This will be recognized as the cuerda seca process, so extensively employed in making Seville tiles. Nevertheless, judging by certain marks upon this pottery, Baron Davillier declared it to proceed from Puente del Arzobispo. The marks in question consist in one or two examples of what appears to be the letters A.P. or P.A.[91] Davillier, however, affirmed that he had seen a plate fully inscribed as follows:—
The existence of this plate is now discredited; at least, no trace of it can be discovered at this day. Upon the other hand, Gestoso points to various objects manufactured by the cuerda seca method, and which undoubtedly proceed from Seville. Among them are three shields, one of which, containing the arms of Ferdinand and Isabella, is of exceptional interest, for it is accompanied by an inscribed slab, evidently coeval with the shield itself, recording it to have been made in the year 1503, and by Jerónimo Suarez. This shield and slab were removed from a courtyard of the old Alhóndiga to Seville Museum, where they now remain. Of the two other shields, one belongs to Señor Osma, and the second, which is still at Seville, adorns the tomb of Don León Enriquez in the church of Santa Paula; and since it is unquestionable that all these cuerda seca shields, as well as quantities of cuerda seca tiles, were made at Seville, Gestoso prudently suggests that we should designate as “cuerda seca ware” that pottery which has hitherto passed as specially belonging to Puente del Arzobispo. In fact, towards the end of the fifteenth century this pottery is found extending northward from Seville to Toledo, and Señor Osma assures me that Toledo specimens are of a somewhat later manufacture than those which were produced at Seville. One of the rarest and most interesting cuerda seca plates in this gentleman's collection is reproduced herewith (lxviii.). No other plate of similar pattern is known to exist. Its date may be placed between 1480 and 1495, and it gives a curious illustration of the masculine headdress and headwear in the reign of Ferdinand and Isabella.
The pottery of Talavera de la Reina was at one time much esteemed. The earliest mention of it, says Riaño, occurs in 1560, in a manuscript history of this town, while another notice, dated 1576, says that here was produced “fine white glazed earthenware and other pottery, which supplied the country, part of Portugal, and India.” More explicit are the observations of Father Alonso de Ajofrín, who wrote, in 1651, a history of Talavera. He says that “her pottery is as good as that of Pisa, while quantities of azulejos are made here to adorn the front of altars, churches, gardens, alcoves, saloons, and bowers, and large and small specimens of every kind. Two hundred workmen work at eight separate kilns. Four other kilns produce the commoner kinds of ware. Red porous clay vessels and drinking-cups are baked in two other kilns in a thousand shapes to imitate birds and other creatures; also brinquiños for the use of ladies, so deliciously flavoured that after drinking the water they contained, they eat the cup in which it was brought them.”
LXVIII
DISH
(Andalusian non-lustred ware in the Cuerda seca style. A.D. 1480-1495. Osma Collection)
The following most interesting notice relating to this town is also quoted by Riaño: “The earthenware pottery made here has reached a great perfection; it is formed of white and red clay. Vases, cups, bucaros and brinquiños are made of different kinds, dishes and table centres, and imitations of snails, owls, dogs, and every kind of fruits, olives, and almonds. These objects are painted with great perfection, and the imitations of porcelain brought from the Portuguese Indies are most excellent. Everyone is surprised that in so small a town such excellent things should be made. The varnish used for the white pottery is made with tin and sand, and is now found to be more acceptable than coloured earthenware; so much so, that persons of importance who pass by this town, although they have in their houses dinner-services of silver, buy earthenware made at Talavera, on account of its excellence. The sand which was used to make the white varnish was brought from Hita, and is now found at Mejorada, near Talavera. This sand is as fine and soft as silk.
“The red pottery made at Talavera is much to be commended, for besides the great variety of objects, and the different medals which they place upon them, they have invented some small brinquiños of so small and delicate a kind, that the ladies wear them. Rosaries are also made of the same material. A certain scent is added in the manufacture of this pottery which excites the appetite and taste of the women, who eat the pottery so frequently that it gives great trouble to their confessors to check this custom.”
