. Pottery and porcelain, from early times down to the Philadelphia exhibition of 1876 . serve to show the kind of design often used, wliidibears unquestioned testimony to its Moorish parentage. This finer work seems to have been made about 1500 to 1550, andat Pesaro. The Tia-K Maiolica is that which is covered with a glaze madewith the oxide of tin and siliceous sand. This stminiferous glaze orenamel takes the place of the slip or cngobe, and covers the pot-ters clay with a clear white enamel, upon which the colors can be hiid. The avidity with which the new art was seized upon in Italy byduke
. Pottery and porcelain, from early times down to the Philadelphia exhibition of 1876 . serve to show the kind of design often used, wliidibears unquestioned testimony to its Moorish parentage. This finer work seems to have been made about 1500 to 1550, andat Pesaro. The Tia-K Maiolica is that which is covered with a glaze madewith the oxide of tin and siliceous sand. This stminiferous glaze orenamel takes the place of the slip or cngobe, and covers the pot-ters clay with a clear white enamel, upon which the colors can be hiid. The avidity with which the new art was seized upon in Italy bydukes and priests, by workmen and artists, we can hardly would seem that the whole Italian world then rushed into everyform of art and litcraiiirc with an eagt-rncss to be explained by adesire to make good the Lost Ages—often called the Dark Ages. LUC A BELLA ROBBIA. 99 Furnaces and potters sprang out of the ground, and almost everyo-ood town sooner or later had its botega. Of these we may men-tion as among the most noted: Urbino, Gubbio, Pesaro, Castel-Durante,. Fio. 65.—Messa-Maiolica. Faenza, Forli, Caffagiolo, Siena, Deruta, Yenice, Castelli, besides manyothers. Before giving some particulars of these manufactures, it may bewell to refer to a name which seems to take precedence of othersamong the artists in ceramic work in Italy. This man was LucaBELLA EoBBiA, bom in the year 1400. M. Hitter says of him: Hewas a sculptor first, and a potter afterward. An artist of the highestpower, he was inspired with all the marvelous Aesthetic force andsubtilty and fertility of his age and of his country. He was not satis-fied, as other sculptors are, with form-beauty alone, but cast about toadd to his moulded figures the further beauties of coloring and surface-texture. He no doubt well knew the wares of the Moors of Spain,and probably was acquainted with the secret of the tin-glaze alreadyused by the Italian potters. It is needless to assume, as must writersdo, th
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