In Spain the adoption of the renaissance and Italian influences resulted during the i6th century in the production of enamelled earthenware entirely different in character from Hispano-Mor esque ware. The settlement of an Italian tile-painter, Nicoloso Pisano, in Seville about 1503 brought about a widespread em ployment of maiolica tile-pictures for wall-decoration. At the same time Talavera and the neighbouring Puente del Arzobispo became the leading centre of pottery production. They produced, alongside wares in which Netherlandish renaissance ornament can be recognised, others of a strongly native character painted with animated hunting and battle scenes or with large busts or animals amongst loose foliated scrolls, in blue alone or in a limited range of colours dominated by a strong copper-green. From Talavera, potters went out to Mexico and there founded a vigorous industry. The foundation of a faience factory by the Count of Aranda in 1727 at Alcora led to the decline of Talavera. The faience mostly painted in blue and purple made in the i7th century at Lisbon, in which freely-handled Chinese themes are blended with renaissance motives has decorative value.
It is recorded that about 1567 Jasper Andries and Jacob Sanson fled from Antwerp to England to escape religious persecution and set up potteries at Norwich, whence in 157o they moved to London. Their productions have not been identified, but it is likely that they resembled the maiolica at that time made in the Netherlands, and it is possible that certain jugs with mottled blue, purple and orange colouring over a tin enamel, generally found with silver mounts, were made by them. The earliest piece of maiolica of certain English origin is dated 16o1; we may note here that at a later stage such wares were known as "delft," after the chief Dutch centre of production from about 165o onwards. After 1625 dated pieces made at Lambeth and elsewhere near London become plentiful, chiefly dishes and small mugs with decoration painted either in blue in crude imitation of contempor ary Chinese porcelain or with coloured designs of fruit and flowers or arabesques in imitation of Dutch and Italian wares. Wine-bottles painted with the name of the intended contents were also made in quantity. Towards 165o figure-subjects, mostly scriptural (especially the Fall) become plentiful. Imitations of the "Persian" blue ware of Nevers were also made. From London the maiolica industry was carried to Brislington, near Bristol, where in 1682 we find working one Edward Ward, who in 1683 established a pottery at Temple Back, Bristol. He was succeeded at Brislington in 1697 by Thomas Frank. Other leading Bristol potters of the i8th century were Richard Frank, and Joseph Flower. John Bowen and Michael Edkins were painters em ployed by several of the potters. The earliest recorded date on Brislington-Bristol ware is 1652. The early designs include tulip and other flower designs in the Dutch manner, Chinese subjects and portraits of sovereigns or celebrities of the day. After 1700 Chinese motives take the lead, but adapted in a free and original manner. Landscapes of a local character with figures, in blue, were also in favour. The third great centre of delft production in England was Liverpool, which in the i8th century exported such wares in quantity to America. Shaw, Pennington and Barnes were the leading potters. Their wares show less individuality than those of Bristol. Notable among them are the punch-bowls made for skippers with polychrome paintings of their vessels; a speciality of Liverpool were the delft tiles with transfer prints in black or red executed by Sadler and Green. Delft was also
made at Wincanton, Dublin and Glasgow.
Tin-enamelled earthenware was made by German potters from 162o onwards. They learnt the art of maiolica in Venice, amongst them Augustin Hirsvogel of Nuremberg; he is believed to have been the maker of the owl shaped jugs made apparently for pres entation purposes. The earliest known date on German maiolica is 1526. These early wares were painted in blue, with imitations of Venetian designs, or with figure-subjects derived from con temporary German engravings. Maiolica-painting was applied to the decoration of tilework stoves in the Tyrol, in Austria and especially at Winterthur in Switzerland, where from 1590 to 1740, approximately, a flourishing maiolica industry was carried on by the Pfau family and others. About 1618 the majolica technique was introduced by Lorenz Speckner in the potteries of Kreussen, in Bavaria (of special note are his drug-pots boldly painted with spirals in blue), and about the same time blue-and-white wares, especially narrow-necked pear-shaped jugs, showing Chinese in fluences, were made at Hamburg. The settlement of two Dutch potters at Hanau in 1661, and the establishment of a factory at Frankfort-on-the-Main in 1666 mark the beginning of a second phase, under Dutch influences, in which the Chinese fashions of the day determined the styles of decoration. Frankfort is notable for large dishes and jars with bold adaptations of late Ming motives in a remarkably clean vivid blue. Faience-factories at Nuremberg, Bayreuth, Ansbach, Dresden, Berlin, Potsdam and elsewhere are witnesses to the spread of these wares in cheap imitation of blue-and-white and five-colour porcelain. Potsdam was the first place to attempt to simulate Chinese "powdered blue" on faience. Tankards with baroque panelled designs or somewhat crude polychrome renderings of Chinese landscapes were made extensively at Erfurt and minor factories in Thuringia. In the 17th century glass-enamellers such as Johann Schaper and Abraham Helmhack of Nuremberg took to decorating in their own homes (as "Hausmaler") faience obtained "in the white" from the factories. Their paintings of landscape or scriptural and other figure-subjects in black monochrome (schwarzlot) or bright polychrome are often of extraordinary fineness of execution. From their work arose the adoption of overglaze enamel-painting in the potteries themselves. This prepared the way for the third phase, the spread of French influences from Strasbourg and Mar seilles, seen in coloured naturalistic floral decoration and French rococo forms for the wares. Disseminators of this technique were Johann Eberhardt, Ludwig Ehrenreich and Johann Tannich; the latter, trained under Hannong at Strasbourg, worked afterwards in several factories, notably at Kiel and Mosbach. From Germany the manufacture of faience spread to Scandinavia ; flourishing factories at Copenhagen, Sleswick, Rorstrand near Stockholm and Herreboe in Norway produced chiefly blue-and-white wares show ing Dutch and Chinese influences; large tea-trays, sometimes used as table-tops, and punch-bowls in the form of a bishop's mitre are conspicuous amongst their output. At the Marieberg factory, Stockholm, founded in 1758, the enamel-painted faience of Strasbourg was successfully imitated. Hollitsch in Hungary also produced enamel-painted faience of good quality closely resembling that of Strasbourg.