Notes:
Designs incorporating natural imagery such as birds and plants were popular choices for the Moorish potters in Spain who made Hispano-Moresque ware. Although early designs are more overtly Islamic, and can include inscriptions in Arabic and symbols such as the tree of life, the huge popularity of these wares and their increased production for wider consumption across Europe led to a fusion of Islamic and European design elements. The beautiful lustre effect is achieved by applying a tin glaze over a design traced in cobalt blue before the first firing, then brushing on a metallic pigment on top of the tin glaze before a second firing. This technique was perfected by Islamic potters; in part because the use of vessels made from precious metals at mealtimes was prohibited by the Hadiths (the record of the saying of the Prophet Muhammad).
Production was initially centred around Malaga in Southern Spain, which remained under Muslim rule until 1487. However, over the course of the fifteenth century, the migration of potters northwards led to the development of other production centres in and around Valencia, including a large concentration of workshops in Manises. Manises had an abundance of natural resources including clay and a special sand used to make glazes, and produced high quality wares which enjoyed the patronage of some of the wealthiest nobles, such as Maria of Castile, Queen of Aragon, who ordered a large service of Manises ware in 1454.
