Urbino - ceramics Camille LEPRINCE & Justin RACCANELLO

With the contribution of Elisa P. SANI Aux éditions Feu et talent

2009 (rep. 2013). D’ à Nevers, le décor historié aux XVIe et XVIIe siècles 2012. Majoliques italiennes de la Renaissance 2014. Royal and imperial Vincennes - Sèvres 2014. La faïence baroque française et les jardins de Le Nôtre 2015. La sculpture peinte à Sèvres au XVIIIe siècle 2016. Gourmet Menagerie. European and Chinese ceramic animals 2016. CRUÈGE DE FORCEVILLE France, René Buthaud (1886-1986). Céramiste Urbino - Venice 2016. Napoléon Ier & Sèvres. L’art de de la porcelaine au service de l’Empire Italian Renaissance ceramics

Photos by Jérémie Beylard (except other indication) Feu et talent

This catalogue has been published on the occasion of Frieze Masters 2016 Regent’s Park, London From 6 to 9 October 2016

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© Feu et talent, Paris, 2016

© Feu et Talent, 2016 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, photocopying, recording or otherwise, without prior written “ … le feu et le véritable talent de l’artiste… ” permission from Feu et Talent of Paris. Lalive de Jully ISBN : 978-2-9549897-5-4 The Maiolica of Renaissance Venice

t the beginning of the 16th century Venice was at the centre of the artistic world (Fig. 1). ACelebrated for its school of painting, its position in the decorative arts was also unrivalled: silk- weaving, gold and silver working, cabinet making, bookbinding, ivory working and lace making to name just a few. Above all, the glassmaking industry dazzled all of Europe and beyond in its unprecedented supremacy (Fig. 2). Fig. 2 An ewer, blue glass enamelled Maiolica production was also established early on. The guild of potters was founded in 1300- and gilt, Murano, Venice, 1500-1510. 1301. Initially called the “Arte dei Scudeleri di pietra”, from 1508 it was known as the “Scuola New York, The Metropolitan Museum of dei bocaleri”. Similar to the glass industry, the Republic of Venice protected the guild of potters Art, inv. 1975.1.1172. © The Metropolitan Museum of Art, New York, Robert th by forbidding the import of all ceramics (except for Spanish ), from early in the 15 Lehman Collection 1975 century until the following century1. This may have encouraged potters from other centres to take up residency in Venice. Angelica Alverà Bortolotto, who has published more than anyone Venice and Urbino else about Venetian , explained that potters were grouped in the Campiello dei Squellini (from “scuela”, scodella: bowl) near the Church of Saint Barnaba, which was not far from the There were strong political and commercial links between Venice and the Duchy of Urbino. Zattere with easy access to the sea, where the necessary materials for making pottery would In 1503 Duke Guidobaldo da Montefeltro asked for protection from the Venetian Republic. A 2 arrive . few decades later, his successor Francesco I Della Rovere became captain general of Venice. Between 1500 and 1510 the leading pottery town of Faenza was under the protection of the He and his wife Eleonora had their portraits painted by Titian and their son Guidobaldo II Venetian Republic and this probably gave a major stimulus to the Venetian maiolica industry. commissioned the famous female nude known as the Venus of Urbino. The trading relationship The first record of the presence of skilled maiolica makers in Venice is in 1510, when the maiolica between the two states was aided by easy navigation up and down the Adriatic Sea which floor in the Lando Chapel in the church of San Sebastiano was made3. The tiles show features was also known as the Venetian Sea5. akin to North-central Italian maiolica, both of Faenza but also of the Urbino district. Potters from There is evidence that maiolica from the Urbino district (including Pesaro and Castel Durante) the Duchy of Urbino were well established in Venice from at least the beginning of the 1500’s4. was important in the development of Venetian maiolica. This influence took three forms; the raw materials used, Urbino potters who moved to Venice and wider stylistic influences.

Clay Seeking the best quality ingredients to produce its finest maiolica, Venice imported clay. In his Three Books of the Potter’s Art, written around 1558, Cipriano Piccolpasso of Castel Durante explained that, for their best works, the Venetians used the clay of Pesaro, the main port of the Duchy of Urbino: “Venice works the clay of Ravenna and of Rimini and for the best that of Pesaro. It is true that frequently they work a kind that is dug out at Battaglia, a place a short distance from . But the best kind, as far as I understand, is that which goes there from Pesaro, when it is collected pure” [I,1R]

Potters Jacomo and Ludovico The economic pull of Venice drew many maiolica artists north from their homes in central Italy. The earliest maiolica marked as being made in Venice bears the name of Jacomo da Pesaro. Jacomo di Antonio Ciacche was originally from Sant’ Angelo near Pesaro, but was active in Venice, near the Church of San Barnaba, from at least 1506 where he ran the most successful workshop of the first half of the 16th century6. While there is no evidence that he also kept a workshop in Pesaro, he certainly collaborated with other potters from the area, as well as keeping properties there. He is documented as renting a property in Pesaro in 1516, so we can assume that he travelled Fig. 1 Map of Venice, Jacopo de Barbari, ca 1500. between the two centres, if only to obtain the pure Pesaro clay for his maiolica7.

1 ALVERÀ BORTOLOTTO, 1981, pp. 17-19. 5 LEONARDI, 1988. 2 ALVERÀ BORTOLOTTO, 1988, p. 19. 6 On Jacomo see ALVERÀ BORTOLOTTO, 1988, pp.17-36. 3 ALVERÀ BORTOLOTTO, 1991. 7 See ALBARELLI, 1986, doc. 1363-1364. 4 LEONARDI, 2002. 6 7 Jacomo’s four known marked plates8 are all painted on grey/blue ground and have monochrome blue decoration as shown in this recently discovered signed piece by Jacomo (Fig. 3). A similar style is visible on a very large plate marked as made in the workshop of Maestro Ludovico in San Polo, now in the Victoria and Albert Museum9 (Fig. 4). The dish bears a delicate ornamentation which is an eclectic mixture of oak leaf decoration, trophies and grotesque masques, combining Urbino-style decor with designs recalling Venetian-inspired porcelain and glass. While nothing is known of Maestro Ludovico, the painter of the dish might have been originally from the Duchy of Urbino, as the signature of the Ludovico plate appears to be the same handwriting as the one on a plate in the Wallace Collection in London which is marked as made in the workshop of Maestro Jacomo da Pesaro, therefore the two workshops probably shared artisans10. After Jacomo’s death in 1546 his family continued in the family business. His son Gasparo, heir to all his fortune, was also a potter. A very interesting account book of a Florentine merchant in Venice, Matteo di Simone Botti, published by Marco Spallanzani, has revealed how Gasparo, the son of Jacomo, sent a large order of maiolica to Spain. In 1533 he sent 4 boxes of maiolica to the brothers of Botti. The brothers were the heirs of the Florentine banking family which also had bases in Spain. Some of the maiolica was in porcelain style and some with trophies11. Piccolpasso reminds us that trophy decoration was particularly in use in the Duchy of Urbino (Fig. 5).

Urbino istoriato Painters in Venice Fig. 3 Large charger with arabesque and masks, Maestro Jacomo, san Barnaba, Venice, ca 1540-1545 (Front and back). One of Jacomo’s daughters, Lucia, married a potter from Castel Durante, Private collection. © Agence Photo F, M. Ferrier Francesco di Piero del Vasaio da Castel Durante. He had a large workshop in Venice and his impressive kiln, twice the size of a normal Marchigian one, was admired by Piccolpasso: “In Venice they make them [kilns] both large and small and I have seen one, at the house of Maestro Francesco di Pier del Vasaio, of the town of Durante, which was 10 feet wide and 12 long, I mean, from above the vault (that of the floor) and it had three holes for feeding the fire”. The ones from Duchy of Urbino, “the ones that we use are made 5 feet broad and 6 high and as long again and 4 feet high beneath the small arches” [II, 32L]. Unfortunately we have no evidence so far of the work of Francesco but we know that he was from an important family of potters and maintained workshops both in Castel Durante and in Venice near San Polo and he is documented up to 155912. Francesco may have produced fully polychrome Urbino-style istoriato. The production of fully-fledged Urbino styleistoriato pottery started in Venice around the middle of 16th century, probably by potters from Urbino such as Francesco. One of the first maiolica painters to bring the istoriato style of the Urbino School to the Veneto region was Giulio da Urbino, one of the most talented of the pupils of Xanto Avelli. John Mallet was the first to attribute to this itinerant maiolica painter a plate with Aeneas arriving in Italy made in Verona in 1541. A striking plate with two tritons fighting made in 1540 could also be by Giulio. It was likely made in either Verona or Padua (the only other Veneto centres outside Venice to produce istoriato) and is the earliest istoriato work that can be attributed to the region (see cat. 10). Both dishes have an ornamental scroll in blue on the underside, a very common feature on Venetian maiolica. An important documentary piece, being the earliest marked example of Urbino style istoriato made in Venice, may well have been painted by an artist of Urbino origin. It is signed “fatto in venezia in Castello 1546”. The dish shows a dramatic composition with the Destruction of Troy painted by a 13 very competent master. This dish, now at Philadelphia, has an impressive 53 cm diameter . Fig. 4 Large charger with oak-leaf motif and trophies, Maestro Ludovigo, contrada di San Polo, Venice, ca 1540-1545 (Front and back). 8 See SANI, 2014. London, Victoria and Albert Museum, inv. 4438-1858. © Victoria and Albert Museum 9 RACKHAM, 1940, SANI, 2012, fig. 70-71. 10 The dish at the Wallace Collection is C100. 11 SPALLANZANI, 2006. 12 See LEONARDI, 2002, pp. 56-57 and BALZANI AND REGNI, 2004, pp. 10-12. 8 13 WATSON, 2001, cat. 4. 9 Fig. 5 A plate “Trophies and rabesche”, Cipriano Piccolpasso, Fig. 6 A Venetian Miller, Cipriano Piccolpasso, The Three Books of the Potter’s Art, III, 66, ca 1557. The Three Books of the Potter’s Art, II, 109, ca 1557.

A documented istoriato painter, Baldantonio da Lamoli of Castel Durante, known as Solingo Venetian istoriato: Domenego da Venezia Durantino (the solitary) also worked in Venice, where he signed an istoriato plate in 1551 (on 13 of October, following the Venetian fashion of adding the day of the month to the date). The Domenego da Venezia ran the most prolific and successful maiolica workshop in Venice in the plate shows a raging Roman battle in full Urbino istoriato style and indeed Baldantonio was second half of the 16th century. He is documented from 1544 to the 1570’s. He married Caterina, back in Pesaro in 1555 where he worked until the end of the century and where he had close another of Jacomo’s daughters, and he lived by the Campiello de Squellini, “Square of the contact with the Ducal court for which he wrote poems14. Potmakers”, near the Church of San Barnaba, the main pottery area of Renaissance Venice An istoriato dish of 1549 in a private collection marked: “MAZO”, perhaps for May in Venetian where Jacomo da Pesaro also lived and worked (for more details on Domenego see cat. 3-4-5). dialect, might have been painted in Venice. Its painter is known as “Mazo” but has also been named by Timothy Wilson as “The Eloquence Painter”15. Domenego’s lively coloured istoriato compositions often show sparse figures immersed in tranquil landscapes and seascapes. There is a sense of calm and his scenes are void of the complexity of It is worth noting that in the 1546 survey of the properties of Jacomo da Pesaro, included is a Urbino istoriato which are far more populated. His charming style of painting shows the influence Caxa de Maistro Matjo bochalero, so “mazo” might indeed refer to a real name16. He is an of Venetian artists, particularly that of one of his contemporaries, Paolo Veronese (1528-1588). example of an istoriato painter working in Venice who is influenced by the Urbino style; he uses some of the print sources preferred by Xanto. His few signed pieces are dated 1562-68. In his signatures he always adds the word “feci” (“I made”) and there is evidence that he was himself a painter. Here we present a newly discovered This cultural exchange was not all one-way. The ‘Eloquence Painter’ used drawings for maiolica plate signed by Domenego with David and Goliath (see cat. 4). As well as creating his own made by Battista Franco, a Venetian painter. Vasari recorded in his 1568 edition of the ‘Lives of compositions Domenego shows a clever use of print sources. He preferred engravings by north the Painters’ how Battista Franco went to work at Urbino cathedral before executing drawings Italian artists such as Giulio Bonasone and Giacomo Francia, as well as using recently published for the Urbino potters for services to be sent by the Duke Guidobaldo II of Urbino to the Emperor illustrations from the Bibles that were printed in Lyon in the 1550’s and 1560’s. On the newly Charles V. It is also worth remembering that Francesco Xanto Avelli was originally from Rovigo discovered signed dish, the scene of David and Goliath derives from a lesser known source, an in the Veneto, something of which he always felt proud as can be seen in his signatures. It is engraving by étienne Delaune made in 1561, just a few years before the dish was painted. possible, as suggested by John Mallet, that the “Eloquence Painter” worked in Urbino before The decoration on Domenego’s drug jars is also highly inventive. He paints ornate backgrounds moving to Venice, where he may have been employed by Domenego da Venezia17. (flowers, fruits or trophies), extraordinary framing devices and large and lively profile heads which seem to talk to each other on the pharmacy shelf (see cat. 8). Domenego’s influence was widespread and enduring. His maiolica was sent as far afield as 14 ALVERÀ BORTOLOTTO, 1981, p. 88, fig. 95; ALBARELLI, 1937. Sicily and Germany and his style would be imitated into the 17th century. 15 WILSON, 1987, no. 100. 16 See the plan of Jacomo’s properties, in ALVERÀ BORTOLOTTO, 1988, II, p. 35, no. 23. 17 On Mazo see LESSMANN, 1979, p. 388, no. 561-574. MALLET, 1988 and ALVERÀ BORTOLOTTO, 1981, pp. 88-89, and tav. 88. 10 11 Fig. 7 A plate with Two magistrates, Domenego da Venezia, Fig. 8 Fiori and Frutti, Cipriano Piccolpasso, Venice, ca 1560-1570. London, Victoria and Albert Museum, The Three Books of the Potter’s Art, ca 1557. Picolpasso’s caption inv. C.2252-1910. © Victoria and Albert Museum notes that: “In truth these are Venetian types of painting, delightful things, and cost 5 lire a hundred”. The Distinctiveness of Venetian Maiolica

Piccolpasso’s The Three Books of the Potter’s Art is a key source for our understanding of the near east; it was therefore more easily accessible to Venetian potters than others. Its export was technique and styles of Venetian maiolica. He obviously had a great admiration for the city. For also controlled by the Republic. example in his second book, Piccolpasso reproduces the water-mills of Venice used for grinding Blue glaze was particularly used in Venice in the 1540’s, when it was dropping out of fashion in colours [II, r.109] explaining that these have an additional wheel fitted on to the shaft of the Faenza. The berettino blue glaze was therefore, at the time when Piccolpasso was writing, a grindstone and the miller works standing up. While reproducing the miller in elegant attire, with distinctive feature of Venetian maiolica18. Interestingly Piccolpasso states that the blue ground a robe with abundant sleeves, he writes that: glaze was also used at the time in the Duchy of Urbino. “He [Piccolpasso] is not the one to blame for dressing as such a miller, because Venice is free The latter part of Piccolpasso’s treatise is dedicated to maiolica decorations, and his delightful mistress and queen of herself, so likewise all they dwell there are free to go about in every sort of drawings remain key evidence as to where and when different styles were produced. Needless dress, by which the magnificence of the city is augmented”. to say, most of the ornaments reproduced are those either made in Urbino or Venice, while some were made in both centres. For instance for the “paesi”, landscape decoration, Piccolpasso A maiolica dish by Domenego da Venezia showing two Venetian magistrates confirms this; the states “These [are done] at Venice and at Genoa and nowadays among us and are paid at two eminent characters indeed have similar pendant sleeves to those of the Venetian miller six lire a hundred” Piccolpasso acknowledges that the origin of the decoration is Venice (see (Fig. 7). cat. 1). Piccolpasso explains how Venetian potters used special techniques to make colours and Piccolpasso shows how up to date his information was as certain Venetian ornaments he dedicates a section to “Colours in the Venetian manner” in which he states that Venetian introduces were just coming into fashion as he wrote in the 1550’s. One of the most recognisable potters often used plant ash “from the Levant which is excellent in the extreme, even I would and lively decorations of Venetian potters of the middle of the 16th century was an ornament say, too strong” instead of the most widespread “lees from wine barrels” [II, 91]. The same ash called “Flowers and Fruits” (Fig. 8). He writes: was used in glassmaking for producing cristallo glass and the import and export of this material was closely controlled. “In truth these are Venetian modes of painting, charming things which are paid at five lire a In the section “Colours of Venice” Piccolpasso states that Venetian potters “tint their colours and hundred” [III, 68R]. The most famous example painted in this style is a large dish which has a we [in the Urbino district] leave them plain white as they are. We used to tint them, but not all Satyr’s head among the foliage and fruit with a basket of fruits for a hat19. of them” [II, 158]. This is probably a reference to the use of blue cobalt glaze, another reference These “fruits of Venice” often decorate globular vases, some of which were used as drug jars for to the high quality of Venetian maiolica. The recipe for “berettino” (blue glaze) was made by storing candied or dried fruits that were sometimes used for their pharmaceutical properties. The adding “zaffera” (cobalt oxide) to the mixture. Zaffera was very costly and imported from the most inventive vases were those made in the versatile workshop of Maestro Domenego, who

18 SACCARDO, 1992. 19 Inv. 1768-1855. RACKHAM, 1940, no. 970.

12 13 might have been the author of the abovementioned dish. The ability to make maiolica imitating Chinese porcelain seems to have been a specialty of Venetian potters. This is no surprise given the major role of Venice in trading with the east. The prized Ming porcelain came to Europe chiefly through Venice and potters, as well as glassmakers (with the rare milky white “lattimo” glass) tried to emulate it. Alfonso D’Este, Duke of Ferrara, promoted experiments in porcelain making in Venice. In 1504 he paid for seven bowls imitating porcelain (“porcellana contrafacta”) while in 1519 he pursued this interest by encouraging a Venetian potter to experiment with making porcelain and also inviting him, without success, to move to Ferrara20. The supremely ornamental style, akin to Chinese Ming porcelain, exemplified by the works of Ludovico and Jacomo, went out of fashion roughly around the time when Maestro Jacomo and his son Gasparo died, at the end of the 1540’s. It was up to another one of Jacomo’s son in law, the aforementioned Domenego da Venezia, to open up a new chapter of Venetian maiolica, starting a painterly style characterised by bright colours painted on a pure white glaze.

The Prestige of Venetian Maiolica

From the beginning of the 16th century Venice supplied novelty for Northern Italian courts. Some of the most demanding art patrons of the Renaissance acquired both Venetian glass and maiolica.The high esteem in which maiolica was held is proved by an account of the Duke of Ferrara, the eclectic Alfonso I. In 1520 he entrusted the famous painter Titian with acquiring Venetian glass from Murano as well as maiolica drug jars for his court pharmacy. Titian and the Este Ambassador Jacopo Tebaldo visited the potters where they watched them executing a sample vase to test their ability and agreed on price and time of delivery. Titian himself declared that such vases will be “excellently made”21. A delightful bowl overflowing with fruit hides a delicate blue tendril decoration on the inside and the blue wreath around the rim on the underside is a typical feature of Venetian maiolica copying porcelain (see cat. 2). During the 1540’s and 1550’s Cosimo de Medici, Duke of Tuscany, and his wife Eleonora di Toledo, ordered both Venetian glass and maiolica. In 1544 Eleonora sent to her father the Viceroy of Naples 380 pieces of Venetian ceramics. When she came to order maiolica for her personal use a few years later, she specified that she wanted it: “similar to porcelain”. Large quantities of such wares were sent to her in , as seven wooden boxes were necessary for the consignment22. Venetian maiolica was sent far afield. German merchants had a large trading base in Venice at the Fondaco dei Tedeschi. They purchased luxury products including glass and particularly enjoyed Venetian maiolica. This is proved by the existence of several sets of high quality blue and white maiolica with the paired coats of arms of German marriages dating from 151523. While the Germans exported fragile glass in baskets on their backs, the sturdier maiolica could endure the hazardous journey through the mountains in baskets strapped to mules. From the above mentioned account of Gasparo da Pesaro we now know that maiolica from the workshop of his father was also sent to Spain. In conclusion, as the Urbino school of istoriato spread all over Italy and abroad, objects from Venice were also to have an ample and durable influence. The connections between these two major maiolica centres in Italy were multiple and more are likely to arise in future research. Dish with satyr face, tin-glazed , Venice, 1540-1550, V&A: 1768-1855 © V&A Images/Victoria & Albert Museum Elisa P. Sani

20 CAMPORI, 1879, p. 24. 21 CAMPORI, 1879, pp. 15-16. 22 SPALLANZANI, 1994, pp. 45, doc. 15-16. 23 LESSMANN, 2004, pp. 235-245. 14 15 1An important charger with a landscape painted on blue berettino glaze

VENICE, attributed to the workshop of Maestro Jacomo da Pesaro Circa 1545-1550 Tin-glazed earthenware painted with dark blue and white highlights on light blue berettino ground D: 41, 6 cm Provenance Private collection, Northern France References POOLE, 1996, no. 438 BRODY, 2000 Related examples A charger with coastal landscape at the Victoria and Albert Museum, dated 1550, see RACKHAM, 1940, no. 965 A charger with townscape and two figures at the Hermitage Museum, St. Petersburg, marked with the initials “A G”, see KUBE, 1976, no. 25 A charger with townscape from the Grand Ducal Collection, now at the Bargello Museum, see ALVERÀ BORTOLOTTO, 1987, no. 3

The evocative Venetian landscape on this town or village where an osteria invites us to charger reminds us why it was so popular rest from our journey. Yet the scene remains to have landscapes in the home during void of figures - a pure landscape of the type the Renaissance. The slightly elevated view that had just emerged as a fully-fledged makes the viewer feel as if he is approaching genre of painting in Renaissance Venice. the idyllic coastal village on the right bank In the early 16th century the great Venetian of the river. The landscape is masterfully artists Titian and Giorgione were the first sketched with alternating light and dark to place landscapes at the heart of their areas lending depth. In the right foreground compositions. Their works inspired many a tall, ruined building frames a lyrical other Venetian artists, especially Giulio and landscape of grassy bridges and towers Domenico Campagnola, who popularised leading down to the coast, which is framed the genre through woodcuts and engravings. by gently rounded mountains. In the centre Domenico, who was a collaborator of Titian, is a very detailed representation of a coastal emerged as one the most important artists

Fig. 1 Shepherd playing musical instruments, Giulio and Domenico Campagnola, engraving, 1515-1517 (from Bartsch, XIII.383.9). 16 17 of the new landscape genre and his graphic Hercules and Nessus from the collection of work was highly influential1. The elaborate Herzog Anton Ulrich at Brunswick, which has scene on this dish is probably inspired by one been tentatively attributed to the workshop or more of these landscape prints (Fig. 1). of Maestro Jacomo da Pesaro by Johanna In his ca 1557 The Three Books of the Potter’s Lessmann and dated around 15506. Art, Cipriano Piccolpasso states, beneath his Another seemingly Venetian charger of drawing for paesi (landscapes), “These [are large size and bearing a coastal landscape made] at Venice and Genoa and at present is dated 18 May 1548. However this example with us [i.e. in the Duchy of Urbino] and cost has touches of yellow7 and is not on blue 6 lire a hundred” (Fig 2). berettino glaze. Evidence that maiolica with landscapes Among other rare examples of Venetian was a highly esteemed novelty at the time chargers decorated with paesi on berettino of Piccolpasso is that the Salviati, one of the glaze, is one of similar shape and size at the wealthiest and most influential families of Bargello Museum in Florence. This piece Florence, sometime around 1559 ordered came originally from the collections of the a service from Urbino with landscapes and Grand Dukes of Florence. Venetian maiolica their coat of arms2. Fragments with paesi on was particularly appreciated at the court of berettino ground have been found in the the Grand Duke Cosimo de Medici and his vaults of Urbino’s Ducal Palace3 (see cat. wife Eleonora di Toledo between the 1540’s 19). and early 1550’s8. Piccolpasso’s statement that maiolica The combination of landscape and blue Fig. 2 Landscapes drawing of maiolica decoration, Cipriano decorated with landscapes was a Venetian ground proved popular, especially on Piccolpasso, The Third Book of the Potter’s Art, p. 69r, ca 1557. London, Victoria and Albert Museum. specialty is confirmed by the many smaller vessels with a light blue ground. The © Victoria and Albert Museum fragments of 16th century incised slipware trend continued well into the 17th century with elaborate decorations of landscapes and spread to the rest of the Veneto region9. that have been fished out of the Venetian The detailing of the composition on this lagoon. Many are now on show at the Galleria charger also suggests that the scene might Franchetti at the Ca’ D’Oro4. have been taken from a drawing for maiolica. Our charger is one of the best examples of It is well known that artists were asked to make such landscape production in mid-sixteenth drawings to be reproduced on maiolica century Venice. We can date the dish by its services for important commissions. Taddeo stylistic similarities with a charger at the V&A and Federico Zuccaro’s drawings for the with a landscape framed by a leafy border Spanish Service made for the Duke of Urbino which is dated 15505 [Fig.3]. The V&A charger have been particularly well attested10. Dosso shows a very similar background of soft Dossi (1490-1542), a painter influenced by rounded mountains, which are topped by the Venetian school provided drawings for towers and trees as on our dish. Both works potters while working as court painter for were probably made in the same workshop. Alfonso I, Duke of Ferrara. In 1529 he was The V&A charger provides precious paid for two days of making drawings for information, being dated in the Venetian the bochallaro (the potter) while his brother manner, including the day and month as well Battista was designing shapes for handles as the year: “25th April 1550”. for vases for the same potter. Duke Alfonso Detail in the painting of our charger, especially had a preference for maiolica from Venice, the unusual depiction of the broad leafed therefore it is possible the potter at his court bushes in the foreground, is similar to that on was a Venetian11. an impressive Venetian istoriato charger with Elisa P. Sani Fig. 3 Charger with landscape within foliate border, Venice, att. workshop of Maestro Jacomo da Pesaro, 25th of April 1550 1 TURNER, 1966, pp. 107-132. (Front and back). 2 BRODY, 2000. 3 London, Victoria and Albert Museum, inv. 4605-1858. See GIANNATIEMPO LÓPEZ, 1997, p. 63, no. 41. © Victoria and Albert Museum 4 See CONTON, 1940, pp.158-161. 5 See RACKHAM, 1940, no. 965. 6 See LESSMANN, 1979, no. 556. 7 See VYDROVA, 1960, no. 45. 8 ALVERÀ BORTOLOTTO 1987, no. 3. 9 See for example a berettino plate at the dated 1634. THORNTON AND WILSON, 2009, no. 348. 10 For the most recent assessment on the subject of designers for maiolica see CLIFFORD, 2012. 18 11 See CAMPORI, 1879, p. 23. 19 2Fruttiera Farcita a table decoration with applied fruits, vegetables and nuts

VENICE Circa 1520-1530 Tin-glazed earthenware painted with blue, green, yellow and orange D: 23, 5 cm; H: 4 cm References RAVANELLI GUIDOTTI, 1990, no. 148 HAUSSMANN, 2002, no. 90 Related examples Paris, Musée du Louvre, see GIACOMOTTI, 1974, no. 288 and BARBE, 2016, p. 196, no. 149 Hamburg, Museum Für Kunst und Gewerbe, see RASMUSSEN, 1984, no. 67

This deep maiolica bowl has a continuous attested (see section below), the present bowl double blue line around the border and represents a different, earlier and rarer type, around the central medallion, which is painted probably of Venetian origin. The white glaze with blue tendrils and foliate motifs imitating and subtle blue tendril decoration on the inside porcelain. of the bowl is akin to porcelain and close to Inside the bowl are three-dimensional fruits, the ornament on armorial sets made in Venice vegetables and nuts; red grapes, apples, for German families, such as that made for the quinces, Japanese plums, broad beans, a married couple Hans Meuting and Dorothea cucumber, walnuts and almonds. The bigger Herwart datable 1516-1525 (one example is in yellow fruit is a citron, “cedro”. the British Museum)1. The blue wreath ornament The production process was lengthy and highly on the underside is also comparable to those skilled; each fruit was modelled individually on such early armorial plates. and then assembled and fired onto the bowl Two very similar bowls with fruit and porcelain with very realistic results in both appearance inspired decoration exist in collections in and colouring. Germany2. A third comparable Venetian Similarly conceived bowls filled with fruit were example, in the Musée du Louvre, is marked produced in different pottery centres in Italy. with an F within a crown (Fig. 1)3. The letter They derive ultimately from products from the might refer to a maker (Francesco?) or might Della Robbia family workshops in Florence, be the initial of the recipient of the fruit bowl. where lively life-like baskets and the covers The Louvre bowl has a Venetian ornament on of blue vases were decorated with such still- the border4. lifes. The maiolica bowls are smaller in size and The shape, glaze and double line decoration much more portable; they might therefore on the border of the present bowl is very close have been brought as gifts, symbolic both of to that of a very finely painted dish with Venus fertility and abundance, and used in the home removing a thorn from her foot at the V&A5. to decorate tables (centrotavola).

The Fruits of Venice A Venetian production Painted fruit decorations were a speciality While the Faentine and Montelupo origin of Venetian potters, as acknowledged by of some of these fruttiere has been well Cipriano Piccolpasso in his seminal treatise The

1 THORNTON AND WILSON, 2009, I, 56, another one in the Louvre, GIACOMOTTI, 1974, no. 1216. 2 See RASMUSSEN, 1984, no. 67; HAUSMANN, 2002, no. 90. 3 See GIACOMOTTI, 1974, no. 288. An example at Rouen Museum might also be of Venetian production, see ALLINNE, 1928, Fig. 23. 4 Similar borders in Berlin, Kunstgewerbe-museum, HAUSSMANN, 1972, nos. 239-240-241. 20 5 V&A, inv. C.62-1963, see SANI, 2012, Fig. 132. 21 Fig. 1 Bowl with fruit, marked “F”, here attributed to Venice, 1520-1540 (front and back). Paris, Musée du Louvre, inv. MR 225. © Paris, RMN.

Three Books of the Potter’s art: “These designs Vittoria altarpiece in Verona), and Carlo are truly Venetian, very pretty things” (Fig. 2). Crivelli. The latter was famous for using fruit Decorations incorporating fruit appear on and vegetables (particularly his signature Venetian maiolica as early as 1510, when cucumbers) in all his compositions (Fig. 3). they are seen on a few tiles of the pavement of the Cappella Lando in the Church of San Sebastiano. Venetian maiolica plates with Fruttiere from Faenza and Montelupo realistically painted fruit are known and would have offered amusing trompe-l’oeils to guests Among the most common type of bowls filled at banquets; the most extraordinary example with fruit are those from Faenza. The majority of such type is a large plate at the V&A with are moulded bowls on low foot, crespine, a satyr peering out from a sea of foliage, fruit decorated with colourful a quartieri (quartered and vegetables6. design) decoration and are datable roughly to Perhaps the most famous and recognisable the middle of the 16th century. The only dated maiolica pieces made in Venice are the lively example is a bowl of 1562 that was formerly in globular jars decorated with lemons, grapes the Volpi collection8. The only known marked and other fruit among foliate ornaments. Some Faentine examples are from the workshop of are inscribed with pharmaceutical names Enea Utili; one is at the British Museum9. The while many others were probably used to store Museo Pasolini in Faenza had three such bowls, candied, dried or stewed fruit. One globular presumably of Faentine type10. jar painted with fruits at the Castello Sforzesco Kiln wasters of the moulded fruits used to fill the is inscribed “candied pears”7 while other bowls were found at Montelupo and a few examples are inscribed with “quinces”. examples in public collections bear marks from These decorations with fruit were probably the Tuscan town. Berti dates the Montelupo influenced by the early Renaissance schools ones to 1540-158011. The contents of these of painting in Venice and Padua, where bowls varied widely; some even included abundant garlands with fruit are a typical flowers, pinecones or molluscs. One at the feature. They were a particular speciality of Museo Internazionale della Ceramica, Faenza, the pupils of Francesco Squarcione, such shows two coat of arms12. as Andrea Mantegna, (see for instance the beautiful fruit canopy of his Madonna della Elisa P. Sani

6 V&A, inv. 1768-1855, RACKHAM, 1940, no. 970. 7 See SACCARDO, 2000, no. 313. 8 VOLPI, 1910, p. 51, no. 479. 9 THORNTON AND WILSON, 2009, I, no. 101. Another with the same mark, was in the art market, see Morley Fletcher, McIlroy 1984, no.1 p. 42. 10 FRATI, 1852, V “Seguito dei lavori dell’epoca migliore”, “fruttiera piena di frutte condotte a rilievo e colorite al naturale”, p. 25, nos. 265-267. 11 BERTI, 1998, pp. 245-246, other examples are Fig. 239-246, and p. 188. 22 12 RAVANELLI GUIDOTTI, 1990, no. 148. 23 3A two-handled boccia depicting The loves of Zeus

VENICE, workshop of Mastro Domenego Circa 1561-1570 Tin-glazed earthenware H: 37 cm Provenance Collection of the ducs de Mortemart, château du Réveillon, France

Rare two-handled drug jar or boccia entirely workshop owner, Domenego would certainly decorated in the istoriato manner with have been on nodding terms with the amatory scenes in a woody landscape famous painters of the time. Another positive below a ribbon like decoration of foliage and influence on the cross fertilisation of ideas boughs painted on the neck with pointed between the artists in various media was strap handles supported by lion masks and the existence of the vendecolori, specialist surmounted by human faces in relief. sellers of colours and pigments. Although common today, in the 16th century the The istoriato scenes on the main part of selling of the minerals and herbs and other the body depict erotic episodes from the ingredients needed to make colour for all the lives of the gods of Olympus. On one side different trades was usually handled by the we can see Zeus appearing before Danae Apothecaries Guilds in various towns. Only in in a cloud, pouring gold down onto her in Venice, due to the massive market created a deluge which she is catching in the folds by the meeting of East and West, was there of her gown. In the lower left of the design, a specialised profession necessary. the loving couple are literally caught in the act of consummation, the result of which This two-handled version of the classic was the birth of the hero, Perseus. The other Venetian boccia is very unusual and the side probably depicts Peleus and Thetis. only others known are four in various states Peleus was a warrior who fell in love with the of repair in the Museo Regionale di Messina. nymph Thetis, but could not catch her due The identical foliage and bough decoration to her ability to change shape and here we on the neck of all five suggests that they see her changing into a cloud. Thanks to were originally all part of the same set, made his persistence, Peleus did eventually catch in the workshop of Mastro Domenego, that and marry her and they were the parents of is presumed to have been ordered for the the hero, Achilles. Grande Ospedale in Messina which was As can be expected from Venetian painting completed in 1562. Of the forty-one pieces of the time, Domenego’s works are colourful, remaining in the museum, two are signed exuberant objects with bold brush strokes by Domenego, one dated 1562 and the and swathes of blue, green and orange, other 1568. One of the vases has a depiction reminiscent of Tintoretto or Titian himself. In of David and Goliath based on the same fact in 16th century Venice all artisans and engraving as no. 4 in our catalogue, which is artists were required to be members of the also signed by Domenego. same painter’s guild, so as a respected

24 25 26 27 4Plate with David and Goliath signed by Domenego da Venezia

VENICE, Mastro Domenego Signed “.domenego feci.” Circa 1561-1570 Inscribed on the reverse: “david. talgio latesta al gi/gante gollia” Tin-glazed earthenware D: 36, 5 cm Provenance American private collection References POOLE, 1995, no. 445 WILSON, 1996, no. 171 Comparisons Two signed plates dated 1568 with scenes of the Old Testament in the Herzog Anton Ulrich Museum collection at Brunswick, in: LESSMANN, 1979, nos. 737-738

Istoriato maiolica dish depicting David Goliath’s long spear and helmet, as well as beheading Goliath. Colours are green, blue, David’s stones and sling. The young hero is yellow, brown and black with a concentric portrayed wearing his bag around his waist yellow line around border. and holding the heavy scimitar given to him On the underside, five concentric rings in by Saul with both hands. The dramatic scene yellow and on the foot, in blue, the inscription: is set on grassy slopes with encampments “david. talgio latesta al gi/gante gollia” visible in the distance, while the background (David cuts off the head of the Giant Goliath) is framed by a more peaceful coastal and below the signature: “.domenego feci.” landscape with mountains in the distance. A (made by me Domenego). cloud bursting into yellow is symbolic of the The plate is painted with a dramatic action divine presence. scene with David in the act of beheading The plate is a rare survival, being one of the Goliath, having previously struck him on the very few documentary pieces signed by forehead with a slingshot. In the background the unrivalled master of Venetian istoriato, the victorious Israelite soldiers are charging Domenego de Betti, known as Domenego the fleeing Philistines after David’s triumph da Venezia. He ran the most prolific and over the giant. successful maiolica workshop in Venice in the The scene is taken from the Old Testament second half of the 16th century. This success (I Sam. 17:38-51); the armies of the Philistines is not surprising given the inventiveness of and Israelites were ranged against each colour and design in his extensive output. other. Goliath, the Philistine champion, was His best istoriato works show the influence of over eight feet tall, wore strong armour and Venetian painting featuring a fluid painterly carried a long spear. David, refusing to wear style with large patches of colour and sparse armour, instead took five stones for his sling figures in superbly sketched landscapes. and put them in his bag, took one out and He shows a natural talent and a confident slung it, striking and felling Goliath. fluidity of brush that is better compared with The aftermath of the event is shown in detail oil painting than any other istoriato painter. on the plate; in the foreground are scattered Domenego is mentioned for the first time in

28 29 outside the Veneto; it is a drug jar decorated earliest maiolica collectors, Duke Anton with trophies, part of a series originally in the Ulrich of Brunswick (1633-1714). Grande Ospedale di Messina, Sicily5. Only As on the present plate, Domenego’s signature one of the forty-one drug jars of the Hospital is always written without an initial capital is signed, while another drug jar is dated letter. The signature is often written in smaller 1568. letters than the subject. All of Domenego’s The David and Goliath scene on this plate signed pieces bear the words “feci” “I made” derives from one of a set of twelve small specifying that he was the maker, and probably oval engravings with scenes from the Old the painter, of the works. Testament by Étienne Delaune (1518- No other signed piece by Domenego can 1583)6. The engraving is dated 1561 and is today be found outside Italy or Germany. important evidence of Domenego’s use of contemporary graphic sources. Elisa P. Sani Delaune was a celebrated French engraver and designer for goldsmith work and his scenes were on occasion used for maiolica designs (Fig. 1). The same scene appears, much simplified and framed by an ornamental wreath, on the front of one of the large globular drug jars with handles from the Messina series7 (Fig. 2). Biblical scenes are frequent in Domenego’s works (see cat. 5); scenes from the Old Testament feature in three of his known signed dishes of 15688. These three plates provide information on the location of his Fig. 1 David and Goliath, Étienne Delaune, number 10 of 12 scenes from the Old Testament, engraving, 1561. workshop, almost as an assurance of the London, The Trustees of the British Museum. quality of the products. The workshop could be found: “by the little bridge of the stone 1544, in Jacomo da Pesaro’s will, as he had he comes from a family of potters, as well cutter on the way to San Polo”. Calle della married Caterina, one of the daughters of as marrying into one. In the same document Madonna, where Domenego lived and that leading Venetian potter. he states that he lives “a San Barnaba” on worked, is indeed on the way to the sestiere In 1547, when Gasparo, the heir to Jacomo’s the “Campiello di Scudeleri” with his wife (district) of San Polo of Venice and there is fortune, died Domenego gained financially Caterina and children in a house over his still a bridge near “fondamenta tagliapietra” as the vast patrimony of Jacomo was split two workshops, which he keeps for his own (stonecutter). between his three daughters. In the same use; likewise a kiln and a warehouse2. The As well as earning commissions from as far year he was also a beneficiary of paintings, “Square of the Potmakers”, near the Church afield as Sicily, his work also particularly reliefs and other goods from Giovanni Maria, of San Barnaba, was the main pottery area appealed, like most of the best Venetian a minor Venetian painter. In Giovanni’s will he of Renaissance Venice where Jacomo da maiolica, to German clients. Domenego’s was named: depentor over bochaler (which Pesaro also lived. His precise address “Calle style is recognisable on maiolica with means: painter or rather potter, probably for della Madonna” is given in a 1562 baptismal German armorials and many of his surviving 9 pottery-painter)1. record for Bernardino, one of his sons3. pieces are in German collections . His work Fig. 2 Drug jar with David and Goliath, 1562-1568. In a tax return of March 1566 Domenego The very few signed pieces known date from was particularly enjoyed by one of the Messina, Museo Regionale, inv. 1583. provides precious information about 1562 to 1568. While his style is recognisable himself; he calls himself “Domenego de on an unsigned dish dated 15564, his first Betti son of Ser Donà Boccaler”, therefore signed piece, of 1562, reveals his success 5 PAVONE, 1985. The drug jars are now at Messina Museum. 6 ROBERT-DUMESNIL, 1835-1871, 1865, vol. IX, p. 27.12. On the engraver see pp. 16-24. 7 PAVONE, 1985, no. 17, Tav. X, b, inv. 1584. The same scene occurs, with some differences on a 1 CONCINA, 1975, p. 136. spouted jug at Brunswick, LESSMANN 1979, no. 809. 2 ALVERÀ BORTOLOTTO, 1988, doc. 5: “una casa sopra il Campiello di Scudeleri nella qual io e mia moglie 8 Two at Brunswick, see LESSMANN, 1979, nos. 737-738, one at the Museo Internazionale delle et mei fioli habitano con due bottege de sotto qual casa et bottege tenimo per nostro uso. Insieme con la Ceramiche, Faenza, see BOJANI, RAVANELLI GUIDOTTI AND FANFANI, 1985, no. 805. This piece is not fornasa et magazen…”. Other properties are rented including one to “Luca desegnador”. signed but contains the same inscription with the details of the workshop as the two in Brunswick (and 3 ALVERÀ BORTOLOTTO, 1981, doc. 22. is stylistically very similar). 30 4 At Brunswick, LESSMANN, 1979, cat. 607. 9 See for example a plate with no inscription at the British Museum, THORNTON AND WILSON, 2009, no. 61. 31 5A plate depicting Adam and Eve

VENICE, workshop of Mastro Domenego Circa 1565 Inscribed on the reverse: “.perche. luomo non. Vivese solo. dono eva di lui nata esser sivede dover come usita dal sollato. eser senpre con ela a conpagnito.” Tin-glazed earthenware D: 30, 8 cm Comparative pieces See previous entry for David and Goliath signed plate See a similar dish depicting The miracle of the loaves and fishes, held at Musée du Louvre, Paris, inv. MR 2214

Istoriato maiolica dish depicting the Creation of As the industry grew in the second half of the Eve with God and Eve standing over a sleeping 16th century, “painted maiolica” (istoriato), as Adam beside a tree in a rocky landscape and opposed to the utilitarian undecorated ware, a dove representing the Holy Spirit overseeing became the luxury product of choice for them. Painted in strong polychrome colours. discerning members of urban elite of cities such The inscription on the reverse is a condensed as Venice. Domenego would have counted version of Genesis, Chapter II and reads, “so among his clients the wealthy merchants there, that the man did not have to live alone. He as well are more patrician families and foreign gave Eve who was born from him you can nobles. Venice had a particularly close link see how she came from his side. to be always with Germany, as exemplified by the Fondaco accompanying him”. dei Tedeschi, the great palace on the Grand The pictorial source for this dish is the Figure de Canal built for German merchants and la Biblia, Illustrate da stanze Tuscane, by the Venetian maiolica with German family coats Florentine Gabriele Symeoni and published in of arms was produced from the early part of Lyon by Guillaume Rouillé in 1564 (Fig. 1). The the 16th century. Various examples of these better known Bible by Bernard Salomon and northern coats of arms can also be found from published by Jean de Tournes was more often Domenego’s workshop. used especially by Urbino potters, but Rouillé learned his trade in Venice in the printing house of Gabriele Giolito de’ Ferrari before coming to Lyon in 1543. Symeoni is documented in Venice around the same time. Evidently they maintained their connections there and this is an interesting example of Domenego’s use of almost contemporary sources for his decoration. There is a dish from Domenego’s workshop depicting Phaeton taken from Symeoni’s version of Ovid’s Metamorphosis, which was published by Jean de Tournes in Lyon in 15591. We know that maiolica was cheaper to produce that jewellery or goldsmith’s work and “as a result, painted maiolica was available Fig. 1 Figure de la Biblia, Illustrate da stanze Tuscane, to a wide audience who could not afford to Gabriele Symeoni, published in Lyon sponsor buildings, sculpture or paintings…”2. by Guillaume Rouillé in 1564.

1 Faenza, Museo Internazionale della Ceramica, inv. 7342. Illustrated in: MARINI, 2012 and ANDREOLI, 2012, pp. 120-121, ill. 15 and 16. 2 Painterly Maiolica of the Italian Renaissance, KINGERY, 1993, pp. 28-48. 32 33 6Dish depicting a monk

VENICE, workshop of Mastro Domenego Circa 1560-1570 Tin-glazed earthenware D: 24, 6 cm; H: 3, 3 cm

Istoriato dish depicting a hooded monk in seated man with his head in an alembic, white robes, walking towards a cave with another in fragmentary state in the Herzog a stick and holding a rosary, in a grassy Anton Ulrich-Museum, Braunschweig1 with a landscape with a monastery to the right next seated woman with an exaggerated long to the sea in the background. Inscribed in a neck inscribed “La gola ogni virtu dase cha scroll above him, ne chreder aremito chesia sbandita”. graso (never trust a fat hermit). The Carthusian order of monks were founded Although there are a great many istoriato by St Bruno in the 11th century and derive dishes from the workshop of Mastro their name from the valley of Chartreuse Domenego that depict mythological and in France where he established their first biblical scenes in the traditional manner, a not hermitage which was to become La Grande inconsiderable proportion of the production Cartreuse. Easily recognisable by their off- is devoted to these small dishes with single white, hooded robes, Carthusians were figures which are almost contemplative in expected to devote themselves to a life of their simplicity. At first glance this dish with solitude, self-denial and prayer, hence the the white robed figure of a Carthusian monk wry message in the inscription. There was a would seem to be another of these, but the Carthusian monastery in Venice, St. Andrea satirical inscription on the scroll links it with a della Certosa, which is a small island next to much smaller group. There are at least two the Lido. other dishes with similar proverbs, one of a

1 LESSMANN, 1979, p. 514, cat. 853.

34 35 7Albarello decorated a paesi

VENICE, workshop of Mastro Domenego Circa 1560-1570 Tin-glazed earthenware H: 22 cm

Unusual cylindrical pharmacy jar, called and success of the individual Pharmacy. The , decorated in istoriato manner with varied decoration would also be an aide in a rocky landscape with trees and houses in identifying the differing contents. a continuous band around the centre and a stylised olive branch design to the shoulder The leaf banded istoriato design has been and foot. linked with the set of vases previously mentioned at Messina1 and was also popular The Apothecaries Guilds in medieval and at Casteldurante, showing the influence of Renaissance Italy were rich and powerful the potters from there on the production organisations and the Pharmacy would have of the Venetians. It is certainly rarer than been the interface with the general public. the more common blue-ground pieces, Highly coloured jars and vases to contain decorated with flowers and foliage and the various medicaments, as well as various portrait bust medallions, so may have been candied and preserved foodstuffs, were for more prestigious commissions or perhaps utilitarian objects which would give a sense to differentiate more important ingredients. of luxuriousness demonstrating the wealth

1 WILSON, 1996, p. 451, cat. 176.

36 37 8Two pharmacy or condiment jars

VENICE, attributed to the workshop of Mastro Domenego Circa 1550-1570 Tin-glazed earthenware No. 724, H: 33 cm; D: 32, 5 cm No. 726, H: 32, 5 cm; D: 32, 5 cm Provenance Antoine Perpitch collection, Paris (inv. 724 and 726) Reference WILSON, 1996 Related examples Similar examples can be found in the collection of Cassa di Risparmio di (former Baron Sprovieri collection)

Two large globular jars or boccia painted could explain the lack of an inscription of with polychrome fruits, vegetables and leafy the contents, although that was not unusual. tendrils outlined with two blue lines circling This type of decoration seems to have been a green one on neck, shoulder and base. popular in Venice from the 1530’s to the Around the shoulder and base of each are 1560’s, however no similar piece is either rows of blue crosses and garlands of flowers. dated or marked from a Venetian workshop. Italian potters of the Renaissance produced The pattern consisting of large fruits and vases and large jars which were used to vegetables is classified as “frutti” by Cipriano contain pharmaceutical ingredients, some Picolpasso and illustrated in Li tre Libri of which we would find unlikely or even dell’arte del vasajo, 1556 (Victoria and Albert unpleasant today. These pieces would Museum, London, Fig. 1). He observes that usually be brocche or wet drug jars with a these patterns were “truly Venetian painting spout, cylindrical albarelli large and small and very delightful things” (veramente for dried herbs and boccie, globular vases queste sono pitture venetiane, cose molt(o) for other items. In Venice there was also a vaghe)1. great demand for “Mostarda Veneta”, a Timothy Wilson also explains that “Analogies condiment made from fruits preserved in in form ( and globular jars) (…) link syrup and mixed with mustard and many jars with white-ground “frutti” decoration sixteenth century Venetian vases can be with products of the workshop of Maestro found with the inscription Mostarda. It is Domenego around 1560’s”. As described still very popular to this day, eaten with above, there was a certain regularity of boiled and roasted meats, especially in the form in these pieces and the globular winter months. Therefore it is not possible to shape, along with the very reduced neck, say with certainty that the above objects is most typical of Venetian production. are pharmacy jars but may have been Mastro Domenego (Maestro Domenico in for containing mostarda and so for an Venetian dialect) was the major pottery alimentary purpose. producer in Venice in the second half of the sixteenth century and son-in-law of an Certainly the match between decoration earlier Venetian potter, Mastro Jacomo da and contents would be an apt one and Pesaro. In the Museo Regionale, Messina is

1 WILSON, 1996.

38 39 the earliest signed and dated piece by him, For more information on Venetian jars and a boccia marked “Domenego da Venecia albarellos with “frutti” motif see Timothy 1562”, that is decorated a trofei on a blue Wilson, Italian Maiolica of the Renaissance ground on the bottom two thirds of the (catalogue of the Baron Sprovieri collection, piece. The top third however is very similar nos. 166, 167 and 168). These pieces are to these vases, with fruit and flowers on a now held in the collection of the Fondazione white background and the comparison with Cassa di Risparmio di Perugia in 2006 and the “frutti” decoration is clear. Domenego republished by Wilson and Sani (cat. 72, 73, himself was a decorator as well as workshop 74). owner so a piece like this may have served to show his other decorators various designs in one piece. The “frutti” design itself may derive from the influence of Isnik ceramics that would have been readily available in Venice due to her maritime links with the Ottoman world. The absence of any figural representation and the realistic swirling foliage would have appealed to Muslim sensibilities at the time, but also gives the pieces a timeless charm which is attractive to contemporary tastes. A magnificent plate in the Victoria and Albert Museum (inv. 1768-1855) almost certainly done in Mastro Jacomo’s workshop during the interregnum between him and Domenego shows a fascinating juxtaposition of istoriato and “frutti” decoration. The leering satyr’s head with a crown of fruit, peering out from between the foliage, recalls subjects from Venetian art like Titian’s Bacchus and Ariadne or bronzes by Riccio. The fine quality of the painting lends itan almost cartoon-like feeling and it is possible to identify the various fruits in almost mouth- watering detail, something that the knowing look of the satyr seems to recognize. Around the middle of the 16th century, Venice seems to have been the main centre of production of this particular type of maiolica ware, vividly coloured and realistically decorated boccie for containing foodstuffs, preserved condiments which were designed to last throughout the long winters. Although some similar shaped objects are known from an earlier date, originating from Pesaro and Casteldurante, this particular decoration Fig. 1 Drawing Fiori and Frutti, Cipriano Piccolpasso, The Third Book of the Potter’s Art, ca 1557. London, Victoria became known as alla veneziana and and Albert Museum. Picolpasso’s caption notes was to be much copied and dispersed, that: “In truth these are Venetian types of painting, particularly in Sicily and even as far afield as delightful things, and cost 5 lire a hundred”. Antwerp.

40 41 9Tondino a trofei

VENICE, workshop of Maestro Jacomo da Pesaro Circa 1540 Tin-glazed earthenware D: 24 cm Provenance Frizzi Bacioni collection With Trinity Fine Art, London

Fine maiolica dish with a deep well of so- inscriptions which can be read as “J… called “cardinal’s hat” form, known as a Francesco T?” and the word “Venezia”, the tondino, painted in grisaille on a blue ground other (b) with two similar shouting heads and with musical annotation and instruments trofei. Another similar small dish, dated 1544, and military trophies. In the centre is the was sold at Sotheby’s London, 22 March disembodied head of a shouting man 1971, Lot 513. A very similar disembodied and the letters R.E.P.V.E.N (presumably for shouting head can be found on an istoriato Repubblica Veneziana) appear in a scroll on dish depicting Cleopatra in the collection of the rim. The back is decorated with a typical the Cassa di Risparmio di Perugia4, probably Venetian scrolling, alla porcellana pattern. made in Urbino. Undeniably linked with the production Whilst the influence of the artists of the Duchy of Venetian maiolica, these small dishes of Urbino is clear in the trofei decoration, the with trofei decoration of the border have greyish-blue surface, which was known as been attributed to the workshops of both berettino, is traditionally recognised as one Ludovico and Jacomo da Pesaro. Although of the identifying characteristics of what no signed ones have yet been discovered, Picolpasso (and other contemporaries) the decoration of armour and musical referred to as alla Veneziana. Given that intruments appear closely related to three provenance, it is difficult to believe that the large dishes, one in a private collection in letters on this dish, R.E.P.V.E.N., could signify Milan1, marked “I.P.” (for Iacomo da Pesaro?) anything other than an abbreviation of dated 1534, the other two in the Victoria Repubblica Veneziana, La Serenissima, The and Albert Museum2, one (a) with indistinct Most Serene Republic of Venice.

1 ALVERA’BORTOLOTTO, 1988, p. 46. 2 Inv. 1744-1855 and 1572-1855. RACKHAM, 1940, nos. 968 (a) and 969 (b). 3 WILSON, 1996, p. 422. 4 WILSON AND SANI, 2006, vol. I, pp. 122-123, cat. 39. 42 43 10 A documentary charger with a sea centaur and a triton fishing

VENETO, Padua or Verona, Painting attributed to Giulio da Urbino Dated 1540 Inscribed on the reverse within a tablet: “cremona fecit fare/adi 29 agosto/1540/a casa de Mo Steveno boca/ler” (cremona had this made on 29 August 1540 in the workshop of the potter Maestro Stefano) Tin-glazed earthenware painted with blue, ochre, green, yellow, orange and black D: 40, 3 cm Provenance The collection of the famous Van Herck family, we present an unrecorded Italian maiolica dish. In 1870, Jan Frans Van Herck established an antiques gallery in the historical city of Antwerp. After the successful opening of a second shop by his son, Eugène, the famous Van Herck auctions were established just after World War II in 1947. Until 1994, the auction house continued to play an important role in the Belgian and European art and antiques scene. With a keen interest in 17th and 18th century sculpture, Charles Van Herck created an important collection and helped spark the rediscovery of an important aspect of Belgian art history. In 1994, an important part of his collection was sold to the King Baudouin Foundation References MALLET, 1980, pp. 76-78 THORNTON, 1999 MUNARINI, 1990 Related examples Dish with Aeneas arriving in Italy, attributed to Giulio da Urbino, Verona 1541, The Danish Museum of Art and Design, Copenhagen, inv. 46 (1901) Dish with classical scene within a border of trophies, attributed to Giulio da Urbino, perhaps working in Verona, ca 1540, Victoria and Albert Museum, inv. 1771-18556 Dish with the Fall of Phaeton, attributed to Giulio da Urbino, Rimini 1535, British Museum, inv. 1855,12-1,98 Dish with The Triumph of Neptune and Venus by Xanto perhaps in collaboration with Giulio da Urbino, Urbino 1533, The Wallace Collection, London, inv. C89. See MALLET, 2007, no. 39 Dish with Triton and Mermaid and intricate façon de Venise border, Workshop of Jacomo da Pesaro, ca 1540, Museum für Kunst und Gewerbe, Hamburg. See RASMUSSEN, 1984, no.147

Sea Gods Fighting

The present charger is painted with large figures Triton is also about to strike, while trying to free to maximise the dramatic effect of the combat himself from the grip of his enemy. Cupid, with scene. The sea-centaur on the left is about to iridescent butterfly wings1, rides the centaur hit the Triton to the right with a fish while holding while watching the scene, supporting himself him by the beard with the other hand. The with the tail of the sea god.

1 These are often a feature of Cupid’s wife, Psyche.

44 45 Fig. 1 The Battle of the Gods, Andrea Mantegna, engraving, 1470-1480. London, Victoria and Albert Museum, inv. DYCE.993. © Victoria and Albert Museum Fig. 2 Dish with The Triumph of Neptune and Venus, Francesco Xanto Avelli perhaps in collaboration with Giulio da Urbino, Urbino, 1533. London, The Wallace Collection, The figures are grotesquely painted for effect; in the iconography of the Tritons with beards inv. C89. © The Trustees of the Wallace Collection two sea monsters with long pointy ears, striking and pointy ears. The one on the left of the blue beards matching their unruly long hair, engraving is striking with a bunch of fishes, while open mouths to show their fierce teeth, and the pose and features of the Tritons on the dish long eyebrows. Their human upper bodies are inspired by the pair of fighting sea-centaurs Giulio da Urbino: “one of the most are almost sculptural with large brush strokes to the right. accomplished maiolica painters of the showing their strong muscles. A mannerist Other graphic influences can be discerned. Renaissance”6 scrolling “belt” of seaweed joins the torsos to the The maiolica painter has fused the powerful fish halves of their bodies, which are effectively Mantegna image with engravings from Nothing is known of Giulio’s life but his output thus being one of the earliest maiolica painters rendered with reddish ochre dots. the Raphael School, such as the Triumph has been studied extensively7. He probably of the Urbino school to be active in the North of The painter has cut the scene horizontally of Galatea2, after Raphael’s in the started his career with Xanto in Urbino in the Italy. A bowl on low foot with Aeneas arriving at the level of the sea-creatures’ shoulders. Farnesina. This features sea-centaurs, Cupids early 1530’s, and was working closely with him in Italy, now at the Copenhagen Museum, is Behind them, a black rock topped with grass and similarly conceived dolphins. Cupids at least during 1533-1534. A dish dated 1534 marked as made in the city in 1541 and has and willowy tree-trunks is used to frame and looking backwards also feature in the Parnassus, at the British Museum, with a political allegory been attributed to him by John Mallet9 (Fig.3-4). highlight the terrible heads of the fighters. A another engraving after Raphael3. The of Rome, is signed by him: “Giulio da Urbino”. Giulio was an excellent painter, inventive and tranquil landscape with houses in the sunset powerful mannerist figures show lumpy muscles The nature of the allegorical subject, the use of impressive in both colouring and composition. completes the scene on both sides, while in their upper bodies which are influenced by the same prints and the manner of signing, as Stylistically several features which are typical grotesque dolphins swim in the foreground. the engravings by Marcantonio, Caraglio and well as the presence of lustre has proved that of Giulio appear on the present dish. First of The theme of Tritons fighting is of classical origin Marco Dente after Baccio Bandinelli and Rosso the dish was probably executed while in close all his use of colour; he uses contrasting tones and features extensively on Roman sarcophagi. Fiorentino4. All of these sources were favoured contact with Xanto in Urbino8. to achieve a striking colouring, as visible on The most important Renaissance graphic by Francesco Xanto Avelli. A composition which After leaving Xanto’s circle (it might have been the present dish. Here the figures are heavily source for such iconography is a double sheet shares stylistic features with the present dish is a his apprenticeship) Giulio abandoned political outlined in black, another one of Giulio’s engraving by Andrea Mantegna: The Battle of large 1533 dish by Xanto with The Triumph of allegory, preferring to paint fabulae. By 1535 he features. Black is a colour which Giulio often the Sea Gods, made around 1470-1480’s, and Neptune and Venus5 (Fig. 2). was working in Rimini; an istoriato jug dated that uses, to depict trees but also to create an probably inspired by a classical source [Fig 1]. The painter has brought together into this single year is signed by him as being made in Rimini in architectural backdrop. One of Giulio’s most The engraving was also copied by Albrecht dish his own experience and knowledge of 1535, in the workshop of “Maestro Alisandro”. recurrent trademarks is the presence of an Dürer and some elements of Dürer’s drawings different graphic sources, producing his own Three more dishes are marked as made in area painted black; sometimes a small mound were then used by other German masters innovative action scene. His remarkable skill Rimini but not signed. Several other works show or a wall or a rock, making the figures painted during the first part of the 16th century. leads us to believe that this might be a work by his style, either from his Urbino period or his later in front stand out. On a plate with the Fall of The painter of this dish was probably inspired by the most talented of Xanto’s pupils: Giulio da work at Rimini. Phaeton at the British Museum the black craggy some form of the Mantegna work, especially Urbino (active ca 1533-1541). By 1541 Giulio had proceeded north, to Verona, mound on the left of the composition, topped

2 Engraving by Marcantonio Raimondi, see BARTSCH XIV, p. 262, no. 350. 6 Taken from the beginning of THORNTON, 1999. 3 Engraving by Marcantonio Raimondi, see BARTSCH, 1974, vol. XIV, p. 200, no. 247. 7 See MALLET, 1988, pp. 76-78; RASMUSSEN, 1980; THORNTON, 1999; GRESTA, 2002; for the two plates at the and 171. 4 Such as The Massacre of the Innocents, or The Martyrdom of Saint Lawrence, both after Baccio Bandinelli or The Slaying of 8 THORNTON AND WILSON, 2009, no. 111. Cerberus after Rosso Fiorentino. 9 For the dish now see HOUKJAER, 2005, no. 157. 5 Inv. no. C89. See MALLET, 2007, no. 39, compare to Giulio’s works on nos. 47-48. 46 47 by trees with dark bark, is comparable to the Giulio’s 1541 dish in Verona shows a garland on one behind the two fighting sea-creatures. On the reverse, a common ornamental feature the same plate the seated figure has the same of the best maiolica produced in the Veneto wild forked beard as the Triton to the right of our region. The feature also appears on our dish dish10. which, being dated 1540, might represent a The arms of the Triton on the right are arranged missing link in Giulio’s biography and is perhaps exactly as those of an angel chasing Adam another proof of his activity in the Veneto. and Eve from The Garden of Eden on a plate marked “in Rimini” and dated 1535 at Écouen11. The figure may be taken from a print that Giulio The inscription had copied or carried with him. The detailing of the minute buildings with narrow elongated The inscription is surrounded by an elaborate doors and windows similarly reappear on tablet framed with ribbons which might suggest several of Giulio’s works. that the plate was made for a special occasion. Giulio’s naked torsos have accentuated The inscription starts with the words: “Cremona mannerist muscles, as discussed above, while fecit fare” which means “Cremona had me the arms are often short with strong rounded made” therefore Cremona, which can also be forearms as seen in this dish. The figures have a surname, might be the person commissioning long, unruly hair as if moved by the wind which the dish, rather than the city of Cremona15. Fig. 2 Cicero and Gaius Octavius, bowl, painted by Fig. 3-4 Detail of dish on fig. 1 compared with detail from often blows to the front as visible on the Triton The inscription follows the date “adi 29 Giulio da UrbinoInscribed: “· 1535 · / De gaio otauiano border of dish at the V&A, 1771-1855. © Victoria and Albert Museum to the right. This feature is often combined agosto/1540” and the presence of the / ecicerone / j rimino” Rimini, 1535The Wallace Collection, Londres, inv. C 74. with bearded faces with open mouths seen in specific day, which is a feature of maiolica profile. See for example a figure of another of of the Veneto region, might also here have Giulio’s Rimini’s dishes of 1535 at the Wallace another meaning. There was a Cremona Collection which is comparable to the head of family of some importance in Venice at the the triton on the right12. time. Marco Cremona (b. 1516, Venice), also An even closer resemblance is a similar head known as Marco Medici, had a son, Anibale, with beard, pointy ears and open mouth which who was born either in Venice or Padua in appears on the border of a V&A dish which has 1540. The exact day is unknown, but the dish been attributed to Giulio by John Mallet13. could have been made to celebrate his birth16. As Mallet has noted, the style of Giulio’s painting Interestingly his daughter, Veronica di Anibale Verona, where Giulio was active, was a centre We can only imagine the impression this changed when he was no longer working Cremona, married Andrea Alberti and was for of maiolica production which attracted terrifying and powerfully painted dish had on closely with Xanto. Lacking access to the prints a long time thought to be the mother of the first painters, not just from Urbino but also from its first recipient. To our modern eyes, although he had shared with the latter, he painted more documented Italian-American, Pietro Cesare Faenza (Giambattista delle Palle). Stefano there are open questions of attribution, this freely and independently, though the quality Alberti, although this is now disputed. could have been a potter working there. striking dish might represent another episode of his painting varied14. His inscriptions and The rest of the inscription of the dish states Padua was also a centre of istoriato production in the itinerant career of an important istoriato handwriting also vary, as did Xanto’s, and the where the dish was made: “a casa de Maestro from the 1540’s. The borgo Santa Croce was painter from the first half of the 16th century. It script on the back of our dish is similar to other Stefeno Bocaler”. Nothing for now is known an area particularly rich in potters; the most also contributes to our understanding of how works inscribed by him, especially the unusual of Maestro Stefen (Stefano) Bocaler, Stefano famous is Nicola de Putti, also known as Nicola the istoriato genre of the Urbino School spread way of writing the letter “e”. being a very common name. delle Maioliche, who signed a dish in 1548, and to Northern Italian cities, particularly in the A large dish at the V&A, which shows a Three places in the Veneto have been identified is documented as a painter of istoriati, some Veneto. classical scene and is unmarked, has a border as possible sites of manufacture; Venice (see with ornamental borders, inspired by Faenza which seems inspired by Venetian maiolica of introduction), Verona and Padua17. maiolica18. Elisa P. Sani the period around 1540 and might belong to Giulio’s Veronese period.

10 For the Phaeton plate at the British Museum, see THORNTON AND WILSON, 2009, no. 111. 18 See RAVANELLI GUIDOTTI, 2012. 11 GIACOMOTTI, 1974, no. 909. 12 Inv. no. C74. See MALLET, 2007, no. 48. 13 See MALLET, 1980, p. 78. The dish is inv. 1771-1855, RACKHAM, 1940, no. 994. 14 MALLET, 2007, p. 144. 15 There is no evidence of maiolica activity in Cremona, which was, in 1540 under Spanish rule. However, it was a wealthy city and it is possible that one or more workshops might have been based there. Cremona is on the way to Verona coming from the south. 16 The information was found on Ancestry.com and requires further research. 48 49 11 An unrecorded dish painted with The dream of Constantine by Xanto

URBINO,painted by Francesco Xanto Avelli da Rovigo (1487-1542) Signed “.X.” for Xanto Dated “.1538.” Inscribed on the reverse: “Dil nobil constatin la/ vision santa” Tin-glazed earthenware D: 27 cm Provenance Made for the Euffreducci di Ferro family, Les Marches, Italy French private collection Reference Not mentioned on the list of the corpus of works by Xanto by Mallet & Sani in: MALLET, 2007. However another dish with the same subject is listed, no. 350, with the same date and a slightly different inscription Related example Another dish painted by Xanto Avelli depicting also The dream of Constantine, ca 1538- 1542, is held in the Del Prete collection published in: PAOLINELLI, 2001, Fig. 30, pp. 114-115

This circular dish is painted with a polychrome figure of Constantine on the left and four istoriato scene depicting the dream of other soldiers on the right, with an angel Constantine. above them. The angel is holding a cross Constantine the Great (ca 280-337) was and a scroll with Latin inscription “IN/HOC a Roman Emperor, son of Flavius Valerius SIGNO/VIN/CES” referring to Contantine’s Constantius, a Roman army officer, and dream. his consort, Helena. He came to overall power in 312 after defeating the Emperor The figure of the angel is copied after Maxentius at the battle of the Milvian bridge an engraving by Marcantonio Raimondi on the Tiber, an event traditionally regarded depicting the Martyrdom of St. Cecilia, as the turning point in the establishment of but here Xanto has isolated the figure and Christianity within the empire. According to changed his attributes adding a cross in his Eusebius’ Life of Constantine (1, 27-32), on right hand and a scroll in his left hand (Fig. the eve of this battle, Constantine saw in a 1). Some of the figures of the soldiers on dream a cross in the sky, and heard a voice the right are taken from an engraving by saying, “In hoc signo vinces” (meaning “By Caraglio depicting The Martyrdom of Saint this sign shalt thou conquer”). At daybreak, Peter and Saint Paul, circa 1524-1527 (Fig. he marked his soldiers’ shields and on his own 2). From these two Christian subjects he has helmet with the Christian symbol (comprising selected and isolated figures and recreated an X and a P) which he saw in his dream. a different Christian episode. There is a Here, in this interior scene, Constantine is certain skill involved in copying and pasting seen sleeping under a four-poster bed with the figures in order to create a new scene. a coat of arms sited above him. The central composition is balanced by the isolated On the left hand side, Constantine is seated,

50 51 sleeping with his head resting on his left beaded object hanging beneath the coat hand, under large drape of a canopy bed of arms. crowned by a beautifully detailed coat of arms. This composition is unusual in maiolica because it depicts an interior scene. It holds Coat of arms of the Euffreducci di Fermo a special place in Xanto’s corpus and would family have been considered a reverential subject, The coat of arms are those of the Euffreducci showing as it does a key moment in the di Fermo family, from the Marches. One history of Christianity. There is a real sense of of the member, Oliverotto (d. 1539), was a depth given by the view through the door condottiere and a friend of Cesare Borgia. across the balcony and particular care has This previously unrecorded dish is the only been taken over the realistically painted piece known painted by Xanto bearing this details such as the beams, the mullions of coat of arms. the glass in the window and the intricate

Fig. 2 Martyrdom of St. Cecilia, Marcantonio Raimondi, engraving, 16th century.

Fig. 2 The Martyrdom of Saint Peter and Saint Paul, Giovanni Jacopo Caraglio, ca 1524-1527. Los Angeles, LACMA collection, inv. AC1993.62.1.

52 53 12 An important armorial tondino dish painted by the “Milan Marsyas Painter”

URBINO, attributed to the “Milan Marsyas Painter” Circa 1530 Tin-glazed earthenware D: 27 cm Provenance Baron Achille Seillière, Chateau de Mello, whose sale in Paris, Galerie Georges Petit, 5 May 1890 Raymond Subes, Château des Évêques Saint-Pandelon, France, 2016

An important polychrome maiolica dish of tondino family and that of the Xanto group to the impresa form depicting the figures of Diana with her of the Vitelli family of Citta di Castello. However the bow and Apollo with a quiver, holding a “lira da identity of the client is still unclear. braccio”, both looking to the left, with a deer to the Once thought to be the hand of Nicola da Urbino, foreground. A landscaped background with a flat the “Milan Marsyas Painter” was identified by John topped mountain and fortified city is surmounted Mallet3 and named by him after a dish depicting by a coat of arms with three silver crescents, one Apollo and Marsyas in the Castello Sforzesco above and two below, on an azure field. in Milan. This painter was clearly influenced by This beautifully painted dish is a previously Nicola, probably being part of his circle and was unrecorded piece from a group of ten others, active between 1525 and 1535. Evidently he also all emblazoned with the “three crescents” coat collaborated with Xanto as in this service and of arms, one crescent above and two below, all another, with the coat of arms of an eagle4, for attributed to the “Milan Marsyas Painter”. Another which it has been demonstrated that they shared set of eighteen pieces, one of which is dated print sources. 1530, exists with a similar “three crescent” coat of The iconographic sources of this group mainly arms but showing two crescents above and one relate to Ovid’s Metamorphosis, although one below, painted by Francesco Xanto Avelli da of an Astrologer is after Giulio Campagnola Rovigo. The two sets are often referred to as the (previously in the Strozzi Sacrati collection), and it is “Three Crescent” service and were thought to be interesting to observe that if the original engravings one group until Bernard Rackham pointed out from which they are derived generally remain the stylistic and heraldic differences in 19571. The unknown, some characters are treated identically question of whether these two groups of dishes, from one dish to another. In this case Apollo is tondini and table salts belonged to a single service virtually the same as the Apollo on a tondino in the is not settled and there is still disagreement as to Fitzwilliam Museum in Cambridge (see Julia Poole whether the “three crescents” are actually a coat Museum catalogue, 1995, no. 381). of arms per se or an heraldic impresa or symbol The central collection label on the back makes (Imprese were often used to decorate maiolica, reference to the collection of Baron Achille Seillière, for instance the various devices such as the musical Chateau de Mello, whose sale in Paris, Galerie annotation and the Alpha/Omega symbols used Georges Petit, May 5, 1890, contained no less than by Nicola on the Isabella d’Este service). Originally four pieces “with three crescents” numbered 45, thought to be the arms of the Strozzi, other families 46, 55 (this one) and 56, which must themselves with whom they have been connected are the have come from an old collection dispersed Buoncristiani (Wilson) and the Cosi (Ravanelli earlier in the nineteenth century. It is noteworthy Guidotti). However Rasmussen, in the catalogue that number 46 from this group is now preserved of the Lehman Collection at the Metropolitan in the Metropolitan Museum in New York (Robert Museum in New York2 has tentatively assigned the Lehman collection, no. 76) and is an important Milan Marsyas group to the impresa of the Manetti reference for this group, being the piece that is dated 1530 by Francesco Xanto Avelli. 1 RACKHAM, 1957. 2 RASMUSSEN, 1987, cat. 75 and 76, pp. 126-131. Both are Three Crescent pieces, 75 by the Milan Marsyas painter, 76 by Xanto and the entire group is listed in the two entries. 3 MALLET, 1988, pp. 69-73. 54 4 POOLE, 1995, pp. 317-319, cat. 382. 55 13 Istoriato dish from the service made for Cardinal Giacomo Nordi

URBINO, workshop of Guido Durantino Circa 1535 Tin-glazed earthenware D: 28 ,5 cm; H. 3 ,9 cm Provenance D’Avalos family, Naples Related examples See WILSON AND AND SANI, 2006 One dish depicting the Rapt of Helena is held at the Musée du Louvre, Paris, inv. OA 1541

Maiolica dish depicting Diana bathing with and has a great degree of success among her nymphs while a fleeing Actaeon is chased maiolica painters as well. Taken from Ovid’s by his hounds as he gradually changes into a Metamorphosis, Book III, 165-252, Actaeon was stag, in a woody landscape with a city beyond out hunting when he came across Diana bathing a body of water. The reverse inscribed “Ateon with her nymphs. Outraged to have been seen Mutato in/ cervo da diana et/ sui compagni” naked, she turned Actaeon into a stag and his (Actaeon changed into a deer by Diana and hounds, not recognising their master, set upon her companions). him and tore him to pieces. Versions derived This is a recent addition to the group of dishes from the various woodcut representations of and pilgrim flasks which formed part of the the Metamorphosis were produced at service made for Giacomo Nordi, Cardinal of and Faenza, as well being made by Francesco Urbino from 1523 until his death in 1540. The latest Xanto Avelli although, curiously, not Nicola da comprehensive list was produced by Wilson and Urbino. Despite some of these pieces similarly Sani1 and numbers seventeen pieces, to which depicting Diana in a fountain, no print source has this dish can be added. There is a pilgrim flask yet been identified that is early enough. A similar from the set in the Museo Civico, Forli2 which image, by Jean Mignon after Luca Penni, has appears to be by the same hand, although been inconclusively dated to 1544 and it served the figures seem to be derived from a different as the inspiration for a magnificent fireplace, engraving as Diana and her companions are now in the Musée National de la Renaissance, bathing in a pond and not a fountain. Michael Écouen (Fig. 1). Brody has identified at least three different hands3 hat were involved in painting this set and this dish in particular compares with various pieces from another set that was made for Anne de Montmorency, Constable of France of which seven pieces are dated 1535 and marked “In botega de Mastro Guido Durantino in Urbino”4. John Mallet has explained5 that different painters in a workshop would have worked together on a single commission and in the case of large orders painters from outside the workshop may also have been employed. The subject of Diana and Actaeon was extremely Fig. 1, Jean Mignon after Luca Penni, engraving, 1544. popular among artists in the sixteenth century écouen, Musée National de la Renaissance.

1 WILSON & SANI, 2006, pp. 130-133, cat. 42. 2 Illustrated in: RAVANELLI GUIDOTTI, 1985, p. 142, Ill, 105b. Cat. 105 is another flask from the same service depicting the Myth of Ciparissus. 3 Istoriato Maiolica with the arms of Giacomo Nordi, Bishop of Urbino, 1523-1540, M. A. thesis, The Cooper-Hewitt National Design Museum and Parsons School of Design, New York. 4 BALLARDINI, 1938, vol. II, Ill, no. 198-205. 56 5 MALLET, 1987, no. 1010. 57 14 Tazza depicting St. Jerome in the wilderness

URBINO, workshop of Guido Durantino Circa 1540 Tin-glazed earthenware D: 38, 1 cm; H: 6, 2 cm

Istoriato maiolica footed bowl, known as a tazza, showing St. Jerome reading a book, seated on a log with the lion by his side in a rocky, wooded landscape with buildings and mountains in the distance. St. Jerome (ca 347-420) was one of the foremost theologians of the early Christian church. Known for his moralistic teaching, he was a protégé of Pope Damasus I (d. 384) and is renowned for his translation of the Bible from Hebrew into Latin. This translation, which was known as the Vulgate, became the definitive version which was used by the Catholic Church for over one thousand years. Ironically this success superseded his intention of a universally accessible edition and it was not until the Reformation that the Bible was again translated into the common (or vulgar) tongue. Jerome was also famous for his ascetic lifestyle, despite living in Rome and having come from a relatively well off family. He spent four years living as a hermit in a cave in the desert near Antioch in Syria and most depictions of him show his time there, spent in meditation and prayer. Tradition has it that he befriended a lion by extracting a thorn from its paw and we can see the lion regarding us balefully in this dish. The dark cave serves as a framework for the figure of Jerome who is pictured in contemplative reading with the city of Antioch in the distance. The mystic atmosphere of the scene is heightened by the finely drawn crucifix just above and in front of him, difficult to see at first, but drawing into focus the task that he was to perform. St. Jerome in a cave, Albrecht Dürer, woodcut on laid paper, 1512. Washington, National Gallery of Art.

58 59 15 A rare tondino depicting The Battle of Korakesion

URBINO, Fontana workshop Circa 1560-1570 Tin-glazed earthenware Inscribed at reverse: “Pompeo Magno / Urbi (no)” D: 26, 4 cm Provenance French private collection Related examples with similar naval battle scenes painted in the Fontana workshop A large wine cooler painted with a naval battle after a drawing of Taddeo Zuccari, Urbino, Fontana workshop, ca 1565-1575, Florence, Museo Nazionale del Bargello, Medici collection, inv. 3 Maioliche A monumental wine cooler on foot with satyr form handles, interior painted with a large naval battle after a drawing by the Zuccari brothers, signed and dated “F.(laminio) F.(ontana) F.(ecit) 1574”, Urbino, Flaminio Fontana, 1574, London, The Wallace Collection, inv. C 107.

This unrecorded circular dish is painted an engraving by Giovanni Battista Scultori of with an unusual scene of naval combat a naval battle between the Greeks and the depicting the Battle of Korakesion (67 B.C.) Trojans1 published around 1538, the maiolica when Pompey the Great of Rome finally painter has brilliantly created a complete defeated the pirates of Cilicia. Inspired by new composition by mixing and changing

Scene depicting a naval battle between the Greeks and the Troyans, Giovanni Battista Scultori, engraving, first published in 1538?, Metropolitan, New York, inv. 53.600.996.

1 New York, Metropolitan Museum of Art, inv. 53.600.996.

60 61 the positioning of the different figures in the does show one of Caesar’s naval victories2, sophisticated engraved source. however the inscription on the back of the The mannerist style of the carefully detailed present dish, Pompeo Magno, denotes that ornaments on the boats are clearly influenced the subject is not celebrating one of Caesar’s by the style of Polidoro da Caravaggio (1499- glorious events but Pompey the Great’s 1543) and the Zuccari brothers, Taddeo and major maritime victory at Korakesion. This city, Federico, who were known to have provided known in the present day as Alanya, on the drawings of naval battle scenes for the Urbino south coast of Turkey, was the site of a naval workshops. These designs were probably battle fought in 67 B.C. between the pirates initially intended to be sources of decoration of Cilicia and the navy of Rome. Plutarch for the famous “Spanish Service“, depicting describes it as the key battle of Pompey’s the life of Julius Caesar, ordered around clearing of the Eastern Mediterranean. He 1562 by Guidobaldo II della Rovere, duke of writes of the battle that the pirates had Urbino, as a present to Phillip II, King of Spain, about one thousand ships (almost certainly from the Urbino workshops. Nevertheless an exaggeration) against Pompey’s two maiolica depicting naval battle scenes from hundred, but were defeated in the initial the Fontana workshop are rare. naval engagement. After retreating to The present example is even more unusual the shore, the pirates were apparently because it is not painted after a drawing by besieged in the town of Coracesium before the Zuccari brothers. The large wine cooler surrendering. Cilicia was then annexed in 64 held at the Bargello painted after the Zuccari B.C. as a Roman province.

Naval battle, copy of an original from Taddeo Zuccari, wash A large wine cooler painted with a naval battle after a drawing, second half of 16th century. Florence, Uffizi, office of drawing of Taddeo Zuccari, Urbino, Fontana workshop, ca drawings and prints, inv. 358 S-964 E. 1565-1575, Florence, Museo Nazionale del Bargello, Medici collection, inv. 3 Maioliche

2 Florence, Museo Nazionale del Bargello, see MARINI, 2012, p. 99, no. 2.

62 63 16 An istoriato ewer with Apollo and Venus

URBINO, workshop of Guido Durantino Circa 1550 Tin-glazed earthenware H: 31 cm; D of the base: 8 cm Provenance Italian private collection Related examples London, Victoria and Albert Museum, inv. 8405-1863 Pair of ewers of a French private collection (former Sir Andrew Fountaine I collection)

This baluster shaped ewer is decorated with an istoriato scene representing Apollo and Venus. Crowned with laurel leaves, Apollo is seated on the shore holding a pan flute, apparently welcoming Venus who appears rising from the sea on a seashell. The coastal landscape leads away into the trees with a city and a mountain in the background. The leaf-like handle terminates in a lion’s paw and is supported by a roaring monster’s head mask. The sophisticated shape of this ewer is inspired by goldsmith’s designs. The fine arrangement of the different elements and colours nevertheless gives it a certain preciousness. Istoriato design was a vital ingredient of the buffets and credenzas created during the Renaissance which used jugs of differing sizes in these ceremonial displays along with other types of containers such as flasks and bottles, as well as dishes and basins. A piece such as this would often go together with a basin, due to its traditional formal use reserved for guests to wash their hands during the meal.

64 65 17 An impressive charger painted with The Conversion of Saint Paul

URBINO district, attributed to the “Conversion of Saul Painter” Circa 1560 Tin-glazed earthenware D: 43 cm Provenance English private collection References LEPRINCE, 2009, cat. 3 (entry by J. Raccanello) LEPRINCE, 2012, pp. 110-117

A large maiolica istoriato charger painted Vatican, painted between 1520 and 1524. in typical palette of strong colours with the The engraving of this scene, done by Orazio central figure of a man lying on the ground Farinati, was the source of decoration for having fallen from his horse, surrounded by a various maiolica pieces, not least the signed confused troop of mounted and unmounted and dated piece by Orazio Fontana, 1544 soldiers in classical Roman uniform. The prone now in the the Chigi Saraceni collection. The Saul is looking up to the sky where his vision subject was important because it marked of the figure of Christ is appearing from the the victory of the Emperor Constantine clouds. The scene is framed by trees to either over his rivals and hence the beginning of side with a grassy knoll in the foreground; the conversion of the Roman Empire to there is a city in the distance, presumably Christianity. Damascus, and mountains receding in the background. Although Fontana copied the engraving The representation on maiolica of the directly, in our charger the painter has made moment of the Conversion of St. Paul on a more judicious use of the source, lifting the road to Damascus was a fairly common figures from the scene and replacing them one. The dramatic scene of confusion in different positions around the body of St. was a good opportunity to combine the Paul, much in the so-called “cut and paste” depiction of classical Roman figures with style of Xanto Avelli himself. The mounted a religious theme, which may have been figure behind the horse of St. Paul onthe more acceptable towards the middle of the dish can be seen on the left of the engraving sixteenth century, given the atmosphere of while the figure next to him is in a more the Counter-Reformation. The source of the central position in the Farinati drawing. The original inspiration for the central figure of St. kneeling and running figures of soldiers are Paul and the horse is unclear, although they in much the same place in both depictions, bear great similarities with the depiction of to the left in the foreground, although the the same subject by Parmigianino; the horse running figure is wearing a helmet and the is very similar along with the distribution of hind leg of the dead horse shown centrally the limbs and attitude of the body of St. Paul. in the engraving explains the rather more However there is an interesting correlation dislocated version to the far right on the dish. between many of the figures of soldiers and another painting of religious importance, The identity of the painter and indeed the fresco of the Battle of Ponte Milvio by the place of production of this piece has Giulio Romano in the Sala Costantino in the remained frustratingly unclear, although

66 67 by close study of the details and manner and orange leading into the small circular of painting a convincing group of pieces swirls grouped together to represent clouds by the same hand can be collated from and much can be made by looking at how various museums and private collections. the figures are painted, especially the hands Look at the grassy knoll in the foreground, and the feet. with the red earth fading into the green Around sixty works have with various grass and then grey rock; the spider like degrees of certainty been identified as by stones scattered on the ground; the single this painter. Interestingly they have been line decoration at the hem of the garments ascribed to production centres as diverse and the same sure single line depiction of as Urbino, Pesaro, Casteldurante, Rimini and the horses harnesses; the curiously wind- even Lyon, France. blown but flat, red-headed depiction of the hair of St. Paul. Examine the trees, with The production includes both istoriato and the looping brushstrokes representing the grotesque pieces. A small group of the bark on the trunks and especially the way pieces at Pesaro, with the addition of the the leaves are represented, with groups of dish at Burghley house, have a very unusual four or five pointed triangular bunches. In treatment of the white ground border, with the background the city has a characteristic animal and grotesque depictions unseen arcade of arches and the mountains are a elsewhere. Two pieces in private hands particular sugar loaf shape. The city atop have grotesque designs taken from Jan the central mountain will be seen to be a Vredeman De Vries, who has not been recurring theme on other pieces. The way in previously studied as a source for maiolica which the sky is drawn is also unmistakable decoration. with the striations of blue, grey, white yellow

The Battle of Milvian bridge, orazio Farinatti after Giulio Romano.

68 69 18 A dish Noli Me Tangere

URBINO, attributed to the “Conversion of Saul Painter” Circa 1560-1570 Tin-glazed earthenware D: 42, 5 cm Provenance Otto Beit, London The property of the Trustees of Mrs. A.A. Bull’s children’s Settlement, Christie’s London, 2 July 1990, lot n° 238 Daniel Katz, London Reference RACKHAM, 1916, p. 115, no. 806

The scene depicted on this dish illustrates of the Innocents in the Bargello, Florence, the episode in the Gospel according to dated 15664. John (chapter 20, verses 15-18) describing The subject of the Noli Me Tangere was a the encounter of the Risen Christ with Mary common one in the sixteenth century, but the Magdalene outside his tomb. Dressed as painter of our dish seems to be following an as a gardener, wearing a hat and holding a yet unidentified source for his iconography. spade or hoe, Christ raises his hand when Comparison with the 1511 woodcut from Magdalene recognizes him, saying, “Noli Me the Small Passion series by Albrecht Dürer Tangere, nondum enim ad Ascendi Patrem (Fig. 1) shows traditional symbols such as the meum” (“Do not touch me, for I am not yet folded hat and the spade, whereby Mary ascended to the Father”). The attitude of Magdalene mistakes Him for a gardener, Mary Magdalene, kneeling hands folded in the three figures at the entrance to the prayer before Christ, shows her in the act of tomb and the warding hand of Christ. But recognition. In the background unfold two the painter’s inventive style, already noted scenes relevant to the main one: on the left, on other pieces where he does not slavishly three characters converse at the entrance follow the details of the engraving, leads him of the tomb of Christ; on the right, shepherds to give the Magdalene an unusual praying and their flocks. pose and it may be that he used more than The choice of the theme and the quality of one source for the two figures. A similar execution of this dish reflect its important image has turned up in an unlikely place. ceremonial function. Stylistically, it relates The Templo y ex Convento de San Miguel to a series of pieces already identified Arcangel in Ixmiquilpan, Hidalgo State, as a group by John Mallet1 and Johnna Mexico is the surviving part of a monastery Lessmann2 typified by the Conversion of that was completed before 1572. The church St. Paul dish also shown here, painted by itself is famous for a series of murals painted the same artist (see entry cat. 17). There is in pre-Hispanic style with jaguar warriors and a crespina by the same hand in the Museo battle scenes. However in the sacristy is a Diocesano, Urbania3 which is dated 1565 series from the same date depicting the life and a large dish depicting the Massacre of Christ, including a Noli Me Tangere. The

1 In a conversation with John Mallet. 2 LESSMAN, 1979; inv. 885. 3 Museo Diocesano di Urbania, inv. CEI: E_I0668. 4 Florence, Museo Nazionale del Bargello, F.G.S. 170477. 70 71 attitude of Mary Magdalene, kneeling in central scene is traditionally know as the prayer rather than reaching out to touch Colonna Spezzata and has traditionally Him, could indicate that two versions of the represented death or disaster ever since same as yet unknown engraving could have Roman times. It can have the meaning been used for inspiration in two very different of a life cut short and is thought to have parts of the world. originated with depictions of the ruined The broken column which dominates the temple of Solomon.

Fig.1 Christ Appears to Marie Magdalene.Albrecht Dürer, from Small Passion series: 31, woodcut, 1511. London, British Museum, inv. E,2.250.

72 73 19 Exceptional piatto da pompa made for Cardinal Girolamo Rusticucci

URBINO, Fontana-Patanazzi workshop Circa 1570-1580 Tin-glazed earthenware D: 38, 5 cm; H: 7 cm

Maiolica display charger, called a piatto this style of painting landscapes in dark blue da pompa, of deep-welled form having on a lighter blue, berettino, ground around grotesque border decoration with a blue the middle of the sixteenth century and berettino paesi decoration surrounding the known centres of production according coat of arms of Cardinal Girolamo Rusticucci to Picolpasso were Venice and Genoa, as (1537-1603) (Fig. 1). The reverse with well as Urbino itself. The painting on this dish interlaced, petal-like blue lines, a canestro1. bears little relation to the production from This exceptional dish is unusual for its the workshop of Mastro Domenego however combination of two decorative schemes and also differs from Ligurian pieces, none rarely seen together. The blue landscape of which would seem to be this early. The design, known as paesi a façon de Venise, detail of the grotesque border suggests an is overlaid with grotesque decoration on a attribution to Urbino or an Urbino-trained white tin-glaze ground. As related elsewhere potter and a close examination of the in this catalogue, Venetian potters originated blue landscape indicates that the painter was at least familiar with the drawing of an earlier, polychrome paesi service with the arms of the Salviati family, made in Urbino, presumably between 1559 and 15712. The scaffolding like additions at the top of the buildings and the striking arrangement of the roofing and support beams on the dishes which look like various capital letters (X, N, A), as well as the drawing of the carriages and the “beehive” like huts would seem to show that the painters of both were working from the same graphic sources. The handling of the white tin-glaze ground of the grotesque design, sparingly applied so that the underlying colour shows through, is also typical of Urbino production of this time. The Fontana workshop was the most important for the production of maiolica in sixteenth century Urbino. Founded by Guido Durantino (meaning from Casteldurante) and carried on by his sons Orazio (died 1571) and Flaminio Fontana, it is thought to have to have passed into the hands of Antonio Patanazzi by 1580, if not earlier3. Antonio was the nephew of Nicola di Gabriele Sbraghe, Fig. 1 Coat of arms of Cardinal Girolamo Rusticucci known as Nicola da Urbino, and also related

1 RAVANELLI GUIDOTTI, 2014. 2 BRODY, 2000. 3 NEGRONI, 1998.

74 75 to Guido Durantino. He became a master Senigallia and may have been gifted to him potter in 1540 and is presumed to be the to celebrate his consacration in the Sistine same Antonio documented as working Chapel in November 1570, at which event with Orazio Fontana in in 1562. Given his cousin, Francesco Rusticucci, bishop that Nicola and Guido were documented of Fano, is recorded as assisting Cardinal working together in 15284, and probably Maffei. earlier, Antonio would have had access to This piece is an interesting synthesis of over half a century’s elements from both Venice and Urbino and worth of experience, archives and pictorial would have been a striking piece both for sources in the workshop. It is therefore its appearance as well as the technical skill extremely difficult to discern a difference needed to produce it. A berettino dish with between the late Fontana and early paesi decoration in a private collection in Patanazzi production. Novara5, attributed to Pesaro, shows similar Girolamo Rusticucci was one of the most handling of the paint and highlights in important cardinals of the late sixteenth white, as does the vase in our catalogue, century. Personal secretary to Antonio No. 20. and various fragments found above Michele Ghisleri and later becoming the ceiling of the Palazzo Ducale in Urbino Secretary of State (in effect Prime Minister) and now in the Galleria Nazionale delle upon Ghisleri’s election as pope Pius V in Marche6 are the same, with the particular a 1566, he was created a cardinal in 1570. canestro basketwork design to the reverse. The same year he was appointed bishop The only other object known to me with this of Senigallia, a town in the duchy of Urbino combination of blue landscape decoration near Pesaro and his birthplace of Fano. He with polychrome additions is a large charger resigned this position in 1577 after being in the Hermitage7, attributed to Venice, nominated as Vicar of Rome by Gregory XIII marked on the back A. G. and with a similar and was further promoted in 1588 to Vicar basketwork design. Set in a blue berettino General by Sixtus V, in effect becoming the cityscape with palaces and tower before governor of all the domains whose titular a lagoon, the figures of Time and Cupid, head was the Pope, a position he held painted in realistic flesh tones, are positioned until his death in 1603. It is more likely that around a well, while on the left a golden the dish dates from his period as bishop of putto stands on a balustrade.

4 See dish inscribed “Nicola, Lhistoria de Sancta Cicilia la qualle/ e fata in botega de guido da castello durante/ In Urbino 1528”, Florence, Museo Nazionale del Bargello, inv. 1784, 376; inv. 1825, 444. 5 BERARDI, 1984, p. 320, Fig. 119. 6 Photos shown to me by Carmen Ravanelli Guidotti. 7 KUBE, 1976, cat. 25.

76 77 20A pharmacy vase with a landscape painted on blue Berettino glaze

URBINO, Fontana-Patanazzi workshop Circa 1560-1580 Tin-glazed earthenware painted in dark blue with white highlights on light blue berettino ground H: 33, 5 cm; W: 28 cm References BRODY, 2000, pp. 31-46 FIOCCO AND GHERARDI, 2004, pp. 215-228 GRIMALDI, 1977, no. 11 PAOLINELLI, 2011 SANTUCCI, GRIMALDI AND BERNINI, 1979

Large globular vase fitted with serpentine Santa Casa from 1564 to 1578. An inventory handles supported by masks, fully decorated dated 1608 mentions 378 pieces classified in blue monochrome heightened with white, as “vasi con due manichi 95; giaroni 21, with a capriccio landscape combining brocche di acqua 27, albarelli da elettuari houses, spires, towers, and domes, on a e conserve 83, vasi da sciroppi 56, vasetti da shore separated from a distant mountain. pillole 96”. A document from 1631 mentions While the shape of the vase is characteristic the acquisition of a second series, of which of the production from Urbino, the decor is 111 vessels still survive, from the Patanazzi very unusual and is a fine example of the rare workshop which must have still been active berettino enamelled maiolica from Urbino. in Urbino. Another inventory of 1643 mentions 168 pieces from this set. Most of the pieces It was in the workshop of Orazio Fontana have been kept on site and this pharmacy is that this particular shape of pharmacy vase the largest of its kind in the world. was originally created between 1560 and 1570. There are vases of identical shape Our vase is distinguished by a Venetian but with polychrome istoriato decoration in inspired berettino painted backdrop of the famous pharmacy of the Santa Casa di paesi on a very typical Urbino shape. The Loreto. The archives from Loreto attest to a painting of the buildings and landscapes first set, now comprising 350 vases from the on this piece is very close to the landscape workshop of Orazio Fontana (d. 1571). This scenes on the service made for the Salviati set was thought to have been a gift from family (ca 1560) (Fig. 1). Michael Brody1 Guidobaldo II Della Rovere, Duke of Urbino notes that no source has been identified (1538-1574), but recent research has found it as the inspiration for these designs but the more likely to have been given by a cousin, architecture has a more Northern sensibility Cardinal Giulio Feltrio Della Rovere, bishop than Italian (see description cat. 19). of Urbino (1548-1551) and Protector of the

1 BRODY, 2000.

78 79 Fig. 1 Dish from Salviati service, ca 1560. LACMA collection, inv. 50.9.16.1-.3

80 81 21Large dish depicting The Parnassus after Raphael

Urbino, Francesco Patanazzi Circa 1590 Tin-glazed earthenware D: 47 cm

Large maiolica charger with an istoriato scene Avelli2 used the figure of Apollo after Raimondi showing Apollo seated playing a lyre on Mount in his depiction of the contest between the god Parnassus, surrounded by the nine Muses and and Pan, inscribed “3.1531./ De Apollo & Pan gli other figures. Signed on the reverse, “In/ Urbino/ musi/cali accenti./.favola./fran Xanto, Av:Ro/ F”, for Francesco Patanazzi. vigiese in Urbino/pin:”. Various dishes with the The Parnassus is a fresco painting by Raphael in Parnassus can be attributed to the workshop the Stanze della Segnatura in the Palace of the of Guido Durantino, one of which in the Louvre Vatican in Rome, painted at the commission of is dated 15423. Another, in the Musée Antoine Pope Julius II in 1509-1510 . The engraving was Vivenel de Compiègne4, is marked “Mo. Guido made by Marcantonio Raimondi between 1515 da Castel Durante/ In Urbino”. and 1518 (Fig. 1). The painting itself is sparsely As already noted elsewhere in this catalogue, decorated, with only a few trees rising on the the Patanazzi workshop was linked with the brow of the hill where Apollo sits with his lyre in earlier one of the Fontana, which was the his lap, enthroned in the wilderness with only family workshop of Guido Durantino. Many the Muses, musicians and poets for company. designs are used by the Patanazzi repeating The design of this image, with its low triangular earlier decoration from the Fontana and composition, made it ideal for translation onto Guido Durantino and it must be assumed the circular frame of an istoriato dish and and that they inherited the source designs and it was highly popular with the maiolica painters engravings for use in the workshop. Francesco of Urbino. Curiously, many of them left signed Patanazzi became capo bottega on the versions of it. There is a fragment of the central death of his father Antonio in 1587 but must part of a large dish by Nicola da Urbino1 in the have been active before that date. There is Louvre, showing Apollo, inscribed “El monto de a trilobed basin in the British Museum5 marked pernasio/ con le nove muse et apollo/ Nicola as made in his workshop and a brief resumé [in monogram] da urbino”. Francesco Xanto of the documents regarding Francesco in made in that catalogue. He was the preferred supplier of maiolica to the Duke of Urbino and left the workshop to his adopted son, Alfonso, in 1616.

Apollo on the Parnassus, Marcantonio Raimondi, engraving, ca 1514-1518. London, Victoria and Albert Museum, inv. DYCE.1041

1 Paris, Musée du Louvre, inv. OA 1244. 2 POOLE, 1995, pp. 336-338, cat. 390. 3 Paris, Musée du Louvre, inv. OA 1858. 4 BLANCHEGORGE AND LÉCUYER, 2011, pp. 56-59, cat. 20. 5 THORNTON AND WILSON, 2009, pp. 585-586, cat. 364. 82 83 Appendix

1 2 12 13

5 8 15 17

10 11 19 21

84 85 Bibliography

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ALVERÀ BORTOLOTTO, 1991 BIGANTI, 2005 ALVERÀ BORTOLOTTO Angelica, “La Cappella Lando e il suo pavimento maiolicato alla luce di ritrovati documenti e di BIGANTI Tiziana, L’eredità dei Della Rovere. Inventari dei beni in Casteldurante (1631), Urbino, Accademia Raffaello, 2005. nuove ricerche”, in: Faenza, 77, n°5, 1991, pp. 231‑236. BLANCHEGORGE AND LÉCUYER, 2011 BLANCHEGORGE Éric, LÉCUYER Céline, Majoliques italiennes du Musée Antoine Vivenel de Compiègne, Compiègne, ANDREOLI, 2012 Association des Amis du Musées, 2011. ANDREOLI Ilaria, “Fabulae Artificialiter Pictae: Illustrazioni del Libro e Decorazione Ceramica nel Rinascimento”, in: Fabulae pictae, Florence, Giunti, 2012, pp. 110-125. BLASIO, 2007 BLASIO Silvia (dir.), Marche e Toscana. Terre di grandi maestri tra Quattrocento e Seicento, Ospedaletto, Pacini, 2007. AUSENDA, 1999 AUSENDA Raffaella, “Targa istoriata”, in: BOSKOVITS AND FOSSALUZZA, La Collezione Cagnola. Arazzi, sculture, mobili, BOJANI, 1992 ceramiche, II, Busto Arsizio, Nomos, 1999, pp. 151-219. BOJANI Gian Carlo (dir.), Ceramica fra Marche e Umbria dal Medioevo al Rinascimento, Bologna, Publialfa, 1992.

AUSENDA, 2000 BOJANI, 1993 AUSENDA Raffaella (dir.). Musei e Gallerie di Milano. Museo d’Arti Applicate. Le ceramiche, t. I, Milan, Mondadori Electa, BOJANI Gian Carlo, “Per un “corpus” delle plastiche maiolicate tardo-quattrocentesche fra Emilia Romagna e Marche”, 2000. in: VARESE (dir.), Studi per Pietro Zampetti, Ancona, Il Lavoro Editoriale, 1993.

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