The South Kensington museum possesses very important specimens of this master’s work; and the connexion of the
several examples is very minutely traced in the large catalogue of Maiolica. We need only, therefore, generally observe that they are worthy of being ranked among the most excellent productions of the potter’s skill in Italy during the earlier years of the 16th century; and that in respect of their technical characteristics, and the tone and manner of their colouring and design, they are more nearly allied to the productions of the Caffaggiolo furnaces, from which in all probability the inspiration of them was derived. We give woodcuts of three of these beautiful pieces: nos. 1569, 1792, and 4487. The last of these is very interesting on account of the mark and inscription upon the reverse (also engraved p. [99]), showing that the painter was probably Benedetto himself, who was then the head of the establishment. The drawing of the central figure is masterly and finished with the utmost care.
One of the finest specimens of this master belongs to Mr. Henderson; the central subject is that of Mutius Scævola before Porsenna; it is painted with great care and is surrounded by a border of grotesques on orange ground. On the reverse is the
mark in the accompanying woodcut. The grotesques upon the
border of a large dish in the British museum are painted upon a black ground, an unusual style which also occurs on some of the tiles of the Petrucci pavement, and is we believe almost peculiar to this botega.
We lose sight of the Sienese pottery for two centuries, when it again appears under the then best ceramic painter in Italy, Ferdinando Maria Campani who is said, but we do not know on what exact authority, to have worked also at Castelli and at San Quirico. A piece signed by him is at South Kensington. His subjects, as in this instance, were frequently taken from the Bible series of Raffaelle as rendered by Marc Antonio’s engravings, and from the works of the Caracci. Some extremely well executed tiles, plates, &c. copied and adapted from the old, have also been produced within the last few years at Siena under the superintendence of signor Pepi, a druggist, opposite the Prefecture. We have occasionally met with some of these, scratched and chipped by other artists to suit the modern-antique market.