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Source Description
During the Renaissance, an understanding of classical antiquity was perceived to be a sign of social, intellectual, and economic distinction. Scenes from Greco-Roman mythology were prominently featured on maiolica, covering the surface in a style called <em>istoriato </em>(decorated with stories). This depiction of the three graces was likely based on an engraving by the Renaissance printmaker, Marcantonio Raimondi.
Scholar Source Context
Document identity
localId
124200
label
Charger Depicting the Three Graces
core
obj
dtoType
object
pageCount
1
Source metadata
id
124200
contentType
object
title
Charger Depicting the Three Graces
description
During the Renaissance, an understanding of classical antiquity was perceived to be a sign of social, intellectual, and economic distinction. Scenes from Greco-Roman mythology were prominently featured on maiolica, covering the surface in a style called <em>istoriato </em>(decorated with stories). This depiction of the three graces was likely based on an engraving by the Renaissance printmaker, Marcantonio Raimondi.
date
c. 1525
citation
rights
CC0
rightsUri
CC0
language
en
wikidata
Q60781114
creators
5381
genreSpecific
Ceramic
imageCount
1
source
import
dimensionsRaw
Diameter: 44.8 cm (17 5/8 in.)
cul
Italy, Urbino region, Gubbio, 16th century
accession
1945.2
Source extras
tec
tin-glazed earthenware with gold lustre (maiolica)
tombstone
Charger Depicting the Three Graces, c. 1525. Circle of Maestro Giorgio Andreoli (Italian, 1465?–1553). Tin-glazed earthenware with gold lustre (maiolica); diameter: 44.8 cm (17 5/8 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund, 1945.2
collection
Decorative Arts
inscriptions
inscription
this plate has been broken and mended; in the repair, signature and date have disappeared. According to catalogue by A. Darcel and A. Basilewsky (Collection Basilewsky, No. 420) name and date were on the plate.
didYouKnow
In Greek mythology, the three graces represent the daughters of Zeus who embodied charm, beauty, and creativity.
citations
citation
Basilewsky, A., Alfred Darcel, and Petrograd I. Érmitazh. Collection Basilewsky; Catalogue Raisonné, PréCédé Du̓N Essai Sur Les Arts Industriels Du Ier Au XVIe SièCle. Vol. 1. Paris: Vve A. Morel et cie, 1874.
page_number
Mentioned: p. 161, cat. no. 420.
citation
Milliken, William M. “Majolica Plate by Maestro Giorgio.” <em>The Bulletin of the Cleveland Museum of Art</em> 32, no. 3 (March 1945): 23–25.
page_number
Mentioned: p 24
url
www.jstor.org/stable/25141185
citation
The Cleveland Museum of Art. <em>The Cleveland Museum of Art Handbook.</em> Cleveland, OH: The Cleveland Museum of Art, 1958.
page_number
Mentioned and Reproduced: cat. no. 221
citation
The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1966</em>. Cleveland, OH: The Cleveland Museum of Art, 1966.
page_number
Reproduced: p. 90
citation
The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1969</em>. Cleveland, OH: The Cleveland Museum of Art, 1969.
page_number
Reproduced: p. 90
citation
The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland, OH: The Cleveland Museum of Art, 1978.
page_number
Reproduced: p. 105
citation
Busti, Giulio, and Franco Cocchi.<em> La ceramica umbra al tempo di Perugino</em>. Milan: Silvana Editoriale Spa, 2004.
page_number
Mentioned & reproduced: p. 57, cat. no. 9
creditline
Purchase from the J. H. Wade Fund
updatedAt
2026-05-29 06:24:16.045000
sourceId
124200
dept
Decorative Art and Design
coll
Decorative Arts
med
tin-glazed earthenware with gold lustre (maiolica)
creatorTags
male
thumbnail_url
image_url
Single page context
seq
1
pageIndex
0
type
photo
mediaId
d90363c435c7a6e9