The Democratic advocate. [volume] (Westminster, Md.) 1865-1972, 1882-01-07
Majolica Ware.

Among the many who decorate their
tables and feast their eyes with the deli
eate-tinted product of the potter's wheel
known as majolica ware, comparatively few
have any knowledge of its antiquity and
origin. Ii was first made by the Moors Of
Spain and the adjacent islands, and thence
exported to Italy and other parts Of the
continent Its name was derived from the
Island of Majorea, call BY the Italians Ma
iolica or Maialica, from whence 1t was pop
ularly supposed to come, though the pro
liabilities are that the manufacture was
carried on entirely upon the mainland.
Many magnificent specimens of this ancient
ware are to be found TO this day emong
collections in italy, and it is said that their
lustre far surpasses that attainable BY mod
ern potters. In time the Italians began to
set up potteries Of their own. and for long
time endeayored ansuccessfully 10 initiate
the Spanish product. Their chief Difficult
ty was TO obtain the proper degree of lus-
tire. All their efforts in this direction were
/ for long time futile, and it was not until
toward the end of the 18th century that
! they discovered accidentally that the Moor
/ ish secret consisted in the use of tan instead
/ of lead in glazing. Once possessed OF this
/ important piece of information, the Italians
soon surpassed their masters. The town
of Gubbio especially was distinguished for
/ red ware of surprising beauty and un-
/ equalled lustre, a few pieces of which exist
to this day, and are priced by collectors at
more than their weight in gold. The pot
tiers of Gubbio with the jealousy charac-
teristic of the craftsmen of the middle ages,
refused to. communicate their secret to 9th
ers. and, as might have been expected,
among the internal dissensions which rent
aud disfgured Italy during the middle ages,
I the Gubbio potteries were destroyed, and
/ the secret of the red ware lost forever
Other towns in Italy, however, kept alive
the knowledge of the general process The
foremost artists of the Renaissance were
not ashamed to lend their talents to the de-
eoration of vases, plaques, salvers, and other
forms of pottery, and the majolica of Castle
Durante and Urbino became known far and
wide as the very perfection ofits kind. As
the commerce of Italy extended, the Orient
was laid under contribution for new designs
and ideas, specimens Of Persian stutfs and
wares we're brought home by returning
merchants. The quick and cunning ltal-
ians were struck with the surprising beauty
tf the Persian hues, and never restei till
they had succeeded in fixing them upon
their own ceramic products Exquisite
blues, greens, and reds, in harmonies and
contrasts hitherto unknown, now made
their appearance. and the latter part of the
10th century is renowned among the col
lectors for the unrivaled specimens of ltal-
ian pottery, which it produced. Govern
ments now lent their aid to the improve
ment of manufactures. The monarchs OF
France and Germany became enthusiasts in
pottery of various kinds, and in their eag
erness to outdo each other they spent i'm
mense sums in the establishment and en-
eouragement of manufactures within their
respective kingdoms. The jealously guard
ed secrets of Italian art became secrets no
longer, and the result of unchecked COM
petition was soon seen in the marked I'M
provement of the art.
In modern times the ''potters mystery
has become more and more widely dissem-
mated. The inventive genius of America
has simphfied and cheapened the once COM
plicated processes; and the potteries OF
America to-day produce majolica ware OF
which an old Italian master might not have
been ashamed and which, for utility and
cheapness, far surpasses that of the middle
ages.