SPANISH MAIOLIGA IN THE COLLECTION OF HE 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. 91 Ov MAJOLICA BUST OF COUNT ARANDA Alcora Eighteenth Century (See No. 56, page 74) SPANISH MAIOLICA 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, by THE HISPANIC SOCIETY OF AMKRICA SPANISH MAIOLICA 1733106 SPANISH MAIOLIGA TIN enameled pottery without metallic luster was being fabricated at several places in Spain in the fifteenth century, and at the beginning of the sixteenth the Italian influence began to make itself strongly felt, especially in the tiles, or azulejos, which were used to decorate the walls of religious structures. The principal seats of manufacture were Seville and its suburb Triana ; Talavera, and Alcora. "Seville was an early and important centre of the potter's craft in Spain," writes Leonard Williams.* "Her potteries were celebrated even with the Romans, and probably have at no moment been inactive. Fifty, established in the suburb of Triana, were mentioned in tjie sixteenth century by Pedro de Medina, and documents which tell of many more have recently been discovered by Gestoso. . . . The ware of the Cartuja factory, which reached the zenith of its fame towards the end of the eighteenth century, is *Thc Arts and Crafts of Older Spain. [5] considered by Jacquemart and other authorities to rival with the Italian wares of Savona. "Pottery made in other parts of the Peninsula particularly that of Talavera de la Reina is known to have been imitated by the Seville potters with embarrassing perfection." The same writer informs us that "The produc- tion of azulcjos in Spain may be traced to as far back as the twelfth century. By far the most impor- tant centre of the craft \vas Seville. Here, from the twelfth until the fourteenth century, \vas made the glazed and decorative tiling which consisted of small pieces of monochrome earthenware black, white, green, blue, or yellow cut one by one, and pieced together in the manner of a true mosaic. This process, says Gestoso, was lengthy, difficult, and dear. Towards the sixteenth century the Sevillano potters discovered a simpler way of making effective and artistic azulcjos, which they called the cucrda scca process." These tiles \vere extensively produced at Seville through the following centuries, and many of them may be seen in the walls of the upper corridor of this Museum. The painted tile-work of Seville gained for her a well-merited reputation during the latter part of the sixteenth, and through the two following centu- [6] ries. Large quantities of these tiles and panels were sent to Mexico, Peru and the West Indies and other Spanish possessions to be used in the mural decora- tions of churches, convents and other structures. Talavera de la Reyna, in the province of Toledo, a short distance to the southwest of Madrid, in cen- tral Spain, has been noted for its manufactures of earthenware since the middle of the sixteenth century. Fr. Andres de Torrejon wrote in 1568 that the pot- tery made at Talavera had then "reached to a great height of perfection ; it is formed of white and red clay. Vases, cups, . . . dishes and table centres . are painted with great perfection, and the imitations of porcelain brought from the Portuguese Indies are most excellent. . . . The varnish used for the white pottery is made with tin and sand. . . . This sand is as fine and soft as silk."* Many other writers of the sixteenth, seventeenth and eighteenth centuries speak in high terms of the enameled earthenware of Talavera. In 1651 eight kilns were in operation there, employing two hundred workmen. Oriental porcelain and Italian maiolica were imitated to a large extent. The wares were of two varieties, that decorated in blue on a white *Quoted from a ms. (Bib. Nac. F. 142) by Seiior Juan F. Riano in The Industrial Arts in Spain. [71 ground, and that painted in polychrome manganese, green, yellow, and blue. To the eighteenth century belong those examples of the latter style which are frequently found in collections. The influence of the Italian maiolists reveals itself in the imitations of albarellos, barrel-shaped jars and other objects of Savona and Genoa painted in blue. Large, deep bowls with paintings of animals, cavalcades, hunting scenes and battles, in polychrome, after the Italian maiolica, were abundant, some of the more important pieces being in imitation of the works of celebrated artists, notably Antonio Tempesta, a Florentine painter and etcher who lived from 1555 to 1630. An important fabrique of faience was established at Alcora, in the eastern part of Spain, north of Valencia, by Count Aranda in 1726. Serior Juan F. Riano* has given us a very interesting account of this establishment, which includes lists of articles made there, covering a wide range of wares, figures, groups and other articles, in the last quarter of the eighteenth century, and a list of directors, artists and workmen connected with the factory from the beginning until the end of the century. The first products of the factory, which appeared in 1727, were stanniferous potteries in the styles of *Tlte Industrial Arts in Spain. [8] Chinese porcelain, Italian maiolica and Holland delft. Writers in the eighteenth century bear testimony to the excellence and variety of wares which came from the Alcora kilns. In 1750 the works were transferred to a private company by Count Aranda, but he continued to take a lively interest in the enterprise until his death, in 1798. About the middle of the century the manufac- ture of porcelain \vas introduced. Soon after 1815 the production of artistic ware was abandoned, but ordinary wares continued to be made until after the middle of the nineteenth century. Few writers on ceramic art have made a serious study of pastes and glazes, relying entirely on the superficial appearance of different wares, their forms and peculiarities of decoration. For this reason many of the attributions of the earlier writers, from whom much of our knowledge has been obtained, are found to be incorrect, and for lack of technical knowledge some recent authors have fallen into the same errors. Through familiarity with the processes practised by different peoples at various times it is often possible to discover the source of disputed wares and to reach a logical conclusion with tolerable certainty. In studying the ceramic collections of the His- panic Museum, the \vriter has found numerous ex- [91 amples which have hitherto eluded all attempts at classification. Through the careful examination and comparison of their pastes, glazes and technical treat- ment, it is believed that some of these problems have now been solved. Certain processes are known to have been employed in particular manufacturing cen- tres, and examples of pottery which have hitnerto been placed in the category of unidentified wares, or attributed to a doubtful provenance, but which are now found to possess the characteristics and peculi- arities of known wares, in composition, glazing and decorative treatment, are, in the light of present knowledge, assignable to definite localities, if not to particular fabriques. It is believed by certain ceramic students that at Puente del Arzobispo, near Toledo, a peculiar variety of maiolica was being made previous to 1645, at which date eight kilns were in operation at that place. While there has been some uncertainty as to the exact provenance of this fabric, Baron M. J.-C. Davillier* claimed to have seen a plate which was marked in lull, "Arzobispo," and on the strength of this discovery he attributed all pieces of the same character to that fac- tory. *Histoirc dcs Paienccs Hispano-Moresques. [10] Examples of this ware in the collection of Senor Don (j. J. de Osma, of Madrid, have been assigned to the last quarter of the fifteenth century. Refer- ring to plates of this character, Gestoso says: "Their decoration, betraying at a glance the Saracenic influ- ence, consists of leaves and flowers, together with animals of a more or less fantastic character: lions, rabbits and birds. In other specimens the centre is occupied by a heart, fleurs-de-lis, or other fancy devices, or yet, in some few cases, with the head of a man or woman. These central designs are sur- rounded with leaves and flowers. The draughtsman- ship upon these plates is of the rudest, and the process of their colouring was as follows. The figures were drawn upon the unfired surface in manganese ink mixed with a greasy substance ; and after this the aqueous enamel or glaze was allowed to drop from a hogshair brush into the spaces which the black had outlined."* This was the method used in the decoration of cucrda seca tiles. A critical examination of this variety of ware will show that, while it has been covered with stan- niferous enamel ground, the polychrome decoration has been executed in transparent glass glazes. The *Quoted by Leonard Williams in The Arts and Crafts of Older Spain. [II] presence of the latter in conjunction with tin enamel is suggestive of a modification of Saracenic processes by Persian or Egyptian influence. It is stated by certain writers that some Persians settled in Spain in the fifteenth century, among whom may have been potters. The cucrda scca method of decoration, as exem- plified in these plates, is identical with that by which some of the tiles of Seville were produced, and be- cause the latter are also ornamented with colored glass glazes, it is probable that the plates and certain of these tiles may have possessed a common origin. In support of this supposition Williams remarks that, "as quantities of cucrda scca tiles were made at Seville, Gestoso* prudently suggests that we should designate as 'cucrda scca ware' that pottery which has hitherto passed as specially belonging to Puente del Arzobispo." This modification of the formerly ac- cepted attribution of Davillier would indicate the belief that these plates are probably of Seville origin. EDWIN ATLEE BARBER *Senor Jose Gestoso y Perez. [12] CATALOGUE OF SPANISH MAIOLIGA 1. PLATE Diameter, 13 inches Heraldic device in blue in centre, beneath which is an inscription, "P, P D o ? MATHEO, DEL- REA." Surrounding central device and around edge a border design of large blue dots. Talavera, eighteenth century. Presented by Mrs. Robert W. de Forest. 2. PLATE Diameter, 13^4 inches. Central design of birds and flowers rudely painted in blue. Around the marly six panels, each enclosing a flower and fern-leaf pattern. Talavera, eighteenth century. Presented by Mrs. Robert W. de Forest. PLATE I 3. PLATE Diameter, 11^2 inches. Central heraldic design surrounded by rude leaf-work in blue. Talavera, early eighteenth century. Presented by Mrs. Robert W. de Forest. [13] 4. TAZZA Diameter, 10 inches. Birds and flowers painted in heavy dark blue. Talavera, eighteenth century. Presented by Mrs. Robert W. de Forest. PLATE TI 5. PLATE Diameter, 8% inches. Heraldic design in blue in centre. Around the border an inscription, "D. DIEGO DE LEDESMA NUNEZ DE PRADO." Triana, or Seville, eighteenth century. PLATE III 6. ALBARELLO, OR PHARMACY JAR Height, 8 inches. Double-headed crowned eagle of the Aus- trian dynasty, in blue. Blank label below for the insertion of the name of a drug. Talavera, eighteenth century. Presented by Mrs. Robert W. de Forest. 7. ALBARELLO Height, 6$i inches. Decorated with heraldic shield in dark blue arms of Castile-Leon. Seville, or Triana, eighteenth century. The Seville (Triana) ware has a heavier and more creamy enamel and is painted in a darker and better blue and with a heavier brush PLATE I 2. PLATE Talavera Eighteenth Century PLATE II 4. TAZZA Talavera Eighteenth Century PLATE III 5. PLATE Seville Eighteenth Century than that of Talavera. It has a whiter body, not so pink as that of Talavera, and the bases of albarelli are usually quite flat, or with slight instead of pronounced basal rims. PLATE IV 8. ALBARELLO Height, 6 inches. With heraldic shield in blue a lion ram- pant. Seville, eighteenth century. PLATE V 9. ALBARELLO Height. 5^6 inches. Double-headed crowned eagle of the House of Austria, in blue. In label beneath, "P. DIAT- RIUM SANT." Talavera, eighteenth century. PLATE V IQ. ALBARELLO Height, 4 l /2 inches. Cartouche in front with rococo frame painted in blue. Talavera, eighteenth century. ii. ALBARELLO Height, 9 inches. Heraldic device painted in blue a shield enclosing a rayed circle bearing the inscription "Charitas" in black. Seville, or Triana, eighteenth century. [21] 12. ALBARELLO Height, ii 13/16 inches. Heraldic shield painted in blue. At bottom a blank label surrounded by rococo frame, for name of a drug. Talavera, eighteenth century. PLATE VI 13. ALBARELLO Height, io J /& inches. Armorial device in blue. Talavera, eighteenth century. PLATE VII 14. ALBARELLO Height, gfy inches. Painted in blue with figures of men, and houses, covering the entire surface. At top and bottom a border design composed of lozenge and elliptical-shaped figures with dots inside and between. Seville, eighteenth century. PLATE VII 15. ALBARELLO Height, 7^4 inches. Decorated in blue with figure of lion ram- pant, beneath which is a label containing the inscription, "G, ET, R, MIRR." Seville, eighteenth century. PLATE IV [22] PLATE IV r PLATE V < w ~ n t PLATE VI 12. ALBARELLO 20. ALBARELLO Talavera Eighteenth Century PLATE VII W 16. ALBARELLO Height, 7^4 inches. Heraldic device in front painted in blue a lion rampant. Seville, or Triana, eighteenth century. 17. ALBARELLO Height, cp/9, inches. Decorated with shield bearing the letters IHS and cross, in blue. Seville, eighteenth century. 18. ALBARELLO Height, 8J/6 inches. Embellished with the double-headed eagle of the Austrian dynasty, crowned, with monogram A M on breast, painted in blue. Seville, or Triana, eighteenth century. 19. ALBARELLO Height, 9^4 inches. Heraldic design in blue. At bottom a label bearing the inscription, "Pun. GOM." Seville, eighteenth century. 20. ALBARELLO Height, 12 inches. Decorated with two coats of arms in colors, between which runs diagonally a label bearing the inscription, "MIXAE." Ground mottled in blue with yellow spots. Talavera, eighteenth century. PLATE VI 21. ALBARELLO Height, 9J/2 inches. Covered with a conventional floral design in blue and dull red. At top the inscription, "G. EUPHORBI." Alcora, early eighteenth century. 22. DISH Length, io l / 2 inches. Convexly lobed sides. Painted with fruits and flowers in colors. Inscribed, "D, FAVSTIO', AGVADO." Alcora, early nineteenth century. Presented by Mrs. Robert W. de Forest. 23. CUP Tall shape, without handle. Decorated with landscapes in colors. Alcora (?), eighteenth century. Presented by Mrs. Robert W. de Forest. 24. CUP Tall shape, without handle. Decorated with scrolled design in blue. Talavera, early nineteenth century. Presented by Mrs. Robert W. de Forest. PLATE VIII JL> CJ - PLATE IX ' ^r 34, 36. INCENSE BURNERS Talavera Eighteenth Century 25. BENITIER Height, 13^4 inches. In blue and dull red glaze. Seville, nineteenth century. 26. BENITIER Height, 13% inches. Modeled alcove with pillars supported by cherubs and human figures, in blue, yellow, green, and brown. Seville, nineteenth century. 27. BENITIER Height, 11^4 inches. Relief figures representing the Crucifixion and the two Marys, colored green and dark blue. Seville, nineteenth century. 28. BENITIER Height, 9^4 inches. Head of the Virgin in relief, in blue and white. Seville, nineteenth century. 29. BENITIER Height, io l /2 inches. Figures of the Virgin and Child in relief. Cup-shaped receptacle. Decorated in blue. Seville, nineteenth century. [37] 30. TAZZA Diameter, io^4 inches. Quartered design in blue. Talavera, seventeenth century. 31. ALBARELLO Height, 7^4 inches. Arched panel in front with blue floral frame, enclosing the figure of a stag in brown and yel- low. Heavy, lustrous enamel. Seville, or Triana, early eighteenth century. PLATE VIII 32. ALBARELLO Height, 7^4 inches. Arched panel with blue floral frame in front, enclosing the figure of a fawn in brown and yel- low. Heavy, lustrous enamel. Seville, or Triana, early eighteenth century. PLATE VIII 33. ALBARELLO Height, 7^4 inches. Painted with figures of birds and trees in yellow, green, and purple. Talavera, eighteenth century. 34,35- INCENSE BURNERS (Pair) Height, 8% inches. Length, 7 inches. In form of a lion with open mouth, and socket at the top of the head. Decorated in blue, yellow, orange, and brown. Talavera, eighteenth century. PLATE IX [38] PLATE X 37. DEEP BOWL Talavera Eighteenth Century PLATE XI 38. BOWL Talavera Eighteenth Century 36. INCENSE BURNER Height, 6fy$ inches. Length, 5^/2 inches. Same form as preceding, with blue, dull red and brown mane and lemon-colored body. Talavera, eighteenth century. PLATE IX 37. DEEP BOWL Diameter, 12^ inches. Height, 6 l / 2 inches. Central armorial design in green, yellow, and brown, inscribed "BiBA JESUS." Ground diapered with sprigs and leaves. Outside deco- rated with broad, waving bands of green and yellow with leaf sprigs between. Talavera, eighteenth century. Presented by Mrs. Robert W. de Forest. PLATE X 38. BOWL Diameter, 13^2 inches. Height, 6 l /s inches. Central design of man on horseback, with a tree forming the border at each side, painted in green, yellow, and purple. Outside decorated with a running design of foliage and figures of a hare, a fox and a bird. Talavera, eighteenth century. PLATE XI 39. BOWL Diameter, n^ inches. Height, 6-]/^ inches. Interior decorated with figure of a dog, with a tree on each side, in green, yellow, and purple. Outside decoration conventional trees and foliage. Talavera, eighteenth century. PLATE XII [43] 40. JAR Height, 21^ inches. Globular form, cylindrical neck. Figure scenes painted in green, yellow, and purple. On one side two men with a horse led by a boy. On the reverse a woman seated on a bed, conversing with another woman, a young man and an older man with long beard and eyeglasses. Around the neck smaller figure scenes. Handles modeled in the form of a man with arms raised over head, and naked body terminating in a large leaf- shaped antefix. Surmounted by cover with large ball fmial. Talavera, eighteenth century. PLATE XIII 41. JAR Height, 23JM$ inches. Inverted pear shape, long cylindrical neck. Decorated with hunting scene an archer draw- ing a bow on a stag standing beneath trees. On reverse, a boldly painted design of dragons amid flames and clouds. The coloring is blue, green, purple, orange, and brown. Talavera, eighteenth century. PLATE XIV 42. BOWL Diameter, 20^/4 inches. Height, 9*4 inches. Inside decoration probably painted after Tempesta, an Italian artist of the early seven- [44] PLATE XII 39. BOWL Talavera Eighteenth Century PLATE XIII 40. COVERED JAR Talavera Eighteenth Century PLATE XIV 41. JAR Talavera Eighteenth Century PLATE XV 42. LARGE BOWL Talavera Eighteenth Century teenth century, in the prevailing colors of this variety of Talavera maiolica green, yellow, orange, brown, and purple, touched with pale blue. A mounted knight carrying a spear is leading three bulls, while a second horseman follows, surrounded by a handsome rococo bor- der in light blue. Exterior decoration consists of a stag and a dog, repeated, separated by spreading trees. Talavera, eighteenth century. Presented by Seiior Joaquin Sorolla. PLATE XV 43. EWER Height, 8J4 inches. Oinochoe shape, with twisted handle. In front an irregular medallion framed in rococo style in red and yellow, enclosing the inscription : "Cofradia Sacrament Es Sebas, El Madrid A. E 1760" The frame is supported on each side by a green and a dull red flag. At sides are trees in blue. Around neck the following inscription: "Senor Pedro Angita." Talavera, date, 1760. PLATE XVI [53J 44- APOTHECARY'S MORTAR Height, S l /2 inches. Inverted truncated cone shape with heavy cylindrical unglazed base for standing in a socket. Three loop handles at sides and back and small lip in front. Decorated with converging lines in green, with brown dashes filling up the spaces. Made of very heavy, coarse red clay, covered with stanniferous enamel. Morocco, eighteenth century. PLATE XVII 45. APOTHECARY'S MORTAR Height, &/4 inches. Similar in form and decoration to preceding. 46. BOWL. OR SCODELLA Diameter, 7^4 inches. With deep, hemispherical cavetto, broad marly and turned-up edge, standing on foot. Decorated in six panels, alternately green trian- gular and manganese purple briquette designs, on a heavy white tin enamel. Morocco, early nineteenth century. PLATE XVIII 47. BOWL, OR SCODELLA Diameter, 7^4 inches. Similar in shape to preceding. Decorated with rude figure of bird painted in green, in [54] PLATE XVI 43. EWER Talavera 1760 PLATE XVII 44. APOTHECARY'S MORTAR Morocco Eighteenth Century PLATE XVIII 46. BOWL Morocco Early Nineteenth Century PLATE XIX 47. BOWL Morocco Nineteenth Century centre, surrounded by green and manganese lines, in thick white enamel. Morocco, nineteenth century. PLATE XIX (Fragments of similar dishes have been found on the site of a fabrique in a suburb of Algiers.*) 48. BOWL Diameter, g$4 inches. Figure of rabbit, or hare, painted in centre in black. Border design of arches containing starred and rayed diapering. The glaze, which was applied over a thin coating of white slip, has been almost entirely worn away, but where traces remain it appears to be lead. Probably Seville, of the fifteenth century. PLATE XX 49. PLATE Diameter, 8% inches. Decoration of a hare covered with light brown glass glaze surrounded by leaf designs in blue, green, and brown glass glaze, on a white stanniferous ground, in cucrda seca style. So-called Puente del Arzobispo. Probably Seville, fifteenth century. PLATE XXI *Vide Hispano-Morcsque Ware of the XI'. Century, by Van de Put, Edition 1911. Footnote 3, page 3. [63] 50. PLAQUE Diameter, 15*4 inches. Same technique; central design of a wyvern (a winged monster with dragon's head and long nowed tail). Glass glaze colors blue, green, and brown superimposed on a white tin-enam- eled ground. So-called Puente del Arzobispo. Probably Seville, late fifteenth or early sixteenth century. PLATE XXII 51. PLAQUE Diameter, 15^ inches. Similar technique ; central design of a harpy (a bird with a woman's head and body). Glass glaze colors blue, green, and light brown superimposed on a white tin-enameled ground. So-called Puente del Arzobispo. Probably Seville, late fifteenth or early sixteenth century. PLATE XXIII 52. FINIAL (Gate Post) Height, 2i*4 inches. FORM. Acorn shape. DESIGN. Upper half divided into vertical bands covered with yellow, brown, and green glass glaze, separated by narrow bands of white tin enamel. Lower section similarly decorated ; central band embellished with leaf-shaped orna- [64] PLATE XX 48. BOWL Seville (?) Fifteenth Century PLATE XXI 49. PLATE So-Called Puente del Arzobispo Ware Fifteenth Century PLATE XXII 50. PLAQUE So-Called Puente del Arzobispo Ware Late Fifteenth Century PLATE XXIII 51. PLAQUE So-Called Puente del Arzobispo Ware Fifteenth Century ments covered with green, yellow, and brown glass glaze on white tin enamel. This example belongs with the so-called Puente del Arzobispo ware, the decoration being in the cnerda seca style. Probably Seville, eighteenth century. PLATE XXIV 53- FINIAL A companion to preceding, with slightly varying design. 54. VASE Height, isYs inches. Diameter of mouth, 10% inches. At equal distances around the body are three shields in green, bearing crudely executed arms. Space between filled with bryony-leaf pattern in brown. Below is a broad, boldly painted palmated band reserved in white on a brown ground. At bottom a scroll band in brown. Coarse red clay. Seville (?), eighteenth century. 55- DISH Diameter, 13^ inches. FORM. Curved cavetto, marly slightly sloping upward. DESIGN. Decoration in brick red and blue on a very hard, speckled, muddy white enamel. [73] In centre a bird of paradise surrounded by floral and curled leaf, or plume-like ornaments, in cavetto and springing from four points on the marly. Spanish, early eighteenth century. PLATE XXV 56. PORTRAIT BUST Height, 285/2 inches. Diameter at base, 14 inches. Count Aranda, founder of the factory at Alcora. The head and queued peruke are in white enamel. The outer robe, draped over the left shoulder, is dark yellowish brown, with lining representing ermine. Beneath the robe is a corse- let enameled in dark blue, with engraved bor- dering. The sleeves of the shirt beneath are turquoise blue, trimmed with orange. Around the neck is a white neck-cloth, and falling from the shoulders a chain composed of alternate rec- tangular links, separated by knots. The model- ing is of great excellence and is evidently the work of a skilful artist. Alcora, eighteenth century. See Frontispiece. 57- JAR Height, 22 inches. Diameter of mouth, 9 inches. Ovoid form; decoration, in pale blue on a white stanniferous ground, consisting of two [74] PLATE XXIV >, Y& x 3M? inches. Diagonal label enclosing the date 1543. Ornament above and below. Intaglio (cuenca) treatment filled in with brown and blue glazes on a stanniferous white ground. Light red clay. Seville, sixteenth century. PLATE XXIX [97] 68. TILE Dimensions, 3 x 5^4 inches. Intaglio (cuenca) decoration of conventional plant form filled with green, brown, and blue glazes on stanniferous white ground. Taken from the San Nicolas church in Santo Domingo City, Republic of Santo Domingo, West Indies, built in 1509. Coarse-grained pink and white clay. Seville, early sixteenth century. 69. TILE Dimensions, 6x6 inches. Intaglio (cuenca) decoration. A shield bear- ing the inscription, "AvE MARIA GRACIA PLEA," the arms of Garcilaso de la Vega, surrounded In- looped border design in light blue. Filled with brown, blue, and green glazes on a stanniferous white ground. Pale reddish clay. Seville, seventeenth century. 70. TILE Dimensions, 6^4 x 6^4 inches. Relief decoration of conventional plant design, covered with brown, blue, and green glazes, surrounded by a stanniferous white ground. Light red clay. Seville, seventeenth century. [98] PLATE XXXII 76 77 CUERDA SECA TILE PANEI.S Imitating Mosaic Work Sixteenth Century 79 71. TILE Dimensions, 3^4 x 5^ inches. Arms, in white stanniferous enamel and brown glazes, in relief, on a green enameled ground. Cuenca style. Fawn-colored clay. Seville, sixteenth century. PLATE XLIV 72. PANEL Dimensions, 3 x 37 inches. Cuenca style. Composed of seven pieces. Border design of strap-work in the usual cuenca colors. Seville, seventeenth century. 73- PANEL Dimensions, 10 x 10 inches. Cuerda seca style. Mosaic design, composed of eight-pointed stars, surrounded by white strap- work in cruciform figures; colors as in preced- ing. Seville, sixteenth century. 74. PANEL Dimensions, 9^x45^4 inches. Cuerda seca style. Mosaic pattern, composed of twenty 4^2 -inch tiles, with continuous design of strap- work in radiating pattern, formed by sections of varying design, in the same colors as preceding. Seville, sixteenth century. PLATE XXXIII [101] 75- PANEL Dimensions, 9*4 x 45^4 inches. Cuerda scca style. Mosaic pattern, similar to preceding, consisting of twenty 4 /-^ -inch tiles with continuous strap-work design forming five large twelve-pointed stars ; colors as in preced- ing- Seville, sixteenth century. PLATE XXXIII 76. PANEL Dimensions, io l / 2 x io l / 2 inches. Cuerda scca style. Composed of four tiles, showing a strap-work pattern enclosing small eight-sided, crown-shaped and elongated hexag- onal figures forming a central star in blue, green, dark brown, and honey yellow glazes. Seville, sixteenth century. PLATE XXXII 77. PANEL Dimensions, io}4 x ioj4 inches. Cuerda seca style. Composed of four tiles, forming a strap-work design enclosing small eight-pointed stars in colored glazes, each one containing a smaller star in the centre. Colors of glazes similar to the preceding. Seville, sixteenth century. PLATE XXXII 78. PANEL Dimensions, 10% x 10% inches. Cuerda seca style. Composed of four tiles, each one with a blue eight-pointed star enclosing [102] PLATE XXXIII *rar m * w'l-S M a smaller white star in centre, surrounded by small pentagonal figures. Glazes similar in col- oring to preceding. Seville, sixteenth century. 79. PANEL Dimensions, io l /2 x ioj^ inches. Cuerda seca style. Composed of four tiles, forming together a circle in blue divided into sections by strap-work and surrounded by a ring of irregular stars in brown. Similar in coloring to preceding. From La Casa de los Azulejos, Carmona. Seville, sixteenth century. PLATE XXXII 80. PANEL Dimensions. 9^x11 inches. Cuenca style. Composed of two long tiles. Design consisting of a circle enclosing a rosette with leaf-shaped petals. Encircling this is a band of tulip-like motives from which spring flame- shaped motives, enclosed in an outer lozenge- shaped square. The corners are occupied by floral ornaments. Decoration in blue and luster with greenish, violet, and golden reflections. Seville, sixteenth century. From Iglesia de Santiago, Carmona. Coated with white slip and glazed with lead. Gestoso figures a tile of this pattern. [105] 81. PANEL Dimensions, io}Xxii inches. Cucnca style. Composed of two long tiles. The pattern consists of a circular wreath of pointed leaves in blue, enclosing a quartered design of leaf-like appearance in blue, and low- toned brownish luster. Seville, sixteenth century. From Iglesia cle San Felipe, Carmona. Coated with white slip and glazed with lead. 82. PANEL Dimensions, 22 x 22 inches. Cuenca style. Design consists of nine 5^4- inch tiles, each decorated with a four-pointed figure, formed by intertwined circles, separated by four leaf-like motives. The coloring is blue, and brown luster of low tone. Around the edges are border tiles embellished with circles (resembling the Tai-chi symbol of Chinese character). Coated with white slip and glazed with lead. Seville, sixteenth century. PLATE XXXIV 83. PANEL Dimensions, 11% x 19^ inches. Cucnca style. Design composed of eight 5-inch tiles, with running design, consisting of quatrefoil figures, enclosing and surrounded by [106] PLATE XXXIV 82. CUENCA TILE PANEL Blue Enamel and Luster Sixteenth Century conventional leaf forms in blue color and brown luster of low tone. Valencia, sixteenth century. From Iglesia de Santiago, Carmona. Coated with white slip and glazed with lead. 84. SHIELD Dimensions, 9^ x 10 inches. Cucnca style. Composed of two horizontal tiles. An undimidiated and dimidiated coat, showing the union of the Bourbon and Castile- Leon houses three fleur-de-lis in reddish luster of low tone on blue ground, impaling a triple- towered castle, and lion rampant in brown on a white field. Seville, sixteenth century. PLATE XXXV 85. SHIELD Dimensions, 9^4 x 10 inches. Cnenca style. Composed of two tiles similar to preceding. ARMS. A bendy shield, green glaze and luster, parted per saltire, bearing in- scription, "AvE MARIA GRACIA PLENA." Luster of reddish and greenish tint, of low tone. Seville, sixteenth century. PLATE XXXV 86. PANEL Dimensions, 13^ x 17 inches. Brick-red clay coated with white slip on which has been painted the archaic figure of a [109] bull, above which is a dog, both in black, the background being filled with scroll-work in dark red, which was added at a more recent period. There is no trace of glazing. 87. PANEL Dimensions, 14x14 inches. Cncnca style. Composed of four square 7-inch tiles, decorated with strap-work arranged in lozenge form, in which figures of small eight- pointed stars form part of the design. In the centre of each tile is a shield bearing in Arabic the inscription "And no one is supreme except Allah." At the points of junction of the tiles the same design appears in separate circular tiles which have been inserted. The colors are blue, yellowish brown, and white. Seville, sixteenth century. PLATE XXXVI 88. PANEL Dimensions, io l /4 x ioM inches. Cuerda scca style. Composed of four tiles. with conventional leaf-shaped figures separated by strap-work ; the colors of the glazes are blue, green, dark brown, honey yellow, and white. Seville, sixteenth century. PLATE XXXVII [no] PLATE XXXV H = O u ^ IT) C/3 oo g X 7. " I X GO