valencian lustreware of the fiftennth century- timothy husband

7/30/2019 VALENCIAN LUSTREWARE OF THE FIFTENNTH CENTURY- TIMOTHY HUSBAND

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ValencianLusterwareo f t h e Fifteenth Century:N o t e s a n d Documents

T I M O T H Y H U S B A N D AdministrativeAssistant,The Cloisters

In 711, Tarik, a Berbermilitary ommander,n-vadedSpainromNorthAfrica,landingatapointthat stillbearshisname,Gibraltar(from GebelTarik, or Mt. Tarik).Tarik's first successful campaigns marked thebeginning of a period of internecine wars andinvasions that persisted until 756, when Abdar-Rahman established the Umayyad empireand began the Muslim domination of Spain.By 929, his descendant Abd ar-Rahman IIIdeclared himself caliph and Cordova becamethe seat of the western caliphate of the Mus-lim world. Though peace wasnever long main-tained, the Umayyad empire was the supremeforce in Spain until its eventual collapse inI031. Through the ensuing two centuries,Spain endured an unending series of wars be-tween the Christians and the Muslims, whoserankshad been increased by the alliance withNorth African sects, particularly the Almo-hades. Only in I248, with the capture of Se-ville by Ferdinand III of Castile and similarvictories of JamesI of Aragon, did the eventu-al reconquest of Spain seem inevitable. Slowlypushed southward, the Muslim forces estab-lished a stronghold in Andalusia,a region theyheld for several more centuries.

i. Theprincipalitiesandkingdomsf Spainduringhe ourteenthandfifteenthenturies.everalmportantottery roductioncentersn theregion f Valencia reshownn the nsetmap

It is within this historical background thatone must look for the origins of Valencian lus-terware, a type of pottery that, by a uniqueglazing process, simulated the rich sheen ofprecious metals and became the most accom-plished and sought-after glazed ware in Eu-rope during the fifteenth century. To the

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Umayyadpalacecity of Medinataz-Zahra,nearCordova, heMuslimrulersbroughtun-told treasures o enrichtheir courtsand re-create the beautyof their homes n the East.UnderAbd ar-RahmanII, Cordovabecamea centerof sufficient ultureandsplendor oattractartists,musicians, cholars, oets,andphilosophers rom the East. The principalports of Seville, Almeria,and Malagawerecrowdedwith merchantfleets bringing ux-urygoodsfrom Alexandria,Byzantium,Da-mascus, ndBaghdad, ndtakingawaySpan-ish oresandagricultural roduce.

Withlittle doubt,lusterwaremade ts firstappearancenSpainunder uchcircumstances,beingimported romeasterncentersof pro-duction, perhapsBaghdad,Basra,or Kufa.Thereis no indicationof lusterware eachingSpainbeforeAbd ar-RahmanII'sreign 9 2-961), and the earliest examples excavated atthecourtofMedinataz-Zahrareremarkablysimilar o thosefoundin the East, renderingthe possibilityof localmanufactureemote.At whatpoint usterware as irstproducedin Spain sa question hathas ong keptschol-arsdisputing.There slittle evidenceof its in-digenous roduction uring heUmayyad uleor duringthe century mmediately ollowingitscollapse. t mayhave beenproducednTo-ledo;at leasttherearedocuments, omposednot later than io66, that prove it was a com-modityof considerableradeandthatspecifyhowit shouldbe describedwhileheldin bail-ment, includinghow to give a statementofits condition. t is alsopossible hatthesedoc-uments referred o importedgoods, perhapsfromEgypt, a country n closecontactwithAndalusiaand a known producerof greatquantitiesof lusterware.Thereis one knowntwelfth-century eference o the productionof lusterwaren Spain:a geographicalog bythe writeral-Idrisi, ompleted n 1154,statesthatgold-lustered otterywasmadeat Calat-ayud n Aragon ndexported o distantcoun-tries.

By the middleof the thirteenthcentury,Malagahad becomewell knownfor its pro-duction of lusterware.Whetherit was pro-ducedhereat anearlierdate is difficult o say,butif it hadbeen, t seemsikelythat theCor-

dovanwriter,ash-Shakundi,n his Risala,anencomiumof Andalusians nd theircountrythatlaudedMalaga or its figs,wines,textiles,andotherproduce,wouldhave mentionedt.Around 1274, however, the writer Ibn SaidfromGranadamadespecialmentionof Ma-lagan usterware,nd nI35oIbnBattuta romTangiersaid hata beautifulusteredpotterywasmade n Malaga ndexported o themostremotecountries. At the sametimeAlmeriaandMurciawerealsoknownascentersof pro-duction, but no examplesexist that can beidentifiedwith thesecities.)Malaga ontinuedto behighlypraisedor tslusterwarehrough-out the remainder f the fourteenth entury,but in the waningyearsof Muslimrule thecity, prey to constantattackandpiracy,be-gan to fade as a production center. By I487,whenMalagaell intoChristian ands, he artmusthavevirtuallyceased o exist.It is not surprising,hen,that artisansromMurciaandMalaga reknown o havemovedto theregionofValencia,wherevastmerchantfleets could ship their productsunhindered.The politicalclimatemusthave beencondu-cive to artisticproduction,orJames of Ara-gon in 125I granted to all master artisans, re-gardless f religion, herightto work reely nseveral owns n the vicinity of Valenciaup-onpaymentof a smallannual axanda fee foreachkiln.ThusMuslims,MudejaresMuslimsconverted to Christianity),and Christianswere all working side by side. By I362, twosuchartisans, uanAlbalatand PascasioMar-tinwerewellenoughknownto besummonedby PopeAubertAudoin o Avignon o manu-facturetiles for the palace.ManyValencian ocuments efer o obradeMalica workof Malaga), onfirminghe closeassociation f that southerncenter with theregionof Valencia indeed,the term eventu-ally becamesynonymouswith Valencianus-terware.nonedocument, woMuslimpottersarereferredo as "masters fMalaga,iving nManises."Thereare also indications hat Va-lencia,particularlyManises,had closecontactwith Murcia:many potters there had suchsurnames s Murcia,Murci, Morci,and Al-murci.The brothersAbadelaSizndAbrahimAlmurci are first mentioned in 1325, and a

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Sancho Murci worked for Martin I in 1406and for Alfonso V in Valencia until 1428.The careerof another Murci, Juan, s knownin more detail. He began manufacturing tilesfor the palace at Valencia in I429. In I444 hewas contracted by Don Galceran de Reque-sens, who later became lieutenant general ofCatalonia while Alfonso V was in Naples, toproduce a rush order of nearly five thousandtiles. He was later commanded by Alfonso Vto start tile pavements for the Castle of Gaetaand Castel Nuovo in Naples. By the time ofhis death in 1458, he was filling orders simul-taneously for the castles at Naples and Valen-cia for over two hundred thousand tiles.

Valencian craftsmen are also known to havetraveled within Spain to employ their art. InI405 Muhammad Sulaiman al-Faki and May-mo Annajar, two masterpotters from Manises,which had become the major center of pro-duction, traveled to the province of Alicantewhere they remained for five years producingluster pottery.The widespread fame of Valencian pottersduring the latter half of the fourteenth cen-tury is further substantiated by the invento-ries of the Duke of Berry. From them we knowthat a certain Jehan de Valence was commis-sioned by the Duke, between 1384 and I386,to manufacture tiles for pavements in some ofthe apartments in the tour de MaubergeonatPoitiers. The tiles were described as white,green, and gold, and charged with the Duke'sarms and motto. Jehan, well paid for his serv-ices, was allowed a staffof three assistants,onepainter called Maitre Richard, and six addi-tional helpers.

Unfortunately, the documents do not clear-ly describe the glazes used at the centersaround Valencia, such as Manises, Paterna,Mislata, or Valencia itself. An unlustered typeof tableware is known to have been producedat Paterna in the thirteenth century, but littleis known for later dates. The obra de Malicaof Manises is assumed to refer to lusterwarebecause in a I4I4 document that refers tooperisterrede Manises, the last word has beenerasedand replacedwith the term Malica dau-ratum (golden Malaga). Another record statesthat obra de Malica was gold lustered.

How lusterware was ac-tuallyproducedhasbeena question of consider-able debate over theyears. Enough informa-tion can, however, begleanedfromdocumentsto reconstruct the process fairly completely.From the accounts of the Duke of Berry, whileJehande Valence was in his employ, we havea good idea of the types of tools and materialsused. We know, for instance, that Jehanused

lead, tin, and residueof copper to achieve thegold and green colors of his tiles. Roughly twocenturies later, in 1584,anItalian, Piccolpasso,traveled through Spain gathering informationfor a treatise on the production of ceramics,obviously to be used in the burgeoning facto-ries of his native country. According to somescholars' interpretation of Piccolpasso, "redearth" (red ocher), "Spanish iron" (sulfur ofcopper), "Armenian bol" (ferruginous clay),and "mineral vermillion" or "calcinated sil-ver" (sulfur of silver) were the principal ele-ments used. In i585 the Duke of Burgundy,Philippe le Beau, traveled through Spain; in-cluded in hisentouragewas a chroniclernamedEnrique Cock, who carefully recordedglazingand firing techniques. And finally, a thoroughstudy of the technique was made in 1785 bythe magistrate Martinez de Irujo upon the or-der of Charles III, who wished to restore thethen faded industry to its former grandeur.From his study we learn among other thingsthat the actual luster was obtained from thefiring of copper oxides and the intensity wasdependent on the amount used.The firststep of the production was to shapeor mold the object, by hand or on a potter'swheel, from local clays, usually of a white toslightly pink color. This was then fired to abiscuit state in a kiln. A white glaze was madeby melting tin and lead together, which, aftercooling, wasground, mixed with saltand sand,and liquefied. The pottery in the biscuit statewasdipped into vats of the quick-drying glaze;glazes for all but the lustered parts of the de-sign were then painted on. In the fifteenthcentury, hues were limited to a darkblue. Thepigment was obtained from an oxide of cobalt,

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whichwasmixedwith silicawithoutremovingthe impurities hat accountfor slightgrada-tions towardpurplish r brownish hades; hepresence f ironprobably aused hecommon-ly seengreenish ints. The additionof man-ganeseoxideproduced he sharppurplethatwasusedin Valenciaexclusively or armorialtinctures.The pottery was then firedagain.The secretof theart lay in theprocess hatachievedthe actual lusteredportionsof thedesign.Oxidesof silverandcopper,producedby theadditionof sulfurandvinegar o pow-deredmetalandfired n a kilnuntil thesulfur

2. Reconstructionf a Maniseskiln.The lowercompartmentasfor uel, theupperorfiringthepottery.The ramesaroundhepotterywerecalled aggersndwereused opreventhepiecesromstickingo eachother.Thissystemmayhavebeenusedforcertaintypesofjars andpitchers,hough,ngeneral,plateswerehungfrom wo smallholes nthebrims, s can beseen npracticallyevery lateillustratedere

was consumed,were groundup and mixedwithredocher, inesilt,andwater,groundupagain,andmixedwithmorewateruntilapastewas ormed.The substancewas then refiredna kiln foraboutsixhours.The resulting om-poundwascooled,reground, ndmixedwithvinegarto createa paintlikesolution,whichwas thenappliedverythicklyto selectedareasof the potterywith brushes nd featherquillsand firedfor a final time.Fromexcavations t Paterna,weknowthatthe kilns usedfor lusterwarewerebuilt out-of-doorsandwereseparatedrom the rest ofthemanufacturing uildings.Theywerecom-posedof two domedchambers, ne abovetheother(Figure2). The lowerone was orburn-ing the tinderandtheupperone was orfiringthe pottery.They had no chimneys; he heatandsmokerosethrougha hole in the roofofthe lowerchamber ndemerged hrough woholes n theupperroof.Experttinderers singfuel of driedwood- probablyoak or shrubs,suchasfurzeorrosemary controlledhe tem-peraturewith remarkableccuracy: he glaz-ing was firedat 8oo?C.The luster coat wasfired at a lower temperature, bout 6oo?C.,and the potterywassubjected o a reducingfire of incompletecombustion,duringwhichthe chamberswere illedwithgases ndsmoke.Afterthefiring,thepotterywassootedblack,but a washingwith a brush and a polishingwith a cloth revealed he richlusterfinish.

By studyingrecordsandby lookingat theshapes f objectsmade,a fairlycompletepic-ture can be drawnof the typesof toolsusedby the fifteenth-century ottersof Valencia.In the way of mechanical ools, there werekickwheels or throwing ircularandhollowpieces; iggersandjollys,whichwere usedformoldinghollowobjectsandthrowinglatware;and smallhand,or turning,wheelsfor finish-ingrims.Thereweremoldsof allsorts,usuallymadeof a bakedclay;wooden emplates;me-tallic turningtools; crucibles,mortars,andpestlesfor grindingand mixingglazes;vatsand tubsformixingclaysandwashing ootedplates;andavarietyofquills, eathers, rushes,reed pens, and metal styli for paintingandmarkingdesigns.

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The potters of Valenciaproduced a variety ofshapesand styles of dec-orations, many of whichare discussed and illus-trated in the following/'8~^ article. Records, inven-

tories, and contracts give us descriptions andnamesof many types of pottery vessels, but itis often difficult to associate these with the ac-tual objects to which they refer or to deter-mine their function.

Contract records refer to ullat compassat,ullatfigurat, Xapellet, encadenat,garland et a,domasquina,papa, pages, emperador, nd sim-ilar terms, which apparently refer to the typeof vessel as well as to the style of decoration.Further research is needed, however, beforethe wealth of information in thesedocuments,which are abundant throughout most of thefifteenth century in Valencia, can be trulyfathomed. The strictly legal terminology ofthese documents adds to the difficulty of de-ciphering them.Private records of commissioners presentlessformidableproblemsof interpretation. Wehave alreadynoted the descriptionsof the tilesmanufactured for the Duke of Berry at Poi-tiers. The inventories of King Rene, Dukeof Anjou, for the years I47I-I472, itemizea number of objects of Valencian lusterwarethat were kept in the Duke's private quarters

at the palace of Angers, such as "a large plateof Valencia, tin enameled with golden foliage"(now known by art historians as the copperivy pattern, Figure I2), "a plate of the samesort with fueillages pers," and another with

fleurs perses (blue foliage, blue flowers, nowcalled the blue bryony pattern, Figures 3, II).The Duke used one of these dishes to wash hishands in (see Figure 12,page 28), while othersserved as decoration in his private chapel.

Contemporary panel paintings and book il-luminations are also valuable documents fordetermining the styles, shapes,and use of Va-lencian lusterware. A panel painting of theAnnunciation of the Virginin the Gerona Ca-thedral shows a cupboard in the backgroundin which there are severalobjects of Valencianlusterware, including a deep dish and an alba-rello, or pharmaceutical jug, like the one inFigure 4. The albarelloin the painting, inter-estingly enough, does not have a ceramic topbut is covered with a tightly fitted piece ofparchment or muslin, clearly demonstratingthe manner in which these containers weresealed. Another fifteenth-century panel paint-ing, of the Last Supper, now in Solsona, showson the table a variety of pitchers, bowls,plates,platters, and other serving dishes. A fifteenth-century Italian panel painting of a luxuriouscourtly banquet shows tables set entirely withlusterware of Valencian manufacture (Figure5). Demonstrating that lusterware was alsoac-

3. Small bowl emblazonedwith thecoat of armsof Dazzi ofFlorence, ront and back.Valencian Manises), middleof the xv century.Diameter 9inches. The CloistersCollection,56.171.156. This small bowl isdecoratedwith a bryonypattern,namedfor the type of leaves itrepresents.Themotif is repeatednan abbreviatedformon the back


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4. Albarello. Valencian (Manises),1420-1430. Height 122 inches.The CloistersCollection,56.I71.147

quired for strictly decorative purposes is thecredenza, or tiered display platform, in theright foreground, on which large, elaborateplatters and pitchers are exhibited. The hostof this banquet must have been of very highstation, for the number of plates that couldbe displayed on such a credenza was strictlyregulated by the owner's rank. This paintingalso indicates the popularity Valencianluster-ware enjoyed and the extent to which it wasexported.

Many other examples of lusterware appearin panel paintings of non-Spanish origin. Per-haps the most famousexample is the PortinariAltarpiece, painted between I473 and 1475 byHugo van der Goes who was, in all likelihood,bornin Ghent. The albarello n the foregroundis decorated with a blue and copper luster ivypattern, and was undoubtably made in Ma-nises (Figure 7). In Germany, a master in theworkshop of Hans Multscher used a similarmotif on a panel of the so-called Wurzach Al-tarpiece, depicting the Death of the Virgin(Figure 8). Many examples can be found inFrench paintings as well.One of the most informative documents re-lating to Valencian lusterware is a letter toDon Pedro Buyl, Lord of Manises. The Buyls,one of the most illustrious of Aragonese fam-ilies, had settled in Valencia in 1238 after thereconquest of that region and, over the cen-turies, gradually increasedtheirpowerand in-

fluence. As lords of Manisesthey had the rightto collect one tenth of all revenues accruedthrough the production of lusterware in thattown, and at times even served as middlemen,contracting for whole shipments of potteryand, presumably, keeping a higher percentageof the revenues for themselves. The letter toDon Pedro, dated November 26, I454, is fromMaria of Castile, consort of Alfonso V of Ara-gon, and is signed by the Queen. It includesan itemized order for an entire set of lustertableware: large washing bowls, meat dishes,porringers, broth bowls, water pitchers, two-handled flowervases, mortars,andother bowlsof various sizes, all of which were to be "lus-tered inside and out." Another letter from theQueen, dated March 21, I455, thanked DonPedro for the fulfillment of this order and re-quested an additional six pitchers and asmanydrinking cups.These two letters are invaluable for theirhistorical evidence: not only do they confirmthat Manises was a chief center of lusterwareproduction and that the Buyls were principalfigures in the industry, but they also specifythe types and functions of vessels produced aswell as provide an indication of the time re-quired for carrying out the complex steps in-volved in their manufacture. Don Pedro waswell paid for his efforts: his proceeds for theyear 1454were6,ooo sueldos, which,translatedinto our currency, amounts to over $75,000.

5. CourtFeast. Panelpainting,attributed o Apollonio diGiovanni.Italian, xv century.Niedersdchsische andesgalerie,Hanover


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6. Albarello. Valencian Manises),middleof the xv century.HeightI24 inches.Bequestof GeorgeBlumenthal, 41.190.225. Theunusualsymbolon this albarelloindicates hat it was used to storepowders

ABOVE7. Detail of The Nativity,from thePortinariAltarpiece.Panel

painting by Hugo van der Goes.Flemish,1473-475. Uffizi,Florence.Photograph:Alinari-Art ReferenceBureau

8. Death of the Virgin, rom the so-called WurzachAltar. Panelpainting by an assistant o HansMultscher.German,I437.StaatlicheMuseen, Berlin


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Coats of arms tell usmuch about the platesthey adorn.There areexamples emblazoned0^ Vf I wwithhecoatsof arms fpractically lltheroyal-ty of fifteenth-century

Aragon, including JohnII (1397- 479) and hiswife, Blanche of Navarre (died I44I); Al-fonso V (1432-I481) and his wife, Maria ofCastile (died 1458); Ferdinand (1452-1516)and his wife, Isabella (died I504). A numberof plates bear the coats of arms of Philippe leBon, Duke of Burgundy (died 1467), whoseinterest in Spain is well known (Figure 13). In1428, he sent the nobleman Andre de Toulon-geon to negotiate a marriagewith the daugh-ter of the king of Castile, a mission that failedand ended in I429 in a marriagealliance withthe court of Portugal. It is not unreasonable,however, to assume that Philippe's envoyswent through Aragonese dominions and com-missioned lusterware on his behalf. Perhapsthe lusterwaredepicted on apage of a Flemishilluminated manuscript commissioned around1500 by the Duke's grandson, Philippe leBeau, was part of the Burgundian collectionbrought back from the marriage missions ofthe late I42os. Another plate demonstratesthe French interest in Valencian lusterware,and, because it is emblazoned with the coatsof arms of CharlesVII of France, the DauphinLouis, and the Duke and Duchess of Bur-gundy, it must be dated I456-I46I.In Italy, too, Valencian lusterwareenjoyedconsiderablepopularity, particularlywith theTuscan families of Florence and Siena. Therearemany plates bearing the armsof the city ofFlorence and such important Florentine fam-ilies as the Arrighi, Guasconi, Morelli, Arnolfi,and Medici; and others bearing those of suchSienese familiesasTondi, Mannucci, andSpan-nocchi. One account relates that a certain Si-enese master potter by the name of Galganodi Belforte learned the luster craft at Valencia,returned to his home in I5I4, and contributedgreatly to the rapidlygrowingFaenza and ma-jolica pottery industry. As a matter of fact,the term majolica was apparently adopted asa generic name for the goods themselves some-I8

time after Majorca became a transshipmentpoint for cargoes of lusterware bound fromValencia to Italy and other destinations.In addition to demonstrating the wide dis-persal of Valencian lusterware, coats of armsoften enable us to arrive at more precise dat-ing than do the styles of decoration. The platebearing the arms of Philippe le Bon (Figure13), for example, has the type of dotted flowerand "diapered" (dotted) background oftenconsidered a stylistic development of the mid-dle of the century, but the armsprove this tobe untrue. Philippe le Bon, in I430, impaledthe lions of Brabant Limburg on the secondand third quarters of his coat of arms. Theseimpalements, missingon the arms of thisplate,necessarily date it before I430. Likewise, alarge wing-handled vase in the Godman Col-lection in England bears the coats of arms ofeither Piero or Lorenzo de' Medici, but must

is. Deep dish emblazonedwith the coat ojarmsof degliAgli of Florence.Valencian(Manises), middleof thexv century.Diam-eters18 inches. The CloistersCollection,56.171.152

9. Basin emblazonedwith thearmsof Maria of Castile,consortof Alfonso V ofAragon. Valencian(Manises), before1458.Diameter I 84 inches.Victoriaand AlbertMuseum, London

so. Plateemblazonedwith the coatof armsof the Buylfamily.Valencian Manises), 1470-1490. Diameter14 inches, TheCloisters Collection, 56.17I.104


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date after I465, the year Piero was grantedthe right to add the fleurs-de-lis of France tohis arms,which appear here. This vase, datedabout 1420,and the plate emblazoned with thearmsof Blanche of Navarre (seeFigure 5, page23) also indicate that particular patterns ofdecoration, in this case blue and luster ivypatterns, tended to be repeated over a longperiod of time.For an entire century, the lusterware ndus-try of Valencia flourished. The pottery pro-duced there, with its warm colors, its rich,metallic luster sheens so successfully imitatingthe patina of precious metals, and its pleasantdesigns intermingling Muslim and Christianmotifs with balance and grace, was certainlythe finest available in Europe. Innumerablemembersof royal and noble houses in Spain,France, andItaly commissioned usterwareforboth table service and decoration and had it

emblazoned with their coats of arms. Artistsof the period, fascinated by its handsome de-signsand rich surfacequalities, often depictedlusterware in the details of their panel paint-ing andmanuscriptillumination. Suddenly, inthe early sixteenth century, the industry be-gan to decline. The withdrawal of noble androyal patronage by the middle of the century,a major cause of this decline, may have been,in part, induced by the shortcomings of latercraftsmen, but, more probably, by the devel-opment of the Renaissance taste. The harshtreatment of the Muslims in later years andthe rise of the pottery factories at Talaverade la Reina, which espoused a distinctly non-Muslim taste, must have been contributingfactors as well. By the end of the sixteenthcentury, the industry of Valencia and its sur-roundingtowns wasvirtually extinct, thegloryof its former days a dim remembrance.

I3. Plate emblazonedwith the armsof Philippe e Bon, Duke ofBurgundy.Valencian(Manises),1420-1430. Wallace Collection,London. Crowncopyright

NOTES AND BIBLIOGRAPHYThe first major book in English on this subject isAlfred van de Put's Hispano-Moresque Ware ofthe XV Century (London, I904), which discussesthe origins of Valencian lusterware and considersthe development of the particular styles throughthe coats of arms emblazoned on them. Sevenyears later, Mr. van de Put reevaluated his firstvolume, adding extensive documentation, whichallowed for more accurate dating, and more de-tailed historical and archaeological information inhis Hispano-Moresque Ware of the XV Century:SupplementaryStudies and Some Later Examples(London, I9I I). In a small volume, The Valencian

12. Twoplates. Valencian(Manises), middleofthe xv century.DiametersII and I7ysinches.The CloistersCollection, 6.171.II9,136. Thesematchingplates, perhaps romthe same service,both bear the armsofMorelli of Florenceand are decoratedwiththe copper vy pattern

Stylesof Hispano-Moresqueottery, ublishedbythe Hispanic Society of America (New York,I938), Mr. van de Put analyzes original docu-ments carefully and attempts to associate theoriginal descriptions of style and shape with ex-isting lusterware. The most important work onthe subject in recent years is Alice Wilson Froth-ingham's Lustrewareof Spain, also published bythe Hispanic Society of America (New York,I951), which contains a detailed and well-illus-trated chapter on Valencian lusterware. MissFrothingham's Catalogueof Hispano-MoresquePottery in the Collectionof the Hispanic Society ofAmerica (New York, I936) is also highly inform-ative.

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