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COLLECTLldN of AMEKLC^NAl
FRANCIS PATEaCKGARyAN,B.A,i897

SCHOOL OF THE FINE ARTS,

HISPANO-MORESQUE POTTERY
IN THE COLLECTION OF
THE HISPANIC SOCIETY OF AMERICA

BY
EDWIN ATLEE BARBER, PH.D.
Director of the Pennsylvania Museum and School of Industrial Art
Philadelphia, Pa.

THE HISPANIC SOCIETY OF AMERICA
156th STREET, WEST OF BROADWAY
NEW YORK, 1915

PUBLICATIONS OF
THE HISPANIC SOCIETY OF AMERICA
No. 94

HISPANO-MORESQUE LuSTERED DiSH
With Arms of Despuig
Valencia
Early Fifteenth Century
(See No. 3, page 45)

HISPANO-MORESQUE POTTERY
IN THE COLLECTION OF
THE HISPANIC SOCIETY OF AMERICA

BY
EDWIN ATLEE BARBER, PH.D.
Director of the Pennsylvania Museum and School of Industrial Art
Philadelphia, Pa.

THE HISPANIC SOCIETY OF AMERICA
156th STREET, WEST OF BROADWAY
NEW YORK, 1915

Copyright, 1915, hy
The Hispanic Society of America

Skb52 ItS H

HISPANO-MORESQUE POTTERY

HISPANO-MORESQUE POTTERY

INTRODUCTORY NOTES
METALLIC LUSTERS AND STANNIFEROUS
ENAMEL
THE origin of metallic luster, as applied to the
surface of tin-enameled earthenware, is a prob
lem which has occupied the attention of ceramic stu
dents for many years. Various theories as to the source
of this art have been advanced by different writers,
some of which have proved fallacious, while others
have failed to be convincing. Examples of native pot
tery with stanniferous enamel, from Egypt, Babylonia
or Assyria, are unknown, notwithstanding the fact
that the early writers attributed to those countries the
first use of tin as a glaze for bricks and vases. What
was for a long time believed to be tin enamel has
proved to be a silicious glaze, tinted and made opaque
by the introduction of metallic oxides. A careful
examination of early pieces has failed to bring to
light a single example showing tin in the glaze.
[SJ

Pottery and tiles, of an entirely different char
acter from the usual varieties of Persian wares with
which we are familiar, have been found in the north
western part of Persia, in the ruins of some of the
older towns. We refer to the stellate and cruciform
tiles and more or less complete pieces of pottery, with
luster ornamentation, which reveal to a marked ex
tent extraneous influences. The principal character
istic which is noticeable is that they are coated with
a stanniferous enamel instead of being glazed with a
silico-alkaline or glass glaze, in the Persian and
Egyptian manner.
The star-shaped tiles with lustered designs have,
so far as we know, been found in Persia only in the
northwest part, by some attributed to Rhages, by
others to Sultanabad, a short distance to the west
ward, and by still others to Veramin, some twenty
miles distant, which latter town was built after
Rhages was destroyed in the thirteenth century.
Various dates have been mentioned for the destruc
tion of Rhages and Sultanabad, ranging from 1221
to 1259. Bagdad, the Saracenic capital, fell under
Hulagu Khan in 1258. Just what connection this
event had with the manufacture of the lustered tiles
which we find in Persia has not yet been determined.
Bagdad was only some four hundred miles from
[6]

Rhages, and potters, at the sacking of the former
city, could readily have escaped to northwestern
Persia and established their art for a time there.
While it is undoubtedly true that the lustered
pottery and tiles which we are considering have been
found in abundance in Persia, all evidences point to
the fact that they are not of Persian conception. Our
belief that tin was not employed as a glaze by the
native Persian potters until introduced by foreign
craftsmen is rather strengthened than weakened by
the presence of stanniferous wares which reveal in
so unmistakable a manner outside influences, along
with the glass-glazed products of very decided Per
sian character. Among the eight-pointed star-shaped
examples we find paintings of antelopes, horses, pan
thers, hares and other animals, also plant forms and
arabesque traceries, all showing a strong Saracenic
influence. The technique of some of these lustered
designs bears a striking resemblance to that of the
lustered pottery found in the rubbish mounds of
Fostat, near Old Cairo, Egypt.
In the South Kensington Museum may be seen
a collection of fragments of bowls and tiles from
ancient ruins in Persia. Those with metallic lusters
are attributed to Rhages, and belong to an early
period, probably the thirteenth and fourteenth cen-
[7]

turies of our era. Many of them show Mongolian
influence in the figures and costumes, while others
are purely Saracenic in spirit and treatment. One
of them is a star-shaped tile with Saracenic style of
ornament and mock Arabic inscription in golden
luster on a blue border. The glaze of all of these
fragments contains more or less tin.
Similar lustered tiles are to be seen in public
museums in this country. The white stanniferous
enamel is thick and heavy. The superimposed luster
is identical with that which is found on Hispano-
Moresco plaques. It is of brownish-yellow tone, but
when viewed at an angle it changes to a bluish-violet,
of the same quality as that of the lusters of Valencia.
We are therefore forced to the conclusion that these
star-shaped tiles found in Persia were made under
Saracenic influence, modified to some extent by the •
introduction of Mongolian technique, as exhibited in
the paintings of human figures. The glaze and luster
were purely Saracenic, since neither tin enamel nor
luster produced from silver and copper was used in
China. Moreover, we do not find in the potteries of
Rakka (Syria), Rhodes, Anatolia, Damascus or Tur
key, all of which reveal a strong Persian character,
any indications of the use of tin glaze or metallic
lusters. This negative evidence goes far to prove
[8]

that stanniferous enamel and iridescent decorations
did not originate with the Persian potters. Had they
been employed generally in Persia, they would un
doubtedly have reappeared in the imitative pottery
of these more recent centres.
A noble example of tin-enameled faience from
Persia is the Mihrab from the Seljoucid temple at
Veramin, which was brought to this country by Mr.
H. Kevorkian and exhibited in New York in the
spring of 1914. This remarkable specimen measures
twelve feet nine inches in height by seven feet six
inches in width and is composed of sixty-five tile
panels and plaques of varying form, covered with a
white stanniferous enamel, with Cufic and Neski in
scriptions, arabesques and interlaced designs in relief,
colored in various shades of blue, turquoise, purple,
brown, and green, and heightened with golden, ruby,
and purple lusters. Supporting some of the panels
are semi-cylindrical columns surmounted by Saracenic
capitals. On the lower tablet is this inscription :
"Executed by Ali, son of Muhammed, son of Ab-i-
Tahir, and completed in the month of Shaaban in the
year 663 A. H." (corresponding to 1264 A. D.).
At a later period the Persian potters, reverting
to their original methods, glazed their pottery with
[9]

glass, but continued to some extent to use lusters in
the decorations. Dr. A. J. Butler, in a recent article,* writes as
follows :
"I venture to think that the clue to much that is
called Persian and Syrian and Moorish is to be found
ultimately in Egypt — that, in fact, Egypt was the
centre from which there spread over the Nearer East
the art of decorating faience, first with beautiful col
oured glazes and enamels, and then with brilliant
changing lustre, and the art of decorating wall sur
faces with glazed and painted tiles.
"There was, then, a continuous historic evolution
of art in Egypt from Pharaonic times to the middle
ages. It is true that for some few centuries after
the conquest no Arab records were written, or none
have been preserved, which can be quoted in direct
reference to ceramic art; but the works of Walid, of
Mansur, the founder of Baghdad, of Harun al Rashid,
Mamun, Tulun, and Khamarawiyah, contain a suffi
cient history of artistic progress in the eighth and
ninth centuries — a witness carried on by the mosques
of Al Azhar and Hakim in Cairo into the tenth cen
tury. In the eleventh century we have the strongest
*The Burlington Magazine, July, 1907, p. 221.
[IO]

documentary evidence that the arts — in particular
textiles and ceramics — had attained a splendour in
Egypt unrivalled elsewhere. It is therefore certain
that there was no gap or break in the artistic history
of Egypt: that from Pharaonic art to Ptolemaic,
from Ptolemaic to Roman, and from Roman to
Mohammedan, the chain is complete.
"This brings us, then, to the well-known diary
of the Persian traveller Nasir-i-Khusrau, who visited
Old Cairo or Fustat in 1047 A. D. . . . Nasir-
i-Khusrau was a most cultivated person, as his diary
shows — he even took a part of his library with him
to Cairo — and in particular he had a keen eye to
artistic beauty or rarity. More than this, he had at
least a fair knowledge of Oriental faience — i. e.,
knew not only the ware of Persia and Syria, but also
that of China. The proof is that, speaking of a very
beautiful marble vase which he saw at Caesarea, he
likens it to 'Chinese porcelain.' Now, in all his travels
he had seen nothing like this lustre decoration. To
describe it, indeed, he has recourse to a comparison
with a unique Egyptian textile called bukalimun, or
'chameleon fabric,' as one might say. Of this fabric
he himself writes : 'At Tinnis and nowhere else in
the world they make the stuff called bukalimun,
["J

the colour of which changes every hour of the day;
it is exported to countries of the east and of the
west.' . .
"Here, then, is the clearest admission by a Per
sian eye-witness not merely of the supremacy of the
textile and ceramic arts in Egypt in the eleventh cen
tury, but of the manufacture of most beautiful
products by processes elsewhere unknown. If such
testimony can be rejected, no evidence is of any value;
if it is not rejected, then it follows that the art of
painting in lustre had its origin in Egypt, and not in
Persia, and that, at whatever period it began, it had
reached to great perfection before the middle of the
eleventh century, but had not then spread northward
to Syria or westward to Kairuan, to which Nasir-i-
Khusrau's travels extended. It is, however, highly
probable that the art was introduced into Persia in
the late eleventh or early twelfth century — possibly
workers were sent from Old Cairo even before the
great fire which caused its first destruction. And it
is curious to note that the animal painting and figure
painting which often differentiates Persian from
Egyptian design in pottery was certainly found in
Cairene art at the time of Nasir-i-Khusrau' s visit;
for, speaking of the golden throne of the Sultan, he
[12]

says that it was adorned 'with hunting scenes, men,
galloping horses, and finely written inscriptions' —
just, in fact, in what would now be called the Persian
manner. The truth is that up to the eleventh century
the Muslims of Egypt had not that dislike of por
traying human and animal figures which they after
wards displayed. But, granted that painting in lustre
spread from Cairo to Persia, it is equally certain that
it spread westward to Spain. In both countries it
produced results of very varied beauty. . . . There
is a predominate type of lustre, not unlike the Per
sian, in the well-known Hispano-Moresque ware, and
this type has a somewhat monotonous sameness, yet
there is also a less known type of lustre with the most
beautiful bronze-green, ruby, purple and gold hues —
again recalling bukalimun. I do not know of any
Spanish vases or vessels lustred with this varied bril
liance ; but such colours may be seen in all their rich
ness on the walls of the Casa de Pilatos at Seville — a
Moorish building dated about 1600 A. D. — and a
few similar tiles are in the Second Mihrab of the
mosque of Cordova dated to the thirteenth century.
Thus the art which flourished in Egypt in the eleventh
century was well established both in Spain and in
Persia by the thirteenth." [13]

In attributing to the Egyptians the first use of
luster in the decoration of pottery, Dr. Butler does
not appear to have sufficiently considered the connec
tion which existed between luster and stanniferous
enamel. The earliest examples of lustered wares
with which we are acquainted, were applied over a
tin glaze, probably for the reason that the pure white
tint and opacity of the tin brought out more perfectly
the colors and prismatic effects of the lusters. It is
therefore reasonable to assume that both glaze and
luster possessed a common origin. The early wares
of the Egyptians were glazed with glass and appar
ently never with tin.
Mr. Dikran Khan Kelekian, who has possessed
unexcelled opportunities for studying the potteries of
the Nearer East, in his monograph on "The Potteries
of Persia," states that, "As far as we have any rec
ords, the Fostat potteries antedate the Persian. They
were made for the most part, it appears, by Arabian
and Syrian workers, who had either emigrated there
or been taken prisoners and kept because of their
skill to assist the native artists."
In the absence of any convincing proof that
stanniferous faience was ever produced by the native
Egyptian or Persian potters, and in considering the
fact that both tin-enameled and lustered pottery of a
[14]

similar character has been found in Egypt, Persia,
Syria, Northern Africa and Spain, or in those coun
tries which were invaded by the Saracens, the infer
ence is unavoidable that these people, if not the in
ventors of these arts, were at least their disseminators
throughout the Nearer East and the Mediterranean
area. We must, therefore, abandon the theory that
metallic lusters and tin enamels, as applied to pottery,
originated either with the Persians or the Egyptians.
As has been remarked by Stanley Lane-Poole : "The
arts were in Egypt long before the Tartars became
her rulers, but they stirred them into new life, and
made the Saracenic work of Egypt the centre and
head-piece of Mohammedan art."*
The reflet mctallique and stanniferous enamel
appear to have reached Europe from the East through
the Saracens, who spread westward along the north
ern coast of Africa into Morocco. The star-shaped
and cruciform tiles which we find in Persia were used
in Spain and continued to be made there until recent
years. These forms are of Saracenic origin, and are
found engraved in the ornamentation of the hilt and
scabbard of the fifteenth-century sword owned by
Boabdil, the last of the Moorish kings of Granada,
preserved in the Villaseca collection in Madrid. The
*The Art of the Saracens in Egypt.
[15]

Moslem eight-pointed star, with arabesques carved in
relief, is found on the sides of the wooden pulpit
erected in the year 1296, during the restoration of
the mosque of Ibn-Tulun, at Cairo, for the Mameluke
Sultan Lagin. Some of these carved panels are pre
served in the South Kensington Museum. They are
good examples of Saracenic art of the thirteenth cen
tury in Egypt. Lustered tiles of the same form, from
Valencia, showing Arab influence, were used in the
cupola of the Convent of the Conception, at Toledo,
Spain, which was built in the early part of the fif
teenth century. Some of these bear the letters I H S
in luster, while others are decorated with Moorish
ornaments. One of the former is figured and described
by a recent writer, Senor Joseph Font y Guma,* who
also informs us that tiles of this form with Moresque
designs have been found in abundance in Andalusia.
They are distinctly Saracenic in treatment and are of
the fifteenth century.
Lusters were obtained by applying to the enamel
a thin wash prepared from the oxides of silver and
copper and subjecting them to heat in the reducing
furnace. When silver was used alone, the paler yel
low or golden and silvery effects were obtained, and
these occur on the earlier and finer wares. Copper
*Rojolas Valencianas y Catalanas, 1905, p. 42.
' [16]

produced the darker and redder tones, while a com
bination of both, in varying proportions, resulted in
the intermediate shades. After the sixteenth century
the lustering of the Hispano-Moresque wares became
more coppery and less iridescent, and with the deca
dence of the art in the eighteenth, the decorations
became ruder and the luster took on a harsh, tinselly
appearance. This deterioration in the quality of the
ware was occasioned by the gradual introduction of
cheaper materials and methods.
"One of the earliest and most interesting notices
relating to the preparation of this lustred ware,"
writes Leonard Williams,* "is contained in a descrip
tion by one of the royal archers, named Henry Cock,
of the progress, performed in 1585, of Philip the
Second from the court of Spain to Zaragoza. Cock
wrote of Muel, in Aragon : 'Almost all the inhabitants
of this village are potters, and all the earthenware
sold at Zaragoza is made in the following manner.
The vessels are first fashioned to the required shape
from a certain substance extracted from the earth of
this locality. They are next baked in a specially con
structed oven, and when removed from this are var
nished with white varnish and polished, after which
they are washed with a mixture of twenty-five pounds
*The Arts and Crafts of Older Spain, Vol. II., p. 175; 1908.
[17]

of lead, three or four pounds of tin, and as many
pounds of a certain sand which is found there. All
these ingredients are mixed into a paste resembling
ice, which is broken small, pounded like flour, and
kept in powder. This powder is mixed with water,
the dishes are passed through it, and after being re-
baked they keep their lustre. Next, in order to gild
the pottery, they take the strongest vinegar mixed
with about two reales of powdered silver, vermilion,
and red ochre, and a little wire. When all is thor
oughly mixed they paint the patterns on the dishes
with a feather, bake them again, and their gold color
is now quite permanent. I was told all this by the
potters themselves.' "
The following account, quoted by Riano* from a
manuscript report in the British Museum, prepared
for Count Florida Blanca, who, in 1785, desired to
establish a manufactory of lustered ware at Madrid,
will convey a very clear idea of the processes of glaz
ing and lustering used at Manises at the end of the
eighteenth century :
"After the pottery is baked, it is varnished with
white and blue, the only colors used besides the gold
lustre; the vessels are again baked; if the objects
*Juan F. Riano: Tlie Industrial Arts in Spain.
[18]

are to be painted with gold color, this can only be
put on the white varnish, after they have gone twice
through the oven. The vessels are then painted with
the said gold color and are baked a third time, with
only dry rosemary for fuel.
"The white varnish used is composed of lead and
tin, which are melted together in an oven made on
purpose ; after these materials are sufficiently melted,
they become like earth, and when in this state the
mixture is removed and mixed with an equal quantity
in weight of sand : fine salt is added to it, it is boiled
again, and when cold, pounded into powder. The
only sand which can be used is from a cave at Benal-
guacil, three leagues from Manises. In order that the
varnish should be fine, for every arroba, 25 pounds
of lead, 6 to 12 ounces of tin must be added, and
half a bushel of fine-powdered salt: if a coarse kind
is required, it is sufficient to add a very small quantity
of tin, and three or four cuartos worth of salt, which
in this case must be added when the ingredient is
ready for varnishing the vessel.
"Five ingredients enter into the composition of
the gold color: copper, which is better the older it
is; silver, as old as possible; sulphur; red ochre,
and strong vinegar, which are mixed in the follow
ing proportions : of copper three ounces, of red ochre
[19]

twelve ounces, of silver one peseta (about a shilling),
sulphur three ounces, vinegar a quart ; three pounds
(of twelve ounces) of the earth or scoriae, which is
left after this pottery is painted with the gold color,
is added to the other ingredients.
"They are mixed in the following manner : a
small portion of sulphur in powder is put into a cas
serole with two small bits of copper, between them
a coin of one silver peseta; the rest of the sulphur
and copper is then added to it. When this casserole
is ready, it is placed on the fire, and is made to boil
until the sulphur is consumed, which is evident when
no flame issues from it. The preparation is then
taken from the fire, and when cold is pounded very
fine; the red ochre and scoriae are then added to it;
it is mixed up by hand and again pounded into powder.
The preparation is placed in a basin and mixed with
enough water to make a sufficient paste to stick on
the sides of the basin; the mixture is then rubbed
on the vessel with a stick; it is therefore indispen
sable that the water should be added very gradually
until the mixture is in the proper state.
"The basin ready prepared must be placed in an
oven for six hours. At Manises it is customary to
do so when the vessels of common pottery are baked ;
after this the mixture is scratched off the sides of the
[20]

basin with some iron instrument; it is then removed
from there and broken up into small pieces, which
are pounded fine in a hand-mortar with the quantity
of vinegar already mentioned, and after having been
well ground and pounded together for two hours the
mixture is ready for decorating. It is well to observe
that the quantity of varnish and gold-colored mixture
which is required for every object can only be ascer
tained by practice."
The Hispano-Moresque lustered wares of the
fourteenth century, when the Arabic processes were
in use, were covered with a glaze in which tin formed
an important component. This enamel was exceed
ingly hard, entirely opaque and of a white or creamy
tint. The thickness and density of the enamel per
ceptibly increased the weight of those pieces to which
it was applied. Of this character is the neck of the
large vase in the Museum collection (No. i).
After the expulsion of the Moors, the Spanish
potters, gradually abandoning the processes of their
Moorish teachers, began to apply to the surface of
their pottery a thin wash of white pipe clay, or slip,
which they covered with a modified glaze, in which
lead formed the principal ingredient. By this cheaper
treatment the appearance of whiteness and opacity, so
[21]

characteristic of tin enamel, was still preserved, but
the porous slip, or engobe, with its film of lead and
tin, being of much less specific gravity than tin enamel,
added but little to the weight of the ware, so that it
was perceptibly lighter than similar tin-enameled ex
amples. The difference, by comparison of pieces
treated by the two processes, is so marked that an
expert can distinguish between them without resorting
to the test of hardness.
That such had largely become the practice in
certain parts of Spain in the latter part of the six
teenth century appears to be proved by the description
given by Henry Cock of the method of glazing em
ployed by the potters of Muel, in Aragon, in 1585,
to which reference has already been made. His state
ment that "The vessels .... are baked in a
specially constructed oven and when removed from
this are varnished with zvhite varnish and polished,
after which they are washed with a mixture of twenty-
five pounds of lead, three or four pounds of tin and
as many pounds of a certain sand which is found
there," evidently applies to the white slip with its
plumbeous and stanniferous covering.
A critical examination of Hispano-Moresque
wares produced after 1500 will reveal the fact that
they do not possess the hardness of surface of the
[22]

Saracenic pottery of Persia or the Moorish ware of
Spain of an earlier date. Pieces belonging to the
beginning of the sixteenth century, while they reveal
the presence of more or less tin in the glaze, also
show traces of the white slip and can be scratched
with a steel point. In the following century the slip
coating became more perceptible and the glaze con
siderably softer, and by the beginning of the seven
teenth century tin had become practically eliminated.
The wares of this period were of the character of
mezza-maiolica. While some of the lustered tiles of the sixteenth
century, however, notably those produced at Seville,
were also coated with slip and glazed with lead, the
practice, as applied to tiles, did not become general,
and stanniferous enamel, often combined with glass
glazes, also continued to be used on tiles until recent
times. In departing from the Moorish method of glaz
ing, the Spanish potters appear to have adopted a
more purely Spanish style of treatment, and instead
of continuing the simulation of Arabic lettering and
ornament, they began to introduce Christian quota
tions and symbolism in the decorations. A favorite
inscription consisted of the often repeated words
"Domine Surge," which on some of the slip-coated
[23]

and lead-glazed plaques is entirely distinct and legible.
Other favorite decorative motives were derived from
the Latin "Urbi et Orbi" and the opening words of
the Gospel of St. John : "In principio erat verbum
et verbum erat apud Deum." By frequent copying
some of the Roman letters were gradually changed or
modified in form, and in time the entire inscription
became a mere meaningless decorative embellishment.
As will be seen by the statement of Henry Cock,
the enamel used on the Hispano-Moresque ware in
1585 contained three or four pounds of tin to every
twenty-five pounds of lead, a proportion of twelve or
sixteen per cent., while exactly two centuries later the
amount of tin employed, as we are informed by Riano,
had decreased to one-half pound or one pound to
every twenty-five pounds of lead, equivalent to only
two or four per cent, for the fine enamel, while for
the coarser wares a "very small quantity of tin" was
considered sufficient. Since the quality of the enamel
was dependent upon the amount of tin used in the
composition, the extent of the decadence of the art
in recent times will be understood.
After the introduction of the art of lustering
into Spain in the fourteenth century it was carried
into Italy, where it was developed to an even greater
degree of perfection and used effectively on the
[24]

maiolica of the fifteenth and later centuries, in con
junction with the polychrome paintings which were
executed by ceramic artists. While the process of
producing the prismatic lusters was the same, as prac
tised by the Saracens in Egypt and Persia, later by
the Moors in Spain, and at a still more recent date
by the Italian potters, the latter succeeded in devel
oping several varieties which had not been used
before, in a separate form, to cover considerable sur
faces, notably a greenish yellow, a strawberry pink,
and a brilliant ruby red, known as Gubbio luster,
after the name of the place where it originated. At
two other centres in Italy lustering was practised —
namely, Diruta and Pesaro — where a pearly luster
of great brilliancy and high prismatic quality was
developed. It has been claimed by some writers that Moorish
potters went to Sicily in the fourteenth century and
established potteries there. Earthenware supposed to
have been made in that island by Moorish workmen
is sometimes termed Siculo-Arab ware. Mr. C.
Drury E. Fortnum, in his work on "Maiolica," refers
to this fabric in the following words :
"Specimens of a lustred ware have been brought
from Sicily, differing materially from that of Spain,
[25]

and perhaps forming a connecting link between that
and the earlier Persian pottery. They are formed of
an ordinary clay covered with an earthy or stannifer
ous (?) wash, which is again coated with a rich trans
lucent blue glaze on which a diapering of vermicular
ornament in coppery lustre covers the whole piece,
except that the edges and handles are also painted in
lustre. This ware is by no means common ; it occurs
in the form of plates, covered bowls, and 'albarelli':
and is supposed to be the workmanship of Moorish
potters in Calata-Girone."
It will be observed that the above writer is some
what uncertain (the query mark being his) whether
the ware he describes is coated with a stanniferous or
an earthy wash. Examples of this character which
we have examined show no traces of tin enamel.
The lead glaze has either been applied directly over
the blue-colored body or on a thin shell of slip.
Such pieces, however, are of a late period, probably
not earlier than the seventeenth century, as the com
bination of white slip, lead glaze and coppery luster
would indicate.
The superficial film which is seen on Hispano-
Moresque pottery, called reflet metallique by the
French, is of four distinct varieties :
[26]

i. Golden, pale or deep.
2. Cangeante (changing, when viewed from
different angles, from brownish golden
to violet, green, blue, and rose).
3. Madreperla, or mother-of-pearl, which also
varies from silver to blue, lilac, and a
purplish ruby.
4. Coppery, of various degrees of reddish tone.

MOORISH LUSTERED POTTERY
OF
THE FOURTEENTH CENTURY
The Moors founded the kingdom of Granada in
1235, and the city of that name became the seat of
the Moorish government in Spain. The Alhambra
was erected about 1273. One of the earliest refer
ences to lustered pottery with which we are acquainted
is that of the Arabic geographer, Edrisi, who about
1 1 54 wrote of Calatayud, in Spain: "Here the gold-
colored pottery is made which is exported to all coun
tries." Malaga also is believed to have been one of
the early centres of lustered pottery, since the trav-
[27]

eler Ibn-Batutah, writing about 1350, tells us that
"At Malaga the fine golden pottery is made which
is exported to the furthermost countries."1 It was
there that the great vases, which were later discov
ered in the Alhambra, were made.
"Eximenus, in his 'Regiment de la Cosa Publica,'
Valencia, 1499, in speaking of the excellent things
made in the kingdom of Valencia, says : 'The twenty-
seventh excellent thing is that some artificial objects
are made there which bring great renown to the coun
try, for they are excellent and beautiful, and are now
to be found in other localities . . . but above
all is the beauty of the gold pottery so splendidly
painted at Manises, which enamours everyone so much,
that the Pope, and the Cardinals, and the princes of
the world obtain it by special favor, and are aston
ished that such excellent and noble works can be made
of earth.' "2
Referring to this statement, Mr. Albert Van de
Put, in the recent edition of his "Hispano-Moresque
Ware of the XV. Century," has this to say:
"The passage in which Francisco Eximenes or
Jimenez records the beauty of the golden ware pro-
'Riano. The Industrial Arts in Spain.
2Ibid, [28]

duced at Manises, near Valencia, and the favour it
found in the eyes of the Pope, Cardinals and princes,
dates from 1383, when it was penned, not from 1499,
the year when it was first printed. This serious chron
ological misattribution is to be attributed to the well
nigh unique rarity of the Valencian incunabulum, the
'Regiment de la Cosa Publica' by Eximenes, in which
that rather obscure writer's testimony relating to
Manises is printed."
The great vase of the Alhambra was discovered
in the sixteenth century in a subterranean vault be
neath the palace. It is attributed to the first half
of the fourteenth century, and measures four feet six
inches in height. The decorations, in blue, brown, and
faint madreperla luster on a delicate yellow ground,
consist of archaic animals (antelopes), arabesques
and Arabic inscriptions. It is of amphora form with
tapering base, surmounted by a funnel-shaped neck
and expanding mouth. From the shoulders were
originally two fiat wing-shaped handles whose upper
ends joined the neck near the top.
The illustration of the Alhambra vase with which
we are familiar, as used by Riano* and copied by later
writers on ceramic art, having been engraved on wood
*The Industrial Arts in Spain.
[29]

before the more exact art of half-tone engraving came
into use, is not accurate in detail and therefore some
what misleading. Leonard Williams* furnishes an
exact reproduction of a photograph taken from the
vase itself. In this representation the shape of the
vase is seen to be broader at the base and less slender,
and the inscribed band which encircles the body be
neath the two antelopes is wider than the earlier illus
trations indicate. This writer states that the vase
had been broken apart about the middle, and his illus
tration reveals the fact that the upper half of one
of the handles is gone.
In 1764 this vase, with a larger one of the same
character and a portion of a third stood in the garden
of the governor's palace, where they were exposed to
the injurious effects of the elements and the vandalism
of relic hunters. Through mutilation and defacement
only small portions of them remained, when they mys
teriously disappeared, about the beginning of the nine
teenth century. Fortunately, drawings of the larger
vase have been preserved, but the decorations, while
similar in style, vary somewhat from the one at
Granada, as the arms of the Moorish kings of Gran
ada are introduced and birds are included in the orna
mentation of the handles.
*The Arts and Crafts and Older Spain.
[30]

The upper part of a large vase in the Museum
of the Hispanic Society, which was purchased in Paris
a few years ago (No. i of the Catalogue), presents
many similarities in style to that of the vase at the
Alhambra. Assuming that the same relative propor
tions prevailed in the vase, of which the fragment is
a part, the entire height would be about four feet
ten and a half inches. It resembles in some respects
the missing companion to the Alhambra vase, as fig
ured by Murphy,* such as the overhanging top, but
it also shows some marked differences. In the Mur
phy lithograph the vertical panels of the neck are not
interrupted and are arranged in more uniform widths,
and the decoration is more regular and carefully
drawn. The fragment in the Museum has blue dec
orations on a yellowish ground, the dark, brownish
luster being low in tone, as is the case with other
known examples of Arab maiolica of the fourteenth
century.

*James Cavanah Murphy: The Arabian Antiquities of Spain.
London, 1813. [3lJ

HISPANO-MORESQUE LUSTERED POTTERY
OF
THE FIFTEENTH AND LATER CENTURIES
In the middle of the fifteenth century, Manises
was the centre of the manufacture of lustered pottery
in Valencia, and much of the finest ware was pro
duced there. On account of the difficulty, not to say
impossibility of differentiating the wares produced in
Valencia itself from those of the neighboring towns
of Manises, Paterna, Gesarte and Mislata, we shall,
in this list, make use of the term Valencian in its
broader application to the province instead of to the
city of that name, in the attribution of pieces to this
centre.

ORNAMENTAL PATTERNS
Following the classification of ornamental de
signs adopted by Mr. A. Van de Put in his "His
pano-Moresque Ware of the XV. Century," after
eliminating some of the less distinctive variations
and adding some of a later period, we may divide
the ware into eleven styles, according to the motives
employed, as follows : [32]

i. Mock-Arabic Inscription.
Bands, or backgrounds, of regularly repeated
devices, simulating, in a conventional man
ner, Arabic characters, either small or large
or both combined, which are unreadable and
of no special significance. This ornament
was one of the earliest, dating back to the
first quarter of the fifteenth century.
2. Spur Bands alternating with Bands of
fine Cross-Hatching.
The spur pattern is composed of three-
pronged, spur-shaped motives resembling
tuning forks, placed one above the other in
rows. Employed in the first half of the
fifteenth century.
3. Bands oe Marguerites.
Large daisy-like blossoms arranged in bands
or wreaths, which encircle the edges or sides
of dishes. Late fifteenth century.
4. Flower and Leaf on Dotted Ground.
A diaper of dots in which appear four- or
five-petaled flowers and groups of berries,
usually three, each ornament being sur
rounded by a tendril bearing a three-parted
leaf. Covering the same period as the pre
ceding. [331

5. Vine Leaf.
A diaper of vine leaves, either large or small,
terminating in smaller leaves, flowers or ber
ries. Second and third quarters of fifteenth
century. The individual motives vary some
what in size and form in different pieces.
6. Bryony Leaf and Flower.
A foliage pattern composed of three-parted
leaves and tendrils from which spring small
flowers with petals of varying number. This
pattern occurs in great variety of arrange
ment with motives variously modified. Sec
ond and third quarters of fifteenth century.
7. Dot and Stalk.
A ground pattern frequently used on ribbed
plaques and other pieces. It consists of a
fine network of loops and dots. Also called
Notes of Music. This pattern is a modifica
tion of the small vine-leaf diaper. Third
quarter of fifteenth century.
8. Long Pointed Leaves.
Wreaths or diapers with fern-like foliage
between. End of fifteenth century.
9- Wheel. Bands or panels of six-spoked wheel-shaped
ornaments arranged in a row, often com-
[34J

bined with other bands or panels of thistle
like flowers, tree-like ornaments, dotted, or
net, diapering, or dot and stalk pattern. Six
teenth and seventeenth centuries.
io. Fleur-de-Lis.Curled leaves, disposed sometimes in the
form of fleur-de-lis, in pairs, curling inward
with an upright point between. This diaper
is usually large and bold, and occurs on
pieces of the late fifteenth and early six
teenth centuries.
ii. Godroon.
Large scale-shaped, or oval, figures painted
around the edges or centres of bowls or
plaques. Sixteenth century. In that and the
following century the ware was godrooned in
relief. To the same category belong those
pieces which have relief ornaments of other
patterns — rosettes, leaves, etc. — usually on
the marly, but occasionally on the central
bosses.

[35]

DECORATIVE PATTERNS ON BACKS
OF PLAQUES
Hispano-Moresque lustered plaques and dishes
are almost invariably decorated on the under sides,
or backs. These ornamental designs, while they are
usually in luster, are few in number and quite char
acteristic. They may be described as follows :
I. A large spiral, or concentric rings, composed
of fine lines, or bands and lines combined,
covering the entire back. This style of treat
ment is the most common.
2. Spirals, or rings, with a marginal band con
taining a running border design.
3. A diaper of large ovals formed of tendrils,
each enclosing a plume-like ornament. This
design is frequently used.
4. A central ornament of rosette form, occupy
ing the depression of the boss, surrounded
by concentric circles, with curl ornaments on
the outside.
5. Concentric circles enclosing an Arabic or
Christian character, or simulated device (see
No. 60 of Catalogue).
6. Leaf-shaped or shuttle-shaped ornaments
scattered over the surface.
[36]

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Decorative Patterns on Backs of Plaques

7- A diaper composed of circles formed of ten
drils, each enclosing a cluster of three or four
dots, or berries. The margin is frequently
decorated with a running border design.
8. A bryony leaf pattern in blue and luster,
occasionally used on the finer pieces.
9. A large eagle, dragon, bird, heraldic lion or
grotesque animal in luster, covering the en
tire surface. Used on the best pieces (see
No. 23 of Catalogue).

HERALDIC DESIGNS
On account of the difficulty of indicating heraldic
tinctures through the media of blue enamel and metal
lic luster, in conjunction with the creamy ground color
of the ware, to which the Hispano-Moresco potters
were limited, it is frequently difficult, if not impos
sible, to identify the coats of arms which appear upon
pieces of the fifteenth and sixteenth centuries. No
serious attempt to determine the significance of these
armorial devices appears to have been made until Mr.
A. Van de Put set himself to the task, the results of
[371

his researches being presented in his "Hispano-
Moresque Ware of the XV Century," to which we
are indebted for the recognition of certain of the
heraldic bearings which are found on examples of
the ware in this Museum.
The chronological attributions used in the fol
lowing catalogue have been based on the conclusions
reached by the foremost authorities on the subject,
which have been generally accepted ; but these approx
imate dates are subject to future revision, in the event
of the discovery of new facts bearing upon the history
of the art.
Edwin AtLee Barber

[38]

CATALOGUE OF
HISPANO-MORESQUE WARE
i.i. FRAGMENT OF LARGE VASE.
Diameter of top, 14^ inches.
Diameter of base, 9*4 inches.
Height, i8"4 inches.
Thickness of rim at -top, i^ inches, average.
The neck consists of two divisions, the upper
one being somewhat longer and having eleven
elongated panels, varying in width, separated by
nine vertical grooves enclosed by projecting
ridges, or ribs.
Upper rim projecting about an inch from
the sides, and composed of eleven flat rectangu
lar sections, each with an arc of a circle cut in
the lower side, capping the vertical sections of
the neck beneath, and separated by semi-cylindri
cal depressions, which overlap the nine vertical
cannellations. The lower portion contains eleven shorter
sections, between which are single ridges, each a
continuation of the ribbed groove above. At each
side, in the broadest panels, near the top, is a
scar, showing where the upper tip of the wing-
shaped handle was broken away.
[39]

Some of the elongated panels and grooves
are decorated with scrolled and arabesque de
signs, while others are filled with a triple spur
motive. These are all painted in a dull, coppery
luster on a rather weak mottled blue ground. At
the lower edge of the neck are fifteen circular
medallions in the same luster, each containing an
Arabic (simulated) inscription. Separating the
two sections is a horizontal band of blue enclosed
between bands of luster and similarly decorated.
The projecting cornice and the raised ribs
are covered with a somewhat paler and yellower
luster, of low tone.
Moorish. Probably Malaga, about the middle of
the fourteenth century.
Made of a coarse, light red clay, fired rather
hard. Tin enameled. Plate I
2. TILE Height and width, y1/^ inches.
Form. — Octagonal.
Design. — Bold strap-work, intersecting at
right angles and enclosing conventional plant
forms in white, reserved in a blue ground.
Small eight-pointed tile designs in the four cor
ners in blue. A central shield bears the Arabic
inscription, in luster, "And no one is supreme
except Allah."
Luster. — Golden and iridescent.
Moorish. Probably Malaga, fifteenth century. Plate II
[40]

Plate I

i. Neck of Large Vase
Moorish (Malaga)
Fourteenth Century

Plate II

2. Lustered Tile
Hispano-Moresque Fifteenth Century

.3. DISH Diameter, 19^ inches.
Depth, iJ4 inches.
Width of brim, or marly, 2 inches.
Form. — Flat base and nearly vertical sides,
which rise to a horizontal or slightly sloping
brim. Design. — Around centre a broad, circular
band of mock-Arabic inscription, broken into
four equal segments by four pointed ovals, all
in blue. On brim boldly painted arabesques
resembling a simulated inscription of a cursive
type, also in blue. Around the rise a serrated
border pattern. The arms of Despuig, or Puig,
in luster on a creamy white field. Reverse. —
An eagle, in golden luster, covering the entire
back. Luster. — Golden, which changes to violet
and green when viewed from different angles.
The effect is a brilliant violet and rose reflet.
Valencia (Manises), second quarter of fifteenth
century. See Frontispiece.
In Valencia St. John was particularly ven
erated, and the emblematic eagle is often found
on pieces made there.
This dish is figured by Van de Put in the
191 1 edition of his work on Hispano-Moresque
ware. He describes the arms as "A mount of
[45]

one coupeau surmounted by a demy fleur-de-lys,
in gold upon the cream ground colour."
A similar dish (with different arms) is in
the British Museum.
4. BOWL Diameter, 18 inches.
Height, $y2 inches.
Form. — Sweeping curved interior, without
marly, and standing on a small foot, five inches
in diameter. Four loops, at equi-distant points,
rise from the under side and curl over the rim.
Design. — Four kite-shaped ovals, in two pat
terns — basket design and tree-shaped ornament,
with simulated Arabic characters. Alternating
with these are four other ovals, of similar form,
each containing an agraffe-shaped ornament in
blue and luster. Between the tops of the ovals,
around the margin, are arabesques simulating
Arabic writing, boldly painted in blue. In the
centre two squares arranged in the form of a
Mohammedan eight-pointed star, enclosing an
eight-lobed rosette in blue, enclosing a smaller
star in creamy white.
Luster. — Dark golden, changing to rose and
violet. Valencia, first half of the fifteenth century. Plate III
A dish with similar agraffe-shaped orna
ments is in the Sevres Museum.
[46]

Plate III

4. Bowl, or Plaque
Valencia
Early Fifteenth Century

5. ALBARELLO, OR DRUG JAR
Height, ii^j inches.
Design. — A band of mock-Arabic inscrip
tion around centre and another on collar in blue
on creamy ground. A band at top composed of
heavy vertical lines, alternately blue and luster.
Band of shield-shaped ornaments at base, in
luster, heavily outlined in blue. Narrower bands
of creamy white with luster ornaments, separat
ing the broader bands.
Luster. — Brownish golden, changing to
violet. Valencia, first half of fifteenth century. Plate IV
From the collection of the late M. Boy
(No. 51).
6. ALBARELLO.
Height, 1 1 y2 inches.
A companion to the preceding, but varying
slightly in minor details.
Valencia, first half of fifteenth century. Plate IV
From the collection of the late M. Boy
(No. Si).
7. ALBARELLO.
Height, I2?4 inches.
Design. — A broad central band of large
vine leaf diaper in blue and luster on creamy
[49]

ground. At top and base a band of mock-Arabic
inscription, separated from the central zone by
narrow bands of creamy white, with luster deco
ration. Luster. — Pale brownish golden, changing
to violet and rose.
Valencia, first half of fifteenth century. Plate IV
From the collection of the late M. Boy
(No. 49).
8. DEEP DISH. Diameter, igj4 inches.
Depth, 4J/2 inches.
Width of brim, or marly, 2J/2 inches.
Form. — Flat base, straight sides, slightly
sloping outward to the top, and flat, horizontal
brim. Design- — In centre an intricate pattern of
strap-work in white, bordered by heavy blue
lines, the spaces enclosing each a leaf-shaped
ornament in luster, on blue ground. Around the
marly a border pattern composed of large flow
ers (marguerites) alternating with a conven
tional ornament. Two similar floral bands en
circle the inner side and two the outer. Arms. —
Ecu en bannicrc ; quarterly : 1-4, a lion ram
pant ; 2-3, a triple-towered castle.
[50]

i nSWBil

r>

5, 6, 7. Albarellos
Valencia
Early Fifteenth Century

Plate V

Deep Dish with Arms of Castile-Leon
Valencia (Manises)
Late Fifteenth Century

Luster. — Brownish, changing to blue, violet,
and ruby, brilliantly iridescent.
Manises (?), late fifteenth century. Plate V
As Mr. Van de Put remarks about another
dish with similar heraldic device, "The inversion
of the Castilian quartering^ is probably an artis
tic license."
9. DISH. Diameter, 13I4 inches.
Form. — Curved cavetto, flat horizontal brim.
Small boss in centre.
Design. — A bird in centre and four bryony
leaf ornaments around marly in blue. Diapering
of dots with tendrils forming circles enclosing
four-, five- and six-petaled flowers in luster, on
creamy ground.
Luster. — Brownish golden, changing to
blue and violet.
Valencia, late fifteenth century. Plate VI
10. PLATE. Diameter, 11 inches.
Form. — Shallow cavetto, flat, sloping marly.
Design. — Large bird (pigeon) in centre in
blue. Diapering of dots with circles composed
of tendrils, enclosing four- and six-petaled flow
ers in luster on a creamy ground.
Luster. — Brownish, changing to blue, ruby,
and violet.
Valencia, late fifteenth century. Plate VII
[55]

ii. DISH. Diameter, nj^ inches.
Form. — Deep, curved cavetto; flat, slightly
sloping marly; small boss in centre.
Design. — A bird in centre, surrounded by
four-, five- and six-petaled flowers in blue, within
rings of tendrils, from which spring bryony
leaves, alternating with circles enclosing four-
petaled flowers in luster. Around marly similar
decoration, in which is an inscription in Gothic
lettering, "Ave Maria Gra (tia) Plena," in
blue. Dotted ground in luster.
Luster. — Pale golden, with traces of iri
descent blue.
Valencia, late fifteenth century (1470-1490). Plate VIII
A similar dish, with figure of greyhound
and same inscription is in the Osma collection in
Madrid.
12. PLATE. Diameter, n^4 inches.
Form. — Shallow, curved, broad cavetto ;
horizontal, slightly guttered marly.
Design. — In centre a conventional flower in
blue ; diaper of small stars in luster on a pinkish,
creamy ground.
Luster. — Brownish, changing to blue and
lilac.Valencia, late fifteenth century.
[56]

Plate VI

9. Dish
Valencia
Late Fifteenth Century

Plate VII

io. Plate
Valencia
Late Fifteenth Century

Plate VIII

n. Dish
Valencia
Late Fifteenth Century

1.3. DISH. Diameter, 18Y2 inches.
Depth, 1-54 inches.
Width of brim, 2^4 inches.
Form. — Flat base, straight sides, and flat,
horizontal marly.
Design. — Diaper of large vine leaf pattern
in luster. Arms. — A triple-towered castle. Scroll
work on back.
Luster. — Brownish golden, changing to
purple, lilac, and a beautiful ruby.
Valencia, first half of fifteenth century. Plate IX
From the Hakky-Bey collection (No. 75).
14. DISH. Diameter, 17 inches.
Depth, 2,Ya inches.
Width of brim, 2 inches.
Form. — Flat base, straight sides, and flat,
horizontal brim.
Design. — Diaper of bryony leaves, tendrils
and flowers in dark blue, interspersed with other
leaves and flowers in luster, on creamy ground.
Around vertical sides the same pattern in luster.
In centre the arms of Guasconi, of Florence —
three chevrons, with a Greek cross at the apex
of the central one — as identified by Van de Put.
Similar decoration on back.
Luster. — Golden, changing to a purplish
ruby.Valencia, third quarter of the fifteenth century. Plate X
[63]

15. PLAQUE. Diameter, 1754 inches.
Form. — Shallow, curved cavetto ; flat, hori
zontal brim; slightly convex centre.
Design. — Diaper of bryony leaves and flow
ers in blue. Tendrils and flowers in luster on
creamy ground. Arms. — Ecusson a bouche, with
bend, on which are three birds between two
cinquefoils. On back, bryony leaves in blue and
luster. Luster. — Dark golden or coppery, changing
to violet.
Valencia, latter half of fifteenth century. Plate XI
16. PLAQUE. Diameter, iyYs inches.
Form. — Flat, slightly convex centre; sides
sloping upward.
Design. — Diaper of bryony leaves and flow
ers in blue, with tendrils in luster on creamy
ground. Under side decorated with concentric
rings in luster. In central circle the sacred mon
ogram IHS in luster.
Luster. — Brownish, changing to blue and
violet.Valencia, third quarter of fifteenth century. Plate XII
[64]

Plate IX

13. Dish
Valencia
Fifteenth Century

Plate X

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14. Dish With Guasconi Arms
Valencia
Late Fifteenth Century

Plate XI

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15. Plaque
Valencia
Late Fifteenth Century

Plate XII

l6. PtAQUE
Valencia
Late Fifteenth Century

17. PLAQUE.
Diameter, 17 inches.
Form. — Curved cavetto; flat marly, sloping
upward. Design. — Bryony leaves and flowers in blue
with diaper of tendrils in luster. Anus. — Bendy
of five cream white and purple charged with a
lion rampant in blue. On base, large bryony
leaves in blue with tendrils in luster.
Luster. — Pale golden, changing to violet.
Valencia, third quarter of fifteenth century. Plate XIII
18. PLATE. Diameter, 10Y2 inches.
Form. — Shallow plaque.
Design. — Bryony leaves and flowers in dark
blue, tendrils- in luster. Arms. — Barry of six
ground color and blue. On base, large bryony
leaves in blue.
Luster. — Brownish, changing to blue and
violet. Valencia, third quarter of fifteenth century. Plate XIV
19. DISH. Diameter, 153^ inches.
Depth, 1 inch.
Width of brim, 1^4 inches.
Form. — Flat base, vertical sides; flat marly,
sloping slightly upward.
Design. — Circles formed by tendrils, enclos
ing a six-petaled flower, from which springs a
[73J

bryony leaf, all in blue. Five hexagonal figures,
with incised outlines, each enclosing a large six-
lobed flower. Dotted diaper in luster on creamy
ground. Similar decoration on back, in luster.
Luster. — Golden, changing to blue and
violet. Valencia, third quarter of fifteenth century. Plate XV
20. PLATE. Diameter, 14^ inches.
Form. — Shallow, curved cavetto ; flat, up
ward-sloping brim; slightly convex centre.
Design. — Divided into eight compartments
by blue lines, terminating in three-lobed leaves.
Diaper of three-, five- and six-petaled flowers
in circles formed of tendrils in luster, on creamy
ground. Similar ornament in luster on back.
Luster. — Pale golden, with touch of blue.
Valencia, third quarter of fifteenth century. Plate XVI
21. DEEP DISH. Diameter, 19^4 inches.
Depth, 4 inches.
Width of marly, 2}4 inches.
Form. — Flat base ; straight sides, slightly
sloping outward ; flat marly.
[74]

Plate XIII

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17. Plaque
Valencia
Late Fifteenth Century

Plate XIV

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Valencia
Late Fifteenth Century

Plate XV

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Valencia
Late Fifteenth Century
Plate XVI

20. Plate
Valencia
Late Fifteenth Century

Plate XVII

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21. Deep Dish
Valencia
Late Fifteenth Century

Design. — Bryony leaves and flowers in dark
blue, with tendrils in luster. In centre, the sacred
monogram IHS in luster. Same design out
side. On base, concentric rings with rosette in
centre. Luster. — Pale golden.
Valencia, third quarter of fifteenth century. Plate XVII
Collection of Emile Gaillard (No. 406).

22. DEEP DISH. Diameter, 1854 inches.
Depth, 4 inches.
Width of marly, 2Y2 inches.
Form. — Similar to preceding.
Design. — Similar to preceding.
Luster. — Golden, changing to blue and
violet. Valencia, third quarter of fifteenth century. Plate XVIII
From the collection of the late M. Boy
(No. 53).

23. PLAQUE.
Diameter, 18 inches.
Form. — Cavetto and marly merged in one
continuous curve. [85]

Design. — Diaper of
vine leaves in blue, alter
nating with other vine
leaves in luster, from
which spring tendrils and
small flowers in luster, on
creamy ground. In cen
tre, the arms of Cardinal
Despuig in luster on
creamy ground. On back,
an eagle covering the en
tire surface, in luster.
Luster. — Golden, changing to violet and
blue. Valencia, third quarter of fifteenth century. Plate XIX
24. DISH. Diameter, 14^ inches.
Depth, 1% inches.
Width of marly, ifj; inches.
Form. — Flat base, vertical sides and hori
zontal marly.
Design. — Vine leaves in blue alternating
with other vine leaves in luster, from which
spring flowers and leaves in luster. Scrolled
design in luster outside. The arms of Despuig
in dark blue on luster ground. On base, a spiral
in luster covering entire surface.
Luster. — Brownish, changing to madre-
perla. Valencia, third quarter of fifteenth century.
[86] Plate xx

Plate XVIII

¦ *

22. Deep Dish
Valencia
Late Fifteenth Century

Plate XIX

23. Plaque with Despuig Arms
Valencia
Fifteenth Century

Plate XX

m

24. Dish with Despuig Arms
Valencia
Fifteenth Century

25. PLAQUE. Diameter, 17 inches.
Form. — Curved cavetto, upward curving
marly. Centre slightly convex.
Design. — A diaper of vine leaves and small
flowers in luster. Armorial design in centre.
Back decorated with a spiral in luster, covering
entire surface.
Luster. — Coppery, changing to violet.
Valencia, third quarter of fifteenth century. Plate XXI
26. PLAQUE. Diameter, 17J/2 inches.
Form. — Cavetto and marly in one continu
ous curve. Design. — Diaper of vine leaves in blue,
alternating with other vine leaves, from which
spring small flowers and spirals in luster. Arms. —
A lion rampant counterchanged in blue and
brown, on a shield party per Fesse. Back deco
rated with a spiral in luster covering entire
surface. Luster. — Brownish, changing to violet and
blue. Valencia, third quarter of fifteenth century. Plate XXII
[93]

27. PLAQUE. Diameter, iy% inches.
Form. — Same as last.
Design. — Similar decoration. Arms. — A
lion rampant in blue on brown ground; shield
surrounded by laurel leaf wreath.
Luster. — Brownish, changing to blue and
violet. Valencia, third quarter of fifteenth century. Plate XXIII
28. PLAQUE. Diameter, 175^ inches.
Form. — Cavetto and marly in one continu
ous curve. Design. — Vine leaves and flowers in luster.
Arms. — A lion rampant in blue on yellow luster
ground. On back, a large spiral in luster.
Valencia, third quarter of fifteenth century. Plate XXIV
29. PLATE. Diameter, I2j^ inches.
Form. — Slightly curved, with a depressed
line separating marly from cavetto.
Design. — A chain of large marguerites or
rosettes around central shield, and another en
circling the brim, in luster, with blue centres and
enclosed in blue links. Arms. — Shield with bull
[94]

Plate XXI

25. Plaque
Valencia
Late Fifteenth Century

Plate XXII

26. Plaque
Valencia
Fifteenth Century

Plate XXIII

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^^Sli^r^Ste^

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^i^i
a*!
*S«g!K5
OT^S^^VtBSjfcA'^WflsS^SSB^,
< ,-y.; y
j jfcil>?*»
Ceili^sSa
ftljS|l
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mm
¦•5&a&£'
illil
BBJBr
27. Plaque
Valencia
Late Fifteenth Century
Plate XXIV

28. Plaque
Valencia
Late Fifteenth Century

Plate XXV

29. Plate with Buyl Arms
Valencia (Manises)
Late Fifteenth Century

in luster on creamy ground, the heraldic ensign
of the house of Boil, or Buyl, of Manises. Back
decorated with spiral in luster.
Luster. — Brownish, changing to blue and
violet. Valencia (Manises), late fifteenth century. Plate XXV
Presented by Senor G. J. de Osma, of Madrid.
30. ALBARELLO. Height, 1254 inches.
Design. — Bryony leaves and flowers in blue
with spirals and tendrils in luster. In blue on
creamy ground, the escutcheon of one of the
religious orders.
Luster. — Brownish, changing to blue and
violet. Valencia, third quarter of fifteenth century. Plate XXVI
31. ALBARELLO. Height, 1154 inches.
Design. — Divided into five vertical panels,
each containing an upright stalk, from which
spring at either side bryony leaves and flowers
in blue. Spirals and tendrils in luster in the
interspaces. Luster. — Brownish, changing to blue and
violet.Valencia, third quarter of fifteenth century. Plate XXVI
[105]

32. ALBARELLO. Height, Iij4 inches.
Design. — Similar to preceding.
33. ALBARELLO. Height, I2?4 inches.
Form. — Tapering inward toward the top.
Design. — Large three- and five-parted
leaves in dark blue. Clusters of berries (three),
tendrils and small leaves, in luster. Blue and
luster bands encircling jar at top, bottom and
centre. Basket pattern around collar.
Luster. — Brownish, changing to blue and
violet. Valencia, third quarter of fifteenth century. Plate XXVII
34. ALBARELLO. Height, 13J.-2 inches.
Design. — Divided into two sections by band
around middle, from which leaf-shaped orna
ments spring above and below, all in blue, the
spaces between being filled with leaves, tendrils
and flowers in luster.
Luster. — Brownish.
Valencia, third quarter of fifteenth century. Plate XXVII
35. ALBARELLO. Height, I3T4 inches.
Companion to preceding. Plate XXVII
[106]

i mm 1
1111

30, 31, 39- Albarellos
Valencia
Fifteenth Century

r >

X X <

s X X <

33, 34, 35- Albarellos
Valencia
Late Fifteenth Century

36. ALBARELLO. Height, iiJ4 inches.
Design. — Divided into two sections by blue
and luster band around centre, from which spring
blue leaf-shaped ornaments and carnations in
luster. Bands of blue and luster around base
and elongated collar.
Luster. — Coppery, changing to ruby.
Valencia, second half of fifteenth century. Plate XXVIII
37. ALBARELLO. Height, 13% inches.
Design. — Divided into three verticaT panels
by slender stalks which send out at either side
large leaves in ' blue. The spaces between are
filled with leafage in luster.
Luster. — -Pale golden, changing to blue and
violet.Valencia, third quarter of fifteenth century. Plate XXVIII
From the collection of the late M. Boy.
38. ALBARELLO. Height, 12 inches.
Design. — Enormous leaves and flowers in
blue, with fern leaves and flowers between, in
luster. Luster. — Golden, changing to blue and
violet. Valencia, fifteenth century. Plate XXVIII
[in]

39. ALBARELLO. Height, 12^4 inches.
Design. — Large vine leaves in blue and in
luster, from which spring tendrils, leaves and
small flowers in luster.
Luster. — Brownish, changing to blue and
violet.Valencia, third quarter of fifteenth century. Plate XXVI
40. ALBARELLO. Height, iif£ inches.
Design. — Six horizontal bands. Diaper of
small vine leaves in blue and in luster with scrolls
and tendrils in luster.
Luster. — Brownish, changing to blue and
violet. Valencia, third quarter of fifteenth century. Plate XXIX
41. ALBARELLO. Height, n]4 inches.
Companion to above.
42. ALBARELLO. Height, 11Y& inches.
Similar to above.
Luster. — Beautifully iridescent — madre-
perla, blue, and violet tones.
Valencia, second half of fifteenth century. Plate XXIX
[112]

XX <

36, 37, 38- Albarellos
Valencia
Late Fifteenth Century

40, 42, 74. Albarellos
Valencia
Fifteenth and Sixteenth Centuries

hj

X X
I — I
x

43- ALBARELLO. Height, 6Y2 inches.
Design. — Three horizontal zones of vine-
leaf pattern, separated by broad bands, all in
luster. Luster. — Brownish, changing to blue and
violet. Valencia, sixteenth century. Plate XXX
44- ALBARELLO. Height, 634 inches.
Companion to above. Plate xxx
45. PHARMACY JAR. Height, 8Y inches.
Form. — Jar shaped, with handle at back and
short spout in front.
Design. — Large vine leaves in blue and in
luster, with flowers and scroll-work between.
Luster. — Brownish, changing to blue and
violet. Valencia, sixteenth century. Plate XXXI
46. PLAQUE. Diameter, 17H inches.
Design. — Divided into sixteen segmental
compartments by raised ribs radiating from a
central circle and curved at the ends, each sec
tion enclosing five raised pellets, in imitation of
["7]

the joints and rivets of metal plaques. Outside
of the circle the surface is covered with a dot-
and-stalk diaper, running lengthwise with the
panels. Arms. — A dragon's head, crowned. Re
verse, a diaper of ovals formed of tendrils enclos
ing feather-like designs in luster.
Luster. — Madreperla, with blue, violet, and
ruby reflections.
Valencia, third quarter of fifteenth century. Plate XXXII
47. PLAQUE. Diameter, iy% inches.
Design. — Dot-and-stalk diaper running
transversely across the panels. There are two
circles of radiating compartments, outlined with
raised ribs, the inner one containing thirty, the
outer fifty-two, without pellets. Arms. — A lion
rampant in creamy white, reserved in luster
ground. Reverse, a diaper of ovals, formed of
tendrils enclosing feather-like designs in luster.
Luster. — Pale golden, changing to blue,
violet, and rose.
Valencia, third quarter of fifteenth century.
Plate XXXIII
48. PLAQUE. Diameter, 17^ inches.
Design. — Eighteen radiating compartments
decorated in three styles (six of each) : a. Dot
and stalk ; b. Thistle-like flowers with tendrils
[118]

Plate XXX

43, 44. Albarellos
Valencia
Sixteenth Century

Plate XXXI

45. Pharmacy Jar
Valencia
Sixteenth Century

Plate XXXII

46. Plaque
Valencia
Late Fifteenth Century

Plate XXXIII

47. Plaque
Valencia
Late Fifteenth Century

Plate XXXIV

48. Plaque
Valencia
Late Fifteenth Century

and dots ; c. An Arabic conventional pattern,
simulating mosaic work ; disposed regularly in
the above order. The relief lines are touched at
equidistant points with blue. Reverse, a diaper
of ovals formed of tendrils, enclosing feather
like ornaments in luster. Arms. — A lion rampant
in creamy white, reserved in luster.
Luster. — Golden, changing to blue and
violet. Valencia, late fifteenth century or early sixteenth.
Plate XXXIV
49. BOWL. Diameter, 8Y inches.
Depth, 3% inches.
Diameter, including handles, 12^ inches.
Form. — Hemispherical, having four horizon
tal scalloped wing-shaped handles projecting at
equidistant points from the upper edge.
Design. — Encircling the interior, bands of
wheel, net, and tree-shaped patterns in luster,
which are also extended over the handles.
Arms. — An eagle in luster on a creamy ground.
Outer side and base, diaper of large ovals con
taining coarse feather-like designs in luster.
Luster. — Brownish, changing to ruby, blue,
violet, with touches of green.
Valencia, sixteenth century. Plate XXXV
[129]

50. DISH. Diameter, ijy2 inches.
Depth, 154 inches.
Width of marly, 2% inches.
Form. — Flat base, perpendicular sides. Flat
marly, slightly sloping" upward.
Design. — Sixteen compartments, outlined
with raised ribs, radiating from a central circle,
containing alternately dot-and-stalk diaper and
a thistle-like pattern, in luster. Around the sides
and extending over the brim, lustered panels of
diapering. On base, concentric circles of luster.
The arms of Subira of Vilafranca del Pan-
ades ( ?).
Luster. — Reddish brown, changing to blue
and violet.
Valencia, third quarter of fifteenth century. Plate XXXVI
51. PLAQUE. Diameter, 19 inches.
Form. — Slightly depressed centre, with con
vex boss and convexly curving sides.
Design. — Lines radiating from centre carry
ing large tulip-shaped flowers, with tendrils and
flowerets between. In center, a crowned lamb
with pennant (Agnus Dei) in luster. On base,
concentric rings in yellow.
Luster. — Brownish, changing to yellow
with touches of blue and violet.
Valencia, late fifteenth century. Plate XXXVII
[!3°]

Plate XXXV

49. Bowl
Valencia
Sixteenth Century

Plate XXXVI

50. Dish with Arms of Subira ( ?)
Valencia
Late Fifteenth Century

Plate XXXVII

\

¦S^^;

Si- Plaque
Valencia
Late Fifteenth Century

52. PLAQUE. Diameter, i8,y2 inches.
Form. — Slightly depressed centre, with con
vex boss and upward curving sides.
Design. — Large figure of a lion rampant
and cluster of three leaf-shaped ornaments in
heavy blue outline, filled in with diapering of
dots and scales. Ground-work of coarse leaves,
fruit and flowerets in luster. Reverse, ovals en
closing large feather-like ornaments in luster.
Luster. — Pale golden, changing to blue and
violet. Valencia, late fifteenth century. Plate XXXVIII
53. PLAQUE. Diameter, iyi/s inches.
Form. — Slightly depressed cavetto, with flat
centre and sloping sides. Broad flat brim, slightly
sloping upward.
Design. — Three concentric wreaths of large
pointed leaves, alternately blue and luster, the
intervening spaces being filled in with fern-like
leaves and berries in luster. Arms. — A chevron
in blue and creamy white on luster ground. Re
verse, bryony-leaf design in blue and luster.
Luster. — Brownish, changing to blue and
violet (madreperla).
Valencia, third quarter of fifteenth century. Plate XXXIX
[137]

54. DISH. Diameter, i73/s inches.
Form. — Concave cavetto, straight, slightly
sloping brim.
Design. — Large curled leaves with tendrils
and berries between, all in
luster. On marly and ex
tending into the cavetto,
five large four-petaled or
naments in blue and lus
ter. A shield, outlined
heavily in blue, bearing
three plant-shaped devices
(thistles?) in luster on
creamy ground. Reverse,
large figure of a stork
like bird in luster, surrounded by leafage in
luster. Luster. — Brownish, changing to blue, rose,
and violet (madreperla).
Valencia, late fifteenth century. Plate XL

55. CENTRE OF DISH. Diameter, 11 inches.
Height, 2 inches.
Form. — Flat base, with convex boss in cen
tre. Vertical sides slightly curving inward at the
top. The broad brim is missing.
Design. — Concentric bands of small wheels,
dotted diapering and flowers and buds, in blue
[138]

Plate XXXVIII

52. Plaque
Valencia
Late Fifteenth Century

Plate XXXIX

S3. Plaque
Valencia
Late Fifteenth Century

Plate XL

54- Dish
Valencia
Late Fifteenth Century

Plate XLI

SS- Centre of Dish
Valencia (Manises)
Late Fifteenth Century

and luster. Arms. — A bull, the heraldic emblem
of the Buyls, the lords of Manises in the fifteenth
century. Reverse, feather-like ornaments.
Luster. — Brownish, changing to golden,
blue, and violet.
Valencia (Manises), latter half of fifteenth cen
tury. Plate XLI

forming a trembleusc to

56. PLATEAU. Diameter, i6j4 inches.
Form. — Flat base, straight sides sloping out
ward, with loop ornaments around the edge. In
centre, a similar wall
hold an ewer in place.
Design. — Large,
pointed, leaf-shape orna
ments and scrolls (fleur-
de-lis diaper) in luster.
Large floral ornaments in
blue surrounding the cen
tral designs. Arms. —
Quartered arms of Castile
and Leon in luster on
creamy ground. On base,
large eagle in luster, with
shield on breast containing
outside, large blue flowers.
Luster. — Golden and greenish with traces
of blue and violet.
Valencia, third quarter of fifteenth century

a rabbit. Around

Plate XLII

[147]

57. DISH. Diameter, 15% inches.
Form. — Deep, curving cavetto, with convex
boss in centre. Broad, upward-sloping marly.
Design. — Circles of conventional floral and
leaf ornaments in luster. In centre, a rosette.
Around margin and cavetto, a simulated Chris
tian inscription (see No. 66). Reverse, rude
feather-like designs.
Luster. — Deep purplish or coppery golden.
Valencia, sixteenth century. Plate XLIII
58. DISH. Diameter, 12% inches.
Form. — Shallow bowl-shaped.
Design. — Boldly painted conventional leaves
and flowers in luster. Reverse, scrolls and con
centric circles in luster.
Luster. — Brown, changing to violet, show
ing touches of blue.
Hispano-Moresque, seventeenth century.
59. PLAQUE. Diameter, 16 inches.
Form. — Depressed centre, with boss of trun
cated cone shape. Sides sloping upward.
Design. — Entire surface divided into eight
kite-shaped lobes by broad blue lines, each com
partment containing a conventional floral design,
alternately luster on creamy ground and creamy
[148]

Plate XLII

56. Plateau with Arms of Castile-Leon
Valencia
Late Fifteenth Century

Plate XLIII

57. Dish
Valencia
Sixteenth Century

Plate XLIV

94. Dish
Hispano-MoresqueSixteenth Century

white in a luster field. Reverse, decorated with
concentric circles and rude feather-like motives.
Luster. — Brown, changing to blue and violet
(madreperla).
Hispano-Moresque, sixteenth century.

60. PLATE. Diameter, 14 inches.
Design. — A rudely
painted four-armed figure
with a leaf-shaped orna
ment in each of the four
spaces on a dotted ground.
Reverse, concentric rings
and a monogram-like char
acter in luster in centre.
Luster. — Brownish,
changing to violet.
Hispano-Moresque, six
teenth century.

61. PLATE. Diameter, I2J4 inches.
Form. — Slightly sunken cavetto, with cen
tral boss. Design. — A boldly painted border pattern
consisting of seven semi-circular divisions, with
cross-hatched decoration in luster. In the spaces
between are conventional flowers. In centre,
[155]

concentric rings enclosing a rude floral design.
Reverse, a few concentric rings in luster.
Luster. — Brownish, changing to dark gol
den, with traces of blue and violet.
Hispano-Moresque, sixteenth century.
62. PLAQUE. Diameter, 15J4 inches.
Form. — Depressed centre, with slightly
raised boss, and broad brim curling outward.
Design. — A boldly painted floral and leaf
design in centre in luster; around marly, rudely
painted leaf and floral forms in luster. Two
broad blue parallel straight lines divide the sur
face into three parts. Reverse, a few concentric
circles in luster.
The clay is dark and of coarse texture.
Luster. — Brownish, changing to golden,
blue, and violet.
Hispano-Moresque, seventeenth century.
63. DISH. Diameter, 12^2 inches.
Form. — Deep centre, with small convex
boss. Broad marly curving outward.
Design. — A broad band of cross-hatching
covering the marly. In centre, broad bands of
luster enclosing a rudely painted tree-shaped
ornament. Reverse, concentric rings of luster.
Coarse clay. [LS6]

Luster. — Coppery, with touches of blue and
violet.Hispano-Moresque, seventeenth century.
64. PLATE. Diameter, I2J4 inches.
Form. — Slightly depressed cavetto, with low
boss in centre.
Design. — Central plant-like ornament in
luster, surrounded by a narrow band of simulated
Christian inscription (see No. 100). On broad
marly, four large tulip-shaped motives in luster,
with blue centres, alternating with a rudely drawn
leaf ornament in luster. Reverse, concentric
rings in luster.
Luster. — Brownish, changing to golden,
blue, and violet.
Hispano-Moresque, seventeenth century. Plate XLV
65. CUP. Diameter, 5 inches.
Form. — Bowl shaped, with two horizontal
handles extending from upper rim.
Design. — A crude quartered design of con
ventional flowers and leafage.
Luster. — Pale brown, changing to golden
of low tone.
Hispano-Moresque, seventeenth century.
[157]

66. PLAQUE.
Diameter, 15 J4 inches.
Form. — Depressed centre, with boss in form
of truncated cone.
Design. — Luster star on white ground occu
pying centre of boss, surrounded by a Christian
inscription in white reserved in luster : V.
RBITIERB, repeated. This is probably a modifi
cation of the phrase used in the publication of
Papal bulls, "Urbi et Orbi" (to the city [Rome]
and the world). Around the marly a painted
diagonal design in luster of godroons of three
varieties, solid luster, dotted diaper and floral.
Reverse, feather-like motives and concentric
circles. Luster. — Greenish golden, changing to vio
let and blue.
Hispano-Moresque, sixteenth century. Plate XLVI
Gift of Mr. Lionel Harris, London.
67. PLAQUE. Diameter, 15*4 inches.
Form. — Curved cavetto, with central boss.
Broad, upward sloping marly.
Design. — Around the central boss a band
of arabesque ornament in luster, surrounded by
a simulated Christian inscription derived from
the preceding. The marly is decorated with cir
cles and triangles in blue enclosing floral orna-
[158]

Plate XLV

64. Plate
Hispano-Moresque
Seventeenth Century

Plate XLVI

66. Plaque
Hispano-Moresque Sixteenth Century

Plate XLVII

67. Plaque
Valencia
Seventeenth Century

ments in luster. In the spaces between are scrolls
and marguerites. Reverse, bold feather-like orna
ments and concentric circles in luster.
Luster. — Brownish, changing to silver, blue,
and violet.
Valencia, seventeenth century. Plate XLVII
68. PLAQUE. Diameter, 16% inches.
Form. — Curved cavetto, with central flat-
topped boss. Marly curving upward and out
ward. Design. — Four-branched ornament in
creamy white in centre, on luster ground, sur
rounded by a godroon circle in luster. Around
the marly a similar diagonal band of godroons
in luster. Reverse, feather-like ornaments and
concentric circles in luster.
Luster. — Brown, changing to blue and vio
let (madreperla).
Hispano-Moresque, seventeenth century. Plate XLVIII
69. PLAQUE. Diameter, 15^ inches.
Form. — Depressed centre, with slightly
raised boss. Broad, flat, upward-sloping marly.
Design. — In centre, the figure of a rabbit in
luster, surrounded by a circle of curls. The marly
is painted with bold tulip-like or pointed leaf de
signs in luster and blue. Across one side extends
[165]

a broad straight line of green glaze. Reverse,
circles in luster.
Luster. — On face, golden, changing to blue
and violet. On back, violet.
Hispano-Moresque, sixteenth century.
70. PLAQUE. Diameter, 16J/2 inches.
Form. — Deep curved cavetto, with central
boss. Marly sloping upward.
Design. — Six-petaled blue flower in centre
of boss. Cavetto covered with an arabesque
design of vines ; the same pattern around marly.
Around edge, boss, and separating marly from
cavetto, broad blue lines.
Luster. — Brownish, changing to golden,
blue, and violet.
Valencia, sixteenth century. Plate XLIX
71. PLAQUE. Diameter, 15^ inches.
Form. — Deep curved cavetto, with central
boss. Marly curving upward.
Design. — A bold pattern composed of but
terfly motives (alternately open and closed), in
heavy blue outline, with floral and leaf motives
in luster between. Reverse, concentric rings and
curls. Luster. — Brownish, changing to violet.
Valencia, seventeenth century. Plate L
[166]

Plate XLVIII

68. Plaque
Hispano-Moresque
Seventeenth Century

Plate XLIX

70. Plaque
Valencia
Sixteenth Century

Plate L

71. Plaque
Valencia
Seventeenth Century

72. PLAQUE. Diameter, 16 inches.
Form. — Deep curving cavetto; central flat-
topped boss and upward-sloping marly.
Design. — Arabesque pattern of leaves and
flowers. White rosette in centre. Strawberry-
plant design around marly, all in luster. Reverse,
concentric rings and feather-shaped ornaments.
Luster. — Brownish, changing to silver,
blue, and violet.
Valencia, sixteenth century. Plate LI
73- PLAQUE. Diameter, 15^ inches.
Form. — Curved cavetto, with central boss.
Broad, flat, upward-sloping marly.
Design. — Divided into sections by three
waving lines, each section containing a lozenge-
shaped figure composed of nine divisions, each
enclosing a simple ornament, all in luster. Re
verse, concentric circles and feather-like orna
ments in luster.
Luster. — Brownish, changing to dark gol
den, blue, and violet.
Hispano-Moresque, seventeenth century. Plate LII
74. ALBARELLO. Height, \i% inches.
Design. — Six horizontal bands of ornament,
of crude vine-leaf and mock-Arabic character, in
luster. [175]

Luster. — Brownish, changing to blue and
violet. Valencia, sixteenth century. Plate XXIX
75. ALBARELLO. Height, &/a, inches.
Design. — Vertical bands of simulated her
aldry and cross-hatching in luster. Blue lines
around top and base.
Luster. — Coppery, with violet tones.
Hispano-Moresque, seventeenth century. Plate LIII
From the Schevitch collection.
76. ALBARELLO. Height, 7Y2 inches.
Companion to preceding. Plate LIII
From the Schevitch collection.
77. PLAQUE. Diameter, 18^ inches.
Form. — A shallow cavetto, with flat centre,
curving gradually into the broad marly
Design. — Diagonal godroon pattern, painted
in luster on marly, of three patterns — dotted,
floral, and having small wheel-shaped ornaments
in white on a luster ground. Around central
shield, a floral or "strawberry'' diaper. Arms. —
A lion rampant in creamy white on a luster
ground. Behind the shield is a pastoral staff in
[174]

Plate LI

72. Plaque
Valencia
Sixteenth Century

Plate LII

73. Plaque
Hispano-Moresque
Seventeenth Century

?ti
r >

75, 76. Albarellos
Hispano-Moresque
Seventeenth Century

Plate LIV

77. Plaque
Valencia
Early Sixteenth Century

luster outlined with blue. Surmounting the
shield, a Vexillum, or scarf, in white with blue
and luster ornamentation. Reverse, ovals enclos
ing feather-like ornaments in luster.
Luster. — Brownish, changing to golden,
blue, and violet.
Valencia, early sixteenth century. Plate LIV
From the collection of the late M. Boy
(No. 64).
78. EWER.
Height, 6Y2 inches.
Form. — Cylindrical. Guttered lip and ear-
shaped handle.
Design. — Godroons in relief on sides, alter
nately solid luster and dot-and-stalk pattern in
luster on creamy ground.
Luster. — Brownish golden with iridescent
reflections.Valencia, early sixteenth century.
79. BOWL OR COUPE.
Height, 9J4 inches.
Diameter, 12% inches.
Form. — Straight sides sloping outward to
ward the top. Standing on low, broad spreading
foot. Design. — Outside divided into six square
panels by broad bands of luster decorated in
wheel pattern. In centre of each panel, a large
[183]

six-pointed star incised, with dotted diapering,
surrounded by a dot-and-stalk ground. An un-
glazed space in the centre reserved for a shield.
Foot ornamented with alternate sections of dotted
diapering and dot-and-stalk pattern. Interior
similarly decorated, all in luster.
Luster. — Coppery, changing to blue and
violet. Hispano-Moresque, sixteenth century. Plate LV
80. TAZZA. Height, 5 inches.
Diameter, 6J4 inches.
Form. — Bowl shape, supported by stem and
foot. Design. — Godroons in relief around sides,
ornamented alternately with wheel pattern and
dot-and-stalk diaper. Around base, centre and
upper rim, blue bands. Interior decorated with
central band containing tree motives, between a
dotted band below and a wheel border design at
top. In bottom, a fish amid waves, all in luster.
Luster. — Outside, dark coppery, changing
to ruby. Inside, brownish with golden and
greenish reflections.
Hispano-Moresque, sixteenth century. Plate LVI
81. PLATE. Diameter, 9 inches.
Form. — Shallow, with broad sloping marly
and slightly convex centre.
[184]

Plate LV

79- Bowl
Hispano-Moresque
Sixteenth Century

Plate LVI

80. Tazza
Hispano-Moresque
Sixteenth Century

Design. — Diaper of coarse dot and stalk
pattern in luster. In centre, a shield rudely out
lined in blue ; above and below, on marly, a tulip
in blue and luster. Reverse, concentric rings of
luster. Luster. — Brownish, changing to violet,
ruby, and blue.
Hispano-Moresque, sixteenth century.
82. PLATE. Diameter, gy2 inches.
Form. — Shallow, with broad sloping marly
and slightly convex centre.
Design. — In centre, a shield with figure of
a fish, surrounded by a dot-and-stalk diaper.
Around margin, a wheel border design. Reverse,
ovals enclosing feather-like motives in luster.
Luster. — Madreperla, with brilliant irides
cence.Valencia, early sixteenth century.
83. DISH. Diameter, 1454 inches.
Depth, 2% inches.
Width of marly, 2^4 inches.
Form. — Flat base, perpendicular sides, marly
slightly sloping upwards.
Design. — Marly and sides diagonally go-
drooned in relief. Surrounding the shield, cir-
[189]

cular bands of "strawberry-and-thistle," dot-and-
stalk, and wheel patterns. The godroons are
decorated successively with the dot-and-stalk,
wheel, and net diapers. Similar design outside.
Shield outlined with blue, enclosing three fleur-
de-lis in creamy white in a luster field, the arms
of the house of Bourbon. On base, very bold
feather-like design.
Luster. — Madreperla, with brilliant irides
cence. Valencia, sixteenth century. Plate LVII
From the collection of the late M. Boy
(No. 63).
84. DISH. Diameter, i8J4 inches.
Depth, 2 inches.
Width of marly, 2Y2 inches.
Form. — Flat base, with large boss in centre.
Upright sides, marly slightly sloping upwards.
Design. — In the convex centre of the boss,
the initials IHS in luster, surrounded by a band
of circles enclosing many-petaled flowers (mar
guerites) stamped in relief. The cavetto is
divided into twelve sections, decorated alternately
with dot-and-stalk and thistle diapers. Around
the marly are four sections of stamped margue
rite circles alternating with the same number of
ribbed panels, enclosing dot-and-stalk diapering.
[190]

Plate LVII

83. Dish with Bourbon Arms
Valencia
Sixteenth Century

Plate LVIII

84. Dish
Valencia
Late Fifteenth Century

The entire decoration is in luster. Reverse,
coarse feather-like diapering.
Luster. — Brownish, changing to golden,
blue, and violet.
Valencia, late fifteenth century. Plate LVIII
85. BOWL OR COUPE. Height, 8J4 inches.
Diameter, I2J4 inches.
Form. — Straight sides, slightly spreading
outwards. Supported on low, broad foot.
Design. — Diagonally godrooned in relief
around sides. Outside embellished with horizon
tal bands of dotted diaper and floral design, sep
arated by blue lines. Interior similarly orna
mented. In centre, a shield from which the
design has been removed.
Luster. — Coppery, with iridescent reflec
tions. Valencia, sixteenth century. Plate LIX
86. BOWL OR COUPE.
Height, 8Y2 inches.
Diameter, 12Y2 inches.
Form. — A bowl with straight sloping sides,
supported on a broad spreading foot.
Design. — Embossed godroons running ver
tically and decorated in three patterns — the net,
the floral, and the solid luster. In centre, a
square enclosing the letters IHS surrounded by
[195]

pointed and oval ornaments enclosing a net, or
dotted ground pattern. Around the upper rim,
sixteen knops.
Luster. — Coppery, with prismatic reflec
tions.
Valencia (Manises), sixteenth century. Plate LX
87. VASE. Height, igJ/2 inches.
Form. — Inverted pear shape, with trumpet-
shaped top. Four handles connect the neck with
the shoulder. Design. — Four large relief flower orna
ments on shoulder, between the handles. Around
centre, two rope-like ridges, and, encircling lower
half, scale and upright godroon patterns in relief.
The luster ornamentation consists of alternating
dotted and floral diapering. Ormolu mounting
at top and base.
Luster. — Coppery, with iridescent reflec
tions. Valencia, sixteenth century. Plate LXI
88. BOWL. Diameter, 15 inches.
Height, s'A inches.
Form. — Hemispherical, standing on basal
rim. Design.. — Divided inside into eight segments
by two blue and two luster bands crossing in the
centre, the sections being decorated alternately
[196]

Plate LIX

85. Bowl
Valencia
Sixteenth Century

Plate LX

86. Bowl
Valencia (Manises)
Sixteenth Century

Plate LXI

87. Vase
Valencia
Sixteenth Century

Plate LXII

88. Bowl
Manises
Late Sixteenth Century

with diapering of white depressions in luster
ground, and leaf and flower-like luster-work.
On base, feather-like diaper.
Luster. — Coppery, with iridescent reflec
tions. Manises, late sixteenth century. Plate LXII
From the collection of Emile Gaillard.
89. PLATE. Diameter, g% inches.
Form. — Shallow, curving cavetto, upward-
curving marly.
Design. — A rudely painted bird in centre;
strawberry-plant motives and rudely simulated
Arabic inscription on brim.
Luster. — Brownish, changing to blue, vio
let, and silver.
Hispano-Moresque, sixteenth century.
90. PLAQUE. Diameter, 14^4 inches.
Form. — A small boss in the centre, and
raised ledge around the cavetto.
Design. — In cavetto, four sections enclosing
fruit motives. Marly embellished with twelve
pointed leaf-shaped ornaments in relief, on a
band of tendrils and leaves. On reverse, coarse
feather-like diaper.
Luster. — Brownish, with iridescent reflec
tions. Hispano-Moresque, sixteenth century.
[205]

91. DISH. Diameter, 13Y2 inches.
Form. — Sunken cavetto, with central boss.
Design. — Around the marly, tulip-like de
signs in relief, with leaf- and scroll-work between.
Around cavetto, a border rudely simulating Chris
tian writing, a corruption of the inscription,
"Domine Surge."
Luster. — Coppery, changing to golden,
ruby, blue and violet.
Hispano-Moresque, seventeenth century. Plate LXIII
92. PLAQUE. Diameter, i8J4 inches.
Form. — A shallow, sweeping curve.
Design. — The central shield is surrounded
by a band of wheel pattern. Around this is a
broader band of dot-and-stalk diaper; surround
ing this, a band of floral design. The marly is
decorated with embossed godroons, which are
diapered with the net, floral, wheel, and dot-and-
stalk patterns. Arms. — A lion rampant in creamy
white on luster ground, within a dolphin em-
bowed. On back, bold feather-like diaper.
Luster. — Brownish golden, changing to
violet, rose, and blue.
Valencia, late fifteenth century. Plate LXIV
[206]

Plate LXIII

91. Disii
Hispano-Moresque
Seventeenth Century

Plate LXIV

92. Plaque
Valencia
Late Fifteenth Century

93. PLAQUE. Diameter, i$y2 inches.
Form. — Deep bowl-shaped cavetto, with cen
tral boss; marly slightly curling upwards and
outwards. Design. — In centre, a shield with duck.
Around cavetto, a band of fruit-and-leaf design.
Marly diagonally godrooned in outline and bro
ken into four parts by pointed ornaments at
equidistant points. The spaces between are each
broken into three sections, decorated with fruit
and star motives. Around border, simulated
Christian inscription. Blue bands around cen
tral boss, cavetto and outer edge. Reverse,
plume-like diaper.
Luster. — Brownish, changing to madre-
perla. Hispano-Moresque, seventeenth century.
This plaque is coated with slip and lead
glazed. Plate LXV
94. DISH. Diameter, 1534 inches.
Form. — Deep, curving cavetto ; central boss ;
upward-turning marly.
Design. — Divided into four sections by two
fan-shaped panels, each with four divisions out
lined in blue, two containing leaf motives in
white on a luster ground, alternating with two
others containing a dotted diaper. Between the
fan-shaped wings are two broad sections deco-
[211]

rated with guilloche bands and Moorish orna
ment. Reverse, concentric rings and ornaments
in luster. Luster. — Brownish, changing to blue, gol
den, and violet.
Hispano-Moresque, sixteenth century. Plate XLIV
95- JAR. Height, 8^4 inches.
Form. — Globular, with dented collar and
four loop handles.
Design. — Figures of animals — a dog, a
hare, a fox and a bird — with tendrils and fruit
between. Luster. — Brownish, changing to blue, vio
let, and golden.
Valencia, sixteenth century. Plate LXVI
96. PLATE. Diameter, 8J-2 inches.
Form. — Shallow bowl.
Design. — Divided into two parts, one half
decorated with a fan-shaped design outlined in
blue enclosing ornaments in white on luster
ground. The other half is embellished with leaf
and flower-shaped ornaments in luster. Reverse,
concentric circles in luster.
Luster. — Brownish, changing to silver, vio
let, and blue.
Spanish, seventeenth century.
From the Hakky-Bey collection (No. 76).
[212]

93. Plaque
1 lispano-Moresque
Seventeenth Century

Plate LXV

Plate LXVI

95. Jar
Valencia
Sixteenth Century

97- PLATE. Diameter, g% inches.
Form. — Saucer shape.
Design. — Divided into four sections by
broad radiating bands of luster, each part en
closing a floral motive. In centre, a rudely
painted shield in blue and luster. Around marly,
a simulated Christian inscription derived from
the Latin phrase "Urbi et Orbi." Reverse, con
centric rings of luster.
Luster. — Brownish, changing to madre-
perla. Spanish, seventeenth century. Plate LXVII
98. DISH. Diameter, 13 inches.
Form. — Central boss and ridge.
Design. — Around cavetto, a rudely simula
tive Christian inscription. On marly, tulip-like
designs in relief, with leaf-and-flower diaper
between, all in luster. Reverse, concentric rings
of luster. Luster. — Brownish, changing to ruby, vio
let, blue, and golden.
Spanish, seventeenth century.
99. DISH. Diameter, 14J4 inches.
Form. — Depressed centre, with raised boss,
surrounded by a ledge.
Design. — The broad marly is diagonally
godrooned in relief, each pair of godroons being
[217]

separated by blue outlines. In the cavetto is a
leaf-and-flower diaper in luster, with blue circles
around central boss and edge of cavetto. The
marginal godroons are decorated in three pat
terns — dotted, wheel, and floral (the latter with
a blue ornament) — arranged in rotation. Arms.
— A stork-like bird in luster. Reverse, feather
like diaper. Luster. — Brownish, changing to golden,
greenish, blue, and violet.
Hispano-Moresque, sixteenth century. Plate LXVIII
ioo. DISH. Diameter, 1554 Inches.
Form. — Depressed cavetto, with central
boss, broad marly.
Design. — Bands in circles. Around the cen
tral boss, wheel pattern. Encircling this, a scroll
design, which in turn is surrounded by a Chris
tian inscription, "Domine Surge," repeated.
Outside of this, another wheel band. The marly
is decorated with a band of dotted or net diaper
ing, outside of which is a similar inscription,
while around the edge is again a wheel band.
Arms. — A rabbit in luster on creamy white
ground. Reverse, feather-like diaper.
Luster. — Brownish, changing to brilliant
madreperla. Spanish, seventeenth century. Plate LXIX
[218]

Plate LXVII

97. Plate
Spanish
Seventeenth Century

Plate LXVIII

99. Dish
Hispano-Moresque Sixteenth Century

Plate LXIX

ico. Dish
Spanish
Seventeenth Century

ioi. DISH. Diameter, 14J4 inches.
Form. — Central boss; depressed cavetto;
broad marly.
Design. — Marly diagonally godrooned and
decorated with floral, wheel and dotted diaper
ing, arranged consecutively. Cavetto encircled
by a band of flower-and-leaf diaper with an inner
circle of dot-and-stalk pattern. Arms. — A lion
rampant in luster on an ivory white ground. Re
verse, feather-like diaper.
Luster. — Pale brownish, changing to madre
perla. Valencia, seventeenth century. Plate LXX
102. DISH. Diameter, 19J/2 inches.
Depth, 1% inches.
Diameter of base, 14Y2 inches.
Form. — Flat base; upright sides; marly
sloping upwards; low, broad boss, with go
drooned sides, in centre.
Design. — Cavetto decorated with circular
bands containing dotted and floral patterns.
Around upright sides, a running floral design.
The marly is diagonally godrooned in relief, and
decorated with wheel, dotted and rude floral de
signs. Around outer and inner edges of marly
and central boss, blue lines. Arms. — Quarterly :
1-4, a pear in white on luster field; 2-3, a port-
[225]

cullis in luster on creamy ground. Reverse,
plume-like diaper.
Luster. — Brownish, with iridescent reflec
tions. Valencia, early sixteenth century. Plate LXXI
From the Hakky-Bey collection (No. 71).
103, DISH. Diameter, 19^ inches.
Depth, 2 inches.
Diameter of base, 1354 inches.
Form. — Flat base ; upright sides ; upward-
sloping marly. In centre, a godrooned double
boss (a small one surmounting a larger).
Design. — In cavetto, bold floral ornaments
surrounding the central boss. Outside of this, a
rudely simulated Christian inscription, "Domine
Surge." Around upright sides, a running leaf-
and-tendril design. The marly is diagonally go
drooned in a double circle, the individual go
droons being ornamented with solid luster, dotted
and floral patterns. Reverse, plume-like diaper
ing. Luster. — Dark purplish copper, changing to
ruby. Spanish, seventeenth century. Plate LXXII
104. PLAQUE. Diameter, i8J4 inches.
Form. — Shallow, plate shape, with slightly
convex centre. [226]

Plate LXX

101. Dish
Valencia
Seventeenth Century

Plate LXXI

Ui. '¦:¦?>'. •m>-!i./..
fefM

102. Dish
Valencia
Sixteenth Century

Plate LXXII

103. Dish
Spanish
Seventeenth Century

Plate LXXIII

104. Plaque with Arms or Sicily
Valencia (?)
Seventeenth Century

Design. — Three circles of Christian inscrip
tions — "Domine Surge," repeated (and "Dom
ine Adm Surge") — alternating with bands of
simple festooned ornaments. Border decorated
with indicated godroons in relief, and a conven
tional edging, all in luster. Arms. — Pallets in
creamy white on luster, saltired by two eagles —
the arms of Sicily. Reverse, plume-like diaper
ing. Luster. — Brownish, changing to a dark
golden, with iridescent reflections.
Valencia ( ?) , seventeenth century. Plate LXXIII

105. PLAQUE. Diameter, 19^ inches.
Form. — Shallow, plate shape.
Design. — Central shield surrounded by a
floral and tendril band. Marly decorated with
coarse scale pattern incised, and oval ornaments
in relief around outer edge. The scales are filled
with dotted diapering and floral motives, ar
ranged alternately. Arms. — Same as preceding
— the arms of Sicily. Reverse, plume-like
diapering. Luster. — Coppery, with iridescent reflec
tions. Spanish, sixteenth century. Plate LXXIV

[235J

106. PLAQUE. Diameter, 16 inches.
Form. — Depressed cavetto, with convex
centre. Broad marly, sloping upwards.
Design. — Marly ornamented with tulip de
signs in relief, the petals being solidly lustered,
the central lozenge-shaped parts being covered
with a dotted diapering. Around the central
boss are concentric bands of wheel, dot-and-
stalk, floral, and wheel designs. Reverse, large
plume-like diapering.
Luster. — Brownish, changing to blue and
violet. Spanish, sixteenth century. Plate LXXV

107 DISH. Diameter, 16 inches.
Form. — Bowl shape, with convex centre.
Design. — Across the entire surface extends
the figure of a bull in luster. Above, the figure
of a bird (ostrich?). The interspaces are cov
ered with a rude diapering of fruit and leaf
motives. Reverse, rude diapering of curls.
Luster. — Dark brown, with brilliant blue
and violet reflections.
Hispano-Moresque, seventeenth century. Plate LXXVI
[236]

Plate LXXIV

105. Plaque with Arms of Sicily
Spanish
Sixteenth Century

Plate LXXV

106. Plaque
Spanish
Sixteenth Century

Plate LXXVI

107. Dish
Hispano-Moresque
Seventeenth Century

ic8. JAR. Height, 10Y2 inches.
Form. — Bulbous above, slightly contracting
at the centre, and then expanding slightly in a
smaller bulb below.
Design. — On an irregular blue ground, lus
ter decorations in broad horizontal bands of
scrolled and floral arabesques, separated by nar
row bands of cross-hatching.
Luster. — Coppery, of reddish tint, with iri
descent reflections. Soft, buff-colored clay.
The mechanical and decorative treatment of
this piece corresponds exactly with Fortnum's
description of a variety of lustered earthenware
supposed to have been made by Moorish potters
in Sicily,* sometimes called Siculo-Arab ware.
Whether this example is Sicilian or Spanish, it
cannot be ascribed to a date earlier than the latter
part of the seventeenth century. The technique
and process of manufacture would seem to indi
cate Spanish origin. Plate LXXVII

109. JAR. Height, 10 inches.
Companion to preceding. Slight variations
in the decorative details. Plate LXXVII

*See Page 25. [243]

no. ALBARELLO. Height, 1 1 J4 inches.
Design. — On a deep blue ground, luster dec
orations — coarse leaf and tendril designs in hor
izontal bands.
Luster. — Coppery, with iridescent reflec
tions. Lead glaze, buff-colored clay.
Sometimes called Siculo-Arab ware, but
probably of Seville manufacture and of the
eighteenth century.
in. PLAQUE. Diameter, 14^ inches.
Form. — Plate shape, with broad, slightly
convex centre.
Design. — A rudely painted head of a seraph
with wings, in luster, filling the entire cavetto.
Around the marly, a conventional design, repeated
five times. Luster. — Deep brown, with iridescent re
flections. Spanish, seventeenth century.
112. VASE. Height, 7% inches.
Form. — Globular; neck missing. Four ear-
shaped strap handles around shoulder.
Design. — Surface divided into two parts by
a horizontal band around the centre. Each part
[244]

-d

r y,<

108, 109. Jars
So-called Siculo-Arab Ware
Late Seventeenth Century

Plate LXXVIII

112. Vase
Spanish
Seventeenth Century

is subdivided into panels, the upper ones being
decorated with pointed leaf-shaped ornaments,
the lower sections with floral and leaf motives.
Luster. — Dark brown, with iridescent ef
fects, purple and violet.
The hard, glassy, stanniferous glaze and
decorative treatment of this example suggest
Saracenic influence, through Persia.
Clay, brick red.
Spanish, seventeenth century. Plate LXXVIII
113. JAR. Height, 10Y2 inches.
Form. — Spherical, with broad mouth and
two upright handles at sides.
Design. — On each side the letters IHS sur
rounded by bold curled leaf designs in luster.
Around the narrow collar, a floral border de
sign. Luster. — Light brown, changing to green
ish golden, blue, and violet.
Hispano-Moresque, sixteenth century. Plate LXXIX
114. PLAQUE.
Diameter, 1854 inches.
Form. — Plate-shaped, with raised circle in
centre. Design. — An eagle extending full length of
the marly. Around the marly, six birds, ar
ranged at equal distances apart. The spaces
[249]

between are filled with a coarse diaper design of
foliage and tendrils, all in luster. Reverse, a
coarse shell or scale pattern in luster.
Luster. — Deep coppery, with slight, irides
cent reflections.
Spanish, seventeenth century. Plate LXXX
115. DISH. Diameter, 16 inches.
Form. — Bowl shape, with deep cavetto and
upward-sloping brim.
Design. — A knight, mounted on a horse, in
luster, outlined heavily with blue, occupying the
entire centre. On the horse's rump is a circle
enclosing a crowned eagle in luster. Around the
marly, vine leaves and tendrils. Reverse, deco
rated with rude designs in luster.
Luster. — Coppery, with iridescent reflec
tions. Spanish, seventeenth century. Plate LXXXI
116. VASE. Height, 19J4 inches.
Form. — Globular body; cylindrical neck;
spreading foot; four upright handles. Conical
cover with finial.
Design. — On opposite sides, the head of a
helmeted knight. On the alternate sides, a rude
armorial design. In the interspaces, coarse leaf
[250]

Plate LXXIX

113. Jar
Hispano-Moresque
Sixteenth Century

Plate LXXX

114. Plaque
Spanish
Seventeenth Century

Plate LXXXI

115. Dish
Spanish
Seventeenth Century

A.

;4i

?ti

rxX X

116, 117. Vases With Borghese Arms
Valencia (Manises)
Seventeenth Century

diapering. Around the foot, a guilloche border
design. Arms of the house of Borghese.
Luster. — Coppery, with iridescent reflec
tions.Valencia (Manises). Plate LXXXII
117. VASE. Height, 18Y2 inches.
Companion to preceding. On two sides, the
Borghese arms. On alternate sides, an eagle.
Around the foot, a running dot-and-leaf design.
In other respects the two vases are similar.
Plate LXXXII
These vases are figured by Van de Put in
his second edition, who has this to say of them :
"The two four-handled, covered vases, here
illustrated, are evidence that the ware was to
be found at the Papal court of the day. The
main motives in the luster decoration of each
piece are a pair of warriors' busts, alternating
with as many shields of arms of the house of
Borghese, of Siena : Azure a dragon or, a chief
of the Empire. In these, placed upon the crossed
keys and ensigned by the triple crown, it is plain
that we have the insignia of Pope Paul V. (Ca-
millo Borghese), who reigned from 1605 until
1 62 1. "Whether these vases must be attributed
merely to the prevalent Italian taste for the ware
or not, there is always to be considered the pos-
[259]

sibility that they were a gift to the Pope. Among
those raised to the cardinalate, by Paul V., is
found a member of a distinguished Valencian
family, Gaspar Borja, son of the sixth duke of
Gandia, who received the hat in 1611 and died
in 1645. "The design of the arms, even for the period,
is exceptionally poor."
Mr. Van de Put fails to note that these vases
are not enameled with tin, but are coated with
white slip and glazed with lead.
118. TAZZA. Diameter, 11 inches.
Form. — Scalloped sides and indentations
which correspond to a series of masks and shells
in relief on the under side.
Design. — In the centre, a stork-like bird sur
rounded by scrolled plant forms. Around the
sides, a bold "strawberry" design.
Luster. — Deep brown, changing to a beauti
ful violet.
Spanish, seventeenth century. Plate LXXXIII
119. JAR. Height, io}i inches.
Form. — Globular, with a perpendicular neck
and four loop handles on the shoulder.
[260]

Plate LXXXIII

118. Tazza
Spanish
Seventeenth Century

Design. — Horizontal bands of luster with
conventional ornaments reserved in the white
ground. Luster. — Coppery, changing to rose.
Seville (?), eighteenth century.
120. JAR. Height, 10 inches.
Companion to preceding, but differing
slightly in ornamentation.
121. JAR. Height, g% inches.
Form. — Spherical, with short, upright collar
and four loop handles.
Design. — Around the body, four large tree
like ornaments with carnation flowers, rising
from vases. Around shoulder and base, rudely
painted birds and fishes, all in luster.
Luster. — Dark, reddish copper.
Seville (?), eighteenth century. Plate LXXXIV
122. BOWL. Diameter, 13% inches.
Depth, 3^4 inches.
Design. — In centre, a rudely painted bird
with body and tail in the form of a horn of
plenty. The surrounding spaces are occupied by
clusters or sprays of carnations.
[263]

Luster. — Dark, reddish copper, with irides
cent reflections.
Spanish, eighteenth century.
123. BOWL. Diameter, 9 inches.
Form. — Inverted cone shape; rounded in
terior; vertical edge.
Design. — A grotesque bird in the centre, sur
rounded by ornaments. Encircling the central
design is a broad band of luster with ornamenta
tion reserved in white, while around the edge is
a white band with guilloche pattern in luster.
Luster. — Coppery, with iridescent reflec
tions. Seville (?), eighteenth century.
124. BOWL. Diameter, 7^4 inches.
Design. — A rudely painted bird occupying
the centre, surrounded with scrolled ornaments.
Luster. — Bright reddish copper, with irides
cent reflections.
Seville, nineteenth century.
125. BENITIER. Height, 8J4 inches.
Design. — A very rude representation of the
Madonna and Child in relief, surrounded by a
[264]

Plate LXXXIV

121. Jar
Seville (?)
Eighteenth Century

border of flower-like ornamentation, also in re
lief. Beneath and around the figures are rudely
modeled birds.
Luster. — Bright, reddish copper.
Modern Spanish.
126. TILE OR PLAQUE. Dimensions, 8 x ioj!4 inches.
Design. — In high relief, a woman crowned,
holding in her left hand a human head (?) and
in her right a sceptre. Four rudely painted birds
occupy the corners of the background, all in lus
ter. Surrounded by a lustered frame in relief.
Luster. — Coppery.
Modern Spanish.
127. PLAQUE. Diameter, 15^ inches.
Form. — Depressed centre, with raised boss;
broad upward- and outward-curving marly.
Design. — In cavetto, a broad circle of con
ventional bud motives, tendrils and leaves. Marly
diagonally godrooned in relief. Over all luster
design of leafage and fishes. Reverse, plume
like diapering. Luster. — Brownish, with iridescent reflec
tions. Spanish, seventeenth century.
[267]

128. PLAQUE. Diameter, 1554 inches.
Form. — Sunken cavetto, with flat-topped
boss. Broad marly curling upward and outward.
Design. — Around boss and on marly, a
Christian inscription, "Domine Surge," outside
of which are dotted and wheeled circles. Marly
diagonally godrooned, and covered with wheel,
dotted, and floral diapering. Blue lines at inner
and outer edges of marly and encircling central
boss. Reverse, large plume-like diaper.
Luster. — Copper)', with slight, iridescent
reflections. Spanish, seventeenth century. Plate LXXXV
129. PLAQUE. Diameter, 1534 inches.
Form. — Depressed centre, with boss; broad
upward-curving marly.
Design. — Around the centre, a Christian in
scription, "Domine Surge." Marly diagonally
godrooned in relief, the individual godroons being
alternately lustered solidly and decorated with a
floral pattern. Around inner and outer edges of
marly and encircling central boss, blue lines.
Reverse, coarse plume-like diapering.
Luster. — Brownish, with iridescent reflec
tions. Spanish, seventeenth century.
[268]

Plate LXXXV

128. Plaque
Spanish
Seventeenth Century

X Xx<

130. Blue and White Tile
Valencia
Early Fifteenth Century

Plate LXXXVII

131. Tinaja
Moorish, or North African
Sixteenth Century

Plate LXXXVII!

132. TlNAJA
Moorish, or North African
Sixteenth Century
Recent Decoration

130. TILE. Length, 7-)4 inches.
Width, 4 inches.
Form. — An elongated hexagon.
Design. — A scroll bearing an inscription in
Gothic lettering, surrounded by a dotted ground,
containing leaves and berries, all in blue.
Valencia, early fifteenth century. Plate LXXXVI
Similar to one in the Victoria and Albert
Museum. Tiles of this form were used exten
sively throughout Spain. Several geometrical
combinations are possible when used alone or in
conjunction with tiles of other shapes.
The elongated hexagonal tiles were also used
to some extent in Italy, in the pavement of the
Caracciolo chapel in the church of S. Giovanni
a Carbonara, and other churches at Naples, and
the Delia Rovere chapel, Rome, according to
Henry Wallis.* He attributes the pavement in
the Caracciolo chapel to about 1440. The colors
are blue, green, and manganese purple. Many
of these tiles are also figured in the Bulletin of
the International Museum of Ceramics of
Faenza, Italy (April-July, 1915).

*Thc Maiolica Pavement Tiles of the Fifteenth Century,
London, 1902. [277]

HISPANO-MORESQUE POTTERY
Un glazed
Terra Cotta jars of large size (tinajas), for
holding grain, oil or wine, were used extensively by
the Spanish Moors, the principal centres of manufac
ture being Toledo, Seville and Granada.
131. T1XAJA. Height, 27 inches.
Form. — Ovoid, with two small, wing-shaped
handles. Design. — Incised decoration on upper half.
Coarse herring-bone border below. Central band
of large leaf-shaped ornaments, each enclosed in
a circle. Herring-bone fret and rope border
around shoulder.
Coarse reddish clay, unglazed.
Probably Moorish, or North African, sixteenth
century. Plate LXXXVII
132. TTNAJA. Height, 24 inches.
Design. — Incised decoration in Arabic style,
with modern Arabic inscription around centre.
Light red clay, unglazed.
For grain or oil.
Moorish, or North African, sixteenth century.
Decoration recent. Plate LXXX VIII
[278]

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