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Dish

early 16th century (made)
Artist/Maker
Place of origin

In Venice, the production of brass dishes flourished in the first half of the 16th century. They were very elaborately decorated but not with traditional European linear ornamentation. Venic,e during this period, traded and fought extensively with the Turkish and Arab empires which bordered the Mediterranean basin. Thus Venetian merchants brought back to the city Near Eastern craftsmen and goods that had an immediate influence on the indigenous population, and eventually the rest of Europe. The Venetian Muslim community produced many splendid damascened brass vessels, some of which are signed in Arabic by their makers.

The decoration was more extensive, often covering the entire surface of an object. The arabesque pattern, base on a stylised plant with a winding stem, was studied and copied by contemporary Italian artists. By the middle of the 16th century, the arabesque as a form of ornament was beginning to influence craftsmen all over Europe, and became incorporated into the development of European ornamental design, until the decline of the Rococo in the late 18th century.

The local craftsmen adopted the deep, bold engraving characterising their Islamic prototypes but only very occasionally used the silver inlay which was a speciality of the Saracen artists. Other subject matter incorporated into the decoration of these dishes by local, as opposed to Saracenic craftsmen, was characteristic of the late Renaissance: flowers, busts, erotic scenes, grotesques, sirens, birds, battle scenes, hunting scenes, triumphal processions and incidents taken from mythology. There is often a coat of arms in the centre which implies that many of the clients were members of the aristocracy.


Object details

Categories
Object type
Materials and techniques
Brass, engraved and damascened with silver
Brief description
Brass dish engraved with arabesques and inlaid with silver; with a decorative arabic inscription and the arms of the Venetian Cornaro family engraved on the back, Veneto-Saracenic, early 16th century
Physical description
The bowl is engraved with arabesques and inlaid with silver. Around the central panel is a decorative arabic inscription. There are traces of gilding. Engraved on the back are the arms of the Venetian family of Cornaro.
Dimensions
  • Across front of dish diameter: 41.5cm
  • Rim to base of bowl depth: 5.7cm
Style
Marks and inscriptions
  • Engraved round the centre of the dish, a quatrain in Arabic that appears on a lot of Late Mamluk metalwork: "You have achieved the highest degree in exaltation And success in every field is associated with you May you never cease to be desired and put to use May your right hand achieve your aims in this world." And, to complete the circle, the line: “Glory lies in obedience" (owner's mark; On the back; engraved)
  • The arms of the Cornaro family
Credit line
Given by Dr W. L. Hildburgh FSA
Subjects depicted
Summary
In Venice, the production of brass dishes flourished in the first half of the 16th century. They were very elaborately decorated but not with traditional European linear ornamentation. Venic,e during this period, traded and fought extensively with the Turkish and Arab empires which bordered the Mediterranean basin. Thus Venetian merchants brought back to the city Near Eastern craftsmen and goods that had an immediate influence on the indigenous population, and eventually the rest of Europe. The Venetian Muslim community produced many splendid damascened brass vessels, some of which are signed in Arabic by their makers.

The decoration was more extensive, often covering the entire surface of an object. The arabesque pattern, base on a stylised plant with a winding stem, was studied and copied by contemporary Italian artists. By the middle of the 16th century, the arabesque as a form of ornament was beginning to influence craftsmen all over Europe, and became incorporated into the development of European ornamental design, until the decline of the Rococo in the late 18th century.

The local craftsmen adopted the deep, bold engraving characterising their Islamic prototypes but only very occasionally used the silver inlay which was a speciality of the Saracen artists. Other subject matter incorporated into the decoration of these dishes by local, as opposed to Saracenic craftsmen, was characteristic of the late Renaissance: flowers, busts, erotic scenes, grotesques, sirens, birds, battle scenes, hunting scenes, triumphal processions and incidents taken from mythology. There is often a coat of arms in the centre which implies that many of the clients were members of the aristocracy.
Bibliographic reference
Bolland, Charlotte. Catalogue entry. In: The Paston Treasure. Microcosm of the Known World, ed. by Andrew Moore, Nathan Flis, and Francesca Vanke. New Haven and London: Yale University Press, 2018. ISBN: 9780300232905 030023290X. Published to accompany the exhibitions 'The Paston Treasure: Microcosm of the Known World' and 'The Paston Treasure: Riches and Rarities of the Known World', co-organized by the Yale Center for British Art, New Haven, on view 15 February-27 May 2018, and Norwich Castle Museum & Art Gallery, on view 23 June-23 September 2018.
Collection
Accession number
M.190-1951

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Record createdFebruary 20, 2004
Record URL
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