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The Holy Family
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The Holy Family
Milan Marsyas Painter (painter)
Caraglio, Giovanni Giacomo after (printmaker)
Parmigianino (Francesco Mazzola) after (painter) [ULAN info: Italian artist, 1503-1540]
Maiolica cover from an accouchement set bowl, painted in polychrome with the Holy Family.
Cover from an accouchement set bowl. Pale buff earthenware, tin-glazed overall. Painted in blue, turquoise-green, yellow, orange, black, grey, and white. Circular with a flange on the underside; the upper surface flat with a convex rim. The Holy Family in an architectural setting; on the rim, bound leaves and berries between concentric yellow bands. On the back, two putti standing on clouds support a shield bearing the arms sable, a fess or, a chief party per pale gules and argent two rosettes counterchanged flanked by the letters `ELI' and `PYA'; below, a winged putto's head. The background is blue above the arms and brown below. The flange and rim are yellow.
If not painted by the 'Milan Marsyas Painter' this was probably painted by Francesco Xanto Avelli da Rovigo
The Holy Family on the top of the cover was derived from the Adoration of the Shepherds, engraved by G.G. Caraglio after Parmigianino
Urbino (painter) (place)
The Marches (painter) (region)
Italy (painter) (country)
Italy (printmaker) (country) ()
Italy (painter) (country) ()
Pale buff earthenware, tin-glazed overall. Painted in blue, turquoise-green, yellow, orange, black, grey, and white.
height: (whole): 1.9
2nd quarter 16th century
C.B. Marlay Bequest
From at least the fifteenth century it was customary to give a new mother a little maiolica service to use during her recovery after childbirth. In Romagna and the Marches these became known as 'un servizio da impagliata' because the word 'impagliata' was used to describe a woman during her lying-in. According to Cipriano Piccolpasso (c. 1523/4-79) in I tre libri del Arte del Vasaio, written about 1557, the services usually had five pieces arranged on top of each other: a standing bowl covered by a trencher, a drinking bowl on a foot, and a salt and its cover. These sets are mentioned in many fifteenth and sixteenth century inventories but apart from a salt in the Victoria and Albert Museum, only bowls and covers appear to have survived. Most of them are decorated with scenes of childbirth, the washing of babies, or women with small children. Others have childbirth scenes from the Bible or classical mythology, or subjects connected with qualities, such as valour, which it was hoped the child would acquire.
MAR.C.60-1912 (Applied Arts)
C.86-1961 - The Judgement of Paris