LITMIR.BIZ

      Fig. 34.—Vases of ancient form, represented in the decorative sculptures of the Church of St. Benoît, Paris. (Twelfth Century.)

      And now, are we to suppose that the intercourse between nations and the transactions of commerce must necessarily have made western Europe acquainted with the enamelled dishes of Asia, or the chefs-d’œuvre of the African race in Spain? Or, on the other hand, shall we say that it was by a spontaneous effort of invention that our forefathers opened up the road to a new domain of art? In the one case we have the opinion, deservedly respected, of Scaliger, who affirms the fact, apparently very significant, that during the Middle Ages there existed in the Balearic Islands manufactories of pottery of Arab origin; our learned author even adds, that in accordance with the most probable etymology, the name of Majolica, which was first given to Italian ware (the earliest in the European revival of the ceramic art), was derived from Majorca, the largest, as we know, of the Balearic Islands, in which locality the principal manufactory of these pottery wares was situated. But, on the other hand, a comparative examination of Arab and Italian wares excludes all idea not only of affiliation, but even of imitation or reminiscence between them.

      In the face of such contradictory coincidence, if we may say so, it would be as difficult as it would be rash to pronounce an opinion; we consider it better, while disregarding problematical indications, to boldly face a train of facts now determined by historical proof.

      “At the commencement of the fifteenth century”—we cannot do better than borrow from M. Jacquemart a passage which he himself took from the Italian work by Passeri, on Majolica (Pesaro, 1838, in 8vo.)—“Luca della Robbia, the son of Simone di Marro, apprenticed himself to a Florentine goldsmith, Leonardo, the son of Giovanni; but disliking the confinement of a laboratory, he soon became a pupil of the sculptor Lorenzo Ghiberti, who made the gates of the Baptistry at Florence. His rapid progress under so able a master placed him in a position, when he could not have been more than fifteen years old, to undertake the task of ornamenting a chapel for Sigismond Malatesta, at Rimini. Two years later, Pietro di Medici, who was having an organ erected in Santa-Maria dei Fiori, at Florence, directed Luca to execute some marble sculptures in that church. The fame which he gained by these works drew everybody’s attention to the young sculptor. Orders reached him in such numbers that he clearly saw the impossibility of executing them in marble or in bronze; added to this, he bore with impatience the restraint imposed by working with such rigid materials, of which the laborious handling trammelled the flights of his imagination. Soft and plastic clay was a material far better suited to his readiness of conception. At the same time, Luca dreamt of the future, and of glory; and thus having in view the object of executing works which, though less perishable, might be rapidly executed, he devoted all his efforts to discover a coating which would give to clay the polish and the hardness of marble. After many trials, a varnish made of tin (étain), which was white, opaque, and of a resisting nature, furnished him with the result he hoped for. The art of producing fine earthenware was discovered, which first received the name of vitrified clay (terra invetriata).

“Luca’s enamel was a most perfect white; he first used it alone for figures, in semi-relief, which were raised on a blue background. At a later period he ventured to colour his figures, and Pietro di Medici was one of the first who encouraged this kind of work for the decoration of palaces. The fame of this novel art spread with rapidity; all the churches were anxious to possess some specimen of the master, so that Luca was soon compelled to associate with himself his two brothers Ottaviano and Agostino, in order to keep pace with the requirements of the public. He endeavoured, nevertheless, to extend the application of his discovery by painting flowers and groups of figures on a smooth surface; but in the year 1430 death cut short his remarkable career, and stayed, in the hands of the inventor, the progress of enamelled pottery (Fig. 35).

      Fig. 35.—Enamelled Terra-cotta, by Luca della Robbia.

“The family of Luca, however, made public the secret of his discovery. His two nephews, Luca and Andrea, produced some figures and designs of singular merit in terra-cotta. Luca ornamented the floor of the Loggia of Raphael. Girolumo, a relative of Luca, come to France, where he decorated the château of Madrid, in the neighbourhood of Paris. Two females, Lisabetta and Speranza, added to the renown of the family Della Robbia.”

      Such is the history of the revival, or rather of the creation, of ceramic art in Italy, as briefly recorded by a man thoroughly acquainted with the subject. An ancient author, and, moreover, a competent writer, instances some monuments of an earlier date; among others a tomb at Bologna, in which were tiles covered with a green and yellow varnish, and vessels (écuelles) of the same kind inserted in the façades or porticoes of the churches of Pesaro and the abbey of Pomposa. But to the honour of Luca della Robbia it may be remarked, that these specimens of an earlier industry differed essentially from his productions; because the glazing that covered them, the basis of which was lead, was so transparent, that through it could be seen either the clay or the colours underneath; whereas the enamel discovered by Luca, the basis of which was tin, had, on the contrary, for its essential character, an opacity which may be termed intense. Let us observe, moreover, that in order to embellish his productions with paintings, Luca was accustomed to apply colours to the first and general coating, which became fixed by a subsequent process of baking.

      It is by recognising the distinction we have just laid down between these two processes, that the productions of Italian ceramic art are ordinarily classified: the demi-majolica, with transparent glaze, somewhat like the Spanish-Arabian pottery, and also, perhaps, like Asiatic tiles; then the majolica, by which we understand fine earthenware, where the clay is covered with a coating of opaque varnish, distinguishing the invention due to Luca della Robbia.

      Having given priority of invention to Luca della Robbia, it is as well, nevertheless, here to state, that from the eleventh and twelfth centuries there existed in France a kind of ceramic art employed especially in the manufacture of varnished pottery-tiles. Many, of baked clay, have been found with drawings and designs in black or brown on a white or yellow ground (Plate IV.). At a later period these tiles, of which we see such brilliant specimens in the small pictures in manuscripts, especially in those

      PAVING TILES OF THE FOURTEENTH AND FIFTEENTH CENTURIES.

      of the fourteenth and fifteenth centuries, were embellished with designs, emblems, armorial bearings, and scrolls. As already stated, in the passage from the author whom we have taken as our guide, the impulse which Luca della Robbia gave to ceramic art extended itself with rapidity in every direction; and if any other reason were wanting, beyond the intrinsic value of this art, to account for its development, we should say that the circumstances in the midst of which Luca made his discovery were eminently favourable to its advancement.

      Luxurious display was, at that time, prominent among the classes who aspired to ostentation. When writing of furniture, we saw to what a pitch of splendid profusion kings, princes, and nobles carried the mania for displaying their wealth. We particularly pointed out sideboards in the dining-rooms, covered with plate and all kinds of objects, which were only placed there to dazzle the eyes. The custom of these displays having been introduced, it could nevertheless be only indulged in by those in possession of considerable fortunes, and therefore it will be readily understood how quickly fashion affected the productions of ceramic art; which, in addition to being recognised as works of art, were singularly well suited, both in character and by their comparative cheapness, to the spirit of ostentation which had taken possession of people of inferior rank. It was sufficient that some piece of majolica should

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