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The colors used for the rude painting were oxide of copper and oxide of manganese, and the final glaze, which is generally thin and often imperfectly fused, seems to have been based on the alkaline glazes of the nearer East.The specimens so assiduously recovered by Professor Aragnani, some of which, or similar wares, are to be found in the Louvre, the British and the Victoria and Albert museums, are typical of the rude work out of which, by a fuller knowledge of Spanish methods, the painted majolica grew.3. For the last three centuries the word majolica has been used to signify an Italian ware with a fine but comparatively soft buff body, coated with an opaque tin-enamel of varying degrees of whiteness and purity, on which a painted decoration was laid and fired.
In the earlier painted wares the only colors used were manganese-purple and a transparent copper-green as on the mezza-majolica~ but early in the I 5th century cobalt-blue was added to the palette, and, later on, the strong yellow antimoniate of lead, mixed with iron.Nor has its practice ever ceased in Italy, for through all the times -.---, FIG. From the depth beneath the present soil at which fragments of this ware have been disinterred, it is obvious that the method was widely practised in early times, and no simpler glazed wares are known except those covered all over with green, yellow or brown glazes.Early examples have been found all over northern Italyin Faenza, Florence, Pisa, &c., and particularly in Padua, where it seems to have been extensively made.The Gubbio lustre is best known to us through the works of Maestro Giorgio, whose distinctive lustre is a magnificent r~iby-red unlike any other.
In all probability the lustre process was so quickly abandoned on the fine painted majolica, because the increasing efforts to make a picture were discounted by so uncertain a process.
The Italian potters did not long remain unaffected by these influences, but though Persian, Syrian and Egyptian pottery must have been fairly plentiful in the households of the wealthy, it was the distinctively Hispano-Moresque wares from which the potters of Italy drew the inspiration for a new ware of their own.