Le maioliche rinascimentali nelle collezioni della ... - Claudio Paolinelli

Notes
1 Dal Poggetto 2004, no. XII.9.
2 Gardelli 1991, p. 128: “From at least around 1480, there was a single
cultural area, which included not only Urbino and Pesaro, but also
Castel Durante; it is therefore difficult, over several decades, to distinguish
the production of the three centres”.
3 Piccolpasso 1980, II, p. 111; Bartolomei 1988, p. 101.
4 A substantial number (about 172) fragments in maiolica with trofei in
the Museo Civico of Fano demonstrate the likely migration of potters
from Castel Durante into the neighbouring towns: Paolinelli 2003, p. 50.
5 Bettini 2001, p. 107; and for the archival documents, Albarelli 1986.
6 Bettini 2001, p. 110.
7 Bonali and Gresta 1987, pp. 178-179, recording that in the 1549
inventory of Girolamo di Lanfranco seven separate types of trofei decoration
are listed.
8 Passeri 1838, pp. 52-53; and in Vanzolini 1879, I, p. 37. Passeri
describes a plate “full of military trophies in yellow chiaroscuro, on a
beautiful blue ground... from the workshop of Maestro Baldassar, potter
of Pesaro, and made by Terenzio son of Maestro Matteo, potter, 1550
Terenzio fecit”.
9 Berardi (1984, p. 191) notes that the production of maiolica with trofei
in warm half-tones is not absent, but “rather rare” at Pesaro.
10 Gresta 2003, pp. 319-321.
11 Compare the fragments in private collections published in Berardi
1984, p. 315, fig. 114b; Gresta and Bonali 2001, p. 349, fig. 17; Gresta
2003, fig. 2.
12 Giacomotti 1974, nos 765, 766; Mancini Della Chiara 1979, nos 54,
55, 58; Battistelli and Diotallevi 1982, p. 132; Fiocco and Gherardi
1997, nos 14, 17.
13 Rackham 1940, no. 608.
14 Rackham points out the analogy of a plate with a central putto and
a trofei border in the British Museum, Wilson 1987, no. 123.
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