stephani stephenson on wed 10 jan 07
majolica,maiolica,mallequa,Malaga( the mia forgetto Libretto!)
I am still rolling on the floor from the posts of Mr.
Beevers, Mr. Lewing and Ms. Luk,
this topic is like one of those party conversations,
Marta thank you thank you for the clarification on
Firenze / Faenza
my addled memory....
Marcia , that is so intereting what you say about the
ise of Majorca and why it was the import site.... what
think you of the following article? I know Malaga was
a site of lustreware production but always heard, as
you mentioned that the site of the transferrence from
Spain to Italy was Majorca...never knew if the ware
was produced in Majorca.
this is a fascinating story and there are so many
other chapters..it kind of boggles the mind .
Lee, i did a search on "obra de Mallequa"
...below is the text i got when i did the search.
it seems they open the possibility that the
geographical reference may be to malaga as opposed to
majorca. i am in no position to judge ..i am, like
most of us, a consumer of this info, which has now
travelled through centuries and contininents.
Do you have another source of this research? I ask
,because i must warn you that this info is from
those pinky tilting Brits at the Victoria and Albert
Museum site!
and also, warning, BOTH spellings (majolica and
maiolica) are used
http://www.vam.ac.uk/collections/ceramics/ceramics_AZ/ceramics_m/index.html
Ceramics - M is for Maiolica/majolica
The term 'maiolica' was used in 15th-century Italy for
lustrewares imported from Spain. It is usually said
that the name derives from Majorca, an island that
played an important part in this trade. But it has
recently been argued that the name derives from 'obra
de Mallequa', the term for lustred made in Valencia
under the influence of Moorish craftsmen from Malaga.
The name was soon adopted for Italian-made lustre
pottery copying Spanish examples, and during the 16th
century its meaning shifted to include all tin-glazed
earthenware.
In the late 18th and 19th centuries, Italian
Renaissance maiolica became increasingly popular among
collectors and museums in Britain. At first it was
referred to, romantically, as Raffaelle ware or Urbino
ware, but soon also with the anglicised term
'majolica'.
In the mid 19th century, the term 'majolica ware' was
also used by the Minton factory for their newly
introduced, painted tin-glazed earthenwares. But at
the Great Exhibition of 1851 Minton launched colourful
lead-glazed earthenwares in neo-Renaissance or
naturalistic forms called 'Palissy-ware'. Gradually
the title 'Palissy' was dropped and by the 1880s the
name 'majolica' was instead commonly used to describe
this popular colourful ware.
In the early 1870s, the curators of the South
Kensington Museum returned to the original Italian
'maiolica' with an 'i' to describe all Italian
tin-glazed earthenware, doubtless to stress the
Italian pronunciation and to avoid confusion with
contemporary majolica.
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Marcia Selsor on thu 11 jan 07
majolica,maiolica,mallequa,Malaga( the mia forgetto Libretto!)
Stephani,
I found Pisa to be a fascinating place because several churches
including the cathedral next to the leaning tower and the 11-12th c.
basilica S. Piero a Grau, 5 km out of town near the sea and where St.
Peter first set foot on Italian soil, have Majoilica Bowls inset into
friezes or borders as decorative architectural accents. I saw one
other at St. James in San Gimignano. Also in Pisa were more towers.
One, St. Michael's, was brick with lead green bowls.
It seems Pisa was a real naval force as its own city-state powerhouse
in the late middle ages. The majolica was booty. Later they produced
tin-glazed for a while. Nothing on the level as Deruta or Gubbia with
the historical detailed paintings.
Never the less, the idea of these precious pots decorating basilcas
like a string of pearls, was fascinating. Inside S. Piero were flat
bowl shaped (not real bowls) decorations with the portraits of all
the popes up to that time (11-12th cent.)
Marcia Selsor
http://marciaselsor.com
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