TERRA COTTA OF THE ITALIAN RENAISSANCE WATIONAL TERRA COTTA SOC 2a Ts NEW YORK HE NATIONAL TERRA COTTA SOCIETY HEREBY EXPRESSES ITS GREAT INDEBTEDNESS TO MR. ARTHUR FREDERICK ADAMS, A.A. A LOVER OF TERRA COTTA IN ARCHITECTURE, BY WHOM THESE PICTURES WERE SOUGHT AND STUDIED IN THE HIGHWAYS AND BYWAYS OF ITALY AND WITH WHOSE ASSIST- ANCE THEY WERE ASSEMBLED AND ARRANGED FOR THIS BOOK. COPYRIGHT 1925 psy NATIONAL TERRA CO 0.0 & SOCIETY PRINTED IN THE UNITED STATES OF AMERICA II TERRA COTTA PRECEDENT IN ITALY Its Adaptability to Modern Design ARLY Italian precedent in terra cotta offers many motifs which may be adapted freely in modern design. A com- prehensive presentation of these in one volume has not heretofore been attempted. Recognizing the value of this material the National Terra Cotta Society commissioned Mr. Arthur Frederick Adams, A.I.A., to travel through Italy and gather the material presented in this book. Over three hundred special photographs were taken by Mr. Adams in an extended tour throughout northern Italy during the summer of 1923. The subjects include not only buildings which are well known but less familiar examples of outstanding merit found in remoter places and not heretofore published. From the views so obtained two hundred have been selected for publication. Among all historic precedents in the use of terra cotta the Italian Renaissance offers the most fruitful field of study. In no other period or style are more motifs to be found so well adapted to execution in modern terra cotta and so logical in relation to present day structural necessities. Many of the decora- tive motifs presented in this volume require little or no modification for immediate use. Where differences of scale or other neces- sary departure may be encountered in present III work the designer has a vastly expanded lati- tude for meeting such conditions in the terra cotta produced today. Pieces of much greater size can now be fired successfully and the varied requirements of a wider stylistic apphi- cation can be fulfilled in finish, color and sur- face treatment. There is to be gained from a study of this inspirational early Italian work a more sym- pathetic appreciation of the true spirit of a clay medium, the observance of which in our modern design would give the peculiar sig- nificance and appealing charm of this older work. These views display the intense sym- pathy with which the architects of the Renaissance in Italy regarded the problem of decorative treatment in burnt clay, pre- serving the essential character of this in their design. It is in this frank, sincere handling of material that we may recognize much of their compelling interest and dignity. Of the creators of this early clay architec- ture but little need be said. Donatello, Brunelleschi, Filarete, Alberti, Bramante, Dolcebuono, Michael Angelo and Luca della Robbia, have achieved a fame which is everlasting. ‘Their monuments in terra cotta, brick and stone offer a precedent which will always endure. Ls) OF FLAT es GALATRONA. BAPTISMAL FONT BY DEI DELLA ROBBIA. BOLOGNA. PALAZZO CENCIAIOLI. Detail of facade. BOLOGNA. PALAZZO CENCIAIOLI. Window detail. BOLOGNA. PALAZZO BEVILACQUA. Detail in courtyard. BOLOGNA. PALAZZO BEVILACQUA. Detail in courtyard. BOLOGNA. PALAZZO BEVILACQUA. Detail in courtyard. PAVIA. CLOISTRE DELLA PRISTERLA. Detail of loggia. MILAN. CHURCH OF THE INCORONATA. Detail of facade. MILAN. Small palace window detail. MONZA. SANTA MARIA IN STRATA. General view. MONZA. SANTA MARIA IN STRATA. Side elevation of tower. MONZA. SANTA MARIA IN STRATA. Detail of facade. MONZA. SANTA MARIA IN STRATA. Detail of upper part of facade. VARESE. lVindow detail. BOLOGNA. PALAZZO CUMENALE. Window detail. BOLOGNA. CHURCH OF SAN GIACOMO. Detail of apse. BOLOGNA. CHURCH OF SAN GIACOMO. Window detail. MILAN. SANTA MARIA DELLA GRAZIE. General view. MILAN. SANTA MARIA DELLA GRAZIE. General view. MILAN. SANTA MARIA DELLA GRAZIE. Detail of small court. MILAN. SANTA MARIA DELLA GRAZIE. Detail of large court. MILAN. SANTA MARIA DELLA GRAZIE. Detail of large court. BOLOGNA. ANCIENT PALACE. General view. PADUA. CHIESA EREMITANI. Triptych designed by Giovanni Mirrello. POGGIBONSI. CHURCH OF SAN LUCCHESE. Reredos of altar by Dei della Robbia. BOLOGNA. PALAZZO SALINA. Detail of ornament. BOLOGNA. PALAZZO FAVA. Detail of ornament. PAVIA. SAN TOMASO. Cornice detail. BOLOGNA. Detail of ornament. MILAN. CHURCH OF SAN MARCO. Window detail. MILAN. SANTO EUSTORGIO. Window detail. PADUA. SAINT ANTHONY OF PADUA. General view. PADUA. SAINT ANTHONY OF PADUA. E-terior detail. PADUA. SAINT ANTHONY OF PADUA. Exterior detail. BOLOGNA. SPIRITO SANTO. Facade of chapel. CASTELARQUOTO, CHURCH OF SAN PIETRO. Detail of doorway. BOLOGNA. CHURCH OF SANTA MARIA DEI ANGELI. Detail of doorway. PIACENZA. CHURCH OF SAN FRANCESCO. Detail of ornament. BUSSETO. CHURCH OF SAN BARTOLOMEO. Detail of ornament. FERRARA. CHURCH OF SAN STEFANO. Evterior detail. IV 35 PISTOIA. OSPEDALE DEL CEPPO. Exterior detail. PISTOIA. OSPEDALE DEL CEPPO. Detail of portico. PISTOIA, OSPEDALE DEL CEPPO. Detail of frieze and medallions. PISTOIA. OSPEDALE DEL CEPPO. Detail of polychrome medallion. PISTOIA. OSPEDALE DEL CEPPO. Detail of polychrome medallion. CREMONA. VIA FELICE GEROMINI. Entrance detail. CREMONA. NO. I VIA CORTESE. Detail of ornament. PAVIA. CERTOSA DI PAVIA. General view. PAVIA. CERTOSA DI PAVIA. Detail of court. PAVIA. CERTOSA DI PAVIA. Detail of court. PAVIA. CERTOSA DI PAVIA. Window detail. PAVIA. CERTOSA DI PAVIA. Exterior detail. PAVIA. CERTOSA DI PAVIA. View of Great Cloister. PAVIA. CERTOSA DI PAVIA. Detail from Court of the Fountain. PAVIA. CERTOSA DI PAVIA. Detail of Great Cloister. PAVIA. CERTOSA DI PAVIA. Detail of ornament. PAVIA. CERTOSA DI PAVIA. Detail of ornament. PAVIA. CERTOSA DI PAVIA. Detail of ornament. PAVIA. CERTOSA DI PAVIA. Detail of ornament. PAVIA. CERTOSA DI PAVIA. Detail of ornament. PAVIA. CERTOSA DI PAVIA. Detail of ornament. PAVIA, CERTOSA DI PAVIA. Detail of ornament. PISTOIA. CATHEDRAL. Entrance detail. PIACENZA. CHIESA CARMELO. Detail of ornament. PIACENZA, CHIESA CARMELO. Detail of ornament. BOLOGNA. HOTEL BRUNN. Cornice detail. Detail of frieze. BOLOGNA. CASA CARACCI. MILAN. OSPEDALE MAGGIORE. Portion of facade. MILAN. OSPEDALE MAGGIORE. Detail of facade. MILAN, OSPEDALE MAGGIORE. Window detail. MILAN. OSPEDALE MAGGIORE. Detail of ornament. MILAN. OSPEDALE MAGGIORE. Window detail. MILAN. OSPEDALE MAGGIORE. View in main court. MILAN. OSPEDALE MAGGIORE. Detail in main court. MILAN. OSPEDALE MAGGIORE. Detail of arcade. MILAN. OSPEDALE MAGGIORE. Detail of arcade. MILAN. OSPEDALE MAGGIORE. Detail of arcade. NEAR MILAN. NEAR MILAN. NEAR MILAN. NEAR MILAN. Detail of a villa. Detail of a villa. Detail of a villa. Detail of ornament. vIGEVANO. Exterior detail of castle. VIGEVANO. Exterior detail of Castle. | 83 VIGEVANO. Window detail of Castle. 84 NEAR CASTIGLIONE OLNA. Window detail. 85 PIACENZA. PALAZZO MUNICIPALE. General view. 86 PIACENZA. PALAZZO MUNICIPALE. Detail of courtyard. 87 PIACENZA. PALAZZO MUNICIPALE. Window detail. 88 PIACENZA. PALAZZO MUNICIPALE. Window detail. 89 NEAR MILAN. VILLA MIRABELLO. General view. go NEAR MILAN. VILLA MIRABELLO. Exterior detail. OI NEAR MILAN. VILLA MIRABELLO. View of courtyard. 92 NEAR MILAN. VILLA MIRABELLO. Detail of courtyard. 93 NEAR MILAN. VILLA MIRABELLO. Fireplace detail. 94 FERRARA. CASTLE ROMEI. Fireplace detail. 95 LODI. OSPEDALE. Detail of courtyard. 96 LODI. OSPEDALE. Detail of ornament. 97 NEAR PAVIA. ANCIENT CLOISTER. Detail. 98 NEAR PAVIA. ANCIENT CLOISTER. Detail of ornament. 99 NEAR PAVIA. CHURCH OF SAN LANFRANCO, Detail of ornament. 100 NEAR MILAN. SUBURBAN VILLA. Detail of ornament. IOI CREMONA. PALAZZO STANGA. Detail of courtyard. 102 CREMONA. PALAZZO STANGA. Detail of courtyard. 103 CREMONA. PALAZZO STANGA. Detail of ornament. 104 BOLOGNA. Detail of arcade. 105 BOLOGNA. Detail of arcade. 106 BOLOGNA. Detail of ornament. 107 MILAN. CHURCH OF SAN ANTONIO. Detail of cloister. 108 MILAN. CHURCH OF SAN ANTONIO. Detail of cloister. 109 MILAN. CASTELLO SFORZESCO. E-terior detail. IIO MILAN, CASTELLO SFORZESCO. Detail of courtyard. II! MILAN. CASTELLO SFORZESCO. Window detail. 112 MILAN. CASTELLO SFORZESCO. Window detail. 113 BOLOGNA. CHURCH OF THE CORPUS DOMINI. Entrance detail. ; 114 BOLOGNA. CHURCH OF THE CORPUS DOMINI. Detail of ornament. II5 BOLOGNA. CHURCH OF THE CORPUS DOMINI. Detail of ornament. 116 BOLOGNA. CHURCH OF THE CORPUS DOMINI. Detail of ornament. 117 BOLOGNA. CHURCH OF THE CORPUS DOMINI. Exterior detail. 118 BOLOGNA. CHURCH OF THE CORPUS DOMINI. Detail of ornament. 11g MODERNA. CHURCH OF SAN PIETRO. Exterior detail. 120 PARMA. CHURCH OF SAN GIOVANNI. Cornice detail. I2I NEAR MILAN. CASCINA BICOCCA. Rear view. 122 NEAR MILAN. CASCINA BIcocca. Detail of facade. 123 NEAR MILAN. CASCINA BICcOcCcA. Exterior detail. 124 VI NEAR MILAN. CASCINA BICOCCA. General view. NEAR MILAN. CASCINA BICOCCA. Window detail. SAN GIMIGNANO. PALAZZO BORGHERESI. Window detail. MILAN. PALAZZO CASA BORROMEO. Detail from courtyard. MILAN. PALAZZO CASA BORROMEO. Window detail. CREMONA. CREMONA. CREMA. CHURCH OF SANTA MARIA DELLA CROCE. CREMA. CHURCH OF SANTA MARIA DELLA CROCE. BOLOGNA. BOLOGNA. BOLOGNA. BOLOGNA. BOLOGNA. BOLOGNA. BOLOGNA. BOLOGNA. PALAZZO COMUNALE. Detail of facade. PALAZZO COMUNALE. Detail of facade. PALAZZO PALLAVICINI. Detail of arcade. PALAZZO PALLAVICINI. Entrance detail. PALAZZO ON VIA SANTO STEFANO. General view. PALAZZO ON VIA SANTO STEFANO. Cornice detail. CHURCH OF SAN FRANCESCO. General view. CHURCH OF SAN FRANCESCO. E-terior detail. CHURCH OF SAN FRANCESCO. Detail of doorway. PALAZZO ANTICO DE MERCANTI. Detail of doorway. NEAR MILAN. CHIARAVALLE MILANESE. General View. NEAR MILAN. CHIARAVALLE MILANESE. E-vrterior detail. CREMA. CATHEDRAL. Window detail. CREMA. CATHEDRAL. Window detail. CREMA. CATHEDRAL. Detail of ornament. CREMA. CATHEDRAL. Detail of ornament. CREMONA. CREMONA. CREMONA. CREMONA. CATHEDRAL. Window detail. CATHEDRAL. Window detail. CATHEDRAL. Window detail. PALAZZO GIURECONSULTI. Wundow detail. PAVIA. Exterior detail. PAVIA. PALAZZO ORLANDI. Detail of ornament. PIACENZA. PIACENZA. PIACENZA. PIACENZA. SONCINO. SONCINO. SONCINO. BUSSETO. BUSSETO. BUSSETO. PALAZZO DEI TRIBUNALE. Window detail. PALAZZO DEI TRIBUNALE. Window detail and frieze. PALAZZO DEI TRIBUNALE. Detail of ornament. PALAZZO DEI TRIBUNALE. Details of ornament. PALAZZO VIALA. Exterior detail. PALAZZO VIALA. Detail of ornament. PALAZZO VIALA. Window detail. PALAZZO COMUNALE. Evterior detail. PALAZZO DELLA RoccA. Window detail. PALAZZO DELLA ROCCA. Window detail. PAVIA. SANTA MARIA DEL CARMINE. Exterior detail. PAVIA. SANTA MARIA DEL CARMINE. Window detail. PAVIA. SANTA MARIA DEL CARMINE. Window detail. VII General view. Exterior detail. Plate Plate MONZA. CATHEDRAL OF SAN GIOVANNI. Ev-terior detail. | 167 SIENA. PALAZZO COMUNALE. Portion of facade. 168 SIENA. PALAZZO COMUNALE. Detail of ornament. 169 SIENA. PALAZZO COMUNALE. Window detail. ay Gk 170 FERRARA, PALAZZO ROVERELLA. Detail of ornament. 71 PARMA. CHAPEL OF CATHEDRAL. Detail of ornament. 172 PARMA. CHAPEL OF CATHEDRAL. Detail of ornament. 173 PARMA. CHAPEL OF CATHEDRAL. Window detail. 174 CREMONA. CATHEDRAL. Window details. 175 CREMONA. THE CAMPANILE. Exterior detail. 176 MILAN. THE CAMPANILE OF SAN GoTTARDO. Exterior detail. 177 CREMONA, PALAZZO MONTE PIETA. Detail in courtyard. 178 CREMONA. PALAZZO MONTE PIETA. Detail in courtyard. 179 CREMONA, PALAZZO MONTE PIETA. Detail in courtyard. 180 BOLOGNA. PALAZZO COMUNALE, Exterior detail. 181 BOLOGNA. CHURCH OF SAN GIACOMO. Cornice and roof detail. 182 BOLOGNA. PALAZZO PEPOLI. Detail of ornament. 183 NEAR MILAN. Entrance detail. 184 NEAR MILAN. Detail of ornament. 185 VENICE. CHURCH OF SANTA MARIA DI FRARI. Tomb. 186 VERONA. CHURCH OF SANT “ANASTASIA. Tomb. 187 BOLOGNA. CHURCH OF SAN FRANCESCO. Tomb. 188 VERONA. CHURCH OF SANT ‘ANASTASIA. Detail of ornament. 189 VERONA. STATUE OF ST. ANTHONY. 190 VERONA. STATUE OF SAN GIROBAMO, IOI FLORENCE. POLYCHROME PANEL BY ANDREA DELLA ROBBIA. 192 FLORENCE. POLYCHROME ALTAR PIECE BY GIOVANNI DELLA ROBBIA. 193 FLORENCE. POLYCHROME SEAL BY LUCA DELLA ROBBIA. 194 FLORENCE. POLYCHROME SEAL BY LUCA DELLA ROBBIA. 195 CASENTINO, POLYCHROME SEAL BY ANDREA DELLA ROBBIA. 196 CASENTINO,. POLYCHROME SEAL BY DELLA ROBBIA, 197 FLORENCE. POLYCHROME PLAQUE BY DEI DELLA ROBBIA. 198 FLORENCE. POLYCHROME SEAL BY DEI DELLA ROBBIA. 199 VERONA. Detail of ornament. 200 VIII , be Yells, mS A diva) : OT eke te + + tn HF Te. 4S) tain Vee FE ORa ti GALATRONA. A Baptismal Font by Dei della Robbia, in white glazed terra cotta. Plate I BOLOGNA. PALAZZO. CENCIAIOLI. An interesting detail dating from about 1500. The windows, cornices, caps, etc., are all of terra cotta. Pilasters are in terra cotta, painted. Wall surfaces are of stucco. Balcony is of stone. Plate 2 ’ Gi ek CC Was Ge ~ * I BOLOGNA. PALAZZO CENCIAIOL are of terra cotta. Plate 3 Window and belt courses of the upper portion, pilaster caps and arch molds of the lower part BOLOGNA. PALAZZO BEVILACQUA. Detail in the Courtyard. Fountain of stone. Plate 4 BOLOGNA. PALAZZO BEVILACQUA. Detail in the courtyard. Plate 5 9 4M id ‘00ST 3noqe st UMOYS YIOM JO 3}ep BY ‘IJ pat JO JooY ‘ooon}s jo sjaipuedg ‘auojs JO suUINTOD ‘e}}09 B19} 9ZIIIJ JIMOT ‘O9IN}s UO poajured ozaIay dof ‘k}09 Bila} pat JO sasinod }eaq [JB puke VDdIUIOD ‘pieA}INOD JO MITA ‘VOOOVTIARE OZZVTVd “VNDOTO" £ and ‘eIsSO] & JO sWIIYIS ‘B}}09 L119} PII JO WII} [O099N}s FO S][V@M fauo}s JO JIB sUUIN[OD sy Ty ‘VTdaLSlad WITAGC AUMLSIOTD ‘VIAVd dAT}eIOIIP 9} 0} parfdde e309 e119} Jo a[dwexs Surseajd y MILAN. CHURCH OF THE INCORONATA. Detail of Chapel dating from about 1450. The Gothic ornamentation of the cornice is rendered in red terra cotta, with a stucco background. Plate § . ssi . E> | . 2 ee Ses ihe SS rey ae " A es i. ae aes . - é " ; =o See rth PEER AAT des : ome tes) a8 ae et ey evs rs : . ver = og es # a ee MILAN. Terra cotta window detail and frieze from a small palace at 7 Via di S. Spirito, built about twenty years ago. Copied from an old building (destroyed). Terra cotta and brick are red. Plate 9 MONZA. SANTA MARIA IN STRATA. Facade of red terra cotta and brick, dating from 1393. Built at a time close to the best Gothic period, this structure well illustrates the appropriateness of terra cotta for this type of architecture, and its acceptability as a material in ecclesiastical construction. Plate tro nap PT WITT MONZA. SANTA MARIA IN STRATA. Side elevation of tower. | Plate 11 A. SANTA MARIA IN STRATA. NZ MO Detail of Facade. Plate 12 rn ee 4 Be Be Remainder red terra cotta. Plate 13 Small columns of stone. SANTA MARIA IN STRATA. gel sta ‘4 re =I rai ‘Nera J pent “ove rege pean wee MONZA. Detail of upper part of facade. ee: .t ; yy Pit bey oe peer acti VARESE. Very interesting window in terra cotta in building at Via Vicolo Perabo No. 8. This is the only example of old terra cotta to be found in this city. Plate 14 FARO LIE : ponmRs OME eth crepe 7 "' TT a“; i ae ae a4 Vai A y “ad Gale hd Sei be ens niyeaaes Hinge mad % iG BOLOGNA. PALAZZO CUMENALE. all in terra cotta. ’ Interesting window at the side of the palace Plate 1I5 = whore Waki NY oe Tim 2 BOLOGNA. CHURCH OF SAN GIACOMO. Terra cotta detail of apse. ' Plate 16 OR ee ose mS — : at bE ae B ne. = ag Fh BEET 8 BOLOGNA. CHURCH OF SAN GIACOMO. Window in rear of church. An excellent treatment of low relief terra cotta and a style of decoration which lends itself to color. The inscription suggests an idea which could well be employed in some of our modern work. The lack of uniformity in width of the voussoir blocks is noteworthy. At the bottom of the window the blocks are scarcely larger than an ordinary brick, and each carries but half of the modeled leaf ornament. Above the springing line are some blocks of double width, each carrying the ornament complete. It is probable that all these blocks were modeled individually without recourse to molds. Plate 17 Ree etdbertonnse aw. SSRRARACRSAUERERS nanan consensus: CDi’ 8 em 0 2s SRRRNATE Ree HEH Tiras rr 20 GREVESRSRUR ERR EGHS RECRLERRHRSERREDSS SHBer HBAS AHS MILAN. SANTA MARIA DELLA GRAZIE. The apse, begun in 1470 but not completed until the 16th Century. The general plan of the structure and the decorative treatment of the lower part are in large measure the work of Bramante—an interesting composition in brick, terra cotta, stone and stucco. Plate 18 MILAN. SANTA MARIA DELLA GRAZIE. General view, looking toward apse. Plate IQ MILAN. SANTA MARIA DELLA GRAZIE. Detail of small court adjoining the church. Plate 20 MILAN. SANTA MARIA DELLA GRAZIE. Detail of large court adjoining the church. Plate 21 MILAN. SANTA MARIA DELLA GRAZIE. Detail of Court adjoining church. The wall surfaces are stucco embellished by painted frescoes, dating from the 16th Century. Plate 22 BOLOGNA. Ancient palace on the Via Galliera, in brick and terra cotta. Plate 23 LEAR ALL LONE PADUA.- CHIESA EREMITANI. Triptych designed by Giovanni Mirrello about 1511. It is 18’ 6” long, and executed in red terra cotta which has been painted in brilliant colors. The statues are also of terra cotta. It is interesting to note that while the art of making glazed polychrome terra cotta was practiced at this time, its secrets were closely guarded by the Robbia family. This terra cotta has with- stood the centuries with no apparent change even in its minutely modeled details. Plate 24 oe steer te = Adi sed A Lt LS ROG) ALLEL DEAL AG POGGIBONSI. CHURCH OF SAN LUCCHESE. Reredos of an altar in polychrome terra cotta by Dei della Robbia, dating from the beginning of the 16th Century. The lapse of four centuries has not been sufficient to dim in the slightest degree any detail of form or color in this masterpiece. Each intimate touch of the master hand has been preserved through the enduring quality of his chosen material, as it was on the day it was taken from the kiln. It is eloquent of a use to which modern terra cotta is called all too infrequently. Plate 25 BOLOGNA. PALAZZO SALINA. Detail dating from about 1600, in red terra cotta. The vigorous effect in the roundel is achieved by modeling the head in full relief, with deeply recessed background. Similar vigor of treatment is manifested in the modeling of the archivolt and label mold. Plate 26 ‘y if 4] i 3 eae a a a 7 [3) (2 tla Vi hsp a 3 a ms my Ly 4 e ae ‘i BS c oe « < + x E aw 8 3 i 3 [ag ! <5 « Zz 4 Oo w @) = J BE | K os ~ n S A Sear ete Hy Se PAVIA. SAN TOMASO. An interesting cornice in broad treatment in terra cotta. This cornice, about four feet high, has an extreme projection of only a few inches, the rich effect being obtained in very low relief, This illustrates well how cornice effects can be obtained without excessive projection. Plate 28 BOLOGNA. A detail in red terra cotta in the Museum, suggestive of belt-course or cornice enrichment with but slight projection. Plate 29 MILAN. CHURCH OF SAN MARCO. Window showing interesting Gothic enrichment in terra cotta. Plate 30 A er pm 4 SBA gg WEE eg et x 0 AEE LO LEE RABIES “a STORGIO dow detail in red terra cotta ¥ | SANTO E MILAN. in W Plate 31 PADUA. SAINT ANTHONY OF PADUA. The sepulchral church of Saint Anthony of Padua erected in 1232-1307. The domes, of which there are seven, were reconstructed in 1424. In plan the edifice is similar to early French churches; the nave is three hundred and seventy-eight feet in length, and the transept one hundred and eighty feet. The design is executed in terra cotta, marble and brick, the cornices, belt courses and window trim being of red terra cotta. Plate 32 PADUA. SAINT ANTHONY OF PADUA. View from the court window. The 15th Century painted ornament on the stucco of the cloister walls has been restored recently. This ornament furnishes suggestions for the use of colored terra cotta. Plate 33 ill es ie Eh eno Abe i AO il aims ib Sti { / i \ ‘ Naan ser, a ce lS et ats ‘*- WHE a The 15th Century frescoes are in process of restoration. < i A < Ay ix oO Sy a (e) ry fH a < H J < Vv} 4, PADUA. View from a court window. , bout 1500 trom a e been stained a cool deep blue. oe fan] In be [=] é pe ates O 8g H a8 be mM Ss oO vs Ea ; te me) Sy a6 — Yu © Ay kK @ SS mM A. S ae AY 4 = e 3 tT o ay ~ - Detail of the Castle, illustrating the use of terra cotta in Gothic by Leonardo da Vinci and Bramante, its designers. VIGEVANO. Detail of the Castle, as rebuilt by Bramante and Leonardo da Vinci in 1492. All modeled ornament is in terra cotta, furnishing an authoritative illustration of the applicability of this material as a successful vehicle of Gothic design. Plate 83 in terra cotta. cS) 3 E te’) S Po! [=F Vv 1S) “ vu = ~ vu Ly - O -s ZS = Pans ” (3) > © 2 aS x aa aw nse} S wo vu > fae Me 7 = iS) = < Gothic window in Castle. Nn ee eB Aa Se ee NEAR CASTIGLIONE OLNA. Il house, damaged by vandals. in a sma indow Terra cotta ornamentation of a Gothic w Plate 85 PIACENZA’ PALAZZO MUNICIPALE. Erected in 1281. The lower portion is of marble, the large windows of terra cotta. This illustrates flat ornament which lends itself effectively to color rendering. After seven hundred years the terra cotta is still in excellent condition. Plate 86 PIACENZA. PALAZZO MUNICIPALE. Corner of courtyard. The piers, sill course and mullions are of white marble; the walls and battlements are of brick, with terra cotta ornament. Plate &7 fe a eee ee « lag a SS, ecg” Sal i iy Ita Sgt _— Videos pbb! & OF g CRA ANSI Ss Pa Da DDD Dafa Pa : Bi Ba Bs bs Bos Bn BDF BABA Da Dr Bo Bs fin Bs Bn Bs : RATAN Bb BEB BS _ ( Br Ba Bada Bak Ba a Pees /}/ Shee be MNS os SSN oy Ba ba a Ba Da ba Ba a » » & ia PALAZZO MUNICIPALE. Plate &8& Detail of terra cotta window ornament. Ba Da Bi. Ba. Bs. Bs. BaD a Bs Sn Ba Bs fs Ba BD Ba ba bs ba fais SS. » q eke bata Bx ha ba baba xt SD nba ba 4 ~P bs ba bo bs bs bs s Ba Bs by Ba Ba Bi Bn Bap EERE Ba Ba Ba Ba Ba BEM \ i PIACENZA egg %G% ~~ cx ‘. Bm bot ces —“ nn ee er a i f Ar i ih y f Aa TG OHO i PIACENZA. PALAZZO MUNICIPALE. Detail of terra cotta window. Small columns are marble. Plate &9 4 Set +-ital The stucco surfaces around the windows are painted © 4 =| ea] jaa} < 4 — S jo) woes +] vic gee) ae a ee om = tet & at ae ~~ ne bee Pe ~ = a ty < ? mM & PL i : FA = aE meee, f tame es oe Eyer 2 i: 8 i 2 cs ‘a a Belilasies a tea = x —_ ~ ) 2) 3 Hw b [-8) — General view showing NEAR MILAN. VILLA MIRABELLO. Trim of red terra cotta. The roof is of terra cotta tile. Plate 91 ne Ry é NEAR MILAN. VILLA MIRABELLO. View of courtyard. The decorations of the spandrel and of the areas about the windows are frescoes on stucco, and carry a suggestion of a pleasing exterior effect which might be duplicated with the use of more permanent materials than plaster and paint. Plate 92 “a NEAR MILAN. VILLA MIRABELLO. Detail of courtyard. Plate 93 NEAR MILAN. VILLA MiRABELLO. A terra cotta fireplace, built about 1500. The entire structure is of red terra cotta, from floor to ceiling. The upper part of the fireplace above the shelf has been plastered and painted. Plate 94 £0 PPR Eg ct FERRARA. CASTLE ROMEI. Fireplace hood constructed entirely of terra cotta, dating from the 14th Century. The upper part of the hood (above the ornamental band) has a thin coat of plaster with painted decora- tions, very beautiful but very much worn. The hood is supported with a wrought iron band. Plate 95 Sk. ce ee LODI. Corner of the courtyard of the Ospedale. Thecornice, frieze and archivolts are in terra cotta, dating from the early 16th Century. The columns are stone. Plate 96 | LODI. Terra cotta detail in the courtyard of the Ospedale. Plate 97 NEAR PAVIA. Remnant of cloister, dating from 1467, adjoining the Church of San Lanfranco. The cornice, archivolts and spandrel plaques are of terra cotta, the columns and capitals of stone. Plate 98 iiteieosiSestbncs ine Binet NEAR PAVIA. Detail of the terra cotta ornament of an ancient cloister, adjoining the Church of San Lanfranco. Plate 99 Terra cotta corbel in cloister wall, dating from 1467 Plate r00 NEAR PAVIA. CHURCH OF SAN LANFRANCO. - § * ALA SS A - Ph %, Me ~*~ » = ~ ~ < NEAR MILAN. A panel in red terra cotta found in the courtyard of a suburban villa. Plate ror orn ‘Mili Rains as CREMONA. PALAZZO STANGA. In the courtyard. The facade is of the early Renaissance, illustrating a pleasing effect achieved with a lavish use of terra cotta, the modeling of which serves to show its plastic possibilities, from the most delicate detail to the boldest relief. Plate 102 CREMONA. PALAZZO STANGA. Detail of terra cotta archivolts and frieze in the courtyard. Plate 103 te Reis ont Sr¢ MHA TW » FS CREMONA. PALAZZO STANGA. Detail of terra cotta archivolts and frieze in the courtyard. Plate 104 BOLOGNA. Arcade adjoining the Church of San Giacomo, dating from the earliest period of Italian Renaissance. The cornice, frieze and arches are in terra cotta. Plate 105 BOLOGNA. Terra cotta detail of the arcade adjoining the Church of San Giacomo. Plate 106 pe ea ment tn AARbR AD): THY TTT rent re NTT Tr PETTY ENT TENT a eres shh \ ihe Wid Sea i lie i he Bll il ee Bll eee OL Pe ee er oe 8 OER aS, Be hs, Ay in hy fy, hy i My he ty Me tole wo ioe fe -c0- | BOLOGNA. Terra cotta detail of the arcade adjoining the Church of San Giacomo. Plate 107 eA ROLL A LEE LEE SE LS ML arr oer ee ‘ ead CHURCH OF SAN ANTONIO. Part of the ancient cloister. MILAN. Plate 108 MILAN. CHURCH OF SAN ANTONIO. Detail of terra cotta cornice and arches of the ancient cloister. Plate 109 : at : TIA LIPLLiSiiL ett ati iii te ee | aa gate nih ee pt A Saaay Thee M86 Ge ae oe te - x bi eP eons | a BRE a me . MILAN. CASTELLO SFORZESCO. Detail of the courtyard. Plate Iro fa ASTELLO SFORZESCO. va i MILAN. The courtyard. Plate rrr oe NC AGARAAAAAEAAGRAAAAA pe ae se ee as MILAN. CASTELLO SFORZESCO. A Gothic window in brick and terra cotta dating from about 1450. Plate r12 MILAN. CASTELLO SFORZESCO. A Gothic window in brick and terra cotta. Plate 113 AF Hg PCR OO IN OL REL LE LE MOREL ES LLL LEAL ALA LIE: sap . ame fe 8 he Beane BB | BOLOGNA. CHURCH OF THE CORPUS DOMINI. Erected by St. Catherine Vigri in 1456. Restored in 1478-81. The entrance is dark red terra cotta. Plate 114 CII aig ‘90URI}US Ue JIAO JUdWUIpad ]309 eIIOT ININOG SNduYOO AHL AO HOUNHD ‘VNDO10g ce ae (eV elete tun (148 lededietet eset ovenween eee esa : OLLI ATG PCR ee eee ; ; Terra cotta entrance detail. Plate 116 CHURCH OF THE CORPUS DOMINI. BOLOGNA. \utinnitigsiicpsniespteitnssiasbiilal tina it iin ell indie oa: ni ainsi iii . .. %, ¥ * ; y “aa ‘arte 4" a BOLOGNA. CHURCH OF THE CORPUS DOMINI. Terra cotta ornament of the main entrance. Plate 117 SII and ‘speyided pue 9d1UI0D &}}O9 BIIOL ‘ININOG SNduxOOD AHL AO HOUNHD “VNDOTOU BOLOGNA. CHURCH OF THE CORPUS DOMINI. An interesting terra cotta panel over one of the entrances, done in the 15th Century. Plate 119 O2I 34D ‘MOPUIM PUL 9d1UIOD ‘9ZIIIF B}}OI BIOL, ‘OULHId NVS AO HOUNHD “VNAXYCOW SR OLE SPR eT eR x eeREee ET ee I2I 301g YSPMO}TYAM JO JUIUIDD FO BUI}BOD UI} B P2AlooII SPY BOD e119} ay, “OST wWory Buyep ‘soms09 jo [reIeq INNVAOID NVS AO HOUNHD ‘VNUVd Ge te ® eajiistindes were? i && ideig led. Se Re M Be de ©. & Ba we te ep. dae Sy, Oi At « * * — whe vd \ Cd WEA G 44\ (i Nv ed Ww Ji aA UN, ee <> <= nie See rT ie i Wem ebd Miah, tdi ak eS g 5 en : * a + 4a aeae CASCINA BICOCCA. Rear view, taken from the yard. Plate 122 NEAR MILAN. E2r 301g "SOOISOIF PUB HOD L119} YUM Pdadtyoe JoJo aaeI099p Surseojd 9y} Sunesysnqyr ‘opesey UIeUI dt} jo jied V ‘VODODIA VNIOSVD ‘NVTIN UVAN NEAR MILAN. CASCINA BICOCCA. The walls are of stucco with painted decorations around the windows. The trim and string courses are of terra cotta. © Plate 124 + RS 6 Pee ee ee NEAR MILAN. CASCINA BICOCCA. A view from the garden. Plate 125 NEAR MILAN. CASCINA BICOCCA. The effect of projecting brickwork around the outside of the terra cotta trim is achieved with paint on the stucco, as is also the ornamental border. Plate 126 Lz awd ‘OUO}S JO 91B SUOT][NW BY, “SMOPUIM ¥}}09 e119} JO [IE}IG ISHYAHOAO OZZV1I Vd ‘ONVNDIWID NVS ERA SE pened OPTS ten : | MILAN. PALAZZO CASA BORROMEO. In the courtyard. The motif in the decorative wall treatment is taken from the coat of arms of the House of Lombard, and illustrates an effect which can readily be obtained in terra cotta ashlar by low relief modeling or by the use of polychrome. Plate 128 HR lf € f & = 2 =~ ~ 1 Wy eG, CX ried ~ ULL UL Bey fp ry i CVE beat é i m;* ' 7%. "4: 44, i+ Bete « 3 ee ie | SOb it : ‘ A 4 5 ! i 4 4 * Unt VP a y 4] COE ‘ i # ‘ : was oa eR ek NM a SE : Vy > Re ee i a ii | i | LLK A O# # . b I HLS iad LS 4 SUDDISSLLSS LL f i 2), ASA BORROME 3 AZZO MILAN. PAL A Gothic window. Plate 129 Off ang '€}}09 B1I9} JO asN [eJoqI] e Aq poAdTyoe Udaq Sey JUIWYIIIUs YIYM UO ‘OQZ] UI UNsaq ‘oInjonIj}s DIY}ON V ‘ATVNOWOD OZZVIVd “VNOWHED MEH " epee - SA a Eg EAI BORSA : ; < ~ — ah en “oe - ree aes sc : SEEDER CREMONA. THE PALAZZO COMUNALE. Part of the main facade. Plate 131 CREMA. CHURCH OF SANTA MARIA DELLA CROCE. Built about 1490 by Giovanni Battagio and others, under the influence of Bramante, and later remodelled. An interesting composition in brick, terra cotta, stone and stucco. The excellent condition of the terra cotta tracery in the pierced panels is noteworthy. These formed part of the original structure. Plate 132 CREMA. CHURCH OF SANTA MARIA DELLA CROCE. Portion of dome. The terra cotta panels are noteworthy. Plate 133 d brick. in terra cotta an PALAZZO PALLAVICINI. Plate 134 A part of the arcade BOLOGNA BOLOGNA. PALAZZO PALLAVICINI. Detail of terra cotta ornament. Plate 135 QEI a4D])q ‘JUSUIEUIO B}}OD BIJ9} AG P2AIJII sadeyins [JVM Id1e] JO UOTIsodusod [einjso}YIIe ajduis yW ‘ONVAALS OLNVS VIA NO OZZVTIVd ‘“VNDO1OE LEI aig ; ‘sayotu passadsar ATdsap ay} YM Padatyoe st yydap Fo poo oy, ‘(ONVAALS OLNVS VIA NO OZZVIVd ‘VNDOIOU BOLOGNA. CHURCH OF SAN FRANCESCO. This building was begun by Marco da Brescia about 1236-63. The tower at the left is of red brick and terra cotta, by Antino di Vincenzo. Plate 138 <*y ISG Meee w: ey) oe i ee Sie eee — oe po rs eS ae Y a r & t % F . CHURCH OF SAN FRANCESCO. BOLOGNA. The cornice, frieze and window tracery are of terra cotta dating from 1405. Plate 139 ne \ os i BOLOGNA. CHURCH OF SAN FRANCESCO. One of the Gothic doorways in brick and terra cotta, dating from 1405. Plate 140 BOLOGNA. PALAZZO ANTICO DE MERCANTI. Entrance door in brick and terra cotta. : Plate 141 + i % . NEAR MILAN. CHIARAVALLE MILANESE. Cistercian Church, built by St. Bernard of Clairvaux, and dedicated in 1221. Church and tower are built of brick, with terra cotta and stone trim. Color contrast in the cornices is obtained by the use of painted stucco. Plate 142 ay % ae @ # 2 Hh ae tis Ae ite 1K) mt & HY 3 3 ate * “phe? 3 i 2 e ti Miah 3 He at &, ait i] Bye CHIARAVALLE MILANESE NEAR MILAN. Detail of C shown on plate 142. Church, istercian Plate 143 . erect te ctomens (408 B4eG44 geste woaINe CVA *aeed iS ee at. eee dating from the 13th Century. KCRW & Plate 144 por i i oe le iy Os ae © sei as megan wa Se Pip ay Foe Base 2 POE > tig - ei TTT Tir? ? Lie TEL iT LL Ltt. Ltt) vis et fy ot 64 ote he . ott sp Sp Wied a E {OE RN RST OR ae ee a oe ne: SAT AT Ae AIRE # - de de ie vere et BO rng = x Lo ~~ Vv a= ~~ 9) O vo = ~ eal ° ~ =| E is} S oa ° 3 ~ ~ fo) 12) i] M a Vv ~ aH ° be] 3 ~~ vo a) eerie wee wale oe Te ean: + i «a i cs, a lh age SABO gmt el , ORO: ate ga eee: CREMA Detail of terra cotta ornament of the Cathedral ing from the 13th Century. dat ’ Plate 145 OVI ang ‘Ainquay) YET ey} WoIZ Burynep ‘Jespoy}eD 2} Jo JUsWIeUIO e}OD e119} JO [Ie}q “VNAaD mf prs sei lea TAYAYA VS a va al yg riri POO IM giaie i? CREMA 1 of terra cotta ornament of the Cathedral, dating from the 13th Century. i Deta Plate 147 QI 91D] g ‘TerpoyyeD Arnjusy YICT WY} Jo piejyp Im0D V “VNOWHAD a ae ae ~ + a genyriny 4 ’ pee fe we 2 ie OFI IVI Tespapey Ainjusy YET PY Jo prep syJoN y “VNOWAYO he —s * E259 RE MPLS § Sapa? ote ee geen. eben. iook ued . a2 2 q - ya eect , at pee ea Oe etiaw AR Mm as 6. 8 eS a ale aig beng 8 OPUS BOE SSS 2. Bier: CREMONA. An interesting Gothic detail of the 13th Century Cathedral. Plate 150 A EID GR POO POW WY OM en ee se ae te. ap SRA Blt Pe ay ee | CREMONA... PALAZZO GIURECONSULTI. Detail of Gothic window in brick and terra cotta. : Plate 151 ine. xe rs bee ars A PEGE WAate week he Church of Santa Maria del Carm ys < Ny — # = < A; = + : (3) * ot \ beth Mata i! n " << 5 Se PIG aT Qy Cy ) ~ hw = (2) o) “ss ed oO D f aN 1* ry er ccm mee jae OEE 88 ABE saeco nenein i i i i — PAVIA. PALAZZO ORLANDI. Modeled ornament in terra cotta after Bramante, dating from Plate On KG about 1500. ee eee toe a a wtomrnome 9 mereenneetmeremnn emtemmteee nee sangre | | ESS eee ee - 7 mo a a aod _ ie a <= ag ie li reemeteeammmn tae oa ne ee ee ae ™ si oi . a o ve ai eal = OMG oN 6 apes inant Silicate dilatilas SPs lh Mai Willis Cie i. shat. ee ae i, nee ie > s eee wee 2) bls a we tah Me BAG SONCINO. PALAZZO VIALA. Detail of first story frieze and window trim, dating from 1430. The frieze originally extended across the window opening; the composition was partly destroyed through the relocating of the window by the cutting away of the frieze and the removal of part of the Gothic tracery. The rich architrave ornament is accomplished by the use of only two block patterns, rendered right and left and alternately repeated. The design painted on the stucco carries an interesting suggestion for the decorative treatment of terra cotta ashlar, either in very low relief or by subtle color contrast. Plate 160 omens ’ oo PALAZZO COMUNALE. BUSSETO. Terra cotta frieze and window trim in early Renaissance. Plate 161 BUSSETO. PALAZZO DELLA ROCCA. Detail of window. A blending of Gothic and Renaissance. The principal ornamentation of the architrave above the urns is accomplished by the repeated use of only two blocks, right and left being identical, illustrating an important principle of economy in terra cotta design. Plate 162 sata i a —” F §or ee at oe —™ Ey ence LCL OOD ei ACERT? Terra cotta ornamentation of a small chapel at the side of the Cathedral. Plate 172 ELI avid ‘[e1poyye7) JO opis je jadeyy [Jews uo jusweuIO e}}09 eIIDT “VNUVd PARMA. Gothic window in small chapel at the side of the Cathedral. = ENR i, te ee I ene eae oe "ee pe O08 get tneenetoeinge, CREMONA. Terra cotta window details from the Cathedral, erected in the 12th Century. Plate 175 CREMONA. THE CAMPANILE. This structure, nearly four hundred feet high, was erected between the years 1261 and 1284. It is of brick, with marble and terra cotta trim. Plate 176 es \ Mee ee MILAN. The Campanile of San Gottardo, built by Pecorari about 1330. Plate 177 CREMONA. PALAZZO MONTE PIETA. Detail in courtyard. The friezes, columns, archivolts and window trim are of red terra cotta. The decorative treatment of the columns serves the double purpose of enriching the beauty of these details and effectively concealing the joints. Plate 178 CREMONA. PALAZZO MONTE PIETA. Corner in the courtyard. Plate 179 MONTE PIETA . PALAZZO CREMONA d terra cotta and stucco. in, TE in courtyard i il Deta Plate 180 Eo Hiatt a eR ie ie ai eM Rn aa BOLOGNA. PALAZZO COMUNALE. Detail of three terra cotta windows : Plate 181 2OT IPT ‘S[I@}JOP Id1UIOD &}}09 eIIIT ‘OWODVID NVS AO HOYNHD “VNDOTO"d E91 a4DId ‘pre Wo1y Suljep ‘e}309 e119} Ul payndexa [Ie}Op IIyYJODN Y TTOdud OZZV1IVd ‘VNDOTIOU NEAR MILAN. Terra cotta architrave of a doorway. This architrave is built in three courses—the inner band, bearing the leaf ornament, the ornately modeled central detail, and the egg and dart crown, each consisting of a separate series of blocks. the jointing well hidden by the modeling. See plate 185. Plate 184 NEAR MILAN. Detail of the ornament of terra cotta architrave shown on plate 184. Plate 185 { fe: RE de Me, a A $s eed VENICE. CHURCH OF SANTA MARIA DI FRARI. Tomb dating from 1437. modeling has been’ badly m The canopy and panel are in unglazed red terra cotta. While the arred by vandals, enough of the detail remains to reveal an unusually rhythmic and graceful treatment. Plate 186 VERONA. CHURCH OF SANT ’ANASTASIA. Tomb of Cortesia Serega, entirely terra cotta. Plate 187 BOLOGNA. CHURCH OF SAN FRANCESCO. Terra cotta tomb built in early 15th Century. This tomb well illustrates the decorative use of terra cotta and shows the possibilities of this material for interiors. Plate 188 O§I ID/g ‘ainydjnos forjar Mo] ur ABD Fo anfea ay} sazesysNypE [Jo Joued oyy, ‘suLssreuoy AyIve oY} JO ysIZIe UL Jo YIOM dy} 1B ABYT “BII09 CsI} ynq ul yy8noim pue ‘osenbs joof mmoj ynoge st joued ye] “se}Te BY} JO apts J9yz0 Je sjoued e309 L119} 94} JO BUO Jo UOHIOg ‘VISVLSVNV. LNVS 4O HOYNHD “VNOUWA VERONA. Terra cotta statue of St. Anthony in Plate 190 the Civil Museum sas lacebeabiedbonde My Abs ated Nae Ss Ss gates VERONA. Statue of San Girobamo in the Civil Museum (very old). An interesting example of the modeler’s art perpetuated in terra cotta. While only forty-two inches high, it was made in five sections, as indicated by the jointing, to guard against its warping while being burned. Under modern conditions it could easily be produced as a single piece. Plate 191 FLORENCE. A glazed polychrome terra cotta panel by Andrea della Robbia, now in the National Museum. White figures against a blue background. Plate 192 £61 901g ‘INISNJY [BUOEN ay} UI MOU “YOST JNoge wos} Bunep ‘eIqqoy e[jap tuueAo!y) Aq k}}09 B149} JWOIYDATOU pezejs jo aoaid Ie}V “AD NAMOTA See . eal Mm 8 a 5 me ; ie a We WEWE VIF | $ ili SNES he a , bY A 7S AES AY , / 3 : j 4 a “ 4 edt NEASAAE) bod . eae, ———7 td “A ts gM POI aIMIg ‘JUIWICUIO P2I]9poul 9y} JO UOT}NIaxXa 9Y} Ul Ppasioiaxa AjINUaZUT JY} 0} BNP ‘ajqeusadsIpP ATad1VIs st Surjurol sy], “19}JOWIeIP UT yaa} IMNOJ ynoge st Japunos SIU, “eIqqoy eI]2P eon] Aq ®}109 B1419} aWOIYDATOd poze[s UI pojndexa ‘Izzeq eis ISa}eren() Ozze[eg IY} UI 110}sIIIaG JO [eas “HONYYXOTA becsitteonaneniiettries GOI avid *@}}09 119} Pai0joo JO Jo}SVU JUTIUDIO[ J 94} JO U[IY dy} Ul padojaAap seM I Se IOJOD Jo IJOBIA svazo ‘sind ay} pue 91N}xX9} SAI]-J9AJIA 9Yy} PaArosaid sey Jepunol siyy, “eIqqoy eijep eon Ty Aq e}}09 e119} BWIOIYDAJOd paze[s url payndexa ‘AjIWIe} Izzegq 24} JO [vas JO eUIUII}S “HONAUOTA ETT RT RRR RE NS CASENTINO. Polychrome terra cotta seal by Andrea della Robbia. Plate 196 THE CIVLL ANO PAR AIGi N eae , CASENTINO. seal in the courtyard of the castle, in glazed polychrome terra cotta Stemma or family by della Robbia. Plate 197 FLORENCE. A plaque in glazed polychrome terra cotta by Dei della Robbia, set in the main facade of the Church of San Michele. After over four centuries of exposure to the elements, all the details of the modeling are still perfect. Plate 198 FLORENCE. Stemma or seal on the exterior of the church of San Michele, in glazed polychrome terra cotta, by Dei della Robbia. The fruit and flower border of the seal is in naturalistic colors, very highly keyed with a dominance of yellows and greens. The reds and oranges are in lower key. The figures of the cherubs are in white. Shield insert is of dull brown. Plate 199 VERONA. A terra cotta detail, dating from the early 14th Century, now in the Museo Civico. An excellent example of clay technique. Plate 200 ee a ae ree a L fe \ / as aN ic ‘2 a eee a eee baie eiiat “ ‘ Se ae ee ‘a Se ee ee Pe ear eee ee Te et ee eee GETTY CENTER LIBRARY ULL ANI 25 00761 0120