Maiolica Bust of Count Aranda f
Alcora ¡
Eighteenth Century i
(See No. .çó. page 74) E
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ÎSH MA I OLI G A
IN THE COLLECTION Or
rANIC SOCÎF/Î Y OF AMFRÍCA
BY
BOWIN ATLEE BARBER, PH.D.
he Pennsylvania Mnseum and School of Industrial Art
Philadelphia, Pa.
i^OGíETV Oí- AMERICA
WEST OF BR0..%1)WAY
VKW YORK, 1915
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SPANISH MAJOLICA
IN THE COLLECTION OF
THE HISPANIC SOCIETY OF AMERICA
BY
EDWIN ATLEE BARBER, PH.D.
Director of the Pennsylvania Museum and School of Industrial Art
Philadelphia, Pa.
THE HISPANIC SOCIETY OF AMERICA
I56TH STREET, WEST OF BROADWAY
NEW YORK, I9I5
Copyrigrht, 1915, by
The Hispanic Society of America
SPANISH MAJOLICA
 
SPANISH MAIOLIGA
Tin enameled pottery without metallic luster was
being fabricated at several places in Spain in the
fifteenth centur}^, and at the beginning of the sixteenth
the Italian influence began to make itself strongly
felt, especially in the tiles, or azulejos, which were
used to decorate the walls of religious structures.
The principal seats of manufacture were Seville and
its suburb Triana; Talavera, and Alcora.
"Seville was an early and important centre of
the potter's craft in Spain," writes Leonard Williams.*
"Her potteries were celebrated even with the Romans,
and probably have at no moment been inactive. Fifty,
established in the suburb of Triana, were mentioned
in the sixteenth century b}^ Pedro de Medina, and
documents which tell of many more have recently
been discovered by Gestoso. . . . The ware of
the Cartuja factory, which reached the zenith of its
fame towards the end of the eighteenth century, is
*77;^ Arts and Crafis of Older Spain.
[5]
considered by Jacquemart and other authorities to
rival with the Italian wares of Savona.
"Pottery made in other parts of the Peninsula —
particularly that of Talavera de la Reina — is known
to have been imitated by the Seville potters with
embarrassing perfection."
The same writer informs us that "The produc-
tion of azulejos in Spain may be traced to as far
back as the twelfth century. By far the most impor-
taut centre of the craft was Seville. Here, from the
twelfth until the fourteenth century, was made the
glazed and decorative tiling which consisted of small
pieces of monochrome earthenware — black, white,
green, blue, or yellow — cut one by one, and pieced
together in the manner of a true mosaic. This
process, says Gestoso, was lengthy, difficult, and dear.
. Towards the sixteenth century the Sevillano
potters discovered a simpler way of making effective
and artistic azulejos, which they called the euerda seca
process." These tiles were extensively produced at
Seville through the following centuries, and many of
them may be seen in the walls of the upper corridor
of this Museum.
The painted tile-work of Seville gained for her
a well-merited reputation during the latter part of
the sixteenth, and through the two following centu-
[6]
ries. Large quantities of these tiles and panels were
sent to Mexico, Peru and the West Indies and other
Spanish possessions to be used in the mural decora-
. tions of churches, convents and other structures.
♦ Talavera de la Reyna, in the province of Toledo,
:;a, a short distance to the southwest of Madrid, in cen-
M tral Spain, has been noted for its manufactures of
earthenware since the middle of the sixteenth century,
[i. Fr. Andres de Torrejon wrote in 1568 that the pot-
-
tery made at Talavera had then "reached to a great
f height of perfection; it is formed of white and red
j'j clay. Vases, cups, . . . dishes and table centres
qi .... are painted with great perfection, and the
f: imitations of porcelain brought from the Portuguese
T; Indies are most excellent. . . . The varnish used for
h
the white pottery is made with tin and sand.
■|i This sand is as fine and soft as silk."'^
fc Many other writers of the sixteenth, seventeenth
'f" and eighteenth centuries speak in high terms of the
§ enameled earthenware of Talavera. In 1651 eight
kilns were in operation there, employing two hundred
workmen. Oriental porcelain and Italian maiolica
^ were imitated to a large extent. The wares were
>■' two varieties, that decorated in blue on
/:
*Qiioted from a ms. (Bib. Nac. F. 142) by Séño-f Juan
Riaño m The Industrial Arts in
' Spain. ¡j ^
[7]
ground, and that painted in polychrome — manganese,
green, yellow, and blue. To the eighteenth century
belong those examples of the latter style which are
frequently found in collections. The influence of the
Italian maiolists reveals itself in the imitations of
albarellos, barrel-shaped jars and other objects of
Savona and Genoa painted in blue. Large, deep bowls
with paintings of animals, cavalcades, hunting scenes
and battles, in polychrome, after the Italian maiolica,
were abundant, some of the more important pieces
being in imitation of the works of celebrated artists,
notably Antonio Tempesta, a Florentine painter and
etcher who lived from 1555 to 1630.
An important fabrique of faience was established
at Alcora, in the eastern part of Spain, north of
Valencia, by Count Aranda in 1726. Señor Juan F.
Riano* has given us a very interesting account of
this establishment, which includes lists of articles
made there, covering a wide range of wares, flgures,
groups and other articles, in the last quarter of the
eighteenth century, and a list of directors, artists
and workmen connected with the factory from the
beginning until the end of the century.
The first products of the factory, which appeared
in 1727, were stanniferous potteries in the styles of
"^TJie Industrial Arts in Spain.
[8]
Chinese porcelain, Italian maiolica and Holland delft.
Writers in the eighteenth century bear testimony to
the excellence and variety of wares which came from
the Alcora kilns.
In 1750 the works were transferred to a private
company by Count Aranda, but he continued to take
a lively interest in the enterprise until his death, in
1798. About the middle of the century the manufac-
ture of porcelain was introduced. Soon after 1815
the production of artistic ware was abandoned, but
ordinary wares continued to be made until after the
middle of the nineteenth century.
Few writers on ceramic art have made a serious
study of pastes and glazes, relying entirely on the
superficial appearance of different wares, their forms
and peculiarities of decoration. For this reason many
of the attributions of the earlier writers, from whom
much of our knowledge has been obtained, are found
to be incorrect, and for lack of technical knowledge
some recent authors have fallen into the same errors.
Through familiarity with the processes practised by
different peoples at various times it is often possible
to discover the source of disputed wares and to reach
a logical conclusion with tolerable certainty.
In studying the ceramic collections of the His-
panic Museum, the writer has found numerous ex-
[9]
amples which have hitherto eluded all attempts at
classification. Through the careful examination and
comparison of their pastes, glazes and technical treat-
ment, it is believed that some of these problems have
now been solved. Certain processes are known to
have been employed in particular manufacturing cen-
tres, and examples of pottery which have hitnerto
been placed in the category of unidentified wares, or
attributed to a doubtful provenance, but which are
now found to possess the characteristics and peculi-
arities of known wares, in composition, glazing and
decorative treatment, are, in the light of present
knowledge, assignable to definite localities, if not to
particular fabriques.
It is believed by certain ceramic students that at
Puente del Arzobispo, near Toledo, a peculiar variety
of maiolica was being made previous to 1645, ^.t
which date eight kilns were in operation at that place.
While there has been some uncertainty as to the exact
provenance of this fabric. Baron M. J.-C. Davillier*
claimed to have seen a plate which was marked in full,
"Arzobispo," and on the strength of this discovery he
attributed all pieces of the same character to that fac-
tory.
^Histoire des Faiences Flispano-Morcsqiies.
[10]
Examples of this ware in the collection of Señor
Don G. J. de Osma, of Madrid, have been assigned
to the last quarter of the fifteenth century. Refer-
ring to plates of this character, Gestoso says ; "Their
decoration, betraying at a glance the Saracenic infln-
ence, consists of leaves and flowers, together with
animals of a more or less fantastic character: lions,
rabbits and birds. In other specimens the centre is
occupied by a heart, fleurs-de-lis, or other fancy
devices, or yet, in some few cases, with the head of
a man or woman. These central designs are sur-
rounded with leaves and flowers. The draughtsman-
ship upon these plates is of the rudest, and the process
of their colouring was as follows. The figures were
drawn upon the unfired surface in manganese ink
mixed with a greasy substance; and after this
the acjueous enamel or glaze was allowed to drop
from a hogshair brush into the spaces which the black
had outlined."''^ This was the method used in the
decoration of cuerda seca tiles.
A critical examination of this variety of ware
will show that, while it has been covered with stan-
niferous enamel ground, the polychrome decoration
has been executed in transparent glass glazes. The
*Quoted Iw Leonard Williams in The Arts and Crafts of
Older Spain.
[II]
presence of the latter in conjunction with tin enamel
is suggestive of a modification of Saracenic processes
by Persian or Egyptian influence. It is stated by
certain writers that some Persians settled in Spain
in the fifteenth century, among whom may have been
potters. •
The cnerda seca method of decoration, as exem-
plified in these plates, is identical with that by which
some of the tiles of Seville were produced, and be-
cause the latter are also ornamented with colored
glass glazes, it is probable that the plates and certain
of these tiles may have possessed a common origin.
In support of this supposition Williams remarks that,
"as cjuantities of cuerda seca tiles were made at
Seville, Gestoso* prudently suggests that we should
designate as 'cnerda seca ware' that pottery which has
hitherto passed as specially belonging to Puente del
Arzobispo." This modification of the formerly ac-
cepted attribution of Davillier would indicate the
belief that these plates are probably of Seville origin.
Edwin AtLee Barber
*Señor José Gestoso y Pérez.
[12]
CATALOGUE OF
SPANISH MAJOLICA
1. PLATE
Diameter, 13 inches
Heraldic device in blue in centre, beneath
which is an inscription, "P, PDo^ Matheo D
, el-
rea." Surrounding central device and around
edge a border design of large blue dots.
Talavera, eighteenth century.
Presented by Mrs. Robert W. de Forest.
2. PLATE
Diameter, 1334 inches.
Central design of birds and flowers rudely
painted in blue. Around the marly six panels,
each enclosing a flower and fern-leaf pattern.
Talavera, eighteenth century.
Presented by Mrs. Robert W. de Forest. Plate I
3. PLATE
Diameter, 1134 inches.
Central heraldic design surrounded by rude
leaf-work in blue.
Talavera, early eighteenth century.
Presented by Mrs. Robert W. de Forest.
[13]
4. TAZZA
Diameter, lo inches.
Birds and flowers painted in heavy dark
blue.
Talavera, eighteenth century.
Presented by Mrs. Robert W. de Forest. Plate II
5. PLATE
Diameter, 8^ inches.
Heraldic design in blue in centre. Around
the border an inscription, "D. Diego de Ledesma
Nunez de Prado."
Triana, or Seville, eighteenth century. Plate HI
6. ALBARELLO, OR PHARMACY JAR
Height, 8 inches.
Double-beaded crowned eagle of the Aus-
trian dynasty, in blue. Blank label below for
the insertion of the name of a drug.
Talavera, eigbteentb century.
Presented by Mrs. Robert W. de Forest.
7. ALBARELLO
Height, inches.
Decorated with heraldic shield in dark blue
— arms of Castile-Leon.
Seville, or Triana, eigbteentb century.
The Seville (Triana) ware has a heavier
and more creamy enamel and is painted in a
darker and better blue and with a heavier brush
[14]
Plate I
2. Plate
Talavera
Eighteenth Century
 
Plate II
É
 
:/
Plate III
 
than that of Talavera. It has a whiter body, not
so pink as that of Talavera, and the bases of
albarelli are usually quite flat, or with slight
instead of pronounced basal rims. Plate IV
8. ALBARELLO
Height, 6 inches.
With heraldic shield in blue — a lion ram-
pant.
Seville, eighteenth century. Plate V
9. ALBARELLO
Height, 5^ inches.
Double-headed crowned eagle of the House
of Austria, in blue. In label beneath, "P. Diat-
rium Sant."
Talavera, eighteenth century. Plate V
10. ALBARELLO
Height, inches.
Cartouche in front with rococo frame
painted in blue.
Talavera, eighteenth century.
11. ALBARELLO
Height, 9 inches.
Heraldic device painted in blue — a shield
enclosing a rayed circle bearing the inscription
"Charitas" in black.
Seville, or Triana, eighteenth century.
[21]
12. ALBARELLO
Height, ii 13/16 inches.
Heraldic shield painted in bine. At bottom
a blank label surrounded by rococo frame, for
name of a drug.
Talavera, eighteenth century. Plate VI
13. ALBARELLO
Height, 10% inches.
Armorial device in blue.
Talavera, eighteenth century. Plate VH
14. ALBARELLO
Height, 9^ inches.
Painted in blue with figures of men, and
houses, covering the entire surface. At top and
bottom a border design composed of lozenge and
elliptical-shaped figures with dots inside and
between.
Seville, eighteenth century. Plate VH
15. ALBARELLO
Height, 7^ inches.
Decorated in blue with figure of lion ram-
pant, beneath which is a label containing the
inscription, "G, Et, R, Mirr."
Seville, eighteenth century. Plate IV
[22]
 
 
Plate V
 
Plate VI
 
i
Plate VII
oí u
< rs
 
16. ALBARELLO
Height, 754 inches.
Heraldic device in front painted in blue — a
lion rampant.
Seville, or Triana, eighteenth century.
17. ALBARELLO
Height, 954 inches.
Decorated with shield bearing the letters
IKS and cross, in blue.
Seville, eighteenth century.
18. ALBARELLO
Height, 8ys inches.
Embellished with the double-headed eagle of
the Austrian dynasty, crowned, with monogram
A M on breast, painted in blue.
Seville, or Triana, eighteenth century.
19. ALBARELLO
Height, 954 inches.
Heraldic design in blue. At bottom a label
bearing the inscription, "Pum. Gom."
Seville, eighteenth century.
20. ALBARELLO
Height, 12 inches.
Decorated with two coats of arms in colors,
between which runs diagonally a label bearing
[31]
"
the inscription, Mixae." Ground mottled in blue
with yellow spots.
Talavera, eighteenth century. P late VI
21. ALBARELLO
Height, qG inches.
Covered with a conventional floral design in
blue and dull red. y\t top the inscription, "G.
Euphorbi." - • •
' •
-
Alcora, early eighteenth century.,
22. DISH
Length, loG inches.
Convexly lobed sides.- Painted with fruits
and flowers, in colors. . Inscribed, ''D, FavstiO',
Agvado." .
Alcora, early nineteenth, century. ,
Presented by Mrs. Robert W. de Forest.'
23. CUP
Tall shape, without handle. Decorated with
landscapes in colors.
Alcora (?), eighteenth century.
Presented by Mrs. Robert W. de Forest.
24. CUP
Tall shape, without handle. Decorated with
scrolled design in'blue.
Talavera, early nineteenth century. _ G
'
Presented by Mrs. Robert Wi dé Forest;'-
[32]
 
 
Plate IX
34, 36. Incense Burners
Talavera
Eighteenth Century
 
25. BENITIER
Height, 13^ inches.
In blue and dull red glaze.
Seville, nineteenth century.
26. BENITIER
Height, 13^ inches.
Modeled alcove with pillars supported by
cherubs and human figures, in blue, yellow, green,
and brown.
Seville, nineteenth century.
27. BENITIER
Height, 11^ inches.
Relief figures representing the Crucifixion
and the two Marys, colored green and dark blue.
Seville, nineteenth century.
28. BENITIER
Height, 954 inches.
Head of the Virgin in relief, in blue and
white.
Seville, nineteenth century.
29. BENITIER
Height, 10^2 inches.
Figures of the Virgin and Child in relief.
Cup-shaped receptacle. Decorated in blue.
Seville, nineteenth century.
[37]
30. TAZZA
Diameter, lo^ inches.
Quartered design in blue.
Talavera, seventeenth century.
31. ALBARELLO
Height, 7^ inches.
Arched panel in front with blue floral frame,
enclosing the figure of a stag in brown and yel-
low. Heavy, lustrous enamel.
Seville, or Triana, early eighteenth century.
Plate VIII
32. ALBARELLO
Height, 7^ inches.
Arched panel with blue floral frame in front,
enclosing the figure of a fawn in brown and yel-
low. Heavy, lustrous enamel.
Seville, or Triana, early eighteenth century.
Plate VIH
33. ALBARELLO
Height, 7^ inches.
Painted with figures of birds and trees in
yellow, green, and purple.
Talavera, eighteenth century.
34,35. INCENSE BURNERS (Pair)
Height, inches. Length, 7 inches.
In form of a lion with open mouth, and
socket at the top of the head. Decorated in blue,
yellow, orange, and brown.
Talavera, eighteenth century. Plate IX
[38]
Plate X
37- Deep Bowl
Talavera
Eighteenth Century
 
Plate XT
38. Bowl
Talavera
Eighteenth Century
\
A
 
36. INCENSE BURNER
Height, 6^ inches. Length, 5^ inches.
Same form as preceding, with blue, dull red
and brown mane and lemon-colored body.
Talavera, eighteenth century. Plate IX
37. DEEP BOWL
Diameter, I2j4 inches. Height, 61/2 inches.
Central armorial design in green, yellow,
and brown, inscribed "Biba Jesus ." Ground
diapered with sprigs and leaves. Outside deco-
rated with broad, waving bands of green and
yellow with leaf sprigs between.
Talavera, eighteenth century.
Presented by Mrs. Robert W. de Forest.
Plate X
38. BOWL
Diameter, 13G inches. Height, 6% inches.
Central design of man on horseback, with
a tree forming the border at each side, painted
in green, yellow, and purple. Outside decorated
with a running design of foliage and figures of
a hare, a fox and a bird.
Talavera, eighteenth century. Plate XI
39. BOWL
Diameter, 11^ inches. Pleight, 6^4 inches.
Interior decorated with figure of a dog, with
a tree on each side, in green, yellow, and purple.
Outside decoration conventional trees and foliage.
Talavera, eighteenth century. Plate XH
[43]
40. JAR
Height, 215^ inches.
Globular form, cylindrical neck. Figure
scenes painted in green, yellow, and purple. On
one side two men with a horse led by a boy. On
the reverse a woman seated on a bed, conversing
with another woman, a young man and an older
man with long beard and eyeglasses. Around
the neck smaller figure scenes. Handles modeled
in the form of a man with arms raised over
head, and naked body terminating in a large leaf-
shaped antefix. Surmounted by cover with large
ball finial.
Talavera, eighteenth century. Plate XIII
41. jar
Height, 23}i inches.
Inverted pear shape, long cylindrical neck.
Decorated with hunting scene — an archer draw-
ing a bow on a stag standing beneath trees. On
reverse, a boldly painted design of dragons amid
flames and clouds. The coloring is blue, green,
purple, orange, and brown.
Talavera, eighteenth century. Plate XIV
42. BOWL
Diameter, 2oJ4 inches. Height, g%. inches.
Inside decoration probably painted after
Tempesta, an Italian artist of the early seven-
[44]
Plate XII
39. Bowl
Talavera
Eighteenth Century
 
M.
Plate XIII
40. Covered Jar
Talavera
Eighteenth Century
î
i
 
I
j
Í
Plate XIV
Í
41. Jar
Talavera
Eighteenth Century
É
 
Plate XV
42. Large Bowl
Talavera
Eighteenth Century
 
teenth century, in the prevailing colors of this
variety of Talavera maiolica — green, yellow,
orange, brown, and purple, touched with pale
blue. A mounted knight carrying a spear is
leading three bulls, while a second horseman
follows, surrounded by a handsome rococo bor-
der in light blue. Exterior decoration consists
of a stag and a dog, repeated, separated by
spreading trees.
Talavera, eighteenth century.
Presented by Señor Joaquin Sorolla. Plate XV
43- EWER
Height, 8j4 inches.
Oinochoe shape, with twisted handle. In
front an irregular medallion framed in rococo
style in red and yellow, enclosing the inscription :
"Cofradia
Sacrament
Es Sebas,
El Madrid
A. E 1760"
The frame is supported on each side by a green
and a dull red flag. At sides are trees in blue.
Around neck the following inscription ;
"Señor Pedro Angita."
Talavera, date, 1760. Plate XVI
[53J
44. APOTHECARY'S MORTAR
Height, 8}4 inches.
Inverted truncated cone shape with heavy
cylindrical miglazed base for standing in a socket.
Three loop handles at sides and back and small
lip in front. Decorated with converging lines in
green, with brown dashes filling up the spaces.
Made of very heavy, coarse red clay, covered
with stanniferous enamel.
Morocco, eighteenth century. Plate XVH
45. APOTHECARY'S MORTAR
Height, 6^ inches.
Similar in form and decoration to preceding.
46: BOWL, OR SCODELLA
Diameter, 7^4 inches.
With deep, hemispherical cavetto, broad
marly and turned-up edge, standing on foot.
Decorated in six panels, alternately green trian-
guiar and manganese purple briquette designs, on
a heavy white tin enamel.
Morocco, early nineteenth century. Plate XVHI
47. BOWL, OR SCODELLA
Diameter, inches.
Similar in shape to preceding. Decorated
with rude figure of bird painted in green, in
[54]
1
Plate XVI
43. Ewer
.
Talavera
1760
 
 
 
 
 
 
 
centre, siirronnded by green and manganese lines,
in thick white enamel.
Morocco, nineteenth century. Plate XIX
(Fragments of similar dishes have been
found on the site of a fabrique in a suburb of
Algiers.*)
48. BOWL
Diameter, g54 inches.
Figure of rabbit, or hare, painted in centre
in black. Border design of arches containing
starred and rayed diapering. The glaze, which
was applied over a thin coating of white slip,
has been almost entirely worn away, but where
traces remain it appears to be lead.
Probably Seville, of the fifteenth century.
Plate XX
49. PLATE
Diameter, 8% inches.
Decoration of a hare covered with light
brown glass glaze surrounded by leaf designs in
blue, green, and brown glass glaze, on a white
stanniferous ground, in cuerda seca style.
So-called Puente del Arzobispo.
Probably Seville, fifteenth century. Plate XXI
*Vide Hispano-Morcsque Ware of the XV. Century, by Van
cle Put, Edition 1911. Footnote 3, page 3.
[63]
so. PLAQUE
Diameter, 15^ inches.
Same technique; central design of a wyvern
(a winged monster with dragon's head and long
nowed tail). Glass glaze colors — blue, green,
and brown — superimposed on a white tin-enam-
eled ground.
So-called Puente del Arzobispo.
Probably Seville, late fifteenth or early sixteenth
century. Plate XXII
51. PLAQUE
Diameter, 15^ inches.
Similar technique ; central design of a harpy
(a bird with a woman's head and body). Glass
glaze colors — blue, green, and light brown —
superimposed on a white tin-enameled ground.
So-called Puente del Arzobispo.
Probably Seville, late fifteenth or early sixteenth
century. Plate XXIII
52. EINIAL (Gate Post)
Height, 2114 inches.
Form .—Acorn shape.
Design .—Upper half divided into vertical
bands covered with yellow, brown, and green
glass glaze, separated by narrow bands of white
tin enamel. Lower section similarly decorated;
central band embellished with leaf-shaped orna-
[64]
 
 
 
 
Plate XXII
50. Plaque
So-Called Puente,!!^! Arzobispo Ware
Late Fifteenth Century
 
Plate XXIII
51. Plaque
So-Called Puente\del Arzobispo W.are
, (
Fifteeiitli Century - V
^
y ^
i
 
ments covered with green, yellow, and brown
glass glaze on white tin enamel. This example
belongs with the so-called Puente del Arzobispo
ware, the decoration being in the cuerda seca
style.
Probably Seville, eighteenth century. Plate XXIV
53. FINIAL
A companion to preceding, with slightly
varying design.
54. VASE
Height, 15^ inches.
Diameter of mouth, inches.
At equal distances around the body are
three shields in green, bearing crudely executed
arms. Space between filled with bryony-leaf
pattern in brown. Below is a broad, boldly
painted palmated band reserved in white on a
brown ground. At bottom a scroll band in
brown. Coarse red clay.
Seville (?), eighteenth century.
55. dish
Diameter, 1334 inches.
Form .—Curved cavetto, marly slightly
sloping upward.
Design.—Decoration in brick red and blue
on a very hard, speckled, muddy white enamel.
[73]
In centre a bird of paradise surrounded by floral
and curled leaf, or plume-like ornaments, in
cavetto and springing from four points on the
marly.
Spanish, early eighteenth century. Plate XXV
56. PORTRAIT BUST
Height, 2814 inches.
Diameter at base, 14 inches.
Count Aranda, founder of the factory at
Alcora. The head and queued peruke are in
white enamel. The outer robe, draped over the
left shoulder, is dark yellowish brown, with lining
representing ermine. Beneath the robe is a corse-
let enameled in dark blue, with engraved bor-
dering. The sleeves of the shirt beneath are
turquoise blue, trimmed with orange. Around
the neck is a white neck-cloth, and falling from
the shoulders a chain composed of alternate rec-
tangular links, separated by knots. The model-
ing is of great excellence and is evidently the
work of a skilful artist. •
Alcora, eighteenth century. See Frontispiece.
57. JAR
Height, 22 inches.
Diameter of mouth, 9 inches.
Ovoid form; decoration, in pale blue on a
white stanniferous ground, consisting of two
[74]
 
 
 
 
Plate XXVI
57. Jar
Probably Toledo
Seventeenth Century
 
horizontal zones containing paintings of birds
and plants arranged alternately in six rectangii-
lar panels. At base a narrow band of scroll-
work. The treatment shows the influence of the
Genoa and Savona potters of Italy, some of
whom went to Spain in the seventeenth century.
The clay is coarse and of a light red color.
Probably Toledo, seventeenth century.
Plate XXVI
58. JAR
Height, 2814 inches.
Ovoid form ; the circumference divided into
bands, averaging two and a half inches in width,
by pronounced ridges running diagonally from
collar to base, between which are applied reliefs
of human figures, masks, shields with lions
rampant, castles, fleur-de-lis, shrines, detached
rosettes, and other rosettes enclosed in triangular
ornaments. A circle of bosses extends around
the shoulder.
Coarse reddish clay, covered with a bright
green glass glaze, showing Eastern influence.
Probably Seville, early sixteenth century.
Plate XXVII
59. BAPTISMAL FONT, or PILA
Diameter, 36 inches.
Octagonal, bowl shape, with conical base.
The rectangular panels are fifteen inches in height
and are embellished with reliefs of shields bear-
[81]
ing the initials I H S and an impressed human
hand at each lower corner, alternating with other
panels containing crosses in relief with a rosette
at each side. On the sides of the projecting cor-
nice at the top, which is three inches in height,
are deeply sunken decorations — a meander de-
sign above the crosses and Arabic strap-work
over the shields. At the four angles of each
panel is an impressed human eye. On the upper
edge or top of the cornice, at each of the angles,
is a human right hand impressed,"^ while at the
inner edge behind the angles are similar hands
with palms facing outward between two human
eyes.
The surface of the font is covered with a
white tin enamel, the reliefs being colored deep
green.
The font was originally elevated on a cylin-
drical stem or pedestal, but this has disappeared,
leaving an irregular hole in the bottom, where
the support was broken away.
Seville, or Triana, fifteenth century.
Plate XXVIII
^Leonard Williams describes an early tinaja from Seville
which is stamped with symbolic hands, "such as we see upon the
Gate of Justice of the Alhambra."
[82]
Plate XXVII
58. Jar with Green Glaze
Seville
Early Sixteenth Century
 
PXATE XXVIII
 
GLAZED AND ENAMELED TILES
Six distinct processes were employed in the
embellishment of tiles by the Spanish potters :
1. Mo'Ulded O'R Stamped, the design being pro-
duced by means of moulds, the reliefs being either
colored in a different glaze or in the same color as
the ground. This style of tile appeared at an early
date and may belong to the latter part of the thir-
teenth century.
2. The Mosaic, which consisted of placing
together, to form regular designs, small pieces of
glazed monochrome tiles of various colors — black,
white, blue, green, and yellow — which had been cut
into desired forms. This process was in vogue from
the twelfth until the fourteenth century.*
3. The Cuerda Sega, which is thus described
by Williams ;
"Towards the sixteenth century the Sevillano
potters discovered a simpler way of making effective
and artistic Azulejos, which they called the cnerda
seca process. This novel method consisted in pressing
a wood or metal mould upon the unbaked tile, in such
a manner that the outline of the pattern remained in
slight relief. This outline was next brushed over
with a mixture of manganese and grease, which turns,
*Riaño believed that it was only in the province of Andalusia
that the art of cutting tiles into mosaic patterns was known.
[87]
in baking, very nearly black. The body of the pattern
was then filled in with the various colours, which the
greasy line completely separated, and thus prepared,
the tile was rendered permanent by firing."
The effect of this treatment was that of a mosaic,
formed of variously colored glazes, or enamels, con-
fined within the dark manganese lines, and appearing
slightly in relief. The usual patterns were of a geo-
metrical character, often representing bands of inter-
lacing strap-work, between which the unglazed clay
could often be distinctly seen. This method was in
use from the latter part of the fifteenth century until
about the middle of the sixteenth.
4. The Cuenca, which consisted in stamping
the entire surface with an intaglio, or champlevé pat-
tern, in which the outlines are in relief. A peculi-
arity of this variety of tile-work is the use of colored
glass glazes to fill the sunken parts, which are sur-
rounded by a tin-enameled background. These tiles
were produced extensively at Seville in the sixteenth
and seventeenth centuries.
5. The Pisano, or painted, which derives its
name from Francesco Niculoso Pisano, an Italian
artist who went to Seville about 1500 and introduced
the art there. Tiles or tile-work of this variety pos-
sess a plain flat surface with painted decorations on
white or monochrome enamel in the Italian manner.
This style of decoration continued to be popular until
the eighteenth century.
[88]
6. The Inlaid, the design being stamped in the
clay, or left flush with the surface, the background
being cut away; the depressed parts were then filled
with white slip and the surface covered with lead
glaze.
Señor José Gestoso y Pérez has treated the tiles
of Spain very thoroughly in his Historia de los Barros
Vidriados Sevillanos.
60. TILE
Dimensions, x 3^ inches.
Lozenge form, containing a shield bearing
an eagle stamped in relief and colored blackish
purple, with dark yellow or caramel glaze. Light-
red clay.
From the church of Santa Marina, Seville.
Presented by Señor G. J. de Osma, of Madrid.
Gestoso attributes these tiles to the thirteenth
century. Plate XXIX
61. TILE
Dimensions, 2>Y x iY inches.
Lozenge form, with shield enclosing a three-
towered castle stamped in relief and tinted with
an amber yellow, or honey-colored, glaze. Light
red clay.
From the church of Santa Marina, Seville.
Presented by Señor G. J. de Osma, of Madrid.
Gestoso attributes these tiles to the thirteenth
century. Plate XXIX
[89]
62. TILES (8)
Sizes, from to 3^ inches.
Cut into various forms, pentagonal, elon-
gated hexagonal, castle shape, lozenge and five-
pointed star (with one larger point).
Monochrome enamels — blue, green, tur-
quoise, brown, and white.
Mosaic cut tiles of the latter part of the thirteenth
century.
From Del Palacio de los Alixaver, Granada.
Presented by Señor D. Juan Riaño. Plate XXX
63. PANEL
Dimensions, 10 x 14^ inches.
Mosaic composed of small pieces of tiles cut
into various shapes — eight-pointed stars, hexag-
onal, spear-head, ribbon, etc. — enameled in
white, brown, black, green, blue, and fitted to-
gether in a strap-work design.
Seville, thirteenth century.
Presented by Mr. F. Hopkinson Smith.
Plate XXXI
64. TILE
Dimensions, 6^ x 6^ inches.
Decoration of strap-work in two squares
arranged as an eight-pointed (Moslem) star,
enclosing the rude figure of a bear, in turquoise
enamel, and blue, green, amber, and black glazes,
[90]
Plate XXIX
60, 61. Stamped Tiles
Seville
Thirteenth Century
67. Cuenca Tile
Seville
Dated 1543
 
Plate XXX
62. Mosaic Cut Tiles
Province of Andalusia (?)
Thirteenth Century
 
Plate XXXI
63. Mosaic Tile Work
Seville
Thirteenth Century
 
resembling in appearance inlaid or mosaic work,
but decorated by the cuerda seca process. Fawn-
colored clay.
Seville, seventeenth century.
65. PANEL
Dimensions, lopi x ioj4 inches.
Cuerda seca style. Four tiles forming a
continuous geometrical pattern. Design, eight-
pointed stars in white, enclosed in dark-brown
stars, surrounded by strap-work. The colors are
brown, yellow, blue, green, and white — the
exact colors of the genuine mosaics.
Seville, sixteenth century. Plate XXXII
66. PANEL
Dimensions, 10 x 10 inches.
Cuerda seca style. Mosaic design composed
of four tiles forming triangular-shaped sections
arranged to represent six-pointed stars. Colors,
honey 3^ellow, black, blue, green, and white.
Seville, sixteenth century.
67. TILE
Dimensions, 33^ x 3^ inches.
Diagonal label enclosing the date 1543.
Ornament above and below. Intaglio (cuenca)
treatment filled in with brown and blue glazes
on a stanniferous white ground. Light red clay.
Seville, sixteenth century. Plate XXIX
[97]
68. TILE
Dimensions, 3 x 5J4 inches.
Intaglio (cuenca) decoration of conventional
plant form filled with green, brown, and blue
glazes on stanniferous white ground. Taken
from the San Nicolas church in Santo Domingo
City, Republic of Santo Domingo, West Indies,
built in 1509. Coarse-grained pink and white
clay.
Seville, early sixteenth century.
69. TILE
Dimensions, G x 6 inches.
Intaglio (cuenca) decoration. A shield bear-
ing the inscription, "Ave Maria Gracia Plea,"
the arms of Garcilaso de la Vega, surrounded by
looped border design in light blue. Filled with
brown, blue, and green glazes on a stanniferous
white ground. Pale reddish clay.
Seville, seventeenth century.
70. TILE
Dimensions, 6^ x 634 inches.
Relief decoration of conventional plant
design, covered with brown, blue, and green
glazes, surrounded by a stanniferous white
ground. Light red clay.
Seville, seventeenth century.
[98]
i
Plate XXXII
I
•a
r
I
Cuerda Seca Tile Panei.s
Imitating Mosaic Work
Sixteenth Century
 
71. TILE
Dimensions, 3^ x 5^ inches.
Arms, in white stanniferous enamel and
brown glazes, in relief, on a green enameled
ground. Cuenca style. Fawn-colored clay.
Seville, sixteenth century. Plate XLIV
72. PANEL
Dimensions, 3 x 37 inches.
Cuenca style. Composed of seven pieces.
Border design of strap-work in the usual cuenca
colors.
Seville, seventeenth century.
73- PANEL
Dimensions, 10x10 inches.
Cuerda seca style. Mosaic design, composed
of eight-pointed stars, surrounded by white strap-
work in cruciform figures; colors as in preced-
ing.
Seville, sixteenth centiiry.
74- PANEL
Dimensions, 95^x45^4 inches.
Cuerda seca style. Mosaic pattern, composed
of twenty 4i^-inch tiles, with continuous design
of strap-work in radiating pattern, formed by
sections of varying design, in the same colors as
preceding.
Seville, sixteenth century. Plate XXXIII
[lOi]
75. PANEL
Dimensions, 9^ x 45^ inches.
Cuerda seca style. Mosaic pattern, similar
to preceding, consisting of twenty 4>d-inch tiles
with continuous strap-work design forming five
large twelve-pointed stars; colors as in preced-
ing.
Seville, sixteenth century. Plate XXXIII
76. PANEL
Dimensions, 10^2 x 10^ inches.
Cuerda seca style. Composed of four tiles,
showing a strap-work pattern enclosing small
eight-sided, crown-shaped and elongated hexag-
onal figures forming a central star in blue, green,
dark brown, and honey yellow glazes.
Seville, sixteenth century. Plate XXXII
77. PANEL
Dimensions, iol4 ^ ioj4 inches.
Cuerda seca style. Composed of four tiles,
forming a strap-work design enclosing small
eight-pointed stars in colored glazes, each one
containing a smaller star in the centre. Colors
of glazes similar to the preceding.
Seville, sixteenth century. Plate XXXII
78. PANEL
Dimensions, ioj4 x ioj4 inches.
Cuerda seca style. Composed of four tiles,
each one with a blue eight-pointed star enclosing
[102]
 
 
a smaller white star in centre, surrounded by
small pentagonal figures. Glazes similar in col-
oring to preceding.
Seville, sixteenth century.
79. PANEL
Dimensions, loG x io% inches.
Cuerda seca style. Composed of four tiles,
forming together a circle in blue divided into
sections by strap-work and surrounded by a ring
of irregular stars in brown. Similar in coloring
to preceding.
From La Casa de los Azulejos, Carmona.
Seville, sixteenth century. Plate XXXII
80. PANEL
Dimensions, g^xii inches.
Cuenca style. Composed of two long tiles.
Design consisting of a circle enclosing a rosette
with leaf-shaped petals. Encircling this is a band
of tulip-like motives from which spring flame-
shaped motives, enclosed in an outer lozenge-
shaped square. The corners are occupied by floral
ornaments. Decoration in blue and luster with
greenish, violet, and golden reflections.
Seville, sixteenth century.
From Iglesia de Santiago, Carmona.
Coated with white slip and glazed with lead.
Cestoso figures a tile of this pattern.
[105]
81. PANEL
Dimensions, lo^ x ii inches.
Cuenca style. Composed of two long tiles.
The pattern consists of a circular wreath of
pointed leaves in blue, enclosing a quartered
design of leaf-like appearance in blue, and low-
toned brownish luster.
Seville, sixteenth century.
From Iglesia de San Felipe, Carmona.
Coated with white slip and glazed with lead.
82. PANEL
Dimensions, 22 x 22 inches.
Cuenca style. Design consists of nine 5^-
inch tiles, each decorated with a four-pointed
figure, formed by intertwined circles, separated by
four leaf-like motives. The coloring is blue, and
brown luster of low tone. Around the edges are
border tiles embellished with circles (resembling
the Tai-chi symbol of Chinese character).
Coated with white slip and glazed with lead.
Seville, sixteenth century. Plate XXXIV
83. PANEL
Dimensions, iij^xig^ inches.
Cuenca style. Design composed of eight
5-inch tiles, with running design, consisting of
quatrefoil figures, enclosing and surrounded by
[106]
Plate XXXIV
82. Cuenca Tile Panel
Blue Enamel and Luster
Sixteenth Century
i
■ I
 
conventional leaf forms in blue color and brown
luster of low tone.
Valencia, sixteenth century.
From Iglesia de Santiago, Carmona.
Coated with white slip and glazed with lead.
84. SHIELD
Dimensions, 9^4 ^ 10 inches.
Ciienca style. Composed of two horizontal
tiles. An undimidiated and dimidiated coat,
showing the union of the Bourbon and Castile-
Leon houses — three fleur-de-lis in reddish luster
of low tone on blue ground, impaling a triple-
towered castle, and lion rampant in brown on a
white field.
Seville, sixteenth century. Plate XXXV
85. SHIELD
Dimensions, 9^ x 10 inches.
Cuenca style. Composed of two tiles similar
to preceding. Arms. — A bendy shield, green
glaze and luster, parted per saltire, bearing in-
"
scription, Ave Maria Gracia Plena ." Luster
of reddish and greenish tint, of low tone.
Seville, sixteenth century. Plate XXXV
86. PANEL
Dimensions, 13G x 17 inches.
Brick-red clay coated with white slip on
which has been painted the archaic figure of a
[109]
bull, above which is a dog, both in black, the
background being filled with scroll-work in dark
red, which was added at a more recent period.
There is no trace of glazing.
87. PANEL
Dimensions, 14 x 14 inches.
Cuenca style. Composed of four square
7-inch tiles, decorated with strap-work arranged
in lozenge form, in which figures of small eight-
ix)inted stars form part of the design. In the
centre of each tile is a shield bearing in Arabic
the inscription "And no one is supreme except
Allah." At the points of junction of the tiles
the same design appears in separate circular tiles
which have been inserted. The colors are blue,
yellowish brown, and white.
Seville, sixteenth century. Plate XXXVl
88. PANEL
Dimensions, lo^i x 10^ inches.
Cuerda seca style. Composed of four tiles,
with conventional leaf-shaped figures separated
by strap-work; the colors of the glazes are blue,
green, dark brown, honey yellow, and white.
Seville, sixteenth century. Plate XXXVl I
[no]
p
Plate XXXV
H
< E 5
y qI c/î c
i
 
Plate XXXVI
87. Tile Panel with Arabic Inscription
Seville
Sixteenth Century
 
Plate XXXVII
88. Cuerda Seca Tile 99. Cuenca Tile
Sixteenth Century Seventeenth Century
142. Cuenca Tile
Sixteenth
f Century
 
89. PANEL
Dimensions, ii x ig^i inches.
Cuenca style. Similar in design, coloring
and luster to No. 80. Coated with white slip and
lead glazed.
From Inglesia de Santiago, Carmona.
Seville, sixteenth century.
90. PANEL
Dimensions, 9^4 ^ 10 inches.
Cuenca style. Similar in design, coloring
and luster to No. 80.
Seville, seventeenth century. Plate XXXVIII
91. PANEL
Dimensions, 10}^ x 31}^ inches.
Cuenca style. Composed of twelve tiles,
forming lozenge-shaped squares, enclosing ara-
besque ornamentation in blue and luster of low
tone.
Seville, sixteenth century. Plate XXXVIII
92. PANEL
Dimensions, 1034x31^ inches.
Cuenca style. Companion to preceding.
93. PANEL
Dimensions, 6%xg inches.
Cuenca style. Composed of three border
tiles with serrated and strap-work ornament in
colored glazes on white tin enamel ground.
Seville, seventeenth century.
[117]
94. PANEL
Dimensions, i 15^ inches.
Cuenca style. Composed of four tiles, with
strap-work design enclosing many-pointed tiles in
green and brown.
From El Transito, Toledo.
Seville, seventeenth century. Plate XXXIX
95. PANEL
Dimensions, 8^ x 91/2 inches.
Cuenca style. Composed of two long tiles.
Divided into lozenge-shaped panels, each enclos-
ing a quatrefoil leaf-shaped ornament, in blue
and green glazes.
Seville, seventeenth century.
96. PANEL
Dimensions, 9^ x 9^4 inches.
Cuenca style. Composed of four tiles with
cross-shaped design in strap-work, each enclosing
a small eight-pointed star. Colors blue, dark
brown, honey yellow, and white.
From Casa de los Azulejos, Carmona.
Seville, seventeenth century.
97. PANEL
Dimensions, 10 x 10 inches.
Cuenca style. Composed of four tiles with
plant-motive ornament arranged in cross form.
[118]
Plate XXXVIII
90 108
Cuenca Tile Panels
Blue Enamel and Luster
Sixteenth Century
 
Colors of glazes, dark brown, green, blue, and
light brown, on white ground.
From Torre de la Iglesia de Mairena.
Seville, seventeenth century. Plate XXXIX
g8. PANEL
Dimensions, ii}^xi2^ inches.
Cuenca style. Composed of four tiles, form-
ing a large central design of a many-rayed ro-
sette; in the four corners the same design quar-
tered. Glazed in the usual cuenca colors — dark
brown, green, and honey yellow, on stanniferous
white ground.
From El Transito, Toledo.
Seville, seventeenth century. Plate XXXIX
99. PANEL
Dimensions, 9G x 10 inches.
Cuenca style. Formed of two long tiles,
forming a circular design enclosing a leaf-shaped
ornament, surrounded by flame and spear points,
the whole enclosed in a square arranged in loz-
enge form. Glazes of the usual cuenca colors.
Seville, seventeenth century. Plate XXXVII
100. PANEL
Dimensions, 9^ x iol4 inches.
Cuenca style. Composed of two long tiles,
with circular wreath of laurel leaves enclosing
conventional leaf and plant ornaments.
Seville, seventeenth century.
[121]
101. PANEL
Dimensions, 7P2XI1J4 inches. j
Cuenca style. Composed of six tiles of i
various conventional and geometrical patterns. I
From El Transito, Toledo. i
Seville, seventeenth century. «gp.
102. PANEL
Dimensions, 13^ x 13^ inches.
Cuenca style. Composed of four tiles, form-
ing a central rosette in dark brown, surrounded
by spear-shaped ornaments in imitation of mosaic
work. The glazes are of the usual cuenca colors,
with the addition of manganese or mauve. j
From El Transito, Toledo. I
Seville, seventeenth century. i
103. PANEL '
Dimensions, ioj4 x 10% inches. |
Cuenca style. Composed of four tiles with
lozenge-shaped panels enclosing quatrefoil leaf-
shaped ornaments in the usual cuenca colors.
From Torre de la Iglesia de Mairena.
Seville, seventeenth century. Plate XXXTX ^
104. PANEL
Dimensions, iixiiJ54 inches.
Cuenca style. Composed of four tiles with i
strap-work and conventional leaf-shaped orna- 1
ments in the usual cuenca colors. "j
Seville, seventeenth century. i
[122] I
à
Plate XXXIX
98 103
Cuenca Tile Panels
Glass Glaze Colors
Seventeenth Century
 
105- PANEL
Dimensions, x lo^ inches.
Cuenca style. Composed of two long tiles,
forming a large circular band decorated with
yellow scroll-work on a blue ground. In the
centre, conventional leaf ornaments in green,
blue, and yellow.
Seville, seventeenth century. Plate XL
106. PANEL
Dimensions, ii x 12 inches.
Cuenca style. Composed of two long tiles,
forming a large octagon arranged with points at
top, bottom and sides, enclosing conventional
floral motives in the usual cuenca colors.
Seville, seventeenth century.
107. PANEL
Dimensions, ii%xiiyi inches.
Cuenca style. Companion to preceding, but
varying slightly in coloring.
Seville, seventeenth century.
108. PANEL
Dimensions, 10x10^ inches.
Cuenca style. Composed of two long tiles.
Design octagonal, decorated with bands of dots,
mosaic pattern, and an acanthus-leaf rosette in
centre. In corners fan-shaped ornaments. Blue
[125]
enamel and coppery luster of low tone. Tin
enameled.
Seville, sixteenth century. Plate XXXVIII
log. PANEL
Dimensions, 7 x 16^ inches.
Composed of three tiles. The central one
consists of small pieces cut into cross, eight-
pointed star and strap-work shapes and fitted
together as a mosaic. The colors of the glazes
are green, dark brown, and light brown. The
strap-work, enameled in white, is lined with pale
blue.
The two end tiles are of the cuenca style,
in geometrical designs, in the usual colors.
Seville, seventeenth century.
no. PANEL
Dimensions, 3^ x 15^ inches.
Cuenca style. Composed of four square
tiles, each decorated with a dog or a rabbit in
colored glazes on a white stanniferous ground.
Seville, seventeenth century. Plate XLI
.
iii. PANEL
Dimensions, ii^ x 11^ inches.
Cuenca style. Composed of four tiles. Sim-
ilar to No. 98 in coloring and design.
From El Transito, Toledo.
Seville, seventeenth century.
[126]
Plate XL
131 137
Cuenca Tile Panels
Glass Glaze Colors
Sixteenth and Seventeenth Centuries
 
 
 
112. PANEL
Dimensions, 11x22 inches.
Cuenca style. Composed of eight tiles.
Design of rosettes or star-shaped ornaments in
brown and in green, on white ground.
Seville, sixteenth century.
113. PANEL
Dimensions, inches.
Cuenca style. Composed of four tiles. In
centre a green rosette surrounded by star-shaped
ornaments in dark brown.
Seville, seventeenth century.
114. PANEL
Dimensions, 9^ x 10 inches.
Cuenca style. Composed of two long tiles,
forming a square design with arched sides, en-
closing a conventional plant design. Glazes in
the usual cuenca colors.
Seville, seventeenth century.
115. PANEL
Dimensions, 9G ^ iol4 inches.
Cuenca style. Composed of two long tiles,
forming a bold conventional leaf design in the
usual cuenca colors.
Seville, seventeenth century.
[131]
116. PANEL
Dimensions, lo}^ x 20^2 inches.
Cuenca style. Composed of four long tiles,
forming two octagonal figures, enclosing acan-
thus leaf design. Herring-bone border. Glazes
in the usual cuenca colors.
Seville, sixteenth century.
117. PANEL
Dimensions, 11 x 11 inches.
Cuenca style. Composed of four tiles;
checkerboard design, arranged in lozenge form,
in the usual cuenca colors.
Seville, seventeenth century.
118. PANEL
Dimensions, 10^4 x loG inches.
Cuenca style. Composed of four tiles with
quatrefoil designs in the usual cuenca colors.
Seville, seventeenth century.
119. PANEL
Dimensions, 11^2x23 inches.
Cuenca style. Composed of eight tiles, form-
ing two large, many-pointed stars in dark brown
with radiating strap-work in white. Circles of
pointed ornaments around the outside in green
and honey yellow glaze.
Seville, seventeenth century.
[132]
120. PANEL
Dimensions, 9^ x 10^ inches.
Cuenca style. Composed of two long tiles.
Similar to 114.
121. PANEL
Dimensions, 8^^ x gy^ inches.
Cuenca style. Composed of two long tiles.
Design, a large four-armed figure enclosing con-
ventional leaf ornament, in the usual cuenca
colors.
Seville, sixteenth century.
122. PANEL
Dimensions, ioj4 x 15^4 inches.
Cuenca style. Consisting of six tiles with
conventional designs in the usual cuenca colors.
Seville, sixteenth century.
123. PANEL
Dimensions, 9^ x 9^ inches.
Cuenca style. Composed of two long tiles.
Design, an eight-pointed star enclosing conven-
tional leaf ornament in the usual cuenca colors.
Seville, sixteenth century.
124. PANEL
Dimensions, gCi x 10^ inches.
Cuenca style. Composed of two long tiles.
Design, an oval with pointed sides, scroll-work
and leafage in the usual cuenca colors.
Seville, sixteenth century.
[133]
125- PANEL
Dimensions, x lo inches.
Cuenca style. Composed of two long tiles,
forming a four-lobed figure enclosing conven-
tional leaf ornaments, in the usual cuenca colors.
Seville, sixteenth century.
126. PANEL
Dimensions, 9^ x 10 inches.
Cuenca style. Composed of two long tiles.
Flower and leaf arabescjue design, in the usual
'
cuenca'colors. '
.
Seville, sixteenth century.
127. PANEL -
Dimensions, 9^ x 30H inches.
Cuenca style. Composed of six long tiles,
each decorated with a four-lobed oval enclosing
tulip-like designs, in the usual cuenca colors.
Seville, sixteenth century.
128. PANEL
Dimensions, 10 x 10 inches.
Cuenca style. Composed of two long tiles
of same design and coloring as preceding.
Plate XL
129. PANEL
Dimensions, 9^2 x 30^2 inches.
Cuenca style. Composed of six long tiles
of same design and coloring as preceding.
[134]
 
 
144- Painted Tile Panel
Talavera
Eighteenth Century
 
130. PANEL
Dimensions, 9^ x 25^ inches.
Cuenca style. Composed of five long tiles,
similar to No. 126.
131. PANEL
Dimensions, iixiiJ/2 inches.
Cuenca style. Composed of two long tiles,
forming a four-pointed and four-lobed star
enclosing conventional leaf ornament, in the usual
cuenca colors.
Seville, sixteenth century. Plate XL
132. PANEL
Dimensions, 9^ x 9^ inches.
Cuenca style. Formed of two long tiles,
decorated with conventional leaf pattern, in the
usual cuenca colors.
Seville, sixteenth century.
133. PANEL
Dimensions, 9^ x 10 inches.
Cuenca style. Composed of two long tiles,
forming a large four-lobed figure enclosing con-
ventional leaf motives, in the usual cuenca colors.
Seville, sixteenth century.
134. PANEL
Dimensions, 9^ x 18J/2 inches.
Cuenca style. Composed of four long tiles,
forming two large eight-pointed stars enclosing
[139]
and surrounded by leaf motives, in the usual
cuenca colors.
Seville, sixteenth century.
135- PANEL
Dimensions, lo^ x lo^ inches.
Cuenca style. Composed of two long tiles,
forming a four-lobed figure enclosing conven-
tional leaf design, in the usual cuenca colors.
Seville, sixteenth century.
136. PANEL
Dimensions, 10 x ioj4 inches.
Cuenca style. Composed of two long tiles,
forming a circular design enclosing leaf orna-
ments, with pear-shaped ornaments in the four
corners. Glazed in the usual cuenca colors.
Seville, sixteenth century.
137. PANEL
Dimensions, gG x 10 inches.
Cuenca style. Composed of two long tiles,
forming a large circular wreath enclosing pome-
granates, in the usual cuenca colors.
Seville, sixteenth century. Plate XL
138. PANEL
Dimensions, 10 x 15 inches.
Cuenca style. Composed of six square tiles,
enameled blue and white and forming a conven-
tional design of simple form.
Spanish, eighteenth century.
[140]
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PANEL
Dimensions, lox ioj^ inches.
Cuenca style. Composed of two long tiles,
forming a circular design enclosing a conven-
tional leaf ornament. At top and bottom a her-
ring-bone border design. Glazed in the usual
cuenca colors.
Seville, sixteenth century.
PANEL
Dimensions, x ioj4 inches.
Cuenca style. Composed of tw'o long tiles;
same design and coloring as No. 133.
TILE
Dimensions, s% ^ 5^ inches.
Cuenca style. Rosettes enclosed in octagons
with surrounding strap-work, in the usual cuenca
colors.
Toledo, sixteenth century.
TILE
Diameter, 6^ inches.
Cuenca style. Hexagonal form, enclosing
two triangles arranged as a six-pointed star, in
the usual colors.
Seville, sixteenth century. Plate XXXVII
[143]
143. tile
Dimensions, 4^x514 inches.
Cuenca style. Design, a shield of arms,
quartered: 1-4. an ox; 2-3, a cauldron over a
fire. Colors of glaze, blue, l^rown, green, and a
greenish yellow.
Seville, seventeenth century. Pl..\te XLII
144. PANEL
Dimensions, 13 x ló^i inches.
Painted tile. Arms of Leon and Castile in
blue in lozenge form. The four corners are deco-
rated with leaf designs.
Talavera, early eighteenth century. Plate XLIII
145. TILE
Dimensions, 4x4 inches.
Arabesque design in black glaze, the ground
having been cut away, possil)ly at one time hav-
ing been filled with an inlay of clay or glaze.
146. TILE
Dimensions, 5l4 x inches.
Geometrical design in white stanniferous
enamel and blue, green, and brown glazes. From
the church of Mercedes in Santo Domingo City,
l3uilt about 1530. Pale reddish clay.
Seville, sixteenth century.
[144]
t-
!
Plate XLV
.. 151. Painted Panel, Pisano Style
Í Seville
Eighteenth Century
t
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i
 
Plate XLVI
152. Painted Panel, Pisano Style
Seville
Eighteenth Century
 
1-17- tile
Dimensions, sH ^ SH inches.
Diagonally separated into two parts, one
dark bine, the other white stanniferous enamel.
From an old chnrch in Higney, Santo Domingo.
Pinkish clay.
Talavera, late seventeenth century.
148. BRICKS (Pair)
Length, 6)4 inches.
Width, 3 inches. Thickness, ip2 inches.
Designs, fleur-de-lis and three-towered castle,
inlaid with white clay in deep red clay and cov-
ered with yellowish lead glaze.
Old Spanish. Plate XLIV
149. PANEL
Dimensions, 23)4^24 inches.
Consisting of square tiles of various kinds,
principally of cuenca style. The central one with
head of warrior is painted in polychrome, and,
with two painted tiles at the bottom and one near
the upper left-hand corner, in compass design,
belongs to the eighteenth century.
150. PANEL
Dimensions, 5 x 32^4 inches.
Composed of three long tiles painted with
pagodas, figures of birds, a camel, trees and
[149]
flowers. Colors, blue, green, orange, yellow, and
manganese.
Talavera, eighteenth century. Plate XLI
151. PANEL
Dimensions, 22^/2 x inches.
Pisano style. Painted in colors on a flat
surface, in bine, green, yellow, orange and man-
gañese. In a circle in centre the figure of Santo
Idomingo, with book in right hand and cluster
of lilies in left. At top a seraph's head. At
each lower corner a seated dog holding a burn-
ing flambeau in his month.
Seville, early eighteenth century. Plate XLV
152. PANEL
Dimensions, 22^4 ^23^; inches.
Pisano style. A companion to preceding.
In centre a bishop with pastoral staff. The
figure is evidently intended to represent Albertns
Magnus (Albert the Great), a scholastic philos-
opher, who was a member of the Dominican
order in the thirteenth century, and Bishop of
Ratisbon (Bavaria) in 1260.
Seville, early eighteenth century. Plate XLVl
[150]
 
 
 
 
 
 
50. PLAQUE
Diameter, 15^ inches.
Same technique; central design of a wyvern
(a winged monster with dragon's head and long
nowed tail). Glass glaze colors — blue, green,
and brown — superimposed on a white tin-enam-
eled ground.
So-called Puente del Arzobispo.
Probably Seville, late fifteenth or early sixteenth
century. Plate XXII
51. PLAQUE
Diameter, 15J/2 inches.
Similar technique ; central design of a harpy
(a bird with a woman's head and body). Glass
glaze colors — blue, green, and light brown —
superimposed on a white tin-enameled ground.
So-called Puente del Arzobispo.
Probably Seville, late fifteenth or early sixteenth