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 It is a great privilege for any scholar to be allowed 
 to catalogue a highly specialized collection of works of art. 
 There is no safer road to knowledge than the actual handling 
 of ancient objects. Few of us realize how little we really. 
 see of a vase through the glass case of a museum and how 
 much closer we can get to it when we have the exceptional 
 Opportunity to take it in our hands and examine it at leisure. 
 The very work of the cataloguer compells him to put down in 
 writing many technical details which the casual observer might 
 omit as superfluous or even as tedious. Yet, reading through 
 the pages of this catalogue, the student will easily gather, 
 from these disconnected descriptions, a fairly comprehensive 
 view of a century of ceramic art in the Italian peninsula. 
 
 As a classified series of Italian majolica from 1400 to 
 1530, the Mortimer L. Schiff collection has good claims to 
 be unique. None of the great museums of the Old and 
 New World can show such a well balanced array of difte- 
 rent types, illustrating the rapid development of the potter’s 
 
 art in the various cities. 
 
Some thirty years ago, nothing was known about early 
 Italian majolica; even to day our knowledge is scanty enough 
 and many of our ascriptions are tentative in the extreme. 
 The time has not yet come when we may confidently state 
 of one vase that it is Florentine, of another that it 1s 
 Sienese, of a third that it was made in Venice or in Padua. 
 
 Many important contributions have been made by such 
 diligent scholars as Signor Argnani, Mr. Henry Wallis, 
 Mr. Langton Douglas, Dr. Wilhelm Bode and Professor Otto 
 von Falke. Bode’s Anfaenge der Mazolikakunst and von 
 Falke’s sumptuous catalogue of the Pringsheim collection have 
 brought to light many valuable documents for which their 
 authors deserve the gratitude of all scholars. But none 
 of these works can in any sense claim to be final. 
 
 The geographical distribution of the Italian majolica- 
 factories of the sixteenth century will only be ascertained 
 when, for every city in the Peninsula, there will exist a well 
 classified collection of fragments discovered in local excavations. 
 Cities like Naples and Rome, in which thousands of pieces 
 are yearly discovered, have little or nothing to show in that 
 respect. Faenza has been, for many years, a brillant exception. 
 
 The recent discoveries in the mediaeval wells of Orvieto, 
 of Florence and other cities of central Italy, have placed our 
 knowledge of early Tuscan ceramics on something which 
 resembles a firm basis. From my own casual observations 
 at Mantua and Padua I have also derived much useful knowledge. 
 
 Particularly important is the discovery of potters’ waste, 
 
unfinished or misfired vases, piles of plates stuck together 
 in the kiln; such fragments, when they do come to light, 
 may not be attractive in appearance as show-case specimens; 
 yet their scientific interest can hardly be overrated. It is from 
 such humble testimony that the history of Italian ceramic 
 art will one day be written. Meanwhile it is our duty to 
 collect the available evidence and to place it before the 
 
 student as completely as it is possible to do so. 
 
 The history of the Mortimer L. Schiff collection is 
 not without interest. Apart from a few pieces, the first 
 large purchase was that of the choice series brought together 
 in the last years of the nineteenth century by the eminent 
 Paris connoisseur Sigismond Bardac. With the exception of 
 a tiny bowl (n. 18), which had already passed into the Widener 
 collection, Mr. Schiff secured the whole of the early majolica 
 pieces described and illustrated in Henri Leman’s Co//ection 
 Sigismond Bardac, faiences italiennes du XV siecle... (Paris, 
 Librairie Centrale des Beaux-Arts, 1913. 4°), a scholarly 
 work from which the author of this catalogue has drawn 
 much useful information. 
 
 To this important gathering Mr. Schiff was soon able to 
 add a collection of some thirty pieces from the great Pierpont 
 Morgan collections, comprising practically all the earlier 
 
 examples of any merit and including several vases of outstanding 
 
 * 
 
importance. The references given are to a private catalogue by 
 Mr. G. A. McCall. 
 
 Messrs. Canessa had sent to the Panama-Pacific exhibition 
 a valuable collection of fifteenth-century majolica, a large 
 portion of which was acquired for the Mortimer L. Schiff 
 collection. It had been briefly described in a short catalogue 
 of the exhibition. 
 
 Most of the above vases are of Central Italian origin; 
 the dispersal, in 1919, of the Campe collection of works of 
 art enabled Mr. Schiff to secure a most interesting series of 
 small bowls from the Po valley. 
 
 Lastly, by single purchases, our collector was able to 
 fll up a few gaps, to strengthen the weaker portions of 
 his series and to round up a collection which is certainly 
 the most representative of its kind. 
 
 A few years ago, it was exhibited for several months 
 in the Metropolitan Museum of Art and many Cigtoe 
 suggested that a fully illustrated catalogue would be welcome 
 to all art-lovers and _ historians. 
 
 I am fully aware that the present descriptions can 
 by no means claim to be the last word on any of the 
 objects described. My only aim has been to secure faithful 
 reproductions of every item in the collection (giving for 
 instance the reverse of nearly all the plates, a detail 
 neglected in many of the latest catalogues ) to examine the 
 vases as closely as I was able, and to put on record as many 
 
 details as I could ascertain concerning the provenance of 
 
each object, and its probable date and place of manufacture. 
 In many cases I have supported my conjectures with references 
 to analogous vases in other collections. That a number of 
 armorial bearings have been accurately identified is due to 
 the kind assistance of Mr. Albert Van De Put of the Victoria 
 and Albert Museum, who has taken the trouble to examine 
 them one by one. 
 
 My work has been a labor of love and I trust that 
 this catalogue will give to others some of the pleasure which 
 I have experienced while examining and describing this 
 choice and comprehensive series of early Italian ceramic 
 
 masterpieces. 
 
 SEYMOUR DE RICcclI. 
 
TUSCANY, END OF THE FOURTEENTH CENTURY 
 
 Bacile with a crowned | lion. 
 
 Diameter 0™430. 
 
 A large deep circular bacile or plate, with a flat centre, a nearly 
 vertical chute, a narrow flat rim and four slightly projecting ribbed 
 
 handles. 
 Inside, a whitish glaze; outside, an ochre-yellow lustre. 
 
 The decoration is carried out in manganese, blue and greens ihe 
 combination of which gives a number of different shades. 
 
 In the centre, a large heraldic crowned lion to right, in a white — 
 reserve, on a background of cross-hatched lines. The lion’s tail terminates 
 in three fleurs-de-lis. The outlines of the drawing are nearly black, ie 
 body pale green, the head dark blue and the tail dark green. 
 
 On the chute, pointed shields, with the six fleurs-de-lis of < Bae 
 ancien”, alternate in circular medallions with eight-lobed rosettes. 
 
 The rim is decorated with a narrow foliage pattern in white reserve. 
 
 As kindly pointed out by the late owner, Marquis de Talleyrand, 
 the crowned lion is doubtless emblematic of the House of Anjou-Naples, 
 the origin of which is recalled by the royal French escutcheons. Both 
 these bearings point to an early date, certainly not later than the year 1400. 
 
 Several connoisseurs have ascribed this magnificent example to the 
 workshops of Orvieto. A careful examination of a large number of vases 
 from that city makes it more probable that it is of Florentine origin and 
 one of the earliest known specimens of Florentine ceramic art. 
 
TUSCANY, ABOUT 1400 
 
 Ewer. 
 
 Height 0™303; largest diameter 0™213. 
 
 Nearly spherical body with a flat foot defined by a narrow slightly 
 projecting rim. Cylindrical neck adorned in front with a lion’s head 
 modelled in high relief. Plain upper rim pinched into a spout. Flat 
 straight handle. On each side, a large pointed leaf studded with raised 
 knobs, probably meant for a bunch of grapes. 
 
 Outside, the glaze is a pinkish white; inside, a thick yellow glaze. 
 
 Design in manganese outline, with green surfaces and smears of 
 ochre. Round the foot, an ochre band. 
 
 This vase was broken in a number of pieces which have been 
 put together. 
 
 From the Canessa collection (n. 116). 
 
 Stated to have been discovered in a well at Orvieto. 
 
 A two-handled vase from the same workshop, described as Florentine, 
 early fifteenth century, showing the same lion-mask and conventional 
 grapes, is reproduced: by Bode, Die <Anfaenge der Mayjolikakunst, pl. VI, 
 p- 12 (from the original in his own collection), and another, even more 
 closely connected in design, with the same background of crossed lines, 
 is in the Pringsheim collection at Munich (Bode p. 11 and fig.). 
 Compare also a two-handled jug in the Louvre, with the same _back- 
 ground and conventional grapes (O. von Falke, Cat. Pringsheim, fig. 5). 
 
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ORVIETO, EARLY FIFTEENTH CENTURY 
 
 Bacile. 
 Diameter o™480. 
 
 Large circular plate, with a broad flat bottom, a sharply rising 
 
 chute and a narrow flat rim. 
 Inside, a pale greenish white glaze; outside, a plain ochre lustre. 
 
 In the centre, on a cross-hatched background, are figured two heraldic 
 lions separated by a conventional tree, roughly designed. 
 
 The chute is decorated with a wreath of conventional leaflets (in 
 
 green) and the rim bears a herring-bone pattern. 
 
 The decoration is carried out in manganese with touches of green. 
 
 From the collection of Alessandro Castellani (Sale at Rome, 
 
 17 March 1884, p. 184, n. 162). 
 
 Later in the J. Pierpont Morgan collection (n. 116). 
 
 This Jéacile was doubtfully ascribed to Pesaro in the Castellani 
 catalogue. We now know, from numerous recent finds, that this ware is 
 characteristic of the Orvieto potters. 
 
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FLORENCE, EARLY FIFTEENTH CENTURY 
 
 Albarello. 
 
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 Cylindrical body itee a tapering foot and a short neck, 
 Dull white uncrackled glazes mg inside ‘glaze is of a dull 
 white. <aRe ee? a ree, ay eae . . 
 
 The eecaton consists a two hotiaaaen bands of eT 
 tional foliage, not very distant from the oak-leaf pattern, but m 
 resembling the designs used in Italian velvets. abe peers band ij 
 as broad as the lower zone. . e 
 
 The design is ‘thickly hid on in dark “blue, eae 
 
 manganese. » 5g 
 
 From the Canessa collection (n. 122). 
 
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FLORENCE, EARLY FIFTEENTH CENTURY 
 
 Two-handled jar. 
 Height o”198; largest diameter o”2 10. 
 
 Pear-shaped body tapering towards the foot, with a broad, short 
 neck and two flat handles. 
 
 Creamy white glaze ; inner surface ribbed, with the same creamy 
 white glaze. 
 
 The whole of the decoration is carried out in blue with manganese 
 touches. On each side is figured, with slight differences, a stag walking 
 to left. The background is filled in with large oak-leaves and tiny 
 conventional leaflets. 
 
 From the Sigismond Bardac collection (n. 2). 
 
 Reproduced in colours in the Bardac catalogue. 
 
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FLORENCE, EARLY FIFTEENTH CENTURY 
 
 Two-handled jar. 
 
 Height 0"360; largest diameter 0"330. 
 
 Pear-shaped body tapering towards the foot, with a broad, short 
 neck and two flat handles. 
 
 White glaze, the same inside and outside. 
 
 The whole of the decoration is carried out in blue and manganese. 
 With the exception of two zones of ornaments round the top and the 
 bottom, the whole surface, including the handles, is covered with large 
 conventional ‘‘oak-leaf” foliage. 
 
 Around the neck is a band of zig-zag lines enclosing circular dabs 
 of colour; round the foot and down the sides and handles, are bands of 
 oval touches of colour separated by vertical wavy lines. 
 
 From the Sigismond Bardac collection (n. 3). 
 Reproduced in colours in the Bardac catalogue. 
 
 Two or three practically identical jars are in existence, the varia- 
 tions being quite insignificant. 
 
 A. A jar formerly in the Bardini collection (Album, pl. 15, n. 458; 
 sale at London, 26 Wlay. 1902, p:)33.0m 227), afterwards belonging to 
 Messrs. Lowengard, who sold it in 1909 to a private collector, is so 
 similar that it might almost be our vase. 
 
 B. Another jar, of exactly the same size as the example from 
 the Bardac collection, but with a slightly different belt of ornaments round 
 the neck, was’ obtained in Italy in 1905 by Messrs.: Lowengard, who 
 disposed of it in 190g to Mr, Alexandre Imbert. 
 
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FLORENCE, EARLY FIFTEENTH CENTURY 
 
 Two-handled jar. 
 Height 0"209; largest diameter 02 40. 
 Two-handled jar with a pear-shaped body, tapering ona the 
 foot, and a broad short cylindrical neck. 
 
 Dull grey-white glaze, inside and outside. 
 
 On the body is figured, between two elegant birds, a pointed shield: 
 argent a fesse between three roundels sable (2 and 1). 
 
 Right and left, plain rectangular panels with V-shaped lines. On 
 the reverse, a simple geometric chequered pattern. 
 
 Around the neck, a wavy line. 
 
 Decoration carried out in manganese, blue and green. 
 
 Mr. A. Van de Put reminds me that, in 1484, the Guidi 
 family of Siena bore a fesse between two roundels. 
 
 From the Sigismond Bardac collection (n. 9). 
 
 Reproduced in colours in the Bardac catalogue; O. von Falke, 
 Pringsheimscat;,, ljep.c-5, tO. 
 
TUSCANY, EARLY FIFTEENTH CENTURY 
 
 Bacile. 
 Diameter o”69. 
 
 Large circular dish, with a flat bottom, a nearly perpendicular 
 
 chute and a narrow flat rim. 
 White glaze; plain brown unglazed reverse. 
 
 The bottom is decorated with the full-length figure of a young 
 seated horseman to left, with a green tunic and a green peaked and 
 
 plumed cap. His right hand is uplifted. His steed walks at the amble. 
 To the left of the rider’s head, the two gothic letters TE reversed. 
 
 The rest of the bottom is covered with large sprays of conven- 
 tional flowers. 
 
 The chute and rim are decorated with two belts of wavy lines, 
 one with leaves, the other with flowers. 
 
 The decoration is carried out in manganese and green. 
 
 Formerly in the G. de Beaucorps collection (Exposition de l'Union 
 centrale, Paris, 1865, p,. 237, mn. 2677).% Afterwards “ineeties ace mem 
 collection (Sale at Paris, 13> April 1396, p.~5) 0: Sueandeps 
 
 Last in the collection of Sigismond Bardac (esa 
 
 Reproduced in the Leroux catalogue and (in colours) in the 
 Bardac catalogue; by H. Wallis, Oak-/eaf jars, p. 57, fig. 55; by W. Bode, 
 De Anfaenge der Majolikakunst, pl. V, p. 10; described by E. Molinier, 
 Gazette des Beaux-Arts, XVIII (1897), pp. 149-150. 
 
 This important example of early Italian ceramic art is well known 
 to all students. Only two other pieces from the same workshop are 
 known to exist, both similar in size and decoration to our Jdacile. The 
 first is in the Louvre and shows a lion to left, bearing a pennon with 
 the Florentine fleur-de-lis; the second, in the Kunstgewerbemuseum at 
 Berlin, is decorated with a youthful male bust in profile to the left. 
 
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FLORENCE, FIFTEENTH CENTURY 
 
 Two-handled jar. 
 Height 0"223; largest diameter o”220. 
 
 Pear-shaped body, tapering towards the foot, with a short cylin- 
 drical neck. 
 
 White glaze, with many small air-bubbles; inner surface ribbed, 
 with a pinkish white glaze. 
 
 On the body, on each side, a large circular medallion, showing a 
 bust in profile to the left: on one side, a fair-haired youth, with a 
 peaked cap; on the other, a maiden, with a linen head-dress. Each 
 medallion is surrounded by radiating leaflets, the remainder of the surface 
 being covered with blue sprays of conventional foliage. 
 
 At the bottom of each handle, the ladder, the well-known emblem 
 of the Hospital of Santa-Maria-della-Scala at Florence. 
 
 Decoration in blue, with green and ochre bands and touches of 
 manganese. 
 
 From the Sigismond Bardac collection (n. 10). 
 
 Reproduced in colours in the Bardac catalogue. 
 
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 of cleverly differentiated design, the pattern with curves bein cs 
 curved surface ‘of the: chute and. the flat rim being | adorned 
 straight line moti eek eas aw 
 
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 TUSCANY, FIFTEENTH CENTURY 
 
 Plate with a lion. 
 
 _ Diameter 03 
 
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 Large deep circular plate with a narrow flat rim. 
 
 The glaze is of a greyish white. The outer surface is 2 
 
 the bottom being filled in with foliage and cross Stack O 
 chute of the dish and on the rim are two bands of convent 
 
 From the Canessa collection (n. 123). 
 
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41 
 
 TUSCANY (?), FIFTEENTH CENTURY 
 
 Albarello. 
 
 Height 0"316; diameter o™180. 
 
 Cylindrical body, slightly narrower in the— feels: with a high 
 neck and a very short foot. 
 
 Pale pinkish-white glaze; the inside glaze is light brown in colour 
 and quite thick. 3 2a 
 
 The body is decorated with vertical rectangular panels, separated 
 by double lines and alternately covered with wavy lines and lozenge-_ 
 shaped patterns varying in the detail. Similar patterns adorn the neck. 
 
 The design is carried out in manganese, with portions of the 
 surface painted light-green. 
 
 From the collection of Michel Boy, ‘at Versailles (Sale~ at eae: 
 15 May 1905, pp. 10-11, n. 47 and fig.), who ascribed it to the 
 workshops of Valencia: genic: 
 
 Later in the Canessa collection (n. 124). 
 
 This albarello so closely resembles the fifteenth century productions 
 of the Spanish workshops that the former ascription to Valencia is by 
 no means unreasonable. Even if the Tuscan origin were better established, — 
 the Moorish influence is so obvious that we should certainly consider 
 it as an adaptation of a Hispanic original. 7 
 
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 FLORENCE, FIFTEENTH CENTURY 
 
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 Two-handled albarello. 
 
 Height o™1g0; greatest ere 
 
 long flat handles. 
 White glaze; yellow Ache inside. 
 
 On each side, in an oblong panel, a hie: titer (on one si 
 on the other R); above and below, a diamond network with a ci 
 
 spot in each square. . eat We 
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 Around the’ neck, a row of circles alternating with diamond: 
 ornaments. : F . : 4 ‘a i rt 
 
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 The ye are decorated with es and as eel se r 
 
 lilac bands, 
 
 Reproduced by H. Wallis, The al/barello, p. 68. 
 
 From the J. Pierpont Morgan collection (n. 59). 
 
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 FLORENCE, FIFTEENTH CENTURY 
 
 Albarello. 
 
 Broad cylindrical body, with a tapering foot and a short % 
 cylindrical neck. ; f : 
 
 Pale bluish white glaze, inside and outside. 
 
 On the body, in a medallion of irregular shape, is the fi 
 of a stag, galloping to the left. The remainder of the surface is cov 
 with branches of flowers in white irregular medallions on a backgr 
 of blue tendrils ae 
 
 The whole of the decoration is carried out in blue. ee 
 
 From the collection of Stefano Bardini, Florence (Sale, Lonc 
 5 June 1899, p. 8, n. 32; see album, pl 32, n. 429). 
 Later in the Sigismond Bardac collection (n. 13 A). et 
 
 Reproduced in the Bardini album and, in colours, in the Bardac” 
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 FLORENCE, FIFTEENTH CENTURY 
 
 Albarello. 
 Height 0”230; diameter 07170. 
 
 Broad cylindrical body, with a tapering foot and a short broad 
 cylindrical neck. 
 
 Pale bluish white glaze, inside and outside. 
 
 On the body, in a medallion of irregular shape, is the figure 
 of a fish, to the right. The remainder of the surface is covered with 
 branches of flowers in white irregular medallions on a background of blue 
 tendrils. 
 
 The whole of the decoration is carried out in blue. 
 
 From the collection of Stefano Bardini, Florence (Sale at London, 
 5 June 1899, p. 8, n. 32; see album, pl. 32, n. 429). 
 
 Later in the Sieeond Bardac collection (n. 13 B). 
 
 Reproduced in the Bardini album and, in colours, in the Bardac aS 
 catalogue. i 
 
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 From the same workshop as the preceding albarello, with which 
 
 save for the central mot if, it is identical in every respect: size, gia 
 and decoration. 
 
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 TUSCANY, FIFTEENTH CENTURY 
 
 Ewer. 
 Height 07283; greatest breadth o™1go. 
 
 A jug with a pear-shaped body, slightly tapering towards the 
 foot, and a high cylindrical neck. On one side, a flat handle, on the other, 
 a narrow tube-shaped spout. 
 
 White glaze, inside and outside. 
 
 On the body, a horizontal white scroll with the a inscription 
 in Gothic lettering: 
 
 “SY © Dee PAP RMER Or 
 
 Syrupum de papavero, ‘Syrup of poppies”, was a favorite sleeping 
 draught in medieval pharmacopcea. 
 
 The remainder of the surface, including the handle, is covered 
 with conventional sprays on a dotted background. - 
 
 Above and below, ornamental belts of palmettes (around the neck) 
 and of vertical zig-zag ornaments (around the foot). 
 
 The decoration is carried out in blue, with ethre bands and slight 
 touches of manganese. 
 
 From the collection of Stefano Bardini, Florence (Sale, London, — 
 5 June 1899, p. 7, n&24;— see album, plas, ma g9 of 
 
 From the Sigismond Bardac collection (n. 14). 
 
 Reproduced in colours in the Bardac catalogue; also by H. Wallis, — 
 Figure design, p. 45, and in the Bardini album. gs 
 
 A smaller ewer with nearly the same inscription (SY°DE:PAPAV.) Fe 
 was in the Emile Gavet sale (Paris, 31 May 1897, p. 118, n. 446). 
 
 Compare the decoration of a Faenza (?) vase in the Beckerath 3 
 sale (n. 306). d 
 
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 FLORENCE (?), LATE FIFTEENTH CENTURY 
 
 Plate. 
 
 Diameter 07392. 
 
 Circular hollow plate with a flattened rim. 
 White glaze; on the back, a dull ochre glaze. 
 
 The whole surface is decorated with concentric belts of aa 
 ornaments surrounding a disk, cut up into equilateral triangles ee 
 green and youre 7 ae 
 
 menue 
 
 repeated on the rim and around the centre. Other patterns ee 
 chequered design and a ribbon moti ge single or interlaced. 
 
 The colours used are blue, green, ochre and manganese. 
 
 On the reverse is painted the mark: : ae yr 
 
 26 May 1902, p- 19, n. gg, pl.; see album, pl. 13, n. 440). 
 
 Later in the Sigismond Bardac collection (n. 6). 
 
 Reproduced in the Bardini album and, in colours, in the Bardac 
 catalogue. i 
 
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17 
 
 FLORENCE (?), LATE FIFTEENTH CENTURY 
 
 Plate with the Sforza emblem. 
 . Diameter we” 
 
 Large circular plate, with a deep sunken centre and a narrow rine 
 
 Inside, a white crackled glaze; the outside is plain, with a a dull A 7 
 yellow: lustre. ; cee 
 
 In the centre, a large blue snake or dragon, wal a man, 
 This is the well known armorial bearing of the Visconti family. _ 
 
 ae 
 The background is studded with clusters of dots and surrounded 
 
 by peacock-feathers. ot. “4 Pi, 
 eat 4 ' 
 
 The rim is decorated with a broad Beit of pomedd leaves ‘i 
 diagonally. a at ae tx ae 
 
 The decoration is carried out in blue, with portions in - ochre, 
 green and manganese. 
 
 The arms of the Visconti-Sforza house and of the duchy of Milan 
 (1450-1535) are: argent a serpent (alias viper or Jiscia) ondoyant in pal 7 
 azure, crowned with a ducal crown and vorant a child gules. 
 
 From the J. Pierpont Morgan collection (n. 88). 
 
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17 
 
18 
 
 FLORENCE (?), LATE FIFTEENTH CENTURY 
 
 Plate. 
 
 Diameter o™ 387, 
 
 Large circular plate with a sunken centre and a narrow flat rim. 
 Inside, a white uncrackled glaze; outside, a plain yellow lustre. 
 
 In the centre, in a reserve, a youthful male bust in profile to 
 the left, with dark hair and a white cap. Right and left, sprays of 
 
 circular flowers. 
 
 The rim is decorated with a broad belt of pointed leaves, planted 
 diagonally. 
 
 The decoration is carried out in blue, with portions in ochre. 
 
 In spite of some damaged portions, this plate is of remarkably 
 successful execution. 
 
 Probably from the same workshop as a plate in the Musee de 
 Cluny (n. 2809) reproduced by A. Darcel, Gazette des Beaux-Arts, VIII 
 (1592), 9p..199. 
 
 The pattern on the rim of nn. 16, 17 and 18 occurs also on the 
 fine plate with a large flower, bought in 1897 by the Louvre (E. Molinier, 
 Gazette des Beaux-Arts, XVIII, 1897, p. 151), on two plates in the Victoria 
 and Albert Museum (H. Wallis, Figure design, pp. 13 and 39) and on a 
 plate in the British Museum (7did., p. 37); see also Beckerath sale, n. 46; 
 Zschille sale (1899), n. 2; Pringsheim collection, n. 50. 
 
 From the J. Pierpont Morgan collection (n. 92). 
 
18 
 
19 
 
 TUSCANY, LATE FIFTEENTH CENTURY 
 
 Bacile. 
 | Diameter 0"377; dept | 
 
 Circular dish with a flat bottom, a perpendicular chut 
 narrow flat rim. | aaa 
 
 White uncrackled glaze, inside and outside. 
 
 In the bottom is a_ six-lobed rosace or flower, ‘su 
 eight small radiating flowers and by a belt of eight pet 
 
 enclosing a flower, and the rim shows | one continuous line 
 peacock feathers. ; ioe 
 
 The reverse is plain, save for a row of blue and 
 around the edge. Meee : es 
 
 Ben q é 
 
 The decoration is carried out in oe with touches of 
 and manganese. ft 
 
 From the Sigismond Bardac collection (n. 5). 
 
 Reproduced in colours in the Bardac catalogue. 
 
19 
 
oe = 7 dl 
 LOA tae Olea oa. 2) 
 
 on 
 ) we 
 
 a s i ‘ 
 lax a oe 
 
20 
 
 TUSCANY, LATE FIFTEENTH CENTURY 
 Large plate. 
 
 Circular plate with a sunken centre and a flat rim. 
 
 Inside a white crackled glaze; plain reverse, with a dull 
 glaze. a 
 In the centre, in a reserve, a youthful female hone in P of 
 to the left, with an ochre cap and dark hair. 
 
 Around her head are five circular flowers. 
 
 y MO igee ee 
 
 From the J. Pierpont Morgan collection (n. 84). 
 
20 
 
: - : 
 4 
 * 
 3 
 A 
 i 
 . 
 . 
 
21 
 
 FLORENCE, LATE FIFTEENTH CENTURY 
 
 Plate. 
 
 Diameter 0”349. 
 
 Circular plate with a sunken centre and a rim rising gradually. 
 Bluish white glaze, without crackles, the same inside and outside. 
 
 In the centre, the bust in profile to the left of a bare-headed boy, | 
 with a green and blue tunic and long flowing fair hair. Behind him, on 
 
 a scroll, the word MEME(n ae ; cP : 
 
 ee +t 
 
 conventional flowers, between two belts covered with the same diane 
 pattern of tiny four-lobed flowers on a yellow background. Ree 
 
 Decoration in blue, ochre and green. 
 
 On the back, concentric circles in blue, pale ochre and manganese, a 
 the centre left blank. 
 
 From the collection of Stefano Bardini, Florence (Sale at te 
 5 June 1899, p. 8, n. 25; see album, pl. 7, n. 124). 
 
 a 
 
 Later in the Sigismond Bardac collection (n. 7.) 
 
 Reproduced in colours in the Bardac catalogue and by Bode, Die 
 Anfaenge der Majolikakunst, pl. XXVIII, p. 28; also in the Bardini album. | 
 
21 
 
“ 
 
22 
 
 TUSCANY, LATE FIFTEENTH CENTURY 
 
 Plate. 
 Diameter 03 
 Circular ea with a broad flat rim. 3 : 43 Ss : 
 
 ribs and is MBE ot with a dull ee glaze. 2 
 
 In the bottom, the bust in profile to the left of a fair-haired cl 
 shaven young man, bearing a high purple cap and a yeh: tunic trim 
 with green and yellow. iy 
 
 Right and left, a large scroll of conventional ee. ‘ Ee a 
 
 The rim is decorated with nineteen ornaments in the shap 
 peacock-feathers, separated by green and purple strokes. yee 
 
 The decoration is carried out in blue, green, ochre, pale 
 and manganese. ; 
 
 § June 1099," patton. ats ec album, pi. a Nn. 430). 
 
 Later in the Sigismond Bardac collection (n. 4). 
 
 Anfaenge der Majolikakunst, pl. XXXVII; also by Wallis, Figure desi 
 p- 33 and in the Bardini album. 
 
22 
 
we 
 
Pe he 
 
 ee i ip 
 ae 
 
23 
 
 TUSCANY, LATE FIFTEENTH CENTURY 
 
 Two-handled albarello. 
 
 Cylindrical body, slightly narrower in the middle, with on | 
 short neck, a slightly tapering foot and two long torsaded handles. — 
 
 Outside, a white crackled glaze; inside and on the tim, 8 ‘thin 
 glaze of pale ochre. Ps - ae 
 
 On the body, on each side, a mentee band with a rice 
 shaped ornament and four semi-circular spandrels attached to ‘each | of ‘e 
 four sides. In the centre, a heraldic flower turned downwards. 
 
 On the neck, bands of zig-zag and fish-scale ornaments; on th 
 foot, a plain zig-zag of crossed lines. : ) 
 
 The decoration is carried out in blue, green, ochre and yellow. 
 
 Reproduced by H. Wallis, The a/barello, p. 85, and in Loan eh 
 of the J. Pierpont Morgan collection (1914), p. 56, pl. 
 
 From the J. Pierpont Morgan collection (n. 28). a 
 
 “ 
 
 A somewhat similar albarello was in the Michel Boy sale (P 
 15 si! 1905, p. 19,n. 92, fig.) and is now in the Pringsheim collectio 
 
23 
 
24 
 
 TUSCANY (?), LATE FIFTEENTH CENTURY 
 
 Bowl. 
 Height o"061; diameter o”158 
 
 Circular bowl or cup, with a low foot. 
 Inside a plain white glaze. | 
 The outer surface is entirely decorated and shows the 
 white glaze. | | ae vee 
 
 The designs used are the usual zig-zag and chain patterns, 
 a broad band of very conventional oak-leaves and a rosace in the c 
 surrounded by a projecting rim on which the cup stands. Ss 
 
 * 
 
 The decoration is carried out in blue, with reserves defined in 
 
 E. Molinier, 1898, p. 20 n. 44, as trom a Faenza workshop). 
 
 Later in the J. Pierpont Morgan collection (n. 25). 
 
 - 
 
 On an old label (about 1860?), the words: Nicolads Rasnolis, 
 Jabrique italienne, XIV* Sitcle, showing that the cup comes from an 
 old French collection. 
 
Co ane P7 7, 
 % 
 
 24 
 
\ * 
 . 
 - 
 ’ 
 * 
 . 
 ¥ a 
 > 
 . 
 > . 
 * 
 7 
 * « 
 
25 
 
 TUSCANY, ABOUT 1485 
 
 Large plate. 
 
 Diameter o"480. 
 
 Large circular plate with a sunken centre and a broad flat rim. 
 White glaze, the same inside and out. 3 
 
 In the centre, a circular medallion with a virgin seated to right 
 in a rocky landscape and combing the mane of a unicorn. Pie © 
 
 On the rocks in the background, some pres and two “ealinin 
 
 stags. “se ee elias 
 
 oo he 
 
 On the swell of the dish, a broad border of <ontoneee on. th 
 rim, a scale pattern with an outer row of lozenge-shaped ornament | 
 At the top, in a reserve, two shields surmounted by a closed ° “crown; me 
 mae bear the arms of Matthias Corvinus, ie of Hone from 145) 
 
 Paris, 13 December 1886, pp. 17-18, n. 68, with a quaint descriptior 
 
 of “Sainte Genevieve a demi nue occupée a peigner une biche”). 
 
 Subsequently in the collection of Charles Mannheim, Par 
 (Catalogue by E. Molinier, p. 20, n. 41 and pl.). . 
 
 Last in the J. Pierpont Morgan collection (n. 23). 
 
 Reproduced by Eugéne Miintz, Gazette des Beaux-Arts, XIII fs 5) 
 p- 121 and by E. Molinier, in the Mannheim catalogue. 
 
Aud ~ Qt 
 : i ' oe ~ 
 ‘.7 we : 
 
 * 
 
 ae es , - wy - r 
 “tase AIS 
 
 aay DS ar 
 _™S e Bg BSE Ve , 
 
 SSR 
 ied Ve 
 
 25 
 
26 
 
 TUSCANY, ABOUT 1485 
 
 Large plate. 
 
 White glaze, the same inside and out. 
 
 belt of flowers, sper poppies. 
 
 On the swell of the dish, a broad border of palmettes; on 
 the same scale pattern as on the preceding plate, but surrounde - 
 narrow serrated border. At the top, in a reserve, the arms of King ] 
 Corvinus and his wife Beatrice of Aragon, as on the plate described 
 
 The back is decorated with foliage and ornaments outlined 
 
 metic decoration is carried out in blue, ochre, sue and mai 
 A portion of the rim is repaired. 
 
 The Victoria and Albert Museum (1860, 7410 and 1855, 1 173 . 
 owns two dishes with the arms of Corvinus. No others: seem to be on | 
 record. ; 
 
 From the collections of Emile Gaillard (Sale at Paris, 8 June 190 
 p. 89, n. 420 and pl.) and of Madame Emile Gaillard, his widow ¢ 
 at Paris, 15 May 1916, (pwn, nw toe plannle ? 
 
 Reproduced in both the Gaillard catalogues. 
 
26 
 
@ 
 “ 
 ao 
 
26 
 
or 
 
 +t 
 
27 
 
 -FLORENCE, ABOUT 1500 
 
 Albarello with a handle. 
 
 Height 0"220; Soke with handle o”1 ao. tng 
 
 Cylindrical body, slightly narrower in Re middle, with tapering 
 neck and foot. - s 
 
 White glaze, inside and outside, also on the upper rim. i 
 
 Round the body, between a row of oves adjacent to a row o 
 diamond-shaped upright squares, are ten Cherubs’ and Seraphs’ head 
 believed to be emblematic of the Florentine Hospital of Santa-Ma , 
 degli-Angeli. me ut 
 
 Below, a plain ri row of pothooks; at the top, two belts of triangul 
 ornaments. . 
 
 The decoration is carried out in blue with ochre reserves, 
 details in yellow and green. 
 
 Under the hod illegible scratches. 
 Companion vase to the three following. | ah . ‘ 
 
 “355 
 = 
 
 It may be noted that these four vases are ) Wdenticals in 
 
 rentiated in each example. On this vase, tie belt is covered wit 
 succession of triangles filled up with parallel strokes. 
 
 From the Sigismond Bardac collection (n. 28 A). 
 
27 
 
~_« 
 
 a ey pe Ss eee oe ee 6 
 
aS —e * 
 
 a Ss ae CL 
 
 28 
 
 FLORENCE, ABOUT 1500 
 
 Albarello with a_ handle. 
 
 Height o”205; diameter with handle o™147. 
 
 Cylindrical body, slightly een SIS in the middle, with tapering fe 
 foot and neck. | a a 
 
 White glaze, inside and outside, also on the upper rim. 
 
 y 
 
 The decoration is identical in nearly every detail with the ficsioat a 
 and pattern of the companion vase described above and the colour: 
 used are the same. The only perceptible difference is that the drawing, 
 is slightly less constrained, and seems a little more sketchy. | or = 
 
 The triangular ornaments on _ the neck are here replaced by. 
 herring-bone pattern. > epic. 
 
 Under the foot, illegible scratches. 
 
 Beneath the handle, the number 8 in red paint (from the companio 
 vase described above, the number has been erased). 
 
 From the Sigismond Bardac collection (n. 28 B). 
 
28 
 
29 
 
 FLORENCE, ABOUT 1500 
 
 Albarello with a_ handle. 
 
 Cylindrical body, slightly narrower in me middle, with ta 
 foot and neck. ~ 
 
 White glaze, inside and outside. hee og . tie ie 
 “vases 
 
 Around the body, Cherubs’ and Seraphs’ heads, as on the other | 
 the same type. The decoration is identical in nearly every detail wit 
 the designs and patterns of the three ann vases. ee 
 
 of diamond-shaped ornaments. av 
 
 Under the foot are scratched the following j barking aa * 
 clear) : ce fe Ee 
 
 Beneath the handle, the number 1o in red paint. 
 
 From the same set as the two preceding items and 
 vase. 
 
Ades gente 
 
 ASIII 
 
 7 S75 
 INS) 
 fae 
 
 7 SIeP sab A 
 i ae =f! 
 
 A ale rane rT 
 as AU 
 
 a au WTI 
 RPP LN EA IEN) Daly 
 
30 
 
 FLORENCE, ABOUT 1500 
 
 Albarello with a_ handle. 
 Height o™220. 
 
 Cylindrical body, slightly narrower in the middle, with tapering 
 foot and neck. A 
 
 White glaze, inside and outside. 
 
 Around the body, Cherubs’ and Seraphs’ heads, as on the other vases 
 of the same type. The decoration is identical in nearly every detail with 
 the designs and patterns of the three companion vases. | 
 
 The belt on the neck is decorated, on this vase, with a network 
 of lines; to each angle are attached two short horizontal dashes. 
 
 Beneath the handle, the number 7 in red paint. 
 
 From the same set as the three preceding items. 
 
 Several other similar albarelli are known: two were recently in 
 the hands of a New York dealer; one is in the Pringsheim collection, 
 n. 88 (ascribed by O. von Falke to Siena, about 1530); one was bought 
 in 1855 (n. 3028) for the South Kensington Museum and one (from 
 Lord Currie’s collection) was last in the Ignazio Cavaletti sale (Rome, 
 20-April 1905.00, 26s), 
 
‘imee i ae i wane 
 
 30 
 
“ r 7a < : ' 
 
aay Th. 
 
 31 
 
 TUSCANY (?), ABOUT 1500 
 
 Plate. 
 
 Diameter o™3 
 
 purple dress. Behind the head on a scroll, the Ae Sais e 
 
 ME+ MENTO: MEI* DOMINE: iE . 
 
 Memento met Domine. ““Remember me, o Lord”. Be 5 pe 
 The rim is decorated with a broad belt of. -conventi nal o 
 ~~ Ne = 
 radiating from the centre. ty 
 
 and manganese. 
 
 Reproduced in Loan exhibition of the J. Pierpont Morgan 
 (1914), p. 55, pl. 
 
 From the J. Pierpont Morgan collection (n. 94). 
 
as 
 
 Wi, 
 
 z Wi 
 
 31 
 
32 
 
 TUSCANY (?), ABOUT 1500 
 
 Albarello. 
 
 Height ae diameter on aa 
 
 ed oininea body, mca! narrower in ‘the BERL US, with ae 
 short Deey neck and foot. — ; e 
 
 ZV... VIOLATO . 
 
 and touches of pale green. — 
 
 From the Canessa collection (nv 1146), ee 
 
 A very similar albarello, of the same size and with the same 
 
 was last in the Giovene de Girasole sale (Florence, 25 February We 
 ples 000): 
 
32 
 
33 
 
 TUSCANY (?), ABOUT 1500 
 
 Jar without handles. 
 
 Height 0"249; diameter 0"220. 
 
 Spherical body, slightly flattened at top and bottom, open at top, 
 without rim, resting below on a conical expanding foot with a raised belt 
 around the narrowest point. This jar had possibly, at one time, a lid. 
 
 Bluish-white glaze, thin and uncrackled; inside, a dull white glaze. , 
 
 The whole body (including the foot) is covered with an elegant 
 scroll-pattern in blue, defining a number of rounded compartments, each 
 showing a very conventional leaf or flower, not unlike those met with on — 
 brocades. In the centre of the body, in a large circular wreath, is the 
 double coat of arms of the Soderini and Nobili families of Florence. No 
 intermarriage between these families seems to be recorded in the latter 
 half of the fifteenth century, but the available genealogies are far from 
 complete. 
 
 The decoration is carried out in blue, with details in ochre, copper- 
 red, green and pale yellow. 
 
 The arms read: Gules, three stag’s attires or (for argent). — 
 
 Soderini. — Azure, a bend of the same tincture semy of fleurs-de-lis or — 
 
 ranged in bend, the bend fimbriated argent. — Nobili. 
 
 From the Sigismond Bardac collection (n. 25). 
 
 Reproduced in colours in the Bardac catalogue. 
 
34 
 
 TUSCANY, LATE FIFTEENTH CENTURY 
 
 Albarello. 
 Height 02.22; diameter o™118. 
 
 Cylindrical body, slightly narrower in the middle, slightly tapering 
 
 towards the foot and more towards the neck. 
 
 Bluish-white crackled places inside, a ribbed surface with a light 
 brown glaze (not lustre). 
 
 On the body, in a large circular medallion, surrounded by a wreath 
 of conventional oak-leaves with acorns, showing at top and bottom a 
 schematic rosette or six-petal flower, on a white background, is figured in 
 profile the bust of a youth | to the left, with long flowing fair hair and a 
 small round cap. 
 
 Around the foot ag two belts of very simple ornaments 
 (vertical dashes and herring-bone pattern). 
 
 The decoration is, carried out in blue, the shading washed, with 
 details added in green and light ochre. 
 
 Under the base, the weight marks: 
 
 Eegae 
 
 oe 
 
 From the collection of Stefano Bardini, Florence (Sale at London, 
 5 June 1899, p. 9, T- <47iesce album, pless 0.9104), 
 Later in the Sigismond Bardac collection (n. 22). 
 
 Reproduced in the Bardini album and, in colours, in the Bardac 
 catalogue. 
 
 Companion vase to the following. 
 
' ® 
 
 4, : 
 oan 
 € 
 
 ‘ 
 i 
 
 Niygaes “ 
 Bes CSCO Eg 
 
 s "Na nema onen 
 (OSE tine seme. oP 
 
 34 
 
hele ginny 
 
 - . 
 
 P 
 
35 
 
 TUSCANY, LATE FIFTEENTH CENTURY 
 
 Albarello. 
 Height 0220; diameter 0”127. 
 
 Cylindrical body, slightly narrower in the middle, slightly tapering 
 towards the foot and more towards the neck. 
 
 Bluish white crackled glaze; inside, a ribbed surface with a light 
 brown glaze. 
 
 On the body, in a large circular medallion, surrounded by a wreath 
 of conventional laurel-leaves (?) with berries, showing at the top and 
 bottom a schematic rosette or six-petal flower, is figured, on a white 
 background, as on the companion vase described above, the bust in profile 
 to the left, of a youth with long flowing dark hair and a large round 
 yellow cap. 
 
 Around the foot, the same ornaments, two belts of vertical dashes 
 and herring- bone lines. 
 
 The decoration is carried out in blue, with washed shadings, the 
 details added in green and light ochre. 
 
 Under the base, the weight marks: DQ WL i 
 
 From the collection of Stefano Bardini, Florence (Sale at London, 
 § June 1899, p. 9, n.37; see album, pl. 5,:n. 106). 
 
 Later in the Sigismond Bardac collection (n. 23). 
 
 Reproduced in the Bardini album and, in colours, in the Bardac 
 catalogue. 
 
 Compare n. 87 of the 1899 Bardini sale, a vase with a female profile, 
 closely similar to the pair in the Schiff collection; also nn. 60-61 of the 
 Pringsheim collection (ascribed to Maestro Benedetto, of Siena). 
 
35 
 
a ’ 
 - 
 + 
 4 > 
 . “ 
 . 
 . 
 . 
 - 
 _ 
 b 
 4 . 
 
36 
 
 TUSCANY, LATE FIFTEENTH CENTURY 
 
 Albarello. 
 
 Height 0294; diameter 07134. 
 
 Cylindrical body, slightly narrower in the eee with a tapering 
 foot and a short cylindrical neck. 
 
 White uncrackled glaze; inside, a dull white glaze. 
 
 On the body is figured, in an irregular medallion, the bust of © 
 a youth in profile to the right, with long flowing fair hair, a blue and 
 green peaked cap and a green and yellow tunic. } 
 
 The remainder of the surface is covered with scrolls of large 
 conventional foliage. 
 
 Around the foot is painted in Gothic lettering ; 
 ytm cordiale 
 Under the foot is incised the capacity of the vase: 
 
 + 636 
 
 The decoration is carried out in blue, with touches of ochre, manga- 
 nese and bluish-green. 
 
 From the Sigismond Bardac collection (n. 16). 
 
 Reproduced in colours in the Bardac catalogue. 
 
36 
 
37 
 
 TUSCANY, LATE FIFTEENTH CENTURY 
 
 Albarello. 
 ate o"360; diameter ont, 
 Cylindrical body, slightly narrower in the middle, with a tat 
 
 foot and a short cylindrical neck. 
 
 White crackled glaze, inside and eae this glaze appears | i 
 the upper rim. 
 
 On the body is figured, in an irregular medallion, hele 
 profile to the left of a young lady with fair hair, a small diapered c ca 
 the back of her head and a low cut green dress with yellow. sl 
 The rest of the surface is covered with two bands, one above the 
 
 lower portion ot the Bee 
 
 The decoration is carried out in blue, light ochre, green 
 manganese. a 
 
 From the Sigismond Bardac collection (n. 17). 
 
 Reproduced in colours in the Bardac catalogue. 
 
 i f med! Ses) 1 A lh 
 jie ae eal jas ig a 
 
37 
 
TUSCANY, FIFTEENTH CENTURY (?) 
 
 Sr. 
 
 Albarello. 
 
 Cylindrical bass slightly narrower in ae middle, with short | 
 tapering foot and cylindrical neck. 
 
 White glaze with | Targe eauléles: ideidet ‘is a very thin grey 
 pink glaze. ; . 
 
 On the body are the affronted profile busts of a fair-haired 
 with a white bonnet (left) and a clean-shaven fair-haired man wit. 
 purple cap (right). Between them, a large flower on its stem. 
 the other side, a panel of irregular shape decorated with cave 
 tendrils outlined in blue and with six small yellow buds or convention 
 flowers. . ; q Bho 
 
 The colours used are blue, ochre and he Soe 
 
 vases of which the exact date and origin: remain to be established. ‘Ser 
 good judges have ascribed them to a Neapolitan or Sicilian factory | 
 fifteenth century, while. others believe pingae ‘Roman or Tuscan ares 
 others again consider them as of a later date. eee 
 
 € 
 
 * fe f ae ae a ~* -“ 
 te as 
 ie “ 4 eZ 
 
 From the collection of Miss Walters Cacciola, at Taormina, Sici 1 
 Subsequently in the Canessa collection (n. 130). 
 
38 
 
38 
 
38 
 
Se ee rr F 
 on . 7 ; 
 Sr eT ; 
 4-7 
 . 
 « 1 
 - 
 1 
 ‘ 
 ra 
 . 
 4 - 
 c 
 : 
 2 
 _ re » 
 . . 
 + ‘ br ? 
 > : ‘ 
 
 = 
 *7 
 
 ~~. 
 a 
 ° 
 
 » Adee 
 
 ’ 
 
 - ae. see 
 
 Bie | 
 
SOA Py: 
 
 pi)! 
 
 “+ 
 
 ae | 
 
TUSCANY, FIFTEENTH CENTURY (?) 
 
 Albareligns 
 
 tapering foot and neck. 
 
 White glaze of poor ane with many air-bubbles; a inne s 
 surface is ribbed and covered with a white glaze. | o, 
 
 On the body, in a medallion of eae shape, is figured the | bee 
 
 convent, were purchases in 1903. by the sea ee on two of them, we " 
 the arms of Alfonso II of Aragon-Naples and Hippolita Maria Sforz: 
 (between 1465 and 1484). They are reproduced by J. J. Marquet de Vasselot 
 Three Italian albarelli, i in Bienen Masami II (1903), Pp- 338-349500e 
 
 From the collection of Miss Walters Cacciola, at Taormina, Sicil » bd 
 Subsequently in the Canessa collection (n. 131). | 
 
39 
 
TUSCANY, FIFTEENTH CENTURY (?) 
 
 Albarello. 
 
 ‘ 2 a 
 eo o"310; diameter o” 130 
 
 Cylindrical body, ia narrower in re middle, with a s| : 
 tapering foot and neck. F . 
 
 Dull white oe ane inner ae is ribbed, with a 2 
 crackled glaze. ah : 
 
 conventional foliage Bl the eerie iicretign 
 -ABE:U-MEREREAES 
 
 The colours ae are blue, manganese, Biec and a dirty | 
 
 The design seems to be by the same hand as that of nn. 
 and 42. 
 
 “ 
 
 From the collection of Miss Walters Cacciola, at Taor 
 Sicily. Subsequently in the Canessa collection (n. 132). 
 
40 
 
f rs 
 ‘ 
 a ¢ 3 iY 
 ; 5) 
 ° 
 = 
 js ” 
 “ 2 
 ‘ 
 5 
 : 
 is 
 a 
 . 2 
 } 
 - 
 oa 
 ° . . 
 ¥ 
 4 
 
41 
 
 TUSCANY, FIFTEENTH CENTURY (?) 
 
 Albarello. 
 
 sagen 0™320; diameter om 
 
 Cylindrical body, sien narrower in the middle, with a tape 
 foot and a short cylindrical neck. 
 
 Outside, a bluish-white crackiette glaze; inside and around th : 
 upper rim, a Canary- -yellow glaze. 
 
 On the body is figured a male bust in ian oble to the Be : 
 a short pointed beard, curly hair and a purple and green felt hat. 
 
 On the back, a large scroll of conventional foliage. oe | 
 
 The design is carried out in blue, with touches of green, 
 nese and light ochre. | 
 
 By the same artist as nn. 39, 40 and Aer 
 
 From the collection of Dr. B... (Sale at Paris, 23 April 1999 F 
 n. 46 and pl.) = 
 Later in the Arthur Sambon collection (Sale at Paris, 25 May 
 p. 70, n. 242 and pl.) . 
 
41 
 
‘A 
 wf 
 P| 
 
 ae S 6«hCn 
 
 re) 
 
 » 
 ‘ 
 . 
 
42 
 
 TUSCANY, FIFTEENTH CENTURY (?) 
 
 Albarello. 
 
 Height 0™330; diameter ae 3 
 
 a pale greenish-white crackled eas 
 
 On the body is figured a | clean-shaven male bust in se to 
 
 on the left, a scroll with the inscription: ae he 
 «Bie NBEA* BEACs Biase 
 
 On the back, a large scroll of conventional foliage. 
 
 The design is carried out in blue, with touches of green 
 manganese. . 
 
 By the same artist as nn. 39, 40 and 41. 
 
 From the collection of Dr. B... (Sale at Paris, 23 April 1909 p. 
 n. 47 and pl.) 
 Later in the Arthur Sambon collection (Sale at Paris, 25 May 1 
 p. 69, n. 240 and pl.) oa 
 
43 
 
 TUSCANY, FIFTEENTH CENTURY (?) 
 
 Albarello. 
 
 Height 0o™288; diameter 0™128. 
 
 Cylindrical body, slightly narrower in the middle, tapering toward 
 the foot, with a short cylindrical neck. 
 
 White crackled glaze, more creamy inside and on the upper rim. — 1 
 
 On the body is figured, on an ochre background, a clean-shaven 
 male bust in profile to the right, with fair hair, a white cap, and a 
 green tunic with purple sleeves. 
 
 On the reverse, two large blue flowers with yellow centres. Also 
 the inscription: LOFINIO. mete 
 
 The decoration is carried out in blue, green, ochre, yellow and 
 manganese. | | 
 
 From the J. Pierpont Morgan collection (n. 106). 
 
 A companion vase to the following and obviously from the same 
 workshop. oc 
 
(th ALOT 
 , ~—eon 
 
 tend 
 é : 
 
 Sass 
 
 a ‘ 
 
 e 
 
 ey 
 
 43 
 
TUSCANY, FIFTEENTH CENTURY (?) 
 
 Albarello. 
 
 Height o™290; diameter om 30. 
 Cylindrical body, slightly narrower in the cavalo tapering own 
 the foot, with a short cylindrical neck. “ 
 
 White crackled glaze, more creamy inside and on the upper eo 
 
 sleeves. 
 On the a large conventional foliage. | sig dy 
 Also the inscription: LISA* BELLA: 
 
 The decoration is carried out in blue, green, ochre, yellow anc 
 manganese. 
 
 From the J. Pierpont Morgan collection (n. 107). 
 
 This vase, identical in style and technique with the preceding v 
 certainly from the same workshop. 
 
44 
 
, « 
 - 
 * 
 é A : 
 ‘ . 
 r 
 ” 
 - 
 * 
 > 
 : ’ 
 * 
 7 
 * 
 ; 
 ] 
 i. re 
 
45 
 
 TUSCANY, FIFTEENTH CENTURY (?) 
 
 Albarello. 
 
 pe pas 5; diameter 
 
 dull greyish-pink glaze. 
 
 On the body is figured in. profile to cit the bust of : ) 
 shaven man, with a green cap and long flowing fair hair. - 
 
 On the back is the usual” conventional foliage. pe 
 
 The decoration is carried out in ‘blue, with touches of 
 green, manganese and a particular greenish yellow. 
 
 From the collection of Miss Walters Cacciola, at Taori 
 Sicily. Subsequently in the Canessa collection (n. 140). 
 
45 
 
46 
 
 TUSCANY, FIFTEENTH CENTURY (?) 
 
 Albarello. 
 
 cylindrical neck and a. ‘short tapering foot. 
 
 Dirty greyish-blue crackled glaze; smooth inner surface, with 
 thin dull greyish-pink. glaze. , 
 
 On the body is figured. in prohle to left the bare-headed bust : 
 clean-shaven young man with long fair hair falling i in straight locks. : 
 
 On the back is the usual perention:l foliage. 
 
 The deceratan is carried out in blue, with touches of 
 green, dull mangancbe. and a little greenish yellow. 
 
 This vase is: by. the : same potter as n. 45 and decorates oy 
 same hand; the size and shape, glaze and firing are the same a 
 draughtmanship is clearly identical. 
 
 From the maleine of Miss Walrere Gatien at Taormina, 
 Subsequently in the Canessa collection (n. 141). 
 
 Siena), about os : 
 
46 
 
2 
 
 7 
 
47 
 
 TUSCANY, FIFTEENTH CENTURY (?) 
 
 Albarello. 
 
 Height 0279; diameter i 268 
 Cylindrical body, slightly narrower in the middle, with 8 
 slightly tapering neck and foot. n 
 
 B 
 Thick white Gaekicd glaze; inside, a thin light yellow ae 
 which traces occur on the mouth of the vase. 
 
 a clean-shaven man, with fair hair (touched with green); hi pre 
 tunic is adorned with a blue front and a purple collar. 
 
 On the back, the usual large conventional scroll foliage 
 inscription : 
 
 by any other pieces in the collection. 3 pf 
 
 From the collection of Miss Walters Cacciola, at Taos 
 Sicily. Subsequently in the Canessa collection (n. 142). | 
 
47 
 
48 
 
 TUSCANY, FIFTEENTH CENTURY (?) 
 
 Albarello. 
 
 aS. aes 0280; diameter | 
 Cylindrical body, slightly narrower in the middle, with s 
 slightly tapering neck and foot. 
 
 Whitish-green crackled glaze; aide: a Beas glaze 
 traces occur on the mouth of the vase. 
 
 On the body is “figured in profile to the left the bust of 
 shaven youth, with a blue and purple cap, long flowing dar 
 a green and blue tunic, the collar being purple and ochre. — 
 
 On the back, the usual large” scroll of conventional f 
 the inscription: 
 
 on" 
 
 MARIO: ae “ — bello”. 
 
 with green and manganese. 
 
 By the same potter and a as n. 47. 
 
 From the collection of Miss Walters Cacciola, at ae 
 Sicily. Subsequently in the Canessa collection (n. 143). 
 
LALAQ 
 
 yy 9% 
 
 AG 
 
 48 
 
49 
 
 TUSCANY (?), ABOUT 1500 
 
 Plate. | 
 
 Diameter 
 
 “A 
 
 Circular plate, the rim slightly flattened. . 
 Bluish- white glaze; on the back, a plain creamy-white glaze. 
 
 i the centre, Adam and Eve, after being driven out of Ede 
 are seated on rocks in the open, Eve spinning, with a baby” ize) 
 knee, Adam resting, with his hoe before him, and their other 
 seated on the ground to the left. In the background, trees and 
 
 of Fit Medici at top and ae Lanzone of Florence on ss; 
 and left. eee ; %, E 
 
 a 
 p 
 = 
 Qu. 
 —e 
 =) 
 feb) 
 — 
 a 
 =} 
 GH 
 W 
 BS hy 
 e) 
 Ou 
 oO 
 me 
 5 
 — 
 Gm 
 N 
 W 
 Fame 
 O) 
 — 
 3 
 ie) 
 =) 
 cr 
 < 
 — 
 bf .- 
 — 
 a 
 he 
 oO 
 a 
 = 
 nN 
 N 
 - 7 
 saa 
 
 the points of a label gules three fleurs-de-lis or. — Lanzone. 
 
 From the collections of Edmond Bonnaffé (Sale at Paris, 3 I 
 1897, p. 14. n. 40) and Sigismond Bardac (n. 24). 3 
 
 Reproduced in colours in the Bardac catalogue. 
 
49 
 
50 
 
 TUSCANY (?), ABOUT 1500 
 Spherical jar. 
 
 Spherical body with a broad neck and a flat foot defined by 
 slightly projecting rim. ie > ae 
 
 White crackled glaze; the inner surface is Heese wit 
 creamy-white crackled glaze. <a ane 
 
 The body is entirely Bees with three broad bands: x 
 
 dots. Round the centre are ae circular patches Se tite ‘ 
 with elongated leaves. Round the neck and the foot are > als 
 conventional foliage. we Te a 
 
 The only colour used is blue. 
 
 From the Canessa collection (n. 125); formerly belon; 
 Hakky-Bey. es 
 
50 
 
51 
 
 TUSCANY (?), ABOUT 1500 
 
 Spherical jar. 
 
 workshop. | 
 
 Glaze and decoration are ‘deve the only acne 
 being the omission of the elongated leaves between the 
 around the centre of the body. 
 
 From the Canessa collection (n. 126); formerly “belo nged to 
 Hakky-Bey. me 
 
 U 
 
51 
 
52 
 
 TUSCANY, EARLY SIXTEENTH CENTURY 
 
 Jar without handles. 
 Height 0”258; diameter om20 
 
 Pear-shaped body, tapering towards the foot, with a high broad 
 cylindrical neck. = 
 
 White glaze; inside, a “dull ochre glaze. 
 
 a conventional design. ‘- % Pe: 
 
 - Two circular medallions show, the first, spa 
 with his bow in _ his outstretched left hand and his hr 
 
 Below each medallion, the words 
 
 COSERVA °: BoRAGINATA 
 
 on a broad white belt and the cipher 
 
 The decoration is carried out in blue, with details 1 
 ochre and yellow. 
 
 From the Sigismond Bardac collection (n. 27). 
 
 Reproduced in colours in the Bardac catalogue. 
 
a eed 
 
 52 
 
Tae: 
 
 sncabiShenieaeIM = Fi 
 cimgeees “zz FEE 
 ee — c 
 
 a” hy 
 
 ED AVG yop 
 
 ~ 
 ao 
 
 wa 
 _* 
 
 . 
 
 MASE os 
 
 ne 
 Se he ee a 
 
 A: BORAGN: 
 
 sasatnigueaamentcl 
 
 52 
 
53 
 
 SIENA (?), FIFTEENTH CENTURY 
 
 Plate. 
 
 Circular plate with a foot and a broad flat rim. 
 
 Inside glaze, white and crackled; outside, no Ree but 
 colour of the light greyish-brown earth. | 
 
 In the centre, in a medallion of irregular shape, a if ul 
 male bust in profile to the right, with a green and blue tun 
 flowing a and a green and goo peaked cap. 
 
 separated by perpendicular tendrils. 
 
 The. Hecocaton is carried out in blac) with Pach of 
 and green. 
 
 by the Louvre. 
 
 This piece has also been ascribed to Faenza. 
 
 From the Canessa collection (n. 135). 
 
53 
 
= oe 0 
 
54 
 
 SIENA (?), FIFTEENTH CENTURY 
 
 Plate. 
 
 Diameter o" 
 
 Circular plate with a broad flat rim. | 
 The inside glaze is white; the outer surface is sere 
 a plain dull yellow glaze. ; 
 In the centre, on a white background studded with iorouge 
 dots, is a clean-shaven male bust in profile to the left, with fair he 
 roughly sketched helmet and a dark mottled jerkin. ao 
 On the rim, part of which is repaired, an inner border 
 squares and an outer geometrical pleated pattern, blue and white 
 ochre background. | ae ae Amey a 
 Decoration in blue, ochre, manganese and green. ) 
 
 From the collection of Emile Molinier (Sale at Paris, — 
 1906, p. 21, n. 27 and pl.). 
 Later in the Canessa collection (n. 137). 
 
pe 
 
 54 
 
55 
 
 SIENA, LATE FIFTEENTH CENTURY 
 
 Three-handled jar. 
 Height 0™220; greatest diameter o™200. 
 
 Spherical body, slightly flattened at top and bottom, with a broad 
 short neck (from which start the three curved flattened handles) and a short 
 stem, expanding into a conical foot. 
 
 White glaze, faintly crackled; inside, a thin dull ochre glaze. 
 
 On the body are three circular wreaths, each enclosing a bust in 
 profile to the left. 
 
 1. Bust of a youth, with fair hair, a purple and green cap and a 
 white tunic. 
 
 2. An antique clean-shaven male bust with dark hair; in the 
 background are the letters M A. 
 
 3. A fair-haired female bust, in a white cap and a green bodice 
 with a yellow front; in the background, the inscription: 
 
 BARNA* BEA*B (Barnabea bella) 
 On the handles are painted, on an ochre background, white flowers 
 touched with blue and green. 
 
 The decoration is carried out in blue, light green, light ochre 
 and manganese. 
 
 From the collection of Charles Mannheim, Paris (Catalogue, by 
 EU Molinier. 008.0092 Osea a). | 
 
 Later in the J. Pierpont Morgan collection (n. 30). 
 
 Reproduced by Bernard Rackham, Bur/ington Magazine, XXVII (1915), 
 PP 50-5150 pl LIE ON: 
 
55 
 
PIT eee 
 
 pwr wns 
 
 & 
 
 —_ 
 
 : 
 y 
 6 ee 
 HN. 
 ‘ 
 ay 
 
 1. 
 " 
 
 55 
 
55 
 
a In the centre, in a circular medallion, surrounded by an ( . 
 is polygon, is figured the bust of a youth in profile to the left, wi 
 
 * SIENA (?), FIFTEENTH CENTURY 
 
 (x Plate. 
 
 . and ochre. P 
 ; a: 
 | From the Leroux collection (Sale at Paris, 13 April a 
 n. 4, and pl.). : = 
 Later in the Sigismond Bardac collection (n. 20). 
 
 56 
 
 Circular plate with a broad flat rim. 
 
 White glaze, very slightly crackled, the same inside and c 
 
 cap and tunic, and long flowing fair hair. Before him the ins 
 BIN ©) -BeyBino bellow: oe 
 
 The broad rim is covered with a minute pattern of im 
 
 scales, decreasing in size from the edge towards the centre. — 
 
 On the reverse, the same blue and ochre petals as ri 
 
 which this piece has much in common. The centre of 
 been left blank. pty 
 
 , : : ee 
 The decoration is carried out in blue, with touches 
 
 Reproduced in the Leroux catalogue and in colours in tl 
 catalogue. ki 
 
CN SON, 
 WOE a 
 SaWaay 
 
 iy ¥ 
 ‘Sy a eit 
 ties’ »)) 
 ied. Wess 
 \"\\. #5 : 
 
 56 
 
57 
 
 SIENA (?), FIFTEENTH CENTURY 
 
 Plate. 
 
 Diameter o™250. 
 
 Circular plate with a broad flat rim. 
 
 In the centre, is figured in a circle, surrounded by an eleven- 
 sided polygon, the bust in profile to the left, of a youth with a purple 
 
 cap, long flowing fair hair and a green tunic. 
 
 The remainder of the surface is covered with concentric zones of 
 blue geometric ornaments (two being of the herring-bone pattern) with a 
 broad ochre belt, showing semi-circular ornaments. 
 
 On the reverse, conventional leaves, outlined in blue and ochre, 
 similar to those recently ascribed to the Siena workshops. 
 
 The body of the decoration is carried out in blue, with portions 
 in ochre and touches of manganese and green. 
 
 From the Sigismond Bardac collection (n. 19). 
 
 Reproduced in colours in the Bardac catalogue. 
 
- 
 4 
 ; artes 3 
 Prareernersee, >» 
 
 \ ; 
 
 5 Oe eit 
 
 ese LAS 
 
 we 
 
 aed 
 
 z a . ‘ 
 <- SAY 
 
 SAS 
 
 RB beers ig 
 
 57 
 
Dieta 
 
 58 
 
 SIENA, LATE FIFTEENTH CENTURY 
 
 Plate. 
 
 Very shallow circular plate, nearly flat, with a slightly co 
 centre, a broad rim and a low foot. we, 
 
 White glaze, inside and outside. 
 
 In the centre, a female bust in profile to the right, in 
 fair hair, ochre and yellow dress. 
 
 bands covering the whole of the remaining surface. 
 
 pOn* the reverse, in, the Centrensa large flowery letter 
 the edge, the usual blue and ochre sketchy Heiss, each 0 
 leaves covered with parallel lines. 
 
 Compare the reverse of a plate in the Pringsheim 
 O. von Falke’s catalogue, fig. 10. Meee), & 
 
 From the J. Pierpont Morgan collection (n. 79). 
 
58 
 
58 
 
59 
 
 SIENA, LATE FIFTEENTH CENTURY 
 
 Plate. 
 
 Diameter 07229. 
 
 Circular plate with a sunken centre and a broad flat rim. 
 White uncrackled glaze, inside and outside. 
 
 In the centre, a bust of the emperor Nero, in profile to the left, 
 crowned with laurels. The chute and rim are covered with narrow 
 concentric ornamental bands, including a belt of ochre scales and two 
 rows of oves. Part of the chute is left blank. 
 
 On the reverse of the plate, a plain centre is surrounded by sketchy 
 blue and ochre foliage, each leaf decorated with parallel lines. The 
 same design occurs on the reverse of the following plate, which is obviously 
 from the same factory. 
 
 The decoration is carried out in blue, with portions in ochre, 
 
 green, yellow and black. 
 
 From the J. Pierpont Morgan collection (n. 77). 
 
 A very similar plate, again from the same workshop, occurred 
 in the Leroux sale (Paris, 13 April 1896, p. 6, n. ro and pl.); the main 
 differences were that the antique bust was in profile to the right and that 
 the imbricated belt was broader and covered nearly all the rim. 
 
 a) 
 
a EES 2 a 
 
 _ 
 
 & 
 ve 
 e LAL yy wtt 
 
 Bs 
 
 @s 
 
 . és 
 
 S 
 | 
 
 ype! 
 
2 
 é 
 « 
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 = 
 } 
 > 
 7 
 
 : 
 
 * 
 
 - 
 - 
 
59 
 
2 
 > 
 
 60 
 
 SIENA, LATE FIFTEENTH CENTURY 
 
 Plate. 
 
 Circular plate with a sunken centre and a broad flat rim. 
 White crackled glaze, inside and outside. 
 
 In the centre, Saint Francis kneeling to left before a large 
 
 with a rosary in his hand. On the right, a small building. 
 
 a 
 The central medallion is surrounded by a number of co 
 
 ornamental bands, ee two rows of oves. nee 
 
 with a few touches of black (or very dark blue), 
 
 From the J. Pierpont Morgan collection (n. 75). 
 Compare the preceding plate. 
 
Gi 
 
 :~ 
 ~ 
 de 
 4) 
 . 
 . 
 . 
 = 
 a 
 = 
 = 
 ~* 
 J 
 
 2Y, 
 
 SAA ®aay 
 
 = 
 > 
 
 ~ 
 
 (AZ o* 
 
 a2 Wise 
 
 pT ELS Lede ESTE 
 
 SIUM Ato 
 2 Gree 
 
 aia 
 
 60 
 
61 
 
 SIENA, LATE FIFTEENTH CENTURY 
 
 Plate. 
 Diameter 0™222. 
 
 Circular plate with a small deep sunken centre and a very broad 
 flat rim. 
 
 White glaze, inside and outside. 
 
 In the centre, an eight-lobed rosette surrounded by concentric orna- 
 mental bands, including a broad belt of conventional leaves, and, on the 
 rim, a dark dull-ochre belt of triangular ornaments. 
 
 NY 
 
 The centre of the reverse shows the mark: C (e) 
 fe 
 
 It is surrounded by the conventional blue and ochre foliage, decorated 
 with parallel lines. 
 
 The decoration is carried out in blue with green and ochre touches. 
 
 From the J. Pierpont Morgan collection (n. 96). 
 
 The same mark occurs on two plates in the Pringsheim collection 
 (nn. 69 and 82), the latter from the Somzee collection. It is also found 
 on a piece formerly in the Delsette collection (n. 85). 
 
61 
 
61 
 
" 
 
62 
 
 SIENA, LATE FIFTEENTH CENTURY 
 
 Plate. 
 
 Circular plate with a sunken centre and a flat rim. 
 White glaze, inside and outside. 
 
 In the centre, a five-lobed flower surrounded by 
 ce bands, including large peace 
 
 « ” De 
 
 the usual parallel lines. 
 
 a7 
 
 In the centre, the mark: 
 
 For the central ornament, compare a_ flat plate, es 
 peacock-feather border, bought in 1896 by the Louvre. 
 
 From the J. Pierpont Morgan collection (n. go). 
 
 Reproduced by B. Rackham, Burlington Magazine, XXVIT 
 PPoez S-20,pll Gs, 
 
onan? eee : 
 aes 
 
 an? 
 
 * soe 
 
 62 
 
te. 
 
 fIsEEeT 
 > : 
 
 62 
 
* 
 . a . 
 a 
 a ' 
 x 
 . 
 ‘- 
 * 
 - 
 \ 
 . < 
 . 2 
 " 
 + 
 - 
 “ . = 
 © ‘ 
 ks 5% ke 
 i ‘ 
 a * 
 - 
 - 
 ” - 
 * 
 * 
 + = 
 - i) 
 
be 
 
 a 
 
 ae, ay 5, ee : 
 
 63 
 
 SIENA (?), LATE FIFTEENTH CENTURY 
 
 Plate. 
 
 Circular plate with a flat rim. 
 White glaze, inside and outside. 
 
 In the centre, a four-lobed flower in a square yello 
 surrounded by concentric zones of ornaments; around the edg 
 of oves. | 
 
 ’ 
 
 On the reverse, nine conventional leaves in blue and 
 the se parallel lines. 
 
 t] ' 
 
 In the centre, the mark: 
 
 The decoration is carried out in blue, ochre inate 
 
 re 
 ee 
 
 metallic lustre in the glaze. | eS 
 
 From the J. Pierpont Morgan collection (n. 81). 
 
 Albert Museum (Salting collection, n. 1847), reproduced by | 
 Burlington Magazine, XXVII (1915), pp. 29 B and 32 J;_ 
 Deruta plate, formerly in the Joseph Fau collection (Delange 
 italiennes, pl. XV). 
 
ee Sere: 
 eer 2 reg 
 = A BPDBEAD EC gs, 
 
 = 
 
 Magee» ~ 
 eg 
 =~ : 
 
 63 
 
63 
 
a a 
 
Pa ee it lh Vine bm ab 
 
 64 
 
 SIENA, ABOUT 1500 
 
 Plate. 
 
 4 
 
 - Diameter o720 
 ey, gat E 
 
 White glaze, inside and outside. 
 
 In the centre, surrounded by a white belt with — 
 ‘bianco sopra bianco”, a green circular medallion with | tl 
 enclosing a round-topped shield with the Loredano arms” 
 Po fesse or and azure six roses oie ely 
 
 oy 
 
 and seven large Boe) petals, outlined in blue with ochre 
 dotted ee ; ie 
 
 From the Sigismond Bardac collection (n. 21). 
 
 Reproduced in colours in the Bardac catalogue. 
 
64 
 
a 
 
 P 
 
64 
 
ry 
 
65 
 
 “wv 
 
 SIENA (?), 1503 
 
 Plate. | ‘ 
 
 ah 
 i 
 
 Circular plate with a sunken centre, a gadrooned chute 
 flat rim. 
 
 White glaze inside and outside. 
 
 . In the centre, the arms of Pope - Pius III Piccolomi 
 argent on a cross azure five crescents or. The style o 
 shows that it cannot have been made for Pope Pius 31 d 
 
 (1458-1464). - 
 
 The chute and rim are decorated with concentric bai 
 ments, including a broad belt of blue imbrications spotted w 
 
 The reverse is decorated in the centre with a ma: 7 
 of an eight-pointed asterisk, surrounded by a broad 2 
 radiating sectors covered with blue strokes parallel to the 
 an outer border of lanceolated leaves in _ blue and ochre, 
 green. ee 
 
 The decoration is carried out in ‘oie ochre, gree 
 copper-red. } fay 
 
 From the collection of Eugene Piot (Sale at Paris, 2 a 
 P- 31, n. 135, purchased by Henri de La Broise). 
 
 Later in the J. Pierpont Morgan collection (n. ane 
 
7 
 
66 
 
 SIENA, EARLY SIXTEENTH CENTURY 
 
 . Plate. 
 
 Diameter 0™235. 
 
 Circular plate. 
 Brilliant white glaze, inside and outside, crackled on the reverse. 
 
 In the centre, surrounded by a twisted fillet, the Lion of Saint 
 Mark to the left. | 
 
 The rim is decorated with four circular panels containing .conven- 
 tional pine-cones; between them, two cornucopiae and two pairs of 
 acanthus-leaves. 
 
 The centre of the reverse is plain; the rim bears the usual large 
 blue foliage, with blue and ochre parallel curved lines. . 
 
 The decoration is carried out in blue, on an ochre background, 
 with white reserves, and touches of yellow and light green. 
 
 From the collection of Charles Mannheim, Paris, (Catalogue by 
 He Molinier, 1898, p10. n.230,andopiy 
 
 Later in the J. Pierpont Morgan collection (n. 118). 
 
 Reproduced in the Mannheim catalogue. 
 
 Doubtless made for a Venetian corporate body. 
 
 A Gubbio plate with the Lion of Saint Mark occurred in the 
 Gaillard sale (1904, n. 456). The Louvre owns a Deruta plate from 
 the Campana collection, with the same lion. 
 
66 
 
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67 
 
 SIENA OR DERUTA, EARLY SIXTEENTH CENTURY 
 
 Plate. 
 
 Diameter o™280. 
 
 Circular plate with a hollow centre and a flat rim; no foot. 
 Creamy white glaze. 
 
 In the centre, in a small circular medallion, surrounded by a raised 
 belt, a classical bust of a clean-shaven man to left, evidently copied from 
 a Greek coin. 
 
 The swell of the plate is divided by eight radiating lines, paired 
 off into the pattern of a Maltese cross, two branches showing 
 Cherubs’ heads and two bearing a conventional fish-scale pattern. 
 
 The rim is decorated with a narrow wreath of very conventional 
 oak-leaves. 
 
 On the back is a spiral pattern of eleven roughly outlined leaves 
 
 and buds. 
 
 The decoration is carried out in blue, with details in ochre, 
 green and yellow. The scrolls on the back are designed in blue and 
 ochre with green touches. 
 
 From the Sigismond Bardac collection (n. 26). 
 Reproduced in colours in the Bardac catalogue. 
 
 A very similar piece in the Pringsheim collection (n. 74), 
 obviously from the same workshop, is ascribed by Falke to Siena, about 
 1505. Compare also pl. 49, n. 59 of the Beckerath sale, and a Deruta 
 
 plate in the Louvre (Campana collection) with a female head to the 
 right. 
 
67 
 
 As y < gl 
 en TKS aw OO 
 
 ~ 
 PR IIS. 
 aes 
 
 et 
 
 fam 
 
 Ay 
 
67 
 
a, 
 
 ae ae 
 
 68 
 
 DERUTA, END OF THE FIFTEENTH CENTURY 
 
 Plate. 
 
 Large circular plate, with a low foot, a sunken centre and a br 
 flat rim sloping upwards. sae 
 
 “Inside, a white glaze, slightly crackled; outside, a dull e 
 brown lustre. oe). 
 
 In the centre, in a landscape, with two high mountains, 
 which is crowned by a castle, among large conventional flowers. 
 hound pounces on a doe and seizes it, with its fangs, by the 1 n 
 neck, | 
 
 The rim is divided into four panels by sets of two pairs o 
 bands separated by a row of oval ornaments on a white backgr 
 four panels are filled, alternately, with imbricated patterns | an 
 scrolls. ay 
 
 toby 7 
 
 The decoration is carried out in ochre and pss with 
 copper-red and a beautiful metallic lustre. 
 
 On the reverse, the unidentified wax seal of an ol : 
 (beneath a helmet, an escutcheon with three bends). 
 
co eas EEF 
 
 | BWAVAAASBease’ 
 
 ne. 
 
 Fa 
 
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Re eh ee i oes Og Rh =, ee ee 
 
 69 
 
 LOMBARDY (?), FIFTEENTH CENTURY 
 
 Drinking cup. 
 
 Shallow circular cup with a narrow projecting rim. 
 Creamy ae glaze, minutely crackled. 
 
 eck in a hexagonal medallion surrounded by conve it 
 foliage, a female bust in profile: to the left, between two rosette s 
 
 a 
 
 Outside, parallel vertical lines. 
 
 The design is incised and filled with ochre. es decorat | 
 completed with touches of ochre and green reserves. 
 
 ‘ 
 
 too little attention has been given to them up to now by the: 
 of Italian majolica. 
 
69 
 
m 
 
69 
 
70 
 
 LOMBARDY (?), FIFTEENTH CENTURY 
 
 Drinking cup. 
 Height o™060; diameter o™127. 
 
 Shallow circular cup with a narrow projecting rim. 
 Creamy-white glaze, minutely crackled. 
 
 Inside, in a pentagonal medallion surrounded by conventional foliage, 
 a female bust in profile’ to the left, between two rosettes. 
 
 Outside, parallel vertical lines. 
 
 The design is incised and filled with ochre. The decoration is 
 completed with touches of ochre and green reserves. 
 
 From the Campe collection at Hamburg (n. 2). 
 
70 
 
EME eM Re 
 
 wees 
 
 LOMBARDY (?), FIFTEENTH CENTURY 
 
 Drinking cup. 
 
 Shallow circular cup with a narrow projecting rim. 
 
 p eegone glaze, ey crackled. 
 
 a female ae in profile to rhe eR between two rosettes. 
 
 Outside, parallel vertical lines. 
 The design is incised and filled with ochre. The decora fe) 
 completed with touches of ochre and green reserves. — ah, 
 
 of RA kee tit “in ee 
 
 als 
 as 
 
 From the Campe collection at Hamburg (n. 3). 
 
fe yee es 
 
 Hr ereae, 
 PP oe eeoens, 
 teh erens 
 
 71 
 
pen it AG aaa 
 af a 3 
 
 LOMBARDY (?), FIFTEENTH CENTURY 
 Drinking cup. 
 
 Shallow circular cup with a narrow _ projecting rim. 
 
 Creamy-white glaze, minutely crackled. 
 
 a youthful male bust, in > aan to the left, between two rosettes; 
 has long fair hair and an ochre cap. 
 
 f Outside, parallel vertical lines. 
 
 The design is incised and filled ash aches 
 completed with touches of ochre and green reserves. 
 
 a 
 , 
 
 steers Cee ks 
 
 war ee 
 
 4 
 
 ec ae 
 
 — 
 
 aa ve ge : 
 Peer rey i ne ry Ture ees Ly, 
 
 From the Campe collection at Hamburg (n. 4). 
 
 72 
 
 Height o™o60; diameter 
 
 The decoratio 
 
are 
 
 G2 
 
7 fod ri -_ y a ore 
 
73 
 
 LOMBARDY (?), FIFTEENTH CENTURY 
 
 Drinking cup. 
 Height ores 53; diameter o™118. 7 
 
 Shallow Breit cup without a projecting rim. 
 
 eo Re glaze, a crackled. 
 
 a youthful katt bust, in profile to the left, between two. rosettes; 
 wears a purple cap. st p ee 
 
 ’ 
 
 The design is incised Pati filled with ochre. The decoratic 
 completed with green reserves, touches of ochre and manganese. Bs 
 
73 
 
74 
 
 LOMBARDY (?), FIFTEENTH CENTURY 
 
 Drinking cup. 
 
 - Height o™o50; diameter 
 
 Shallow circular cup without a projecting rim. 
 
 Creamy-white | glaze, minutely crackled. 
 
 Inside, in a pentagonal medallion surrounded by conventional foli 
 is figured a dog, seated to left. Above it, a rosette. 
 
 # 
 
 Outside, parallel vertical. lines. ae. ee 
 
 The design is incised and filled min ochre. The accorsticm 
 completed with green reserves, touches of ochre» ae Here 
 
 a: 
 
 ae 
 d 
 From the Campe collection at Hamburg (n. 6). 
 a “ie F 2 
 as oe en ~ 
 
74 
 
| zoe er, 
 
 oi..6 ae 
 
 ' 
 
75 
 
 LOMBARDY (?), ABOUT 1500 
 
 Tazza. 
 
 Height 07067; diameter 02265. 
 
 “Shallow conical bow! on a low foot. 
 Inside, a yellowish glaze; outside, a plain brown lustre. 
 
 Inside, in a hexagonal medallion surrounded by conventional 
 a Clean-shaven male bust in profile to the left, with curly hai 
 
 high green cap adorned with a plume. Right and left, a large leaf. 
 
 = 
 
 Ber 
 1 
 ‘To 
 
 Round the rim, a rough attempt at a laurel-wreath. 
 
 The design is incised and filled with ochre. 
 completed with green reserves. 
 
 ~ Compare the following pieces and a. slightly mutilatec 
 bought in 1902 by the Louvre. , ; 
 
 cesco Gonzaga, Lord of Sabioneta, a younger son of the great L 
 Gonzaga; it closely resembles his portrait by Bonsignori in the mu: 
 at Bergamo. ae 
 
75 
 
3 oa 
 4 
 > 
 - 
 E a. * 
 «* 
 « oe 
 , 
 ue 
 ° 
 ’ 
 , 
 , 
 - 
 : 
 * 
 : 
 . 
 Le . 
 
76 
 
 LOMBARDY (?), ABOUT 1500 
 
 Tazza 
 
 Shallow conical bowl on a low foot. 
 
 Inside, a pale yellow glaze; outside, a plain brown lustre. : 
 
 as 
 
 Inside, in a heptagonal medallion surrounded by conventional f liage, 
 a youthful male bust, in profile to the left, between two rosettes; he 
 has long fair hair, with a purple and yellow cap. | 
 
 Round the rim, an interlaced wreath. 
 
 The design is incised and filled with ochre; the decor 
 completed with green reserves and touches of manganese. a 
 
 From the Campe collection at Hamburg (n. 8). 
 
 The portrait on this cup is probably also intended to 
 a youthful member of the Gonzaga Family. 
 
76 
 
77 
 
 LOMBARDY (?), ABOUT 1500 
 
 Tazza. 
 
 outline is sketchy to the rire : 
 Right and left, conventional foliage; around the rim, ‘at 
 
 plaited wreath. 
 
 Porrpleredi: in fakes with green reserves. — tas 
 
 From the Campe collection at Hamburg (n. 1 Lea 
 
77 
 
WN 
 
Tre ts 
 
 ‘conventional olieee is figured a youthful ie bust, in = 
 wearing a high cap. 
 
 completed in ochre, with green and ochre reserves. 
 
 -'Tazza. 
 
 78 
 
 LOMBARDY (?), ABOUT 1500 
 
 me. a 
 | Height o™055; diameter 0 
 
 Shallow bowl with a flat een a low foot. 
 
 Around the rim, a plaited ornamental belt. | o 
 
 The design is incised and filled with ochres the 
 
 From the Campe collection at Hamburg (n. 12). 
 
 Probably intended for a portrait of Gianfrancesco Gonzaga. 
 
 a 
 ‘ ae ree mN 
 
ne 
 = 
 = we 
 =~ ee 
 
 = 
 
 AY 
 ij 
 
 ae = 
 < 3 » 
 Ae F , atl > 
 Re, 
 eee A a x 
 
 VW 
 ’ “ay 
 
 ‘4 
 i 
 
 78 
 
79 
 
 VENETIA (?), LATE FIFTEENTH CENTURY 
 
 Bowl. 
 Height 0,057; diameter o™207. 
 
 Small bowl, with a deep hemispherical sunken centre, and a 
 broad flat rim defined by two raised ribs, leaving on one side an aperture 
 
 for a spout. 
 Inside, a thick yellow glaze; outside, a plain yellow lustre. 
 
 In the centre, surrounded by two concentric belts of conventional 
 foliage, an escutcheon (lozengy ... and... on a chief... three mullets ...). 
 Round the rim, a row of small four-lobed flowers. 
 
 The decoration is carried out in red-brown ochre thickly applied 
 to all sunken portions, giving the effect of a champleyé design. 
 
 From the Campe collection at Hamburg (n. 9). 
 
 The arms closely resembles those of the Zerli family, of Verona; 
 which bore, according to Rietstap: “coupé, au 1 d’azur A une étoile 
 dargent, au 2 lozangé d’argent et d’azur”. 
 
Je 
 
 A s 1, ; 
 tf. 
 os - y 
 : ay wy 
 2 3 , Z . 
 - ve es 7 , P 
 ; > be | 
 . - , | 
 > py 
 = we : : 
 ~ ee mat oe a al 
 ; é SS Me os 
 
 so, 
 
 = 
 . Y 
 *% 
 > 
 5; 
 > 
 4 % 
 ah ( 
 By ).e 
 1 
 j 
 Pee. 
 ~ 
 
 79 
 
> 
 "4 
 j 
 
 : 
 r 
 
a ae 
 
 fee eo ee © 
 
tng OAS ‘ * 
 Sane St, 4 
 Aa? a rio , 
 
 80 
 
 Plate. 
 
 hailed and a green bodice wat purple pie: 
 with the illegible inscription: B(?)OBO A IC (?). 
 
 Round the rim, a Buena decoration. 
 
 pee | 
 
80 
 
roan : : Ai wha alah aot eed, 
 
 oF 
 ie > eo wr 
 ’ q ie asi. 
 
81 
 
 NORTHERN ITALY (?), LATE FIFTEENTH CENTURY 
 
 Plate. 
 Diameter o™ 2.70. 
 
 Large circular plate with a sunken centre and a flat rim. 
 
 Inside, a creamy-white glaze, nearly the whole of the surface 
 covered with colour; outside, a plain brown lustre. 
 
 In the centre, a large bird to left, apparently a stork, in an enclosure 
 consisting of hurdles or wicker-work, behind which are visible two trees, 
 
 Round the rim, a broad band of large foliage. 
 
 The decoration is carried out in incised lines, filled in with ochre, 
 the surface coloured with green and occasional touches of manganese. 
 
 Portions of the surface are cut away and decorated with hatchings. 
 
 The pattern on the rim occurs also on a beautiful plate bought 
 in 1897 by the Louvre (E. Molinier, Gazette des Beaux-Arts, XVIII, 
 1897, p. 155) and on a plate in the British Museum, with the 
 Visconti and Este arms (H. Wallis, Figure design, p. 17). 
 
 From the Campe collection at Hamburg (n. 14). 
 
81 
 
82 
 
 NORTHERN ITALY (?), EARLY SIXTEENTH CENTURY 
 
 Plate. 
 
 Large circular plate with a sunken centre and a broad flat 
 
 Inside, a creamy Shite ae outside, a one white lustre. 
 
 From the Campe collection at Hamburg (n. 13). 
 
Rs Vina A 
 q , \i 
 ? , a  f 
 Wp 
 ee Wers 
 : é 
 
 Cfo? 
 
 & Sas 
 
 82 
 
83 
 
 FAENZA, LATE FIFTEENTH CENTURY 
 
 Plate. 
 
 Diameter 07357. 
 
 Circular plate with a sunken centre and a flat rim. 
 
 White glaze; the centre of the reverse remains unglazed; the 
 outer portion is of a dull creamy white. 
 
 In the centre of the bottom is figured a stag seated to the left. 
 
 The chute is decorated with conventional scrolls and tendrils; the 
 
 rim shows thirteen broad pointed three-coloured lobes (manganese, green 
 and ochre) separated by small fleurs-de-lis. 
 
 Decoration in blue, ochre, green and manganese. 
 
 From the Rusca collection, Florence (Sale at Florence, 10 April 1883, 
 p. 16, n. 60 and pl.). 
 
 Later in the Sigismond Bardac collection (n. 8). 
 
 Reproduced in colours in the Bardac catalogue; photograph in the 
 Rusca_ catalogue. 
 
GO) ee 
 
 Di, 
 Dray 
 
 J ie 
 oF 
 
 Zt 
 
 i, 
 
 ; 
 
 | 
 
 Loy 
 
 \\" 
 
 83 
 
84 
 
 FAENZA, LATE FIFTEENTH CENTURY 
 
 Albarello. 
 Height 0”311; diameter o™145. 
 
 Cylindrical body, slightly narrower in the middle, with tapering 
 neck and foot. 
 
 White uncrackled glaze; the inside glaze is also white. 
 
 Around the body, in medallions of irregular shape, are figured 
 three blue peacocks to the right; the remainder of the background 
 is filled in with large conventional leaves and peacock-feathers. Around 
 the neck and foot, an ornamental belt with a simple herring-bone pattern. 
 
 The decoration is carried out in blue, green, ochre and manganese. 
 
 Bears the seal of an old collection: A(?)T and a label with the 
 number 415. 
 
 From the collection of Michel Boy, Versailles (not found in 
 his 1905 sales). 
 
 Later in the Sigismond Bardac collection (n. 11). 
 
 Reproduced in colours in the Bardac catalogue. 
 
 The shape of the vase and the design of the foliage are not 
 unlike those of the albarello in the Victoria and Albert Museum, 
 reproduced by Wallis, The a/barello, pp. 43-44, fig. 42-43. 
 
84 
 
85 
 
 FAENZA,. LATE FIFTEENTH CENTURY 
 
 Albarello. 
 Height o”301; diameter o™14o. 
 
 Cylindrical body, slightly narrower in the middle, with tapering 
 neck and foot. 
 White uncrackled glaze; the inside glaze is also white. 
 
 On the body is figured in blue a dog, possibly a greyhound, 
 springing to the right. Above, on a scroll, is the following inscription 
 in Gothic lettering: 
 
 LAGAMESTARE* ENOMETOCARE 
 
 The third letter has been traced with some hesitation and was 
 probably not meant for a G but- rather for CZ. In any event, the 
 writer wanted to say: Lascia me stare e no me tocare. ‘‘Leave me alone 
 
 > 
 
 and do not touch me”. 
 
 The remainder of the background is covered -with large conven- 
 tional foliage. 
 
 Around the neck there is a belt of V-shaped strokes, and around 
 the foot a herring-bone pattern. 
 
 The decoration is carried out in blue, with touches of ochre, green 
 and manganese. 
 
 From the Sigismond Bardac collection (n. 12). 
 
 Reproduced in colours in the Bardac catalogue. 
 
85 
 
86 
 
 FAENZA (?), LATE FIFTEENTH CENTURY 
 
 Cylindrical jar. 
 Height o™1g0; diameter o™1 52. 
 Cylindrical body defined by two raised torsaded ochre belts, a slightly 
 tapering foot and a plain upper rim, probably made to receive a lid. 
 
 White glaze, inside and out, with no crackles. 
 
 On the body separated by a conventional floral decoration of scrolls, 
 buds and tendrils, are three circular medallions: 
 
 1. The bust of a youth in armour, to right, holding a battle-axe. 
 2. The bust of a girl to right, in a low-cut dress. 
 
 3. A unicorn seated to right, in a dodecagonal border. 
 
 Round the foot, a belt of floral ornaments with large circular 
 flower and small tendrils. 
 
 The decoration is carried out in blue, ochre, yellow and pale-bluish 
 green. 
 
 Compare the closely similar vase with armorial bearings, given to 
 the Louvre by the late Mr. Georges Berger, and the plainer vase in 
 the Giovene de Girasole sale (Florence, 1925, pl. 30, n. 115). 
 
 From the collection of Emile Gaillard (Sale at Paris, 8 June 1904, 
 p. 89, n. 421 and pl). 
 
 Later in the J. Pierpont Morgan collection (n. 29). 
 
 Reproduced in the Gaillard catalogue. 
 
 Ascribed by Molinier to the Casa Bettini, Faenza, about 1480. 
 
a. Ry & 
 Sey ) “6 & 
 
 86 
 
Os sis YS yy ; 
 aren mc& oy 
 
 g ~ SAN AS We 
 “SEES Ts 
 ‘ \ / ‘ 
 
 4 x a - q 
 Be WON 2 ie 
 y SS : 
 + ite a 4 
 
 86 
 
ET whan 
 “ a 
 i 
 
 x We 
 HAY Ds — 
 
 an 
 
 » 
 
 i 
 
 86 
 
87 
 
 FAENZA (?), LATE FIFTEENTH CENTURY 
 
 Tazza. 
 
 Height o™240; diameter 0™324. 
 
 Large deep circular tazza on a high conical expanding foot. 
 White glaze, the same inside and out. 
 
 In the centre of the bowl in a small circular medallion, a coat of 
 arms (argent on a chief sable three bezants). 
 
 The whole of the surface, both inside and out, is covered with an 
 elaborate pattern of very conventional small peacock-feathers, skilfully 
 combined with spiral lines. 
 
 The decoration is carried out in blue, ochre, green and red-brown. 
 
 From the collections of Eugene Piot (Sale at Paris, 25 April 1864, 
 Pp. 31, n. 134) and of Emile Gaillard (Sale at Paris, 8 June 1904, p. go, 
 N42 2); 
 
 Later in the J. Pierpont Morgan collection (n. 26). 
 
 Ascribed by Molinier to the Faenza workshops. 
 
‘ ca shies 
 t ~) pe aaa, as 
 by 5 . 
 hay id 
 
 4 ij Sikes, 
 
 Ry 
 
 i cat Crd ee 
 Shy, <, se * a hk & > 
 aS a = lg, ollie 
 
 at wii, ‘ 
 
 allits:.. R A \e inl. < 
 3) : oe 
 
 87 
 
87 
 
88 
 
 FAENZA (?), LATE FIFTEENTH CENTURY 
 
 Tazza. 
 
 Height '0™239; diameter 07281. 
 
 Large hemispherical tazza on a conical foot. 
 White crackled glaze, inside and out. 
 
 Inside is figured the bust of a girl in profile to the left with 
 a scroll behind her, bearing the inscription LVC RETIA *B: (Lucretia 
 bella). 
 
 The background is filled in with a semis of dots grouped three 
 by three in tiny triangles. This central medallion is surrounded by a 
 broad ornamental band of twigs, not unlike a crown of thorns. 
 
 Outside is another belt of interlaced straight strapwork and other 
 ornamental belts cover the foot. 
 
 The decoration is carried out in blue, with ochre reserves and 
 touches of green. 
 
 From the J. Pierpont Morgan collection (n. 86). 
 
AEA aT gprs ai eteite RATE aan f 
 
 : ae s ; ; matte ae : an Se Ne a Nt, pile DEE Or tlhe eae TA 
 
 ) ow Tha Sta pantera ae < STE ee 
 
 ; i de Oey rt free SPIES, 
 
 Y s “i \" Yas eo Yl, RS ESTE) 
 : Gu / ae 7) | 
 
 Res Que 
 _—— 
 
 88 
 
88 
 
89 
 
 FAENZA (?), LATE FIFTEENTH CENTURY 
 
 Gadrooned plate. 
 
 Diameter 0™340. 
 
 Circular plate with deep gadroons and a raised centre. 
 White glaze inside, decorated in blue, ochre and green. 
 
 In the centre, a classical clean-shaven male bust to right, sur- 
 rounded by an interlaced wreath not unlike a crown of thorns. 
 
 On the chute, an ove pattern, worked into a spiral. On the rim, an 
 interlaced border of plain straight diagonal bands. 
 
 On the back, plain concentric zones of ornaments in blue, green 
 and ochre; the centre is,covered by a creamy-white glaze with indistinct 
 initials scratched on it. | 
 
 Ascribed to Faenza by Molinier. 
 
 From the collection of Charles Mannheim, at Paris, ( Catalogue, by 
 E. Molinier, 1898, -p. 20, n. 42 and pl.). 
 
 Later in the J. Pierpont Morgan collection (n. 27). 
 
 Reproduced in the Mannheim catalogue. 
 
 A similar dish seems to have occured in the Eugene Piot sale 
 
 (Paris, 25 April 1864, n. 145). 
 
89 
 
90 
 FAENZA (?), LATE FIFTEENTH CENTURY 
 
 Two-handled jar. 
 
 Height 0™355; greatest diameter o™290. 
 
 Pear-shaped body tapering towards the foot, with a cylindrical neck 
 and two high flat cylindrical handles. 
 
 White crackled glaze; inside, a dull ochre glaze. 
 
 On one side, a clean-shaven male bust in profile to the left, with a 
 high forehead, fair hair, a purple collar and a blue, ochre and green tunic. 
 The head is surrounded by circular flowers, enclosed in a large laurel- 
 wreath. ay Be 
 
 On the other side, a similar wreath encloses a border of geometric 
 ornaments, in which is a coat of arms: bendy of six argent and gules, on 
 a chief argent supported by a divise or a rose gules. Apparently intended 
 for the Orsini arms (Gules is represented by purple and or by a lighter 
 hue of purple). 
 
 Under the foot is incised the inscription: 
 
 | bex.S.w 
 The decoration is carried out in ochre, blue, green and purple. 
 
 An early plate with the same arms was in the Michel Boy 
 Sale={1905, an. 57): 
 
 Reproduced in Loan exhibition of the J. Prerpont Morgan collection 
 (1894), p. 55, pl. 
 From the J. Pierpont Morgan collection (n. 98). 
 
90 
 
90 
 
91 
 
 FAENZA (7), LATE FIFTEENTH CENTURY 
 
 Ewer. 
 
 Height o™309; diameter o™160. 
 
 Pear-shaped body, tapering gradually towards the neck, with a 
 three-lobed mouth and a flat double handle. 
 
 White uncrackled glaze, inside and outside. 
 
 On the body, in a large green ochre wreath, is a coat of 
 arms surmounted by a Cherub; the bearings are azure, a dragon tail 
 nowed or langued gules. 
 
 The decoration is carried out in blue, green, ochre and yellow, 
 with touches in dull reddish manganese. 
 
 From the J. Pierpont Morgan collection (n. 89). 
 
 The armorial bearings seem to be those of the Grassi family, of 
 Padua and Verona, described by Rietstap as “ D’azur a un dragon a 
 deux pattes d’or, ailé du méme, rampant, la queue nouee, le dard en bas. ” 
 
91 
 
Bete alm 
 
 7 . a ~ 
 ru. oe fa 4 oe le | ae 
 
92 
 
 FAENZA (?), EARLY SIXTEENTH CENTURY 
 
 Two-handled jar. 
 
 Height o”290; greatest diameter 0o™2 58. 
 
 Pear-shaped body tapering towards the foot; short cylindrical 
 neck to which are attached the two curved torsaded handles. 
 
 White crackled glaze; inside, a dull yellow glaze. 
 
 On the body, a large wreath of oak-leaves and acorns encloses 
 a pointed oval escutcheon on a floral background: per pale argent and 
 azure (for sable) two storks counterchanged. Inside the wreath, on the 
 left, the initial I. 
 
 The reverse is plain. 
 
 The decoration is carried out in blue, green, ochre and yellow. 
 
 Mr. A. Van de Put kindly informs me that the arms described 
 above belong to the celebrated Sclafani family, of Palermo. 
 
 From the J. Pierpont Morgan collection (n. 100). 
 
ry) nee ee ae 
 
 92 
 
93 
 
 FAENZA (?), EARLY SIXTEENTH CENTURY 
 
 Spherical jar. 
 Height 0™275; greatest diameter 0™205. 
 
 Spherical body, with two plain raised horizontal ribs round the 
 centre and eight large drooping leaves modelled in high relief and grouped 
 around the neck. 
 
 White glaze, outside; inside, a whitish-blue glaze. 
 
 Round the upper portion of the body are large flowers; below are 
 two ornamental zones, the upper showing conventional peacock-feathers, 
 the lower, an imbricated pattern, Other ornaments cover the expanding 
 foot. 
 
 The decoration is carried out in blue, ochre and green. 
 
 The Louvre owns a closely similar jar, but with a different 
 painted decoration. 
 
 From the J. Pierpont Morgan collection (n. 95). 
 
93 
 
ee 5 
 le ~e ae ron 
 
 ,, 
 * 
 - 7 
 
 wee 
 
94 
 FAENZA (?), EARLY SIXTEENTH CENTURY 
 
 Albarello. 
 
 Height 0”268; diameter o”130. 
 
 Cylindrical body, with a tapering foot and a broad expanding 
 neck. 
 
 White glaze, faintly crackled; inside and on the rim at the top, a 
 creamy-white crackled glaze. 
 
 On the body is figured in a wreath, on a white background, a 
 flower, apparently a pink. The remainder of the body is covered with 
 large scrolls of conventional foliage. 
 
 Lower down, the inscription: COLO 4VINTIDA. 
 
 Round the neck and foot, narrow parallel bands with simple 
 ornaments (herring-bone, dots and rosettes, vertical dashes). 
 
 The decoration is carried out in blue, green, ochre, yellow and 
 manganese, with touches of a brownish red. 
 
 From the collection of Charles Mannheim, Paris (Catalogue by 
 Kee Molinies 1300) 20..220n 6D), 
 
 Later in the J. Pierpont Morgan collection (n. 14). 
 
 A companion vase to the following. 
 
 This vase and n. g5 are apparently those described in the following 
 terms in the catalogue of the Alessandro Castellani sale (Rome, 
 17 March 1884, p. 175, n. 85): 
 
 ‘““Fabrique de Faenza. Deux cornets de décor polychrome a larges 
 ramages et offrant dans un meédaillon rond, encadré d'une couronne de 
 lauriers, un ceillet avec feuillages. Dans le bas, une inscription pharma- 
 ceutique. (Vers 1500). — Haut. 25 cent.; diam. 14 cent. ” 
 
 Other vases from the same set are in the Victoria and Albert 
 Museum (H. Wallis, The a/bare/lo, p. 53) and in the Bromberg collection 
 at Hamburg; one was in the Beckerath sale, n. 72. 
 
94 
 
95 
 
 FAENZA (?), EARLY SIXTEENTH CENTURY 
 
 Albarello. 
 Height 0255; diameter 0130. 
 
 Cylindrical body, with a tapering foot and a broad expanding 
 
 neck. 
 
 White glaze with no crackles; inside, a greenish-white crackled 
 glaze. 
 
 On the body is figured in a wreath, as on the companion vase, 
 a flower (?.a pink) on a white background. The remainder of the body 
 is covered with large scrolls of conventional foliage. 
 
 Lower down the inscription: - DIcTIVIO: BIACHO: 
 
 Round the neck and foot, narrow parallel bands with simple 
 ornaments (chainwork, rosette and interlaced lines, herring-bone), slightly 
 different from those on the companion vase. 
 
 The decoration is carried out in blue, green, ochre, yellow and 
 manganese, with touches of brownish red. 
 
 Reproduced by H. Wallis, The albarello, p. 54. 
 
 From the collection of Charles Mannheim, Paris ( Catalogue, by 
 E. Molinier, 1898, pp. 21-22, n. 49). 
 
 Later in the J. Pierpont Morgan collection (n. 16). 
 
 We follow Castellani and Mbolinier in ascribing this and the 
 companion vase to the Faenza workshops. 
 
x 
 
 PAARASOSA™MOG Say 
 
 TE. wis: 
 
 95 
 
“aes - ‘ex nai, 7 LY i ! ae A ee Ss 
 
 ‘a. an 
 
 AAs GO ie ee OP ae ae “SA ea BD aT) oO Pat bee s ish >> 
 = ho on 6 
 
 sopra bianco ): : 
 
 96 
 
 FAENZA, EARLY SIXTEENTH CENTURY 
 
 Plate. 
 
 < 
 
 A circular nollow plate without a rim. 
 
 White glaze, inside and outside. 
 
 number of antique sculptures. 
 
 meoiind the centre, a belt of pa/mettes in white on w 
 
 ' The outer belt is divided by radiating lines into 
 four narrow, with blue arabesques on a yellow backgre 
 much broader, with yellow, green and ochre arabesques on i 
 
 The reverse 1s plain. ie GaN 
 
96 
 
97 
 
 FAENZA, 1520 
 
 Plate from the Casa _ Pirota. 
 Diameter 0™278. 
 Circular plate with a sunken centre and a curved swell, flattened 
 out towards the rim. 
 White glaze, inside and outside. 
 
 In the centre, a circular medallion, showing on a blue background 
 two Cupids playing with a toy-cart. 
 
 Plain white chute with tiny copper-red flowers. 
 
 The rim is covered with a broad ochre belt, decorated with elaborate 
 
 grotesque scrolls in blue, touched with copper-red. Among the scrollwork, 
 four masks bearing the date 1520. 
 
 The reverse is decorated in blue outline with seventeen pointed 
 leaves filled up with parallel lines. Between the leaves, similar parallel 
 lines, but in ochre. 
 
 In the centre, the quartered circle of the Casa Pirota, with the 
 small o in one of the quarters: 
 
 (o\_» 
 ee 
 
 From the collections of Frédéric Spitzer (Sale at Paris, 14 April 1893, 
 I, p. 175, n. rosr1 and pl. 33) and John Edward Taylor (Sale at London, 
 L July 1012.00.87 uu 2 5 Oeancapls: 
 
 Reproduced in the Spitzer and Taylor sale catalogues and, in colours, 
 by E. Molinier, La collection Spitzer, t. IV, Po23, 2. 10; pla 
 
97 
 
97 
 
98 
 
 FAENZA, ABOUT 1525 
 
 Plate from the Casa Pirota. 
 
 Diameter o™2 50. 
 
 Circular plate with a slightly sunken centre and a broad flat rim. 
 Dull blue glaze, inside and outside. 
 
 In the centre, beneath a cherub’s head, an armorial escutcheon with 
 the allied bearings of the Altoviti family of Florence, azure a wolf salient 
 argent langued gules, and of the Soderini family of Florence: gules, three 
 stag’s attires or (for argent) and in chief a papal tiara or charged upon 
 two keys, crossed in saltire, respectively or and argent. 
 
 The chute is covered with a delicate foliage in white on a dull 
 blue background. 
 
 On the rim, a broad belt of white masks, dolphins and scrolls on a 
 dark blue background. 
 
 On the reverse, outlined in blue, four sketchy flowers and four 
 zig-zag lines. 
 
 In the centre, the quartered circle of the Casa Pirota, with an o in 
 one of the quarters: 
 
 Mr. A. Van de Put kindly points out that this plate was made for 
 
 Fiammetta, daughter of Tommaso Soderini and wife of Bindo di Antonio 
 Altoviti. 
 
98 
 
99 
 
 FAENZA, 1537 
 
 Plate. 
 
 Diameter o™215. 
 
 Flat circular plate without a rim, the edge rising slightly. 
 Creamy-grey glaze, the back crackled. 
 
 The whole of the surface is covered by a painting which represents a 
 young layman kneeling before a Pope, surrounded by his cardinals. From 
 the date (1537) inscribed on the back, the Pope must be Paul III (1534- 
 
 1549). 
 
 On the reverse, in a small square, a tazza, the date 1537 and the 
 inscription C"XA PIROTA (Casa Pirota): 
 
 The decoration is carried out in blue, green, yellow ochre and 
 manganese. 
 
 Formerly belonged to Messrs. Canessa. 
 
99 
 
99 
 
100 
 
 GUBBIO, 1522 
 
 Plate by Maestro Giorgio. 
 
 Diameter 07203. 
 
 Circular plate with a small deep sunken centre and a broad flat rim. 
 Dull cream glaze, inside and outside. 
 
 In the centre, a coat of arms: gules (copper-red) on a chief argent 
 a hedgehog (or urchin) azure (not identified, but compare the arms of the 
 Rizzardi family at Verona). 
 
 Plain chute, coloured gold. 
 
 The rim forms an upright picture with two Cupids in a landscape; 
 the first, on the left, climbing a tree to escape a snail; the other, playing 
 with a dog. ; | 
 
 The back is covered with concentric copper-red bands; in the 
 centre, among ochre ornaments, the mark: 
 
 j 
 yt 
 
 1522 M{aestro) G(iorgio) 
 
 The decoration is carried out in blue, white, green, yellow, copper- 
 red and gold, with a brilliant gold lustre. 
 
 In the Victoria and Albert Museum (1855, n. 1788) is another 
 plate from the same service, also dated 1522. 
 
100 
 
101 
 
 GUBBIO, 1524 
 
 Plate by Maestro Giorgio. 
 
 Diameter o™210. 
 
 Circular plate with a small deep sunken centre and a broad flat rim. 
 Dull creamy glaze, inside and outside. 
 
 In the centre, on a blue background, a female bust, three-quarters 
 to the left, wearing a white and gold turban. . 
 
 Plain chute, coloured gold. 
 
 The rim shows an elaborated pattern of various trophies on a blue 
 background. On the right, in a carfe/, the date 1524. 
 
 The back is covered with ochre scrolls. 
 
 The decoration is carried out in blue, green, yellow, copper-red and 
 gold, with a metallic lustre. 
 
 Although unsigned, this plate is certainly by Maestro Giorgio. 
 
 Exposition de la Croix Rouge (Paris, 1913, catal., p. 84, n. 169). 
 
101 
 
102 
 
 GUBBIO, 1532 (?) 
 
 Plate by Maestro Giorgio. 
 
 Diameter o™200. 
 
 Circular plate with a deep sunken centre and a broad flat rim. 
 White glaze, inside and outside. 
 
 The youthful David, undraped, proceeding to the right, carrying 
 a sword and Goliath’s head. The prostrate giant lies behind him on 
 the ground. To the left, a high cliff. 
 
 On the back, the date (2 (rather 1532 than 1539?) 
 
 surrounded by rough ochre scrolls. 
 
 Although unsigned, this plate is certainly by Maestro Giorgio. 
 
 The decoration is carried out in black, blue, green yellow, ochre 
 and dull red, with a metallic lustre. 
 
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 102 
 
103 
 
 GUBBIO, 1539 
 
 Plate by Maestro Giorgio. 
 
 Diameter o™194. 
 
 Circular plate with a deep sunken centre and a broad flat rim. 
 
 White glaze, inside and outside. 
 
 On the right, a nude young man, approaching towards the left 
 and drawing his sword; on the left, before a doorway, a standing female 
 figure guarded by four animals: a dog, a black ram, a white ram and a 
 lion. In the distance, a landscape with buildings. 
 
 On the back, conventional foliage in copper-red and dull greenish 
 ochre. In the centre, the date: , ee 9 
 9 
 
 Although unsigned, this plate is certainly by Maestro Giorgio. 
 
 The decoration is carried out in black, blue, green, yellow, ochre 
 and dull red, with a metallic lustre. 
 
103 
 
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104 
 
 GUBBIO, EARLY SIXTEENTH CENTURY 
 
 Plate by Maestro Giorgio. 
 
 Diameter 0™217. 
 
 Circular plate without a rim. 
 White glaze, inside and outside. 
 
 In the centre, an armorial escutcheon (gules a bend sinister between 
 two lions passant or, the second reversed); on the right, an eagle displayed; 
 on the left a monogram /E beneath a coronet. Outside, a broad ornamental 
 belt with foliage scrolls and a cherub between two large dolphins. 
 
 The decoration is carried out in blue, copper-red and ochre, with 
 a metallic lustre. 
 
 On the reverse, circles and scrolls in copper-red. 
 
 Although unsigned, this plate is certainly by Maestro Giorgio. 
 
 Mr. A. Van de Put compares the arms of the Lioni family. 
 
 From the collection of Alessandro Castellani, Rome (Sale at 
 Paris, 27 May 1878, p. 19, n. 60 and facs.). 
 
 Exposition de la Croix Rouge (Paris, 1913, catal., p. 37, RoeI7a 
 
104 
 
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 “« at Piva 
 
105 
 
 GUBBIO, ABOUT 1530 
 
 Plate ascribed to Maestro Giorgio. 
 
 Diameter o™261. 
 
 Circular plate without a rim. Low circular foot. 
 White glaze, inside; outside, a creamy-white glaze. 
 
 In a landscape, with a building on the right, a cave on the left 
 (in which appears a cow) and a city in the distance, are the nude 
 figures of Hercules and Cacus directly copied from two figures on the 
 left of Pollaiuolo’s celebrated engraving, the Battle of Naked Men. They 
 are fighting with clubs and Cacus has already bitten the dust. 
 
 The decoration is carried out in blue, yellow and green, with a 
 metallic lustre. 
 
 The reverse is decorated in copper-red and gold with concentric 
 circles and a belt of zig-zag lines enclosing small conventional flowers. 
 
 The Labors of Hercules were a favorite subject with the Italian 
 ceramist. The actual combat between Hercules and Cacus occurs on an 
 Urbino plate of 1533 which came to the Lyon Museum in 1850 with 
 the Lambert bequest. Several well-authenticated examples by Maestro 
 Giorgio, such as the Hercules and Antaeus in the Spitzer sale (n. 1196) 
 or the Hercules and Nessus of 1525, formerly in the Signol collection, do 
 much to induce us to ascribe the plate here catalogued to the actual 
 bottega of Maestro Giorgio, although it is somewhat different from his 
 usual style of workmanship. 
 
105 
 
106 
 
 GUBBIO, ABOUT 1530 
 
 Plate by Maestro Giorgio. 
 
 Diameter o™197 
 
 Circular shallow plate without a rim. 
 Inside, a white glaze; outside, a creamy-white glaze. 
 
 In the centre, in a blue escutcheon, rounded at top and pointed at 
 foot, the bust to the left of Saint Francis, with a circular nimbus and a 
 short pointed beard. 
 
 The remainder of: the field shows a basket of fruit, a mask, two 
 large dolphins, white scrolls and fruit in red and blue on a yellow 
 background. 
 
 The reverse is decorated’ with copper-red concentric circles. -In_ 
 
 the centre, the mark: 
 
 The decoration is carried out in blue, copper-red and ochre, with a 
 metallic lustre. 
 
 From the collection of John Edward Taylor (Sale at London, 
 Py July 19 128p i072, nouazOtandapl)s 
 
106 
 
 analy = seep RNa et SS aly a dee ee eee Cee rel AS alte smc ise. FS AS SM . oie 
 
107 
 
 GUBBIO, ABOUT 1530 
 
 Plate ascribed to Maestro Giorgio. 
 
 Diameter 07275. 
 
 Shallow circular plate, with a sunken centre and a broad flat rim. 
 Inside, a white glaze; outside, a creamy-white glaze. 
 
 In the centre an escutcheon quarterly: 1 and 4: or on a bend 
 azure, a lion rampant gules; 2-3 gules, 2 bendlets sinister argent between 2 
 mullets (8) argent. The latter arms are those of the Bonaparte family, 
 of Florence (except for the bends sinister), the former are not unlike the 
 Rinaldi bearings. Right and left of the escutcheon, the initials G. B.; 
 below, the letter M. The B possibly stands for Bonaparte. 
 
 The central circular medallion is surrounded by a plain gold chute; 
 the rim is decorated with oak-leaves and four diamond-shaped ornaments 
 in red, gold and green, on a blue background. 
 
 The reverse is decorated with two groups of three concentric circles 
 outlined in copper-red. 
 
 ee | 
 In the centre, in blue, the tiny mark: S 
 ae Lr | 
 
107 
 
107 
 
i ee Ld 
 
108 
 
 GUBBIO, ABOUT 1530 
 
 Tazza ascribed to Maestro Giorgio. 
 Height 0"073; diameter o™163. 
 
 Circular hemispherical tazza, with a low foot and a projecting rim. 
 
 The whole surface, inside and outside, is covered by a golden glaze 
 with a brilliant metallic lustre. 
 
 The inside is plain, save for a blue circular medallion in the centre, 
 with a Cupid walking to left, white, with touches of copper-red and gold. 
 
 Outside and beneath the foot, the surface is covered with elaborate 
 scrolls of conventional foliage, painted in gold, with green and copper-red 
 touches, on a dark blue background. 
 
 A characteristic example of Gubbio technique, very probably from 
 the workshop of Maestro Giorgio. 
 
 Compare a closely similar tazza in the Louvre (Campana collection), 
 
 with a half-length Cupid holding a bird. 
 
108 
 
108 
 
109 
 
 GUBBIO, EARLY SIXTEENTH CENTURY 
 
 Plate. 
 Diameter o™299. 
 
 Circular plate with a deep sunken centre and a broad flat rim. 
 Creamy-white glaze, inside and outside. 
 
 In the centre, a large letter D, surrounded by a plain gold chute. 
 Around the rim, large conventional foliage. 
 
 The reverse is decorated with three semi-circles in copper-red. 
 
 The decoration is carried out in blue, copper-red and gold, with 
 a metallic lustre. 
 
 Probably by a pupil of Maestro Giorgio. 
 
109 
 
110 
 
 URBINO, SIXTEENTH CENTURY 
 
 Three-lobed tazza. 
 
 Height o™ogo; diameter o™1 
 
 A hollow three-lobed tazza on a conical expanding foot. 
 White glaze, inside and outside. | | 
 
 Inside, Amphitrite, holding a veil or sail and running to ri 
 right foot resting on an open boat. ss 
 
 Outside, conventional ochre oak-leaves and sab curved 
 on a dark green background. Ss 
 
 The decoration is carried out in blue, giant yellow, 
 copper-red, with a metallic lustre. 
 
110 
 
110 
 
 NM 
 
111 
 
 FLORENCE, SIXTEENTH CENTURY 
 
 Plate of Medici porcelain. 
 Diameter o™294. 
 
 Circular plate with a sunken centre and a narrow flat rim. 
 Thick white glaze, decorated with a dull light-blue design. 
 
 In the centre, twelve radiating flowers; on the chute, trees, flowers 
 and two male figures in Renaissance dress; round the rim, flowers and 
 small leaves. 
 
 On the back, five sprays of flowers, surrounding the well-known 
 mark of the Medici porcelain factory: the letter F beneath a view of 
 the Dome at Florence. 
 
 It is well known that the Medici porcelain was the first to be 
 made in Europe and that the extant examples are extremely few in 
 number (some fifty pieces, nearly all in public collections); this one has 
 not hitherto been described. 
 
 From the Vincenzo Funghini collection at Arezzo. 
 
 Subsequently belonged to Messrs Canessa. 
 
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 PLATES IN HELIOTYPIE BY LEON MAROTTE 
 PARIS 
 
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