727:
796:
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638:
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578:
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enamel... after immersion in the enamel bath, and subsequent drying, the painting is applied upon the absorbent surface; the piece being then subjected to the fire which, at one application, fixes the colours and liquifies the glaze. This "enamelled" pottery (emaillee) is by far the more important group of the glazed wares, being susceptible of decoration by the lustre pigments, as well as by painting in colours of great delicacy; and it comprises the
Hispano-moresque, the real Maiolica, and the perfected earthenware of Italy and other countries."
680:
37:
780:
435:
180:
276:
1148:, the "kilnmasters" of the maiolica manufactory for which Cafaggiolo is famed. These are Piero and Stefano di Filippo da Montelupo, who started up the kilns under Medici patronage in 1495, earlier than has been thought (Cora 1973 gave a date 1498); John Shearman, "The Collections of the Younger Branch of the Medici"
267:(or the synonymous English 'delftware') being reserved for the later wares of the 17th Century onwards, either in original styles (as in the case of the French) or, more frequently, in the Dutch-Chinese (Delft) tradition." The term "maiolica" is sometimes applied to modern tin-glazed ware made by studio potters.
593:
and white earthenware. But the 18th century is not a period of relentless decline. To face the competition from porcelain and its vibrant colours, the process of third firing (piccolo fuoco) was introduced, initially in North-West Europe around the mid of century. After the traditional two firings at
542:
The variety of styles that arose in the sixteenth century defies classification. Goldthwaite notes that Paride
Berardi's morphology of Pesaro maioliche comprises four styles in 20 sub-groups; Tiziano Mannoni categorized Ligurian wares in four types, eight sub-categories, and 36 further divisions;
326:
were improved by the addition of tin oxides under the influence of
Islamic wares imported through Sicily. Such archaic wares are sometimes called "proto-maiolica". During the later fourteenth century, the limited palette of colours for earthenware decorated with coloured lead glazes (no added tin
890:
L. Arnoux, 1877, British
Manufacturing Industries – Pottery "Most of the Italian towns had their manufactory, each of them possessing a style of its own. Beginning at Caffagiolo and Deruta, they extended rapidly to Gubbio, Ferrara, and Ravenna, to be continued to Casteldurante, Rimini, Urbino,
953:
South
Kensington Museum Art Handbook No. 4. "It was found that by the addition of a certain portion of the oxide of tin to the composition of glass and oxide of lead the character of the glaze entirely alters. Instead of being translucent it becomes, on fusion, an opaque and beautifully white
594:
950 °C, the vitrified glaze was painted with colours that would have degraded at such high temperatures and was fired a third time at a lower temperature, about 600-650 °C. New vibrant colours were thus introduced, particularly red and various shades of pink obtained from
606:
had already reached high quality in the second quarter of the 18th century. With the introduction of the third firing technique and increasing interest in botany and scientific observation, a refined production of maiolica decorated with naturalistic flowers was developed.
679:
698:
311:
by the
Italians) that lends greater shine and brilliance to the wares. In the case of lustred wares, a further oxygen-starved firing at a lower temperature is required. Kilns required wood as well as suitable clay. Glaze was made from sand,
726:
795:
637:
760:
656:
393:
family of
Florentine sculptors also adopted the medium. The city itself declined in importance as a centre of maiolica production in the second half of the fifteenth century, perhaps because of local
547:
produced between the 15th and 18th centuries. Italian cities encouraged the pottery industry by offering tax relief, citizenship, monopoly rights, and protection from outside imports.
353:
wares were also produced, in which the white tin-oxide glaze was scratched through to produce a design from the revealed body of the ware. Scrap sgraffito ware excavated from kilns in
779:
457:, produced fine maiolica from the early fifteenth century; it was the only significant city in which the ceramic production industry became a major part of the economy.
319:
Analysis of samples of
Italian maiolica pottery from the Middle Ages has indicated that tin was not always a component of the glaze, whose chemical composition varied.
381:
Refined production of tin-glazed earthenwares made for more than local needs was concentrated in central Italy from the later thirteenth century, especially in the
741:
263:"By a convenient extension and limitation the name may be applied to all tin-glazed ware, of whatever nationality, made in the Italian tradition ... the name
622:) still produce maiolica, which is sold worldwide. Modern maiolica looks different from old maiolica because its glaze is usually opacified with the cheaper
689:(drug jar) from Venice or Castel Durante, 16th century. Around 30 cm high. Decorated in cobalt blue, copper green, antimony yellow, and yellow ochre.
543:
Galeazzo Cora's morphology of
Montelupo's production is in 19 groups and 51 categories. The diversity of styles can best be seen in a comparative study of
1309:(Florence:Sassoni) 1973. The standard monograph on the main early centers, published in an extravagant format, now brings over $ 1200 on the book market.
252:, tin-glazed maiolica wares came to be produced in the Valley of Mexico as early as 1540, at first in imitation of tin-glazed pottery imported from
108:
wares ("painted with stories") when depicting historical and mythical scenes. By the late 15th century, multiple locations, mainly in northern and
955:
1327:
1493:
249:
218:
potters from
Majorca are reputed to have worked in Sicily, and it has been suggested that their wares reached the Italian mainland from
1413:
1378:
1342:
1293:
574:
of Gubbio and Maestro Domenigo of Venice has been noted. Gubbio lustre used greenish yellow, strawberry pink, and ruby red colours.
307:, making errors impossible to fix but preserving the brilliant colors. Sometimes the surface is covered with a second glaze (called
1457:
1038:'Tin-lead ratio of late Middle Age majolica glazes of some important Italian sites.' A. Krajewski, A. Ravaglioli, G.W. Carriveau.
626:
rather than tin. However, some potteries specialise in making authentic-looking Renaissance-style pieces with genuine tin glaze.
248:(whiteware). By 1875, the term was in use describing ceramics made in Italy, lustred or not, of tin-glazed earthenware. With the
52:
577:
1441:
1263:
1214:
911:, The Hispanic Society of America, New York, pp. 25–26. Also published in 1876 by Scribner, Welford, and Armstrong, New York.
496:
wares on which historical and mythical scenes were painted in great detail. The State Museum of Medieval and Modern Art in
1110:
Galeazzo Cora (1973) noted kilns dispersed at Bacchereto (a center of production from the fourteenth century), Puntormo,
1335:
Souvenir d'Arcadia. Ispirazione letteraria, classicismo e nuovi modelli per le arti decorative alla corte di Clemente XI
847:
121:
1503:
841:
709:
413:
322:
The fifteenth-century wares that initiated maiolica as an art form were the product of an evolution in which medieval
442:
288:
316:, lead compounds, and tin compounds. Tin-glazed earthenware is frequently prone to flaking and somewhat delicate.
1286:
Tin-Glaze Pottery in Europe and the Islamic World: The Tradition of 1000 Years in Maiolica, Faience and Delftware
112:, were producing sophisticated pieces for a luxury market in Italy and beyond. In France, maiolica developed as
1498:
1488:
956:
http://www.ebooksread.com/authors-eng/c-drury-e-charles-drury-edward-fortnum/maiolica-tro/1-maiolica-tro.shtml
323:
1209:. Fitzwilliam Museum Handbooks. Cambridge, New York, Melbourne: Cambridge University press. pp. 6–7.
821:
559:
36:
1258:. Fitzwilliam Museum Handbooks. Cambridge, New York, Melbourne: Cambridge University press. p. 132.
207:
550:
An important mid-sixteenth century document for the techniques of maiolica painting is the treatise of
1019:
997:
619:
551:
405:
370:
358:
195:
900:
614:
forms and reproductions of the historical style. Some of the principal centers of production (e.g.
404:
Potters from Montelupo set up the potteries at Cafaggiolo. In 1490, twenty-three master potters of
313:
101:
922:
The oriental obsession: Islamic inspiration in British and American art and architecture 1500–1920
589:
The tradition of fine maiolica came under increasing competition in the 18th century, mainly from
434:
864:
859:
853:
717:
690:
670:
257:
97:
354:
397:, and manufacture was scattered among small communes, and, after the mid-fifteenth century, at
1437:
1409:
1374:
1338:
1323:
1289:
1281:
1259:
1210:
1005:
295:
Tin glazing creates a white, opaque surface for painting. The colours are applied as metallic
179:
1064:
Hugo Blake, "The archaic maiolica of North-Central Italy: Montalcino, Assisi and Tolentino",
1463:
1436:. Fitzwilliam Museum Handbooks. Cambridge, New York, Melbourne: Cambridge University press.
831:
598:. It is believed that one of the first to introduce this technique in Italy was Ferretti in
555:
139:
64:
1473:
100:
decorated in colours on a white background. The most renowned Italian maiolica is from the
752:
648:
563:
466:
438:
211:
449:
Italian maiolica reached an astonishing degree of perfection in this period. In Romagna,
1051:
Richard A. Goldthwaite, "The Economic and Social World of Italian Renaissance Maiolica"
786:
599:
571:
567:
509:
477:
412:
of Florence; Montelupo provided the experienced potters who were set up in 1495 at the
44:
1482:
1195:, translated and introduced by Ronald Lightbown and Alan Caiger-Smith, (London) 1980.
869:
802:
766:
603:
595:
582:
394:
244:, including both Italian-made and Spanish imports, and tin-glaze wares were known as
109:
1468:
390:
1364:
Marvels of Maiolica: Italian Renaissance Ceramics from the Corcoran Gallery of Art
275:
1118:, none of them site-names that have circulated among connoisseurs and collectors.
423:
In the fifteenth century, Florentine wares spurred the production of maiolica at
532:
222:. An alternative explanation of the name is that it comes from the Spanish term
219:
17:
1458:
Maiolica dish, From Deruta, Umbria, Italy, around AD 1490–1525, British Museum
1027:
may be esteemed, it will always remain an article of luxury and ornament only…
344:
264:
241:
441:
dish, 2nd quarter of the 16th century, shows the full range of glaze colors (
836:
686:
590:
544:
349:
328:
117:
1315:. Journal published since 1914 devoted to maiolica and glazed earthenwares.
225:
816:
611:
409:
386:
362:
340:
31:
1460:
The maiolica collection includes Italian Renaissance and Moorish pieces
1115:
826:
785:
Polychrome majolica dish with paintings of a fish, flowers, and fruit,
528:
462:
458:
454:
366:
280:
253:
203:
113:
1155:
No. 862 (January 1975), pp. 12, 14–27 gives 1495, based on a document.
1302:(J. Paul Getty Museum in association with British Museum Press, 1993)
1243:] (in Italian). Azzano San Paolo: Bolis Edizioni. pp. 54–56.
662:
623:
615:
536:
520:
497:
489:
485:
481:
450:
424:
417:
398:
336:
332:
304:
296:
187:
1359:
A summary of a century's study, largely based on surviving examples.
1320:
Aurelio Anselmo Grue: la maiolica nel Settecento fra Castelli e Atri
970:(Tucson: Anthropological Papers of the University of Arizona) 1982.
1111:
576:
524:
516:
433:
428:
274:
215:
178:
35:
1371:
The New Maiolica: Contemporary Approaches to Colour and Technique
476:
In the sixteenth century, maiolica production was established at
1357:
La maiolica Italiana sino alla comparsa della Porcellana Europea
300:
1307:
Storia della Maiolica di Firenze e del Contado. Secoli XIV e XV
1136:
In the villa's 1498 inventory, it is noted that in the villa's
1099:
Storia della Maiolica di Firenze e del Contado. Secoli XIV e XV
373:, the places to which they have been traditionally attributed.
202:
The name is thought to come from the medieval Italian word for
1406:
Maiolica: Italian Renaissance Ceramics in the Ashmolean Museum
610:
Italian maiolica remains commonly produced in many centres in
907:, Chapman & Hall, London, quoted in E.A. Barber, (1915),
581:
Maiolica dish with naturalistic flower overglaze decoration,
535:
in Sicily and Laterza in Apulia. In the seventeenth century,
303:
underglazes to the unfired glaze, which absorbs pigment like
643:
Blue and white vase with oak-leaf and dogs decor, Florence,
128:, but the pronunciation usually preserved the vowel with an
163:
145:
88:
70:
968:
Sixteenth Century Maiolica Pottery in the Valley of Mexico
151:
76:
554:. The work of individual sixteenth-century masters like
157:
82:
1373:(A&C Black/University of Pennsylvania Press, 1999)
1144:("kilns for baking pottery"), let to Piero and Stefano
365:
show that such wares were produced more widely than at
1427:] (in Italian). Azzano San Paolo: Bolis Edizioni.
769:, Italy, with fruit decoration, Coppellotti factory,
492:. The early sixteenth century saw the development of
160:
85:
154:
79:
148:
142:
73:
67:
886:
884:
539:began to be a prominent place of manufacture.
1392:A history and description of Italian majolica
735:, Francesco Xanto Avelli, Maiolica dish, 1531
500:claims to have Italy's largest collection of
124:. In English, the spelling was anglicised to
8:
206:, an island on the route for ships bringing
1394:(Cassell and Company Limited, London, 1907)
515:Some maiolica was produced as far north as
1230:
1228:
1226:
940:, London and Boston: Faber and Faber, 1985
805:, Italy, Coppellotti factory, 18th century
279:Dish with bird, in Islamic-derived style,
27:Renaissance-era Italian tin-glazed pottery
1298:Cohen, David Harris and Hess, Catherine,
966:Florence C. Lister and Robert H. Lister,
891:Florence, Venice, and many other places."
327:oxide) was expanded from the traditional
256:. Mexican maiolica is known famously as '
932:
930:
924:, Cambridge University Press, Cambridge.
408:agreed to sell the year's production to
880:
633:
508:wares are also well represented in the
461:produced lead-glazed wares for export.
1474:Maiolica exhibition at Waddesdon Manor
1399:Ceramic Art of the Italian Renaissance
1300:A Guide To Looking At Italian Ceramics
1142:fornaze col portico da cuocere vaselle
1004:, (translated by Ronald Lightbown and
1020:"The Workshop, Vol II, No. 10, p.148"
7:
1387:(London: Faber and Faber Monographs)
1191:The standard English translation is
250:Spanish conquest of the Aztec Empire
229:, denoting " wares from Málaga", or
116:, in the Netherlands and England as
1322:, Castelli, Verdone Editore, 2015,
1193:The Three Books of the Potter's Art
1081:David Whitehouse, "Proto-maiolica"
1055:, 42.1 (Spring 1989 pp. 1–32) p. 1.
1002:The Three Books of the Potter's Art
951:MAIOLICA Stanniferous Glazed Wares,
1140:(the walled enclosure), there are
988:(as in Osterman's book, see below)
585:, Italy, Ferretti factory, 1770-75
104:period. These works were known as
25:
708:ware by Baldassare Manara, after
1173:Rackham, p. 9; Caiger-Smith p.82
794:
778:
759:
740:
725:
697:
678:
655:
636:
138:
63:
233:, the Spanish name for lustre.
1366:(Bunker Hill Publishing, 2004)
236:In the 15th century, the term
1:
1008:), London, Scolar Press, 1980
770:
748:
713:
666:
644:
284:
191:
53:Musée des Beaux-Arts de Lille
48:
1408:(Ashmolean Handbooks, 1989)
1401:(London) 1987. Bibliography.
848:Talavera de la Reina pottery
1494:Types of pottery decoration
1337:, Torino, Allemandi, 2020,
842:Royal Factory of La Moncloa
801:Maiolica stand produced in
710:Giovanni Antonio da Brescia
414:Villa Medicea di Cafaggiolo
43:decoration on a plate from
1520:
1469:Metropolitan Museum of Art
1042:11, No.12,1992.Pg.848–851.
473:in the fifteenth century.
443:Victoria and Albert Museum
289:Victoria and Albert Museum
29:
1024:…however highly majolica
949:C Drury E Fortnum, 1875,
453:, which gave its name to
1432:Poole, Julia E. (1997).
1419:Ferrari, Felice (2003).
1288:(Faber and Faber, 1973)
1254:Poole, Julia E. (1997).
1235:Ferrari, Felice (2003).
1205:Poole, Julia E. (1997).
1127:Reproduced in Cora 1973.
1101:(Florence: Sassoni) 1973
909:Hispano Moresque Pottery
665:, Casa Pirota workshop,
324:lead-glazed earthenwares
1362:Mussachio, Jacqueline,
1352:(Faber and Faber, 1952)
1150:The Burlington Magazine
920:Sweetman, John (1987),
822:Francesco Xanto Avelli
767:Ceramic dish from Lodi
586:
560:Francesco Xanto Avelli
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292:
271:Tin-glazed earthenware
208:Hispano-Moresque wares
199:
56:
1333:Filipponi, Fernando,
1318:Filipponi, Fernando,
1182:Goldthwaite 1989: p.6
1053:Renaissance Quarterly
1018:Falke, Jacob (1869).
602:, in northern Italy.
580:
437:
377:History of production
278:
182:
39:
1369:Osterman, Matthias,
1350:European Ceramic Art
1164:Goldthwaite 1989:14.
998:Cipriano Piccolpasso
552:Cipriano Piccolpasso
527:and as far south as
196:Dallas Museum of Art
1421:La ceramica di Lodi
1237:La ceramica di Lodi
936:Alan Caiger-Smith,
901:C. Drury E. Fortnum
240:referred solely to
1504:Italian inventions
1397:Wilson, Timothy, "
1383:Rackham, Bernard.
1282:Caiger-Smith, Alan
1072:(1980) pp. 91–106.
865:Victorian majolica
860:Tin-glazed pottery
856:, Mexican maiolica
733:The Tiber in Flood
718:Walters Art Museum
691:Burrell Collection
671:Walters Art Museum
587:
447:
410:Francesco Antinori
293:
200:
120:, and in Spain as
98:tin-glazed pottery
57:
1328:978-88-96868-47-8
1088:(1980), pp 77–83.
1006:Alan Caiger-Smith
371:Città di Castello
335:green to include
16:(Redirected from
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1464:Italian maiolica
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1434:Italian Maiolica
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1385:Italian Maiolica
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787:Lodi, Italy
716:1520–1547 (
669:1510–1530 (
570:of Urbino,
533:Caltagirone
439:Deruta ware
343:yellow and
331:purple and
287:1270–1330 (
220:Caltagirone
102:Renaissance
51:1550–1570 (
1483:Categories
1443:0521565316
1265:0521565316
1216:0521565316
1022:. London.
876:References
647:1400–1450
512:, London.
355:Bacchereto
345:iron-oxide
242:lustreware
214:to Italy.
30:See also:
837:Nove Ware
706:istoriato
687:albarello
620:Montelupo
591:porcelain
506:Istoriato
502:istoriato
494:istoriato
471:maioliche
406:Montelupo
359:Montelupo
350:Sgraffito
329:manganese
314:wine lees
186:charger,
184:Istoriato
118:delftware
106:istoriato
41:Istoriato
1146:foraxari
905:Maiolica
854:Talavera
817:Majolica
811:See also
751:1537 at
704:Faenza,
612:folk art
504:wares.
420:owners.
387:Florence
363:Florence
347:orange.
341:antimony
258:Talavera
238:maiolica
224:obra de
212:Valencia
126:majolica
122:talavera
60:Maiolica
32:Majolica
1116:Pistoia
903:(1892)
850:(Spain)
844:(Spain)
827:Manises
630:Gallery
529:Palermo
463:Orvieto
459:Bologna
455:faience
416:by its
383:contada
367:Perugia
309:coperta
301:fritted
281:Orvieto
265:faïence
254:Seville
246:bianchi
216:Moorish
204:Majorca
114:faience
1440:
1412:
1377:
1341:
1326:
1313:Faenza
1292:
1262:
1213:
1083:Faenza
1066:Faenza
789:, 1751
663:Faenza
624:zircon
616:Deruta
537:Savona
521:Venice
498:Arezzo
490:Pesaro
486:Gubbio
482:Urbino
467:Deruta
451:Faenza
425:Arezzo
418:Medici
399:Faenza
389:. The
361:, and
339:blue,
337:cobalt
333:copper
305:fresco
299:or as
297:oxides
226:Málaga
194:1555 (
188:Faenza
132:as in
1423:[
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1239:[
1112:Prato
773:1740
525:Turin
517:Padua
429:Siena
210:from
1438:ISBN
1410:ISBN
1375:ISBN
1339:ISBN
1324:ISBN
1290:ISBN
1260:ISBN
1211:ISBN
1114:and
803:Lodi
618:and
600:Lodi
583:Lodi
566:and
531:and
523:and
488:and
465:and
427:and
369:and
175:Name
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