A CRASH COURSE IN MAJOLICA

Majolica services grace princely tables, representative display buffets and are prized collectors‘ items in a so-called “Kunstkammer” (Curiosity Cabinet). Alongside coats of arms, portraits and grotesques, mythological, historical or biblical scenes are depicted, which serve as moral and ethical models of virtue in the Renaissance and are frequently based on graphical templates.

Originally developed in the attempt to imitate the universally admired Chinese porcelain with its painted cobalt blue decoration, potters in the Middle East devise a procedure in the 9th century in which vessels of light-coloured clay are coated with a milky tin glaze. A blue decor based on cobalt oxide is initially painted onto the raw glaze. After the second firing, the decoration appears in colour on a white background. This technique spreads around the Mediterranean Basin as far as Spain and via the trading hub of Mallorca to Italy, where these ceramics are given the name of “majolica”. Majolica is so coveted that even fragments of broken objects are not thrown away, but kept, and even find their way into museums.

In 16th century Venice, majolicas “alla porcellana” are made, with a decoration consisting of undulating pale blue tendril/wavy vine motifs, modelled on Chinese Ming porcelain and Iznik faiences. Another popular fashion is for metalically gleaming lustre ceramics from Spain, which need a third firing in their manufacture. This technology is adopted by various Italian manufactories as well. Over time, the colour range is expanded. This is achieved through the use of other metallic oxides such as copper (green), manganese (brown-purple) and antimony (yellow).

A particularly sophisticated refinement and a technical challenge is the so-called “bianco sopra bianco” decor (Italian for “white on white”), which is employed on the bowl and on other pieces in Isabella d’Este’s service. In this, ornaments (here vines and palmettos) are painted using a glaze with a very high tin oxide content. This makes the white decorative motifs stand out from the ivory-coloured or pale greyish-white undercoat.

In a 16th-century majolica workshop – at least this is known about the Fontana workshop in Urbino – up to eight workers are employed. The tasks are divided up among them: first the raw clay is prepared for the master potter, who then forms the shaped blanks, which are fired for the first time. Other assistants mix the glazes and dip the blanks in a glaze bath. Platters, plates and dishes are painted by the majolica painter working from graphic templates and then fired a second time so that the glaze and the paint fuse inseparably together. The colours are so protected by this chemical process that they have been preserved unfaded till the present day. The result is state-of-the-art technology at the cutting edge.

The following film excerpt gives a very good insight into the manufacturing process of a majolica. What you see here is the reproduction of the plate “Tiber and Manto” from Isabella d’Este’s service:

The technique of majolica production reaches a first peak of excellence in 16th century Italy with the so-called istoriato style, on which Nicola da Urbino had a formative influence.

Majolica experiences a golden age in Italy from 1400 to 1600, eventually establishing itself as a luxury item all over Europe. One of the most striking developments of Italian majolica is the style known as “istoriato painting” (Italian for istoria=a story), which becomes the predominant type of decoration from 1525/30 and embraces biblical, mythological and historical themes. The towns of  Urbino and Castel Durante, both in the Duchy of Urbino, are the two main production locations. There are only a very few workshops, all of them in the Duchy of Urbino, which specialize in this genre. Nicola da Urbino is a consummate master of this highly elaborate majolica painting. The scenic painting, often populated with many figures, now encompasses the entire visible surface of bowls and dishes. The themes are mostly taken from Greek and Roman mythology, the history of the Ancient World, but also from the Bible. Less frequent are scenes from literature or contemporary events.

Isabella d’Este’s service is a compendium of her humanistic culture. The episodes from history, mythology and the Bible depicted illustrate the moral values of a responsible ruler. There are also examples of cautionary tales, however. 

🔘: “You are so right! And the moral of the tale is: Those who challenge the Gods are looking for trouble!”

1: A SERVICE FOR ISABELLA D’ESTE  – A BOWL TELLS ITS STORY
2: HOW DOES A BOWL END UP IN A MUSEUM?
3: AN IMPORTANT COMMISSION FOR NICOLA DA URBINO
4: A CRASH COURSE IN MAJOLICA
5: FOCUS ON THE BOWL
6: A PORTRAIT OF ISABELLA D’ESTE