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BEST goldthwaite The Economic and Social World of Italian Renaissance Maiolica 1989

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ITALIAN RENAISSANCE MAIOLICA 27<br />

way, but much <strong>of</strong> its early production consisted <strong>of</strong> pharmacy jars<br />

<strong>and</strong> tiles. We have already cited Montaigne's impression, in the second<br />

half <strong>of</strong> the sixteenth century, <strong>of</strong> the clean, white earthenware he<br />

found in Italy; <strong>and</strong> Moryson also commented on "the white glistering<br />

<strong>and</strong> painted dishes <strong>of</strong> earth (where<strong>of</strong> the finest are much esteemed<br />

with us). "76 Inventories indicate that in Engl<strong>and</strong> as late as the<br />

end <strong>of</strong> the seventeenth century only a very small percentage <strong>of</strong> gentry<br />

<strong>and</strong> townsmen possessed "china," not to mention the rarity also<br />

<strong>of</strong> knives <strong>and</strong> forks. 77<br />

<strong>The</strong> functional analysis <strong>of</strong> majolica has taken us much beyond the<br />

discussion <strong>of</strong> its primary use as tableware. In considering the immediate<br />

context for maiolica in its own time as the art <strong>of</strong> dining cultivated<br />

by <strong>Italian</strong>s in the <strong>Renaissance</strong> with all its social overtones, we<br />

have, in fact, begun to enter the anthropologist's world, where consumption<br />

is regarded as a language for social messages, <strong>and</strong> commodities<br />

as signs with rhetorical uses. 78Following this route, we can<br />

extend the cultural context in which maiolica came into its own as<br />

a minor art form much beyond the dining room. This wider context<br />

comprehends many realms <strong>of</strong> the human spiri that manifesthemselves<br />

in material objects, including aesthetics <strong>and</strong> the very sense <strong>of</strong><br />

possessiveness itself.<br />

Unfortunately, the contemporary evidence for maiolica seldom<br />

gives much <strong>of</strong> a hint <strong>of</strong> why in fact people liked it. What can we say<br />

<strong>of</strong> the duke <strong>of</strong> Ferrara's appreciation <strong>of</strong> maiolica on the basis <strong>of</strong> his<br />

commissioning <strong>of</strong> no one less than Titian to take care <strong>of</strong> the arrangements<br />

to have some made in Venice, when we do not have the slightest<br />

idea <strong>of</strong> what he wanted?79 What was it that Isabella d'Este,<br />

Marchesa <strong>of</strong>Mantua, liked so much about the broken piece <strong>of</strong>maiolica<br />

she sent to Ferrara to get repaired?80 Pope Sixtus IV <strong>and</strong> Lorenzo<br />

il Magnifico expressed thanks for gifts <strong>of</strong> maiolica vases by saying<br />

76Moryson, Itinerary 99.<br />

77Lorna Weatherill, "Consumer Behaviour <strong>and</strong> <strong>Social</strong> Status in Engl<strong>and</strong>, i66o-<br />

1750," Continuity <strong>and</strong> Change, i (I986):191-2i6; Hugh Thomas, A Histoy <strong>of</strong> the <strong>World</strong><br />

(New York, 1979) 238.<br />

78See Arjun Appadurai's Introduction to the volume <strong>of</strong> conference papers edited by<br />

him, <strong>The</strong> <strong>Social</strong> Life <strong>of</strong> Things: Coininodities<br />

Cultural Perspective (Cambridge, Engl<strong>and</strong>,<br />

I986). esp. 29-4I.<br />

79Campori, <strong>Maiolica</strong> di Ferrara i5-06.<br />

8o Ibid. 13.<br />

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