Category: History - European
It is right, first, to explain that in this dissertation we shall make constant use of two or three words borrowed from foreign languages; one is _botega_ or _bottega_, implying something between a workshop and an artist’s studio, which it would be difficult to express by a si...
Although not to be ranked with the earliest seats of the manufacture of artistic pottery in Italy, there is no place so much associated with these beautiful productions of the p...
12. CHAPTER XII.Although probably not among the earliest manufactories or _boteghe_ of Italian enamelled and painted wares, GUBBIO undoubtedly holds one of the most prominent positions in the h...
16. CHAPTER XVI.The first notice we have of the pottery of FORLÌ is merely indirect, occurring in a document referred to by Passeri and dated as early as 1396, a passage in which speaks of John...
11. CHAPTER XI.Well-nigh all the history we have of the early artistic pottery of SIENA may be read upon the specimens of her produce, preserved in our museums and private collections. A consi...
1. CHAPTER I.It is right, first, to explain that in this dissertation we shall make constant use of two or three words borrowed from foreign languages; one is _botega_ or _bottega_, implying...
3. CHAPTER III.We have already seen that in the twelfth, thirteenth, and fourteenth centuries native wares were produced in various places, some of which still exist in the towers and façades...
6. CHAPTER VI.We are fortunate in possessing a manual of the Italian potters’ art of the sixteenth century, in the manuscript by the “Cavaliere Cipriano Piccolpassi Durantino,” as he signs hi...
4. CHAPTER IV.The history of the development, perfection, and decline of the ceramic art of the renaissance in Italy is so intimately connected with and centred round that of the dukedom of U...
15. CHAPTER XV.That long and rather monotonous old post road the Via Æmilia (now run sidelong by the rail) which forms almost a straight line from Piacenza to Ancona, through one of the riches...
8. CHAPTER VIII.In a previous chapter we have traced the origin or parentage of this section of wares to the glazed pottery and artificial semi-porcelain of Egypt, and we have seen that in Assy...
2. CHAPTER II.It was found that by the addition of a certain portion of the oxide of tin to the composition of glass and oxide of lead the character of the glaze entirely alters. Instead of b...
9. CHAPTER IX.This numerous and now well-defined class of wares was a few years since indiscriminately grouped with the lustred Maiolica of Italy, in which country the larger number of specim...
10. CHAPTER X.Coming now to Italian pottery, we must speak first of _sgraffiati_, _graffiti_, or incised wares. This mode of ornamentation is one of the most primitive and universal in a rude...
14. CHAPTER XIV.There is an example of the BORGO SAN-SEPOLCRO ware at South Kensington, a lamp, formed of faience of a bluish white shade, painted with garlands of flowers, &c. in colour, on wh...
5. CHAPTER V.A revival in the production of native decorative earthenware took place in various parts of Italy, as also in the rest of Europe. The efforts made to imitate true porcelain were...
7. CHAPTER VII.We have given in the last chapter a very brief abstract or epitome of the interesting manuscript of Piccolpasso, which offers us a perfect idea of the manner and comparatively s...