Caroscio, M. (2004). Lustreware Production in Renaissance Italy and Influences from the Mediterranean Area. Medieval Ceramics Volume 28: Journal of the Medieval Pottery Research Group. Vol 28, London: Medieval Pottery Research Group. pp. 97-113. https://doi.org/10.5284/1106303. Cite this via datacite
Title The title of the publication or report |
Lustreware Production in Renaissance Italy and Influences from the Mediterranean Area | |||||||
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Issue The name of the volume or issue |
Medieval Ceramics Volume 28: Journal of the Medieval Pottery Research Group | |||||||
Series The series the publication or report is included in |
Medieval Ceramics: Journal of the Medieval Ceramics Research Group | |||||||
Volume Volume number and part |
28 | |||||||
Page Start/End The start and end page numbers. |
97 - 113 | |||||||
Downloads Any files associated with the publication or report that can be downloaded from the ADS |
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Licence Type ADS, CC-BY 4.0 or CC-BY 4.0 NC. |
Creative Commons Attribution 4.0
International Licence |
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DOI The DOI (digital object identifier) for the publication or report. |
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Publication Type The type of publication - report, monograph, journal article or chapter from a book |
Journal | |||||||
Abstract The abstract describing the content of the publication or report |
This paper will analyse the major production centres of lustreware in Renaissance Italy. Focus will be on central Italy (Deruta and Cafaggiolo), considering both the development of the production technique and whether it can be proved that potters moved from one productive centre to the other carrying with them the knowledge needed for terzo fuoco. The attempts made in Montelupo and Faenza will be analysed as well. Primary sources, such as Li tre libri dell’arte del vasaio by Piccolpasso, describe in detail all the processes of lustre-ware making; these ‘recipes’ are known from other potters’ books written in the same period. What is not said, however, is how Renaissance potters came to understand the technique of applying metallic oxides to tin-glazed artefacts in order to obtain golden or silver reflexes. The contacts with Moresque Spain have been constant in the previous centuries and it might be possible that somehow Italian potters learned this technique from Spanish potters. While Italo-Moresque maiolica is the result of imitated models, lustreware production requires technological knowledge that could not have been acquired by chance. The influence of models circulating within the Mediterranean area will be considered as well, trying to understand how, together with their products, people circulated as well. | |||||||
Year of Publication The year the book, article or report was published |
2004 | |||||||
Locations Any locations covered by the publication or report. This is not the place the book or report was published. |
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Source Where the record has come from or which dataset it was orginally included in. |
ADS Archive
(ADS Archive)
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Created Date The date the record of the pubication was first entered |
18 Apr 2023 |