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P U G L I1 S E , J O Se P H Anthony. STYLISTIC PHASES O F Q U a T T R O C E N T O MAIOLICA DECORATION. the Ohio State U N Iv

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P U G L I1 S E , J O Se P H Anthony. STYLISTIC PHASES O F Q U a T T R O C E N T O MAIOLICA DECORATION. the Ohio State U N Iv M ic GO—6400 ftxarf ly <-y;r oc c-i v«..-J PUGLI1SE, Joseph Anthony. STYLISTIC PHASES OF QUATTROCENTO MAIOLICA DECORATION. The Ohio State University, Ph.D., 1060 Fine A rts. University Microfilms, Inc., Ann Arbor, Michiaan STTLISTIC PHASES OF QUATTROCENTO UAIOLICA DECORATION DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of the Ohio State University By JOSEPH ANTHONY PUGLIESE, B.F.I., U.i. The Ohio State University I960 Approved by 6m i Department of Fine and Applied Arts PREFACE Studies of Italian maiolica decoration have been primarily concerned with the distinctive Renaissance styles which appear after 1500. The decorative styles of quattrocento maiolica have not been adequately studied, especially with regard to the development and the chronology of styles and techniques. An examination of the stylistic development in maiolica decoration between U 4.OO and 1500 reveals a consistent, although complex pattern of progress, which prepares for and develops into the High Renaissance styles of the cinquecento. This stylistic development is not a simple organic growth, but rather a compound movement composed of a number of distinct stylistic changes, or phases. Throughout these phases we can distinguish a steady continuum of technical progress which allows an increasing freedom in, and coamand of, the ceramic medium. Maiolica wares are first produced in Italy during the trecento, and the earliest stylistic developments are found in the decorated wares produced in the environs of Florence, the foremost center of quattrocento art. The developments studied in this essay culminate with the emergence of the High Renaissance mode in maio­ lica decoration which appears in the decorative styles of Faenza during the last quarter of the fifteenth century. In understanding these aiuta- tions, it will be seen that the role of the patron, the technical proficiency of the maiolist, the control of the guild over the craftsman, ii and sty lie tic developments in other media are important contributing factors* This study is based upon the previous scholarship of Wilhelm Bode, Gaetano Ballard ini, Bernard Rackham and Giuseppe Liverani* Bode1s study of the early styles offers a key to understanding of the development in style throughout the century* B&llardini's comprehensive survey of maiolica decoration presents a general outline for the study of quattrocento decoration, which is expanded in the works of Liverani* Beckham1 s attribution and interpretation of wares especially, along with the attributions of Ballardini, di Ricci, Chompret and Liverani, provide relatively firm guideposts for the study of the nature and duration of each stylistic phase* This study is an attempt to synthesise and amplify the concepts presented in these earlier studies, which have prepared the way for this present work* iii TABU. OF CONTENTS Page INTRODUCTION .................................................... 1 Chapiter I. THE ARCHAIC AND POST-ARCHAIC STYLISTIC C R O U P S .......... .'3 The First Phase: The Archaic Style (From the early fourteenth century to about lli??) ................... ?3 The Second Phase: The Post-Archaic Style (From about 11*25 to 11*6 0 ) ........................................ 1*5 13. THE ITALG-MORESQUE AND GOTHIC-DERIVATIVE STYLISTIC GnwLPS 73 The Third Phase: The Italo-Moresque Style (From about 11*50 t.o 1 1 * 8 0 ) ........................................ 73 The Fourth Phase: The Gothic-Derivative Style (From about 11*?C to 1 ? 0 0 ) ................ 93 III. THE TRANSITIONAL AND HIGH RENAISSANCE STYLISTIC GROUPS . l?i* The Fifth Phase: The Transitional Style (From about 11*70 to 1 1 * 9 0 ) ........................................ 121* The Sixth Phase: The High Renaissance Style (From about 11*90 to beyond 1 ? 0 0 ) .......................... 11*3 SUMMARY a u d CONCLUSION .......................................... 17? BIBLIOGRAPHY.................................................. 161 iv LIST OF ILLUSTRATIONS Plate Page I, Maiolica pitcher with geometric decoration. Attributed to Tuscany, XIV century. Archaic style. Montalcino: Seminary of Montalcino (Figure 1 ) .................... * 26 Maiolica pitcher with "peacock's tail feather" motif. Attributed to Tuscarry, XIV century. Archaic style. Montalcino; Seminary of Montalcino (Figure 2) ......... 26 II. Maiolica jar with geometric decoration, attributed to Tuscany, XIV century. Archaic style. Montalcino: Seminary of Montalcino (Figure 1) 27 Maiolica pitcher with scalloped leaf motif, attributed to Tuscany, XIV century. Archaic style. Montalcino: Seminary of Montalcino (Figure 2 ) ................... 27 III. Maiolica pitcher with panel decoration, Faenza, XIV century. Archaic style. Faenza: Museo Intemazionale della Ceramiche ....................................... 31 IV. Maiolica dish decorated with a bird against a crosshatched ground, attributed to Orvieto, early XV century. Archaic style. London: Victoria and Albert JAiseum . • 33 V. Maiolica jar with plastic and painted decoration, probably Tuscany, early XV century. Archaic style. London: Victoria and Albert Museum ............................ 3U VI. Maiolica dish with "iueen" figure against a crosshatched ground, Orvieto, XI vr century. Archaic style. Formerly Imbert collection, Rome ................ 3> VII. Maiolica cup decorated with the instruments of the Crucifixion, attributed to Tuscany, late XIV or early XV century. Archaic style. Rome: Museo di Palazzo Venezia (Figure 1 ) ..................................... 38 Maiolica bowl decorated with stylized flowers, attributed to Tuscany, late XIV or early XV century. Archaic style. Rome: Museo di Palazzo Venezia (Figure 2) . • 38 v LIST OF ILLUSTRATIONS (contc.) Plate Page VIII. Alkaline glazed bowl decorated with elephant and rider within a contour panel against a crosshatched ground, Persia, ca. 1 3 ^ A.D* Paris; Louvre.............. 1*2 IX. Maiolica dish decorated with equestzian figure, Tuscary, second quarter XV century. Post-Archaic style, Green Group* New York; Metropolitan Museum of Art . • l;9 X* Maiolica pitcher decorated with a deer pursued by a hound, Tuscary, second quarter XV century. Post- Archaic style, Green Group. Paris; Louvre ........ • 51 XI. Alkaline glazed bowl decorated with a reciprocal dark and light pattern, Ksshan, Persia, XII century. Paris; Louvre ........................................ Sh XII* Maiolica jar decorated with the oak leaf motif, Tuscany, second quarter XV centuzy. Post—Archaic style, Impasto Blue Group. New York: Metropolitan Museum of Art . 55 XIII. Maiolica drug pot decorated with hounds and the oak leaf motif, Florence, second quarter XV century. Post- Archaic style, Impasto Blue Group* London: Victoria and Albert Museum ........................... ..... 58 XIV. Maiolica drug pot decorated with a rabbit and the oak leaf motif, Florence, second quarter XV century. Post-Archaic style, Impasto Blue Group). London: Victoria and Albert Museum ........................... 59 XV. Maiolica alharello with handles, decorated with the oak leaf motif and the badge of the Hospital of Santa Maria della Scala, Tuscany, second quarter XV century. Post- Archaic style, Impasto Blue Group. New York: Metro­ politan Museum of Art 61 XVI. Drawing of a maiolica albarello decorated with the oak leaf motif, Faenza, second quarter XV century. Post- Archaic style, Impasto Blue Group of Faenza. Faenza: Museo Internazionale della Ceraniche ................. 6 ? XVII. Maiolica albarello decorated with the ivy motif, Florence, ca. ll;60-70. Italo-Moresque style* London: Victoria and Albert Museum .... ........... ......... 78 vi LIST OF ILLUSTRATIONS (contd.) Plate Page XVIII. Maiolica albarello, lustered, decorated with the ivy motif, Hispano-Moresque, Valencia, ll*35--UO. New York: Hispanic Society of America ............... 79 XIX. Maiolica albarello decorated with mock Arabic inscrip­ tions, Florence, ca. ll*50. Italo-Moresque style. London: Victoria and Albert M u s e u m ............... 81 XX. Maiolica albarello decorated with mock Arabic inscrip­ tions, Hispano-Moresque, Valencia, first half XV century. New York: Hispanic Society of America . • 82 X X I . Maiolica dish, lustered, decorated with a bird and flower of dots motif, Hispano-Moresque, Valencia, ca. 11*30. New York: Hispanic Society of America . 81* XXII. Maiolica dish back decorated with a boar and circling tendril around a tri-lobed leaf motif, Hispano- Moresque, Valencia, first half XV century. Madrid: Instituto de Valencia de Don J u a n .......... 85 XXIII. Maiolica albarello decorated with a bird within a contour panel, Florence, ca. 11*50-70. Italo- Moresque style* London: Victoria and Albert M u s e u m .......... * 86 XXIV. Maiolica albarello decorated with the flower of dots motif, Florence, ca. 11*50-70. Italo-Moresque style. London: Victoria and Albert M u s e u m ........... 87 XXV. Maiolica albarello with handles, decorated with a face in profile within a contour panel, Florence, ca* 11*60-70. Italo-lforesque style. London: Victoria and Albert M u s e u m ........................... «... 51 XXVI. Maiolica jar decorated with curling foliage motif, Florence, ca. 11*60. Gothic-Derivative style. London: Victoria and Albert Museum ....... 96 XXVII. Maiolica albarello decorated with the "peacock's tail feather" motif, Faenza, ca. ll*80. Gothic-Derivative style. Faenza: Museo Internazionale della C e r a m i c h e .......................................... 97 vii LIST OF ILLUSTRATIONS (contd.) Plate Page XXVIII.
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