{"meta":{"version":"2.1","_links":{"self":{"href":"https://api.vam.ac.uk/v2/object/O128959"},"collection_page":{"href":"https://collections.vam.ac.uk/item/O128959/"}},"images":{"_primary_thumbnail":"https://framemark.vam.ac.uk/collections/2010EL1491/full/!100,100/0/default.jpg","_iiif_image":"https://framemark.vam.ac.uk/collections/2010EL1491/","_alt_iiif_image":[],"imageResolution":"high","_images_meta":[{"assetRef":"2010EL1491","copyright":"© Victoria and Albert Museum, London","sensitiveImage":false},{"assetRef":"2017JW1672","copyright":"©Victoria and Albert Museum, London","sensitiveImage":false}]},"see_also":{"_iiif_pres":"https://iiif.vam.ac.uk/collections/O128959/manifest.json","_alt_iiif_pres":[]}},"record":{"systemNumber":"O128959","accessionNumber":"C.2257-1910","objectType":"Plate","titles":[],"summaryDescription":"During the sixteenth century the diet of the elite expanded. New ingredients were available from a widening global market and lavish recipes proliferated in the period. For the first time, gastronomic literature became part of the food culture of the wealthy. What was eaten and drunk mattered as it reflected and constructed an individual's social status. New ceramic forms for holding the growing variety of types of foodstuffs and for accommodating the stylish modes of eating were developed; such as crespine (moulded dishes for holding fruit), piatte detti da carne (meat plates) and rinfrescatoio (coolers). Knowledge of the specific functions of the new forms also formed part of the self-conscious preoccupation with discernment and decorum. During the century a number of codified philosophical ideas on manners, cleanliness and hospitality that reflected this concern were written. The production of clear glass (cristallino) tazze from Murano is a good example of the self-conscious interest in fine manners.  The shape of the glass made drinking difficult, it demanded due attention to avoid spillage. \r\nThe introduction of individual vessels, cutlery, napkins, tablecloths and place settings at table also signaled a development in the elite modes of eating and drinking.  It marked a change with the earlier medieval practice of sharing implements. For the first time dining \"services\" were produced with individual flatware or plates for those at table. Sets were produced in standard quantities, plates were sold in by six or twelve. As luxury items, however maiolica services were however also specially commissioned and often decorated with the appropriate heraldic devices and imprese linking the individual service with the patron. However, it is likely that these items were reserved for occasional use or display purposes only.\r\nFrom the end of the fifteenth century maiolicaware was often painted with antique narratives known as \"istoriato\".  The depiction of these ancient myths and histories, painted in perspective, echoed the intellectual interests of the period. Indeed, the idea behind such decoration on vessels for eating and drinking may have been that guests would have been able to recognize the stories and characters, which reflected on and flattered their classical learning and erudition.","physicalDescription":"Plate with a central shallow concave.  On which is depicted Psyche  seen sitting asleep by a rock; above, she is being transported on a cloud; to the right she is being received by three nymphs at a palace outside which a table is spread.","artistMakerPerson":[{"name":{"text":"Durantino, Francesco","id":"A17048"},"association":{"text":"maker","id":"x40240"},"note":""}],"artistMakerOrganisations":[],"artistMakerPeople":[],"materials":[{"text":"earthenware","id":"x29356"},{"text":"tin-glaze","id":"AAT233436"}],"techniques":[{"text":"painted","id":"x30138"}],"materialsAndTechniques":"Tin-glazed eathernware","categories":[{"text":"Ceramics","id":"THES48982"},{"text":"Earthenware","id":"THES48964"},{"text":"Eating","id":"THES48963"},{"text":"Food vessels & Tableware","id":"THES48952"}],"styles":[],"collectionCode":{"text":"CER","id":"THES48594"},"images":["2010EL1491","2017JW1672"],"imageResolution":"high","galleryLocations":[{"current":{"text":"137","id":"THES49876"},"free":"","case":"41","shelf":"3","box":""}],"partTypes":[[{"text":"Plate","id":""}]],"contentWarnings":[{"apprise":"","note":""}],"placesOfOrigin":[{"place":{"text":"Urbino","id":"x33375"},"association":{"text":"made","id":"x28654"},"note":""}],"productionDates":[{"date":{"text":"1540-1545","earliest":"1540-01-01","latest":"1545-12-31"},"association":{"text":"made","id":"x28654"},"note":""}],"associatedObjects":[],"creditLine":"Bequeathed by George Salting, Esq.","dimensions":[{"dimension":"Diameter","value":"24.5","unit":"cm","qualifier":"","date":{"text":"","earliest":null,"latest":null},"part":"","note":""}],"dimensionsNote":"","marksAndInscriptions":[{"content":"'ZEPHIR LE GONFIA COME VELA IN NAUVE LA VESTE ET PNLA INNU PAN DURRO AL MONTE ONDE DORMINO UN SONO ASSAI SUAUE'","inscriber":{"name":{"text":"","id":""},"association":{"text":"","id":""}},"date":{"text":"","earliest":null,"latest":null},"description":"","interpretation":"","language":"","medium":"","method":"","position":"","script":"","translation":"Zephyrus swells her garments like the sails of the ship and sets her on a  rough place on the mountain where she slept the sweetest of sleeps","transliteration":"","type":"","note":"reverse\r\nScenes from the story of Cupid and Psyche; adapted from a print (Bartsch XV, 44) by the Master of Die - one of the series of designs attributed to Raphael illustrated the story as told by Apuleius."}],"objectHistory":"This plate was painted by Francesco Durantino, potter at Venice from 1545.  It is recorded by Piccolpasso that a potter named Francesco (or Cecco) di Pieragnolo, with his father-in-law Giannantonio da Pesaro, both from Castel Durrante, conducted a pottery in Venice between 1545-50.\n\nHistorical significance: From the end of the fifteenth century maiolica was often painted with antique narratives known as \"istoriato\".  The depiction of these ancient myths and histories, painted in perspective, echoed the intellectual interests of the period. Indeed, the idea behind such decoration on vessels for eating and drinking may have been that guests would have been able to recognize the stories and characters, which reflected on and flattered their classical learning and erudition. The flat plate replaced the bowl and a new form for dining during the second half of the fifteenth century.","historicalContext":"During the sixteenth century the diet of the elite expanded. New ingredients were available from a widening global market and lavish recipes proliferated in the period. For the first time, gastronomic literature became part of the food culture of the wealthy. A number of codified philosophical ideas on manners, cleanliness and hospitality were written revealing a broader preoccupation with behaviour and social status. The introduction of individual vessels, cutlery, napkins, tablecloths and place settings at table also signaled a development in the elite modes of eating and drinking.  It marked a change with the earlier medieval practice of sharing eating implements. For the first time dining \"services\" were produced with individual flatware or plates for those at table. Sets were produced in standard quantities, plates were sold by six or twelve. Clear glass known as cristallino which was often enameled and gilded, produced in Murano, became desirable for drinking vessels. There is evidence to suggest that fine maiolica services may have been displayed on the <i>credenza</i> in the same manner as silver.","briefDescription":"Plate depicting Psyche with nymphs","bibliographicReferences":[{"reference":{"text":"","id":""},"details":"","free":"Ajmar-Wollheim, Marta & Flora Dennis (Eds.). <u>Renaissance at Home</u>. London, V&A Museum, 2006."},{"reference":{"text":"","id":""},"details":"","free":"Hess, Catherine (Ed.). <u>The Arts of Fire: Islamic Influences on Glass and Ceramics of the Italian Renaissance</u>. Los Angeles, The J. Paul Getty Museum, 2004."},{"reference":{"text":"","id":""},"details":"","free":"Rackham, Bernard. <u>Catalogue of Italian Maiolica</u>, vol. I & vol. II. London: V&A Museum, 1977, 2nd edition."},{"reference":{"text":"","id":""},"details":"","free":"Syson, Luke and Dora Thornton. <u>Objects of Virtue: Art in Renaissance Italy</u>. London, British Museum, 2001."},{"reference":{"text":"","id":""},"details":"","free":"Wilson, Timothy. <u>Ceramic Art of the Italian Renaissance</u>. London: British Museum, 1987."}],"production":"","productionType":{"text":"","id":""},"contentDescription":"","contentPlaces":[],"associatedPlaces":[],"contentPerson":[{"text":"Psyche","id":"N211"},{"text":"Cupid","id":"N31"}],"associatedPerson":[],"contentOrganisations":[],"associatedOrganisations":[],"contentPeople":[],"associatedPeople":[],"contentEvents":[],"associatedEvents":[],"contentOthers":[],"contentConcepts":[],"contentLiteraryRefs":[],"galleryLabels":[],"partNumbers":["C.2257-1910"],"accessionNumberNum":"2257","accessionNumberPrefix":"C","accessionYear":1910,"otherNumbers":[],"copyNumber":"","aspects":["WHOLE"],"assets":["2019LU0333"],"recordModificationDate":"2025-05-21","recordCreationDate":"2006-11-03","availableToBook":false}}