shield is in the Museum Boijmans-Van Beuningen, Rotterdam.^5 Similar, but not identical, individual tiles are in
the Museo Nacional de Ceramica, Valencia; the Victoria
and Albert Museum, London (inv. 607-610, 1893);^6 the
Museo Arqueologico Nacional, Madrid; the Museu
d'Arts Industrials, Barcelona; the Hispanic Society ofAmerica, New York (inv. E712); the Art Institute of Chi
cago (inv. 1984.923); and the Museo Correr, Venice.^7
Comparable tiles can also be seen in the panel paintings
of Jaume Huguet (fig. IB), Pedro Alemany, and Gabriel
Guardia, Spanish artists active from the mid-fifteenth to
the early sixteenth century.^8Notes- Corti suggested this derivation in correspondence with the author, Janu
ary 25, 1985. - Hausmann 1972, 50, no. 32. Frothingham (1953, 92) mentions Fer-
rarese notarial records of 1442 listing numerous Valencian ceramics
that had been carried to Italy on Majorcan ships. - Hausmann 1972, 50, no. 32.
- Forrer 1901, pi. 38.
- Berendsen 1967, facing 7 6.
- Ray 2000, 316-17, nos. 617-20, colorpl. 70.
- For an examination of these Museo Correr tiles, see Gonzalez Marti
1948 , 91-92, pi. 22a; Concina 1975, 80-82. Produced in Valencia for
the church of Sant' Elena, Venice, these tiles are further evidence of the
active artistic exchange between Italy and Spain in the fifteenth cen
tury. The hexagonal azulejos, inscribed Justiniano, and the square units,
decorated with a crowned eagle, may have been ordered by Francesco
Giustinian to embellish the tomb of his father, Giovanni, in Sant' Elena.
In light of archival documents, Concina (1975, 82) has suggested dating
these tiles soon after 1460. - For examples, see Ainaud de Lasarte 1955, figs. 38, 48; Mayer 1922, pi.
73; Post 1938, 7, pt. 1: fig. 116.
ic This early twentieth-century photograph shows how the tiles were
made to fit into a small room in a Tuscan villa, a previous (but not the
original) setting. Later tiles fill in the gap between the perimeter of the
tile floor and the walls of the room. Photo courtesy of Ruth Blumka.Tile Floor 23