Set of 3 ceramic stove plates. Possibly Germany, second half of the 16th century

Set of 3 ceramic stove plates. Possibly Germany, second half of the 16th century.
"Calvary", "Female bust" and "Male bust".
Calvary signed with initials.
Presents losses.
Measurements: 19 x 16 x 2 cm; 30 x 21 x 2 x 2 cm.

These three ceramic stove plates, presumably originating from the Germanic or Austrian area of the 16th century, are an outstanding example of Northern European Renaissance glazed ceramics. The pieces show figures in bas-relief on flat backgrounds of an intense emerald green glaze. The first plate depicts Christ crucified, flanked by the figures of the Virgin Mary and St. John the Evangelist, in frontal composition. The flesh tones are treated with a delicate cream tone, which contrasts with the brightly colored clothing: orange tunics and blue or purple cloaks. The other two plates contain profile portraits inscribed in tondos, following an iconography of clear Roman numismatic descent. The side plaques, each representing a busts, could allude to Greco-Roman gods.

Ceramic stoves of the 16th century were usually large objects, whose value transcended their mere heating function. Owning one of these pieces conferred a certain social prestige, beyond their use in private residences. This consideration explains the development of complex iconographic programs on their plates throughout this century. The thematic repertoires were varied and sought to convey specific messages: from the representation of the Vices and Virtues, to the busts of exemplary historical, scientific and artistic figures; passing through biblical and mythological scenes, the Ages of Man and the Stars that supposedly governed human destiny.

The creation of these stoves involved a collaboration between ceramists and carvers in which the pottery workshops commissioned the latter to create relief models carved in wood. These models were used to create the molds from which the ceramic slabs were obtained. Since this was a costly and prestigious process, and despite being prohibited, it was common practice to obtain molds directly from already manufactured ceramic slabs in order to copy them. These copies are distinguished by having slightly smaller dimensions due to the shrinkage of the clay during firing. There are known cases of renowned engravers who worked with various guilds, including the goldsmith and stouffer guilds, providing repertoires and designs. This was prestigious work, which led some engravers to sign their creations on the stoves using the same monograms they used in their engravings.