MAJOLICA DESCRIPTIONS 151 pottery illustrated in the literati’ her, vet it eum: he precisely enere fated swith any fort, the Due on white formas made at Talavera de la Reina, Spain (Vaca Gonzalez and Rutiz de la Lust 1943, PL 65) Futhermore, many Talavert examples exhibit the same granular texture in the blue paint Blue on white majotiew found at Jaanestwn and attributed to. Lisbon" almost grades into the few sherds classified as Lehtucknee Bluc on White on the basis of enamel anul paint. However, most of the Lishon examples Inve different decorative motifs, incluling blue lace-ike desigus, Some Delftware is very close, espeeially in design, ealut, sid blue dashes on the rim, The inspiration for many of the designs om this pottery was probably derived from late Ming Chinese porcelain. ‘The wpe name is taken from Tehtuckuee River, Florida, of which the type site, Fig Springs, is a tributary Fic Semxes Ponvcunome Illustrations: Plates 2, &;9, f-93 10, a-i, Pigure 18, Paste Method of manafacture. Wheel-thrown. ‘Three fiving sears are found ow the under ide of plates. These are usually small and on the rim of the vessel Tempering. Fine 0 medium material, both dark and light in color, ‘The light colored tempering stands ott conspicuously; it is a very good eriterion for identifier tion, Texture. Uniform and compaet, chalky to the touch with a slight grit Hardness. Very soft paste ranging from about 1.5 to 25, averaging on the soft side of the range, Enamel harduess about 6.5. Color. Distinet terra-cotta, rarely a dark eream. ‘The most common paste eolor appears to be Blush (11: 6), but some of the pastes range as dark as approximately Golden Wheat (11: D8) and as light as Bisque (11: A3), Surface finish: Modification. Throwing marks usually visible on base and underside of plates Filming, Surface is covered with a heavy opaque enamel. This is much thicker than tsual. The most common ground eolor is a eream but it ranges to a gray white, It may be heavily crackled. In places it was thinly applied, leaving the paste exposed in small spots; thinly enameled areas are pinkish, due to paste color showing through. A single jar sherd lacks interior enamel Decoration: ‘Technique. It is painted in blue, yellow, and/or orange on the ground eolor. The paint is even with the surface of the ground * See for example Hobson (1048, Fig. 67) and Pope (1956, Pl. 102-4). The similarity is very striking both in overall impression and in individual elementsLt YEPA 72. GOGGIN ound at Huejetzingo, Cholula, Capilla Real of Cholla, Tecamachales, Aextzing Tepeaca, Calpian, and Tonantzintht, However, in Yucatan 1 como the Cituladels of Mérida and present at Ment and Dzibilebeal This type is well represented in Flori at FigSprings, Fox Pond, aud Wrights Landing; it i= also found at Shellbluff Landing, Du 58, Fountain ot Youth Park, Mt, Royal Village, St. Augustine (83 10C, 83 10D, SJ 10F, SF 10H), Beaty site, Capitol Ace L [Sant Mateos de Tu Georgia it is common at Datiew Bluff and present at Haris Neek and Su herland Bhat seul in Virginia it occurs at Tamest A single «sual bos, and st number of sherd New Mesie« thee southwvestern specimens sre Arizona Chennolagival pos sive i range: Pinst half of the 17th eeutuey, most probably he middle said latter part of the half centuey ar about WG10-60, agin. (19506: 19-20, Phat: 1952: 60, 113}>; Ely 19885 cent picture on cure Comments: This: is « very distinetive type and one of the fev that ean with practice rually he reeognized from unpainted sberds alone. Du hasie design layout the usual plate of this type stands in coutrast 0 the other types with whieh it is associate, a ecntal design with a plain rin apparently made in Puebla before 1650 snut since the dis Puebla Polyelronie, Abs Polyehrome , Castillo Polyehrome, style. Only two types of this time period occur in Mexieo in sufficient quantities for cousideration: Fig Springs Polychrome and San Luis Blue on White. The former is more widely found and more abundant. It is not impossible that this was made in Puebla. San Luis Blue on White is move restrieted in distribution and less comm but probably it was also of Mesiean manufaeture The color combination of blue, orange, and yellow is one associated with po ‘om Talavera de la Reina, Spain. If the Puebla factories were founded, as is often stated, by potters from Talavera, this color combination is a point of inten ‘The type name is derived from the Fig Springs site, Columbia County, Florida, Say Leis Boe ox Warre Mlustrations. Pas Method of manufacture. Wheel-thrown, ‘Three (?) firing support sears are found on the inside vessel bottom or on the underside of the rim. ‘Tempering. No appreciable included material Teeture. Compact. Weights La Maries Harines Color. Two white. Theps White Jaa being. mos hat the» only eream y Moai Filrin Decovat Tech off-white H Paint. Pai matte, Wi Color cl Hussar BS: ( ‘Majolica Bes tinet gr Blue), CLL Blue De use of dad for exa J 10¢ Republic. Design. Ts tionalized me and dots190 YUPA 72—GOGGIN Poesia Buve ox Wurre tions: Plates 2, a; 16, a,byt-h; 17, a-¢3 18, a,b. Figures 2 Paste Method of manufacture. Wheelthrown, In firing, plates appear to have been cked on stilts in the seggars, since most vessel bottoms show three sears on both the interior and exterior Tempering. None. Texture. Compact Hardness, Paste is about 1.5, enamel is about 6.5. Color. Paste is cream-colored. The most common shade appears to be Polar Bear (9: B2), although the paste sometimes runs as dark as about Peach (9: BS). Surface finish Modification. None. Pilming. Plates and smaller vessels have whole surface covered with white enamel, Some large vessels, baeine for example, have lower exterior portion without Decoration Technique. Painted in blue on a white enamel ground, Paint, Varying shades of dark blue, sometimes eombined with lighter blue and at times with black lines that outline the design. The blue is often a brilliant dark shade. The combination with black lines may be more typical of 1700-50 than later. Later use of black lines is merely on the rim border of to aecent aninnal or floral ements, Rarely green, yellow, or orange may be sparingly added, Color classification. The most common blue color appears to be approximately Tyrian Blue (87: D9). The colors range from almost Hydrangea Blue (85: C7) to approximately Coolie (45: E12), The colors are fairly evenly distributed within range, with the sherds forming distinet. groupings around the colors 36: D8 halfway between Queen Blue and Jay Blue), 37: D9 (approximately Tyrian Blue), 88: A12 (almost France Blue), and 45: E12 (approximately Coolie). Almost all sherds show a variation in eolor due to the thickness of the glaze, and some of sherds show a distinct use of two different shades, Examples of this are 36: Ca with 37: D10, and 44: A3 with 45: E12. Design. Through the long span of its existence, Puebla Blue on White appears » reflect, in its own flavor, all the popular styles of Europe. Most classifications f Mexican majolica are in reality only classifications of this type. In Barber's rst classification (1908: 46), two styles—'Spanish or Talavera” and “Chinese” are considerations of Puebla Blue on White and in his second (1915a: 7-9) the ‘© ‘This type really comprises a great seres of forms, many of which eventually will be eon sidered valid types. However, without more datailed dating date I hesitate to establish them >=. Moreover distinctions spparentin complete vessels are not a0 easy to recognize in sherds three styles— Blue on Why In my the basis of tk the Puebla modes whit by the mathe Pieces. This df ean be reco] are especially cups. In Blue on W loza and that mphasis than From half of the eventually cer society wi potters att current fas the more pret Designs on pieces, alti: have been of many apparently at these are motifs, In, Dlack (PL Di Pesg to Sayula, century.Se & Polar @: B5). blue and, sit dark Phan later. sal or floral imately 35: CT) Blue), wt all some of = aro 36: appears eifications Ee Barber's 7-9) the al be con- buish them in sherds MAJOLICA DESCRIPTIONS 191 three styles—"Tattooed,” “Silhouetted,”” and “Outlined” are all forms of Puebla Blue on White, In my opinion it is not possible to make any neat breakdowns of designs on the basis of these styles of Barber's or any others that ean be devised. Actually the Puebla potters had at their fingertips a great series of decorative (and shaping) modes which they combined and recombined in a variety which seems limited only by the mathematical permutations possible. This is expecially true of the larger ives. "This does not mean that no distinetive traits of design motifs or decoration ‘can be recognized. Tndeed a number of trends or tendencies ean be noted. These fare especially apparent on the usual archeological run of specimens—plates and ‘cups, In fact, one has the feeling that: there were two parallel trends in Puebla Blue on White decoration which co-existed—that for the more ordinary table ‘oza and that for the more pretentious pieces. However, the variations are more in emphasis than in distinetion, From the overall viewpoint the greatest Chinese inffuence is seen in the first half of the 18th eentury. Then the widest variety of chinoiserie motifs was utilized: eventually certain of them beeame stereotyped and continued in use with little Variation for many years, Distinct “Spanish” influenee, for example Talavera style landscapes or Renaissance-style dressed men or women, also are most typical of the early part of the century ‘Toward the end of the 18th century artistic developments in silver from Europe exerted a strong influence on Puebla potters, as is reflected in their work. Tt should be kept in mind that from about 1700 on, a stable Mexican society was tnder the steady impact of European artistic ideas, and the Puebla potters attempted to meet the local demand for eeramies in styles similar to the ‘current fashions in European and Oriental wares. These results are best seen in the more pretentious pieoss found in numerous collections and widely illustrated. But even on ordinary wares the Puebla potters quite commonly copied European ‘styles such as the blue feather-edged design of English chinaware (Pl. 16, ¢-¢). ‘Designs on ordinary plates seem to be more stereotyped than those on lange pieces, although spectacular examples are known. A formal approach appears to have been abandoned, and the organized central medallion and rim panel so typical of many earlier styles beoome rare, ‘Iwo major plate design layouts develop, ‘apparently at least by 3750, and both continue well into the 19th century, The first has a series of lines and bands on the rim, with pendant spaced petal units and one or more floral units in the center (Pls. 2, a; 16, de). ‘The second type also has rim bands sometimes outlined in black lines, From these are pendant a border of dots or blobs of graduated sizes betwoon three floral ‘motifs. Tn the center is a large bird or deer painted in blue and often accented in black (Pl. 16, fg). 4 Di Peso (1953, P85, a; Fig 27, left right center). This is one of the design forms taken to Seyula, Jalisco, when that majoliea industry was Founded in the second half of the 19th century. eramies and in192 YUPA 72—GOGGIN On jars and albarelos one reoccurring motif is a panel with a feathery bird flying downward over several steplike floral motifs (PL. 16, b). This is perhaps the most popular single design on such vessels. Of single motifs the most common is @ earna- tion-like flower which is used again and again, alone or as a space-iler (Pls. 16, d5 18, 2). Marks. A lange series of marks are known on archeological and museum speci- mens, These are generally initials, Some have been presented by Di Peso (1953) and Cervantes (1939), and the latter bas suggested the identification of some of the makers, Inscriptions. These are scarce but probable 18th-century examples include: PARA EL RDO. PADRE JOAN DE ZALAZAR ANO DE 1732 (Cervantes 1 Capu chinas (Barber 1908, Fig. 26) Bernal (Barber 1908, Figs. 10, 25) Sangria (Barber 1911: 58) Soy de las madres capuchinas (Cervantes 1939, 1: 218-19) ‘The depiction of arms of various religious orders is not uncommon (PL. 17, a3 Peflafiel 1910, Pls. 56, 57). In the 19th century are found such inseriptions as Vivo Fernando %o (Pl. 17, 8). Distribution. Distribution varies. Plates and basins may have an overall interior design (PL. 17, ¢¢), or less commonly eentral medallion and border design of vary- ing width, Jars and practically all other vessels usually have an exterior design covering the upper two thirds or more of the vessel (Pls, 17, di 18, a). Form: Rim. Variable, wide range of treatment. Lip. Variable, wide range of treatment. Lips are usually rounded but may be gadrooned, especially on large vesse Body. A great variety of shapes is known. Archeological specimens are usually deep-brimmed plates (Fig. 26). In the first half of the century they have a simple outline, in the latter half they may follow contemporary European styles with an undulatory rim outline. Small bowls and cups are not uncommon (Fig. 27). Cervantes (1939, 1) illustrates a great number of large vessels of a variety of shapes. These are found in many eollections. The most common are the tibor, ‘macetas, and barril (op. cit.: 139, 141, 153, 154, 177, 187, 180, 233, 285, 239). Less commonly found are the botellén, botijo, box, jarrén, pileta, jar, and bacin ‘Sem. Fra. 25. Plate of the Puebla Blue on White Type, Provenionce Unknown. fountains on Mexiean by Cervat Like are 436 cream paste ‘Mod late varietie nounced, ‘The doned. The: mens in 4, 4,19. sgoimery etPL 17, a; all interior variety of the tibor, 239). Less gaged bacin MAJOLICA DESCRIPTIONS 193 Fie, 27, Cup of the Puebla Blue on White Type, Provenience Unknown, (op. cit.: 113, 115, 173, 175, 241). Small objects include inkwells, penholders, sand sprinklers, salt cellars, and holy-water fonts. ‘Large fountains and eatchbasins were also made (Barber 1915a, Frontispiece). Base, Plates usually have ring feet, as have many albarelos,tibors, jarréns, ete. But the larger vessels often have a flat bottom. ‘Thickness. Variable, dependent on vessel size and form, Plate thickness is average. Appendages. Lugs ot loop handles are not uncommon on jars, macetas, botijos, and bacins, Parallel tile type: Tiles are very eammon and were widely used for architectural ornamentation in Mexico, Tnner and outer walls, cupolas, door frames, altars, and fountains are some of the areas decorated or covered with such tiles. Most writers ‘on Mexican art and architeoture illustrate some examples, and series are given by Cervantes and Pefiafiol.s* Like pottery vessels, tiles of this type were made from about 1700 to the present, with modern copies that are fairly close to earlier examples. Throughout this period decoration changed, but more easily observable is the steady change in size—the tile becoming larger and thinner ‘Tiles that seem typologieally earlier on the basis of decorative treatment, that is early and middle 18th century, range from 43% to 41 inches square. Usually ‘one dimension is slightly larger. Thickness is about 5g of an inch. Later examples fare 424 to 434 inches square by 34 inch thick. Another distinction is the usual cream paste eolor of the earlier forms in contrast to reddish paste of later forms. ‘Modern tiles are about the same size but are usually thinner or about 3¢ inch in thickness, Their color is often brighter and harder, Both the early and late varieties are made with a beveled edge; in modern tiles the bevel is less pro- nouneed. ‘The study of Puebla Blue and White tiles is a field in itself. Although styles changed throughout the long period, the older styles were never completely aban- doned. There was constant need for copying older tiles to replace damaged speci- mens in decorative panels and fagades. + Barber (16a, Pl. 14), Cervantes (1989, 1: 181; 1099, 2:85, 147), Peiafel (1910, Pl. 8, 9, 11, 14, 15). Watson Smith presents a checklist of ornamented buildings in Mexico in Mont: somery et al. (199),198 YUPA -GOGGIN Place of manufacture: Puebla and perhaps elsewhere in Mexico. Associations: See Figure 1. In the earliest part of its range it apparently overlaps with San Luis Polychrome and perhaps briefly with Puebla Polychrome. ‘Then carly in the 18th century it occurs with San Agustin Blue on White and Talavera, Polychrome. During most of the remainder of the century it occurs alone and near the end with Aranama Polychrome and ‘Tumeacori Polyehrome. From the 19th century on it is associated with various polychrome forms, Usual archeological range of type: Caribbean examples have been seen from the Ayuntamiento de Santiago, Cuba; the Baneo de Reservas site and Convento de 1 Francisco, Dominican Republic; St. Joseph, Trinidad; and Castillo de Araya, Santa Marfa Arenales, and Tierra de los Indios, Venezuela. This is the most abun. ‘dant of all Lypes in Mexico and is found as follows. Michoacan: Chureh of Carmen and Church of the Capuchinas, Morelia; Paint auntzan. Distrito Federal: Tscubaya, Intacaleo, Ixtapslaps, Culhuaeén, Churubuseo, Desierto de los Leones, Puebla: Texmelucan, Huejotzingo, Cholula, Capilla Real de Cholula, Teca- machaleo, Acatzingo, Tepescs, Tehucsedin Viejo, Acatepee, Tonantzintla, Oaxaca: Yanhuitlin, Mita Campeche: Campeche. Yueatan: Manf, Convento de Sisal, and Ciudadela of Mérida. Sonora: Buena vista, Presidio de Fronteras, San Luis Bacouncos, Chihuahua: Presidio de Janos, In Florida the type oecurs mainly in the St, Augustine area, at the Fountain of Youth Park, Nuestra Sofiors de la Leche Shrine, Castillo de San Marcos (839, ‘SJ9A), and in St. Augustine (SJ 1B, SJ 10C, SF 10D, SJ 108, SJ 10, SJ 10G, J 101), It is the dominant type at’ the Higgs site and is found at Rollestown and ‘Wrights Landing, Alabama specimens inelude two plates from Cresk Indian graves near Mont- gomery. In the Southwest fragments have been found at Quarai, Zia Com Clan Ruin, George Tenorio Zia site, Santa Ana Railroad site, Canjelén, Coffman site, Black Ranch, Corrales Mound, Palace of the Governors, Pecos, Ojuelos, Cieneguilla, Cuyamungué, Santa Rosa, Above Jemez, Isathe, and Galisteo, New Mexico; and at Avatovi, Tumacacori, and Quiburi, Arizona, It is found at Los Adaes, Aranama, and Falcon Reservoir (78B9-5), Texas, Chronological position of type in range: From about the beginning of the 18th century to 1850, with closely similar derived forms still being made, Bibliography of type: Angulo (1946: 16-20, Pls. 2-0); Barber (1908, Figs. 8-21, 23-28); Barber (1911, Pls. 1, 3,4, 6,7, 8, 12, 27, 9-Il, 13, 14, 61, 15, 56, 57); Barber (19158, Frontispiece, Pls. 1-11); Bennett (1924: 58-9); Cervantes (1939, 1: 112-29, 172-91, 196-236, 239-46); Di Peso (1953: 218-23, PI. 85, ad, Fig. 27, part); Her. inden, (1946, 5 (1922, Figs Perés’Buenol saint (1988, Fig Illustrations: V1 Paste: Sirnilese i Surface jinis Decoration: Technique} Paint, Ble Design. Bud outside rim ‘Marks, N¥ Inseriptions Distribuei orm: Bini Parallel tile — Anos Uwal are a — ‘Mexical Culhuseén, ae Huejotaing aC Mitla in O Yueatan, In Floris the Castillo and Arana of the Governe Chronologio| about 1700. BibiographiTeea- Clan MAJOLICA DESCRIPTIONS 195 nnindez (1946, illustrations on pp. 6; 7; 8, upper; 9, uppers 10, lower); Hoffman (1922, Figs. 3-4); Pefiafel (1910, Pls. 8, 9, 11, 14, 15, 56, 57, 59-61; Figs. 73-5); Peréa Bueno (1950: 13, 15); Tablada (1927, Fig, 200); Teall (1922: 56, 114); ‘Tous saint (1948, Fig. 250, 4) Hesioraxco Buve ox Ware Illustrations: Plate 18, 6. Poste: Similar to Puebla Blue on W ‘Swface finish: Similar to Puebla Blue on White. Decoration: Technique. Painted in blue on a white enamel ground. Paint. Blue. Design. By definition, a single blue line eovering lip and adjacent inside and/or outside rim (Pl. 18, ¢) Marks, None seen, but some are probable. Inscriptions. None seen but some will probably be found. Distribution, On lip and adjaeent rim area, Form: Similar to plate and tazza forms of Puebla Blue on White, Parallel tile type: Puebla Blue on White Place of manufacture: Puebla and perhaps elsewhere in Mexico. Associations: See Figure 1, Puebla Blue on White. Usual archeological range of type: In the Caribbean it is known from the Convento de San Franciseo, Dominican Republic; and the Ayuntamiento de Santiago site, Cuba. Mexican occurrences are more numerous, with examples from Ixtacaleo, Culhuaeén, and Desierto de Jos Leones in the Distrito Federal; Texmehican, Hucjotzingo, Cholula, Tecamachalco, and Acaiaingo in Puebla; Yanhuitlén and Mitla in Oaxaca; Son Luis Bacoancos, Sonora; and the Ciudadela of Mévida, Yuestan. In Florida it occurs at St. Augustine (SF 100), Fountain of Youth Park, and the Castillo de San Mareos, Texas examples come from Falcon Reservoir (7889-5) and Aranama, Southwestem sites yielding specimens are Cieneguilla and Palace of the Governors in New Mexico; and Tumacaeori and Quiburi, Arizona Chronological position of type in range: The 18th and 19th centuries, beginning about 1700. Bibliography of type: Di Peso (1953, Pl. 85, ¢).SPANISH MAJOLICA IN THE NEW WORLD NTH TO EIGHTEENTH CENTURIES JOHN M. GOGGIN Let | ceopartle Néubmit! £dpex dejain Uiiweo, chevem be. Ge eocé NEW HAVEN PUBLISHED BY THE DEPARTMENT OF ANTHROPOLOGY YALE UNIVERSITY 1968- F e : L = = LD Lie J