1 Antonio Fornaciari 2003 Progetto Di Ricerca: La Maiolica Di Montelupo

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1 Antonio Fornaciari 2003 Progetto Di Ricerca: La Maiolica Di Montelupo Antonio Fornaciari 2003 Progetto di ricerca: La Maiolica di Montelupo: cronotipologia e diffusione di un indicatore prezioso per i depositi archeologici del Medioevo e dell’ Età Moderna. Introduzione La ricerca che si propone ha lo scopo di costruire, su base archeologico-stratigrafica, l’evoluzione morfologico-decorativa e la geografia di diffusione delle produzioni montelupine di maiolica dal XIV al XIX secolo. In particolare, partendo dai contesti di giacitura provenienti dal Convento di Sant’Agostino di Pietrasanta già indagati, per quanto riguarda le maioliche arcaiche, ai fini della tesi di laurea (Fornaciari 2003), ed estendendo l’indagine a contesti ben circoscrivibili cronologicamente delle città di Pisa, Lucca e Pescia, si vuole cercare di affinare la datazione delle varie forme e dei vari decori, determinare i tipi morfologico-decorativi commercializzati e diffusi nei vari periodi, si vuole infine tentare di delineare, attraverso un attento esame dell’edito e dove possibile dell’inedito, una geografia diacronica della circolazione della maiolica montelupina in Italia, Europa e nel bacino del Mediterraneo. 1. Cenni storici sulla produzione di maiolica a Montelupo Le prime produzioni di ceramica smaltata a Montelupo si fanno risalire alla fine del XIII secolo. Fausto Berti1 ha utilizzato alcuni contesti chiave per ricostruire il percorso della maiolica arcaica di Montelupo dalla prima fase (1280-1360), alla fase evoluta (1360-1420) e, da questa, alla fase tarda (1420-1480). Nella seconda metà del ‘300, e fino ad inizio ‘400, a Montelupo si assiste alla produzione di M. A. blu, con il verde sostituito dall’azzurro. In una fase ancora successiva, intorno 1 F.Berti 1982; F.Berti 1997, pp. 129-143. I contesti analizzati provengono da Montelupo stessa o dalle immediate vicinanze e sono i seguenti: a) Puntazza 1280-1330; b) adiacenze del palazzo podestarile 1370-1390; c) recupero di via Giro delle Mura di nord-ovest 1400-1420; d) casa di Baccio da Montelupo deposito A 1420-1450; e) casa di Baccio da Montelupo deposito B 1440-1460; f) ex fornace Bellucci 1440-1460; g) strati antecedenti alla fornace Lo 1420-1450; h) ex palazzo podestarile fossa b 1410-1450. 1 al 1420, nasce una produzione che unisce ai colori “classici” della M. A. un terzo pigmento, che può essere il giallo o talvolta l’arancio. Quest’ultima tipologia corrisponde alla nota “famiglia verde” del Cora (Cora 1973) che F. Berti ha rinominato, nel suo ultimo lavoro sulla maiolica di Montelupo del 1997, “maiolica arcaica tricolore”2. Un contesto importante per caratterizzare, seppur parzialmente, le prime M. A. di Montelupo, è quello costituito dal recupero di una discreta quantità di scarti di fornace avvenuto in località Puntazza, lungo il corso dell’Arno, in corrispondenza della confluenza del torrente Pesa. Si tratta soprattutto di boccali, in maggioranza a piede svasato (AB/1), ma anche di qualche forma aperta, come piccoli catini troncoconici (AA/1) e bacili apodi (AA/2). Gli impasti sono depurati, con rari inclusi di “diaspro”e bolle d’aria, il colore è rosso mattone, la consistenze dura e la frattura netta. A cominciare dagli inizi del XV secolo, come testimoniano i reperti di Via Del Giro delle Mura (1400-1420), si ha un cambiamento negli impasti, che diventano a predominante colorazione beige, anche se restano significative eccezioni. F. Berti vede in questo cambiamento il segno della ricerca volta ad ottenere lo schiarimento dell’impasto, probabilmente voluto per migliorare la colorazione bianca della copertura stannifera. Per quanto riguarda i cambiamenti nelle forme noteremo come nella seconda metà del XIV secolo si ha la scomparsa del boccale con corpo ovoidale e alto piede svasato (AB/1) e la permanenza del boccale a piede ribassato (AB/2). Tra le forme aperte si hanno i rinfrescatoi ansati, considerati evoluzioni della forma del bacile (AA/2), e sono attestati i catini troncoconici con tesa defluente (AA/6). Compare un nuovo tipo di ciotola con bordo assottigliato (AA/5), che perdurerà fino alla prima metà del XV secolo; inoltre, nelle forme aperte, si nota la propensione ad eliminare la copertura piombifera esterna lasciando il pezzo nudo. Nel XV secolo compaiono i catini tronco conici con parete raddrizzata in alto e fascia esterna in rilievo (AA/7). Un decoro che è caratteristico dell’area fiorentina, e che compare in questi catini, è il motivo a foglie quadripartito, ripreso anche nei prodotti pisani e lucchesi ad esterno nudo che imitano le forme dell’area fiorentina (Berti-Cappelli 1994; Berti 1997). A cominciare dalla fine del XIV secolo ha inizio la produzione della cosiddetta “zaffera” che perdurèrà fino agli anni ’70 de ‘400 (Berti F. 1997, pag. 121). La progressiva specializzazione del centro di Montelupo nella maiolica va di pari passo con un allargamento della produzione e con la conquista di nuovi mercati; questo processo è particolarmente evidente nel corso del XV secolo, quando a Montelupo si fabbrica l’italo moresca, un termine che racchiude una grande varietà di tipi morfologici e soprattutto decorativi, caratterizzato globalmente dall’ispirarsi alle produzioni spagnole, le cosiddette ispano moresche, che avevano invaso il mercato italiano e mediterraneo già a partire dalla metà del XIV secolo. Montelupo si va accrescendo dal punto di 2 Anche a Pisa nella stessa epoca si produce, seppure in quantità meno rilevante, maiolica arcaica decorata a tre colori, che G.Berti ha chiamato maiolica arcaica policroma (Berti-Cappelli 1991). 2 vista demico sì che da piccolo castello assurge, tra XIV e XV secolo, al ruolo di vera e propria “terra murata”. E’ l’attività ceramica che provoca l’immigrazione nel piccolo centro di uomini e vasai provenienti da Firenze e da altri centri del contado fiorentino, dove già si produceva ceramica smaltata (Bacchereto in primis). La felice posizione geografica di Montelupo, strategicamente situato vicino alle zone di reperimento delle argille e lungo una via d’acqua di vitale importanza per i traffici commerciali fiorentini (dal 1406, dopo la conquista di Pisa, ancor più importante per il trasporto delle merci verso Porto Pisano, poi dal XVI secolo verso Livorno, e da lì a tutto il Mediterraneo e oltre), accresce l’interesse delle compagnie mercantili e dei grandi capitali fiorentini, che nella seconda metà del XV secolo si interessano al commercio della maiolica. Sintomatico di questo nuovo interesse dei capitali mercantili di Firenze è l’atto stipulato a Montelupo da Francesco Antinori nel 1490, con cui egli si obbligava ad acquistare per tre anni l’intera produzione di ben 23 mastri vasai, ed a pagare i manufatti secondo prezzi concordati per tre fasce di qualità: l’ordinaria, il damaschino e il vantaggino (Berti F. 2002, pag. 41). I decenni compresi tra gli anni ’80 del ‘400 e il 1530 corrispondono all’epoca d’oro della maiolica montelupina, che raggiunge la sua massima espansione commerciale diffondendosi sia nel bacino del Mediterraneo sia lungo le rotte atlantiche3. Sono caratteristici di questa fase i decori a ovali e rombi, alla palmetta persiana, a nastri spezzati, alla penna di pavone etc. etc. che avranno una fortuna durevole e perdureranno, in taluni casi, fino a buona parte del XVII secolo. Tra 1530 e 1540 anche la produzione di Montelupo risente del mutato clima economico che porterà, di lì alla fine del secolo, alla fine delle fortune mercantesche fiorentine e ad un restringimento del mercato. Negli stessi anni si nota un parziale rinnovamento del patrimonio decorativo con l’introduzione dello stile “conpendiario” mutuato da centri come Faenza e Venezia. Dal 1590, con l’accentuarsi della situazione generale di crisi economica in cui versa la Toscana, la produzione ceramica di Montelupo rallenta il passo. Si producono in questa fase i celebri “arlecchini” o “mostacci”, i caratteristici piatti figurati che nel XIX secolo vennero considerati i più genuini prodotti del centro di fabbrica toscano. La peste del 1630-1632 inferse un colpo durissimo alla popolazione di Montelupo, colpo che si ripercosse sulla produzione ceramica, da allora in progressiva decadenza. La maiolica fu lentamente soppiantata dalle terracotte (orci, conche, catini) e dal pentolame da cucina. L’inchiesta sullo stato delle Manifatture del 17684 censisce solo sei fabbriche di stoviglie in ceramica smaltata. 3 Tra il 1510 e il 1512 “l’Arte degli Orciolai” di Montelupo si dota di un proprio statuto (Berti F. 2003). 4 Archivio di Stato di Firenze, Carte Gianni. 3 2. Storia degli studi e status questionis con relative problematiche di ricerca. Montelupo si affaccia tardi alla ribalta del dibattito ceramologico italiano; a lungo infatti, almeno fino alla pubblicazione dell’opera del Cora (Cora 1973), è stato considerato un centro di produzione “minore”, e perciò estraneo agli interessi degli studiosi dell’Ottocento e di buona parte del Novecento, maggiormente interessati a celebrare le produzioni di centri dalla più intensa tradizione storiografica e municipalistica, in particolare nella loro fase “aulica” e rinascimentale5. Si identificava genericamente la ceramica di Montelupo con i cosiddetti “arlecchini”: i noti piatti decorati a vivaci colori con rappresentazioni realistiche della vita quotidiana, tipici della prima metà del XVII secolo6. Bisogna aspettare l’opera di Galeazzo Cora per giungere ad una comprensione reale del ruolo di Montelupo quale centro ceramico. Egli, partendo da un’attenzione di tipo collezionistico, venne maturando un interesse notevole per la ricerca di documenti scritti e per la raccolta di resti
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