Introduction 5

The chronological and social-economic questions discussed up to now, for various reasons, date this quality revolution in the Florentine production to the end of the 14th century. Yet, the reading of this issue is incomplete if another fundamental question were to remain unexamined. The relationship with Spain indicated, if not the start of a movement, at least the influence of its imitations.

Although the historical and archaeological investigations of examples relative to the Spanish production are constantly being updated, these conclusions have thrown light on a few of the fundamental features of Spanish maiolica in circulation in Italy. This trend provoked an understandable reaction in our craftsmen.

The relationship between Italy and the Western Mediterranean (Provence, Catalonia, the Spanish Levant) was thought to be more extensive at the time of “archaic maiolica”, owing to the breakthrough of the chromatic glazes in ceramics. The same cannot be said for the final years of the 14th century and the beginning of the following century.

The onset of exportation became more consistent and decisive of a metal lustre maiolica from the Valencia region towards the East and dates to the twenty year period at the end of the 14th century, as documented by numerous important findings. This coincides chronologically with the beginning of quality renewal of maiolica, and the moment when both these evolutions continued parallel on the same path. While, in fact, the progress of Levant lustre ceramics, especially from the furnaces in Manises, became more significant, their diffusion in Italy influenced the ceramic centres along the Tyhrrenian coast.

Not surprisingly the years around 1400- 1480 demonstrate the extraordinary use of Moorish-Hispanic morphology and decorative methods used in the Manises- Valencia areas and which were adopted by the Florentines at the same time. This was not a par chance event but an answer to the quality research Italian craftsmen were undertaking towards the end of the 14th century. As imports from Spain increased without restriction, the Iberian style decoration became the formal element Florentine vase-makers applied to their genre, ever more frequently.

They faithfully copied the pharmacy jars (“alberello”) and for the regional markets even made a cut-edged bowl — a real guide line of the 15th century- imitating the Spanish lustre decorated shape. The same metallic lustre method was object of great interest during the first half of the 15th century, probably even up to the 70s, inasmuch as the secret of the glazing technique was unknown and “spies” were employed by the Florentine merchants, as a Montelupese source reveals.

Through these products scholars can see the ‘joint forces’ leading to the higher quality level of maiolica reached in the Florentine area. On one hand the socialeconomic aspect of the period 1350- 1420 which determined a great demand to modernise clay production in order to satisfy the refined tastes of the time, fostering in this way the technological updating; on the other, the example represented by the growing circulation of enamelled genre from the Spanish Levant characterised by new innovations, encouraged Italian craftsmen to follow this same path.

To explain this phenomenon, complex historical factors must be borne in mind and these are obviously of relevance to the development of ceramic art. These historical conditions determined the new social-economic situation; such changes evidently influenced Florentine craftsmen, who, nonetheless, did not abandon or neglect their traditional canons.