“We would here refer to the frequent occurrence on these vases, as occasionally upon other pieces, of pharmaceutical and ecclesiastical signs, letters, etc., surmounted by the archiepiscopal cross and other emblems which we believe have reference to the uses of monastic and private pharmacies for which the services were made, and not to be confounded, as has been too frequently the case, with the marks of boteghe or of the painters of the piece. These emblems have no other value to us than the clew which they might afford to patient investigation of the locality and brotherhood of the conventual establishment to which they may have belonged, and among the archives of which may be recorded the date and the fabrique by which they were furnished. But what are of far greater interest are those admirable early pieces, painted by ceramic artists of the first rank, who, beyond a rare monogram or date, have left no record of their place or name; and whose highly-prized works, for their authors are several, are jealously guarded in our public and private museums. Some of these, with reasonable probability, are believed to have been executed at Faenza. Several examples are preserved, of an early character, perhaps the work of one hand, who marked them on the back with a large ‘M’ crossed by a paraph. They are usually plateaux with raised centre, on which is a portrait-head, or shallow dishes with flat border. Variations of the letter ‘F’ are found on pieces, some of which are fairly ascribable to this fabrique; but we need not point out the fact that many other localities of the manufacture can claim the same for their initial letter, and that the characteristics and technical qualities of the pieces themselves are a necessary test.
“Later in the sixteenth century, when subject-painting, covering the whole surface of the piece, was in general fashion (istoriata), the unsigned works produced at Faenza are difficult to distinguish from those of other fabriques. Some examples exist in collections, as one in the Louvre, with the subject of a cavalry-skirmish, and inscribed, ‘1561 in Faenca;’ but we have no knowledge of their painters, and even the occurrence of the name of that city is but rarely met with. Her wares are usually richly ornamented on the back with imbrication, as was the manner of Manara, or with concentric lines of blue, yellow, and orange.
“Of the pottery produced at Faenza during the seventeenth and the last century we have but little record. Some pharmacy-vases are mentioned by M. Jacquemart, signed ‘Andrea Pantales Pingit, 1616,’ but the signature does not appear to be accompanied by the name of that city. In 1639 Francesco Vicchij was the proprietor of the most important fabrique.
“A modern establishment professes to occupy the premises of the ancient Casa Pirota, where we have seen fairly good reproductions of the ordinary sopra azzuro plates of the old botega; but these are but weak imitations, and the glory of Faentine ceramic art must be looked for in museums.”
The “Sgraffiato” wares of Italy do not come under the head of maiolica. The term is used to designate work where the design is scratched or incised upon the clay; and in Italy, often upon a white clay laid over a darker clay, so that the design shows through the lighter “slip” or “engobe,” as the covering is called.
Of Forli, Venice, Castelli, or Abruzzi, and the many other manufactories of maiolica, it will be almost useless to write here. We have few, if any, examples of the work in this country; and without examples it is difficult to make the subject interesting.
I have not attempted to give any “marks” of maiolica, for two reasons: one, that we have so little opportunity for purchasing that the knowledge of the marks, such as they are, would be almost wholly useless; and, second, these marks are of little use anywhere. Few of the painters were in the habit of marking their work; and, when they did, their marks seem to have had no uniformity, and were varied in many whimsical ways. Those who wish to buy pieces of maiolica, unless they have made the matter a study, will hardly do it without consulting a person of experience; and a person of experience will not be guided solely by the marks.
It can do no harm to say that admirable counterfeits are now made, both in Italy and in France (probably also in Germany), of the finest of the old maiolicas, design, color, and all complete. Even judicious chippings of edges and mild cracks are added to please the exacting connoisseurs. Any person, therefore, who is looking for the best specimens of “genuine old” maiolicas, at the smallest prices, will be fairly and fully met in the shops of the Continent.