The Eighteenth Century

Stylistic and Productive Decline but Improvements As Wells

The activity of the Deruta potters still continues in the 18th century. However the historical literature relating to Deruta majolica insists on considering the 18th and 19th centuries as periods of great stylistic and productive decline. Even if it is true that ceramic activity suffers in this period from stiff competition from other Italian centers, which introduce decorative motifs inspired by oriental porcelain, such a negative judgment may well be influenced by the productive wealth of the previous centuries, which tends to throw the subsequent expressions into the shade.

The first decades of the century see the continued elaboration of seventeenth century motifs which, in the late Compendious phase, are enriched with new elements such as bean motifs, more fluid forms, landscape representations and a marbled use of color. The production takes a decisive upturn towards the middle of the century as a result of the production of Gregorio Caselli.

Notwithstanding the dearth of information relating to this artist, his contribution seems to restore to Deruta majolica that pictorial formalism which had been lost during the compendious phase. The oldest work he signed dates back to 1749 and although characterized by elements still typical of the seventeenth century; a new rigor of forms is manifested in the definition of the figure. The transition towards decidedly more original types is documented by two subsequent works: the first, housed in the Ducal Palace in Urbino, is the plaque which was once the sign of the artist’s workshop. Dated 1769, it bears the inscription "Fabbrica di Majolica fina", the second is a wash basin on exhibition in the Deruta Regional Museum decorated with floral motifs, in keeping with contemporary taste. Interesting evidence of the diffusion of oriental decorations is also provided by the footed dish with Chineserie preserved in the Deruta Museum and dated 1772 or 1775.

The stylistic differences between the first piece by Caselli, dated 1749, and the numerous subsequent works bearing the mark of his workshop, shows visible lack of conformity in the elaboration of the decorative technique and in the choice of motifs, However a votive plaque of 1777, housed in the church of the Madonna dei Bagni, confirms that a certain G. Meazzi, a skilled decorator was employed in the Caselli workshop. His numerous plaques, in which formal brushstrokes, landscape representations and skilful marbling emerge as distinctive elements of his style, span a period of almost forty years. However the Caselli workshop does not have a monopoly on the 18th century production in Deruta: the existence of a second factory manufacturing "Majolica fino" dating back to 1771 and owned by P. Bravetti is in fact registered.

Unfortunately there is no precise information on its activity, and the catalogue of works attributed to it, consisting for the most part of devotional plaques, is fairly meager. The relevant literature also provides information on the continued activity of the Mancini family until about 1750 and mentions a certain Sante Martinelli, author in 1792 of a votive plaque dedicated to the Virgin of Pompeii . Finally the Deruta regional Museum preserves a Fragment of a pilgrim’s flask, dated 1765 and signed by Angelo De Lupis.