[10] A peculiarity of the Persian and allied blue glazes, of many shades, is that they appear to have been produced not by dissolving the colouring matter in the glaze, but by coating the white ground of the ware with a thin wash of some cobaltiferous substance—probably an earth containing varying proportions of cobalt, manganese and iron—and then melting a thick alkaline glaze over it.
[11] See Drury Fortnum, Archaeologia, vol. xlii.
[12] Specimens of Turkish and other Eastern wares exist with elaborate English silver mounts of the time of Elizabeth, and these were doubtless included under the name of “Damas Wares.”
[13] See Riaño, Spanish Arts, Victoria and Albert Museum Handbook, pp. 149-151; and Sobre la manera de fabricar la antigua loza dorado de Manises (1878).
[14] See examples in colour, Plate VI.
[15] There is ample documentary evidence to prove how largely the lustred pottery of Spain was imported into Italy from the 12th century onwards; and it is important to note in this connexion that almost all the fine examples of Hispano-Moresque in our modern collections have been obtained from the palaces of ancient Italian families.
[16] Piccolpasso, I tre libri dell’ arte del Vasajo, dated 1548. It has been several times translated both into modern Italian and French. The English reader will find an excellent abstract of this interesting MS. in the volumes on Majolica by Drury E. Fortnum.
[17] For a full account of the lustre process see Franchet, Comptes rendus for December 1905, and W. Burton, Society of Arts Journal, 2846, vol. lv., 1907.
[18] See Magne, Le Palais de Justice de Poitiers (Paris, 1904); also Solon in Burlington Magazine (November 1907).
[19] See B. Fillon, Les Faiences d’Oiron (1862).