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

then in fashion. Perhaps the jug's painter was beginning

to develop his skills in rendering three-dimensional

figures using metallic oxides on an unforgiving, two-

dimensional, raw glaze ground.^2

In spring 2001 this object underwent neutron activa­

tion analysis under the direction of scientist Michael

Hughes, formerly of the British Museum, London. The

analysis was carried out at the University of Missouri

Research Reactor, and the data was compared against the

British Museum database.^3 The results of the analysis

show that the clay of this jug originated from the lower

mid-Arno Valley, most likely from either Deruta or Mon­

telupo. To help determine attribution, stylistic compar­

isons were made between the jug and ceramics securely

attributed to both centers.

The interesting yet somewhat frustrating results of

these comparisons show that the jug displays compelling

similarities to objects from both places. For example,

important recent finds of kiln refuse at two sites in

Deruta include examples with similar patterns of incised

circles and scrolls in manganese.^4 Other fragments dis­

play comparable wide, three-color leaves that curl under

at the tips.^5 Numerous examples of completed pots and

plates with similar decoration—scrolling leaves, incised

scrolls, busts framed in reserve, and feathered leaves in

blue—are currently attributed to Deruta.^6

However, of the two other jugs of this idiosyncratic

shape that are known—one in the Musee National de

Ceramique, Sevres (inv. 21915; fig. 13B),^7 and another

formerly in the Damiron collection, Lyons (fig. 13c)^8 —

the former Damiron object is decorated with a central

wreath on the front of the jug that is typical of pieces

found in excavations of kiln sites at Montelupo.^9 One

jug, in particular, at the Ashmolean Museum, Oxford,

and identified as from the Florence region, displays not

only a very similar wreath to the former Damiron jug of

this shape but also what appears to be the same coat of

arms belonging to the Florentine degli Alessandri family

(fig. 13D).^10 In addition, several Montelupo pieces dis­

play scrolling Gothic leaves in manganese and blue, as

well as some inscribed blue decoration, similar to those

on the Getty example (fig. 13E).^11 For now, the attribution

of this jug must include both Deruta and Montelupo.

13 E Fragments of a plate. Montelupo, 1480-90. Tin-glazed earthenware.

Montelupo, Museo Archeologico e della Ceramica.

Notes

1. Ballardini 1975, 53-55.


2. See, for example, the awkward rendering of a woman with prominent
   circles under her eyes, which was surely meant to depict a young and
   handsome figure on a Deruta plate in the Musee Adrien-Dubouche,
   Limoges (Giacomotti 1974, 181-82, no. 591).


3. See conclusion of the introduction for more information on neutron
   activation analysis as an analytical tool.


4. Bojani 1992, figs. 21-25.


5. Fiocco and Gherardi 1988, 1: pis. 5a, 6a; Bojani 1992, fig. 31.


6. See, for example, Fiocco and Gherardi 1994, nos. 5, 11-13, 19-26.


7. Duret-Robert 1973, 129-34, no. 2; Giacomotti 1974, no. 69.


8. Sale cat., Sotheby's, London, November 22, 1983, lot 206.


9. See Berti 1998, nos. 42-44, and related pieces not found in excava­
   tions: Berti 1998, nos. 140, 154,- Berti 1999, nos. 69, 80, 105, 263.


10. Berti 1999, no. 263.


11. Berti 1997, nos. 79, 118-20; Berti 1999, nos. 23-27, 38-39, 45, 59;
    Berti 1998, nos. 91, 114-26; Berti 1999, nos. 23-27, 38-39.

fug with Bust Medallion 81