Gestoso says that red was practically unknown among the Seville potters. Sometimes, however, in coats of arms, a space that should have properly been gules was left uncoloured in the actual making of the tile, and painted red with oil-colour after firing.
[77] Coloured plates of Catalan and other Spanish azulejos are published with García Llansó's text in the Historia General del Arte; Vol. II.
[78] Vol. iii., p. 56.
[79] Alafia is written in Neshki,
, which word, says Señor Osma, by suppressing the diacritical points and prolonging some of the lines, was converted by the potter into the conventional and exclusively decorative device:—
[80] “Sobre tot es la bellessa de la obra de manizes daurada é maestriuolment pintada que ja tot lo mon ha enamorat entāt que lo papa, é los cardenals é lo princeps del mon per special gracia la requeren é stan marauellats que d'terra se puxa fer obra axi excellent é noble.”
[81] Wallis, The Oriental Influence on Italian Ceramic Art. London; 1900.
[82] In lustred pottery these colours, and particularly blue, are far the commonest. It has been found that other colours, such as green and black, were ill adapted to the lustre process.