Italian Ceramics: Catalogue of the J. Paul Getty Museum Collection

Attribution of such crespine to Faenza is confirmed

by the existence of several such bowls with Faentine

marks.^2 Similar shapes and designs appear on later prod­

ucts from Montelupo, although these Tuscan examples

display a warmer palette and looser drawing style.^3

Crespine were probably used for the display of fruit, as

numerous pictorial and trompe-Poeil ceramic examples

attest (fig. 31c).^4

The most closely related crespine to the Getty ex­

ample include one with the image of a standing youth

bound to a tree (London, Wallace Collection);^5 one dis­

playing a standing woman bound to a tree (Hamburg,

Museum fur Kunst und Gewerbe, inv. 1880.511);^6 two

molded bowls with Judith and the head of Holofernes

(a subject that may have meant to flatter its female re­

cipient; Paris, Musee du Louvre, inv. OA 1760; and Lon­

don, Victoria and Albert Museum, inv. 4343-1857);^7

another with a halberdier (Sevres, Musee National de

Ceramique, inv. 2317);^8 a dish with Cupid leaning on an

urn and another with a three-quarter image of a youth

bound to a tree and pierced through the heart by an arrow

(London, Victoria and Albert Museum, inv. 1611-1855

and 4626-1858);^9 four crespine with single female figures

holding a staff (or an arrow or javelin);^10 a plate with

Venus and Cupid in a private Italian collection,-^11 three—

with a seated woman holding a heart and dagger, the

3 IB Unknown artist. Woman and Captive's Heart, ca. 1465-80. Engraving.

London, British Museum, inv. 1852-4-24-7. Photo: © The British Museum.

176 Molded Dish with an Allegory of Love