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

7E Round plate (reverse). Valencia (Manises), 1469-74? Tin-glazed earthen­

ware, H: 7 cm {2^3 A in.); Diam: 46.5 cm (18 lA in.). Paris, Musee de Cluny,

inv. 1687.

fabrics, and these fabrics, possibly themselves influ­

enced by Spanish or eastern Mediterranean prototypes,

may have served as the source for the ceramic designs.^8

Other Tuscan two-handled jars with leaves and

rampant lions include those in the British Museum, Lon­

don (inv. 1903, 5-15, i);^9 in the Kunstgewerbemuseum,

Berlin (inv. 85, 621);^10 in the Fitzwilliam Museum,

Cambridge (inv. C76-1961, C77-1961);^11 in the Musee

National de Ceramique, Sevres (inv. 5292);^12 in the

Roche maiolica drug jar collection, Basel;^13 in the col­

lection of the princes of Liechtenstein, Vaduz (inv.

1267);^14 formerly in the Otto Beit collection, London;^15

formerly in the Damiron collection, Lyons;^16 and in the

Wads worth Atheneum, Hartford (inv. 1917.433). The

British Museum also has a large albarello with a ram­

pant lion (inv. MLA 1898, 5-23, i).^17 The most similarly

shaped large two-handled jar—with high shoulder ac­

centuated by the handles—is also in the British Museum

(inv. MLA 1902, 4-24, i).^18

Notes

1. For other examples, see Cora 1973, 2: fig. i42a-b.

2. Cora 1973, 1: 39 n. 12; 2: pi. 350 (M222-23); and for Cora's discus­

sion of the artist, see Cora 1973, 1: 54-58, 272-75.

3. Alinari and Berti 1991, 52-56; Alinari and Berti (1991, 52 ) believe

Cora's "constant preoccupation with finding links between archival in­

formation and specific ceramic objects even when the links appear

weak" is problematic (see also Wilson 1996, 6-7, no. 1).

4. Alinari and Berti 1991, 54-5 5.

5. For examples, see Gonzalez Marti 1944-1952, 1: figs. 290, 329, 641;

2 : figs. 342, 644, 680-81, 699, 799, 801-4, 942; 3: figs. 551-54.

6. Valeri 1984, 478 n. 7.

7. See Gonzalez Marti 1944-52, 1: figs. 276, 278-79, 282,- 3: fig. 575.

8. See, for example, a thirteenth-century Sicilian altar frontal with em­

broidered leopards, parrots, and griffins in Santangelo 1959, pi. 4. As on

numerous examples of textiles, moreover, the animals here are symmet­

rically displayed, much in the same way that animal motifs are painted

facing one another or addorsed on oak-leaf jars; see also Valeri 1984,

480, figs. 4-6. For a discussion of the importance of textiles as trans­

mitters of designs from the Islamic world to Italy, see Spallanzani 1978,

101-2.

9. See Wallis 1903, 23, fig. 21; Cora 1973, 2: fig. 81b; Wilson 1987A,

no. 20.

10. Hausmann 1972, 94-96, no. 71.


11. Bellini and Conti 1964, 61.


12. Cora 1973, 2: fig. 79c; Chompret 1949, 2: 80, fig. 636; Giacomotti
    1974 , 12-13, no- 34-


13. Cora 1973, 2: fig. 80b.


14. Cora 1973, 2: fig. 8ia; Bossert 1928-35, 6: 17; Hannover 1925, 1:
    100, fig. ii2; Wallis 1903, fig. 32.


15. Cora 1973, 2: fig. 8ic; Rackham 1916, 76-77, no. 740.


16. Sale cat., Sotheby's 1938, 75, lot 73.


17. Cora 1973, 2: figs. 80a, 8oc; Wilson 1987A, no. 23.


18. Bode 1911, 18; Cora 1973, 2, fig. 57c; Wilson 1987A, no. 21.

Relief-Blue Jar with Rampant Lions 5 5