pedrinus “formerly of the potteries of Forlì and now an inhabitant of Pesaro;” thus proving that such a manufactory did exist at the former town previous to that date; but it does not inform us whether it was more than a furnace for the production of ordinary wares. Piccolpasso refers to the painted majolica of Forlì, and there can be no doubt from the examples we still possess that at the time he wrote, in the middle of the sixteenth century, it was well known as one of the important fabriques of northern Italy.
Our next evidence is more direct, and consists of a series of examples in the South Kensington museum, the careful comparison of which has led to the conclusion that the wares produced at the botega of Maestro Jeronimo (?) at the latter end of the fifteenth and early part of the sixteenth century were of a very high order. That numbered 7410 is the finest piece with which the writer is acquainted, part of an historical service made for Matthias Corvinus, king of Hungary, whose arms are emblazoned on the rim. It has hitherto been a question as to which of the early manufactories the production of this service could be attributed, but we think that there can be no hesitation, after a comparison with other pieces, in classifying it as a production of Forlì. The pretty plate no. 1803 (engraved) approaches nearer to the manner of the finer wares of Forlì than to any other fabrique with which we can connect it, and the pavement of tiles no. 30, on which occurs the date 1513, is remarkable, as shown in the next engraving, for the portrait heads introduced, one of which is that of the celebrated Melozzo; the other may perhaps be that of the artist who executed the work, and who is unquestionably the same as the painter of the Mºieroplate; from an inscription of doubtful reading it may be understood that he signs this work as “Petrus,” while the letter R, the initial of his patronymic, occurs with P at the side of what may be intended for his portrait.
Mr. Barker had a plate, from the Delsette collection, subjectthe story of Alexander and Roxana, on which is inscribed “Leochadius Solobrinus picsit forolivia mece 1555;” and in the museum at Bologna is a basin on which is painted a representation of the supper at which Mary Magdalene washes Jesus’ feet; on the back it is signed by the same artist, with the date 1564. This is the latest signed and dated piece of the fabrique with which we are acquainted.
Potteries are said to have been established atBolognaandImola, and pieces have been ascribed to them. A plate is in aFrench collection, well painted and of about the year 1500, which has the name ofRavennaon the reverse.
Passing to the northern duchies of Italy we find that Alfonso I., duke of Ferrara, found means, notwithstanding his troubled and warlike rule, to establish a fabrique of Maiolica at his castle inFerrara. Although the precise period of the introduction of the art is unknown, as early as 1436 the name of “Maestro Benedettobocalaro in Castello” is recorded; in 1472 one Enrico, and in 1489 Gio. da Modena, are named; while in amemorialeof expenses in 1443 occurs the first mention of painted and glazed wares. A curious document in the archives of Mantua, dated 1494, tells us that Isabella (d’Este), wife of the marquis of Mantua (Gonzaga), had sent a plate which had been broken into three pieces to be repaired at Ferrara by theMaestriworking at the castle; this was done, and the mended plate returned at the desire of the duchess of Ferrara with another as a present.
From 1506 to 1522 the artistic works seem to have been discontinued, probably on account of the wars in which the duke was engaged: and from 1534 to 1559, during the reign of Ercole II., the work does not seem to have been encouraged. Pietro-Paolo Stanghi of Faenza is the only artist recorded, having made the ornaments to a stove in the castle; but Alfonso II. took more interest in the manufacture, and Vasari speaks of the fine productions of his furnaces. Nearly half a century then passed away before we hear of fresh experiments in the production of porcelain directed by Mº. Camillo, of Urbino, assisted by his brother Battista, and which seem to have resulted in success. When injured by the accidental explosion of a cannon, which ultimately caused his death and that of three gentlemen in 1567, he kept the secret, refusing to divulge it. This event is mentioned by Bernardo Canigiani, the ambassador of the Florentine court, who speaks of Camillo da Urbino as a maker of vases, painter, and chemist, and the true modern discoverer of porcelain, “Ritrovatore moderno alla porcellana.” It would seem,however, that his brother, Battista, must have known something of the process, which he may have been able to perfect by experiments, for it appears that between 1568 and 1569 the work was continued, as on the 17th December of the latter year an entry is made of an unusual allowance of wine for a workman engaged in preparing the ingredients “per far porcellani.” The cruet or vase, here engraved, is of about this period; it is at South Kensington, no. 505.
It is greatly to be regretted that we have at present no clue by which we can, even with probability, attribute any of the examples of maiolica in our collections to the earlier works of the Faentine artists produced under Alfonso I. at Ferrara; the more so as both under his reign and under that of Alfonso II. the fabrique was conducted, not with a view to profit or commercial enterprise, but simply from princely magnificence and a love of art. The produce was for their own use, and for presents among friends, but not for sale; we may therefore conclude that it was of highly artistic and great technical excellence. This was exceptional among the potteries of that period in Italy, most of which were commercial undertakings, more or less patronized and encouragedby the ruling families of their several localities. Some Ferrarese pieces have doubtless been preserved, and are probably now classed among those of Faenza with which they must have a great affinity.
It is not till 1579, when the art was in decline and when the Urbino style of ornamentation prevailed, that, on the occasion of the marriage of Alfonso II., it is believed that acredenzawas made, the pieces of which are to be recognized by bearing the device of a burning pyre with the motto “Ardet æternum.” The pieces of this service have a distinctive character of their own, and although their connection with Ferrara may be merely one of ownership and not of origin, we think it well to class them under that head because we have no other standard to which we can attach all that is known of the history of that princely botega, and because these pieces have, in default of positive evidence to the contrary, been accepted as Ferrarese. They are remarkable for the purity of the white enamel ground; the grotesques are by another hand than those on pieces universally believed to be of the later period of Urbino or of Pesaro, but they are not easily distinguished without examination of the specimens side by side. Two pieces are in the Louvre, two others are at South Kensington.
Alfonso II. died in 1597, after which the dukedom was absorbed into the States of the Church. The Este removed to Modena, to which place the contents of the palace at Ferrara were carried, including the old maiolica, some of which is mentioned in inventories of the seventeenth century. A few pieces which escaped destruction during the French invasion of Italy were gathered from neglected corners of the palace, and placed in the public gallery of Modena in 1859.
Although the antique pottery ofModenais referred to by Pliny and by Livy, we have no exact record or marked example of wares produced there during the period of the renaissance. Modenese artists in terra-cotta worked at Ferrara, and Cristoforo da Modena wasboccalaroto the duke of that territory in thesixteenth century. Piccolpasso names Modena as a place where maiolica was produced, but whether of a superior or of a more ordinary kind we are not informed. In the last century Geminiano Cozzi, of that city, was the leading maker of porcelain at Venice about 1765, but the monopoly granted to the fabrique of Sassuolo impeded the manufacture of enamelled wares elsewhere in the duchy.
AtSassuolo, a town prettily situated ten miles to the south of Modena, an establishment for the manufacture of enamelled earthenware was introduced by Gio. Andrea Ferrari in 1741. It would seem that he obtained from the duke Francesco III. the right of making ordinary white and painted maiolica, as the stanniferous enamelled wares were then universally denominated, to the exclusion of all rivals in the duchy and all importation from other parts, except during the fair held at Reggio. The work commenced in 1742, and in a few years he was joined by Gio. Maria Dallari. Their rights were from time to time renewed, and in 1756 confirmed to the extent of granting the monopoly to the family for three generations; the materials were not to be charged with import duty, and the advantages secured to the fabrique were further extended in 1761 by even excluding the foreign wares from the fair at Reggio; the manufacturers on their part being bound to supply the duchy with an abundance of good wares at moderate prices. These wares produced were various, among others finer pieces painted in the Japanese style and with flowers and gilding; groups of figures were also made, and a large export business carried on.
From a document in the Archivio della camera di commercio, it would appear that the art was introduced atMantuaabout 1450, and that its workers had their statutes which were altered and amended from time to time; but we are quite unable to judge of the character of the wares produced. They were presumably of an inferior quality, for we have already seen that Isabella D’Este in 1494 procured maiolica for her own use fromFerrara, Urbino, &c., which would argue that the pottery of Mantua was inferior. In the second half of that century Schivenoglia mentions abottega di Maioli, conducted by one Zonan AntonioMajolaro, and remains of a furnace with fragments of wares were discovered in 1864 on theriva al Lago inferiore, from whence a small plate was procured, painted with a female bust, arabesques, &c. Campori suggests that theimpresaadopted by Francesco Gonzaga after the battle of Taro, namely a crucible in a fire and containing ingots of gold, may be a distinguishing mark of the Mantuan faïence even of a later period.
Our knowledge of the production of Maiolica, or rather of artistic enamelled pottery, inVenicemay be said to begin with the year 1540. Previous to that date there can be little doubt that the Venetian ovens produced enamelled wares of greater or less merit, but we have no sufficient record of their character. M. Jacquemart believes that works existed at Venice as early as the second half of the fifteenth century, arguing that if the qualities of the Venetian pottery were of so high an order at that period as to induce the inventor of the celebratedbianco di Ferrarato order vases for his own pharmacy, it must have been developed and perfected from an earlier date. But signor Lazari considered that the examples of glazed tiles existent in the sacristy of the church of Sta. Elena at Venice, having the arms of the Giustiniani family and dating about 1450-80; as also those in the Lando chapel of S. Sebastiano, having a monogram and the date 1510, and other examples anterior to about 1545, were importations from Faenza or from Castel Durante; an opinion shared by the writer after a careful examination of those pavements. The woodcut, however, p.182represents a very fine dish which we may reasonably ascribe to Venice; of about the year 1540: now at Kensington, no. 4438.
Sir William Drake quotes a petition, dated 1664, from the guild of the “Boccaleri” of Venice, in which reference is made to previous decrees in their favour issued in the years 1455, 1472,and 1518, prohibiting the importation of foreign earthenware; and a decree of the senate in 1665 prohibiting the importation or sale in Venice of any sort of foreign earthenware by any person
not being a member of the guild, but upon the condition that that body should keep the city well supplied with “latesini,” and that shops should be kept open for its sale. From the general tenor of this petition we may reasonably infer that at the period of its presentation the potter’s art in Venice was reduced to the production of very ordinary wares. It is curious also, and perhaps confirmatory of the inferiority of Venetian artistic pottery, that an exception in the decree against importation should be made in favour of the maiolica of Valencia, which we know also to have been imported into Genoa. This ware, which had once been excellent, had greatly deteriorated in 1664. The culminating period of the excellence of Venetian pottery in respect to painting and design was probably the middle of the sixteenth century.
The earliest dated example is a deep circular dish in the writer’s collection, the centre of which is occupied by the figure of a mermaid floating on the sea, a horn in her right hand, and regarding herself in a mirror which she holds in her left; the wide border is covered with intricate and very elegant arabesque sprays of foliage with fruits and flowers, among which are birds. The whole is painted in dull pale blue on a grey enamel and heightened with white, and on the reverse is the inscription “1540 · ADI · 16 · DEL · MEXE · DEOTVBRE.” In the Brunswick museum there is a large dish, having the subject of Moses and Aaron entreating Pharaoh, with a rich border of medallions figurative of the months, &c., and the inscription “1568. Zener Domenigo da Venecia Feci in la botega al ponte sito del Andar a San Paolo.” Pieces are in various collections having for mark a C-formed fish hook, with loop at one extremity and barbed point at the other. The only name which occurs in connexion with these examples is that of oneDionigi Marini, who signs a plate having this mark twice repeated, and the date 1636. In 1753 the Bertolini obtained a decree of the senate permitting them to open a shop in Venice for the sale of their maiolica, free for ten years of all import and export duties. Notwithstanding, the manufactory had ceased before the expiration of the term of the decree in 1763, when it was annulled.
The leading characteristic of the enamelled pottery produced at Venice in the sixteenth century is a close buff-coloured body, covered by an even glaze of grey colour, produced by the admixture of a small portion of zaffre, and known as “smaltino.” Upon this the design was outlined and shaded in blue, of a rather low tone, the high lights being touched in with white. Engraved
is a large dish, very elegantly ornamented, probably made about 1540. The reverse of the dishes generally have a belt of foliated sprays round the rim, and radiating flutings or alternating thin and thicker lines round the “cavetto.” It is worthy of remarkthat some of the Paduan wares are similarly ornamented, and we may thence infer some connexion between the establishments or an attempt at imitation; the fact that a cross was adopted as a mark at both places is also noteworthy.
The Venetian wares of the last century which, without positive proof, are generally believed to have been produced by the Bertolini have also distinctive qualities. They are remarkable for their thinness and lightness; baked at a high temperature, they are almost as sonorous as metal; the ornamentation round the rim is frequently executed in rilievo, and they have been mistaken for enamelled copper withrepousséflowers, &c. The colours used were generally blue and brown, with yellow occasionally, on a pale blue or dull white ground.
We must refer to the large catalogue of the collection of Maiolica at South Kensington, for notices of the less important establishments atTreviso,Bassano,Padua,Verona, and some other towns: as also atMilan,Turin, andNaples. In the last city, at the royal fabrique of Capo di Monte established in 1736, several varieties of fine ware were made, from a beautiful artificialporcelain to a faïence of high quality, of which, however, little seems to have been produced.
In every large collection pieces will be found for which it is not easy to assign any place as the fabrique at which they were produced. The very interesting piece (in the woodcut p.185) at South Kensington, no. 2562, is an example: it is of early date, and a certain oriental character about the design would suggest the influence of Moorish potters. Another such example is the dish, no. 2593, of the fifteenth century and probably of Tuscan origin; we give also a woodcut of this.
THE END.
A,B,C,D,E,F,G,H,I,L,M,N,O,P,R,S,T,U,V,W,X,Z
Alhambra, tiles and vase,14,75” vase, copy,77Altar pieces, ascribed to Giorgio,114Amatorii pieces,64Anatolian wares,71Andreoli, maestro Giorgio,29,36,42,114” his use of the ruby tint,118” distinctions of his works,118,119” first dated piece,120” ” and signed,121” characteristics,122Arabic inscriptions,16Babylonian pottery,5Bacini, at Pesaro, &c.,10,18,22Barbatina, explained,129Bartolomeo,152Bassano,186Beads, maiolica,64Benedetto, maestro,177Betrothal dishes,30Boccoleri, of Venice, their petition,181Bologna,176Borgo san Sepolero,154Botega, the meaning,1Cachan ware,66Cæsare da Faenza,151Caffaggiolo,27” under the Medici,43” usual subjects,62” potteries,88” characteristics,89” examples at South Kensington,92” name variously spelt,94Calata-Girone potteries,85Camillo da Urbino,177Campani, Ferdinando,154Capo di monte,186Castel Durante,37,127,128” earliest signed piece,130,132” general decoration,130Cencio, maestro,124Chigi, cardinal, at San Quirico,154Chinese porcelain, imitations,46Ciarla,152Coffins, made of ware,5Damascus plate,13” ware,68” the name should be revived,69” lamp,69” two varieties,69Diruta, madreperla,30” potteries,154Discs, on walls at Bologna, &c.,10Discs, at Pisa,18Duccio, Agostino,28Egyptians, anciently used glaze,3” turquoise blue,5Elizabethan “Damascus” ware,69Enamelled wares,12English reproductions,50,74Enrico da Modena,177F. R. monogram,170Fabriano, potteries,157” mark and date,157,158Fabrique, the meaning,1Faenza, examples23, &c.,40” origin of name,61,163” potteries,163” earliest dates,164” five divisions,166” early characteristics,171” late examples,173Fayence, how made,3Ferrara potteries,34,177” examples,179Florentine porcelain,47Fontana, Camillo,37,147” Flaminio,148” Francesco,127” Orazio,43,139,146” originally Pelliparii,127,137” Guido,142” Gironimo,147Forgeries,49,126Forlì,175Fornarina,45Francesco Durantino,150Franco, Battista,43,150French reproductions,50,74Furnaces, as explained by Piccolpasso,56Gabriele,152German, early enamel glazing,21Giannantonio,152Giorgio. SeeAndreoli.Giovanni da Modena,177Glaze, vitreous, invented in the East,1,2” upon tiles,9Gombrōn ware,67Græco-Roman pottery,8Gubbio, vases, &c.,38” wares,111” early date,113Guy, from Castel Durante,152Hispano-moresque vase,15” pottery, rare in Spain,20” a doubtful variety,71” formerly undistinguished,75” varieties,76House of Loretto, dust collected to make cups, &c.,160Imola,176Isabella d’Este,177Ispahan tiles,67Italian pottery, various names,,61Iviça potteries,79Lanfranchi family,40” wares,104Lead-glazed wares,6Lindus wares,65,69Lombard potteries,34Loreto drug pots and vases,43,144,145” potteries,159Lustre, applied in Persia, &c.,6” earliest trace in Europe,18” madreperla,30Lustre pigments, the secret lost,126” modern imitations,126Madreperla lustre,30Maestro, the title,114Maiolica, the term,20,78,112” proper restriction,21” vases or drug pots at Loreto,43” beads,64Majorca ware,77Malaga ware,76Manara (Baldasara),169Mantua, potteries,180Mariana (Gian),152Mariani,152Merlino, Guido,151Metallic lustre,18Metauro loam,128Mezza-maiolica,21” outlines and designs,30Milan,186Modena, potteries,179Monte Lupo pottery,100” inscription,101Moorish periods in Spain,14” in Sicily,17” art, prohibited in Spain,76Mosque lamp,69Nahinna ware,67Naples, reproductions,50” potteries,186Natinz ware,67Nicola da Urbino,138” first signed piece,138Orazio (Fontana) examples,146Padua,186Patanati, their productions,152Patanati, Vincenzio, his childish attempts,152Pelliparii, afterwards Fontana,127Persian wall tiles,7,65” ware at Pisa,18” ” origin,65” ” how to be divided,67Perugino, portrait,135Pesaro, ancient potteries,10,29,32,103” madreperla,30,103” renaissance potteries,103,106” ” inscriptions,106” ” earliest dated,108” modern,110Piccolpasso, his book,51” his botega,112Picchi, Georgio,152Pirota (casa),166Pisa, potteries,101Plumbeous glaze,8Pottery, or Fayence, how made,3” Græco-Roman,8” best period of Italian,42Raffaelle, his designs, 42-45” ware, so-called,62Ravenna, potteries,34Rhodian wares,69” characteristics,70Robbia, Luca della,22,25,27,89” Notice of his life, by Mr. Robinson,24” Andrea,28” Giovanni,28” Girolamo,28Roman potteries,45” in sixteenth century,160” style of decoration,161” biscuit porcelain,162Romano, Giulio,48St. Sebastian, rilievo, ascribed to Giorgio,120Saltzburg, chimney piece,21San Quirico, potteries,154Sassuolo, potteries,180Savino, Guido,38Scodelle,63Seggers, as explained by Piccolpasso,54Sgraffiati, wares,86” ” the method,86Sicilian lustred ware,84Siena, potteries,96” marks,99Silvano, Francesco,152Stanniferous, enamel, earliest date,27Strehla, terra-cotta pulpit,21Teheran ware,67Terra-cotta discs, on walls,9,10” pulpit,21Tiles, on walls, &c.,10,22,72” of the Alhambra,14” at Leipsic,21” in mosques,65” of Ispahan,67” in the Seraglio,72” modern Indian,73” at Cordova,75” at Siena,96” Faenza,165Tondi, of Luca della Robbia,24Tondino, the form,63Treviso,186Turin,186Unknown fabriques, examples,186Urbino, sketch of the ducal history,35” vases, &c.,38” ware, the name,62” ancient wares,136” decorations,152” no modern artistic pottery,153Valencia, potteries,14,79,82” emblem of the Eagle,80” ware, brought to England in 1400,83Vases, different shapes as given by Piccolpasso,52Venetian potteries,34,37,181” earliest dated,183Verona,186V.I.N., monogram. See Cencio,124Vincenzio Patanati,152Viterbo, example of ware,158Vitreous, or glass-glazed wares,4Ware, soft and hard,3Xativa potteries,80Zanto, Francesco,148” Mr. Robinson’s judgment on his works,148” too severe,149Zonan, Antonio,181