THE EMILY JOHNSTON DE FOREST COLLECTION OF MEXICAN MAIOLIC A * THE EMILY JOHNSTON DEFOREST COLLECTION OF MEXICAN MAIOLICA THE METROPOLITAN MUSEUM OF ART THE EMILY JOHNSTON DE FOREST COLLECTION O F MEXICAN MAIOLICA CATALOGUE BY EDWIN ATLEE BARBER FIRST EXHIBITED AT THE HISPANIC SOCIETY OF AMERICA FEBRUARY l8 TO MARCH 19, I 9 I I NEW YORK M c M X X I I COPYRIGHT, I9II, BY THE HISPANIC SOCIETY OF AMERICA COPYRIGHT, 1918, BY THE METROPOLITAN MUSEUM OF ART WITH THE PERMISSION OF THE HISPANIC SOCIETY OF AMERICA PREFACE I N presenting this collection of Mexican maiolica to The Metropolitan Museum of Art, I wish to say a few words re- specting its formation and its first exhibition at The Hispanic Society of America. My attention was first called to this phase of Spanish art in Mexico on the occasion of a visit to that country in 1 904. Whether any art collectors in Europe were then familiar with Mexican maiolica, I do not know. I do know that I myself had never seen any examples of it and that it was not to be found in any of our American museums. Among my friends in Mexico and their acquaintances were some who had gathered together small collections, the most im- portant and notable being that made by Mr. Albert Pepper. During my stay I succeeded in obtaining a number of pieces. Afterward many others were bought for me by my friend, Mrs. Zelia Nuttall, and through her I secured later on the collection of Mr. Pepper. Shortly after my return from Mexico I showed to my friend, Dr. Edwin AtLee Barber, some of the specimens 1 had brought home with me. They interested him greatly — so much, indeed, that in 1907 he made a special trip to Mexico to obtain a collec- tion for the Pennsylvania Museum, of which he was the Director, and he secured at the same time a great deal of information about the history of this art in Mexico. I am indebted to him for much vii THE METROPOLITAN MUSEUM OF ART assistance and especially for the opportunity to purchase what he considered the finest and rarest piece in my whole collection — a blue and white lavatory with an inscription on the border, the date of w hich he placed at about 1650. When Mr. Archer M. Huntington, President of The Hispanic Society of America, saw 7 my maiolica, he asked whether his So- ciety might exhibit it. To this I gladly assented, and the entire collection w 7 as shown for the first time in February, 19 1 1, at The Hispanic Society. The collection as now shown is somewhat smaller than that exhibited at the Hispanic Museum, all the pieces which were more or less similar having been omitted. When the question of preparing a catalogue for that exhibi- tion came up, I asked Dr. Barber, who had made himself the authority on the subject of this maiolica, to prepare it. He wrote the introductory notes and the descriptions (all of which are reprinted in the present edition, with very slight additions and emendations). The Hispanic Society had the most interest- ing objects photographed, and printed the illustrated catalogue as one of itsowm publications. Mr. Huntington and the Trustees of the Society have now very graciously permitted their cata- logue to be used by The Metropolitan Museum of Art in a new T edition, w 7 hich conforms in its general style to the regular publi- cations of the Museum. The cover design, vignette on the title-page, and head-bands used for decoration in this catalogue have been drawn from the objects themselves, and by their variety and charm suggest the wealth of artistic material to be found in the collection. Emily Johnston de Forest. viii MEXICAN MAIOLICA INTRODUCTORY NOTES T HE glazing of earthenware with oxid of tin is now believed to be of Saracenic origin, having first been introduced into Egypt and Persia by the Arabs, who afterward carried the art into Morocco, whence it was taken by the Moors into Spain. Workmen who went from Spain to Italy established the art in the latter country. It next appeared in France, at Nevers and other places, and soon after in Holland and Germany, gradually spreading to almost every section of the Continent and into England. It was not known to ceramic writers until five or six years ago that tin-enameled pottery had ever been produced in the Western Hemisphere. Isolated examples of maiolica had been brought back by American tourists in Mexico from time to time, but these were supposed to be of Spanish workmanship and were known as Talavera ware. Writers have frequently described the elaborate, and often remarkable, tile-work of the old churches, convents, and other religious foundations of that country, with scarcely a thought as to its origin. Recent investigations, how- ever, have resulted in the discovery that true stanniferous faience was made in Mexico by Spanish potters and their native pupils as early as the sixteenth century, and continued to be produced on a considerable scale until the present time. The ancient seat IX THE METROPOLITAN MUSEUM OF ART of the manufacture was Puebla, and for more than three cen- turies that city enjoyed a monopoly of the maiolica industry. Puebla, or La Puebla de los Angeles (the Town of the Angels), was founded as a new city by the Spaniards in 1532. At the beginning of the seventeenth century its manufactures of cotton, wool, glassware, and pottery had been firmly established and were famed throughout New and Old Spain. Unglazed pottery had been produced by native workmen since the time of the Conquest, but glazing was not introduced until potters were brought from Spain. Consul-General A. M. Gottschalk, lately of Mexico City, in a recent report to the State Department at Washington, states: “In the early days of Puebla’s history the Dominican friars, struck by the aptitude of their Aztec parish- ioners at making crude native pottery, and desirous also of ob- taining tiles for the monastery and church which they were building, sent word to the Dominican establishment at Talavera de la Reina, in the province of Toledo, Spain, that they could make good use of five or six of the brotherhood who were ac- quainted with the Spanish process of pottery-making, if such could be sent to them. Accordingly, a number of Dominican friars, familiar with the clay -working process in use at Tala- vera, were assigned to the Puebla house of their order, and under them were trained a generation of workmen who for the first few succeeding years produced some excellent pieces.” By 1653 the maiolica industry of Puebla had grown to such proportions, without restriction of any sort, that it became ad- visable to organize an association for the mutual protection and assistance of the master potters. Accordingly, a Potters’ Guild was established in this year, records of which have been found among the official archives of the city. The laws which were adopted regulated the preparation of clays and glazes, the quali- ties of the different grades of pottery, the character of the dec- orations, the sizes of household utensils, and the sale of wares, and required the marking of each piece with the initials or monogram of the maker, penalties being provided for the coun- terfeiting or falsification of the trade-marks. x MEXICAN MAIOLICA The first examiners of the guild (in 1653), before whom every applicant was required to appear to prove his qualifications and eligibility to membership, were Diego Salvador Carreto, Damian Hernandez, and Andres de Haro. A few years later (ap- parently in 1662) Antonio Marques of Santillana, Spain, one Roque of Talavera, Spain, and Jose Ramos, master potters of Puebla, represented the guild in petitioning the city to turn over to that organization the originals of the laws relating to the trade, and setting forth the rights, privileges, and obligations of the members. These decrees remained in force until 1676 and possibly later. After the latter date, however, the organization appears to have languished, since no subsequent record has been discovered in the books of the corporation of the city, and the provisions for the protection of the craft were apparently no longer enforced. Several influences were at work in the seventeenth century in developing the art of maiolica-making in Mexico. The ear- liest pieces which are known to us, produced before 1700, are embellished with strapwork and scrolled patterns in Moresque style. An excellent example of this variety, from the lavatory of the old convent of San Francisco at Atlixco, is a laver, or basin, some twenty inches in diameter, decorated in dark blue outlined with black, now in the collection of the Pennsylvania Museum in Philadelphia. A similar specimen, owned in Mexico, bears around the margin the explanatory inscription, “Soy para labar los sacryfycadores y no mas” (“ I am for washing the sacri- fices [hands] and for nothing else”). The most important work of this character, however, is probably the dado in the Chapel of the Rosary, belonging to the Church of Santo Domingo in Puebla (erected in 1690), which consists of tin-enameled tiles painted with a strapwork design in blue and white, alternating with panels of other tiles embossed with patterns in Moorish taste. The Spanish influence naturally impressed itself upon the glazed pottery of Mexico at an early date, through the crafts- men who were brought from Talavera and other places in Spain. xi THE METROPOLITAN MUSEUM OF ART From about 1600 to 1650 the Spanish style of painting, by which we mean the introduction of birds and animals and figures of saints among the decorative motives, largely preponderated. But about the middle of the seventeenth century the extensive im- portation of Chinese porcelains into Mexico, through the port of Acapulco, began to stimulate the artistic zeal of the Pueblan potters, who soon commenced to imitate the Oriental forms and paintings, and rapidly developed a pseudo-Chinese style, which continued until about the middle of the following century. By the beginning of the nineteenth century the Chinese in- fluence had entirely disappeared, and the later debased poly- chrome style of the Talavera maiolica, which was developed in Spain in the latter part of the eighteenth century, was adopted in Mexico, which marked the beginning of the decadence of the art. New colors were introduced, and the products of the His- pano-Mexican period, which continued from about 1800 to i860, became gaudy and flamboyant, and over-decoration vulgarized the ware. Since this art was introduced into Mexico by the priesthood, we may naturally expect to find in the ecclesiastical edifices of that country the best work of the early craftsmen. Here were placed the most intricate designs in tile-work, such as friezes and panels, made to fill special orders; entire facades of churches and convents were covered with tiles in the most elaborately executed patterns; tile-incrusted domes in many colors were often surrounded by glazed statuettes; wall mosaics of great size were painted with scriptural and legendary scenes; extensive lavatories with enormous maiolica basins beautifully decorated were erected for the use of the clergy; baptismal and holy- water fonts, and services for the tables of the convents and other relig- ious houses, were produced in great abundance. Having' executed the more pressing orders of the priests, the potters were free to supply the needs of the people, and vast quantities of articles were produced for household use, such as bath-tubs or cisterns, covered dishes, bowls, basins, benitiers, inkstands, sand-sprinklers, salt-cellars, candlesticks, and large xii MEXICAN MAIOLICA jars for storing liquids, vanilla, chocolate, and other foods. Among the objects most frequently met with are tall, cylindrical vessels, of the form of the Spanish and Italian albarelli, which were used to hold drugs, but more frequently served as recep- tacles for cut flowers, which have always been cultivated in great profusion by the Mexicans, and jardinieres and flower-pots in the forms of barrels and urns, for growing plants, which were placed in the gardens or set on the balconies around the four sides of the patios, or inner courts. The dwellings of the wealthier classes were frequently beau- tified, both externally and internally, with tile-work of attractive designs and colorings. Panels painted with figures of saints, coats of arms, and inscriptions were set in the walls of apart- ments and staircases and over the entrances to the courts. In many of the cemeteries tiles were also used in the ornamenta- tion of graves and tombstones. Some of these, painted with figures of saints, may still be found in place. We learn from the records of the Potters’ Guild, preserved in the archives of the city of Puebla, that three varieties of pottery were fabricated, “the fine, the common, and the yellow, such as jars, pots, vases, pans, strainers, etc.” It was decreed that “no one can manufacture pottery, either fine or common, with- out passing the examination required in the kind of pottery he expects to make. He may only make the kind in whose manu- facture he is examined, unless perchance his examination has been on all.” It was also specified that the fine pottery should be “painted in blue and finished in black with dots along the borders and edges, . . . and, in order that there may be variety, the other style of decoration for this fine ware shall he in imitation of the Talavera ware, or figures and designs in colors. . . . Also in making the fine wares the coloring should be in imitation of the Chinese ware, very blue, finished in the same style and with relief-work in blue” A critical examination of the collections of Puebla pottery which are accessible to us enables us to divide these wares into xiii THE METROPOLITAN MUSEUM OF ART four classes, based on their distinctive forms and characteristic decorations, as follows: 1 . The Moresque style 2. The Spanish, or Talavera, style 3. The Chinese style 4. The Hispano-Mexican, or Pueb- lan, style Blue monochrome. Polychrome. These varieties may be roughly separated into two groups, the first being composed of those examples which were produced 3 4 BLUE MONOCHROME TATTOOED STYLE, SHOWING SPANISH OR TALAVERAN INFLUENCE previous to 1800, which were decorated in blue; the second con- sisting of those pieces which were made during the nineteenth century, which were painted in various colors. The blue color was thickly applied and stands out in perceptible relief, a pecu- liarity which enables the collector to distinguish the Mexican maiolica from the Spanish, which latter was always painted with thin, flat pigments. In the Hispanized, or Talavera, style, of the second class, the Italian influence can occasionally be traced. It is known that maiolists went from Italy to Spain in the seventeenth century, and it is not surprising that the pottery of Talavera and other maiolica centers of the latter country should present certain xiv MEXICAN MAIOLICA resemblances to the productions of Savona and Genoa. The characteristics of the early Talavera wares of Spain are the absence of metallic lusters, which were so prominent a feature in the products of Malaga and Valencia, and the prevalence of blue color in the white enamel of the ground. Animal, bird, and human forms were introduced, in combination with foliated and floriated ornaments, frequently crowded together without regard to position or fitness. In the earlier Mexican maiolica of the Talavera period these peculiarities are strongly marked. The 20 29 25 BLUE MONOCHROME, SHOWING SPANISH OR TALAVERAN INFLUENCE influence of the Malaga or Valencia potters does not appear to have penetrated into Mexico, since no lustered pieces have yet been found among the fabrications of Puebla. Although these four modes of execution, which received their inspiration from widely divergent sources, were well marked, they were frequently combined in the same pieces. While, on the one hand, we find examples which in form and design are consistently Spanish, or Oriental, in spirit, on the other, we meet with objects of Chinese shape with ornamentation in Moorish, Spanish, or, occasionally, Aztec taste, the latter having been introduced by Indian apprentices. Large bowls and barrel- shaped jardinieres of Spanish form are frequently decorated in xv THE METROPOLITAN MUSEUM OF ART the Chinese manner. It is owing to these almost limitless varia- tions and combinations of modeling and decorative treatment that the study of Mexican maiolica possesses such absorbing in- terest and presents so many surprises to the ceramic student. The Talavera style of Mexican pottery is of at least two dis- tinct varieties. The earliest is that to which we have applied the term tattooed, in which the ground is thickly set with rudely painted dots and dashes in dark blue, interspersed with small animal motives surrounding the principal decorative designs, a style which flourished between about 1660 and 1700. A pecu- liarity of this treatment is the depressed appearance of the tattooed ornamentation, the color having sunk into the surface of the white enamel. Next in chronological order is the characteristic decoration, found principally on albarelli and spherical jars, in which birds, flowers, and conventional devices are boldly, but rudely, painted in silhouette, in solid, raised dark blue, a method of treatment which was in vogue from about 1700 to 1750. Of the third class, painted in blue monochrome or camaieu, in Chinese taste, four different styles may be distinguished. The first of these is characterized by solid dark-blue grounds, thickly applied, surrounding figure designs reserved in the white sur- face. The second variety, treated in the opposite manner, is embellished with Chinese figure subjects painted on the white surface. The third style shows European figure motives, usually combined with Oriental details, while the fourth consists of alter- nate white and blue medallions of irregular form, ornamented with floral and conventional patterns, painted on the white field, and reserved in the blue. The rules for the government of the members of the Potters’ Guild, which flourished in Puebla in the seventeenth century, throw much light on the composition of the early wares. The glaze for fine pottery contained four and one-sixth parts of lead to one of tin, a somewhat less proportion of the latter ingredient than is used by the modern Pueblan potters. In consequence of the greater care exercised in the preparation of materials, xvi MEXICAN MAIOLICA however, the glaze of the older ware is more even and homoge- neous than that of the present-day maiolica. For the common wares the glaze consisted of twelve and a half parts of lead to one of tin. Since the lead was incorporated with the tin before the composition was applied to the ware, the enamel is homo- geneous and so hard that it can only with difficulty be scratched with a steel point. A careful study of the bodv of Puebla maiolica reveals the 62 63 BLUE MONOCHROME, SHOWING CHINESE INFLUENCE fact that the clays employed were apparently of two kinds, white and red. These two varieties will be found to occur in the earliest pieces as well as those of recent date. The white body is much softer than the red, the difference in color being caused by the degree of heat to which the ware was subjected at the first firing, or the length of time it was allowed to remain in the kiln. When baked slightly the clay appears white and porous, and so soft that it can be readily cut with a knife; but when allowed to remain longer in the kiln, at a high tempera- ture, it becomes partially vitrified and considerably harder, and of a deep pink or reddish hue, increasing in density with the darkening of the color. Thus the tint of the body bears no relation to the antiquity of the ware, nor does it indicate the XVII THE METROPOLITAN MUSEUM OF ART locality from which the clay was obtained. 1 It is true that two varieties of clay are used — wdiite clay obtained at San Bartolo, San Pedro, and Santo Tomas, hills near the village of Toto- mehuacan, five kilometers from Puebla, and red clay from Loreto and Guadalupe, in the vicinity of Puebla; but these are always combined in equal parts to produce the results desired. It is stated that no other combination of clays is employed and that neither the red nor the w T hite clay can be used alone with satisfactory results. Since it is to be presumed that the law requiring the marking of pottery during the existence of the Potters’ Guild in Puebla, from 1653 to 1676, was strictly observed, we would expect to find pieces of that period bearing the registered devices of their makers. While early specimens of this character are compara- tively rare at this late date, numerous marked pieces have been found. Among these private marks we find the letter F, usually on tiles painted with human figures and animals in Chinese taste. The representation of a bee also frequently figures among the decorations on tiles from the same fabrique, evidently the private device, probably standing for the initial of the name, of a potter or decorator. The letters “he” are painted in blue on the sides of ornate jars. Enormous bowls, or basins, sometimes bear the letters C. S. A large laver, showing Moorish influence, is marked with a cursive A. Among the other devices which have come to light are a character resembling a florid y, the monograms and initials To, O R (the O above the R), M A, the monograms SCo and CAo (the o over the A) in black, the letter Z in blue, and a brown V with the figures 6 and 8 at the ends of the arms. Some of the more important pieces bear simple and complex crosses scratched in the paste or traced in blue and extending almost entirely across the bases. All of the dark-blue Mt is a curious fact, however, that many of the best pieces of the earlier ware were only slightly fired and, as a result, possess a light- colored body, which in some instances is almost as soft as chalk, but is always covered with a hard enamel. The larger and coarser pieces were usually burned more thoroughly and are consequently more vitreous and of a darker tint beneath the glaze. xviii MEXICAN MAIOLICA marks occur on pieces belonging to the latter half of the seven- teenth century. Those in black and brown are found on vessels belonging to the first half of the nineteenth century, when the marking of pottery appears to have been revived. In the ab- sence of a complete list of members of the original guild, or a ioo POLYCHROME DECORATION, SHOWING HISPANO-MEXICAN OR PUEBLAN INFLUENCE directory of the potters of the early nineteenth century, the e^act significance of these marks has not yet been determined. Without sufficient authentic records we can only fall back upon tradition to throw light on the extent of the pottery industry in Mexico during the seventeenth and eighteenth centuries. The great numbers of early pieces which have survived would indi- cate the existence of numerous establishments at different periods. Toward the middle of the seventeenth century, according to the statements of some of the older potters, whose ancestors for sev- xix THE METROPOLITAN MUSEUM OF ART eral generations produced maiolica in Puebla, there were at least ten or twelve manufacturers in that city. About 1750, when the industry had reached its height, some thirty potteries were in operation. Bancroft, in his “History of Mexico,” informs us that in 1793 there were fifty-six establishments for the making of glass and pottery, but that the number was reduced to eighteen at the beginning of the nineteenth century. Toward the middle of the century the number had decreased to about twelve. At the present time only six locerias are active, where the common grades of utilitarian wares and tiles, entirely devoid of artistic merit, are being produced. The recent demand among collectors for early pieces, however, has encouraged some of the manufac- turers to imitate the old designs, and more or less dangerous for- geries are frequently met with in the curiosity-shops of Mexico. In 1900, Senor Enrique L. Ventosa of Puebla, who came from Barcelona, Spain, having obtained his art education in Paris, commenced to elevate the modern standard of the art by reviv- ing many of the old designs. His work is characterized by con- scientious adherence to the spirit of the originals. He has made a thorough study of the ancient maiolica of Mexico, and his knowledge of the old Spanish wares has enabled him to combine in his productions the Mexican and Spanish methods, using the motives which are found in both, to originate a style which, while based on the traditions of the Mexican art, is so distinctive in treatment that it can be recognized without difficulty. It is only within the past few years that the Mexicans them- selves have commenced to recognize the true character of the tin-enameled pottery which is found in their country. Collectors in various parts of the republic have, as the result of recent dis- coveries, turned their attention to the gathering together and preservation of these remains of one of the earliest of Hispano- Mexican arts. Of these local collections, that formed by Mr. Albert Pepper, an architect, of the City of Mexico, has been recognized for many years as one of the most important. In the Pennsylvania Museum, Philadelphia, may be seen a repre- sentative group of these early wares. The interest in this sub- xx MEXICAN MAIOLICA ject, however, has not been confined to America, for we learn that European collectors have lately been attracted to this field of research, and groups of Mexican maiolica have already been sent to Germany, France, and England. Mrs. Robert W. de Forest, who for many years has been en- 128 POLYCHROME DECORATION, NATIVE MEXICAN AND CHINESE STYLE gaged in collecting the folk pottery of all peoples, during a trip to Mexico in 1904 became interested in the pottery of Puebla, and at that time gathered together the nucleus of her present collection. Through the assistance of Mrs. Zelia Nuttall of Coyo- acan, she has been able to add, from time to time, many rare and valuable examples, and her recent acquisition of the well- known collection of Mr. Albert Pepper has made her collection one of the most extensive and representative of its kind. It is particularly rich in polychrome pieces, dating from about 1800 xxi THE METROPOLITAN MUSEUM OF ART to i860, of which Nos. 67, 68, 69, 73, and 85 are especially note- worthy. Among the earlier pieces, in dark blue, special atten- tion is called to Nos. 9, 57, and 61. The maiolica of Mexico, crude and inartistic as it frequently appears, possesses an element of manly vigor, in the boldness of its modeling and decorative treatment, which gives it an in- dividuality of its own. The reflection of the virile art of Spain, combined with the refining influence of Oriental traditions, re- sulted in the development of a composite style of pottery, which at its best period, between 1650 and 1750, was quite distinct from the wares produced in any other country. Edwin AtLee Barber. XXII CATALOGUE OF MEXICAN MAIOLICA CATALOGUE OF MEXICAN MAIOLICA I OBJECTS SHOWING MORESQUE INFLUENCE BLUE AND WHITE DECORATION 1575-1700 i BOWL OR LAVER. Decoration of strapwork and loop- work in heavy raised blue enamel outlined in black. In- scription around the rim, “Soy para labar los puryfy- cadores y no mas” (I am for the washing of the purificators and no other purpose). About 1650. D. 20%4 in. Acc. No. 1 2.3.1. Illustrated as the frontispiece on page iv. See head-band above. Published by Dr. Bar- ber in Art in America, vol. Ill, page 23. 3 OBJECTS SHOWING SPANISH OR TALAVERAN INFLUENCE (a) TATTOOED STYLE 165O-I7OO 2 BOTTLE-SHAPED VASE. Fern leaf, bird, and animal motives in raised dark blue. About 1700. H. 10^4 in. Acc. No. 11.87.27. From the Pepper Collec- tion. 3 JAR with six serpentine handles. Fern leaf and bird deco- ration in dark blue. About 1660-1680. H. 9 i n * Acc. No. 11.87.2. Illustrated on page xiv. See head-band above. From the Pepper Collection. 4-5 PAIR OF JARS. Fern leaf, floral, and bird decoration in dark blue. Marked “h e’\ Reserved white label for name. About 1660-1680. H. iofHi in. Acc. Nos. 11.87.1 and 17.108.3. Illustrated on page xiv. From the Pepper Collection. 6 LID OF JAR. Decorated in dark blue, with fern leaves, hares, and fishes. About 1680. D. io^ in. Acc. No. 11.87.5. 4 THE METROPOLITAN MUSEUM OF ART 7 PLATE. Decorated with the figure of a man carrying a banner, in dark blue. Marked “Z”. About 1670. D. 8 in. Acc. No. 1 1.87.4. From the Pepper Collection. 8 LARGE PLATE OR PLAQUE. Fern leaf, bird, animal, and flower decoration in dark blue. About 1680. D. 14 in. Acc. No. 1 1.87.6. From the Pepper Collection. 9 LAVER. Central figure of a woman surrounded by fern leaf and bird designs in dark blue. Marked “h e”. About 1660-1680. D. 2 o }4 in. Acc. No. 11.87.3. See head-band, page ix. From the Pepper Collection. (b) OTHER STYLES 17OO-I75O 10 ALBARELLO or drug jar. Conventional decoration, palm tree, house, etc., in dark blue. Arms of a Franciscan con- vent in brown. About 1700-1730. H. 8^4 in. Acc. No. 1 1.87.11. 11 CHOCOLATE JAR. Conventional and bird decoration. Iron collar; lid and lock missing. About 1700. H. 10 in. Acc. No. 11.87.7. 12 ALBARELLO or drug jar. Conventional floral decoration in dark blue. Reserved white label for name. About 1700. H. 10J/2 in. Acc. No. 11.87.9. 13 ALBARELLO or drug jar. Conventional floral decoration. About 1700. H. in. Acc. No. 1 1.87.10. 6 7 MEXICAN MAIOLICA 14 ALBARELLO or drug jar. Conventional bird and floral decoration in dark blue. About 1700-1750. H. in. Acc. No. 11.87. 12. 15 ALBARELLO or drug jar. Fern leaf decoration in raised blue. About 1750. H. 9F4 in. Acc. No. 1 1.87.14. From the Pepper Collection. 9 16 LARGE JAR. Conventional bird and floral decoration in dark blue. About 1700. H. 16 in. Acc. No. 11.87.8. From the Pepper Collection. 17 INKSTAND. Hexagonal form. Conventional floral dec- oration in dark blue. About 1750. D. 4 in. Acc. No. 1 1.87.19. 7 THE METROPOLITAN MUSEUM OF ART 18 INKSTAND. Hexagonal form. Conventional floral dec- oration in dark blue. About 1750. D. 3^ in. Acc. No. 17.108.28. From the Pepper Collec- tion. ( c ) 1750-1800 19 CYLINDRICAL JAR. Conventional decoration in dark blue. About 1750-1780. H. in. Acc. No. 17.108.1. i 14 10 12 20 ALBARELLO or drug jar. Raised blue decoration. White label for name. About 1750-1800. H. 9 in. Acc. No. 17.108.2. Illustrated on page xv. 21 ALBARELLO or drug jar. Raised blue decoration. White label for name. About 1750-1800. H. 9 in. Acc. No. 11.87.34. 22 JAR. Ornamental bands with reserved white scrollwork in blue ground. About 1750. H. 6 % in. Acc. No. 17.108.4. 8 MEXICAN MAIOLICA 23 ALBARELLO or drug jar. Bands of conventional decora- tion in dark blue. About 1750-1800. H. 10^ in. Acc. No. 11.87. 15. See head-band, page vii. From the Pepper Collection (?). 24 BASIN. Conventional decoration in raised blue. About 1800. D. in. Acc. No. 11.87.23. 25 ALBARELLO or drug jar. Bird and hare motives in dark blue. About 1750-1800. This jar shows traces of having been covered with silver, and was evidently used at one time as a flower vase in a church or a convent. H. 10 in. Acc. No. 1 1.87.13. Illustrated on page xv. 26 BOWL. Conventional ornament in blue. About 1750-1800. D. 15 in. Acc. No. 11.87.33. From the Pepper Collection. 27 BOWL with two handles. Fern leaf decoration in blue. About 1750-1800. H. 3*k6 in. Acc. No. 1 1.87.22. From the Pepper Collection. 28 SPHERICAL JAR. Blue decoration, with the arms of a house of the Hospitallers (Brothers of Mercy) in brown, green, and orange. About 1775-1800. H. iojM$ in. Acc. No.. 1 1.87.17. 22 24 9 THE METROPOLITAN MUSEUM OF ART 29 JAR. Conventional bird and floral decoration. About 1750-1800. H. 0^/2 in. Acc. No. 1 1.87.16. Illustrated on page xv. 30-31 PAIR OF BARREL-SHAPED JARDINIERES. Con- ventional bird and checker-board decoration in dark blue. Acc. Nos. 11.87.18 and 17. 108.15. 32 ALBARELLO or drug jar. Raised blue decoration. White label for name. About 1750-1800. H. 5 in. Acc. No. 17.108.13. 33 SAND-SHAKER. Hexago- nal form. Conventional floral decoration in dark blue. About 1750. D. 3^ in. Acc. No. 11.87.20. 34 SAND-SHAKER. Hexagonal form. Conventional floral decoration in dark blue. About 1750-1780. D. 3 in. Acc. No. 17.108.27. 35 PANEL OF TILES. Blue and white decoration in radiating star-shaped and serpentine patterns. Similar tiles are found in the Convent of Santa Rosa, Puebla, and in the church of San Francisco, Acatepec. XVII-XVIII century. 53 x 43/^ in. Acc. No. 17.108.34. ( d ) 1800-1825 36 BOWL. Conventional floral decoration in dark blue. About 1800. H. 10^4 in. Acc. No. 1 1.87.21. From the Pepper Collec- tion. About 1750-1780. H. 13^6 in. and 15^$ in. 10 28 THE METROPOLITAN MUSEUM OF ART 37 JUG with handle. Conventional decoration in blue. About 1800. H. 8J^ in- Acc. No. 17.108.6. 38 SALT-CELLAR. Blue decoration. About 1840. H. 2^/i in. Acc. No. 11.87.32. 39 SALT-CELLAR. Blue decoration. About 1825. H. in. Acc. No. 17.108.7. 40 JUG. Decorated in raised blue. Inscribed, “El que no ba, enbia con su gavito a la pulqueria” (He who can not go, sends his jug to the pulque shop). About 1800. H. 7L4 in. Acc. No. 11.87.65. 41 COVERED JAR with handles. Fern leaf and conventional floral decoration in dark blue. About 1800. H. 6 in. Acc. No. 17.108.10 a , b. From the Pepper Col- lection. 42 BENITIER. Blue decoration. XIX century. H. 6^2 in. Acc. No. 17.108.9. From the Pepper Collection. 43-44 PAIR OF SQUARE BOTTLES. Decorated with fig- ures of birds and buildings in dark blue. XIX century. H. 6J^> in. Acc. No. 17.108.11-12. 45 BENITIER. Blue decoration of plants and a cross in re- lief. X I X century. H. 7^ in. Acc. No. 11.87.31. 46 BOTTLE. Double-gourd-shape. Conventional floral deco- ration in blue. About 1800. H. 7% in. Acc. No. 1 1.87.30. From the Pepper Collection. 47 ALBARELLO or drug jar. Fern leaf decoration in blue. About 1800-1825. 12 30 THE METROPOLITAN MUSEUM OF ART H. io }4 in. Acc. No. 17. 108.14. From the Pepper Collec- tion. 48 ALBARELLO. Conventional and floral decoration in blue. About 1800. H. 7^6 in. Acc. No. 11.87.29. 49 PLATE. Conventional floral designs in dark blue. About 1800. D. 7 in. Acc. No. 17.108.29. From the Pepper Collection. 50 PLATE. Conventional floral designs in dark blue. About 1800. D. 7^ in. Acc. No. 11.87.28. 51 PLATE with scalloped edge. Conventional floral decora- tion in blue. About 1825. D. 8 ?4 in. Acc. No. 11.87.25. 52 PLATE with scrolled edge and fluted cavetto. Conven- tional floral decoration in dark blue. About 1800-1825. D. 8 % in- Acc. No. 1 1.87.24. From the Pepper Collection. 53 PLATE OR DISH. Decorated with conventional orna- ments and mosque-shaped building in dark blue. About 1800. 14 17 38 39 THE METROPOLITAN MUSEUM OF ART D. 13^4 in. Acc. No. 17.108.26. From the Pepper Collec- tion. 54 PLATE with scalloped edge. Conventional design of build- ing and trees in dark blue. About 1800. D. in. Acc. No. 11.87.26. From the Pepper Collec- tion. 55 PLATE with scalloped edge. Conventional floral decora- tion. About 1800. D. 7 yi in. Acc. No. 17.108.25. From the Pepper Collec- tion. 45 16 OBJECTS SHOWING CHINESE INFLUENCE 165O-175O 56 BARREL-SHAPED JARDINIERE. Reserved flower me- dallions in blue ground. The form of the vessel is Spanish, but the decoration reveals Oriental influence. About 1700- 1750. H. 17 in. Acc. No. 11.87.40. 57 VASE with floral decorations painted in white reserved medallions surrounded by deep blue ground containing re- served white ornamentation. The form and decorative treatment are strongly Oriental. About 1680-1700. H. 14^ in. Acc. No. 11.87.36. From the Pepper Collec- tion. 58 BARREL-SHAPED FLOWER POT. Floral designs painted in white medallions surrounded by dark blue ground. The shape is Spanish, but the decoration shows Chinese influence. About 1750. H. 5^ in. Acc. No. 1 1.87.37. See head-band above. 59 URN-SHAPED FLOWER VASE. Blue conventional deco- rations showing Chinese influence. About 1750. H. 12^ in. Acc. No. 11.87.39. 17 THE METROPOLITAN MUSEUM OF ART 6o BARREL-SHAPED JARDINIERE. Paintings of men in Spanish and Chinese costumes, in reserved white medal- lions, alternating with irregular blue medallions containing reserved white decorations. The figures in the four medal- 60 lions represent a Chinaman carrying a jar, a man looking through a telescope, a Spaniard playing a guitar, and a man in Chinese garb with arms outstretched. The deco- rations show Chinese influence. About 1700-1750. H. 18 in. Acc. No. 1 1.87.41. From the Pepper Collection. 20 MEXICAN MAIOLICA 61 LAVER. Around the sides are white medallions with bas- kets of flowers in Chinese taste. In the center is the double- headed, crowned eagle of the Austrian dynasty. This inter- esting piece, which is decorated in heavy blue, reveals the combination of the Spanish and Chinese influences. About 1680-1700. D. 17^ in. Acc. No. 11.87.35. 61 62-63 PAIR OF OVAL DISHES. Figure decoration in Chinese style. About 1830. L. 18 in. Acc. Nos. 11.87.38 and 17.118(F). Illustrated on page xvii. 21 IV OBJECTS SHOWING HISPANO-MEXICAN OR PUEBLAN INFLUENCE POLYCHROME DECORATION I 800- I 9OO 64 PLATE. Decorated in yel- low and raised blue. About 1800. D. 8 yi in. Acc. No. 1 1.87.63. 65 JAR COVER. Polychrome decoration — dark blue, yel- low, green, and mauve. Mod- eled knob in form of fruit. This example shows the tran- sition from the blue to the polychrome decoration and dates from about 1800. D. 14 in. Acc. No. 17. 108. 16. From the Pepper Collection. 66 GLOBULAR JAR with polychrome decoration — dark blue, yellow, green, brown, and rose color. The shoulder is deco- rated with the raised dark blue, containing reserved white ornaments. The body is embellished with vertical bands alternately white and yellow, with colored ornamentation. This interesting piece marks the transition from the mono- 22 MEXICAN MAIOLICA chrome blue to the colored style of decoration and dates from about 1800. H. 11 in. Acc. No. 11.87.46. 67 WATER JAR with two handles. Decorated in polychrome — green, blue, yellow, brown, and rose. Around the center are painted figure scenes from Indian life. An Indian carrying two water vessels is approaching a well. A Mexican is shown carrying two jugs, while beside him a boy is ascending a ladder leading to an upper window of a house. On the other side two water carriers are fighting, while in front is the representation of a well. Between the figures are trees and vines with convolvulus blossoms. The roseor mauve color was not intro- duced into Mexican maiolica until thebe- ginning of the nine- teenth century. This interesting piece and number 68 are of about that period and were dug up in a patio in Queretaro, where they seem to have been buried for about a century. H. 17^ in. Acc. No. 11.87.42. 68 WATER JAR with handles, a companion to the preceding. 23 THE METROPOLITAN MUSEUM OF ART Similar colors have been used in the decoration, but the fig- ure scenes are somewhat different. At the front is a similar design of a well, by the side of which a woman stands. An- other woman is shown grinding corn on a stone metate, while a third woman is carrying water and leading a boy who is filling a jug at a well. The same house with a ladder is shown, the sash of the upper window being closed. The man stands at the base of the ladder, with a key in one hand and a staff in the other. Approaching him is a man bearing water vessels. About 1800. H. 17^ in. Acc. No. 11.87.43. 69 LAVER OR BASIN. Figure decoration in polychrome — red, green, yellow, and brown — representing “The Baptism of the Saviour.” About 1800. D. 12^2 in. Acc. No. 11.87.45. From the Pepper Collec- tion. 70 PANEL OF TILES. Polychrome center bordered by blue and white tiles of radiating pattern. Tiles similar to those of border are found in the church of San Francisco, Aeate- pec, Mexico. XVIII-XIX century. 53x41 in. Acc. No. 17.108.35. 24 THE METROPOLITAN MUSEUM OF ART 71 LARGE DISH. Polychrome decoration — pale green, pink, and black. The central design is a house surrounded by trees. About 1825. D. 14^ in. Acc. No. 11.87.50. 72 BARREL-SHAPED MUG. Decorated in dark blue and polychrome on pale blue ground. About 1820. H. 9 in. Acc. No. 11.87.74. 73 COVERED BOWL. Decoration in green, brown, and rose. Inscription, “Viva Fernando 7.” About 1820. The ornamentation consists of roses painted in a peculiar mauve tone, and was evidently done during the reign of Ferdinand VII of Spain, which extended from 1808 to 1833. This is an excellent example of this rare and beautiful color. D. 9 in. Acc. No. 11.87.44. From the Pepper Collection. 4-75 PAI R OF SALT-CELLARS. Decorated in dark blue and polychrome on pale blue ground. About 1820. H. in. Acc. Nos. 17.108.19 and 11.87.70. From the Pepper Collection. 76 SMALL TEA-POT. Decorated in dark blue and poly- chrome on pale blue ground. About 1830. H. 4^4 in. Acc. No. 1 1.87.73. From the Pepper Collection. 77 COVERED BOWL with fluted sides decorated in mauve and green. About 1825. D. 5^ in. Acc. No. 11.87.48. From the Pepper Collection. 78 LARGE DISH. Polychrome decoration — green, yellow, rose, and black. Period of about 1820. Marked “CA,” with an “o” over the “A,” in black. D. 14^ in. Acc. No. 11.87.49. From the Pepper Collec- tion. 9-80 PAIR OF PLATES with scalloped edge. Border deco- ration in mauve and pale blue. Central motive is a pillar 26 MEXICAN MAIOLICA taken from the arms of the Convent of the Ensenanza, Mexico City. About 1825. D. in. Acc. Nos. 11.87.47 and 17.108.32. From the Pepper Collection. 81 LARGE DISH. Polychrome decoration — green, mauve, yellow, and black. About 1825. A monogram consisting of the letters “C S,” followed by a small “o.” D. I4f^in. Acc. No. 17.108.30. From the Pepper Collection. 85 82 LARGE PLATE with scalloped edge. Dark blue and poly- chrome decoration on pale blue ground. About 1820. D. 15^ in. Acc. No. 1 1.87.69. From the Pepper Collection. 83 LARGE PLATE with scalloped edge. Dark blue and poly- chrome decoration on pale blue ground. About 1820. D. 13^ in. Acc. No. 18.36. 84 BEN I TIER. Decorated in dark blue, yellow, and green on pale blue ground. About 1820. H. 10 in. Acc. No. 11.87.72. From the Pepper Collection. 27 THE METROPOLITAN MUSEUM OF ART 85 LARGE BOWL with fluted sides. Decorated in dark blue and polychrome on pale blue ground. Central design, a man on horseback. About 1820. Marked “C S.” D. 14^4. in. Acc. No. 11.87.68. From the Pepper Col- lection. 86 TILE LAVATORY, containing three lavers, or basins, decorated in polychrome, with vases of flowers and a car- touche of the arms of a Franciscan house. About 1830 H. 54^ in.; L. 83 in.; W. 25^2 in. Acc. No. 17.83. 87 LARGE VASE-SHAPED JARDIN- IERE. Dark blue and polychrome on pale blue ground. About 1830. H. 26 in. Acc. No. 11.87.76. 88 URN-SHAPED JARDINIERE with two handles. Dark blue and polychrome on pale blue ground. About 1830. H. 12^ in. Acc. No. 17. 108. 18. 89 LARGE BOWL on foot, with handles modeled in the form of human heads. Decorated in red, yellow, green, black, and mauve. About 1835. H. 7 yi in. Acc. No. 11.87.55. 90 JAR-SHAPED CUP with two handles. Decorated in dark blue and polychrome on pale blue ground. About 1830. H. 4’y& in. Acc. No. 1 1.87.71. From the Pepper Collection. 91 LARGE BOWL. Dark blue and polychrome on pale blue ground. About 1830. D. 17^ in. Acc. No. 11.87.75. 92 BARREL-SHAPED JARDINIERE. Yellow and green decoration. About 1830. H. 1 ij^2 in. Acc. No. 1 1.87.61. 28 84 8y 88 THE METROPOLITAN MUSEUM OF ART 93 SAND-SHAKER. Decorated in blue, yellow, and black. About 1830. D. 3^2 in. Acc. No. 1 1.87.59. From the Pepper Collection. 94 LARGE CANDLESTICK in the form of a sitting dog. White glaze and decorations in red and green paint and gilding. This was probably used in a church or convent. About 1830. H. 15^ in. Acc. No. 11.87.78. From the Pepper Collec- tion. 91 95 JAR. Decorated in red, yellow, and green. About 1830. H. 14 in. Acc. No. 11.87.53. 96 LARGE PLATE. Decorated in blue, green, and black on yellow ground. About 1830. Marked “O,” in black. R D. 13^ in. Acc. No. 11.87.67. 97 SMALL BOWL-SHAPED JARDINIERE or tazza with two handles. Decorated in green, yellow, black, and brick red. About 1840. D. 5^ in. Acc. No. 1 1.87.51. See head-band, page 22. 32 MEXICAN MAIOLICA 98 BOWL with handles. Polychrome decoration — red, green, and black. About 1845. D. 4^ in. Acc. No. 17. 108. 17. From the Pepper Collec- tion (?). 99 JUG with red, yellow, green, and black ornamentation. About 1840. H.8>£in. Acc. No. 1 1.87.52. 100 LAVER OR BOWL. Poly- chrome decoration — red, yellow, green, and brown. About 1840. D. 18 in. Acc. No. 1 1.87.62. Illustrated on page xix. 1 01 BOWL. Blue decoration. About 1840. D. 9^ in. Acc. No. 17.108.20. From the Pep- per Collection. 102 COVERED JAR. Poly- chrome decoration. About 1840-1860. H. 1 in. Acc. No. 17.108.24 a, b. 103 SPHERICAL JAR. With a coat of arms in brown on a bright yellow ground. About 1840. H. 1 \% in. Acc. No. 11.87.64. 104 LARGE BOWL. Decorated in yellow, green, black, mauve, and red. About 1840. D. 15^ in. Acc. No. 11.87.54. 105 BENITIER. Brown decoration. From Convent of Santa Cruz, Queretaro, Mexico. About 1840. H. 9 in. Acc. No. 17.108.33. 33 THE METROPOLITAN MUSEUM OF ART 106 INKSTAND. Circular form. Decorated in red and green About 1840. D. 3^4 mb. A oc. No. n 1.87.58. From the Pepper Goflection 97 9 ® 107 PLATE. Ydkm. green. and Hack. Central design a par- rot. About 1840. D. mb- Aoc. No. 11.S7.60. From the Pepper Gofflection- 109 102 1 10 108 PLATE. Polychrome decoration on pale Wue ground. About 1S40. Marked ‘TV’ in black R D. 83 ^ in. Aoc. No. 17. 108.31. 109 LARGE DISH. Polychrome decora tic© — red,, green, and yeflow. .About 1840. D. 14^4 bib. Acc. No. 11J87.57. From the Pepper Coflec- tion. 34 THE METROPOLITAN MUSEUM OF ART no BOWL. Blue conventional decoration. About 1840. D. 13^4 in. Acc. No. 11.87.66. in ALBARELLO or drug jar. Blue glaze. About 1840. H. 1 1^4 in. Acc. No. 17.108.5. 1 12 ALBARELLO or drug jar. Blue glaze. About i860. H. in. Acc. No. 17.108.8. 1 13 BOWL with polychrome decoration. D. 8% in. Acc. No. 17. 108.21. 1 14 BOWL. Polychrome decoration. D. 8 Y4 in. Acc. No. 17.108.22. 1 15 DISH. Conventional polychrome designs. D. 9 in. Acc. No. 17.108.23. 116 CYLINDRICAL JAR with handles. Polychrome decoration. About 1865. H. tf/4 in. Acc. No. 1 1.87.80. 1 17 JAR. Polychrome decoration. XIX century. H. 7 in. Acc. No. 1 1.87.81. 1 18 SPHERICAL JAR OR JUG. Decorated with red, yellow, green, and black. Inscribed “Antonio Lopes,” in black. About i860. H. 7 in. Acc. No. 11.87.56. 1 19 CYLINDRICAL JAR with handles. Polychrome figure decoration. About 1865. H. 8 J 4 > in. Acc. No. 1 1.87.79. 120 INKSTAND. Polychrome decoration. Curious shape. About i860. H. in. Acc. No. 1 1.87.82. From the Pepper Collection. 36 MEXICAN MAIOLICA 1 21 BEN I TIER. Yellow, blue, and green decoration. XIX century. H. i2^i in. Acc. No. 11.87.77. 1 16 122 LARGE FLUTED BOWL. Polychrome decoration. D. 13^ in. Acc. No. 11.87.86. 123 BAPTISMAL BASIN. Decorated in polychrome with the subject “The Baptism of the Saviour.” D. 1 in. Acc. No. 11.87.85. 124 PLATE. Polychrome decoration. Figure of a woman in the center. XIX century. D. 7 in. Acc. No. 11.87.83. 37 THE METROPOLITAN MUSEUM OF ART 125 LAVER OR BOWL. Polychrome floral decoration. About 1850. D. 19^ in. Acc. No. 11.87.84. 126 JAR. Modern copy by Ventoso of eighteenth-century piece in tattoo style. XX century. H. 9^4 in. Acc. No. 12.3.2. 38 125 V NATIVE MEXICAN AND CHINESE XIX CENTURY 127 OVAL SHAVING-DISH of red clay, covered with white slip with incised floral ornaments in ed and green. Gua- najuato, about 1830. L. 13 in.; W. io }4 in. Acc. No. 11.87.87. See head-band above. 128 LARGE DISH OR PLATE of red clay, covered with in- cised ornaments representing a vase of flowers and birds in green and brown. Guanajuato, about 1830. D. 12^ in. Acc. No. 1 1.87.88. Illustrated on page xxi. 129 FIGURE OF A DEER in sit- ting attitude. Two holes in the head indicate that antlers, made separately, were in- tended to be inserted. This curious example, found in Mexico, was probably brought from China and is not of Mexican workmanship. Large quantities of Chinese pot- 40 MEXICAN MAIOLICA tery and porcelain were imported into Mexico in the seventeenth, eighteenth, and nineteenth centuries. 11 . 8 in. Acc. No. 11.87.89. 41 OF THIS CATALOGUE 1,000 COPIES WERE PRINTED JUNE, 1918 1,000 ADDITIONAL WERE PRINTED JANUARY, 1922