H I S P AN O -M O R E S "U E P OTTE RY

IN THE COL L E CTION OF

THE H I S PAN I C SO CI ETY OF AM ERI CA

B Y

EDWIN ATLEE BARBE R , PH . D .

D i re c to r o f th e P e nns y lv a ni a Mus e u m a nd S c h o ol o f Ind u s tri a l A rt

P h ila d e lp h i a , P a .

< “ S 4 / I, 1/

T H E H I S PA N I C S O C I E T Y O F A M E R I CA

I T S6 H STREET , WEST OF B ROADWAY

N EW YO RK, 19 15 Co r h t 1 15 b p y ig , 9 , y T H E H I S P AN I C S OCI E T Y OF AM E R I CA HI SPAN O -M O RES"UE POTTERY

HI SPAN O-M OR ES"U E P OTTERY

I NTRODUCT ORY NOT E S

M ETALLI C LUSTERS AND STANNI FEROUS ENAM E L

HE o f to origin metallic luster , as applied the

- l surface Of tin ename ed earthenware , is a prob lem which has occupied the attention o f ceramic stu

to dents for many years . Various theories as the source ff O f this art have been advanced by di erent writers , some Of which have proved fallacious , while others have failed to be convincing . Examples Of native pot te r E y with stanni ferous enamel , from gypt , Babylonia o r A ssyria , are unknown , notwithstanding the fact that the early writers attributed to those countries the

fo r first use Of tin as a glaze bricks and vases . What was for a long time believed to be tin enamel has

to proved be a silicious glaze , tinted and made opaque A by the introduction Of metallic oxides . careful examination Of early pieces has failed to bring to

light a single example showing tin in the glaze . [ 5] o r f P tte y and tiles , O f an entirely di ferent char acter from the usual varieties Of Persian wares with

which we are familiar , have been found in the north

western part Of Persia , in the ruins O f some O f the

to Older towns . We re fer the stellate and cruci form

o r tiles and more less complete pieces O f pottery , with

to luster ornamentation , which reveal a marked ex

influences tent extraneous . The principal character i sti c which is noticeable is that they are coated with a stanni ferous enamel instead O f being glazed with a

- o r silico alkaline glass glaze , in the Persian and E gyptian manner .

- e The star shaped til s with lustered designs have , sO far as we know , been found in Persia only in the

to Rha es northwest part , by some attributed g , by

O to S to thers ultanabad , a short distance the west

to ward , and by still others Veramin , some twenty miles distant , which latter town was built after

Rha e s g was destroyed in the thirteenth century .

Various dates have been mentioned fo r the de struc

Rha es S 1 22 1 tion Of g and ultanabad , ranging from t 1 2 S o . 59 Bagdad , the aracenic capital , fell under

1 2 Hulagu Khan in 58 . Just what connection this event had with the manufacture O f the lustered tiles

we not e which find in Persia has yet been determin d . Bagdad was only some four hundred miles from [ 6] Rha e s f g , and potters , at the sacking O f the ormer

r e e to r city , could adily have escap d northweste n

fo r Persia and established their art a time there . While it is undoubtedly true that the lustered pottery and tiles which we are considering have been

to found in abundance in Persia , all evidences point

not O the fact that they are O f Persian conception . ur belie f that tin was not employed as a glaze by the native Persian potters until introduced by foreign craftsmen is rather strengthened than weakened by the presence O f stanni ferous wares which reveal in so unmistakable a manner outside influences , along with the glass - glazed products O f very decided Per

A - - sian character . mong the eight pointed star shaped

o f examples we find paintings antelopes , horses , pan the rs , hares and other animals , also plant forms and S arabesque traceries , all showing a strong aracenic influence . The technique Of some O f these lustered designs bears a striking resemblance to that O f the lustered pottery found in the rubbish mounds O f F O C E ostat , near ld airo , gypt . I n the South Kensington Museum may be seen a collection O f fragments O f bowls and tiles from

ancient ruins in Persia . Those with metallic lusters

to Rha e s to are attributed g , and belong an early period , probably the thirteenth and fourteenth cen [ 7] ur ie s ur t O f o era . Many Of them show Mongolian l inf uence in the figures and costumes , while others

are purely Saracenic in spirit and treatment . One

Of them is a star - shaped tile with Saracenic style Of ornament and mock Arabic inscription in golden

on luster a blue border . The glaze O f all Of these

r fragments contains more o less tin .

S imilar lustered tiles are to be seen in public

museums in this country . The white stanni ferous

enamel is thick and heavy . The superimposed luster is identical with that which is found on H ispano

It - Moresco plaques . is Of brownish yellow tone , but

to - when viewed at an angle it changes a bluish violet ,

O f t he same quality as that Of the lusters Of Valencia .

" We are there fore forced to the conclusion that these star- shaped tiles found in Persia were made under

to Saracenic influence , modified some extent by the

introduction O f Mongolian technique , as exhibited in

o f the paintings human figures . The glaze and luster

W S no r ere purely aracenic , since neither tin enamel luster produced from silver and copper was used in

C . not hina Moreover , we do find in the potteries O f

R S R A l o r akka ( yria ) , hodes , nato ia , Damascus Tur

key , all O f which reveal a strong Persian character , any indications Of the use O f tin glaze o r metallic lusters . This negative evidence goes far to prove [8] that stanni ferous enamel and iridescent decorations

did not originate with the Persian potters . Had they

e un been employ d generally in Persia , they would doubtedly have reappeared in the imitative potte ry

Of these more recent centres .

A noble example Of tin - enameled faience from

Persia is the M ihrab from the S e lj oucid temple at

to Veramin , which was brought this country by M r . H Y . Kevorkian and exhibited in New ork in the

1 1 spring O f 9 4 . This remarkable specimen measures twelve feet nine inches in height by seven feet six

o f -five t inches in width and is composed l sixty ile

panels and plaques O f varying form , covered with a

Cufic in white stanni ferous enamel , with and Neski

scriptions , arabesques and interlaced designs in relie f ,

colored in various shades O f blue , turquoise , purple ,

brown , and green , and heightened with golden , ruby ,

and purple lusters . Supporting some Of the panels are semi - cylindrical columns surmounted by S aracenic

capitals . On the lower tablet is this inscription

“ Ex Ali son son Ab - i ecuted by , Of Muhammed , Of S Tahir , and completed in the month Of haaban in the

66 A 1 2 year 3 . H . ( corresponding to 64 A .

At a later period the Persian potters , reverting to their original methods , glazed their pottery with [9 ] to to glass , but continued some extent use lusters in

the decorations . A Dr . . J . Butler , in a recent writes as follows

I venture to think that the clue to much that is called Persian and Syrian and Moorish is to be found E — E ultimately in gypt that , in fact , gypt was the centre from which there spread over the Nearer East

col the art O f decorating faience , first with beauti ful oure d glazes and enamels , and then with brilliant

changing lustre , and the art O f decorating wall sur

faces with glazed and painted tiles .

“ There was , then , a continuous historic evolution

O f art in E gypt from Pharaonic times to the middle

e It fo r ag s . is true that some few centuries after

no A o r the conquest rab records were written , none

‘ have been preserved , which can be quoted in direct

to reference ceramic art ; but the works Of Walid , Of

u al R Mansur , the founder Of Baghdad , Of Har n ashid ,

u u Khamarawi ah suffi Mam n , Tul n , and y , contain a cient history Of artistic progress in the eighth and ninth centuries a witness carried on by the mosques Of Al Azhar and Hakim in Cairo into the tenth cen

I n tury . the eleventh century we have the strongest

* M i ne 22 1 Th e B ur li n ton a az 1 0 . . g g , July , 9 7 , p [ I O] documentary evidence that the arts in particular textiles and ceramics — had attained a splendour in

E I t gypt unrivalled elsewhere . is therefore certain that there was no gap or break in the artistic history

E : to O f gypt that from Pharaonic art Ptolemaic ,

to R R from Ptolemaic oman , and from oman to

Mohammedan , the chain is complete .

“ to - This brings us , then , the well known diary

a - i - who O f the Persian traveller N sir Khusrau , visited

O a 1 A o r F 0 . a ld Cairo ust t in 4 7 . D N sir i - Khusrau was a most cultivated person , as his diary — shows he even took a part O f his library with him — to Cairo and in particular he had a keen eye to

o r artistic beauty rarity . More than this , he had at

o f O — i e least a fair knowledge riental faience . . ,

not S knew only the ware Of Persia and yria , but also f C . e o that Of hina The proo f is that , sp aking a very

ae beauti ful marble vase which he saw at C sarea , he

‘ 3 to Now C . likens it hinese porcelain , in all his travels

TO he had seen nothing like this lustre decoration .

to describe it , indeed , he has recourse a comparison

E buk alimun o r with a unique gyptian textile called , ‘ ’ O one . chameleon fabric , as might say f this fabric

‘ he himsel f writes : At Tinnis and nowhere else in

ff bukalimun the world they make the stu called , [ I I ] the colour O f which changes every hour Of the day ; it is exported to countries Of the east and O f the vve stf

Here , then , is the clearest admission by a Per sian eye - witness not merely Of the supremacy Of the " textile and ceramic arts in Egypt in the eleventh cen

tury , but Of the manufacture O f most beauti ful

products by processes elsewhere unknown . I f such

no testimony can be rej ected , evidence is O f any value ;

not i f it is rej ected , then it follows that the art O f

E not painting in lustre had its origin in gypt , and in

Persia , and that , at whatever period it began , it had reached to great per fection be fore the middle O f the

not eleventh century , but had then spread northward

- t o p S ria o r to Kai ruan to a i y westward , which N sir ’ I Kh ra . t us u s travels extended is , however , highly probable that the art was introduced into Persia in — the late eleventh o r early twelfth century possibly workers were sent f rom Old Cairo even be fore the

And great fire which caused its first destruction . it i s curious to note that the animal pa inting and figure painting which Often differentiates Persian from

Egyptian design I n pottery was certainly found in

’ Cairene art at the time O f Nasir - i - Khusrau s visit ;

for , speaking Of the golden throne Of the Sultan , he [ 1 2 ] ‘ says that it was adorned with hunting scenes , men , e ’ galloping hors s , and finely written inscriptions

now j ust , in fact , in what would be called the Persian

to manner . The truth is that up the eleventh century the Muslims o f E gypt had not that dislike O f po r traying human and animal figures which they a fter

wards displayed . But , granted that painting in lustre

C to I t spread from airo Persia , IS equally certain that

to I n it spread westward Spain . both countries it

produced results O f very varied beauty . There

not is a predominate type O f lustre , unlike the Per

in - — sian , the well known Hispano Moresque ware , and

this type has a somewhat monotonous sameness , yet there is also a less known type o f lustre with the most

- beauti ful bronze green , ruby , purple and gold hues

buka li un I do not again recalling m . know Of any

Spanish vases o r vessels lustred with this varied bril liance ; but such colours may be seen in all their rich ness o n the walls o f the Casa de Pilatos at S eville a A D — 1 600 . Moorish building dated about . and a few similar tiles are in the Second M ihrab Of the

mosque O f Cordova dated to the thirteenth century . Thus the art which flourished in E gypt in the eleventh century was well established both in Spain and in

” Persia by the thi rteenth . [ 1 3 ] I n attributing to the Egyptians the first use Of luster in the decoration Of pottery , Dr . Butler does not appear to have sufficiently considered the connec tion which existed between luster and stanniferous

enamel . The earliest examples O f lustered wares with which we are acquainted , were applied over a

fo r tin glaze , probably the reason that the pure white tint and Opacity O f the tin brought o ut more perfectly f f the colors and prismatic e fects O the lusters . It is therefore reasonable to assume that both glaze and

“ luster possessed a common origin . The early wares O f ‘ the E gyptians were glazed with glass and appar

ently never with tin .

Dik ran Kelekian who Mr . Khan , has possessed unexcelled opportunities fo r studying the potteries O f

E on the Nearer ast , in his monograph The Potteries

” “ As Of Persia , states that , far as we have any rec

ords , the Fostat potteries antedate the Persian . They A were made for the most part , it appears , by rabian

’ who and Syrian workers , had either emigrated there o r been taken prisoners and kept because Of their ” skill to assist the native artists . I n the absence Of any convincing proof that stanni ferous faience was ever produced by the native

E o r i gyptian Persian potters , and in consider ng the

' fact that both t in- enameled and lustered pottery O f a [ I 4 ] i E sim lar character has been found in gypt , Persia ,

A o r Syria , Northern frica and Spain , in those coun a tries which were Inv ded by the Saracens , the in fer

not the in ence is unavoidable that these people , i f

ventors O f these arts , were at least their disseminators throughout the Nearer East and the Mediterranean

area . We must , there fore , abandon the theory that metallic lusters and tin enamels; as applied to pottery

o r E originated either with the Persians the gyptians .

“ As has been remarked by Stanley Lane - Poole : The arts were in Egypt long before the Tartars became

her rulers , but they stirred them into new li fe , and made the Saracenic work O f Egypt the centre and head - piece Of Mohammedan

’ The refle t méta llzq zze and stanni ferous enamel appear to have reached Europe from the East through

~ who the Saracens , spread westward along the north

A - ern coast O f frica into Morocco . The star shaped and cruci form tiles which we find in Persia were used

I n Spain and continued to be made there until recent

. O f years These forms are Saracenic origin , and are found engraved in the ornamentation O f the hilt and scabbard O f the fifte enth - century sword owned by

O f Boabdil , the last the Moorish kings O f Granada ,

preserved in the Villaseca collection in Madrid . The

* The Ar t o th e S a r c n i f a e s n Eg yp t.

[ I S] - Moslem eight pointed star , with arabesques carved in

‘ On relief , is found the sides O f the wooden pulpit

1 2 6 erected in the year 9 , during the restoration Of

- fo r the mosque Of Ibn Tulun , at Cairo , the Mameluke

L in Sultan ag . Some Of these carved panels are pre

in a re served the South Kensington Museum . They good examples Of Saracenic art O f the thirteenth cen E tury in gypt . Lustered tiles Of the same form , from A Valencia , showing rab influence , were used in the

O f cupola the Convent O f the Conception , at Toledo , fi f Spain , which was built in the early part O f the tee nth S century . ome O f these bear the letters I H S

in luster , while others are decorated with Moorish

' ornaments . One O f the former is figured and described

‘< n F Gruma wh o by a recent writer , Se or Joseph ont y f also informs us that tiles Of this form with Moresque

designs have been found in abundance in Andalusia . They are distinctly Saracenic in treatment and are Of

the fifteenth century . Lusters were Obtained by applying to the enamel a thin wash prepared from the oxides Of silver and copper and subj ecting them to heat in the reducing

furnace . When silver was used alone , the paler yel

Or f low golden and silvery e fects were Obtained , and these occur o n the earlier and finer wares . Copper

' ' * l n a l na 2 Ra olas V e cza na s C ta a s 1 0 . . y a y , 9 5, p 4

[ I 6 ]

O f tin lead , three or four pounds O f , and as many

O f All pounds a certain sand which is found there . these ingredients are mixed into a paste resembling m ice , which is broken s all , pounded like flour , and

mlx . o 18 ed kept in powder This p wder with water ,

re the dishes are passed through it , and after being

baked they keep their lustre . Next , in order to gild the pottery , they take the strongest vinegar mixed

with about two reales Of powdered silver , vermilion ,

and red ochre , and a little wire . When all is thor oughly mixed they paint the patterns on the dishes

with a feather , bake them again , and their gold color

I was is now quite permanent . told all this by the

’ 5 7 potters themselves .

i‘ < Ri afi o p The following account , quoted by from a manuscript report in the British Museum , prepared

C who 1 8 to for ount Florida Blanca , , in 7 5 , desired establish a manu factory Of lustered ware at Madrid , will convey a very clear idea o f the processes O f gla z ing and lustering used at Manises at the end O f the eighteenth century

A fter the pottery is baked , it is varnished with

white and blue , the only colors used besides the gold lustre ; the vessels are again baked ; i f the Obj ects

* d s Ar i n a n Ri a fi o : Th e I n u tr i a l ts S i . Juan F . p

[ 1 8] are to be painted with gold color , this can only be

put on the white varnish , after they have gone twice

through the oven . The vessels are then painted with

the said gold color and are baked a third time , with

only dry rosemary for fuel .

“ The white varnish used is composed O f lead and

on tin , which are melted together in an oven made f purpose ; after these materials are su ficiently melted ,

they become like earth , and when in this state the mixture is removed and mixed with an equal quantity

: to in weight Of sand fine salt is added it , it is boiled

again , and when cold , pounded into powder . The only sand which can be used is from a cave at Benal

uacil g , three leagues from Manises . In order that the

a rr o ba 2 varnish should be fine , for every , 5 pounds

6 to 1 2 Of lead , ounces O f tin must be added , and — hal f a bushel O f fine powdered salt : i f a coarse kind

f to is required , it is su ficient add a very small quantity

O f o r c uar tos O f tin , and three four worth salt , which in this case must be added when the ingredient is

ready for varnishing the vessel . Five ingredients enter into the composition O f

: the gold color copper , which is better the Older it

is ; silver , as Old as possible ; sulphur ; red ochre , and strong vinegar , which are mixed in the follow

: O f O f ing proportions copper three ounces , red ochre [ I 9 ] one es e ta twelve ounces , Of silver p ( about a shilling) ,

sulphur three ounces , vinegar a quart ; three pounds

O f O f ae ( twelve ounces ) the earth or scori , which is le ft after this pottery is painted with the gold color ,

to is added the other ingredients .

“ They are mixed in the following manner : a small portion Of sulphur in powder is put into a cas

serole with two small bits O f copper , between them a coin Of one silver pes e ta ; the rest O f the sulphur

and copper is then added to it . When this casserole

o n to bOil is ready , it is placed the fire , and is made

until the sulphur is consumed , which is evident when no flame issues from it . The preparation is then

taken from the fire , and when cold is pounded very fine ; the red ochre and scori ae are then added to it ; it is mixed up by hand and again pounded into powder . The preparation is placed in a basin and mixed with enough water to make a sufficient paste to stick on the sides Of the basin ; the mixture is then rubbed on the vessel with a stick ; it is therefore indi spen “ sable that the water should be added very gradually

until the mixture is in the proper state .

“ The basin ready prepared must be placed in an

f r At oven o six hours . Manises it is customary to do so when the vessels O f common pottery are baked ; after this the mixture is scratched Off the sides Of the [ 2 0] ‘ bas i n with some iron instrument ; it is then removed

and from there broken up into small pieces , which are pounded fine in a hand - mortar with the quantity

Of vinegar already mentioned , and after having been well ground and pounded together for two hours the mixture is ready fo r decorating . It is well to Observe that the quantity O f varnish and gold - colored mixture which is required fo r every Obj ect can only be a sce r ” in ta e d by practice .

The H ispano - Moresque lustered wares O f the A fourteenth century , when the rabic processes were

in use , were covered with a glaze in which tin formed

t an impor ant component . This enamel was exceed i o r ngly hard , entirely opaque and O f a white creamy

tint . The thickness and density O f the enamel per ceptibly increased the weight Of those pieces to which

O f it was applied . O f this character is the neck the

O large vase in the Museum collection ( N . A fter the expulsion Of the Moors , the Spani sh

O f potters , gradually abandoning the processes their

Moorish teachers , began to apply to the surface O f

their pottery a thin wash Of white pipe clay , or slip ,

which they covered with a modified glaze , in which

lead formed the principal ingredient . By this cheaper

treatment the appearance O f whiteness and opacity , so [ 2 1 ] characteristic O f tin enamel , was still preserved , but

o r the porous slip , engobe , with its film O f lead and

tin , being O f much less specific gravity than tin enamel ,

to O f added but little the weight the ware , so that it was perceptibly lighter than similar tin—enameled“ ex ff amples . The di erence , by comparison Of pieces

so treated by the two processes , is marked that an expert can distinguish between them without resorting to the test O f hardness . That such had largely become the practice in certain parts O f Spain in the latter part Of the six te enth century appe ars to be proved by the description given by Henry Cock O f the method O f glazing em A 8 ployed by the potters Of Muel , in ragon , in I 5 5

to which reference has already been made . His state ment that “ The vessels are baked in a specially constructed oven and when removed from

h i th whi te varni s h this are varnis ed w and polished , a fter which they are washed with a mixture O f twenty

o r O f five pounds O f lead , three four pounds tin and as many pounds O f a certain sand which is found

” to there , evidently applies the white slip with its plumbeous and stanni ferous covering . A critical examination O f Hispano - Moresque wares produced after 1 500 will reveal the fact that they do not possess the hardness Of surface Of the [ 2 2 ] Saracenic pottery Of Persia or the Moorish ware O f

Spain Of an earlier date . Pieces belonging to the

O f beginning the sixteenth century , while they reveal

O f o r the presence more less tin in the glaze , also show traces O f the white slip and can be scratched

with a steel point . In the following century the slip coating became more perceptible and the glaze con

" side rabl y so fter , and by the beginning Of the seven

n h n tee t ce tury tin had become practically eliminated . The wares O f this period were O f the character O f — mezza maiolica . 7 While some O f the lustered tiles O f the sixteenth

century , however , notably those produced at Seville ,

were also coated with slip and glazed with lead , the

to not practice , as applied tiles , did become general ,

‘

ename l O ften and stanni ferous , combined with glass

o n glazes , also continued to be used tiles until recent

times .

In departing from the Moorish method Of gla z

to ing , the Spanish potters appear have adopted a

O f more purely Spanish style treatment , and instead

Of continuing the simulation O f Arabic lettering and

to ornament , they began introduce Christian quota A tions and symbolism in the decorations . favorite inscription consisted Of the O ften repeated words

“ ” O - D M I NE S URGE , which on some O f the slip coated [ 2 3 ] - and lead glazed plaques is entirely distinct and legible . Other favorite decorative motives were derived from

“ ” the Latin UR B I E T OR B I and the Opening words O f

‘ : I n rinci io the Gospel O f St . John p p erat verbum

’ et verbum erat apud Deum . By frequent copying some O f the Roman letters were gradually changed or

modified in form , and in time the entire inscription

became a mere meaningless decorative embellishment .

As will be seen by the statement Of Henry Cock , the enamel used on the H ispano - Moresque ware in

1 585 contained three or four pounds Of tin to every

- five twenty pounds O f lead , a proportion Of twelve or

. two sixteen per cent , while exactly centuries later the R n amount Of tin employed , as we are informed by ia o , had decreased to one - half pound o r o ne pound to

- five e to every twenty pounds Of lead , equival nt only

wo o r fo r t four per cent for the fine enamel , while the coarser wares a very small quantity Of tin was f considered su ficient . Since the quality O f the enamel was dependent upon the amount O f tin used in the

composition , the extent O f the decadence O f the art

in recent times will be understood . After the introduction Of the art Of lustering into Spain in the fourteenth century it wa s carried

t into Italy , where it was developed o an even greater degree O f perfection and used effectively on the [ 2 4 ] and perhaps forming a connecting link between that f and the earlier Persian pottery . They are formed O an ordinary clay covered with an earthy or stanni fer o us wash , which is again coated with a rich trans lucent blue glaze on which a diapering O f vermicular ornament in coppery lustre covers the whole piece , except that the edges and handles are also painted in

lustre . This ware is by no means common ; it occurs

‘ ’ o f a lbarelli : in the form plates , covered bowls , and and is supposed to be the workmanship O f ‘ Mo o r i sh potters in Calata - Girone

It will be Observed that the above writer is some what uncertain ( the query mark being his ) whether the ware ' he describes is coated with a stanni ferous or E an earthy wash . xamples O f this character which

nO O f we have examined show traces tin enamel . The lead glaze has either been applied directly over

- the blue colored body o r on a thin shell O f slip .

a re Such pieces , however , Of a late period , probably not earlier than the seventeenth century , as the com

O f bination white slip , lead glaze and coppery luster

would indicate .

The superficial film which is seen on Hispano ' Moresque pottery, called r efle t ni e ta lliq ue by the

French , is Of four distinct varieties [ 2 6 ] L o r . GO DEN , pale deep

CA N GEAN TE ( changing , when viewed from ff di erent angles , from brownish golden

to r violet , green , blue , and ose ) .

i P L o r - O f- MADRE ER A , mother pearl , which also

to varies from silver blue , lilac , and a

purplish ruby .

P P Y CO ER , O f various degrees Of reddish tone .

MOOR I S H LU STE RE D POTTE RY

OF

TH E FOU RTE E NT H CE NTURY

The Moors founded the kingdom O f Granada in

1 2 3 5 , and the city Of that name became the seat Of S A the Moorish government in pain . The lhambra

1 2 e r was erected about 73 . One O f the earliest re f ence s to luste red pottery with which we are acquainted

O f A E who is that the rabic geographer , drisi , about

“ 1 1 O f : 54 wrote Calatayud , in Spain Here the gold colored pottery is made which is exported to all coun

’ 7 o ne tries . Malaga also is believed to have been O f

the early centres O f lustered pottery , since the trav [ 2 7] - Batutah 1 0 eler Ibn , writing about 3 5 , tells us that “ At Malaga the fine golden pottery is made which

” 1 wa s is exported to the furthermost countries . It

di scov there that the great vases , which were later A ered in the lhambra , were made .

‘ ’ E ximenus , in his Regiment de la Cosa Publica ,

1 O f Valencia , 499 , in speaking the excellent things

‘ O f : made in the kingdom Valencia , says The twenty seventh excellent thing is that some artificial Obj ects are made there which bring great renown to the coun

no w try , for they are excellent and beauti ful , and are to be found in other localities but above all is the beauty O f the gold pottery so splendidly

painted at Manises , which enamours everyone so much ,

O f that the Pope , and the Cardinals , and the princes the world Obtain it by special favor , and are aston i she d that such excellent and noble works can be made

’ ” 2 O f earth .

A Referring to this statement , Mr . lbert Van de

“ - Put , in the recent edition Of his Hispano Moresque X ” V . to : Ware O f the Century , has this say

The passage in which Francisco E ximene s o r

Jimenez records the beauty Of the golden ware pro

1 Ria fi o Th I nd us tri a l Ar ts i n S a n . e p i . 2I bid ,

[ 28] duce d at Manises , near Valencia , and the favour it

found in the eyes O f the Pope , Cardinals and princes ,

1 8 1 dates from 3 3 , when it was penned , not from 49 9 , the year when it was first printed . This serious chron ological misattribution is to be attributed to the well

t O f nigh unique rari y the Valencian incunabulum , the

‘ ’ C E ximene s Regiment de la osa Publica by , in which

’ that rather Obscure writer s testimony relating to i ” Manises s printed .

The great vase O f the Alhambra wa s discovered in the sixteenth century in a subterranean vault be

I t to neath the palace . is attributed the first half

O f the fourteenth century and measures four feet six

inches in height . The decorations , in blue , brown , and

faint madreperla luster on a delicate yellow ground ,

O f consist archaic animals ( antelopes ) , arabesques A I and rabic inscriptions . t is Of amphora form with

- tapering base , surmounted by a funnel shaped neck and expanding mouth From the shoulders were originally two flat wing- shaped handles whose upper

to ends j oined the neck near the p . The illustration O f the Alhambra vase with which

* Riafi o C we are familiar , as used by and opied by later

on o n writers ceramic art , having been engraved wood

* Th e I nd us tri a l Ar ts i n ai n S p .

[ 29 ] be fore the more exact art o f half - tone engraving Came

'

into use , is not accurate in detail and therefore some

>l< what misleading . Leonard Williams furnishes an exact reproduction Of a photograph taken from the f vase itself . In this representation the shape O the

vase is seen to be broader at the base and less slender , and the inscribed band which encircles the body be neath the two antelopes is wider than the earlier illus

i n trat o s indicate . This writer states that the vase

had been broken apart about the middle , and his illus

trati on reveals the fact that the upper half O f one

Of the handles is gone .

1 6 O f In 7 4 this vase , with a larger one the same

character and a portion O f a third stood in the garden

’

O f the governor s palace , where they were exposed to

th i n u ri o us ff O f e, j e ects the elements and the vandalism

O f relic hunters . Through mutilation and defacement

O f only small portions them remained , when they mys

te r iousl y disappeared , about the beginning o f the nine h f te ent . O century Fortunately , drawings the larger

vase have been preserved , but the decorations , while s similar in tyle , vary somewhat from the one at

O f O f Granada , as the arms the Moorish kings Gran ada are introduced and bi rds are included in the orna

O f mentation the handles .

* T d i n he Ar ts a nd Cra fts a nd Ol e r S p a .

[ 30 ] The upper part O f a large vase in the Museum

O f the Hispanic Society , which was purchased in Paris

NO C a o . a few years g ( I Of the atalogue ) , presents many similarities in style to that Of the vase at the A Alhambra . ssuming that the same relative propor

tions prevailed in the vase , Of which the fragment is

a part , the entire height would be about four feet

I t / resemble s ten and a half inches . in some respects

to A fi the missing companion the lhambra vase , as g

>z< ure d Mur h to by p y , such as the overhanging p, but ff it also shows some marked di erences . In the Mur phy lithograph the vertical panels O f the neck are not interrupted and are arranged in more uni form widths , and the decoration is more regular and care fully

drawn . The fragment in the Museum has blue dec

o n orations a yellowish ground , the dark , brownish

low luster being in tone , as is the case with other known examples O f Arab maiolica O f the fourteenth

century .

* : Th e Ara bia n Anti ui ti es a i n James Cavanah Murphy q of S p . d 18 1 . Lon on , 3

[ 3 1 ] HlS P ANO- M O RE S"UE LUSTE RED POTTE RY

OF

THE FI FTEE NTH AND LATE R CE NTURIE S

I n the middle Of the fi fteenth century , Manises was the centre O f the manufacture Of lustered pottery

ro in Valencia , and much Of the finest ware was p

duce d f n . ot to there On account Of the di ficulty , say impossibility O f differentiating the wares produced in Valencia itsel f from those Of the neighboring towns

Ge sa rte Of Manises , Paterna , and M islata , we shall ,

in this list , make use O f the term Valencian in its broader application to the province instead O f to the city Of that name , in the attribution Of pieces to this

centre .

p

ORNAM E NTAL PATTE RN S

Following the classification Of ornamental de A “ signs adopted by Mr . . Van de Put in his H is — ” XV . C pano Moresque Ware O f the entury , a fter eliminating some Of the less distinctive variations

we and adding some Of a later period , may divide

to es the ware into eleven styles , according the motiv

employed , as follows [ 3 2 ]

VI NE LEAF . A n diaper O f vi e leaves , either large or small ,

o r terminating in smaller leaves , flowers ber ries . Second and third quarters O f fi fteenth century . The individual motives vary some in ff what Size and form in di erent pieces .

Y Y LOW BR ON LEAF A ND F ER .

A foliage pattern composed o f three - parted leaves and tendrils from which spring small

flowers with petals Of varying number . This pattern occurs in great variety O f arrange ment with motives variously modified . Sec ond and third quarters O f fifteenth century .

D T L K O AND STA .

A ground pattern frequently used on ribbed plaques and other pieces . It consists O f a A fine network Of loops and dots . lso called

o t s o M u modifica N e f si c . This pattern is a

O f - tion the small vine leaf diaper . Third quarter O f fi fteenth century .

O O L NG P INTED LEAV ES .

Wreaths o r diapers With fern - like foliage E between . nd O f fifteenth century .

H L W EE .

Bands or panels O f six - spoked Wheel - shaped

ornaments arranged in a row , Often com [ 34 ] bined with other bands o r panels Of thistle

‘ - d like flowers , tree like ornaments , otted , or

o r dot net , diapering , and stalk pattern . S ix teenth and seventeenth centuries .

L - DE - LI S F EUR . C urled leaves , disposed sometimes in the

fl e u r- — form O f de lis , in pairs , curling inward with an up right point between . This diaper

on is usually large and bold , and occurs pieces Of the late fi fteenth and early six teenth centuries .

GODROON .

- o r Large scale shaped , oval , figures painted around the edges ‘ 01‘ centres O f bowls or I n plaques . Sixteenth century . that and the following century the ware wa s godrooned in T relief . O the same category belong those pieces which have relief ornaments Of other

— on patterns rosettes , leaves , etc . usually

on the marly , but occasionally the central bosses .

[ 3 5] D ECORAT IVE PATTE RN S ON BACKS OF PLA"UE S

Hispano - Moresque lustered plaques and dishes

o n are almost invariably decorated the under sides , o r backs . These ornamental designs , While they are usually in luster , are few in number and quite char acte ri stic . They may be described as follows :

1 A o r . large spiral , concentric rings , composed

o r O f fine lines , bands and lines combined ,

covering the entire back . This style O f treat

ment is the most common .

n 2 . S o r co pirals , rings , with a marginal band

taining a running border design .

A 3 . diaper O f large ovals formed o f tendrils ,

- each enclosing a plume like ornament . This

design is frequently used .

A a 4 . centr l ornament Of rosette form , occupy

ing the depression Of the boss , surrounded

on by concentric circles , with curl ornaments

the outside .

A o r 5 . Concentric circles enclosing an rabic

o r Christian character , simulated device ( see N f O . 60 O Catalogue ) .

— o r - 6 . Leaf shaped shuttle shaped ornaments

scattered over the surface . [ 36]

A diaper composed O f circles formed Of ten

drils , each enclosing a cluster Of three or four

or dots , berries . The margin is frequently

decorated with a running border design .

A bryony leaf pattern in blue and luster ,

o n occasionally used the finer pieces .

A a o r large eagle , dr gon , bird , heraldic lion

n en grotesque animal in luster , coveri g the

tire sur face . Used on the best pieces ( see

NO 2 . 3 O f Catalogue ) .

H E RALD I C D E S I GN S

On account Of the difficulty O f indicating heraldic tinctures through the media O f blue enamel and metal

i n lic luster , conj unction with the creamy ground color

to - O f the ware , which the Hispano Moresco potters

f not im o s were limited , it is frequently di ficult , i f p

to sible , identi fy the coats Of arms which appear upon

NO pieces O f the fi fteenth and sixteenth centuries . serious attempt to determine the significance Of these armorial devices appears to have been made until Mr . A . Van de Put set himsel f to the task , the results Of [ 3 7] his researches being presented in his H ispano

XV to Moresque Ware Of the . Century , which we are indebted for the recognition O f certain O f the

n e xam le O f heraldic bearings which are found o c p s

the ware in this Museum .

The chronological attributions used in the fo l lowing catalogue have been based on the conclusions

o n reached by the foremost authorities the subj ect , which have been generally accepted ; but these approx imate dates are subj ect to future revision , in the event Of the discovery Of new facts bearing upon the history

Of the art .

EDW IN ATLEE BAR B ER

[ 38]

Some O f the elongated panels and grooves are decorated with scrolled and arabesque de

signs , while others are filled with a triple spur

. motive These are all painted in “ a dull , coppery

on At luster a rather weak mottled blue ground . the lower edge O f the neck are fi fteen circular a medallions in the same luster , e ch containing an A rabi c ( simulated ) inscription . Separating the two sections is a horizontal band O f blue enclosed

between bands Of luster and similarly decorated . The proj ecting cornice and the raised ribs are covered with a somewhat paler and yellower

' O f luster , low tone .

Moorish . Probably Malaga , about the middle Of o e the f urteenth c ntury .

Made Of a coarse , light red clay , fired rather

hard . Tin enameled . PLATE I

2 T . ILE

and w d . Height i th , 7% inches — FOR M Octagonal .

— - DESIGN . Bold strap work , intersecting at right angles and enclosing conventional plant

. forms in white , reserved in a blue ground Small eight- pointed tile designs in the four cor A A ners in blue . central shield bears the rabic “ i In And inscr ption , luster , no one is supreme except Allah.” — LUSTER . Golden and iridescent .

. Moorish . Probably Malaga , fi fteenth century PLATE I I [ 4 0] PLATE I

1 N . ECK OF LARGE VA SE

PLATE I I

2 S R D I . LU TE E T LE — Hispan o Moresque Fifteenth Century

3 . DI SH

Diameter , inches .

1 . Depth , % inches

d Of b 2 . Wi th rim , or marly , inches — FORM . Flat base and nearly vertical sides . which rise to a horizontal o r slightly mping

brim . — A DESIGN . round centre a broad , circular -

- A c band Of mock rabi inscription , broken into

four equal segments by four pointed ovals , all

in blue . On brim boldly painted arabesques resembling a Simulated inscription O f a cursive A type , also in blue . round the rise a serrated f o t . O b rder pa tern The arms Despuig , or Puig ,

R r eve s e . in luster on a creamy white field .

An eagle , in golden luster , covering the entire

back .

— GOlden LUSTER . , which changes to violet ff and green when viewed from di erent angles .

f r efle t The e fect is a brilliant violet and rose .

n Vale cia ( Manises ) , second quarter Of fi fteenth F S ee r nti s i e . century . o p ce

I n ven Valencia St . John was particularly

crated , and the emblematic eagle is O ften found

o n pieces made there . This dish is figured by Van de Put in the 1 9 1 1 edition O f his work on H ispano - Moresque

“ ware . He describes the arms as A mount Of [ 4 5] one - - coupeau surmounted by a demy fleur de lys , ” in gold upon the cream ground colour . A similar dish ( with different arms ) is in

the British Museum .

4 . B OWL

1 8 . Diameter , inches

Height , 5 % inches .

O M — F R Sweeping curved interior , without

S on marly , and tanding a small foot , five inches

- in diameter . Four loops , at equi distant points , r h ise from t e under side and curl over the rim .

- Fo ur — DESIGN . kite shaped ovals , in two pat

— - terns basket design and tree shaped ornament , m A A with si ulated rabic characters . lternating w ' ith these are four other ovals , Of Similar form , each containing an agraffe - shaped ornament in

’

blue and luster . Between the tops Of the Ovals ,

around the margin , are arabesques simulating .

A . rabic writing , boldly painted in blue In the centre two squares arranged in the form O f a

- Mohammedan , eight pointed star , enclosing an

- eight lobed rosette in blue , enclosing a smaller

star in creamy white . — . to LUSTER Dark golden , changing rose and

violet . f O . Valencia , first hal f the fi fteenth century PLATE I I I A dish with similar agraffe - shaped orna e ments is in the S vres Museum . [ 46 ]

A A G AR 5 . LB RELLO , OR DRU "

1 1 Height , % inches .

— A - A inscr i DESIGN . band O f mock rabic p t ion around centre and another o n collar in blue

A to on creamy ground . band at p composed O f

a nd . heavy vertical lines , alternately blue luster

- a t Band Of Shield shaped ornaments base , in w luster , heavily outlined in blue . Narro er bands

O f creamy white with luster ornaments , separat

ing the broader bands . — . to LUSTER Brownish golden , changing

violet .

O f Valencia , first hal f fifteenth century . PLATE IV B o From the collection O f the late M . y

NO ( .

A A 6 . LB RELLO .

I I / Height , I 2 inches .

A to companion the preceding , but varying

slightly in minor details .

Valencia , first hal f O f fi fteenth century . PLATE I V

f Bo From the collection o the late M . y

NO 1 ( . 5 )

A A 7 . LB RELLO . 1 2 n Height , % i ches . —A DESIGN . broad central band Of large vine leaf diaper in blue and luster o n creamy [ 49 ] A - A ground . t top and base a band of mock rabic r inscription , separated from the cent al zone by

O f C narrow bands reamy white , with luster deco

ration . — w LUSTER . Pale bro nish golden , changing

to violet and rose . f O . Valencia , first half fi fteenth century PLATE IV f From the collection O the late M . Boy ( No 49 )

8 . DEEP DI SH .

r 1 Diamete , 9 % inches .

t . Dep h , inches

d b 2 Wi th of rim , or marly , % inches . — FORM . Flat base , straight sides , Slightly

sloping outward to the top , and flat , horizontal

brim . — DESIGN . I n centre an intricate pattern O f

- strap work in white , bordered by heavy blue

- lines , the spaces enclosing each a leaf shaped A ornament in luster , on blue ground . round the marly a border pattern composed O f large flow n n ers . ( marguerites ) alternating with a co ve

ti onal TW O e n ornament . Similar floral bands

tw Ar ms circle the inner Side and o the outer .

E c u e n bannier e ’ : 1 — , , quarterly 4 , a lion ram

2— - pant ; 3 , a triple towered castle . [ 50 ] PLATE IV

PLATE V

- 8 . DEE P DIS H WITH ARM S OF CASTILE LEO N Valencia ( Manises ) Late Fifteenth Century

1 1 . DI SH .

Diameter , inches .

— o FORM . Deep , curved cavett ; flat , slightly

sloping marly ; small boss in centre . — A DESIGN . bird in centre , surrounded by

five - e four and six p taled flowers in blue , within

rings O f tendrils ; from which . spring bryony

leaves , alternating with circles enclosing four A petaled flowers in luster . round marly similar

decoration , in which is an inscription in Gothic

“ ” AV E GRA T I A P L lettering , MARIA ( ) ENA , in

blue . Dotted ground in luster . — LUSTER . Pale golden , with traces O f iri

descent blue .

1 0 Valencia , late fi fteenth century ( 4 7 PLATE VI II A similar dish , with figure Of greyhound and same inscription is in the Osma collection in

Madrid .

1 2 AT . PL E .

1 1 . Diameter , % inches — l FORM . Sha low curved , broad cavetto ;

horizontal , slightly guttered marly .

—I rl fl OWe r DESIGN . centre a conventional in

O f on blue ; diaper small stars in luster a pinkish ,

creamy ground . — LUSTER . Brownish , changing to blue and

lilac .

Valencia , late fi fteenth century . [ 56 ] PLATE VI

S 9 . DI H Valencia Late Fifteenth Century

PLATE V I I

10 . PLATE Valencia Late Fifteenth Century

PLATE VII I

I I IS . D H Valencia Late Fifteenth Century

1 A 5 . PL QUE .

1 Diameter , 7 % inches . — F . ORM Shallow , curved cavetto ; flat , hori

z nta l o brim ; slightly convex centre .

— O f DESIGN . Diaper bryony leaves and flow

’ o n ers in blue . Tendrils and flowers in luster

A — u h . r ms Eonsw n a bo c e creamy ground , With

two . bend , on which are three birds between n b f . O cinque oils ack , bryony leaves in blue and

luster . — LUSTER . Dark golden or coppery , changing

to Violet .

O f Valencia , latter hal f fi fteenth century

A 1 6 . . PL QUE

1 Diameter 7% inches .

M — F FOR lat , Slightly convex centre ; Sides n Slopi g upward .

— n DESIGN . Diaper O f bryony leaves a d flow

' w ith te nd rils ers in blue , in luster on creamy U ground . nder side decorated with concentric

' in luste r rings . In central circle the sacred mon

ogram I H S in luster . — LUSTER . Brownish , changing to blue and

violet .

O f Valencia , third quarter fi fteenth century . PLATE X I I

[ 64 ] PLATE IX

1 IS 3 . D H Valencia Fifteenth Century

PLATE X

1 IS I G S C N I ARM S 4 . D H W TH UA O Valencia Late Fifteenth Ce ntu ry

PLATE XI

1 5 . PLAQUE Valencia Late Fifteenth Century

A PL QUE .

1 . Diameter , 7 inches M — FOR Curved cavetto ; flat marly , sloping

upward . — DESIGN . Bryony leaves and flowers in blue

f Ar ms — with diaper O tendrils in luster . . Bendy O f five cream white and purple charged with a

lion rampant in blue . On base , large bryony

leaves in blue with tendrils in luster . — LUSTER . Pale golden , changing to violet . i f O . Valenc a , third quarter fifteenth century PLATE XIII

1 AT 8 . PL E .

1 0 . Diameter , % inches — FOR M Shallow plaque . — DESIGN . Bryony leaves and flowers in dark

Ar ms — blue , tendrils in luster . Barry O f six

‘ ground color and blue . On base , large bryony

leaves in blue . — LUSTER . Brownish , changing to blue and

violet .

Valencia , third quarter Of fifteenth century PLATE X I V

1 9 . DI SH . 1 Diameter , 5 % inches . 1 Depth , inch . W d Of b i th rim , inches . — FORM . Flat base , vertical sides ; flat marly ,

Sloping slightly upward .

— ‘ . Gi l Cl€S DESIGN formed by tendrils , enclos

- e ing a six p taled flower , from which springs a [ 73 ] bryony leaf , all in blue . Five hexagonal figures ,

with incised outlines , each enclosing a large six

lobed flower . Dotted diaper in luster on creamy

ground . Similar decoration on back , in luster . — LUSTER . Golden , changing to blue and

Violet .

O f Valencia , third quarter fifteenth century . PLATE X V

20 A . PL TE . r 1 Diamete , 4 % inches .

— u FORM . Shallow , curved cavetto ; flat , p — ward Sloping brim ; slightly convex centre . — DESIG N Divided into eight compartments

- by blue lines , terminating in three lobed leaves . — Diaper Of three five and six petaled flowers

I n s m O f circle for ed tendrils in luster , on creamy

ground . Similar ornament in luster on back .

— l “ f . O . LUSTER Pa e golden , with touch blue f O . Valencia , third quarter fifteenth century PLATE XVI

DEEP DI SH .

1 Diameter , 9 % inches .

Depth , 4 inches . dt f O . Wi h marly . inches

M — FOR Flat base ; straight sides , Slightly l S oping outward ; flat marly .

[ 74 ] PLATE XIII

I 7 . PLAQUE Valencia Late Fifteenth Century

PLATE XIV

1 8 . PLATE Valencia Late Fifteenth Century

PLATE XVI

20 . PLATE Valencia Late Fifteenth Century

PLATE XVI I

2 1 P IS . DEE D H Valencia Late Fifteenth Century

— DESIGN . Bryony leaves and flowers in dark

blue , with tendrils in luster . In centre , the sacred

monogram I H S in luster . Same design out

side . On base , concentric rings with rosette in

centre . — LUSTER . Pale golden .

Valencia , third quarter Of fifteenth century . PLATE XVI I

E NO Collection Of mile Gaillard ( .

DEEP DI SH .

I 8 Diameter , % inches .

Depth , 4 inches .

d Of 2 Wi th marly , % inches .

— to FORM S imilar preceding .

— S imlla r DESIGN . to preceding . — . to LUSTER Golden , changing blue and

violet .

O f Valencia , third quarter fi fteenth century . PLATE XVIII

O f From the collection the late M . Boy

( NO . 53 )

2 A 3 . PL QUE .

1 8 . Diameter , inches — FORM . Cavetto and marly merged in one

continuous curve . [ 85] — DESIGN . Diaper Of

vine leaves in blue , alter nating with other Vine

leaves in luster , from which Spring tendrils and

small flowers in luster , on I n creamy ground . cen

O f tre , the arms Cardinal Despuig in luster on

creamy ground . On back , an eagle covering the e n

i n . tire surface , luster — LUSTER . Golden , changing to violet and

blue .

O f . Valencia , third quarter fifteenth century PLATE X I X

2 4 . DI SH .

1 . Diameter , 4 % inches 1 Depth , % inches .

d Of . Wi th marly, inches M — FOR Flat base , vertical sides and hori z onta l marly . — DESIGN . Vine leaves in blue alternating

with other vine leaves in luster , from which

spring flowers and leaves in luster . Scrolled

O f design in luster outside . The arms Despuig

in dark blue on luster ground . On base , a spiral

in luster covering entire surface . — . to LUSTER Brownish , changing madre

perla .

Of Valencia , third quarter fifteenth century . [ 86 ] PLATE XX

PLATE XIX

2 I ES P IG ARM S 3 . PLAQUE W TH D U Valencia Fifteenth Century

PLATE XX

2 'IS I S P IG ARM S 4 . D H W TH DE U Valencia Fifteenth Century

A PL QUE . 1 Diameter, 7 inches . — . C FORM urved cavetto , upward curving

marly . Centre Slightly convex . — A DESIGN . diaper Of vine leaves and small

. A flowers in luster rmorial design in centre .

Back decorated with a spiral in luster , covering

entire surface . — LUSTER . Coppery , changing to violet .

O f Valencia , third quarter fifteenth century . PLATE XXI

A 26 PL QUE .

T ; . Diameter , 7V inches

— o ne FORM . Cavetto and marly in continu

ous curve .

- DESIGN . Diaper Of vine leaves in blue ,

alternating with other Vine leaves , from which

Ar ms spring small flowers and spirals in luster . . A lion rampant counterchanged in blue and n F o er ess e . brown , a shield party p Back deco rated with a spiral in luster covering entire

surface .

— to LUSTER . Brownish , changing violet and

blue .

Valencia , third quarter Of fifteenth century . PLATE XXII

[ 93 ] 2 A . 7 . PL QUE

I . Diameter , 7% inches — FORM . Same as last . — A m — A S lmllar . r s DESIGN . decoration lion rampant in blue on brown ground ; shield

surrounded by laurel leaf wreath .

— tO ~ blue LUSTER . Brownish , changing and

violet . f O . Valencia , third quarter fifteenth century PLATE XXI II

A 28 . . PL QUE

r 1 . Diamete , 7% inches

— “ FORM . Cavetto and marly in one continu

ous curve .

DESIGN . Vine leaves and flowers in luster — Ar ms A lion rampant in blue on yellow luster

ground . On back , a large spiral in luster .

V Of alencia , third quarter fifteenth century . PLATE XXIV

2 AT 9 . PL E .

Diameter , inches .

O M — F R Slightly curved , with a depressed

line separating marly from cavetto . —A DESIGN . chain Of large marguerites o r

en rosettes around central shield , and another in circling the brim , luster , with blue centres and A — enclosed in blue links . r ms Shield with bull [ 94 ]

PLATE XXII

26 . PLAQUE Valencia Fifteenth Century

PLATE XXIV

28 . PLAQ UE Valencia Late Fifteenth Century

on n in luster creamy ground , the heraldic ensig B l O f u . the house Of Boil , or y , O f Manises Back

decorated with spiral in luster .

— to LUSTER . Brownish , changing blue and

violet .

Valencia ( Manises ) , late fi fteenth century . PLATE XXV n S G . . m M . Presented by e or J de Os a , Of adrid

A 0 A . 3 . LB RELLO 1 2 Height , 94 inches . — DESIGN . Bryony leaves and flowers in blue

o n with spirals and tendrils in luster . In blue

one creamy ground , the escutcheon O f Of the

religious orders .

- to LUSTER . Brownish , changing blue and

violet .

O f Valencia , third quarter fifteenth century . PLATE XXVI

1 A A 3 . LB RELLO . 1 1 Height , % inches .

—~ DESIGN . Divided into five vertical panels ,

each containing an upright stalk , from which spring at either side bryony leaves and flowers

in blue . Spirals and tendrils in luster in the

interspaces . — t . o LUSTER Brownish , changing blue and

violet .

Valencia , third quarter Of fifteenth century . PLATE XXVI [ 1 05] 2 A A 3 . LB RELLO . 1 1 Height , % inches . — ll S lm ar . DESIGN . to preceding

A A 3 3 . LB RELLO .

Height , inches . — FOR M Tapering . inward toward the top .

— five - DESIGN . Large three and parted

O f leaves in dark blue . Clusters berries ( three ) ,

tendrils and small leaves , in luster . Blue and

luster bands encircling j ar at top , bottom and

o . centre . Basket pattern around c llar

- LUSTER . Brownish , changing to blue and

violet .

O f Val encia , third quarter fifteenth century . PLATE XXVII

A A 3 4 . LB RELLO . I Height , 3 % inches . — Di l DESIGN . V ( le ( l into two sections by band — around middle , from which leaf shaped orna

ments spring above and below , all in blue , the e spaces between b ing filled with leaves , tendrils

and flowers in luster .

R — LUSTE Brownish .

Of Valencia , third quarter fifteenth century . PLATE XXVII

A A 3 5 . LB RELLO . 1 9 Height , 3 1 inches .

Companion to preceding . PLATE XXVI I [ 1 06 ]

PLATE XXVI I

A A . 39 . LB RELLO 12 Height , % inches . — DESIGN . Large vine leaves in blue and in

luster , from which spring tendrils , leaves and

‘ small flowers in luster .

— s to LUSTER . Browni h , changing blue and

violet .

- Of n Valencia , third quarter fifteenth ce tury . PLATE XXVI

A A 0 . 4 . LB RELLO 3 1 1 . Height , 4 inches — n f S IX . O DESIGN . horizo tal bands Diaper

small - vine leaves in blue and in luster with scrolls

and tendrils in luster . — LUSTER . Brownish , changing to blue and

violet . al V encia , third quarter of fifteenth century . PLATE XXIX

1 A A 4 . LB RELLO . 1 1 Height , 34 inches .

-anI on Comp to above .

2 A A 4 . LB RELLO .

Height , inches .

Similar to above .

LUSTER . Beauti fully iridescent mad re r a ‘ pe l , blue , and violet tones . O f t Valencia , second half fifteenth cen ury . PLATE XXIX [ 1 1 2 ] PLATE XXVIII

A A LB RELLO . 6 Height , % inches . — DESIGN . Three horizontal zones O f vine

lea f pattern , separated by broad bands , all in

luster . — LUSTER . Brownish , changing to blue and

violet .

Valencia , sixteenth century . PLATE XXX

A A 44 . LB RELLO . 6 Height , % inches .

Companion to above . PLATE XXX

A A Y AR PH RM C ".

8 . Height , % inches

O M — F R Jar shaped , with handle at back and

Short spout in front . — DESIGN . Large vine leaves in blue and in

- luster , with flowers and scroll work between .

— to LUSTER . Brownish , changing blue and

violet .

Valencia , sixteenth century . PLATE XXXI

A PL QUE .

Diameter , inches .

- DESIGN . Divided into sixteen segmental compartments by raised ribs radiating from a

central circle and curved at the ends , each sec

O f tion enclosing five raised pellets , in imitation [ 1 1 7 ] the j oints and rivets o f metal plaques . Outside Of the circle the surface is covered with a dot

- h and stalk diaper , running lengthwise wit the — ’ Ar ms A . panels . dragon s head , crowned Re

O f verse , a diaper ovals formed of tendrils enclos

- ing feather like design s in luster . — LUSTER . Madreperla , with blue , violet , and ruby reflections .

. Valencia , third quarter o f fi fteenth century PLATE X XX I l

A PL QUE .

r 1 . Diamete , 7% inches

- - DESIGN . Dot and stalk diaper running transversely across the panels . There are two

O f circles radiating compartments , outlined with raised ribs , the inner one containing thirty , the — fift - t o Arms A w . outer y , without pellets lion rampant in creamy white , reserved in luster ground . Reverse , a diaper o f ovals , formed o f — tendrils enclosing feather like designs in luster . — LUSTER . Pale golden , changing to blue ,

Violet , and rose .

Valencia , third quarter o f fifteenth century . PLATE XXXI II

A PL QUE . 1 Diameter , 7% inches .

— E l hte en DESIGN . g radiating compartments

O f : a decorated in three styles ( six each ) . Dot

b - and stalk ; . Thistle like flowers with tendrils [ 1 1 8]

PLATE XXXI

45 . PHARMA CY "AR Valencia S ixteenth Century

PLATE XXXI II

47 . PLAQUE Valencia Late Fifteenth Century

An A C. and dots ; rabic conventional pattern , simulating mosaic work ; disposed regularly in the above order . The relief lines are touched at R equidistant points with blue . everse , a diaper o f ovals formed Of tendrils , enclosing feather

Arms — A like ornaments in luster . lion rampant

in creamy white , reserved in luster .

— to LUSTER . Golden , changing blue and violet .

o r . Valencia , late fifteenth century early Sixteenth PLATE XXXIV

W B O L .

8 . Diameter , % inches

Depth , 3 % inches . I d d 1 2 Diameter , nclu ing han les % inches . — FORM . Hemispherical , having four horizon tal scalloped wing- shaped handles proj ecting at equidistant points from the upper edge . — . E O f DESIGN ncircling the interior , bands

- wheel , net , and tree shaped patterns in luster ,

which are also extended over the handles .

Ar ms — An on eagle in luster a creamy ground .

Outer side and base , diaper o f large ovals con

- taining coarse feather like designs in luster . — E . LUST R Brownish , changing to ruby , blue ,

violet , with touches o f green .

Valencia , sixteenth century . PLATE XXXV

[ 1 29 ] 0 . 5 . DI SH

1 . Diameter , 7% inches

1 . Depth , % inches

W d 2 . i th of marly , % inches — M F . FOR lat base , perpendicular sides Flat

marly , Slightly sloping upward . — DESIGN . Sixteen compartments , outlined

with raised ribs , radiating from a central circle , containing alternately dot—and - stalk diaper and — A a thistle like pattern , in luster . round the Sides

O f and extending over the brim , lustered panels

diapering . On base , concentric circles of luster . The arms of Subira o f Vilafranca del Pan ade's — LUSTER . Reddish brown , changing to blue

and violet . f O . Valencia , third quarter fi fteenth century PLATE XXXVI

A PL QUE . 1 Diameter , 9 inches . — FORM . Slightly depressed centre with con

vex boss and convexly curving sides . —Lln DESIGN . e S radiating from centre carry

- ing large tulip Shaped flowers , with tendrils and

fl owe re ts between . In center , a crowned lamb ‘ A with pennant ( gnus Dei ) in luster . On base , 1 concentric rings in yellow . — . C n LUSTER Brownish , ha ging to yellow V with touches o f blue and iolet .

Valencia , late fi fteenth century . PLATE XXXVII [ 1 3 0 ]

PLATE XXXVI

IS I AR M S OF BIRA P 50. D H W TH SU ( ) Valencia Late Fifteenth Century

2 A 5 . PL QUE .

1 8 . Diameter , % inches

— con FORM . Slightly depressed centre , with

vex boss and upward curving sides . — DESIGN . Large figure Of a lion rampant and cluster O f three leaf - shaped ornaments in

o f heavy blue outline , filled in with diapering

- o f dots and scales . Ground work coarse leaves ,

r R fl owe ets . en fruit and in luster everse , ovals

- closing large feather like ornaments in luster . — . to LUSTER Pale golden , changing blue and

violet .

Valencia , late fifteenth century . PLATE XXXV III

A 53 . PL QUE .

Diameter , inches . — S FORM . lightly depressed cavetto , with flat

centre and sloping sides . Broad flat brim , slightly

sloping upward . — DESIGN . Three concentric wreaths O f large

pointed leaves , alternately blue and luster, the intervening spaces being filled in with fern - like

Arms —A leaves and berries in luster . chevron

n Re in blue and creamy white o luster ground .

- n verse , bryony leaf desig in blue and luster . — . to e LUSTER Brownish , changing blu and

violet ( madreperla ) .

Valencia , third quarter o f fifteenth century . PLATE XXXIX [ 1 3 7] 54 . DI SH .

r I . Diamete , 7 %; inches

— y FORM Concave cavetto , straight , slightl

Sloping brim . — DESIGN . Large curled leaves with tendrils

and berries between , all in

luster . On marly and ex

tending into the cavetto , — five large four petaled o r naments in blue and lus A ter . shield , outlined

heavily in blue , bearing three plant - shape d devices ( thistles ") in luster on

creamy ground . Reverse , large figure O f a stork ' " in like bird luster , surrounded by leafage in

luster . — LUSTER . Brownish , changing to blue , rose ,

and violet ( madreperla ) .

Valencia , late fifteenth century . PLATE XL

T F D CEN RE O I SH .

1 1 Diameter , inches . 2 Height , inches . M — FOR Flat base , with convex boss in cen

tre . Vertical sides slightly curving inward at the o top . The br ad brim is missing .

N — O f DESIG Concentric bands small wheels , u dotted diapering and flowers and buds , in bl e [ 1 38]

PLATE XXXIX

53 . PLAQUE Valencia Late Fifteenth Century

PLATE XLI

N R OF IS 55 . CE T E D H Valencia ( Manises ) Late Fifteenth Century

57 . DI SH .

1 . Diameter , 5 % inches — FORM . Deep , curving cavetto , with convex

- boss in centre . Broad , upward sloping marly .

— e le S DESIGN . C of conventional floral and

leaf ornaments in luster . In centre , a rosette . A round margin and cavetto , a Simulated Chris

“

NO . tian inscription ( see Reverse , rude

- feather like designs .

— C LUSTER . Deep purplish or oppery golden .

. L Valencia , Sixteenth century P ATE XLIII

8 . 5 . DI SH

I 2 . Diameter , %3 inches

— - FORM . Shallow bowl Shaped . — DESIGN . Boldly painted conventional leaves

and flowers in luster . Reverse , scrolls and con in centric circles luster . — LUSTER . Brown , changing to violet , show l ing touches of b ue .

- Hispano Moresque , seventeenth century .

A P L Q U E . 1 6 . Diameter , inches M — FOR Depressed centre , with boss of trun

ca te d cone shape . Sides Sloping upward .

— ‘ DESIGN . Enti l e surface divided into eight

- kite shaped lobes by broad blue lines , each com

a rtment p containing a conventional floral design , alternately luster on creamy ground and creamy [ 1 48] PLATE XLII

I ARM S OF S I - N 56 . PLATEAU W TH CA T LE LEO Valencia Late Fifteenth Century

PLATE XLIV

S 94 . DI H Hispano - Moresque Sixteenth Century

concentric rings enclosing a rude floral design .

Reverse , a few concentric rings in luster . — LUSTER . Brownish , changing to dark gol

O f . den , with traces blue and violet

- Hispano Moresque , sixteenth century .

A 62 . PL QUE .

r 1 . Diamete , s%r inches — FORM . Depressed centre , with slightly

raised boss , and broad brim curling outward . —A DESIGN . boldly painted floral and leaf

design in centre in luster ; around marly , rudely

painted leaf and floral forms in luster . Two broad blue parallel straight lines divide the sur

face into three parts . Reverse , a few concentric

circles in luster .

O f The clay is dark and coarse texture . — . LUSTER Brownish , changing to golden ,

blue , and violet .

- Hispano Moresque , seventeenth century .

DI SH . 1 2 Diameter , % inches . — FORM . Deep centre , with small convex

. boss Broad marly curving outward . — A - DESIGN . broad band Of cross hatching n coveri g the marly . In centre , broad bands O f luster enclosing a rudely painted tree - shaped

. ornament Reverse , concentric rings of luster .

Coarse clay . [ 1 56 ] — o f LUSTER . Coppery , with touches blue and

violet .

- Hispano Moresque , seventeenth century .

6 . A 4 PL TE . 1 2 Diameter , % inches .

~ — S low FORM . lightly depressed cavetto , with

In boss centre . — —l — DESIGN . Centra plant like ornament in

o f luster , surrounded by a narrow band simulated N O Christian inscription ( see o . n broad

- marly , four large tulip shaped motives in luster ,

with blue centres , alternating with a rudely drawn R leaf ornament in luster . everse , concentric

rings in luster . — . to LUSTER Brownish , changing golden ,

blue , and violet .

- Hispano Moresque , seventeenth century . PLATE XLV

6 P 5 . CU .

Diameter , 5 inches .

O M — two F R Bowl shaped , with horizontal

handles extending from upper rim .

—A f on DESIGN . crude quartered design o c

ventional flowers and leafage . — t . o LUSTER Pale brown , changing golden

o f low tone .

- Hispano Moresque , seventeenth century . [ 1 57] P LA Q U E .

1 . Diameter , 5% inches

FORM . centre , with boss in form

o f truncated cone .

—L l‘ DESIGN . uste star on white ground o ccu in py g centre o f boss , surrounded by a Christian

: inscription in white reserved in luster V .

i robabl modifi RBITI E RB . s , repeated This p y a

cation o f the - phrase used in the publication of

“ ”

. U B E T B Papal bulls , R I OR I ( to the city [ Rome] A and the world ) . round the marly a painted diagonal design in luster of godroons o f three

varieties , solid luster , dotted diaper and . floral .

- Reverse , feather like motives and concentric

circles .

— Gf e enlsh i . v o LUSTER golden , changing to

let and blue .

- ' Hispano Moresque , sixteenth century . PLATE XLVI

Gi ft of Mr . Lionel Harris , London .

6 A 7 . PL QUE .

Diameter , inches . F ORM . cavetto , with central boss .

Broad , upward sloping marly .

— Ar n DESIGN . 0u ( l the central boss a band

o f arabesque ornament in luster , surrounded by a simulated Christian inscription derived from

the preceding . The marly is decorated with cir cles and triangles in blue enclosing floral orna [ 1 58]

PLATE XLVI

66 . PLAQUE Hispano - Moresque Sixteenth Century

ments in luster . In the spaces between are scrolls

i R - and marguer tes . everse , bold feather like orna ments and concentric circles in luster .

— to LUSTER . Brownish , changing silver , blue and violet .

Valencia , seventeenth century . PLATE XLVII

A PL QUE . 1 6 Diameter , % inches .

OR M —Curve d f F . cavetto , with central flat

out topped boss . Marly curving upward and ward .

- DESIGN . Four branched ornament in

on creamy White in centre , luster ground , sur A rounded by a godroon circle in luster . round the marly a similar diagonal band o f godroons

- in luster . Reverse , feather like ornaments and concentric circles in luster . — LUSTER . Brown , changing to blue and vio let ( madreperla ) .

- Hispano Moresque , seventeenth century . PLATE XLVIII A PL QUE .

Diameter , inches .

R FO M . Depressed centre with slightly

- raised boss . Broad , flat , upward Sloping marly . — I . n o f DESIGN centre , the figure a rabbit in

o f luster , surrounded by a circle curls . The marly is painted with bold tulip - like or pointed leaf de in A n signs luster and blue . cross o e side extends [ 1 65] O f . a broad straight line green glaze Reverse ,

circles in luster . —On LUSTER . face , golden , changing to blue

and violet . On back , violet .

- Hispano Moresque , sixteenth century .

A . 70. PL QUE

I 6 . Diameter , % inches M — FOR Deep curved cavetto , with central

boss . Marly sloping upward .

— - DESIGN . Six petaled blue flower in centre

o f boss . Cavetto covered with an arabesque

design of vines ; the same pattern around marly . A round edge , boss , and separating marly from

cavetto , broad blue lines . L — USTER . Brownish , changing to golden ,

blue , and Violet .

Valencia , sixteenth century . PLATE XLIX

A PL QUE . 1 Diameter , 5% inches .

O M — F R Deep curved cavetto , with central

boss . Marly curving upward . — A DESIGN . bold pattern composed of but

te rfl v motives ( alternately open and closed ) , in

heavy blue outline , with floral and leaf motives

in luster between . Reverse , concentric rings and

curls . — LUSTER . Brownish , changing to Violet .

. E Valencia , seventeenth century PLAT L [ 1 66]

PLATE XLIX

0 7 . PLAQUE Valencia Sixteenth Century

2 A 7 . PL QUE . 1 6 Diameter, inches . — FORM . Deep curving cavetto ; central flat

- topped boss and upward sloping marly . — DESIGN Arabesque pattern o f leaves and

flowers . White rosette in centre . Strawberry R plant design around marly , all in luster . everse ,

- concentric rings and feather shaped ornaments .

R— to LUSTE . Brownish , changing Silver ,

blue , and Violet .

Valencia , sixteenth century . PLATE LI

A 73 . PL QUE . 1 Diameter , 5% inches .

' — FORM . Curved cavetto , with central boss .

- Broad , flat , upward sloping marly . — DESIGN . Divided into sections by three

waving lines , each section containing a lozenge

o f Shaped figure composed nine divisions , each

Re enclosing a Simple ornament , all in luster . — verse , concentric circles and feather like orna

ments in luster .

— to ol LUSTER . Brownish , changing dark g

den , blue , and violet . — Hispano Moresque , seventeenth century . PLATE LI I A A 74 . LB RELLO . 1 1 Height , % inches . — I f . S X o DESIGN horizontal bands ornament ,

— - A o f crude vine leaf and mock rabic character , in

luster . [ 1 73 ] — LUSTER . Brownish , changing to blue and

violet .

. Valencia , sixteenth century PLATE XXIX

A A . 75 . LB RELLO 3 6 in h s . Height , 4 c e — l DESIGN . Vertica bands o f simulated her

- a ld ry and cross hatching in luster . Blue lines

around top and base . — . LUSTER . Coppery , with violet tones

- u e . Hispano Moresq e , sev nteenth century PLATE LIII l l From the S chevitch co le ct on .

A A . 76 . LB RELLO

Height , 7 % inches .

Companion to preceding . PLATE LI II

From the S chevitch collection .

A PL QUE .

Diameter , inches .

ORM — A h F . shallow cavetto wit flat centre , curving gradually into the broad marly — DESIGN . Diagonal godroon pattern , painted — in luster on marly , of three patterns dotted , — floral , and having small wheel shaped ornaments A in white on a luster ground . round central “ ” Ar s e m . shield , a floral or strawberry diap r . A lion rampant in creamy white on a luster f ground . Behind the Shield is a pastoral sta f in [ 1 74 ]

PLATE LI I

73 . PLAQUE Hispano—Moresque Seventeenth Century

PLATE L I V

77 . PLAQUE Valencia Early Sixteenth Century

- o six p inted star incised , with dotted diapering ,

- - An n surrounded by a dot and stalk ground . u glazed space in the centre reserved for a Shield . Foot ornamented with alternate sections of dotted

- - diapering and dot and stalk pattern . Interior similarly decorated , all in luster . — LUSTER . Coppery , changing to blue and violet .

- Hispano Moresque , sixteenth century . PLATE LV

TA""A .

Height , 5 inches . r 6 Diamete , % inches .

R — O M . F Bowl shape , supported by stem and

— DESIGN . Godroons in relief around sides ,

' ornamented alternately with wh eel patte rn and

- - A dot and stalk diaper . round base , centre and upper rim , blue bands . Interior decorated with central band containing tree motives , between a dotted band below and a wheel border design at top . In bottom , a fish amid waves , all in luster . — LUSTER . Outside , dark coppery , changing I to ruby . nside , brownish with golden and greenish reflections .

- Hispano Moresque , sixteenth century . PLATE LVI

AT PL E .

Diameter , 9 inches . M — FOR Shallow , with broad sloping marly and slightly convex centre .

[ 1 84 ] PLATE LV

79 . BOWL — I I i sp ano - Moresque Sixteenth Century

— DESIGN . . Diaper o f coarse dot and stalk

pattern in luster . In centre , a shield rudely out

in lined blue ; above and below , on marly , a tulip

o f in blue and luster . Reverse , concentric rings

luster . — LUSTER . Brownish , changing to violet ,

ruby , and blue . — Hispano Moresque , Sixteenth century .

2 AT 8 . PL E .

Diameter , 9 % inches .

R FO M . Shallow , with broad sloping marly

and slightly convex centre .

— I n DESIGN . centre , a shield with figure O f

- — a fish , surrounded by a dot and stalk diaper . A round margin , a wheel border design . Reverse ,

- ovals enclosing feather like motives in luster . — LUSTER . Madreperla , with brilliant irides

cence .

Valencia , early sixteenth century .

8 . 3 DI SH .

Diameter , inches . 2 Depth , % inches . d Wi th of marly, inches .

- F FORM . lat base , perpendicular sides , marly

slightly sloping upwards . — DESIGN . Marly and sides diagonally go

d ro oned in relief . Surrounding the shield , cir [ 1 89 ] - - - cular bands of strawberry and thistle , dot and

. stalk , and wheel patterns The godroons are

- - decorated successively with the dot and stalk ,

. . W . heel , and net diapers Similar design outside

fl e ur Shield outlined with blue , enclosing three — ' ' u de lis i n cre a my white in a l ster field , the arms

O f the house of Bourbon . On base , very bold

- feather like design . — LUSTER . Madreperla , with brilliant irides cence .

e . Valencia , sixteenth c ntury PLATE LVII

F rom the collection o f the late M . Boy N ( O .

H DI S .

r 1 8 . Diamete , % inches

2 . Depth , inches

W d 2 . i th of marly , % inches — OR M F . F . lat base , with large boss in centre

U . pright sides , marly slightly Sloping upwards

—I n DESIGN . the convex centre o f the boss , the initials I H S in luster , surrounded by a band o f circles enclosing many - petaled flowers ( mar i in guer tes ) stamped relief . The cavetto is divided into twelve sections , decorated alternately

- - with dot and stalk and thistle diapers . Around the marly are four sections o f stamped margue rite circles alternating with the same number o f

- - ribbed panels , enclosing dot and stalk diapering . [ 1 9 0]

PLATE LVII [

8 IS 4 . D H Valencia Late Fifteenth Century

or pointed and oval ornaments enclosing a net , A dotted ground pattern . round the upper rim ,

sixteen knops .

— re fl ec LUSTER . Coppery , with prismatic

tions .

Valencia ( Manises ) , sixteenth century . PLATE LX

A 87 . V SE . 1 Height , 9% inches .

O-R M — F . Inverted pear Shape , with trumpet

Shaped top . Four handles connect the neck with

s the houlder . — F DESIGN . our large relie f flower orna A ments on Shoulder , between the handles . round

- centre , two rope like ridges , and , encircling lower

hal f , scale and upright godroon patterns in relie f . The luster ornamentation consists o f alternating

and ' fl o ral i a e r in dotted d p g . Ormolu mounting

at top and base .

—e ‘ . c o e l re fl ec LUSTER pp y , with iridescent

tions .

Valencia , sixteenth century . PLATE LXI

88 . BOWL . 1 Diameter , 5 inches .

Height , 5% inches .

O M — on F R Hemispherical , standing basal

— DESIGN . Divided in side into eight segments by two blue and two luster bands crossing in the

centre , the sections being decorated alternately [ 1 96 ] PLATE LIX

85 . BOWL Valencia Sixteenth Century

PLATE LXI

8 S 7 . VA E Valencia Sixteenth Century

o f with diapering white . depressions in luster

n - - a d . . ground , leaf and flower like luster work

- On base , feather like diaper .

— re flec LUSTER . Coppery, with iridescent

tions .

Manises , late sixteenth century . PLATE LXII

o f E From the collection mile Gaillard .

8 LA 9 . P TE .

Diameter , inches .

O M — F R Shallow , curving cavetto , upward

curving marly . — A DESIGN . rudely painted bird in centre ; strawberry - plant motives and rudely Simulated

on Arabic inscription brim .

— to v io LUSTER . Brownish , changing blue ,

let , and Silver .

- Hispano Moresque , Sixteenth century .

0 A 9 . PL QUE . 1 Diameter , 4% inches . — FOR M A small boss in the centre and

raised ledge around the cavetto . — I . n DESIGN cavetto , four sections enclosing

fruit motives . M arly embellished with twelve

- on pointed leaf shaped ornaments in relie f , a

band o f tendrils and leaves . On reverse , coarse

- feather like diaper . — fl . re ec LUSTER Brownish , with iridescent

tions .

- Hispano Moresque , sixteenth century . [ 2 05] 1 9 . DISH .

1 . Diameter , 3 % inches — . FORM . Sunken cavetto , with central boss

— A - DESIGN . round the marly , tulip like de — in . signs relief , with leaf and scroll work between A round cavetto , a border rudely Simulating Chris

‘ n n cOrru ti on of t he tia writi g , a p inscription ,

“ Domine Surge . R— LUSTE . Coppery , changing to golden ,

ruby , blue and violet

- Hispano Moresque , seventeenth century . PLATE LXIII

2 A 9 . PL QUE . ' r Diamete , inches .

R M — A O . . F shallow , sweeping curve — DESIGN . The central shield is surrounded

by a band o f wheel pattern . Around this is a broader band o f dot - and - stalk diaper ; surround

ing this , a band o f floral design . The marly is W decorated with embossed godroons , hich are

- diapered with . the net , floral , wheel , and dot and

Ar ms — A stalk patterns . lion rampant in creamy

white on luster ground , within a dolphin em — bowed . On back , bold feather like diaper — LUSTER . Brownish golden , changing to

violet , rose , and blue .

Valencia , late fi fteenth century . PLATE LXIV

[ 2 06 ]

PLATE LXIV

2 9 . PLAQUE Valencia Late Fifteenth Century

rated with guilloche bands and Moorish orna

ment . Reverse , concentric rings and ornaments

in luster .

— ol LUSTER . Brownish , changing to blue , g

den , and violet .

- Hispano Moresque , Sixteenth century . PLATE XLIV AR 5 . ". 9 8 Height , 94 inches . M — FOR Globular , with dented collar and

four loop handles .

— a do DESIGN Figures of animals g , a hare a fox and a bird with tendrils and fruit

between . — i . v o LUSTER Brownish , changing to blue ,

let , and golden .

Valencia , sixteenth century . PLATE LXVI

6 A 9 . PL TE . 8 Diameter , % inches .

O . F RM Shallow bowl . — . one DESIGN Divided into two parts , half decorated with a fan - shaped design outlined in blue enclosing ornaments in white o n luster

ground . The other hal f is embellished with leaf

fl o we r— and shaped ornaments in luster . Reverse , concentric circles in luster — i . v o LUSTER Brownish , changing to silver ,

let , and blue .

Spanish , seventeenth century .

Hakk - N From the y Bey collection ( o . [ 2 1 2 ] PLATE LXV

P 93 . LAQUE Hispano - Moresque Seventeenth Century

A 97 . PL TE . D iameter , 9 % inches . M — S FOR aucer shape .

—Divi ( le d DESIGN . into four sections by

o f en broad radiating bands luster , each part I n closing a floral motive . centre , a rudely A painted shield in blue and luster . round marly , a simulated Christian inscription derived from

“ U et R the Latin phrase rbi Orbi everse , con

o f er centric rings lust . — . to LUSTER Brownish , changing madre

perla .

L Spanish , seventeenth century . P ATE LXVII

8 9 . DI SH . 1 Diameter , 3 inches .

OR M — F . Central boss and ridge . N —A DESIG round cavetto , a rudely simula

O - tive Christian inscription . n marly , tulip like

- - flowe r designs in relie f , with leaf and diaper

between , all in luster . Reverse , concentric rings f o luster .

— vio LUSTER . Brownish , changing to ruby ,

let , blue , and golden .

Spanish , seventeenth century .

99 . DI SH . 1 Diameter , 4% inches .

OR M - F . Depressed centre , with raised boss ,

surrounded by a ledge . — DESIGN . The broad marly is diagonally

godrooned in relief , each pair o f godroons being [ 2 I 7 ] separated by blue outlines . In the cavetto is a

- - fl owe r e leaf and diaper in luster , with blue circl s

around central boss and edge of cavetto . The marginal godroons are decorated in three pat

terns dotted , wheel , and floral ( the latter with

Ar ms a blue ornament) arranged in rotation . . — — A . stork like bird in luster Reverse , feather

like diaper . — LUSTER . Brownish , changing to golden ,

greenish , blue , and violet .

- Hispano Moresque , sixteenth century . PLATE LXVIII

I 00 . . DI SH 1 Diameter , 5 % inches . — O . F RM Depressed cavetto , with central

boss , broad marly . — A DESIGN . Bands in circles . round the cen E tral boss , wheel pattern . ncircling this , a scroll in design , which turn is surrounded by a Chris “ tian inscription , DOMINE SURGE , repeated .

Outside f o f this , another wheel band . The marly is decorated with a band of dotted or net diaper

o f ing , outside which is a similar inscription ,

while around the edge is again a wheel band . — Ar ms A rabbit in luster on creamy white

- ground . Reverse , feather like diaper — LUSTER . Brownish , changing to brilliant

madreperla .

Spanish , seventeenth century . PLATE LXIX [ 2 1 8]

PLATE LXVIII

99 . DIS H Hispano - Moresque S ixteenth Century

1 1 . 0 . DISH I Di ameter , 4% inches .

RM — FO . Central boss ; depressed cavetto ;

broad marly .

— l‘ DESIGN . Ma ly diagonally godrooned and

e decorated with floral , wheel and dotted diap r

ing , arranged consecutively . Cavetto encircled

— - by a band o f fl o we r and leaf diaper with an inner

- - Ar ms — A circle o f dot and stalk pattern . lion

rampant in luster on an ivory white ground . Re

- verse , feather like diaper . — LUSTER . Pale brownish , changing to madre

perla . n Valencia , seventee th century . PLATE LXX

102 . DI SH . 1 Diameter , 9 % inches . 1 7 Depth , 8 inches . b 1 Diameter of ase , 4 % inches .

' R —F FO M . lat base ; upright sides ; marly

low o sloping upwards ; , broad boss , with g

d roone d sides , in centre .

— 0 DESIGN . Cavett decorated with circular

bands containing dotted and floral patterns . A round upright Sides , a running floral design .

The marly is diagonally godrooned in relief , and

decorated with wheel , dotted and rude floral de A signs . round outer and inner edges of marly

A — : r ms . and central boss , blue lines . "uarterly

1 — 2— 4 , a pear in white on luster field ; 3 , a port [ 2 2 5] cullis in luster on creamy ground . Reverse , — plume like diaper . — . re fl e c LUSTER Brownish , with iridescent tions .

Valencia , early sixteenth century . PLATE LXXI

H kk - NO From the a y Bey collection ( .

DI SH .

Diameter , inches .

2 . Depth , inches

b 1 . Diameter of ase , 3 % inches — FORM . Flat base ; upright sides ; upward

Sloping marly . In centre , a godrooned double boss ( a small one surmounting a larger ) .

— I n t a DESIGN . cave to , bold floral orn ments surrounding the central boss . Outside o f this , a

“ O rudely simulated Christian inscription , D MINE ” A SURGE . round upright sides , a running leaf

- o and tendril design . The marly is diagonally g d ro one d in a double circle , the individual go d roons being ornamented with solid luster , dotted

R - and floral patterns . everse , plume like diaper ing . — LUSTER . Dark purplish copper , changing to ruby .

Spanish , seventeenth century . PLATE LXXII

A PL QUE . 1 8 Diameter , % inches .

ORM — F Shallow plate shape , with slightly convex centre . [ 2 2 6]

PLATE LXXI

02 IS 1 . D H Valencia Sixteenth Century

PLATE LXXIII

10 I ARM S OF ICI Y 4 . PLAQUE W TH S L Valencia Seventeenth Century

1 06 A . PL QUE . m 1 6 . Dia eter , inches

O M — e F R Depressed cavetto , with conv x

centre . Broad marly , sloping upwards .

- DESIGN . Marly ornamented with tulip de in signs relief , the petals being solidly lustered , the central lozenge - shaped parts being covered

] o A with a d tted diapering . round the central

b - boss are concentric ands o f wheel , dot and t R s alk , floral , and wheel designs . everse , large

- plume like diapering . — LUSTER . Brownish , changing to blue and

violet .

Spanish , sixteenth century . PLATE LXXV

10 7 DI SH .

1 6 . Diameter , inches — FORM . Bowl shape , with convex centre .

— ACI‘ DESIGN . OS S the entire surface extends A the figure o f a bull"in luster . bove , the figure o f a bird ( ostrich ) The interspaces are cov ered with a rude diapering of fruit and leaf

motives . Reverse , rude diapering of curls . — LUSTER . Dark brown , with brilliant blue

and violet reflections .

- Hispano Moresque , seventeenth century PLATE LXXVI

[ 2 36 ] PLATE LXXIV

1 0 I ARM S OF I CI Y 5 . PLAQUE W TH S L Spanish Sixteenth Century

PLA TE LXXVI

1 0 7 . DIS H H ispano - Moresque Seventeenth Century

I I A AR . O . LB ELLO

1 1 4 . Height , 3 , inches

— On DESIGN . a deep blue ground , luster dec orations coarse leaf and tendril designs in hor

z l i onta bands .

— re fl ec LUSTER . Coppery , with iridescent

- ff . Lead glaze , bu colored clay

- A Sometimes called Siculo rab ware , but probably O f Seville manufacture and o f the

eighteenth century .

LA P QUE . 1 Diameter , 4 % inches . — FORM . Plate shape , with broad slightly

convex centre . — A DESIGN . rudely painted head of a seraph

with wings , in luster , filling the entire cavetto . A round the marly , a conventional design , repeated

five times .

— re LUSTER . Deep brown , with iridescent n fle ctio s .

Spanish , seventeenth century .

2 A 1 1 . V SE .

Height , 7% inches . — FORM . Globular ; neck missing . Four ear

shaped strap handles around shoulder . — DESIG N Surface divided into two parts by E a horizontal band around the centre . ach part [ 244 ] PLATE LXXVII

s is subdivided into panels , the upper one being

h - decorated wit pointed leaf shaped ornaments ,

the lower sections with floral and leaf motives . — f . e LUSTER Dark brown , with iridescent

fe cts . , purple and violet

The hard , glassy , stanni ferous glaze and decorat ive treatment o f this example suggest

Saracenic influence , through Persia .

Clay , brick red . h C . V Spanish , seventeent entury PLATE LXX I II

1 1 AR . 3 . "

1 01 Height , 2 inches .

O F RM . Spherical , with broad mouth and

tw o upright handles at sides . — n I H DESIGN . O each Side the letters S sur

rounded by bold curled leaf designs in luster . A round the narrow collar , a floral border de

Sign .

— to LUSTER . Light brown , changing green

ish golden , blue , and violet . — Hispano Moresque , sixteenth century . PLATE LXXIX

A PL QUE .

Diameter , inches .

— - lI . s a e d FORM Plate p , with raised circle in

centre . —An DESIGN . eagle extending full length o f A the marly . round the marly , six birds , ar

a t ranged equal distances apart . The spaces [ 2 49 ] between are filled with a coarse diaper design of R foliage and tendrils , all in luster . everse , a

coarse Shell or scale pattern in luster . — . LUSTER Deep coppery , with slight , irides

cent reflections .

Spanish , seventeenth century . PLATE LXXX

1 1 5 . DI SH .

1 6 . Diameter , inches — FORM . Bowl shape , with deep cavetto and

- upward sloping brim . —A DESIGN . knight , mounted on a horse , in t luster , outlined heavily wi h blue , occupying the e ’ ntire centre . On the horse s rump is a circle in A enclosing a crowned eagle luster . round the n V a d . marly , ine leaves tendrils Reverse , deco W in rated ith rude designs luster . — ‘ fl . re e c LUSTER Coppery , with iridescent

tions .

Spanish , seventeenth century . PLATE LXXXI

1 1 6 A . V SE . 1 Height , 9 % inches .

O — F RM . Globular body ; cylindrical neck ;

spreading foot ; four upright handles . Conical

cover with finial . — . On DESIGN opposite sides , the head o f a

helmeted knight . On the alternate sides , a rude

I II armorial design . the interspaces , coarse leaf [ 2 50 ]

PLATE LXXX

1 1 4 . PLAQUE Spanish Seventeenth Century

PLATE LXXXII

A S ibility that they were a gi ft to the Pope . mong

V . those raised to the cardinalate , by Paul , is found a member of a distinguished Valencian

family , Gaspar Borj a , son o f the sixth duke o f

who 1 6 1 1 Gandia , received the hat in and died

1 6 in 4 5 .

“ O f The design the arms , even for the period , ” is exceptionally poor .

Mr . Van de Put fails to note that these vases

are not enameled with tin , but are coated with

white slip and glazed with lead .

1 1 TA"A 8. " .

1 1 Diameter , inches .

R — FO M . Scalloped sides and indentations which correspond to a series o f masks and shells

in relief on the under side . — I n - DESIGN . the centre , a stork like bird sur rounded by scrolled plant forms : Around the

“ ”

sides , a bold strawberry design . — LUSTER . Deep brown , changing to a beauti

ful violet .

Spanish , seventeenth century . PLATE LXXXI II

R A . 1 1 9 . "

Height , inches .

M — FOR Globular , with a perpendicular neck

and four loop handles on the shoulder . [ 2 60] PLATE LXXXI II

"" 1 18 . TA A Spanish Seventeenth Century

— U . L STER Dark , reddish copper , with irides

cent reflections .

Spanish , eighteenth century .

1 2 W 3 . B O L .

Diameter , 9 inches . — FOR M Inverted cone shape ; rounded in

e r i r t o ; vertical edge . — A DESIGN . grotesque bird in the centre , sur

rounded by ornaments . Encircling the central design is a broad band of luster with ornamenta

tion reserved in white , while around the edge is

a white band with guilloche pattern in luster . — fl . re ec LUSTER Coppery , with iridescent

tions .

Seville eighteenth century .

1 2 W . 4 . BO L

Diameter , 7% inches . —A DESIGN . rudely painted bird occupying

the centre , surrounded with scrolled ornaments . — LUSTER . Bright reddish copper, with irides

cent reflections .

Seville , nineteenth century .

2 N T 1 5 . B E I IER . 8 Height , 94 inches . — A . DESIGN . very rude representation of the

Madonna and Child in relie f , surrounded by a [ 264 ] PLATE LXXXIV

1 2 1 AR . " Seville Eighteenth Century

A PL QUE .

t 1 . Diame er , 5% inches

— fl at- FORM . Sunken cavetto , with topped

boss . Broad marly curling upward and outward . —A DESIGN . round boss and on marly , a ” Christian Inscription , DOMINE SURGE , outside

o f which are dotted and wheeled circles . Marly

diagonally godrooned , and covered with wheel ,

dotted , and floral diapering . Blue lines at inner and outer edges of marly and encircling central

- boss . Reverse , large plume like diaper . — LUSTER . Coppery , with Slight , iridescent

reflections .

Spanish , seventeenth century . PLATE LXXXV

1 2 A 9 . PL QUE . 1 Diameter , 5% inches .

RM — O . F Depressed centre , with boss ; broad

- upward curving marly . — A ln DESIGN . round the centre , a Christian

“ ” scription , DOMINE SURGE . Marly diagonally

godrooned in relief , the individual godroons being alternately lustered solidly and decorated with a A floral pattern . round inner and outer edges o f

marly and encircling central boss , blue lines .

- Reverse , coarse plume like diapering .

— re fl ec LUSTER . Brownish , with iridescent

tions .

Spanish , seventeenth century . [ 2 68] PLATE LXXXV

1 28 . PLAQUE Spanish Seventeenth Century

PLATE LXXXVII

1 1 TI N 3 . A"A

o r N r A r Moorish , o th f ican Sixteenth Centu ry

1 0 T 3 . ILE .

Length , 7 % inches . W d i th , 4 inches .

M FOR elongated hexagon . A DESIGN . scroll bearing an inscription in

n Gothic lettering , surrou ded by a dotted ground .

containing leaves and berries , all in blue .

Valencia , early fi fteenth century . PLATE LXXXVI Similar to one in the Victoria and Albert

Museum . Tiles o f this form were used exten

si l ve y throughout Spain . Several geometrical combinations are possible when used alone or in

conj unction with tiles o f other shapes . The elongated hexagonal tiles were also used

to some extent in Italy , in the pavement of the

Caracciolo chapel in the church of S . Giovanni

a Carbonara , and other churches at Naples , and

the Della Rovere chapel , Rome , according to

’z< W a lli s Henry . He attributes the pavement in

1 the Caracciolo chapel to about 44 0 . The colors

are blue , green , and manganese purple . Many o f these tiles are also figured in the Bulletin o f the International Museum of Ceramics of A — Faenza , Italy ( pril July ,

* l M io li P a ve me n Ti l s o th Fi te e nth Ce ntur c a ra t e f e f y . d 1 02 . Lon on , 9

[ 2 77 ] HI S PANO - MORES"UE POTTER Y

LTN G LAz E D

tina a s Terra Cotta j ars of large size ( j ) , for

Oil w holding grain , or ine , were used extensively by

manu fa c the Spanish Moors , the principal centres o f ture being Toledo , Seville and Granada .

T NA A I J . 2 Height . 7 inches . — - FORM . Ovoid , with two small , wing shaped

handles . — DESIGN . Incised decoration on upper hal f . — n Coarse herring bone border below . Central ba d

- o f large leaf shaped ornaments , each enclosed in

- r a circle . Herring bone fret and rope borde

around Shoulder .

Coarse reddish clay , unglazed . A Probably Moorish , or North frican , sixteenth

century . PLATE LXXXVII

T NA A I J . 2 Height , 4 inches . — A DESIGN . Incised decoration in rabic style . A with modern rabic inscription around centre .

Light red clay , unglazed .

For grain or oil . A Moorish , or North frican , sixteenth century .

Decoration recent . PLATE LXXXVIII [ 2 78 ]