Urbino is a city celebrated in the art and literature of Italy in the Renaissance period, and her dukes rivalled the Medici family of Florence in the patronage and encouragement of art, science, and literature. The names of the Urbino maiolica artists have been fortunately well preserved. Those of Nicola da Urbino, Guido Fontana, and his more famous son Orazio, also another son, Camillo, the versatile artists in “Majoliche istoriate”, and Francesco Xanto, may be mentioned as the most important.
Fig. 30.—Drug Pot; Castel-Durante Ware. (S.K.M.)
To the first-named artist, Nicola, is ascribed the earliest authentic works from the potteries of Urbino, the celebrated service of maiolica, painted probably between the years 1490 and 1519, for Isabella d’Este, wife of the Marquis of Mantua, and known as the Gonzaga-Este service. Two fine plates of this service are in the British Museum. They have the arms of Gonzaga impaling those of Este on a shield, and one of them has the painted subjects of Apollo and Daphne, and Apollo and the Python, while the other has a representation of a troop of horse soldiers entering a city. The figures are delicately and carefully outlined and the colouring is brilliant.
Orazio Fontana was the most celebrated of the family of that name. His best work was done from 1540 to 1560, and he was the artist proprietor of a botega at Urbino, from whence came many of the finest works ever made in that city, not only as regards their artistic qualities but in the beauty and finish of the maiolica ware. The “istoriati” panels, or figure subjects (usually mythological) which were copies or adaptations of engraved designs by Italian painters, were the work of Orazio himself, and the grotesques probably from the hand of his brother or some other artist.
The pilgrim bottle (Fig. 31) is from the botega of Orazio Fontana, but the grotesques on it are supposed to have been painted by his brother Camillo. One artist named Gironimo was very clever at this grotesque, or “Raphaelesque” work as it is sometimes called—not from the great Raphael Sanzio, but from the artist Raphael dal Colle, who introduced this grotesque design among other work of his for the decoration of the Pesaro ware, in the duchy of Urbino. These grotesques were afterwards called “Urbino arabesques” and were of a different character to the grotesques of the Gubbio ware, which may be seen by comparing the dish of Urbino ware signed by Gironimo (Fig. 32) with Fig. 27.
There is a circular dish of Urbino ware in the Museum at Kensington on which is painted the subject of the marriage of Alexander with Roxana, from an engraving by Marc Antonio Raimondi, after Raphael’s design. This work is signed by Francesco Xanto (1533), a prolific and somewhat careless artist who took great liberties with the designs he adapted, like most of the maiolica painters. The colouring of this dish is very rich: the colours generally of the Urbino school were green, yellow, and blue, and a predominance of orange on a light or white ground.
Fig. 31.—Pilgrim Bottle; Urbino Ware. (S.K.M.)
Faenza pottery is among the oldest in Italy, but little is known of the early artists or potteries. Many pieces of doubtful origin have been classed as Faentine, but without any positive proof.