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拍品专文
The present dish was made for Cardinal Iñigo d’Avalos, the chancellor of San Giacomo and of the Kingdom of Naples who was created Cardinal in 1561. As d’Avalos was born in Naples, the son of Alfonso, Marchese del Vasto and Maria of Aragon, he had important Spanish connections. The reverse of this dish is painted with d’Avalos’s arms after his appointment as Cardinal, providing a terminus post quem for the commission. There is nothing stylistically in the piece’s decoration to determine when it was made during the decade following 1561, but it is more probable that the commission took place either during his time as Cardinal-Administrator of Turin (1563-1564), or shortly after. A large circular charger with similar decoration and d’Avalos’s arms on the reverse has also survived, suggesting that the two may once have been part of an armorial set(1).
The d’Avalos chargers were almost certainly made under the direction of Orazio Fontana, the son of Guido Durantino (later Fontana), one of the most important maiolica workshop owners of 16th-century Urbino. At around the time the present lot was made in the 1560s, Orazio had moved to Turin to join his cousin Antonio Patanazzi(2) who was working for Emmanuel Philibert, Duke of Savoy. Orazio Fontana ‘so conducted himself that services made by him were sent, as rarities, to great lords, to the King of Spain, and to the Emperor himself’(3). Surviving documents in Turin show that Orazio was held in very high regard by the Duke of Savoy during his time in Turin, and he was referred to as ‘capo mastro de Vasari’ of His Highness’s potters. Scholars have consequently debated whether this dish and the V&A charger with the same arms were made in Turin, or in Urbino(4).
Documents in the Savoy archives help to partially reconstruct the activity of Orazio Fontana and his cousin in Turin between 1563 and 1564. After delivering maiolica vases to the Duke of Savoy in Nice in January 1564, the two potters went to Turin where the city’s mayors and new Cardinal-Administrator, Girolamo Della Rovere, were tasked by the duke with providing them suitable accommodation(5). The pair appear to have set up a maiolica workshop in Turin where production continued after they had left the city. The documents also record that they received money for trips made to Urbino and from Urbino back to Turin with maiolica, so it is not entirely clear to what extent maiolica from Urbino supplemented what was produced in Turin. Although it is possible, it seems very unlikely that a grand piece such as the present lot, which would have required an elaborate mold to produce it(6), could have been made in their Turin workshop. It seems more probable that it was made in Urbino.
It is thought that Cardinal d’Avalos didn’t visit Turin during his time as Cardinal-Administrator, and the Duke of Savoy was anxious to replace him. Having tried various tacks, the duke finally succeeded in inducing d’Avalos to resign his post, and he was replaced in May 1564 by Girolamo Della Rovere, to whom the duke was distantly related(7). After being elected to his post, Girolamo Della Rovere undertook to pay an annual sum to Cardinal d’Avalos and to Cardinal d’Urbino (Giulio Feltrio Della Rovere, who was another relative). Whether this payment to Cardinal d’Avalos has any bearing on the commission of the present dish is unclear, and it is not known what these payments were for(8). The new Cardinal-Administrator Della Rovere was resident in Turin and was clearly involved in the commissioning of maiolica, as in August 1564, shortly after he assumed office, he was partially reimbursed for a guarantee that he had paid to Orazio Fontana from his own pocket (on the instructions of the Duke of Savoy) for an order of two credenze di terra(9) which were ordered from him(10).
The Duke of Savoy and Girolamo Della Rovere have been posited as possible candidates for commissioning the maiolica ‘service’ for d’Avalos, possibly to reward d’Avalos for resigning his post(11). This is very probable, but the possibility that d’Avalos commissioned the pieces himself cannot be ruled out. The scholar and curator Cristina Maritano has argued that if this was the case, d’Avalos would almost certainly have placed the order via the Urbino workshop, which was managed by Orazio and his father Guido, as this appears to have remained the center of operations even during Orazio’s time in Turin. By November 1565 Orazio was back in Urbino arranging the legal separation of his business and personal interests from his father’s. The 8th November legal separation document records both the division of property and the apportioning of payments to cover debts and invoices for the debts owed by others. Commissions for Piedmontese clients made via the Duke of Urbino were still incomplete at the time. The duke owed 100 scudi, and 450 scudi was owed by unspecified clients in Piedmont(12). It is clear that maiolica in the Urbino workshop was destined for Piedmontese clients, and that some of this maiolica had been ordered by the Duke of Urbino. It is possible, as suggested by the scholar-connoisseur J.C. Robinson in his catalogue entry for the present dish in the 1862 South Kensington Exhibition, that the d’Avalos commission could have been among these orders. If this is the case, then as the principal center of Orazio’s operations appears to have remained in Urbino, the large important pieces for the commission would probably have been made in Urbino(13). The 8 November legal document also records Orazio’s obligation to pay his father for fired or unfired maiolica pieces, so it is impossible to know whether the present lot was made in Guido’s workshop before the separation of their business interests, or in Orazio’s workshop after the separation, or, less likely, if it was made in Orazio’s workshop in Turin.
A definitive painting style for Orazio Fontana is slightly elusive. A group of works with dates ranging between 1541 and 1544, bearing a monogram decipherable as ORATIO, are thought to have been painted by him(14). The painting style of this group is, however, a little variable, making attributions to Orazio difficult and making it complicated to assess whether the present dish was one of the Piedmont-related pieces referred to in the November 1565 separation document, which specifies they were ‘were made through the industry and labors of Maestro Orazio himself’(15).
Three of the painted scenes on the present lot derive from designs which were almost certainly produced for the ‘Spanish Service’. In his account of the lives of artists and architects, Giorgio Vasari recorded that in 1560 or 1561 Duke Guidubaldo II of Urbino commissioned a series of designs from the artist brothers Taddeo and Federico Zuccaro for a maiolica service that the duke sent as a diplomatic gift to Philip II of Spain(16). Vasari specified that the subjects of the service, which has come to be known as the ‘Spanish Service’, were the campaigns and triumphs of Julius Caesar. In his groundbreaking article, John Gere identified a number of drawings (some of which he re-attributed to the Zuccari) which relate to maiolica and which depict scenes relating to Caesar.
The central scene depicts Julius Caesar driven in triumphant procession after the defeat of King Juba's forces. Although the scene is very similar to a drawing in the Musée du Louvre which is attributed to Federico Zuccaro(17), the horses are at a variant angle and some of the figures are differently placed. Instead, the central scene matches a drawing in the Uffizi which appears to be a copy of a now-lost Zuccaro drawing, as the precise configuration of figures and horses painted on the central scene of the present charger can be found on other maiolica ware(18). The upper right-hand scene on the present dish derives from a drawing in the Teyler Museum(19). The bottom left-hand scene corresponds to a drawing, ‘Caesar Hears the Barbarians’, attributed to Federico Zuccaro(20). The other two scenes may also be derived from Zuccaro drawings, although these drawings have not yet been identified.
The istoriato scenes of the ‘Spanish Service’ were almost certainly combined with grottesche, or grotesques, on a whitened background which simulated Roman wall paintings, a style which the Fontana workshop pioneered in the early 1560s(21). Some elements of the grotesques on the border of the present lot correspond very closely to the designs of the French architect and designer Jacques Androuet Du Cerceau (circa 1515 – circa 1585)(22). In his seminal article on the role Du Cerceau’s designs played in the decoration of maiolica, Christopher Poke identified seven etchings which formed the basis of the grotesques on the border of the present lot(23). Some of the figures or mythical beasts taken from the prints are reversed, whereas others are not(24). Interestingly, the grotesques on the V&A charger with d’Avalos’s arms do not appear to correspond to Du Cerceau’s designs.
1. The large circular charger is now in the Victoria & Albert Museum, London, see Bernard Rackham, Catalogue of Italian Maiolica, London, 1940, Vol. I, pp. 280-281, no. 845 and Vol. II, pl. 134. The circular charger bears a coat-of-arms to its reverse which has been partially erased and subsequently re-painted.
2. See Cristina Maritano, ibid., 2020, p. 119.
3. The Urbino writer Bernardino Baldi, circa 1607, cited by Timothy Wilson, The Golden Age of Italian Maiolica-Painting, Turin, 2018, p. 373 and p. 375.
4. Opposing views have been put forward by Jole Giordana Romano (who published an article in 1992 suggesting that the two pieces may have been made in Turin) and Cristina Maritano (who published an article in 2019 in which she argued that the present lot was almost certainly made in Urbino). See J.G. Romano, ibid., March 1992, pp. 139-144; and C. Maritano, ibid., 2020, pp. 127-128.
5. The letter to the mayors of Turin is published by Cristina Maritano, ibid., 2020, p. 125.
6. See Timothy Wilson, Maiolica, Italian Renaissance Ceramics in the Metropolitan Museum of Art, New York, 2016, p. 295, where the author notes that ‘mighty oval dishes of this form were made (perhaps in most or all cases from the same mold) in the Fontana, and later Patanazzi, workshop’.
7. C. Maritano, ibid., 2020, p. 127.
8. C. Maritano, ibid., 2020, p. 127.
9. A credenza was a stepped sideboard on which maiolica, silver or silver-gilt wares could be displayed. A credenza di terra referred to a set or service of earthenware (maiolica).
10. Giuliana Gardelli, ‘Urbino nella storia della ceramica: nota sulla grottesca’ in Timothy Wilson (ed.), Italian Renaissance Pottery. Papers written in association with a colloquium at the British Museum, London, 1991, p. 131, and Cristina Maritano, ibid., 2020, p. 120 and pp. 121-122.
11. C. Maritano, ibid., 2020, p. 128.
12. ‘Scudi cento deve dare il prefato signor Duca Illmo. D’Urbino, et scudi quatro cento cinquanta per detti vasi et credito seuo in Piedmonte e com’appare per lista in mano del capitano Francesco Paciotto.’ A. Rossi, Archivio Storico dell’Arte, Rome, 1889, p. 376.
13. As argued by C. Maritano, ibid., 2020, pp. 126-127 and p. 128.
14. For a list of the eight works with this monogram, see Dora Thornton and Timothy Wilson, Italian Renaissance Ceramics, A Catalogue of the British Museum Collection, London, 2009, Vol. I, p. 301, and for seven of them, see Carmen Ravanelli Guidotti, Collezione Chigi Saracini, Maioliche Italiane, Florence/Siena, 1992, pp. 109-116.
15. “…et specialiter crediti quod dieti magister Guido et magister Horatius habeat cum Ill.mo et Ex.mo Domino Nostro Urbini invictissimo Duce, et quod habent in Piedmonte, prout apparere dixerunt in lista Cap.i Francisci Paciotti, et eo quia dictus magister Horatius allegabat prout allegat dicta credita esse facta industria et laboribus ipsius magistri Horatii”, transcribed by A. Rossi, ibid., 1889, p. 373.
16. Taddeo was commissioned to paint a portrait of Duke Guidubaldo’s daughter Virginia, and ‘before Taddeo left, he made all the drawings for a credenza, which that Duke had carried out in earthenware at Castel Durante, as a present for King Philip of Spain’, see J.A. Gere, ‘Taddeo Zuccaro as a designer for Maiolica’ in Burlington Magazine, No. 105, July 1963, p. 306.
17. Gere, ibid., 1963, fig. 37, The Triumph of Caesar, Musée du Louvre (INV4517).
18. The Uffizi drawing is in the Santarelli Collection (Inv. 12264F). A maiolica dish in the Fitzwilliam, Cambridge, with a comparable scene is inscribed Abbatute le forze del Re juba (King Juba's forces defeated), see Julia E. Poole, Italian maiolica and incised slipware in the Fitzwilliam Museum, Cambridge, 1995, pp. 378-380, no. 412. A plate in Vienna which also corresponds to this design bears the same inscription. A large dish in the Bargello also corresponds to this design, as does a piece formerly in the Anton Ulrich Museum in Brunswick (lost in the Second World War), a shallow bowl at Pesaro, a large oval basin in the Wadsworth Atheneum, Hartford and a crespina sold by Christie’s, London, on 29 May 1962, lot 121 (and again on 24 May 2011, lot 56). For references to these pieces, the Vienna plate and the drawing, see Timothy Wilson, Tin-Glaze and Image Culture, the MAK Maiolica Collection in its wider context, The MAK, Vienna, April – August Exhibition Catalogue, Stuttgart, 2022, pp. 213-214, no. 171. The consistency of the inscriptions on the some of the pieces suggest that the painter may have identified the subject from an inscription on the now (presumably) lost Zuccaro drawing.
19. Inv. no.: B 79. Cf. Carel van Tuyll van Serooskerken, The Italian Drawings of the Fifteenth and Sixteenth Centuries in The Teyler Museum, Doornspijk, 2000, pp. 312-313, where the author notes the subject as Manius Curius Dentatus refusing the gifts offered by the Samnites. In Valerius Maximus, IV, 3, 5a, however, Dentatus is described eating from a wooden bowl when the Samnites arrive, and yet there is no bowl depicted in the present scene. It may depict an episode relating to Caesar. Previously attributed to Taddeo Zuccaro, Gere tentatively re-attributed it to Federico Zuccaro. A plate with this scene is in Museo Civico in Pesaro (see Claudio Giardini, Pesaro, Museo delle ceramiche, Bologna/Milan/Rome, 1996, p. 73, no. 205). A studio copy of this drawing is held in the collection of the Uffizi (inv. 917 S).
20. National Galleries of Scotland, Edinburgh, cf. Gere, ibid, 1963, fig. 40, where it is called ‘Three Men doing Homage to an enthroned General’, and Timothy Clifford, ‘Some unpublished drawings for maiolica and Federigo Zuccaro’s role in the “Spanish Service”’ in Timothy Wilson (ed.), Italian Renaissance Pottery. Papers written in association with a colloquium at the British Museum, London, 1991, p. 174, fig. 5.
21. This style of painting was inspired by archaeological finds in Rome, and Raphael and his workshop painted the Loggias at the Vatican in this style shortly before 1520, but it did not take hold in the painting of maiolica until about 1560, cf. Timothy Wilson, Italian Maiolica and Europe, Oxford, 2017, p. 217.
22. Du Cerceau’s Petites Grotesques were published in two different editions of 1550 and 1562. These prints were widely circulated and were in use by the Fontana workshop by 1563 (a dish with Du Cerceau grotesques formerly in the Frassineto Collection is dated 1563, cited by Christopher Poke, ibid., June 2001, p. 343, no. 21).
23. See Poke, ibid., June 2001, p. 343, no. 14.
24. See Poke, ibid., June 2001, p. 339, figs. 23 and 25. The reclining figures and winged mythical creatures flanking the medallion at 6 o’clock on the present dish are derived from figures in an etching published in the second edition in 1562 (see fig. 25), and this medallion and the one at 12 o’clock (and the figures flanking the 12 o’clock medallion) are derived (in reverse) from another of the second edition designs (fig. 27).
The d’Avalos chargers were almost certainly made under the direction of Orazio Fontana, the son of Guido Durantino (later Fontana), one of the most important maiolica workshop owners of 16th-century Urbino. At around the time the present lot was made in the 1560s, Orazio had moved to Turin to join his cousin Antonio Patanazzi(2) who was working for Emmanuel Philibert, Duke of Savoy. Orazio Fontana ‘so conducted himself that services made by him were sent, as rarities, to great lords, to the King of Spain, and to the Emperor himself’(3). Surviving documents in Turin show that Orazio was held in very high regard by the Duke of Savoy during his time in Turin, and he was referred to as ‘capo mastro de Vasari’ of His Highness’s potters. Scholars have consequently debated whether this dish and the V&A charger with the same arms were made in Turin, or in Urbino(4).
Documents in the Savoy archives help to partially reconstruct the activity of Orazio Fontana and his cousin in Turin between 1563 and 1564. After delivering maiolica vases to the Duke of Savoy in Nice in January 1564, the two potters went to Turin where the city’s mayors and new Cardinal-Administrator, Girolamo Della Rovere, were tasked by the duke with providing them suitable accommodation(5). The pair appear to have set up a maiolica workshop in Turin where production continued after they had left the city. The documents also record that they received money for trips made to Urbino and from Urbino back to Turin with maiolica, so it is not entirely clear to what extent maiolica from Urbino supplemented what was produced in Turin. Although it is possible, it seems very unlikely that a grand piece such as the present lot, which would have required an elaborate mold to produce it(6), could have been made in their Turin workshop. It seems more probable that it was made in Urbino.
It is thought that Cardinal d’Avalos didn’t visit Turin during his time as Cardinal-Administrator, and the Duke of Savoy was anxious to replace him. Having tried various tacks, the duke finally succeeded in inducing d’Avalos to resign his post, and he was replaced in May 1564 by Girolamo Della Rovere, to whom the duke was distantly related(7). After being elected to his post, Girolamo Della Rovere undertook to pay an annual sum to Cardinal d’Avalos and to Cardinal d’Urbino (Giulio Feltrio Della Rovere, who was another relative). Whether this payment to Cardinal d’Avalos has any bearing on the commission of the present dish is unclear, and it is not known what these payments were for(8). The new Cardinal-Administrator Della Rovere was resident in Turin and was clearly involved in the commissioning of maiolica, as in August 1564, shortly after he assumed office, he was partially reimbursed for a guarantee that he had paid to Orazio Fontana from his own pocket (on the instructions of the Duke of Savoy) for an order of two credenze di terra(9) which were ordered from him(10).
The Duke of Savoy and Girolamo Della Rovere have been posited as possible candidates for commissioning the maiolica ‘service’ for d’Avalos, possibly to reward d’Avalos for resigning his post(11). This is very probable, but the possibility that d’Avalos commissioned the pieces himself cannot be ruled out. The scholar and curator Cristina Maritano has argued that if this was the case, d’Avalos would almost certainly have placed the order via the Urbino workshop, which was managed by Orazio and his father Guido, as this appears to have remained the center of operations even during Orazio’s time in Turin. By November 1565 Orazio was back in Urbino arranging the legal separation of his business and personal interests from his father’s. The 8th November legal separation document records both the division of property and the apportioning of payments to cover debts and invoices for the debts owed by others. Commissions for Piedmontese clients made via the Duke of Urbino were still incomplete at the time. The duke owed 100 scudi, and 450 scudi was owed by unspecified clients in Piedmont(12). It is clear that maiolica in the Urbino workshop was destined for Piedmontese clients, and that some of this maiolica had been ordered by the Duke of Urbino. It is possible, as suggested by the scholar-connoisseur J.C. Robinson in his catalogue entry for the present dish in the 1862 South Kensington Exhibition, that the d’Avalos commission could have been among these orders. If this is the case, then as the principal center of Orazio’s operations appears to have remained in Urbino, the large important pieces for the commission would probably have been made in Urbino(13). The 8 November legal document also records Orazio’s obligation to pay his father for fired or unfired maiolica pieces, so it is impossible to know whether the present lot was made in Guido’s workshop before the separation of their business interests, or in Orazio’s workshop after the separation, or, less likely, if it was made in Orazio’s workshop in Turin.
A definitive painting style for Orazio Fontana is slightly elusive. A group of works with dates ranging between 1541 and 1544, bearing a monogram decipherable as ORATIO, are thought to have been painted by him(14). The painting style of this group is, however, a little variable, making attributions to Orazio difficult and making it complicated to assess whether the present dish was one of the Piedmont-related pieces referred to in the November 1565 separation document, which specifies they were ‘were made through the industry and labors of Maestro Orazio himself’(15).
Three of the painted scenes on the present lot derive from designs which were almost certainly produced for the ‘Spanish Service’. In his account of the lives of artists and architects, Giorgio Vasari recorded that in 1560 or 1561 Duke Guidubaldo II of Urbino commissioned a series of designs from the artist brothers Taddeo and Federico Zuccaro for a maiolica service that the duke sent as a diplomatic gift to Philip II of Spain(16). Vasari specified that the subjects of the service, which has come to be known as the ‘Spanish Service’, were the campaigns and triumphs of Julius Caesar. In his groundbreaking article, John Gere identified a number of drawings (some of which he re-attributed to the Zuccari) which relate to maiolica and which depict scenes relating to Caesar.
The central scene depicts Julius Caesar driven in triumphant procession after the defeat of King Juba's forces. Although the scene is very similar to a drawing in the Musée du Louvre which is attributed to Federico Zuccaro(17), the horses are at a variant angle and some of the figures are differently placed. Instead, the central scene matches a drawing in the Uffizi which appears to be a copy of a now-lost Zuccaro drawing, as the precise configuration of figures and horses painted on the central scene of the present charger can be found on other maiolica ware(18). The upper right-hand scene on the present dish derives from a drawing in the Teyler Museum(19). The bottom left-hand scene corresponds to a drawing, ‘Caesar Hears the Barbarians’, attributed to Federico Zuccaro(20). The other two scenes may also be derived from Zuccaro drawings, although these drawings have not yet been identified.
The istoriato scenes of the ‘Spanish Service’ were almost certainly combined with grottesche, or grotesques, on a whitened background which simulated Roman wall paintings, a style which the Fontana workshop pioneered in the early 1560s(21). Some elements of the grotesques on the border of the present lot correspond very closely to the designs of the French architect and designer Jacques Androuet Du Cerceau (circa 1515 – circa 1585)(22). In his seminal article on the role Du Cerceau’s designs played in the decoration of maiolica, Christopher Poke identified seven etchings which formed the basis of the grotesques on the border of the present lot(23). Some of the figures or mythical beasts taken from the prints are reversed, whereas others are not(24). Interestingly, the grotesques on the V&A charger with d’Avalos’s arms do not appear to correspond to Du Cerceau’s designs.
1. The large circular charger is now in the Victoria & Albert Museum, London, see Bernard Rackham, Catalogue of Italian Maiolica, London, 1940, Vol. I, pp. 280-281, no. 845 and Vol. II, pl. 134. The circular charger bears a coat-of-arms to its reverse which has been partially erased and subsequently re-painted.
2. See Cristina Maritano, ibid., 2020, p. 119.
3. The Urbino writer Bernardino Baldi, circa 1607, cited by Timothy Wilson, The Golden Age of Italian Maiolica-Painting, Turin, 2018, p. 373 and p. 375.
4. Opposing views have been put forward by Jole Giordana Romano (who published an article in 1992 suggesting that the two pieces may have been made in Turin) and Cristina Maritano (who published an article in 2019 in which she argued that the present lot was almost certainly made in Urbino). See J.G. Romano, ibid., March 1992, pp. 139-144; and C. Maritano, ibid., 2020, pp. 127-128.
5. The letter to the mayors of Turin is published by Cristina Maritano, ibid., 2020, p. 125.
6. See Timothy Wilson, Maiolica, Italian Renaissance Ceramics in the Metropolitan Museum of Art, New York, 2016, p. 295, where the author notes that ‘mighty oval dishes of this form were made (perhaps in most or all cases from the same mold) in the Fontana, and later Patanazzi, workshop’.
7. C. Maritano, ibid., 2020, p. 127.
8. C. Maritano, ibid., 2020, p. 127.
9. A credenza was a stepped sideboard on which maiolica, silver or silver-gilt wares could be displayed. A credenza di terra referred to a set or service of earthenware (maiolica).
10. Giuliana Gardelli, ‘Urbino nella storia della ceramica: nota sulla grottesca’ in Timothy Wilson (ed.), Italian Renaissance Pottery. Papers written in association with a colloquium at the British Museum, London, 1991, p. 131, and Cristina Maritano, ibid., 2020, p. 120 and pp. 121-122.
11. C. Maritano, ibid., 2020, p. 128.
12. ‘Scudi cento deve dare il prefato signor Duca Illmo. D’Urbino, et scudi quatro cento cinquanta per detti vasi et credito seuo in Piedmonte e com’appare per lista in mano del capitano Francesco Paciotto.’ A. Rossi, Archivio Storico dell’Arte, Rome, 1889, p. 376.
13. As argued by C. Maritano, ibid., 2020, pp. 126-127 and p. 128.
14. For a list of the eight works with this monogram, see Dora Thornton and Timothy Wilson, Italian Renaissance Ceramics, A Catalogue of the British Museum Collection, London, 2009, Vol. I, p. 301, and for seven of them, see Carmen Ravanelli Guidotti, Collezione Chigi Saracini, Maioliche Italiane, Florence/Siena, 1992, pp. 109-116.
15. “…et specialiter crediti quod dieti magister Guido et magister Horatius habeat cum Ill.mo et Ex.mo Domino Nostro Urbini invictissimo Duce, et quod habent in Piedmonte, prout apparere dixerunt in lista Cap.i Francisci Paciotti, et eo quia dictus magister Horatius allegabat prout allegat dicta credita esse facta industria et laboribus ipsius magistri Horatii”, transcribed by A. Rossi, ibid., 1889, p. 373.
16. Taddeo was commissioned to paint a portrait of Duke Guidubaldo’s daughter Virginia, and ‘before Taddeo left, he made all the drawings for a credenza, which that Duke had carried out in earthenware at Castel Durante, as a present for King Philip of Spain’, see J.A. Gere, ‘Taddeo Zuccaro as a designer for Maiolica’ in Burlington Magazine, No. 105, July 1963, p. 306.
17. Gere, ibid., 1963, fig. 37, The Triumph of Caesar, Musée du Louvre (INV4517).
18. The Uffizi drawing is in the Santarelli Collection (Inv. 12264F). A maiolica dish in the Fitzwilliam, Cambridge, with a comparable scene is inscribed Abbatute le forze del Re juba (King Juba's forces defeated), see Julia E. Poole, Italian maiolica and incised slipware in the Fitzwilliam Museum, Cambridge, 1995, pp. 378-380, no. 412. A plate in Vienna which also corresponds to this design bears the same inscription. A large dish in the Bargello also corresponds to this design, as does a piece formerly in the Anton Ulrich Museum in Brunswick (lost in the Second World War), a shallow bowl at Pesaro, a large oval basin in the Wadsworth Atheneum, Hartford and a crespina sold by Christie’s, London, on 29 May 1962, lot 121 (and again on 24 May 2011, lot 56). For references to these pieces, the Vienna plate and the drawing, see Timothy Wilson, Tin-Glaze and Image Culture, the MAK Maiolica Collection in its wider context, The MAK, Vienna, April – August Exhibition Catalogue, Stuttgart, 2022, pp. 213-214, no. 171. The consistency of the inscriptions on the some of the pieces suggest that the painter may have identified the subject from an inscription on the now (presumably) lost Zuccaro drawing.
19. Inv. no.: B 79. Cf. Carel van Tuyll van Serooskerken, The Italian Drawings of the Fifteenth and Sixteenth Centuries in The Teyler Museum, Doornspijk, 2000, pp. 312-313, where the author notes the subject as Manius Curius Dentatus refusing the gifts offered by the Samnites. In Valerius Maximus, IV, 3, 5a, however, Dentatus is described eating from a wooden bowl when the Samnites arrive, and yet there is no bowl depicted in the present scene. It may depict an episode relating to Caesar. Previously attributed to Taddeo Zuccaro, Gere tentatively re-attributed it to Federico Zuccaro. A plate with this scene is in Museo Civico in Pesaro (see Claudio Giardini, Pesaro, Museo delle ceramiche, Bologna/Milan/Rome, 1996, p. 73, no. 205). A studio copy of this drawing is held in the collection of the Uffizi (inv. 917 S).
20. National Galleries of Scotland, Edinburgh, cf. Gere, ibid, 1963, fig. 40, where it is called ‘Three Men doing Homage to an enthroned General’, and Timothy Clifford, ‘Some unpublished drawings for maiolica and Federigo Zuccaro’s role in the “Spanish Service”’ in Timothy Wilson (ed.), Italian Renaissance Pottery. Papers written in association with a colloquium at the British Museum, London, 1991, p. 174, fig. 5.
21. This style of painting was inspired by archaeological finds in Rome, and Raphael and his workshop painted the Loggias at the Vatican in this style shortly before 1520, but it did not take hold in the painting of maiolica until about 1560, cf. Timothy Wilson, Italian Maiolica and Europe, Oxford, 2017, p. 217.
22. Du Cerceau’s Petites Grotesques were published in two different editions of 1550 and 1562. These prints were widely circulated and were in use by the Fontana workshop by 1563 (a dish with Du Cerceau grotesques formerly in the Frassineto Collection is dated 1563, cited by Christopher Poke, ibid., June 2001, p. 343, no. 21).
23. See Poke, ibid., June 2001, p. 343, no. 14.
24. See Poke, ibid., June 2001, p. 339, figs. 23 and 25. The reclining figures and winged mythical creatures flanking the medallion at 6 o’clock on the present dish are derived from figures in an etching published in the second edition in 1562 (see fig. 25), and this medallion and the one at 12 o’clock (and the figures flanking the 12 o’clock medallion) are derived (in reverse) from another of the second edition designs (fig. 27).