Italian Ceramic Cities: Discover Italy’s Historic Pottery Towns and Clay Traditions

Italy has a long and deep connection to ceramics. Way before the country was unified, pottery was already part of daily life across different regions. Each town developed its own distinct style. Local clay, tools, and traditions shaped how ceramics looked and felt. These differences are still clear today. One of the most important centers of Italian ceramics is Castellamonte, in the region of Piemonte.

 

Castellamonte: Clay, Craft, and Ceramic Art

Castellamonte became a ceramics hub because of the rich clay found in its hills. This natural resource set the foundation for its long pottery tradition. The area's history with ceramics goes all the way back to the Salassi, an ancient tribe, and continued after the Roman conquest. Clay was used to make jars, lamps, storage pots, and other everyday items. Romans expanded the practice, and by the Middle Ages, churches and castles in the Canavese area were full of detailed terracotta work. Local clay was shaped into arches, beams, and windows with expert skill.

By the fourth century, records show that Castellamonte was already exporting ceramic tiles and terracotta goods. Large clay jars used for storing oil were common. Old kilns prove that these pieces were made in large numbers. In the fifth century, more refined and decorative clay pieces started to appear. Ceramics were no longer just practical. They were also crafted for beauty and used in noble homes.

That creative change pushed the craft further. Even today, walking through Castellamonte, you’ll spot decorative claywork on buildings and public spaces. By the sixth century, two main types of potters had formed. The “pignattari” focused on pottery made using a spinning wheel, while the “terraglieri” worked more with heat-resistant clay. They made things like bricks and stoves, especially the Franklin stove.

The Franklin stove was a standout. Designed to show the flame while circulating air efficiently, it became a specialty of the Reasso family in Castellamonte. Their version was built on Benjamin Franklin’s theories, mixing function and beauty. These stoves became iconic, both locally and beyond.

By the eighteenth century, ceramic work exploded in the town. Workshops multiplied, and pottery was passed down through families. Skills were taught from one generation to the next, keeping the tradition alive. The variety of ceramics expanded too. Locals made floor tiles, sculptures, busts, fireplaces, and more. These weren’t just household items. They were pieces of art, shaped by hand and made to last.

In 1870, the ceramic industry employed around 200 people in Castellamonte. By the early 1900s, there were 15 companies working in the field. After both world wars, even more artisans joined the trade. Around 315 ceramic workers were active, along with about 20 who worked directly with raw clay.

Castellamonte’s ceramic culture is still alive. The town’s history shows how a simple natural material like clay can shape an entire community’s identity. From early oil jars to elegant stoves, the art of pottery in this small Italian town remains one of the most respected and unique in all of Italy.

Lodi’s Ceramic Heritage in Lombardy

Lodi’s bond with ceramics goes way back. Even in Roman times, when the city was called Laus Pompeia, pottery was already part of local life. Archaeologists have uncovered pieces from that period in modern-day Lodivecchio. Some of the finds came from Etruria and Magna Graecia, but many were made locally. These include oil lamps and small votive statues. You can see them today in the city’s municipal museum.

Medieval Claywork and Renaissance Terracotta

By the late Middle Ages, ceramic decoration had moved into architecture. Buildings in Lodi started using terracotta for detailed ornamentation. A good example is the Santo Spirito hospital, now known as the old hospital. Its small cloister still shows bands of sculpted clay. The Church of the Incoronata and Palazzo Mozzanica also stand out. The entrance to the palace is a masterpiece in Bramante style. It features carved busts of key figures like Francesco I, Bianca Maria Sforza, Gian Galeazzo, and Isabella d’Aragona. Decorative borders of vine branches, acanthus leaves, and cherubs tie the whole look together.

Everyday Pottery and Bright Pigments

During the 1400s, local potters made items for daily use with simple materials and bold color. Most ceramics from that time were slip-coated or sgraffito terracotta. The designs were drawn quickly but had a raw, expressive style. The colors were strong and metallic: copper green, cobalt blue, iron brown, manganese purple, and antimony yellow. Even basic tableware was full of life.

Ceramic Trade and Rising Demand

In the 1500s and 1600s, Lodi’s ceramics started attracting more attention beyond the region. Historical records show complaints about heavy taxes on exported pottery, which points to growing demand. In 1525, a craftsman named Alberto Catani called himself a “bochalaro,” which meant jug-maker. He offered his work to Duke Gonzaga of Mantua for his home in Marmirolo. He even called it “porcelain,” a word not quite accurate for majolica, but one that hinted at its quality.

The Majolica Boom and 18th-Century Growth

By the 1600s, Lodi’s majolica was well-known across northern Italy. The city’s real boom came in the 1700s. While other trades declined, ceramic production expanded. The number of kilns rose from four to five. Workshops started using new decorative methods like low-heat firing. This approach brought in fresh design ideas from France and beyond, especially late Baroque influences.

The Coppellotti factory led the way. Founded in 1641, it stayed in the family until 1787. Their work stood out for its light shapes, clean forms, and artistic decoration. Another key name was the Ferretti factory. Simpliciano Ferretti started it in 1725, and his son Antonio took it further. With Antonio at the helm, the shop became a major player. He helped popularize the low-fire technique that gave Lodi pottery its floral patterns, a look still tied to the town today.

Rossetti and the Delft Influence

Another big influence came from Giorgio Giacinto Rossetti. He was from Piedmont but worked in Lodi from 1729 to 1736. He partnered with top factories and even opened a short-lived shop with his brother and a man named Tavazzi. Rossetti brought a new level of skill to the trade. He borrowed ideas from Delftware, especially the blue detailing popular in France, thanks to mass production in Rouen. He used this blue to frame tiny landscape scenes, handled like miniature paintings.

Legacy of Craft and Design

The low-heat firing method that Antonio Ferretti embraced let Lodi artists add more delicate and colorful floral designs. These patterns became their signature. Thanks to all these makers and workshops, the 18th century became the golden era of Lodi ceramics. Even now, when people think of Italian majolica, Lodi stands out for its fine detail, strong color, and well-shaped pieces. The city’s ceramic history is more than tradition. It’s a lasting example of design and craftsmanship that continues to draw attention.

Bassano del Grappa: Centuries of Ceramic Craft in the Veneto Region

Bassano del Grappa has been shaping clay for centuries. The town’s connection to ceramics runs deep, going all the way back to the late Bronze Age. Archaeological digs in Angarano uncovered everyday pottery from that period, proving that the area had a long tradition of using clay in daily life. Nearby, remains of a Roman-era building show that terracotta and bricks were being made locally using Roman design guides that were shared through cardboard templates.

Though there’s only scattered evidence of ceramic activity during the Longobard period, historians believe that common pottery was likely made in the Middle Ages. More refined pieces, however, were probably imported from cities like Constantinople, Corinth, and Thessaloniki. The turning point came in 1982, when excavations on Via Campo Marzio uncovered the earliest majolica pieces confirmed to be made in Bassano. These were colorful fragments of bowls, dishes, and fruit stands in the Candiana style, mimicking the famous ceramic work from Iznik.

By the late 1500s, pottery in Bassano began to evolve into a full craft. In the 1400s and 1500s, workshops started appearing in the spot that would later become the Manardi factory. That marked the real start of Bassano’s ceramic legacy. The Manardi name rose to fame in the 1600s. After 1669, the family received exclusive rights from the Venetian Senate to produce majolica across the entire Republic of Venice.

Ceramics from this period stood out for their smooth clay, bright colors, and glossy glazes. With added help from skilled workers from Faenza and Lodi, the Manardi shop turned out a wide range of goods. They made everything from jugs, bowls, and vases to coffee cups, inkpots, chamber pots, dessert dishes, and serving trays. A key highlight of their work was pharmacy jars and pitchers. These were decorated in cobalt blue with quick, flowing brushstrokes. The design included floral garlands and two slim border lines, leaving space in the center for labeling.

The Manardi factory shut down in 1744, but another family stepped in. The Antonibon family from Nove took over the ceramic scene and brought new styles and fresh ideas. They kept their quality high across three lines: majolica from 1727, porcelain from 1752, and English-style crockery from 1786. Their main output was everyday household items like plates, trays, goblets, and ice bowls, but they also made luxury pieces such as chandeliers, mirror frames, and decorative tiles.

In the 1800s, the focus switched to cheaper goods, especially plates showing country scenes, farming life, and the seasons. Pitchers with personal notes and whistling crocks were popular too. A new ceramic trend emerged for the wealthy, known as "artistic" or "court" style, or "neo-Rococo." These featured bold, sculpted patterns and vivid hand-painted scenes that covered the surface with lifelike images and floral details.

Several workshops launched around this time. The Marcon, Bonato, and Passarin studios produced everything from vegetable-shaped bowls to full table centerpieces and figurine groups. Antonio Passarin, active since 1882, made baroque-style pottery and used themes drawn from classical artists like Jacopo Bassano and Antonio Canova, along with newer creative influences.

True change didn’t come until after World War II. That’s when innovation started again, thanks to the Nove Art Institute for Ceramics and a few newer companies, including one founded by Luigi Zortea in 1921. While the older factories kept making the same traditional products for export, the newer generation began moving toward modern styles. Today, Bassano’s ceramic production continues, blending old methods with fresh design to stay relevant in both local and international markets.

Nove: The Heart of Venetian Ceramics Since the 1700s

Nove became one of the most important ceramic towns in Europe in the 1700s. Several things helped make this happen. The land around Nove had rich deposits of both plastic clay and china clay, perfect for making ceramics. The nearby Brenta River was also key. It was used to move firewood and finished goods, and its flowing water powered the mills that mixed clay and ground river stones for glazes.

In the eighteenth century, Chinese porcelain was highly sought after across Europe. Dutch potters tried to copy that style and flooded the market with imitations, even reaching Venice. To protect its economy, the Venetian Senate stepped in. It pushed local production by offering tax breaks to anyone who could produce porcelain or improve majolica.

This gave Giovanni Battista Antonibon the perfect chance to grow. In 1727, he opened a workshop in his father’s old house in Nove. That shop became the most important ceramics factory in the entire Venetian Republic. In 1732, the Senate gave Antonibon’s factory a twenty-year exemption from all taxes.

His son, Pasquale Antonibon, took over in 1738 and pushed things further. By 1762, the factory had started making porcelain, a huge step forward. Around the same time, a new material began spreading across Italy: earthenware. This type of clay body had been made in England since 1725. It was whiter, cheaper, and easier to produce than porcelain or majolica. It quickly became a strong competitor.

Once again, the Antonibon factory adapted fast. In 1768, with Giò Maria Baccin leading the work, they managed to create an earthenware blend that was almost identical to the English version. This let them stay competitive and meet the rising demand for affordable ceramics. By 1786, they had refined the formula even more, and their earthenware matched English quality closely.

When the 1800s began, Italy was facing political and economic trouble, but some Nove ceramic makers held on. They stopped making expensive pieces for nobles and started creating simpler items for everyday people. These new buyers were less wealthy, but much larger in number. This change gave birth to what became known as popular ceramics.

Around 1860, another trend emerged. It was called the artistic style, also known as courtly or neo-Rococo. This look featured fancy shapes and heavy decoration. It may have been designed to compete with foreign work shown at global exhibitions. These ceramics were flashy, full of color and texture, and aimed at capturing attention on the world stage.

By the early 1900s, Nove was entering a new phase. The Nove Arts Institute helped transition away from older traditions and pushed ceramics into the modern era. This marked the end of the 1800s style and introduced new ideas for the 1900s.

Today, Nove’s ceramics still carry that legacy. The town blends deep roots with ongoing innovation, shaped by centuries of skill, adaptation, and creativity.

 

Albisola: Liguria’s Historic Home of Italian Ceramics

Albisola Superiore, in Liguria, has been shaping clay into ceramics since at least the 1400s. Some say the Benedictine monks might have brought the craft to the area in the 1200s. What we do know for sure is that by the 1500s, kilns were already working across the region. Old maps from 1569, 1640, and 1798 mark out where they stood, showing just how central ceramics were to life in Albisola.

Roman ruins also tell part of the story. Excavations uncovered a villa decorated with colorful plaster and detailed mosaic floors. These finds show that this part of Liguria had a strong taste for beauty and craft long before the ceramics trade officially took off.

By the 1500s and 1600s, the area was known for making “laggioni.” These were ceramic tiles used to cover walls and floors. Albisola’s tiles weren’t just practical. They were stylish too. Locals also made pottery for cooking and serving food, plus jars for holding herbs and medicines.

By the 1700s, majolica and terracotta were common, especially in rich tones of yellow and brown. Some pieces featured dark painting styles known as "techs noir," giving the ceramics a bold, detailed look. Blue-glazed tiles also became popular. This sky-blue finish was everywhere during the 1600s, giving Albisola’s ceramics a look that stood out from the rest of Italy.

In the 1600s, local potters began marking their ceramics with “Le Marche,” an early kind of trademark. That shows how serious the town was about its ceramic identity. Records from 1569 list multiple kilns and a couple of color mills, proving how well organized the local trade was.

A big change came in the second half of the 1800s. A new type of yellow-painted terracotta called "terracotta ingobbiata" was developed. It was often used to make devotional figures and nativity figurines. These small handmade statues were found in homes across the region, especially around holidays.

But by the late 1700s and early 1800s, the ceramics industry in Albisola hit a slump. Production dropped off. Most pieces made during this time were plain and white, often just simple pitchers. That slump didn’t last forever, though. A breakthrough came with a new lead-based glaze. This “plumbiferous” coating worked well for pots and pans that could go over a fire. It helped bring back interest in ceramic cookware.

In the early 1900s, Albisola found new life through art. The rise of Futurism, a bold and experimental art movement, pushed ceramics into modern territory. Artists started using traditional materials in new ways. Majolica production returned, but this time with fresh ideas, new styles, and a modern edge.

Albisola’s ceramics history is one of change and survival. From Roman mosaics to Futurist tiles, this small Ligurian town turned clay into something lasting. It’s still known today as one of the most important places in Italy for handcrafted ceramics.

Albissola Marina: Where Italian Ceramic Art Meets History and Innovation

Albissola Marina’s ceramic tradition runs deep. The oldest evidence, from the late 1400s, was uncovered in 1990 when archaeologists found remains of an old kiln right in the town center. From the start, Albissola’s ceramics had a split identity. On one side, there were simple terracotta pieces made for the working class. These were covered in yellow glaze and etched by hand. They made plates, bowls, and cooking pots that were cheap but useful. On the other side, there was elegant, hand-painted majolica made for the wealthy. These luxury pieces were often multicolored and more decorative.

Tile work also played a big role. The town produced “laggioni,” ceramic tiles for floors and walls. Glazed tiles became more refined, especially those coated in blue and painted with plant shapes, animals, boats, or repeating patterns. A 1933 dig confirmed just how popular these pieces were. Albissola’s tile makers didn’t just serve their own town. They helped fuel ceramic production in places like Spain, France, and the Duchy of Parma. Many of those artists originally came from Albissola.

Two major tile works stand out. The first was made in 1554 by Giovanni Giacomo Sciaccarama for San Nicolò Hospital in Albisola Superiore. The second is a large ceramic altarpiece painted in 1576 by Gironimo Tommasi da Urbino. It was sculpted by Agostino Isola of Albissola Marina and originally placed in a chapel that no longer exists. Today, it’s housed in the parish church of Nostra Signora della Concordia.

In the 1500s and 1600s, Albissola was at its peak. White-glazed and light blue “berettino” pottery was everywhere. Plates, bowls, and pots were decorated with stylized plant designs, especially open palm leaves drawn in profile or head-on. These patterns sat inside geometric frames, giving the pieces a clean but detailed look.

The town’s light blue majolica became a symbol of its craft. It came into full form when local potters rebuilt the seaside kilns that storms had destroyed between the late 1500s and early 1600s. This style featured detailed, naturalistic designs. Some looked like fine upholstery, while others showed historic scenes or baroque landscapes. Some of the inspiration came from the East. Others were influenced by local Ligurian painters.

By 1641, Albissola Marina had 24 active kilns. Makers marked their work with symbols. Grosso used a lantern. Pescio marked his with a fish. Conrado used a crown. Many of these marks are still being traced back to their original artists.

Ceramics continued strong through the 1700s. By the end of the century, there were 32 kilns working in Albissola Marina. But majolica started to fade. A new style called "taches noires" took over. It was made from brown-painted terracotta. Majolica production almost vanished.

It wasn’t until the late 1800s that Albissola’s pottery scene came back to life. Artists started copying older designs but also tried new ones, taking influence from Liberty and Art Deco movements. In the 1920s and 1930s, ceramics took another bold turn. Futurism gave the town new energy. Albissola became a creative hotspot again.

A big part of that rebirth was thanks to Tullio d’Albisola. He wasn’t just an artist but also a connector. He brought together top Italian and international artists. This helped Albissola get back on the map. Even after his death in 1972, his impact stayed strong.

Today, Albissola Marina is still a magnet for ceramic artists. Some live and work there full time. Others visit for short stays and training sessions. Local workshops keep the tradition going. The town isn’t just known for its history. It’s known for what it continues to create.

 

Faenza: Where Italian Majolica Became World-Famous

Faenza, a small city in Emilia-Romagna, has been known for its ceramics for over five hundred years. It’s not just part of the town’s past. It still matters today. Ceramics here are both a craft and an industry. This place has earned a global name. In fact, the French word for decorated pottery, “faience,” comes straight from Faenza.

The Rise of Majolica in Faenza

The area became a major center for ceramics during the Middle Ages. That was mostly thanks to the rich clay found in the soil. Faenza sits right between the Po Valley and Tuscany, so it absorbed influences from both regions. This mix helped shape a distinct local style.

By the late 1400s and early 1500s, ceramic artists in Faenza started to move away from the gothic and eastern patterns that had influenced earlier work. They began to embrace a style that felt fully Italian. Over time, ceramic painters started to work more like canvas painters. The artwork on plates and tiles became more expressive and personal. Scenes started to tell stories, often through detailed figures. This change gave rise to what came to be known as the “illustrated” style.

A New Phase: White Ceramics and Abridged Designs

By the mid-1500s, ceramic makers in Faenza changed direction again. After perfecting decorative skills, they began creating simpler, more minimal pieces. These were called “white” ceramics. The shapes became looser, more abstract. Decorations were fast, sketch-like, and less polished. This became known as the “abridged” style. The goal wasn’t to impress with detail anymore, but to express with ease.

From Artistic Innovation to Technical Breakthroughs

Faenza’s ceramics didn’t just look different. They also helped push the craft forward with new techniques. In the late 1600s, the Ferniani family led this progress. Their workshop, or “factory,” became a major force. They introduced new firing methods, like the “low flame” process. They also brought in English earthenware around 1778. Artists like Giulio Tomba and Antonio Trentanove used this new material to make full-sculpture ceramic figures, often showing mythological themes.

Industry, Agriculture, and a Rebirth of Style

As Faenza grew, so did its industries. Ceramics, textiles, and brick-making all helped the town thrive. The area had gone through a long decline between the second century and the early Middle Ages. But by the 700s, Faenza began to rise again.

Toward the end of that period, new ceramic styles started to appear. Plates and serving sets were decorated with things like acorns, vine leaves, and flowing garlands. These sat on simple, clean shapes that fit with the rising neoclassical trend.

The 19th Century Revival and Faenza’s Modern Role

In the 1800s, artists in Faenza returned to their roots. They brought back the older methods, along with the classical themes from the Renaissance. Majolica from the 1500s inspired this revival, especially works that followed the Raphael style.

Today, the city’s ceramic studios still honor that past, but they also keep moving forward. Many of the workshops are now also learning centers. They train new artists, support new ideas, and work closely with museums and schools. This connection between old and new keeps Faenza’s ceramic tradition alive and evolving. The art here didn’t just survive. It keeps growing.

 

Sesto Fiorentino: Tuscany’s Oldest Ceramic Stronghold

Sesto Fiorentino has been shaping clay for thousands of years. This Tuscan town has one of the oldest ceramic traditions in Europe. Archaeologists have found ceramic fragments here that go back to the fifth millennium BCE. These early pieces show simple patterns, rough finishes, and engraved designs. Over time, decoration became more advanced, with carved lines and new shapes like the bell-shaped beaker, which spread through the area by the end of the third millennium BCE.

The Start of Modern Ceramics in Sesto

In 1737, ceramic production in Sesto Fiorentino took a major step forward. Carlo Ginori, a Florentine marquis, launched Manifattura Ginori. This factory changed everything. At first, it focused on artistic ceramics and majolica, using detailed methods that kept the work traditional and refined. By 1774, over 100 workers were involved in production. Even with growth, Ginori kept the process hands-on. For much of the 18th and 19th centuries, the company stuck to its artisan roots.

That changed in the late 1800s. The company finally moved toward industrial production. This change happened slowly, and by the turn of the century, the workforce had jumped to 1,400. Output reached 4 million ceramic pieces a year. Still, the factory kept its focus on quality. It showed off its best work at major exhibitions across Europe. Ginori’s pieces included fine porcelain vases, hand-painted majolica based on 16th-century designs, and elegant household and industrial ceramics.

Richard-Ginori and the Rise of Designer Ceramics

In 1896, the Richard group took over the factory. That move helped Ginori scale up industrially, but it also preserved its creative roots. The company kept making fine art ceramics, especially during the Liberty period. In the 1920s and 30s, Gio Ponti redefined what modern ceramics could be. As the new art director, he brought clean forms, bold shapes, and a fresh take on classical design. His influence shaped ceramic art across Italy and pushed Sesto into a new creative era.

During this time, the connection between design and production became tighter. Artists and ceramicists started to work closely with factories. This opened the door for fresh ideas and experimental forms. The legacy of this still lives on today. Many of Italy’s top ceramic designers continue to work with workshops based in and around Sesto.

The Growth of Artisan Ceramic Workshops

As Ginori change focus, some of its workers broke off to start their own businesses. These were often painters and modelers who left the factory when the demand for decorative ceramics began to slow. In the late 1800s, several new workshops appeared. Around 1891, the Colonnata Ceramics Society was formed. Five years later, the Industrial Society for Artistic Ceramics was created and later taken over by Egisto Fantechi, one of its original founders.

In the early 1900s, more artisan companies popped up. The Federal Ceramics Cooperative, Manifattura Ernesto Conti, and Ceramica Artistica Alfredo Ciulli all launched during this time. The 1920s saw another wave of workshops, including Barraud & Messeri, Carraresi e Lucchesi, Manifattura Alma, and S.A.C.A. Just before World War I, Sesto had about 30 active ceramic studios. Some followed 19th-century design styles. Others leaned into newer trends, especially the sleek, modern forms inspired by Gio Ponti’s work.

Postwar Revival and the Current Scene

After World War II, the artisan ceramics scene in Sesto grew even more. This boom matched a low point for the Richard-Ginori factory, which was going through its own changes. As the company restructured, many artists and craftspeople branched out to start their own ventures. That brought another wave of creativity to the region.

Today, Sesto Fiorentino still holds strong as one of Italy’s most important ceramic cities. Around 100 ceramic businesses are active in the area. They keep the old tradition alive while also pushing Italian ceramics into the future. The town remains a place where history, design, and craft all come together in the hands of skilled artists.

Montelupo Fiorentino: Where Tuscan Ceramics Took Root and Rose

Montelupo Fiorentino’s ceramic legacy began in the Middle Ages and reached its peak during the Renaissance. The town’s growth as a pottery hub was no accident. It had everything it needed: plenty of water, local clay, and nearby forests for fuel. These natural resources made Montelupo the perfect place to fire ceramics. Pottery soon became the town’s main industry.

By the 14th century, Montelupo started to grow fast. Between 1490 and 1540, it became one of the biggest ceramic production centers around the Mediterranean. At the start of the 1400s, the town was already known for archaic majolica and green-and-brown glazed pots. But the real change came with Florence’s rise as a trade powerhouse. Florence’s booming economy opened up more markets and raised demand for finer goods. That gave Montelupo a boost.

Luxury Ceramics and Renaissance Design

During the early Renaissance, Montelupo’s pottery became more elegant. Potters started crafting luxury items, like relief zaffre, that borrowed from Arab styles and Spanish glazed ceramics. These new designs followed the bold color choices and detailed patterns popular at the time. Montelupo’s best work came out of this period. These pieces included gothic floral motifs, peacock-eye designs, and Persian-style palmettes.

One major turning point came in 1490. A wealthy Florentine merchant named Francesco Antinori bought the entire output of 23 local potters. He sold their work for three years at competitive prices. This deal helped put Montelupo’s name on the map. Florentine money and smart investments turned the town’s kilns into global suppliers. Montelupo ceramics made their way to markets as far as Holland and England.

Art and Folk Styles in the 16th and 17th Centuries

By the late 1500s, Montelupo pottery had split into two distinct styles. Wealthy Florentines commissioned high-end ceramics, like floor tiles for royal estates or vases for churches like Santa Maria Novella. At the same time, simpler folk ceramics were made for everyday use. This was the era of the “Arlecchini” style. These pieces had a rustic, lively feel. They showed scenes from daily life: musicians, priests, thieves, dreams, women, and warriors. The style mixed art with a more honest and casual tone.

Still, by the 1600s, the golden age was fading. Florence’s influence as a trade center dropped. Orders slowed. Earthenware started replacing majolica. By the 1700s, Montelupo’s fine ceramic production had mostly stalled. But the town didn’t stop working. For the next 150 years, it produced large amounts of basic terracotta: cooking pots, jugs, braziers. The craft never disappeared. It just changed. Kiln workers and decorators kept the tradition going, even if the focus was now on everyday goods.

Modern Revival and New Directions

The real comeback started in the early 20th century. As Italy’s economy recovered, Montelupo saw a new wave of growth. Majolica production returned. Local design schools pushed new ideas. Workshops like Fanciullacci, Mancioli, and Bitossi became major players. They combined tradition with modern design, opening new paths for ceramic art.

Today, around 90 ceramic firms operate in Montelupo Fiorentino. Most still produce household ceramics. Some focus on Renaissance-style pieces. Others explore bold, updated designs. From terracotta cookware to modern tableware, the town blends its long history with today’s trends. Montelupo’s story proves that true craftsmanship can survive changes in time, style, and market.

Impruneta: The Heart of Tuscan Terracotta

Impruneta is known for one thing above all: terracotta. This small town near Florence has built its identity around shaping clay into both everyday items and works of art. For centuries, the people of Impruneta have worked with earth from their land, turning raw clay into something lasting. Even though terracotta is fragile and easily damaged, its role in the area’s culture runs deep.

Lost Pieces, Unearthed History

Most terracotta made during the 1300s and 1400s hasn’t survived. The material doesn’t hold up well over time, especially when used carelessly. A large part of what was made back then has been lost. But pitchers from that period still turn up. They were often used in building vaults and other structures, not just for holding liquids. Many of these pieces were hidden in walls, ceilings, or buried beneath floors. Some were used as containers, others ended up in buildings because they weren’t perfect enough for regular sale.

Why Impruneta Stood Out

By the time of the Renaissance, the quality of terracotta made in Impruneta had reached a high point. That growth was driven by a few key things. First, the clay in this region is strong. It holds shape well, resists weather, and lasts a long time. Second, the skill of the local artisans kept improving. They passed their knowledge down through generations. And third, the town’s location helped. Sitting between Florence and Arezzo, Impruneta had access to major trade routes. That made it easier to sell and ship goods.

This demand built stronger ties with Florence. The city became one of Impruneta’s biggest customers. Its builders and artists often relied on terracotta from the town for their projects.

An Old Guild and a Growing Craft

Records from 1308 show that a group of terracotta makers had already formed in the area near Santa Maria Impruneta. These craftsmen worked together as a guild, focused mainly on making pitchers at first. Over time, they expanded their work. During the Renaissance, Impruneta’s artisans began crafting more decorative pieces. They made vases, small columns, garden trophies, and family crests. These were used to decorate homes, villas, and gardens across Tuscany.

You can still see many of these features today, especially in noble estates. They reflect the skill of those early masters. Another common sight in and around the town is the roadside shrine. Many of these devotional tabernacles dedicated to the Virgin Mary were also made of local terracotta. These shrines marked crossroads and country paths. They were built by hand and are some of the most respected artistic works to come out of Impruneta.

Impruneta’s Living Tradition

Terracotta is more than a craft here. It’s tied to the land, the people, and the town’s story. Even now, artisans in Impruneta carry on the same work as those who came before them. They still use the same clay. They still shape it using time-tested methods. The town’s terracotta isn’t just a product. It’s a tradition that lives on in every kiln and every fired piece.

 

Pesaro Ceramics: The Rich Heritage of Clay and Fire in Marche

Pesaro, a city in the Marche region, has been shaping clay for centuries. Its ceramic tradition runs deep, going back to the 1200s. By the second half of the 1300s, Pesaro had already become a major hub for artistic pottery. It stood out for its creativity, trade activity, and growing number of ceramic workshops. The city's role in Italy’s pottery scene kept growing with time.

Historical records show that Pesaro was packed with ceramic shops and busy kilns. The local style and techniques drew attention far beyond the region. The town's importance in ceramic arts was clear in the number of awards and honors it received. In 1486, Sforza d’Aragona, the Lord of Pesaro, praised its ceramic work. His support helped spread Pesaro’s unique majolica style to noble courts across Italy. That recognition gave Pesaro more influence, and its pottery became known in aristocratic circles.

By the 1540s, a workshop run by Lanfranco of Gabicce started producing designs that became iconic. These works helped bring fame to the Duke of Urbino and marked a golden era for Pesaro ceramics. The shop introduced new styles based on the trends of the time. These included decorations known as "alla porcellana" that imitated porcelain, "alle verdure" with plant motifs, "a trofei" with trophy symbols, "a paesi" showing country scenes, and "a compendiario" with simplified, elegant patterns. Each design showed the skill and imagination of Pesaro’s ceramic artists.

This wide range of styles proved how advanced the local craft had become. In 1552, Guidubaldo II della Rovere, the Duke of Urbino, declared that Pesaro had "discovered real gold in clay vases." That quote summed up the city’s value in the world of ceramics. It wasn’t just about function. The work coming out of Pesaro was seen as treasure. Each piece reflected a mix of tradition, technique, and vision that made the city a key part of Italy’s ceramic history.

Urbania: The Timeless Art of Ceramics in the Heart of Marche

Urbania, once called Casteldurante, has a ceramic tradition that runs deep. Even though a full written history hasn’t been laid out yet, there’s no doubt that pottery has been part of life here since the Middle Ages. Fragments found during excavations and records from 1361 show that ceramic craftsmen were already active back then. Over time, the town became known for its fine majolica, made with the best materials and refined techniques.

The area was perfect for pottery. The river Metauro offered high-quality clay. Local wood fueled the kilns. Colors came from metallic oxides like copper, iron, and manganese. Tin and zaffre, used for brilliant whites and deep blues, were brought in along the old Roman road, the Via Flaminia. All the pieces were in place to turn ceramic making into an art form.

Early on, Urbania followed the ceramic styles of Faenza. But that changed. Local artists began creating their own distinct patterns. One standout was the leaf motif, inspired by the Della Rovere family crest. The city also became known for "istoriato" ceramics, which used painted scenes drawn from mythology, religious stories, and ancient history. This style took off in the 1400s under the Montefeltro and Della Rovere families. The work mirrored the graceful lines and storytelling style of painters like Raphael, giving it both artistic and cultural value.

By the late 1500s, Urbania had become a powerhouse of Renaissance majolica. Around 150 skilled artists were active, working in 40 different workshops. The pieces they made were striking, blending vivid colors like bright yellow, deep blue, and soft white into complex scenes and patterns. Their work helped set a high standard for Italian ceramics.

This period also saw the rise of standout names. Zoan Maria, for example, crafted a cup dedicated to Pope Julius II, showing that Urbania’s ceramics belonged among Italy’s best. Other important artists included Simone da Colonnello, Sebastiano Marforio, and Andrea da Negroponte. Then there were the Picchi and Fontana families, both known for their skill in shaping and painting. Their work raised the town’s profile even more.

Cipriano Piccolpasso was born here, too. He wrote one of the earliest detailed guides to ceramic making. His book, Li tre libri dell’arte del vasaio, published in 1548, laid out the full process of pottery work, helping spread knowledge to other regions.

In the 1600s and 1700s, the name Casteldurante was dropped, and Urbania carried on the tradition. Even as demand for ceramics shrank, the work kept going. Artists like Ippolito Rombaldoni became known for elegant amphorae. Families like the Amantini, Doix, and Mordioni helped keep the craft alive during this slower period. By the 1700s, just a few workshops remained, such as Bartolucci, Rigucci, and Luzi.

In the 1800s, the Albani family brought back the old majolica techniques. By the early 1900s, the Piccini family picked up where they left off. Letizia made fine ceramics in the first decades of the 20th century. The Rigucci family focused on practical household pieces.

Then, in 1944, things changed again. Federico Melis opened a new school in the Ceramica Metauro workshop. Along with Corrado Leonardi, he later founded “La Piccolpasso,” which trained new generations of ceramic artists. Workshops reopened in the 1960s, breathing new life into the town’s legacy.

Since 1982, Urbania’s local government has pushed to preserve and share this craft. They launched new events and opened the Diocesan Museum. In 1994, Urbania was officially named the Ceramics Capital of the Marche region. That same year, the Ceramics Friends Association was founded.

Today, the ceramic tradition is alive and growing. New workshops, classes, and exhibits keep the town connected to its past while sharing its work with a wider audience. Urbania’s ceramics are now reaching beyond Italy, even making their way to the European Parliament. The town’s clay legacy continues, one kiln at a time.

 

Gubbio: The Ceramic Soul of Umbria

Gubbio has been tied to ceramic art since ancient times. Its roots in pottery go all the way back to the Neolithic era, between the sixth and fifth millennia BCE. Over time, the craft continued through the Bronze and Iron Ages, and flourished in the Roman period. One workshop from that era, found in the area of Vittorina, even attempted to produce terra sigillata, a fine Roman ceramic style.

By the 1100s, Gubbio was already producing ceramics. But it wasn’t until the second half of the 1400s that the town’s reputation really took off. Potters came from places like Siena, Norcia, Sansepolcro, and Teramo, each bringing different skills. These new ideas mixed with local traditions and helped shape Gubbio’s unique ceramic style.

One name stands out from this period: Giacomo di Paoluccio. He ran one of the top local workshops. He teamed up with the Salimbene brothers, Giovanni and Giorgio Andreoli, who had come from Intra near Lake Maggiore. Together, they helped put Gubbio on the map. Giorgio, better known as Mastro Giorgio, became especially famous for his use of metallic finishes called lustres. These included deep reds, shiny golds, and silvery sheens, created through a third round of firing that followed an old Arab technique.

By 1495, and more clearly by 1501, Giacomo di Paoluccio and the Andreoli brothers were already making burnished ceramics with a rich ruby red finish. These early examples were similar to Deruta’s style but had a stronger glow. The oldest pieces that survived date to the early 1500s, just when Mastro Giorgio began signing his works. He passed away in 1554, but his name still defines Gubbio’s ceramic tradition.

Many others followed in his footsteps during the 1500s. Potters like the Traversi, Floris, and the Cattani family (related to Giorgio) also made burnished pieces. Some worked closely with Mastro Giorgio and kept his style alive.

Ceramic production in Gubbio slowed down during the 1600s and 1700s. Still, majolica continued, especially in a simpler style known as "compendiario," which was based on fast, Roman-inspired brushwork. During this time, local ceramics started to shift between Umbrian and Adriatic traditions. Deruta’s influence remained strong, but there were also patterns and shapes from coastal regions like The Marches.

Even though production dropped, Gubbio kept making decorated pieces. In the early 1700s, blue leaf patterns on blue backgrounds were common. Archive records also show that factories made both red and white majolica around this time.

In 1856 and 1857, the town rediscovered the art of metallic burnishes. Two men, Angelico Fabbri and Luigi Carocci, ran tests and found success with this forgotten technique. Their experiments marked the return of Gubbio’s classic ceramic glow. Around 1865, a workshop led by Giovanni Spinaci pushed this even further. He likely learned the process from Carocci and made it his own.

By the 1880s, Antonio Passalboni was also producing distinctive burnished plates. His pieces often featured detailed raised designs. This type of work stayed popular into the early 1900s, especially through Giuseppe Magni. He was a teacher at the local technical school and put great care into his multicolored decorations.

Starting in the 1920s, more ceramic factories opened up in Gubbio. Vasellari Eugubini, led by Ilario Ciaurro, and Polidoro Benveduti’s Majoliche Mastro Giorgio were two of the most active. These workshops brought new energy to the scene. They tested out styles like boccaro, a technique involving dark clay with a smooth finish.

This era also saw the rise of Aldo Ajò, a potter whose unique style caught attention fast. Many younger artists tried to follow his lead. Others, including Baffoni, Cavicchi, Faravelli, Monarchi, Notari, and the Rossi brothers, all began their careers during this time and helped shape the town’s modern ceramic identity.

Gubbio’s pottery guild was officially recognized in 1338. The civic code at the time listed it among the city’s formal trades under the name ars vasariorum et figulorum. Potters even had a voice on the town council by 1326, although they lost that power in the early 1500s. The last known records of their official representation date to 1406, and a lost town order from 1520 suggests further rules had been made.

The local government backed the trade at several points. In 1456, they passed a protectionist law to support ceramic workers, showing how important the industry had become. Similar moves happened again in the 1700s. Just before Italy became one country, the Papal State gave a special license to the Fabbri-Carocci workshop to make metallic burnished ceramics.

Gubbio’s legacy in Italian ceramics is deep, with roots in ancient history and a revival that carried well into modern times. The burnished finishes, lustred styles, and bold color work made the town famous. And through centuries of change, its passion for clay never faded.

Gualdo Tadino: The Ceramics Capital of Northern Umbria

Gualdo Tadino has worked with clay for thousands of years. The town sits on land full of natural clay pits, which sparked the early use of terracotta. Archaeologists found signs of majolica and earthenware production at Colle dei Mori, showing just how far back this tradition goes. Positioned along the ancient Flaminian Way, Gualdo used that route to move its ceramics across regions, helping the industry grow fast.

By the 1300s, majolica was already being made here. Pieces of “green majolica” have been dug up all over the old town center. These broken bits tell the story of a craft that never really stopped. In 1361, records show that ceramics from Gualdo were sent to the Sacro Convento in Assisi for the Forgiveness festival. A potter named Angelo da Gualdo handled the order. The shapes and styles from that time show strong links to Orvieto, Todi, Deruta, and Gubbio, which were also known for their pottery.

By the 1400s, Gualdo’s work stood out. In 1456, Gubbio passed a law that let Gualdo’s famous pots and jars be sold in its streets all year long. That kind of permission was rare, which shows how valued these ceramics had become. In the 1600s, one potter from Gualdo even got a special honor from the Pope. He was given the right to apply gold to ceramics using a brand-new method.

By 1864, plates from Gualdo were already displayed in the Louvre. French art critic Darcel studied them there, drawn to their shine and detail. The 1800s were a big turning point. Not only were more factories opening and making colored clay vases, but Gualdo also saw something more important: the return of metallic lustre.

This technique gave ceramics a rich, reflective finish. The look was deep, almost glowing. The method first came out of Persia and Mesopotamia during the 800s. Islamic artists brought it across North Africa and into Spain, and eventually, it reached Italy by the 1500s. For a while, the style flourished. But by the late 1600s, it vanished. Then, in 1873, ceramicist Paolo Bubboli brought it back. He started making high-quality lustre majolica in Gualdo Tadino, reviving a lost technique after nearly four centuries.

That comeback helped shape Gualdo’s reputation through much of the 1900s. Metallic lustre became the town’s signature again. It’s a technique full of mystery, combining chemistry, fire, and skill to create surfaces that shimmer with color and light.

Today, ceramics are still the heart of Gualdo Tadino’s economy. About 1,300 people work across 60 workshops and factories. They produce everything from multicolored majolica to classic burnished pieces. Many still use the potter’s wheel, while others focus on fine decoration or sculpture. There’s also a strong industrial side. Some companies here mass-produce dinnerware and ceramic tiles for flooring.

Visitors can see the full story of Gualdo’s ceramic tradition at two places. The Umbria Ceramics Centre offers a permanent display of the region’s ceramic work. The Municipal Museum inside the medieval Flea Fortress also holds key pieces, showing how this small town has kept its clay craft alive through every century.

Deruta: The Historic Heart of Italian Majolica

Deruta built its name on clay. The area has thick deposits of high-quality clay, which made it a perfect spot for pottery from the start. Its location also helped. Close to key trade routes, it was easy to move goods in and out. That mix of natural resources and easy access laid the groundwork for what became one of Italy’s most important ceramic towns.

The earliest known ceramic work in Deruta dates back to the 1200s and 1300s. This early stage, often called the "archaic" period, focused on practical household items. Plates, pitchers, and pourers were made on the potter’s wheel in a single process. The designs were basic but distinct. Artists used geometric shapes, plant-like forms, and sometimes animal figures. The color palette was limited to copper green and dark manganese brown, usually painted on a pale background, then finished with a tin glaze.

In the 1400s, ceramic work in Deruta took a big step forward. Potters got better at using the wheel, which allowed for more refined shapes. New pigments came into play, especially yellow, blue, and orange. With these richer colors, ceramics started to go from being only functional to being more decorative. Designs became more detailed. Common pieces like jars and bowls were now made not just for use but also for display.

This period also gave rise to the production of albarelli, ceramic jars used by pharmacists. These often had ribbon-like labels and were made to hold herbs, powders, or medicines. Another popular style was the vase with twisted handles, which sometimes featured the coats of arms of wealthy Umbrian families.

As the century moved on, Deruta pottery became even more elaborate. Potters painted scenes of battle, hunting, and love. Some pieces showed allegories or family crests. These large, showy dishes, often called "pompous plates," were made to impress.

From the late 1400s, Deruta ceramics entered a new phase, shaped by the cultural revival of the Renaissance. The town also saw an influx of skilled potters from other regions, which brought in fresh styles and methods. One major development was the use of metallic glazes. Known as the "gloss" or lustre technique, it had roots in the East and gave ceramics a shimmering surface that reflected gold, copper, or ruby red tones. This process added an iridescent shine that made Deruta pieces stand out across Europe.

By this point, Deruta wasn’t just making pottery for local use. Its ceramics were in demand by the wealthiest European courts. The fine finishes, detailed painting, and metallic glazes gave Deruta majolica a luxury status. Every piece told a story, whether it showed a myth, a family emblem, or a bold pattern designed to catch the light.

What began with simple clay pots became one of Italy’s most admired ceramic traditions. Deruta’s work stood out for its skill, style, and steady evolution. From medieval jugs to Renaissance masterpieces, the town turned earth into art.

Orvieto: A Thousand-Year Story in Clay

Few Italian towns carry a ceramic legacy as old and rich as Orvieto. Pottery has been part of life on this cliffside since the first settlements, shaping and reflecting the town’s identity through centuries of growth, decline, and revival. From ancient Etruscan roots to medieval grandeur, ceramics in Orvieto have always stood out for their originality and artistry.

Etruscan Orvieto and the Birth of Ceramic Innovation

Orvieto was a major Etruscan city, and it was during this time that its ceramic tradition first reached artistic heights. Etruscan potters here weren’t just copying others. They experimented, mixing established techniques with bold ideas. They crafted different forms of bucchero, known for its dark, glossy surface, and added delicate "cylinder" motifs for detail. They also made pieces painted in black or red figures, following trends from Greek pottery, along with metallic-looking "silver-plated" ceramics that mimicked engraved metalwork.

But the most remarkable work came in architectural terracotta. These multicolored clay decorations were considered fine art. In Etruscan culture, Orvieto’s polychrome terracotta pieces set a high bar that few other towns matched.

Medieval Revival and the Rise of Archaic Majolica

During the medieval period, Orvieto saw another major artistic wave in ceramics. By the end of the 1100s, potters had begun creating painted and glazed ceramics before glazing was even common. One technique that stood out was the use of a net-like painted background, which made other painted elements stand out more clearly. Artisans also applied raised shapes onto the surface (symbolic figures or simple forms) to add visual depth that went beyond what the wheel could offer.

As Orvieto grew more involved in the creation of its massive cathedral, its ceramic artists played a role in that, too. They worked on the façade mosaics and brought that same visual energy into their pottery. Their creative use of color and glaze pushed the first generation of Italian majolica to new levels. The distinct "Orvieto style" spread across many other towns that had their own ceramic scenes.

Between the late 1200s and the mid-1300s, local potters became even more confident with the new materials and forms. They didn’t just copy old shapes. They reimagined them, bringing fresh structure and design to everyday ceramics.

Rediscovery Through Excavation and the Return of the Craft

Because so much of Orvieto’s finest work happened in ancient times, its ceramic revival later on was closely tied to archaeology. In the second half of the 1800s, excavations around Etruscan temples and tombs brought lost artifacts back into view. This sparked renewed interest in everything made from local clay, especially items buried in graves or forgotten underground.

In the early 1900s, more discoveries were made; this time from under the floors of medieval homes. As old waste pits, or butti, were emptied out, they revealed thousands of ceramic fragments from between the 1100s and 1600s. Most pieces were surprisingly complete and gave researchers a clear picture of what Orvieto potters had been making. Antique dealers quickly got involved, and many top museums across the world picked up these finds.

Unfortunately, only a small number of these recovered pieces stayed in Orvieto. But their discovery reshaped how people viewed the town’s past and reminded everyone of its once-celebrated ceramic style. The old majolica forms, once forgotten, became a source of pride again.

A New Century of Orvieto Pottery

That pride turned into action. In 1919, Orvieto founded Arte dei Vascellari, a group focused on bringing medieval ceramics back to life. Their goal was to rework traditional forms without losing their original charm. Over the next decades, one name stood out: Ilario Ciaurro. His careful, thoughtful work helped shape what modern Orvieto pottery became. His influence still guides many of the town’s artisan workshops today.

Orvieto’s ceramic tradition is not just a story about art. It’s about survival, rediscovery, and pride in local heritage. From Etruscan temples to Gothic cathedrals to buried medieval waste pits, every piece of clay tells part of the story. And the potters of Orvieto are still telling it.

 

Civita Castellana: Lazio’s Ancient Ceramic Tradition

Civita Castellana, in northern Lazio, has been tied to ceramics since the 10th century BCE. The town sits on a large mass of volcanic tufa, and its local clay is rich in aluminum silicates, lime, and iron. These natural materials helped shape a ceramic tradition that goes back over 3,000 years.

The earliest signs of pottery in the area come from Falerii Veteres, an ancient settlement near today’s Civita Castellana. Archaeologists found a huge amount of ceramic remains in burial grounds like Faleri, Celle, Monterone, Scasato, Penna, Valsiarosa, Colonnette, and Cappuccini. These discoveries prove that artistic ceramics were already a major part of life here, even back then. They also show how styles and techniques evolved over time.

At first, potters made rough clay vessels, often called paste vases. Over time, the work became more refined, copying the look of imported eastern pottery. By the middle of the 7th century BCE, local Italo-Geometric vases had been replaced by Proto-Corinthian styles. Not long after, starting in the 6th century BCE, Attic pottery from Greece became popular. This trade in Greek ceramics lasted around 200 years and had a strong influence on the region’s own pottery.

In the 3rd century BCE, local artisans began to create their own ceramic styles again. These new pieces had their own look, both in design and function. But when the Roman Empire fell, ceramic production came to a stop. Pottery only started to return in the 10th century CE. Production grew more stable by the 12th century.

By the 13th century, local ceramics were being glazed with a stanniferous coat. That technique gave way in the 14th century to glazes made from pure tin, which offered a brighter, cleaner finish. The 15th and 16th centuries brought new inspiration from famous pottery centers like Faenza and Deruta. Craftsmen in Civita borrowed decorative styles but gave them a local twist. In the 17th century, changing tastes once again shaped both the look and form of the ceramics.

The 18th century saw more majolica and white earthenware coming out of Civita Castellana’s workshops. Some pieces followed popular styles, while others stood apart. The town’s ceramic output continued to change with each generation.

In the early 20th century, A. Coramusi expanded the town’s ceramic work into sanitary ware. Factories producing everyday tableware followed. These changes pushed Civita Castellana into a more industrial direction. A full “Polo Industriale,” or industrial district, formed and spread into neighboring towns, but the core traits of the area’s ceramic identity stayed intact.

Today, Civita Castellana still holds onto its roots in ceramic art. From ancient grave goods to modern factory-made products, the town has spent centuries shaping clay into culture.

 

Castelli, Abruzzo: The Ceramic Heart of Majolica Art

Castelli, a small mountain town in Abruzzo, holds one of Italy’s strongest ceramic legacies. Its pottery roots run deep, reaching back to medieval times. Over centuries, it became a key center for majolica ceramics, known across Italy and beyond for its unique style, bold colors, and refined detail. This craft helped shape Italian ceramic history.

Medieval Origins and Early Clay Work

Old ceramic fragments found in Castelli confirm the town’s early link to pottery. These remains show that clay work was active in the area well before the Renaissance. During the Middle Ages, Castelli started to grow as a ceramics hub, with basic kitchen pieces being made in small rural centers. The Benedictine Abbey of San Salvatore likely played a major role in this period, serving as a cultural and economic anchor for the early ceramic trade.

Archaeological digs near Pompeii also uncovered majolica and glazed ceramics tied to Castelli’s early artists. These discoveries confirm that ceramic production in the area was already well-established by the time the Renaissance arrived.

Renaissance Growth and Artistic Identity

By the late 1400s and early 1500s, ceramic trade in Castelli was steady. The town started building ties with major pottery centers like Faenza and Naples. For a while, artists followed the trend of using the "ingobbiata and graffita" style, but that soon changed. The market, especially in Pompeii, wanted new, original work, not just copies. This push for uniqueness sparked a change in design.

One of the standout works from this time was the “Madonna che allatta il bambino,” created by Orazio Pompei in 1551. This piece made his name known across Europe and put Castelli on the map as a serious artistic center. In 1989, a show in Pescara titled “Le maioliche cinquecentesche di Castelli” celebrated this legacy. It also brought back the “Orsini Colonna” collection, which was tied to the Pompei workshop and central to Castelli’s past.

The Sistine Ceiling of Italian Ceramics

Castelli's most famous masterpiece is the ceiling of the San Donato church. Known as the “Sistine Chapel of Italian Majolica,” this work was completed between 1615 and 1617. It marked a turning point in Castelli’s ceramic identity. The ceiling wasn’t just decoration. It was proof that pottery could become grand, public art. Carlo Levi, a major Italian writer, called it the highest point of majolica in Italy.

This period defined Castelli’s golden age. The term “majolica castellana” became part of the national ceramics scene. Two family dynasties led the movement: the Grue family and the Gentile family. Their styles influenced nearby artists and spread across the region. Names like Capalletti, De Martinis, Fraticelli, Guerrieri, Pardi, and Fuina followed their lead.

Gesualdo Fuina and the Change in Style

Gesualdo Fuina, born in 1755, was the last great master of Castelli majolica. His work bridged two eras. While rooted in the baroque style, he introduced a cleaner, more polished form inspired by porcelain. He used white backgrounds, red accents, and gold borders. His figures were elegant but simple. His designs felt fresh, blending Eastern inspiration with local tradition.

But as the 1700s ended, Castelli faced a major problem. Porcelain, now mass-produced and cheaper, started to replace handcrafted pottery. The artistic value of Castelli ceramics didn’t change, but their role in the market did. The town couldn’t keep up with industrial production.

Preserving the Craft Through Education

To fight the decline, local leaders proposed a ceramic school. The first try in 1847 failed, but in 1906, the “Scuole d’arte applicata alla Ceramica” was finally opened. Later, in 1960, it became the “Istituto Statale d’arte per la ceramica F. Grue,” named after one of the original dynasties.

Since then, Castelli has worked hard to protect and grow its ceramic tradition. The school trained new artists and helped keep the skills alive. Today, the town has a strong mix of ceramic factories, workshops, and artisan studios. Some focus on classic styles from the 15th and 16th centuries. Others create modern pieces that still showcase the town’s roots.

Castelli remains one of the top ceramic towns in Italy. Its history, from medieval tableware to full church ceilings, shows how deep and complex the art of majolica really is. This small Abruzzo town continues to shape the world of Italian ceramics, one kiln at a time.

 

Cerreto Sannita: The Heart of Campania’s Ceramic Craft

Ceramics in Cerreto Sannita have been around for centuries. Working with clay started out as a basic human need, but in this town, it grew into a refined art form. Some of the oldest pieces from Cerreto date back to the 1300s. These include a stoup showing Saint Catherine with her wheel. There’s also a nativity scene and another stoup painted with a yellow monstrance from the 1400s. From the 1500s, there’s a stoup of Saint Anthony the Abbot. Later came ceramics showing family crests, like the plate tied to Abbess Mazzacane.

Cerreto’s golden age in ceramics came during the early 1700s. Old workshops reopened. Artisan studios came back to life. The push came from Marzio Carafa, who ruled the land at the time. He helped set up several pottery shops known for “figulina” ceramics. One major kiln was built by a Neapolitan master named Nicolò Russo. It was placed in the home of Francesco Mastracchio, a leading figure in Cerreto's craft history. Russo, along with another master named Giustiniani, helped shape what became known as the Cerreto School of Majolica.

Certain families in town built entire legacies around ceramics. Names like Fraenza, Festa, Marchitto, and Di Leone became known across southern Italy. Their works were shipped all over the region. While the town already had a strong hold on kitchenware, artists started pushing new ideas. They explored ways to blend painted majolica with sculpture and even with the design of buildings.

The 1600s and 1700s were especially creative times for Cerreto. This was during the rise of Neapolitan baroque, which was colorful and full of life. Early Cerreto pieces showed either clear influence from Faenza’s all-white style or bold uses of color. Artists played with yellows, greens, and rich saffron blues. By the mid-1700s, turquoise tones and deep cobalt blue were showing up more, especially on jars used by pharmacists.

When rococo style took over, Cerreto’s artists followed. They used brighter color combinations and painted Asian-style scenes and floral designs. Some pieces were done in a soft purple-brown against a gray background. That look came from French trends at the time. Then came a turn toward the past. Potters started copying older styles, decorating their work with neoclassical touches. You can still see pieces from this last phase today on walls, inside homes and churches, and in museums dedicated to ceramics.

Things slowed down by the end of the 1800s. One by one, the famous faience workshops shut their doors. It wasn’t until the 1970s that things picked up again. A new generation of ceramicists, inspired by the town’s deep history, brought the tradition back. They looked at old methods and old designs, then started creating again. What they brought back wasn’t just pottery. It was the spirit of Cerreto Sannita’s ceramic tradition, still alive and still shaping Southern Italy’s identity through art.

San Lorenzello: Ceramics Born by the Titerno Stream

In November 1988, during a building restoration near the Titerno stream, something unexpected came to light. While crews were working, they uncovered fragments of old ceramic tiles. The colors had held up well, though the shapes weren’t perfect. These weren’t just any pieces. They were rejects from an 18th-century kiln, later confirmed to have come from the waste pit of an old “faenzera” on Giustiniani Street. The pit had just been cleared out when the discovery was made.

Records show that San Lorenzello’s ceramic scene was already active by the mid-1700s. The 1754 ounce catalog lists several artisans. Angelo Di Clemente made pottery. Simone Giustiniano focused on clay vases. Then there was Anastasio Festa, a faience maker who ran a six-room workshop in the “Ai piè della terra” area. He worked alongside his brothers Marcello, Lorenzo, and Guglielmo. These brothers were some of the wealthiest and most skilled ceramists in the town.

During the 1700s, San Lorenzello produced all kinds of ceramics. Some were simple, for everyday use. Others were decorative, meant to impress. These stately pieces were done in the faience style and often showed religious images, scenes from nature, symbolic figures, or landscapes. The color palette was bold and earthy. Deep yellows, copper green, orange, and shades of manganese, ranging from black to dark brown, were common.

One standout piece still exists today. It’s a panel by Antonio Giustiniano, signed in Latin and placed in the top arch of the SS Maria della Sanità Congregation’s entrance. This work shows the level of skill and pride San Lorenzello’s artists brought to their craft.

Today, ceramics are still a living part of San Lorenzello. Local artisans continue working with figulina clay, following the same traditions their ancestors did. They shape, fire, and paint each piece with care. Their work draws attention from collectors and researchers in Italy and beyond. This small town, rooted in history, still shapes clay into something lasting.

Ariano Irpino: Eight Centuries of Ceramic Tradition Born in the Tufo Caves

Ariano Irpino’s ceramics started in caves cut from tufo stone. The tradition runs over 800 years deep. Its roots go even further back. In the small village of Figoli, an old Roman kiln was found. Archaeologists also uncovered fragments of Byzantine ceramics, proving that pottery here has ancient ties. By the 1200s and 1300s, local ceramics looked a lot like Islamic-style pieces. Similar works appear in the Church of San Lorenzo Maggiore in Naples. But these weren't imports. They were made in Italy, by local potters trained in glass-making methods from the Greek and Roman periods. These techniques evolved in southern Italy, shaped by waves of Byzantine and Islamic influence, especially after Spain took over Sicily.

Since the 1200s, clay workers in Ariano had formed a guild. They passed their skills from one generation to the next. Many lived and worked directly in the clay and paste caves. In 1421, the Count of Ariano, Francesco Sforza, who would later become Duke of Milan, brought ceramic masters from Faenza to the town. This gave local craft a fresh spark. From then on, Ariano’s pottery grew in both style and fame.

During the 1300s, three names defined the area’s ceramics: Giovanni de Paulo de Milotta (also known as Bilotta), Vincenzo de Vitto, and Vincenzo Marraffino. The Bilotta family, in particular, became well known. Their work stayed active until the late 1500s. An official count taken during the Napoleonic rule in 1813 recorded more than 20 ceramists still working in Ariano.

But the years that followed were tough. Natural disasters destroyed many of the clay-firing hills. The ceramics trade collapsed and stayed quiet for a long time. It wasn’t until the mid-1900s that the craft began to rise again. By the late 1970s, Ariano’s ceramic art was making waves again, both across Italy and beyond. Local artisans brought back the old forms. They shaped everything from tiles and mugs to bell-shaped vessels and unique goblets. Many of these pieces were bold and colorful, often decorated with fruit and vivid designs.

One of Ariano’s specialties was a type of chalice that held two different liquids in the same cup. The thin, intricate walls kept them separate. These complex, clever designs were famous across Italy from the late 1700s into the early 1800s.

This revival didn’t happen on its own. Researchers helped lead the way. Guido Donatore was one of them. In 1976, he published Maiolica Popolare Campana. In 1980, he followed up with La Maiolica di Ariano Irpino. Another key figure was Gemma Furclolo Fiore. In 1996, she wrote Storia Illustrata di Avellino e dell’Irpinia. Then in 1998, she released L’Antica Maiolica Popolare di Ariano Irpino nel Museo Civico, focusing on the ceramic history housed in the town’s museum.

Today, Ariano Irpino’s ceramic legacy stands strong again. It’s rooted in ancient history, shaped by outside influence, and rebuilt with passion. From cave workshops to modern studios, the town’s art of clay continues to tell its story, one fired piece at a time.

Naples: The Legacy of Capodimonte Porcelain

Capodimonte porcelain began in Naples in 1743. It started when Maria Amalia Walburga of Saxony, daughter of Frederick Augustus of Poland and granddaughter of Augustus the Strong, married Carlo III di Borbone. Augustus the Strong had founded the porcelain factory in Meissen, and Maria Amalia wanted something similar in Naples. The couple decided to build their own royal porcelain factory to match the prestige of other European courts.

They chose a site in the Capodimonte forest, near the royal palace. Architect Ferdinando Sanfelice turned it into a working factory in just three months. The first team included Livio and Gaetano Schepers, along with Giovanni Caselli, who handled the ceramic paste. Sculptor Giuseppe Gricci from Florence led the modeling. Giuseppe della Torre and cutter Ambrogio di Giorgio completed the original team.

Naples didn’t have kaolin, the fine clay used for true porcelain, so they brought special earth from Calabria. It produced a soft white paste that worked well for porcelain. It was smooth, transparent, and soaked up paint and glazes beautifully. The result was a glossy finish that made each piece feel delicate and rich. Though they took inspiration from Meissen, Capodimonte porcelain developed its own style, known for its soft grey-blue tones and detailed forms.

Capodimonte’s sculptures stood out. The work was original, elegant, and quickly became popular across Europe. But things changed in 1759. Carlo di Borbone left Naples to take the throne in Spain after his brother Ferdinando VI died. He brought some of his tools, molds, and top artisans with him. Before leaving, he ordered the destruction or disabling of any equipment left behind, to prevent others from continuing production.

For twelve years, Naples had no porcelain factory. That changed when Carlo’s son, Ferdinando IV, came of age. He reopened the factory, first in Portico, then moved it in 1773 into the Royal Palace. This new factory became known as the Real Fabbrica Ferdinandea. Pieces from this time can be identified by a crowned blue "N" mark.

The Real Fabbrica Ferdinandea operated in three main periods. The first period, from 1773 to 1780, was led artistically by Francesco Celebrano, with Tommaso Perez running administration. The second period, from 1780 to 1799, was the most successful. Domenico Venuti took charge, and Filippo Tagliolini, who came from the Vienna Imperial Factory, became the lead modeler. The third period, from 1800 to 1806, suffered from political unrest and financial troubles. In 1806, the factory shut down for good.

Even after the closure, the artists and craftsmen continued their work. Throughout the 1800s, Naples remained a center for porcelain. Many families carried the tradition forward. They worked in small shops and studios, making both large and small pieces. Families like Del Ecco, Giustiniani, Migliolo, Mollica, Colonnese, Savastano, and Esposito kept the craft alive.

Starting in the 1950s, the number of workshops grew. While many still produced everyday ceramics, others focused on fine art pieces. These included large vases and full table services, all rooted in the traditions of the original Capodimonte factory. That legacy still shapes ceramic art in Naples today.

Vietri sul Mare: Coastal Ceramics with Deep Roots

Vietri sul Mare has one of the oldest ceramic traditions in Italy. The earliest known piece is a votive tile from 1627, still attached to a town building. That simple ceramic slab, made to express religious faith, started a pattern. For centuries, people in Vietri have decorated homes with similar tiles. You’ll see them on walls all over the town, on both small houses and grand villas. They all carry that same spirit of devotion.

In the beginning, ceramic work in Vietri focused on basic glazed earthenware. Craftsmen made plates in different shapes, including a rounded type called “caponcielli.” They also shaped wine and oil jars, pitchers, holy water fonts, majolica vases, and more religious tiles. Designs were simple but full of life. Warm Mediterranean colors and patterns took inspiration from nature and country life. Think trees, animals, and peaceful outdoor scenes.

By the 1600s, local artists began to explore more refined styles. Their pottery took on new shapes and used richer decorations. Around that time, Vietri also became known for floor tiles, called “riggiole.” These tiles became especially popular in the 1800s. They were colorful, strong, and often used to line homes, patios, and courtyards.

Then came a major change. In the 1920s, a wave of foreign artists arrived in Vietri. Many of them were German. Names like Dolker, Kowaliska, and Hannasch brought fresh ideas to local studios. They introduced bold colors, modern shapes, and unusual patterns. Their influence kicked off what’s now called the “German Period.” That era changed Vietri ceramics for good.

These artists didn’t just borrow local styles. They worked with the town’s potters and reshaped the way ceramics looked and felt. The designs became more abstract, sometimes surreal. But they still kept the earthy tones and sunny energy that Vietri is known for.

Today, the town’s ceramic tradition continues. The past lives on in votive tiles, hand-painted jars, and tile floors that still line the streets. Every piece carries a bit of that coastal warmth, shaped by history and touched by outside influences. Vietri sul Mare is more than a pretty town on the Amalfi Coast. It’s a place where ceramic art still holds a strong and colorful voice.

 

Grottaglie Ceramics: Ancient Claywork in the Heart of Puglia

Grottaglie, in the southern Italian region of Puglia, has one of the oldest ceramic traditions in the country. Pottery from this area dates back to the 8th century BCE. Archaeologists have found early handmade pots, cups, and vases in Contrada Vicentino, showing that ceramic production was already a part of local life thousands of years ago.

During the Magna Grecia period, ceramic work in nearby Taranto reached its artistic peak, and Grottaglie grew along with it. Ancient burial grounds in the area have revealed painted vases, including ones with black figures on red clay and red figures on black. These styles were popular throughout the Greek colonies in southern Italy.

By 1463, documents from the Royal Custom-House in Taranto recorded the trade and production of majolica ceramics. Excavations later confirmed this with the discovery of glazed, multicolored lead-based ceramics. Grottaglie had by then become a key producer of ceramic goods used in homes, ships, and for commercial trade. Its pottery was practical, but also made to be visually striking.

In 1567, official records began listing local ceramists as “cretari,” craftsmen who worked with basic clay. They focused on everyday items - simple, useful, and sturdy. Later, in the 1600s, a new group called “faenzari” appeared. They made a more refined, artistic type of ceramic. Evidence of their work has turned up during digs around the Bishop’s Palace and near the Chiesa del Carmine. These pieces show cleaner lines, more detail, and better finish.

Grottaglie’s pottery has always balanced beauty and function. Each form had a clear purpose. That focus on use, without losing visual appeal, became the town’s signature. By the 1700s, a new phase of high-quality production had started. One standout was the “white of Grottaglie,” a pure white ceramic style used in tureens, sculpted pitchers called “ciarle,” and traditional spouted jugs known as “vucali.” These pieces often included small raised decorations or sculpted designs.

Wedding cups, shaped jugs, and bottles molded to resemble human figures became common in Puglia. But the most unique piece from Grottaglie is the “ciarla,” a special amphora with a large spouted top and handles. It’s unlike anything made elsewhere, and it shows how local style, tradition, and skill came together in one simple object.

Grottaglie’s ceramic tradition is still strong. The town continues to make both everyday items and detailed majolica art. Its legacy is built on generations of hands that shaped clay with care, always combining form with purpose.

 

Squillace Ceramics: Ancient Clay Art from Calabria

Squillace, in the heart of Calabria, has shaped clay into everyday objects since ancient times. The first people to settle here, in the city once known as Minerva Scolacium, made tools, plates, and vessels by hand. Over time, their skill turned into a true craft. They didn’t just make basic goods. They created art.

One thing that set Squillace apart early on was its signature sgraffito pottery. These were ceramics finished in deep red tones, often warm and earthy, with sharp carved designs. Local artisans became known across Calabria for this look. Their dishes, bowls, and decorative items were so prized that some even made it to royal courts, like the one ruled by Ferrante of Aragon in the 1400s.

Some of the finest Squillace ceramics ended up in museums all over the world. Pieces can be found in collections in London, Paris, New York, Naples, Palermo, and Faenza. These works stand as proof that this small town had a big role in Italian ceramic art.

One of the most famous examples was a large plate made in 1654, with “Sqllci” carved into the design. It used a mix of slip and sgraffito to show off detailed decoration. For years, it was kept at the Municipal Museum in Catanzaro. Though it’s now lost, it remains a legend in the town’s history. The plate was more than a dish. It was a clear display of skill and style, showing what Squillace craftsmen were capable of.

Even though centuries have passed, Squillace hasn’t let go of its clay heritage. Today, a new generation of local potters carries the torch. They’re part of a group called “Le Ceramiche di Squillace.” These younger artisans are keeping the craft alive, using traditional techniques while adding their own ideas.

The signature of Squillace ceramics is the use of slip. Slip is made by covering the clay with white kaolin, then carving into it with a fine tool. This scratchwork reveals the dark red clay underneath. After firing, the contrast between the reddish base and the pale surface design gives each piece its unique look.

This method takes patience and precision, but it’s what gives Squillace ceramics their edge. These aren’t just handmade objects. They carry the weight of centuries, shaped by the hands of both past and present. Squillace doesn’t just make pottery. It preserves an identity formed in fire and clay.

 

Santo Stefano di Camastra: Ceramics with Sicilian Soul

Santo Stefano di Camastra, in Sicily, has been shaping clay for over a thousand years. The first to do it here were the Arabs, back in the tenth century. Old kilns and historical records prove that ceramic work was already active during their time. The first physical pieces were found in the old town cemetery between 1878 and 1880. These weren’t just burial markers. They held the largest known group of floor majolica tiles in the area. That cemetery still stands as a raw, authentic sign of the town’s early ceramic roots.

When the town was rebuilt in 1682, the local pottery scene took off. Moving the town closer to the valley gave access to better clay. This helped boost brick and tile production. By the 1700s, potters in Santo Stefano had started glazing terracotta tiles. This gave their work a more polished look and helped them compete with other major ceramic cities like Caltagirone, Palermo, Trapani, and even Naples. The glazing techniques came from Neapolitan majolica experts. They taught the locals how to create brighter finishes and richer colors.

Soon, pottery here wasn’t just for home or construction. Ceramists began crafting fine art pieces, too. They made colorful decorations for inside and outside of noble estates. Their work started gaining recognition far beyond Sicily. By 1934, the town opened the Regional School of Arts for Ceramics. That brought a sharp rise in quality, both for local sales and global exports. Santo Stefano ceramics showed up at international events in New York, Toronto, Frankfurt, and Barcelona. These weren’t just pretty objects. They were signs of a lasting craft, shaped by fire and hand for over three centuries.

The range of work in Santo Stefano is wide. They make flower pot holders, jugs, dishes, tiles, and vases. Every piece carries a strong sense of place. You see it in the bold colors and rural patterns. The style feels simple but rich, with hand-painted designs full of life. Many works still imitate the decor of noble homes from the late 1700s, like those in the Trabia palace. Common glaze colors include copper green, cobalt blue, orange-yellow, and manganese brown. These tones fit into a layout that pulls from the Louis XIV style but still keeps a rustic, down-to-earth feel that’s clearly Sicilian.

The real strength of Santo Stefano’s ceramic tradition wasn’t just in selling pottery. It was in exporting the full story - the methods, the culture, and the passion that powered it. Even in the 1800s, when handmade crafts were slowly becoming factory-made, local ceramists held on to their roots. At first, designs were limited. But things changed when artists from Naples brought new ideas. Some locals went further and brought in French artists to teach better painting skills. These foreign ceramists stayed in town for years, blending their knowledge with the local style.

Sciacca: A Deep History of Majolica Ceramics in Sicily

Sciacca’s history with ceramics runs deep. Some of the first signs go back to feudal times, in the era of San Domenico. Archaeologists found fragments of glazed ceramics from the Norman period. These early pieces are rare and unlike anything else in Sicily, both in how they look and how they were made. In 1971, researchers uncovered 13th-century kilns and more fragments from the late 14th century. You can now see these finds in the museum at Caltagirone.

Ceramics from Sciacca traveled widely. Many pieces carry a unique carved mark that links them back to this town. Some have been found in places like Agrigento and Gela. This spread was partly thanks to Leonardo, known as "de Sacca," a powerful figure in Val di Mazara who helped push Sciacca’s pottery across the region. One of the earliest known ceramists was Gugliemo Xurtino. His son, Nicola Lu Sciuto, branded four ceramic trees in 1470. One of those trees still exists and is now displayed at the National Museum of Malta.

Sciacca was a known center for majolica pottery through the 15th century. Records show that its tiles and ceramics were sent to cities like Palermo, Monreale, and Trapani. Some of the work, like the tile floor made in 1496 by Pietro Francavilla for the Church of Santa Margherita, didn’t survive. But documents and other artifacts confirm the town’s ceramic presence. One example is a painted panel of San Calogero from 1545, found in the cave of Monte Cronio. Francesco De Xuto, great-grandson of Nicola, completed that piece.

Francesco also created the majolica floor in the Genova chapel of the Convent of San Francesco d’Assisi in Palermo. That commission came from Genoese merchants who were living in Sicily at the time. Sciacca’s artisans also supplied tiles for the Palazzo degli Aiutamicristo in 1490 and the Monreale Cathedral in 1498. Nine of those cathedral tiles were saved when the floor was removed. They’re now held at the Victoria and Albert Museum in London.

The 16th century was Sciacca’s peak. This was the golden age of its majolica. During this time, many names stood out. Antonio Ramanno, the Lo Boj brothers, and Giuseppe Bonachia, known as "the Mayharata," were leading tile artists. Bonachia, in particular, became famous across Sicily. He designed the majolica panels and floors for the Genova monument in the Church of San Giorgio dei Genovesi. Though the church was built in 1520 and destroyed two years later, the ceramic work survived. It included 2,475 tiles and six large panels. These are now preserved at the town’s Art Institute. The tiles featured scenes from both the Old and New Testaments.

The Lo Boj brothers made pharmacy jars and experimented with styles. While many of their pieces followed the Naples tradition, they also recreated designs from Venice and Faenza. Over time, Sciacca’s artists spread out. Some moved to Trapani, Palermo, and Burgio. There, they kept producing and signing their work, leaving a mark on those local styles as well.

Ceramics in Sciacca came back strong in the second half of the 1900s. That revival brought the old methods back to life. Today, around 30 artists continue the work. They use the same traditional colors (yellow, straw, orange, turquoise, blue, and green) and decorate pieces just like the early masters did. Thanks to the local Art Institute, young people can learn directly from skilled potters. They train in hands-on labs and carry forward a craft that has shaped Sciacca for centuries.

Burgio: Keeping Sicily’s Ceramic Tradition Alive

In Burgio, ceramics are more than craft. They’re history, passed down through generations. The town is known for its unique majolica pieces like quartare, lanceddi, nzri, and lemmi. These aren’t just decorations. They show the kind of creativity and skill that only comes from deep roots and raw talent.

The story starts with clay. For centuries, Burgio’s local clay pits gave artists everything they needed. Between the 1500s and 1800s, the pottery scene grew strong. It got a major boost when skilled ceramicists from nearby Caltagirone moved in and opened new studios. That’s when enamelled terracotta began to take on new life. Every workshop developed its own style, adding personal touches to old forms.

Burgio also sat in a good spot. The town was close to Sciacca, where ceramicists already had a strong reputation. Being near the sea helped too. It brought in trade and other artists. Potters from across Italy came through, learning techniques and leaving their mark. One of them was Nicolò Lo Cascio. Between 1685 and 1703, he created a well-known line of apothecary jars. His work stood out for its detail and unique design.

During the 1700s and 1800s, ceramic workshops in Burgio ramped up production. They focused on making tiles and bricks for decorative floors. These polychrome patterns, filled with bright colors, still show up today in homes across Palermo. Around the same time, potters also began creating religious artwork. One famous piece, a ceramic image of Christ on the Cross, dates back to 1763.

Alongside these sacred works, everyday items were still being made. You could find ceramic jars, colanders, flower pots, and more at local markets. Even these simple pieces kept their own look and feel. Every workshop had a style, and each item carried it forward.

The colors in Burgio’s ceramics were, and still are, made with secret formulas. These old recipes are closely guarded by a few master artisans. They’re passed on carefully, only to those committed to learning the craft the right way.

Today, Burgio is working hard to keep this art alive. The “Reawakening of Ceramics” project was launched to bring new energy into the local pottery scene. The goal is to preserve tradition while giving young people a chance to learn real skills. That effort won the Ales award from Federculture. It showed that this wasn’t just about keeping a business alive. It was about saving a cultural identity.

New workshops have opened up, and ceramic training courses are now available. These classes are built for younger generations. They focus on technique, but they also teach the value of doing work with care and purpose in a world that’s becoming more digital and disconnected.

One standout example is the workshop of Giuseppe and Paolo Caravella. Their studio is like a live museum. Visitors can watch clay being shaped on a foot-powered lathe, see it pressed on a balata, and view the huge kiln where it’s fired. The whole process is still done the way it was centuries ago. No shortcuts. No machines.

Walking into their shop feels like stepping into the past. But this isn’t nostalgia. It’s survival. Burgio’s ceramic revival is about protecting a way of life. It’s about teaching real, hands-on craft at a time when those skills are fading fast.

And it doesn’t stop at ceramics. Burgio is also known for working with wrought iron, glass, and making bronze bells. But pottery is still the heart of the town’s story. It speaks to the patience, pride, and precision that built this small Sicilian town into a place with global reach.

Caltagirone: The Heart of Sicilian Ceramics

Caltagirone has been tied to ceramics since the beginning. Archeological finds show pottery was made here during the Neolithic era. The land offered two essentials for ceramics: strong clay and plenty of wood for firing. That combination kept ceramic production going nonstop through prehistory.

Things advanced even more in the eighth century BCE, when Sicily came under Greek influence. By the fourth century BCE, pottery wasn’t just basic. It became artistic. One key example is the “Potter’s Crater,” a red-figure vase showing a pot being crafted in front of the goddess Athena. That piece alone proves workshops were active in town during ancient times.

Ceramic work continued under Roman and Byzantine rule. But the real change came with the Arab conquest. The Arabs introduced glazing and bold colors. From then on, Caltagirone became a serious ceramics center. Locals started making containers for honey and sweets, two local specialties. They also crafted plates, tiles, and decorations. Ceramics became both functional and beautiful.

While war and political changes shut down pottery shops across Sicily’s coasts, Caltagirone kept going. Its location helped, but so did the local dedication to craft. Over the years, new styles came in. Under the Aragonese, Spanish designs shaped local tastes. Later, the influence of Liguria, Venice, and Murcia brought even more variety.

A massive earthquake hit Southeast Sicily and nearly crushed the ceramics trade. But rebuilding efforts saved it. New demand from nobles, churches, and religious orders kept the workshops alive. The style became richer. Local artisans created colorful pieces in copper green, golden yellow, cobalt blue, and manganese brown. Vases became more detailed, with raised designs and sculpted accents.

Trouble came again with the rise of large Neapolitan factories. But Caltagirone’s potters adapted. They started making hand-painted terracotta figures. These small sculptures showed local life - street scenes, workers, characters from everyday life. In the 1800s, this new form of art gained global attention. Artists like Giacomo Bongiovanni and Giuseppe Vaccaro helped put Caltagirone on the international map.

In the 1900s, terracotta moved into architecture. You can still see it in Caltagirone’s cemetery, Cimitero del Paradiso, as well as in villas and homes around Sicily. Colorful tiles and detailed panels turned buildings into art.

Today, around 150 workshops still produce ceramics in the calatina style. They make majolica, terracotta, and figurines with strong roots in tradition, even as they adapt to modern tastes. Some artists have become known across Italy, like Gianni Ballarò, Franco Cannilla, Dino Caruso, and Andrea Parini.

Toward the end of the 1800s, brick and tile production slowed. But artistic ceramics stayed strong. That’s what Caltagirone is still known for: high-quality handmade pottery. A few workshops also make stoves, cookware, and decor. About 150 people work in this sector, spread across a handful of studios. The work stays true to its past, while still moving forward.

 

Oristano Ceramics: The History of Sardinia’s Figoli Tradition

Oristano, in Sardinia, has been tied to ceramic art for centuries. The town’s pottery roots stretch from ancient times through the Middle Ages, with solid proof found in archaeological digs at the Church of Santa Chiara. Inside, researchers uncovered both local and imported ceramic pieces dating from the 8th to the 14th century. These finds confirm that Oristano had an active ceramics scene during that entire stretch of time.

Early Glazed Pottery and Stangiu Technique

Many of the early Oristano ceramics used a glazed surface, often made using a method known as "stangiu." This technique involved applying a glass-like coating to the pottery. These coatings were usually faint shades of green or yellow, laid over a white base. This style helped give Oristano ceramics their trademark look. During this early period, most pieces were kitchen items: bowls, cups, flasks, plates, and dishes.

The Rise of Decorative Pieces in the 15th Century

By the 15th century, the craft moved beyond basic kitchenware. Potters began making more complex shapes, including closed vessels and plates with deeper ornamentation. That’s when the "brocca pintada" came to life. This painted jug became the pride of Oristano ceramics. It had a soft, shiny glaze with yellow and green tones that gave it a clean but decorative finish.

Oristano’s pottery also included unique pieces with strong cultural meaning. The "brocca di sposa" was one example. It was used in weddings, belonged to wealthy families, and was often detailed with applied decorations. Another standout piece was the "Su Cavalluccio," a ceramic horse placed on the edge of rooftops, used for symbolic and decorative reasons. But the water jugs made in the classic green and yellow finish were probably the most popular and recognizable of all Oristano ceramics.

The Figoli and the Ceramic Quarter

By the late 1400s, the local potters were called "congiolargios," a word with Spanish roots that translates to ceramists. Around the same time, a man named Antiogo Siddi is mentioned in historical records as an active potter. By the early 1500s, a part of town near the Church of San Sebastiano was known as "suburbium figulorum," which means the potters’ district. This area stayed tied to the craft for generations.

Despite a major outbreak of plague in 1528, the ceramics community kept growing. Names like Sebastiano Nonni, Miquel Llija, and Antonio Orrú appear in the records as active figoli: skilled potters still working through tough times. During the late 1500s and into the 1600s, ceramic production in Oristano expanded even more. Potters introduced a technique called "ingobbio," also known as slipware. It used liquid white clay to paint designs directly onto the ceramic surface. This method set their work apart from earlier styles.

Seventeenth-Century Growth and the Alfaros Code

Between 1600 and 1634, at least 85 potters were active in Oristano. Their work showed strong Spanish and Italian influence, blending two styles into something uniquely Sardinian. On April 25, 1692, the Statute of the Alfaros was signed. This document created rules for the ceramic trade. It set limits on how much potters could change traditional shapes and required apprentices to pass a formal exam before opening their own workshops.

Preserving the Craft into the Modern Era

Ceramic activity continued through the 1700s in the same district, which by the early 1900s was still called the alfareri zone. Locals later began using the name "Figoli" again to describe both the area and the artisans. In 1925, sculptor Francesco Ciusa opened the Applied School of Art in Oristano, with a dedicated ceramics department. It helped revive interest in the traditional craft.

By 1957, the ISOLA (Istituto Sardo Organizzazione Lavoro Artigiano) was launched to help grow the artisan economy across Sardinia, with a special focus on ceramics. Then in 1961, Oristano opened its own Art Institute, giving young artists a place to learn and carry on the figoli legacy.

Today, Oristano ceramics still hold their place in Sardinian culture. From yellow-green water jugs to rooftop sculptures, the work of the figoli continues to shape both the art and history of the island.

Assemini Ceramics: Sardinia’s Historic Center of Clay Craft

Assemini has deep ceramic roots that go back to ancient times. The first signs of this pottery tradition were uncovered in the Sant'Andrea area, dating back to the Punic era. But the most important finds came from Sa Mura, a flat, marshy zone where remains of early homes were found. These homes contained a wide range of ceramic pieces that helped shape the history of Assemini.

Ancient Pottery and Punic Influence

Among the ceramics discovered were elegant vases with pink patterns and others coated entirely in black paint. These pieces were finely made, showing skill and care. Some ceramics appeared to be local versions of higher-end imports, likely made to mimic more expensive goods. All these fragments date from the 5th to the 3rd century BCE and prove how important pottery was in everyday life during that time.

Pottery skills in Assemini were handed down from early farming communities. Using the “saroda,” a type of wheel, and working with only natural elements like clay, sun, and fire, these artisans created cookware and containers. The local style, known as “su strexu,” included items like pots, casseroles, pans, mugs, flasks, and "tuvusi." These handmade objects helped build Assemini’s reputation as one of the leading ceramic towns in Sardinia.

How Traditional Pottery Was Made in Assemini

Cagliari was the main market for selling Assemini ceramics. Sales would often rise during local festivals and religious events. Most of the pottery was made in small, home-based workshops. These spaces had everything needed: wells for clay and water, tubs for mixing, a spinning wheel, a sunny area for drying, and simple cylindrical wood-fired kilns. The kiln design came from Eastern styles and was basic but effective.

Medieval Guilds and Controlled Production

During medieval times, ceramic work in Assemini was closely regulated. Trade guilds, called "gremii," controlled the entire process. They made rules about what could be made, how it should look, and how much it should cost. Local potters, known as “strexiaus,” had to follow these rules strictly. Every part of the ceramic trade, from design to pricing, was shaped by these guilds.

Federico Melis and the Modern Revival

Between 1919 and 1927, artist and ceramicist Federico Melis brought new life to Sardinian pottery. He was born in Bosa and trained in Urbania, but chose Assemini as the base for his work. The town’s access to high-quality materials and skilled workers made it the perfect place. Melis focused on improving the way ceramics were glazed and fired. One of the biggest issues was how direct fire often ruined the finish, leaving it blackened or uneven.

In 1925, Melis solved this problem by creating a cylinder with a lining of heatproof glass. This container, called a “muffola,” allowed ceramics to be fired without touching open flame. The result was smooth, glossy surfaces that stayed clean during firing. He then built a custom kiln designed around this method, which gave him even more control over the final look of the ceramics.

Public Recognition and Ceramic Art in Assemini

In 1927, Melis presented his glazed ceramics at the Milan Fair. His work was seen as a major achievement. He didn’t make true majolica, but his pieces had a white base that looked similar to Sardinian majolica. He shaped them into traditional figures: women in prayer, knights, and married couples dressed in regional outfits. These new creations sparked interest across the island and led to the founding of the “Bottega d’Arte Ceramica di Assemini.” This workshop became a go-to for buyers, especially from nearby Cagliari.

Today’s Ceramics Scene in Assemini

Modern Assemini still values its ceramic heritage. Along with traditional cookware and functional items, today’s artists also produce decorative ceramics. These include figures, sculptures, and ornamental pieces in many shapes and colors. The craft has grown, but the core remains the same: clay, fire, and a tradition passed down through generations. Assemini continues to be one of Sardinia’s most important centers for handmade ceramics.