Majorca was the next in importance as regards its ancient manufacture, but it must also have had a very extensive trade in fayence, for it was exported to almost every part of the globe. Giovanni de’ Bernardi da Uzzano, writing in 1442 about the productions of the Balearic Isles, says “the fayence of Majorca has a very extensive sale in Italy.”
Fig. 45.—Plateau.
As the keramic art in Spain declined, the Arabic inscriptions, which were perfect on the early vases like that of the Alhambra, were copied, but the painter, not knowing their signification, employed them as ornaments, until at last they became altogether confused and illegible. The arabesques were no longer in such elegant taste, and large coats of arms entirely filled the centres of vases and plates.
Valencia was also celebrated for its fayence, which may be traced back to Roman times, for Saguntum, now Murviedro, is mentioned by Pliny and others as noted for its jasper red pottery. It is impossible to discover the origin of the lustred pottery of Valencia, but it probably dates from the beginning of the 15th century, when it became the most important in Spain. The pieces attributed to this place have Christian devices; many of them bear the inscription, “In principio erat Verbum et Verbum erat apud Deum,” from the first chapter of St. John, and the eagle displayed (not in an escutcheon as in the arms of Aragon), for St. John was particularly venerated at Valencia. Of its earlier productions of the Moorish period nothing is known.
Fig. 46.—Plateau.
Fig. 47.—Dish.