[83] I have fully described these forgeries in Chapters II and III of Granada: Memories, Adventures, Studies, and Impressions.
[84] This lustre is faint but quite distinguishable, and Rada y Delgado was clearly in error in supposing that there is none.
[85] The lost jar mentioned by Owen Jones, of which a drawing has been made, was of the same shape as the one which now remains; but in its decoration were included the arms of the Nasrite dynasty of Granada. It is this circumstance which has induced Gómez Moreno to suppose that these vases were the work of Granadino artists.
[86] “Los nichos para chinelas,” as he calls them, in describing the Sala de Comares.
[87] J. R. Mélida, Jarrones arábigos de loza vidriada; published in the Boletín de la Sociedad Española de Excursionistas.
[88] Relación del viaje hecho por Felipe II. en 1585. Madrid, 1876.
[89] The village of Muel continued to be a centre of this craft. Townsend, who travelled in Spain in 1786 and 1787, wrote of it:—“There are many potters, who turn their own wheels, not by hand, but with their feet, by means of a larger wheel concentric with that on which they mould the clay, and nearly level with the floor.”
[90] No direct proof has been found that lustred ware was ever made at Seville; but a document copied by Gestoso, and which I have already mentioned (p. 152), records that the famous ollero of the time of Ferdinand and Isabella, named Fernan Martinez Guijarro, reserved a department (“tiendas del dorado”) of his premises for making or for storing lustred pottery.
[91] These, says Señor Osma, are doubtful in every case, and are only found on plates which bear the figure of a lion. Two plates in this gentleman's possession are thus marked
