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49-499: Its collections also include goldwork, faience , porcelain, tapestries, ironwork and other examples of the decorative arts, along with archaeology and Asian, Oceanic and African ethnography. The museum is housed in a building on the site of the Livrée de Cambrai, named after its last inhabitant, cardinal Pierre d'Ailly , bishop of Cambrai . In 1719, it was sold to François-René de Villeneuve, marquis d'Arzeliers and lord of Martignan, in

98-570: A baroque standpoint, the incident is common theme: a moment of divine intervention in the affairs of man. Algardi's patron's message through the relief would be that all viewers should be sternly reminded of the papal capacity to invoke divine retribution against enemies. In his later years Algardi controlled a large studio and amassed a great fortune. Algardi's classicizing manner was carried on by pupils, including Ercole Ferrata and Domenico Guidi , and Antonio Raggi initially trained with him. The latter two completed his design for an altarpiece of

147-492: A painted majolica ware on a clean, opaque pure-white ground, was produced for export as early as the fifteenth century. Technically, lead-glazed earthenware , such as the French sixteenth-century Saint-Porchaire ware , does not properly qualify as faience, but the distinction is not usually maintained. Semi- vitreous stoneware may be glazed like faience. Egyptian faience is not really faience, or pottery, at all, but made of

196-743: A restraining sobriety in contrast to those of his rival. With the death of the Barberini Pope Urban VIII in 1644 and the accession of the Pamphilj Pope Innocent X , the Barberini family and fell into disrepute, resulting in fewer commissions for Bernini. Algardi, on the other hand, was embraced by the new pope and the pope's nephew, Camillo Pamphilj . Algardi's portraits were highly prized, and their formal severity contrasts with Bernini's more vivacious expression. A large hieratic bronze of Innocent X by Algardi

245-413: A vitreous frit , and so closer to glass. In English 19th-century usage "faience" was often used to describe "any earthenware with relief modelling decorated with coloured glazes", including much glazed architectural terracotta and Victorian majolica , adding a further complexity to the list of meanings of the word. The Moors brought the technique of tin-glazed earthenware to Al-Andalus , where

294-604: A vitreous frit , either self-glazing or glazed. The Metropolitan Museum of Art displays a piece known as " William the Faience Hippopotamus " from Meir, Egypt , dated to the Twelfth Dynasty of Egypt , c.  1981 –1885 BC. Different to those of ancient Egypt in theme and composition, artefacts of the Nubian Kingdom of Kerma are characterized by extensive amounts of blue faience, which

343-475: A wide range of wares. Large painted dishes were produced for weddings and other special occasions, with crude decoration that later appealed to collectors of English folk art . Many of the early potters in London were Flemish. By about 1600, blue-and-white wares were being produced, labelling the contents within decorative borders. The production was slowly superseded in the first half of the eighteenth century with

392-611: Is a term for English faience, mostly of the 17th and early 18th centuries. Not all of it imitated Dutch delftware, though much did. It was replaced by the much better creamware and other types of refined earthenware Staffordshire pottery developed in the 18th century, many of which did not need tin-glazes to achieve a white colour. These were hugely successful and exported to Europe and the Americas. They are not called "faience" in English, but may be in other languages, e.g. creamware

441-731: Is now to be found in the Capitoline Museums . Algardi was not renowned for his architectural abilities. Although he was in charge of the project for the papal villa, the Villa Pamphili, now Villa Doria Pamphili , outside the Porta San Pancrazio in Rome, he may have had professional guidance on the design of the casino from the architect/engineer Girolamo Rainaldi and help with supervising its construction from his assistant Giovanni Francesco Grimaldi . The casino

490-548: Is the general English language term for fine tin-glazed pottery . The invention of a white pottery glaze suitable for painted decoration, by the addition of an oxide of tin to the slip of a lead glaze, was a major advance in the history of pottery . The invention seems to have been made in Iran or the Middle East before the ninth century. A kiln capable of producing temperatures exceeding 1,000 °C (1,830 °F)

539-580: The Mellini Chapel in Santa Maria del Popolo . Algardi's first major commission came about in 1634, when Cardinal Ubaldini (Medici) contracted for a funeral monument for his great-uncle, Pope Leo XI , the third of the Medici popes, who had reigned for less than a month in 1605. The monument was started in 1640, and mostly completed by 1644. The arrangement mirrors the one designed by Bernini for

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588-469: The Principality of Orange . In 1734, de Villeneuve's son Jacques-Ignace de Villeneuve decided to extend the building to designs by Thomas Lainée  [ fr ] , but later changed his mind and razed the whole building in 1741, replacing it with a completely new one to designs by Jean-Baptiste Franque . Work on this new construction was only completed in 1749, which was then bought in 1802 by

637-520: The Royal Palace of Aranjuez , and in the gardens, the figures on the fountain of Neptune are also by him. The Augustinian monastery at Salamanca contains the tomb of the Count and Countess de Monterey, another work by Algardi. Algardi's large, dramatic, high-relief marble panel of Pope Leo and Attila, created from 1646 to 1653, is commonly referred to as Fuga d'Attila or Flight of Attila . It

686-486: The Vision of Saint Nicholas at San Nicola da Tolentino, Rome , using two separate marble pieces linked together in one event and place, yet successfully separating the divine and earthly spheres. Other lesser known assistants from his studio include Francesco Barrata , Girolamo Lucenti , and Giuseppe Peroni . Algardi died in Rome within a year of completing his famous relief, which was admired by contemporaries. Algardi

735-517: The body , the character and palette of the glaze , and the style of decoration, faïence blanche being left in its undecorated fired white slip. Faïence parlante bears mottoes often on decorative labels or banners. Wares for apothecaries , including albarello , can bear the names of their intended contents, generally in Latin and often so abbreviated to be unrecognizable to the untutored eye. Mottoes of fellowships and associations became popular in

784-648: The 18th century, leading to the Faïence patriotique that was a specialty of the years of the French Revolution . In the course of the later 18th century, cheaper porcelain , and the refined earthenwares first developed in Staffordshire pottery such as creamware took over the market for refined faience. The French industry was given a nearly fatal blow by a commercial treaty with Great Britain in 1786, much lobbied for by Josiah Wedgwood , which set

833-661: The Harvesters 10 - Habakkuk Rescuing Daniel from the Lions' Den 11 - Cyrus Sees Daniel Safe in the Lions' Den 12 - The Lions Devouring Daniel's Tormentors The Egyptian section consists of Esprit Calvet's collection along with that of Marius Clément from Marseille and other purchases, including: 43°56′50″N 4°48′14″E  /  43.9471°N 4.8039°E  / 43.9471; 4.8039 Faience Faience or faïence ( / f aɪ ˈ ɑː n s , f eɪ ˈ -, - ˈ ɒ̃ s / ; French: [fajɑ̃s] )

882-584: The Tomb of Urban VIII (1628–47), with a central hieratic sculpture of the pope seated in full regalia and offering a hand of blessing, while at his feet, two allegorical female figures flank his sarcophagus. However, in Bernini's tomb, the vigorous upraised arm and posture of the pope is counterbalanced by an active drama below, wherein the figures of Charity and Justice are either distracted by putti or lost in contemplation, while skeletal Death actively writes

931-539: The art of lustreware with metallic glazes was perfected. From at least the 14th century, Málaga in Andalusia and later Valencia exported these " Hispano-Moresque wares ", either directly or via the Balearic Islands to Italy and the rest of Europe. Later these industries continued under Christian lords. " Majolica " and " maiolica " are garbled versions of "Maiorica", the island of Majorca , which

980-501: The businessman Deleutre, who then rented it to the city authorities as a home for Esprit Calvet 's collections. The authorities acquired it on 3 March 1833 to turn into a museum. The hôtel de Villeneuve-Martignan was made a monument historique on 1 October 1963. A major collector and a physiocrat by training, Esprit Calvet devoted his life to medicine and arts. In 1810 his will left his library, natural history collection and cabinet of antiquities to his birthplace of Avignon, along with

1029-580: The church of San Paolo, Bologna . These works established his reputation, alongside two reliefs of The Martyrdom of St Paul and The Rest on the Flight into Egypt ( a contemporary replica of the latter is now in the Victoria and Albert Museum ). Like Bernini's characteristic works, they often express the Baroque aesthetic of depicting dramatic attitudes and emotional expressions, yet Algardi's sculpture has

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1078-1189: The collection include Hendrik Goltzius , Jan van Goyen and Raphael Mengs , whilst Spanish ones include Vincenzo Carducci and Juan de Valdés Leal . French artists represented include Le Lorrain , Eustache Le Sueur , Antoine Watteau , François Boucher , Charles-Joseph Natoire , Jean-Marc Nattier , Auguste Rodin , Honoré Daumier , Jean-François Millet , Eugène Boudin , Henri de Toulouse-Lautrec , Armand Guillaumin , Berthe Morisot , Paul Cézanne , Auguste Renoir , Alfred Sisley , Henri-Edmond Cross , Édouard Vuillard , Georges Rouault , Albert Marquet , Marc Chagall , André Lhote , Léonard Foujita and Jean Fautrier . Italian artists include Domenico Beccafumi , Lorenzo Lotto , Baccio Bandinelli , Daniele da Volterra , Il Romanino , Paolo Veronese , Tintoretto , Jacopo Zucchi , Taddeo Zuccaro , Il Garofalo , Agostino Carracci , Federico Barocci , Mattia Preti , Luca Giordano , Domenico Fetti , Guercino , Alessandro Algardi , Luigi Garzi , Francesco Furini , Pier Francesco Mola , Daniele Crespi , Giovanni Niccolò Servandoni and Amedeo Modigliani . This part of

1127-619: The collection includes: Key  : 1 - Daniel and King Cyrus Before those Sacrificing 2 - Cyrus Adores the God Bel 3 - Daniel Spreading Ashes 4 - The Gate of Bel's Sanctuary Sealed by Royal Decree 5 - Night Ceremonies by the Priests of Bel 6 - Daniel Revealing the Priests' Secret Ceremonies to King Cyrus 7 - King Cyrus Arresting the Priests of Bel 8 - Daniel Throws Balls into the Dragon's Mouth 9 - Habakkuk Preparing to give Provisions to

1176-565: The descending angelic warriors rallying to the pope's defense, while all others in the background reliefs, persist in performing their respective earthly duties. The subject was apt for a papal state seeking to increase its power, since it depicts the historical legend wherein Saint Leo the Great, the first pope to receive the epithet, with supernatural aid, deterred the Huns from looting Rome. From

1225-547: The early forms, is called maiolica in English, Dutch wares are called Delftware , and their English equivalents English delftware , leaving "faience" as the normal term in English for French, German, Spanish, Portuguese wares and those of other countries not mentioned (it is also the usual French term, and fayence in German). The name faience is simply the French name for Faenza , in the Romagna near Ravenna , Italy, where

1274-463: The elegiac mood of Urban VIII's tomb. In 1635–38, Pietro Boncompagni commissioned from Algardi a colossal statue of Philip Neri with kneeling angels for Santa Maria in Vallicella , completed in 1640. Immediately after this, Algardi produced a sculptural group of the beheading of Saint Paul with two figures: a kneeling, resigned saint and the executioner poised to strike the sword-blow, for

1323-613: The end of the nineteenth century, William de Morgan re-discovered the technique of lustered faience "to an extraordinarily high standard". The term faience broadly encompassed finely glazed ceramic beads, figures and other small objects found in Egypt as early as 4000 BC, as well as in the Ancient Near East , the Indus Valley civilisation and Europe. However, this material is not pottery at all, containing no clay, but

1372-432: The epitaph. Algardi's tomb is much less dynamic. The allegorical figures of Magnanimity and Liberality have an impassive, ethereal dignity. Some have identified the helmeted figure of Magnanimity with that of Athena and iconic images of Wisdom . Liberality resembles Duquesnoy's famous Santa Susanna , but rendered more elegant. The tomb is somberly monotone and lacks the polychromatic excitement that detracts from

1421-414: The import duty on English earthenware at a nominal level. In the early 19th century, fine stoneware —fired so hot that the unglazed body vitrifies —closed the last of the traditional makers' ateliers even for beer steins . At the low end of the market, local manufactories continued to supply regional markets with coarse and simple wares, and many local varieties have continued to be made in versions of

1470-590: The introduction of cheap creamware . Dutch potters in northern (and Protestant) Germany established German centres of faience: the first manufactories in Germany were opened at Hanau (1661) and Heusenstamm (1662), soon moved to nearby Frankfurt . In Switzerland, Zunfthaus zur Meisen near Fraumünster church houses the porcelain and faience collection of the Swiss National Museum in Zürich . By

1519-596: The leading French centres of faience manufacturing in the 17th century, both able to supply wares to the standards required by the court and nobility. Nevers continued the Italian istoriato maiolica style, painted with figurative subjects, until around 1650. Many others centres developed from the early 18th century, led in 1690 by Quimper in Brittany [1] , followed by Moustiers , Marseille , Strasbourg and Lunéville and many smaller centres. The cluster of factories in

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1568-460: The major Roman sculptural commissions. For nearly a decade, Algardi struggled for recognition. In Rome he was aided by friends that included Pietro da Cortona and his fellow Bolognese, Domenichino . His early Roman commissions included terracotta and some marble portrait busts, while he supported himself with small works like crucifixes. In the 1630s he worked on the tombs of the Mellini family in

1617-464: The mid-18th centuries many French factories produced (as well as simpler wares) pieces that followed the Rococo styles of the French porcelain factories and often hired and trained painters with the skill to produce work of a quality that sometimes approached them. The products of French faience manufactories, rarely marked, are identified by the usual methods of ceramic connoisseurship: the character of

1666-524: The names of their intended contents, generally in Latin and often so abbreviated to be unrecognizable to the untutored eye. Mottoes of fellowships and associations became popular in the 18th century, leading to the faïence patriotique that was a specialty of the years of the French Revolution . " English delftware " produced in Lambeth , London, and at other centres, from the late sixteenth century, provided apothecaries with jars for wet and dry drugs, among

1715-468: The necessary funds to make them accessible as an independent institution. Napoleon I issued a decree on 9 April 1811 from the palais des Tuileries allowing Avignon's mayor to accept the legacy for and in the name of the city of Avignon. The resulting museum was named after him and housed his collection. It includes leaves by artists from most of the French and Italian schools as well as a smaller number of Spanish and North European works. Northern artists in

1764-755: The old styles as a form of folk art , and today for tourists. In the 19th century two glazing techniques revived by Minton were: 1. Tin-glazed pottery in the style of Renaissance Italian maiolica and, 2. The pottery of coloured glazes decoration over unglazed earthenware molded in low relief. At the Great Exhibition of 1851 and at the International Exhibition of 1862 both were exhibited. Both are known today as Victorian majolica . The coloured glazes majolica wares were later also made by Wedgwood and numerous smaller Staffordshire potteries round Burslem and Stoke-on-Trent . At

1813-532: The quality of painting declined, with geometric designs and simple shapes replacing the complicated and sophisticated scenes of the best period. Production continues to the present day in many centres, and the wares are again called "faience" in English (though usually still maiolica in Italian). At some point "faience" as a term for pottery from Faenza in northern Italy was a general term used in French, and then reached English. The first northerners to imitate

1862-613: The south were generally the most innovative, while Strasbourg and other centres near the Rhine were much influenced by German porcelain. The products of faience manufactories are identified by the usual methods of ceramic connoisseurship: the character of the clay body, the character and palette of the glaze , and the style of decoration, faïence blanche being left in its undecorated fired white slip. Faïence parlante (especially from Nevers) bears mottoes often on decorative labels or banners. Apothecary wares, including albarelli , can bear

1911-524: The tin-glazed earthenwares being imported from Italy were the Dutch. Delftware is a kind of faience, made at potteries round Delft in the Netherlands , characteristically decorated in blue on white. It began in the early sixteenth century on a relatively small scale, imitating Italian maiolica, but from around 1580 it began to imitate the highly sought-after blue and white Chinese export porcelain that

1960-511: Was a showcase for the Pamphili collection of sculpture, ancient and contemporary, on which Algardi was well able to advise. In the villa grounds, Algardi and his studio executed sculpture-encrusted fountains and other garden features, where some of his free-standing sculpture and bas-reliefs remain. In 1650 Algardi met Diego Velázquez , who obtained commissions for his work from Spain . As a consequence there are four chimney-pieces by Algardi in

2009-511: Was a transshipping point for refined tin-glazed earthenwares shipped to Italy from the kingdom of Aragon at the close of the Middle Ages . This type of pottery owed much to its Moorish inheritance. In Italy, locally produced tin-glazed earthenwares, now called maiolica , initiated in the fourteenth century, reached a peak in the late fifteenth and early sixteenth centuries. After about 1600, these lost their appeal to elite customers, and

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2058-562: Was also employed by local jewelers for figurative designs. After a short residence in Venice , he went to Rome in 1625 with an introduction from the Duke of Mantua to the late pope's nephew, Cardinal Ludovico Ludovisi , who employed him for a time in the restoration of ancient statues. Propelled by the Borghese and Barberini patronage, Gian Lorenzo Bernini and his studio garnered most of

2107-439: Was also known for his portraiture which shows an obsessive attention to details of psychologically revealing physiognomy in a sober but immediate naturalism , and minute attention to costume and draperies, such as in the busts of Laudivio Zacchia , Camillo Pamphilj, and of Muzio Frangipane and his two sons Lello and Roberto. In temperament, his style was more akin to the classicized and restrained baroque of Duquesnoy than to

2156-467: Was beginning to reach Europe, soon followed by Japanese export porcelain . From the later half of the century the Dutch were manufacturing and exporting very large quantities, some in its own recognisably Dutch style, as well as copying East Asian porcelain. In France, the first well-known painter of faïence was Masseot Abaquesne , established in Rouen in the 1530s. Nevers faience and Rouen faience were

2205-631: Was born in Bologna , where at a young age, he was apprenticed in the studio of Agostino Carracci . However, his aptitude for sculpture led him to work for Giulio Cesare Conventi (1577–1640), an artist of modest talents. His two earliest known works date back to this period: two statues of saints, made of chalk, in the Oratory of Santa Maria della Vita in Bologna. By the age of twenty, Ferdinando I, Duke of Mantua , began commissioning works from him, and he

2254-472: Was created for St Peter's Basilica , and it reinvigorated the use of such marble reliefs. There had been large marble reliefs used previously in Roman churches, but for most patrons, sculpted marble altarpieces were far too costly. In this relief, the two principal figures, the stern and courageous pope and the dismayed and frightened Attila , surge forward from the center into three dimensions. Only they two see

2303-537: Was developed by the natives of Kerma independently of Egyptian techniques. Examples of ancient faience are also found in Minoan Crete , which was likely influenced by Egyptian culture. Faience material, for instance, has been recovered from the Knossos archaeological site. Many centres of traditional manufacture are recognized, as well as some individual ateliers . A partial list follows. English delftware

2352-572: Was known as faience fine in France. Austria Alessandro Algardi Alessandro Algardi (July 31, 1598 – June 10, 1654) was an Italian high- Baroque sculptor active almost exclusively in Rome . In the latter decades of his life, he was, along with Francesco Borromini and Pietro da Cortona , one of the major rivals of Gian Lorenzo Bernini , in Rome. He is now most admired for his portrait busts that have great vivacity and dignity. Algardi

2401-411: Was required to achieve this result, the result of millennia of refined pottery-making traditions. The term is now used for a wide variety of pottery from several parts of the world, including many types of European painted wares, often produced as cheaper versions of porcelain styles. English generally uses various other terms for well-known sub-types of faience. Italian tin-glazed earthenware, at least

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