Of the first class A. are those early “mezza-maiolica” dishes having a lustre of a peculiar pearly effect: these are frequently painted with portraits and armorial bearings, and have by many writers been ascribed to the Diruta potteries. At South Kensington, no. 7160 is a characteristic example of the usual type, while in no. 1606 we have an early specimen of the ruby lustre. On the back of no. 3035 is found the only mark with which I am acquainted on pieces of this class; the well-known Gubbio scroll executed in manganese colour on the course yellow glaze.
Class B. is important as connecting the former with the works of the Gubbio furnaces. No. 7682 is a typical piece, bearing another variety of the Gubbio scroll mark in dark colour.
Class C. contains of course the cream of the manufacture, being the works assigned to Mº Giorgio’s own hand. The museum series is very complete, containing specimens from the earliest period of his unsigned work. The deep tazza and large plateau, both of which we engrave, are admirable examples of this period. The first dated piece in any collection which we have every reason to believe a work of maestro Giorgio, is the
rilievo of S. Sebastian (shown in the woodcut, p. [116]). Other but undated works in rilievo exist, which, as in this instance, are heightened with the gold and ruby pigments. The earliest example having a mark which may perhaps be that of Giorgio, and painted by him, is a small plate in the possession of Monsignore Cajani; a central medallion with half figure of S. Petronio, surrounded by a border of the style of the early wares, beautifully and carefully drawn and lustred with ruby and gold; it is marked at the back with a sort of G, intersected by a cross and a paraphe, or flourish: see p. [122].
We now come to the period of Giorgio’s signed pieces, some of the first of which show to what perfection he had brought his art.
The earliest known signed and dated piece is in the collection of Mr. Robert Napier; the border is decorated with trophies, &c. among which occurs the date 1517 written in blue, while at the back 1518 is pencilled in lustre colours. Another plate of the same service and having the same initials of the owner, a piece of exceeding beauty for the quality of the lustre colours, is in the British museum; we give (p. [123]) a facsimile of the central initials and of the date on the back: and also a woodcut (p. [124]), from a small tazza at South Kensington of about the same period.
Mr. Robinson speaks of this specimen as “being of the most perfect technique of the master; and that, although he was not a powerful draughtsman, yet this single piece would suffice to establish his claims as a colourist.”