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

40G

Giuliano Giampiccoli (Italian,

1703-i759) and Giambattista

Tiepolo (Italian, 1696-1770)

after Marco Ricci (Italian, 1676-

1730). River Town with Clock

Tower, 1743-44. Engraving.

Venice, private collection.

Photo: Courtesy Foligraf s.n.c,

Mestre.

40H Giuliano Giampiccoli and Giambattista Tiepolo after Marco Ricci.
Marina with Longshoremen, 1743/44. Engraving. Photo: Courtesy
Foligraf s.n.c, Mestre.

more than anything else it honors the innovations and

talents of the factory that produced it. The exaltation of

the Republic's beauty and dominion becomes a backdrop

for their more obvious message: that the Venetian fac­

tory of Geminiano Cozzi, as early as 1769 and with the

support of the Republic, could produce such large and

gloriously painted porcelain. As such, the vases might

have served as gifts given to the Venetian state in grati­

tude. They might also have served as reminders of the

Republic's continued financial and legislative support

and been used as promotional display pieces for the

Cozzi establishment.

Notes

1. When the Museum acquired these vases, they were accompanied by lids
   that, because of differences in paste and pigment as well as in painting
   quality, were determined to be modern replacements.


2. This French term refers to a type of handleless jar or vase with a small
   lid produced in the Far East.


3. Indeed, below one vase is a sizable fire-crack (fig. 40F). This crack would
   have resulted from imperfect drying or firing of the thick wall that was
   made to sustain the form of the vases without having the malleable clay
   collapse on itself.


4. While the geometric pattern appears to have been inspired by similar
   designs on Vezzi porcelain of the 1720s, the rocaille decoration more
   closely relates to scrollwork on other Cozzi pieces of the 1760s, reflect­
   ing the current Rococo taste. Compare Lane 1954, figs. 11b, 12a; Molfino
   1976 , pis. 25, 35, 38-39, 52-66, 8o; with Lane 1954, figs. i8a-c, 19a.


5. The winged lion, an apocalyptic beast, is associated with Saint Mark,
   who came to personify the Venetian polity. According to legend, the
   saint became fond of the city during an evangelizing trip through Italy.

236 Two Vases