"Later in the sixteenth century, when subject-painting, covering the whole surface of the piece, was in general fashion (_istoriata_), the unsigned works produced at Faenza are difficult to distinguish from those of other fabriques. Some examples exist in collections, as one in the Louvre, with the subject of a cavalry-skirmish, and inscribed, '_1561 in Faenca_;' but we have no knowledge of their painters, and even the occurrence of the name of that city is but rarely met with. Her wares are usually richly ornamented on the back with imbrication, as was the manner of Manara, or with concentric lines of blue, yellow, and orange.
"Of the pottery produced at Faenza during the seventeenth and the last century we have but little record. Some pharmacy-vases are mentioned by M. Jacquemart, signed 'Andrea Pantales Pingit, 1616,' but the signature does not appear to be accompanied by the name of that city. In 1639 Francesco Vicchij was the proprietor of the most important fabrique.
"A modern establishment professes to occupy the premises of the ancient Casa Pirota, where we have seen fairly good reproductions of the ordinary _sopra azzuro_ plates of the old botega; but these are but weak imitations, and the glory of Faentine ceramic art must be looked for in museums."
The "SGRAFFIATO" wares of Italy do not come under the head of maiolica. The term is used to designate work where the design is scratched or incised upon the clay; and in Italy, often upon a white clay laid over a darker clay, so that the design shows through the lighter "slip" or "engobe," as the covering is called.
Of _Forli_, _Venice_, _Castelli_, or _Abruzzi_, and the many other manufactories of maiolica, it will be almost useless to write here. We have few, if any, examples of the work in this country; and without examples it is difficult to make the subject interesting.
I have not attempted to give any "marks" of maiolica, for two reasons: one, that we have so little opportunity for purchasing that the knowledge of the marks, such as they are, would be almost wholly useless; and, second, these marks are of little use anywhere. Few of the painters were in the habit of marking their work; and, when they did, their marks seem to have had no uniformity, and were varied in many whimsical ways. Those who wish to buy pieces of maiolica, unless they have made the matter a study, will hardly do it without consulting a person of experience; and a person of experience will not be guided solely by the marks.