SELECTIONS FROM THE MUSEUM COLLECTION AT FAENZA
early Roman redware found near Faenza
bucchero, Greek influenced
Archaic Majolica
The term "Archaic Majolica" refers to a kind of white tine glazed ware decorated in two colors only: brown and green. Green, at the beginning of the 14th C was replaced by blue (sometimes called "Blue archaic majolica.")
This style developed through north-central Italy from mid 13th to the first half of the 15th centuries.
In Faenza most of the findings date after 1350.
The term "Archaic Majolica" refers to a kind of white tine glazed ware decorated in two colors only: brown and green. Green, at the beginning of the 14th C was replaced by blue (sometimes called "Blue archaic majolica.")
This style developed through north-central Italy from mid 13th to the first half of the 15th centuries.
In Faenza most of the findings date after 1350.
Zaffera a Rilievo (Relief
Blue)
"Zaffera" referring to sapphire, is a characteristic decoration in relief blue and maganese on white glaze.
It is mainly found in central Ital, from Tusdany to Emilia between the end of the 14th and the first half of the 15th centuries. In Faenza, the production was generally on closed shapes (rather than plates and bowls).
"Zaffera" referring to sapphire, is a characteristic decoration in relief blue and maganese on white glaze.
It is mainly found in central Ital, from Tusdany to Emilia between the end of the 14th and the first half of the 15th centuries. In Faenza, the production was generally on closed shapes (rather than plates and bowls).
Common Usage Ceramics
In Faenza, as in other Italian centers, pottery was comonly used for cooking or serving food. The technical characteristics remained the same until the beginning of the 20th century. Unlike the more expensive and elaborately decorated vessels used on tables for special occasions, this cheaper production was simply glazed or slip coated and sometimes scratched with patterns in metallic oxides (manganese and copper).
In Faenza, as in other Italian centers, pottery was comonly used for cooking or serving food. The technical characteristics remained the same until the beginning of the 20th century. Unlike the more expensive and elaborately decorated vessels used on tables for special occasions, this cheaper production was simply glazed or slip coated and sometimes scratched with patterns in metallic oxides (manganese and copper).
Italo-Moresque
Following the Medieval (Archaic) period, Faenza's ceramic designs, particularly the tin-glazed ware (majolica) became more controlled nad precise and began to include a richer range of color. The designs and especially the lustered surfaces of the ceramics from Moorish Spain greatly influenced Italian potters. In Faenza the syles expressingthis Spanish influence were mostly done with the severe monochrome blue and some yellow or purple decorative details - an attempt to imitate the luster of the Hispano-moresque. The secret ofthe luster technique had not yet come to Faenza.
Following the Medieval (Archaic) period, Faenza's ceramic designs, particularly the tin-glazed ware (majolica) became more controlled nad precise and began to include a richer range of color. The designs and especially the lustered surfaces of the ceramics from Moorish Spain greatly influenced Italian potters. In Faenza the syles expressingthis Spanish influence were mostly done with the severe monochrome blue and some yellow or purple decorative details - an attempt to imitate the luster of the Hispano-moresque. The secret ofthe luster technique had not yet come to Faenza.
Italo-Moresque
Following the Medieval (Archaic) period, Faenza's ceramic designs, particularly the tin-glazed ware (majolica) became more controlled nad precise and began to include a richer range of color. The designs and especially the lustered surfaces of the ceramics from Moorish Spain greatly influenced Italian potters. In Faenza the syles expressingthis Spanish influence were mostly done with the severe monochrome blue and some yellow or purple decorative details - an attempt to imitate the luster of the Hispano-moresque. The secret ofthe luster technique had not yet come to Faenza.
Following the Medieval (Archaic) period, Faenza's ceramic designs, particularly the tin-glazed ware (majolica) became more controlled nad precise and began to include a richer range of color. The designs and especially the lustered surfaces of the ceramics from Moorish Spain greatly influenced Italian potters. In Faenza the syles expressingthis Spanish influence were mostly done with the severe monochrome blue and some yellow or purple decorative details - an attempt to imitate the luster of the Hispano-moresque. The secret ofthe luster technique had not yet come to Faenza.
Gothic-Foliage Style
The Gothic-foliage's typical pattern in Faenza was indicated by curled leaves (gothic leaves); that is, one or more leaves vigorously curling. This style imitates motifs from architecture, painting and frameworking of the time. It was used on both closed shapes (jugs, pots, vases..) and on flat shapes (dishes, bowls, plates).
The Gothic-foliage's typical pattern in Faenza was indicated by curled leaves (gothic leaves); that is, one or more leaves vigorously curling. This style imitates motifs from architecture, painting and frameworking of the time. It was used on both closed shapes (jugs, pots, vases..) and on flat shapes (dishes, bowls, plates).
Renaissance Decorations
Bertween the end of the 15th and the beginning of the 16th centuries, there was a transition period when Faenza potters achieved a happy rich synthesis of expression, paralleling Classical and Renaissance patterns. This period of free mature ecpression was a pre-cursor to the "Istoriato" majolica.
Bertween the end of the 15th and the beginning of the 16th centuries, there was a transition period when Faenza potters achieved a happy rich synthesis of expression, paralleling Classical and Renaissance patterns. This period of free mature ecpression was a pre-cursor to the "Istoriato" majolica.
Conventual and Votive Vessels
The Church played an important role in the development of ceramics in Faenza, as well as other towns in Italy. Religeous communities, convents, monasteries, & churches needed outfitting with ware for the table, as well as the alter. Dishes, bowls, and jugs often displayed the symbols of Christ's Passion or Christ's symbol (IHS) as revealed by St. Bernardine, and were widely found in the Faenza area. In addition ot to this ecumenical ware, plates displaying the most popular religious images, from Renaissance times and beyond, were a profitable source of income for the ceramic artists.
The Church played an important role in the development of ceramics in Faenza, as well as other towns in Italy. Religeous communities, convents, monasteries, & churches needed outfitting with ware for the table, as well as the alter. Dishes, bowls, and jugs often displayed the symbols of Christ's Passion or Christ's symbol (IHS) as revealed by St. Bernardine, and were widely found in the Faenza area. In addition ot to this ecumenical ware, plates displaying the most popular religious images, from Renaissance times and beyond, were a profitable source of income for the ceramic artists.
Pharmacy Vessels
From the 14 and 15th centuries on, chemists and spice-sellers sold medicines, drugs, wax, syrup, sugar, elixirs, cosmetics and even raw materials for potters and painters. Numerous pharmacy vessel shapes (drug jars, flasks, jugs, pill-containers)have been found in Faenza which are richly decorated, bearing images of scrolls incdriberd eith the content names. This pharmacy production continued without interruption until the end of the 17th century.
From the 14 and 15th centuries on, chemists and spice-sellers sold medicines, drugs, wax, syrup, sugar, elixirs, cosmetics and even raw materials for potters and painters. Numerous pharmacy vessel shapes (drug jars, flasks, jugs, pill-containers)have been found in Faenza which are richly decorated, bearing images of scrolls incdriberd eith the content names. This pharmacy production continued without interruption until the end of the 17th century.
Small Size Renaisance Sculptures
Small polychrome majolica sculptures, mainly cribs, became very popular in the 1st qauarter of the 16th century. Since the 15th century, in Faenza, therehad been an increase in school attendance, particularly among middle-class young people. That encouraged the porduction of simple majolica monochrome ink-pots and of the more elaborately decorated desk sets - such as the "Pieta."
Love Vessels
A common custom all through the renaissamce was painting beloved women's profiles on pottery: creating "love dishes" or "love cups." They are generally presumed to have been used in nuptial ceremonies (called" gamelii") in the 15th century. The bride and groom used to drink from the same cup to profess their union and the groom is said to offer "confetti" (sugar coated pills) to te guestsd in cup. Some portrait dishes refer to famous women ("belle donne"). Typical of Faneza are the love symbols of the "heart" and the "two hands joining."
A common custom all through the renaissamce was painting beloved women's profiles on pottery: creating "love dishes" or "love cups." They are generally presumed to have been used in nuptial ceremonies (called" gamelii") in the 15th century. The bride and groom used to drink from the same cup to profess their union and the groom is said to offer "confetti" (sugar coated pills) to te guestsd in cup. Some portrait dishes refer to famous women ("belle donne"). Typical of Faneza are the love symbols of the "heart" and the "two hands joining."
"Alla
Porcellana" Decoration
At the beginning of the 15th century, tradebetween Venice and Middle and Far Eastern countries brought to Faenza an awareness of Chinese porcelain.This exotic decorative style influenced shapes and decorations on Italian majolica and gave origin to the "alla porcellana" family. Painted in blue on a white ground, the patters recall the refined Ming motif (1368-1644).
At the beginning of the 15th century, tradebetween Venice and Middle and Far Eastern countries brought to Faenza an awareness of Chinese porcelain.This exotic decorative style influenced shapes and decorations on Italian majolica and gave origin to the "alla porcellana" family. Painted in blue on a white ground, the patters recall the refined Ming motif (1368-1644).
Istoriato Majolica (story-painted majolica)
At the beginning of the 15th century interaction between potters and painters gave rise to istoriato majolica. Following the invention of the printing press, the ready availability of prints influenced majolica painters. Prior and in addition to this, early woodcuts ware used as inspiration for the majolica painters.The main source of materials for "istoriato" were the many editions of the Bible and the prints showingthe masterpieces of the great Italian Renaissnce painters. These sources were ready made notebooks of "istorie" which potters could easily copy.
Grotesques
Old 15th century documents define as "grottesca" the majolica decoration inspiredby decoration found in Emperor Nero's Domus Aurea in Rome (the "grotto" paintings). New forms of decorations: dolphins, monsters, fancy animals, cornucopias, and trophies now inspired the renaissance artists. The painter, Raphael was equally inspired by these ancient grotto motifs, and included them in the border designs of the Vatican Loggia frescoes. The term "Raffaellesca" came to mean a majolica decorative style thus inspired by Raphael's grottesca designs. Grotesque motifs in Faenza can be precisely dated to the first half of the 16th century.
Old 15th century documents define as "grottesca" the majolica decoration inspiredby decoration found in Emperor Nero's Domus Aurea in Rome (the "grotto" paintings). New forms of decorations: dolphins, monsters, fancy animals, cornucopias, and trophies now inspired the renaissance artists. The painter, Raphael was equally inspired by these ancient grotto motifs, and included them in the border designs of the Vatican Loggia frescoes. The term "Raffaellesca" came to mean a majolica decorative style thus inspired by Raphael's grottesca designs. Grotesque motifs in Faenza can be precisely dated to the first half of the 16th century.
"berettino" (blue background glaze)
Quartieri and Trophies
The "Quartieri" compartments decoration developed along with the "Grotesque" in the first half of the 16th century. They are vivid decorations based on regular alternating polychrome spaces with acantus scrolls, foliage, cornucopies, cheruins, dolphins and corollas typical of the contemporary grotesque. This kind of decoration was widely used in pharmacy jars and in table ware. More conventional and less attractive, even if polychrome, is the "Trophies" motif. It was generally used in pharmacy wares and represents large trophies of old weapons, shields, helmuts, and musical instruments.
The "Quartieri" compartments decoration developed along with the "Grotesque" in the first half of the 16th century. They are vivid decorations based on regular alternating polychrome spaces with acantus scrolls, foliage, cornucopies, cheruins, dolphins and corollas typical of the contemporary grotesque. This kind of decoration was widely used in pharmacy jars and in table ware. More conventional and less attractive, even if polychrome, is the "Trophies" motif. It was generally used in pharmacy wares and represents large trophies of old weapons, shields, helmuts, and musical instruments.
Ware for the Noble Table
Pottery, at first simple wheel turned vessels, had been largely used in kitchens and on tables since the Middle Ages. However, since the 15th century tableware had become more and more refined, mainly for special occasions when beautiful ware was displayed. The major turning point for elegant tableware was during the long prosperous period of "Faenza white" from mid 26th to the end of the 17th centuries.
Pottery, at first simple wheel turned vessels, had been largely used in kitchens and on tables since the Middle Ages. However, since the 15th century tableware had become more and more refined, mainly for special occasions when beautiful ware was displayed. The major turning point for elegant tableware was during the long prosperous period of "Faenza white" from mid 26th to the end of the 17th centuries.
Faenza White
By the 2nd half of the 16th century, the Faenza potters, already accomplished majolica painters, produced a radically new type of majolica style called "Bianchi." This Bianchi - or Faenza White - was termed so because of the high quality of Faenza's tin glazes. The thick white glaze was no longer richly (and completely) decorated as in the first half of the century, but was now partially painted in a rapid sketchy style in a palette dominate by blue and orange.The shapes of the forms were preciously moulded after the style of expensive metal ware. The Faenza white and its "compendiario" manner of painting was so successful, that Faenza potters extended their markets to other towns and countries: Verona, Genoa, Lombardy, etc - and abroad: France, Holland and East Europe. Faenza white became so popular that from the second half of the 16th century, in many areas the word "faince" was used to mean all majolica ware. In Germany and France, "faience" is the term used to refer to majolica even today.
By the 2nd half of the 16th century, the Faenza potters, already accomplished majolica painters, produced a radically new type of majolica style called "Bianchi." This Bianchi - or Faenza White - was termed so because of the high quality of Faenza's tin glazes. The thick white glaze was no longer richly (and completely) decorated as in the first half of the century, but was now partially painted in a rapid sketchy style in a palette dominate by blue and orange.The shapes of the forms were preciously moulded after the style of expensive metal ware. The Faenza white and its "compendiario" manner of painting was so successful, that Faenza potters extended their markets to other towns and countries: Verona, Genoa, Lombardy, etc - and abroad: France, Holland and East Europe. Faenza white became so popular that from the second half of the 16th century, in many areas the word "faince" was used to mean all majolica ware. In Germany and France, "faience" is the term used to refer to majolica even today.
Faenza White - the Shapes
The development and success of Faenza white spawned a rapid technological progress: the use of plaster moulds to create complex shapes and sculptural forms. "Industrial Revolution" loomed on the horizon for the potteries. These sculptural vessels were commonly called "da credenza" (for the sideboard) and evolved alongside other decorative items in precious metals, cyrstal, and glass.
The development and success of Faenza white spawned a rapid technological progress: the use of plaster moulds to create complex shapes and sculptural forms. "Industrial Revolution" loomed on the horizon for the potteries. These sculptural vessels were commonly called "da credenza" (for the sideboard) and evolved alongside other decorative items in precious metals, cyrstal, and glass.
