A fragment of a vase at the Museo of Granada; it is similar to the others in form and size, but without metallic lustre.
A large plaque, or azulejo, which belonged also to Fortuny.
The azulejos, or tile decorations of the house known by the name of Cuarto Real de Santo Domingo at Granada.
Several dishes and bowls at the Kensington, Madrid, and Cluny Museums, which belong to this period.
Baron Charles Davillier in his article on Hispano-Moresque lustred ware, in "Atelier de Fortuny," Paris, 1875, says that interesting specimens of this pottery exist also at the Museum of Stockholm, and the Cathedral of Mezzara in Sicily, but that he had not had the opportunity of studying them.
All these objects have hitherto been considered to have proceeded from Malaga, writers on ceramic art derived their evidence from the text already mentioned, given in Ben Batutah's travels, the only one which alluded to the existence of this industry in Spain before the 15th century; but since I have found in Edrisi's Geography a manufacture mentioned of lustred pottery which existed at Calatayud at the beginning of the 12th century, that is to say, more than two centuries earlier than Ben Batutah's travels, I consider it extremely difficult to classify them.
The fine vase at the Alhambra is 4 feet 5½ inches high by 8 feet 2½ inches in circumference. It is decorated in the centre with two antelopes, and a series of elegant traceries of knots, stems, and leaves which cover the body of the vase. The colours employed are brown and blue on a yellow ground, the metallic lustre is extremely pale, of a mother-of-pearl colour. The following inscriptions are repeated all over the vase in African characters:
