Early-17th century, Portuguese faience ovoid shaped vase of long trumpet like flaring neck, resting on a circular raised foot. The white tin glazed surface featuring cobalt-blue painted decorative motifs.
The ornamental band embracing the broad body bulge is characterised by juxtaposed pseudo-geometric triangular cartouches, formed by alternating parallel lines of assorted thicknesses framing spirals, and forming a zigzag pattern. This central ring is encased by two plain and parallel cobalt-blue horizontal borders. The body is joined to the neck and to the foot stand by protruding rings of identical colour.
A triangular geometric composition, comprising of three oblique parallel lines, centrally filled by identical number in quarter circles, fills the vase’s neck. The circular stand, defined by a band of continuous decorative spirals, supports a tall foot of deep circular ledge.
This singular and rare example of serialised geometric motifs decoration, features a hybrid combination of various influences, from which stand out those from Chinese porcelain, via the blue and white colouring and specific decorative motifs, namely spirals[1]; from Renaissance majolica production, specifically the “peacock feathers”[2] typology, or family, that in this instance corresponds to the vase’s decorative ancestry; and the triangular juxtaposed shapes which, according to the Researcher Tânia Casimiro, were absorbed via Spain, mainly from the Talavera ceramics[3].
Identical pieces appear in the context of early Portuguese faience decorative motifs, recorded from archaeological contexts dating from 1580[4] onwards, emerging quite regularly from archaeological excavation projects in Portugal (Lisbon), in the Low Countries and in Northern Ireland. Some can also be found in Portuguese and overseas museums.
The format of this vase, of undoubted European origin, is closely similar to the so called “altar vases”, or “oratory vases”, which were often portrayed in Portuguese paintings dating from the 15th and 16th centuries. These depictions act as true records, since the artist depicted what he saw in a style taken from “the natural”. Such examples can be observed in the “Annunciation” scene from the polyptych altar piece from São Brás do Campanário (ca.1545-1550) attributed to the painter Diogo Contreiras (1500-1570) (Fig.1)[5], and also in the “Annunciation” from the Evora Museum (ca. 1618-1620) - (Inv. ME 915) attributed to Pedro Nunes (1586-1637) (Fig.2)[6].
The altar vase herein described assumes particular relevance for its shape, decorative characteristics, and preservation condition which, together, only very rarely occur in objects of identical chronology.

Fig.1 – “Annunciation”, oil on board, São Brás do Campanário polyptych (ca. 1545 – 1550) attributed to Diogo Contreiras

Fig. 2 – “Annunciation” (ca. 1618-1620), oil on board, attributed to Pedro Nunes (1586-1637); Evora Museum (Inv. ME 915)

[1] Which decorate porcelains dating from the Chenghua reign (1465-1487) and Wucai pieces from the Wanli reign (1563-1620). Cf João Pedro Monteiro, A Influencia oriental na cerâmica portuguesa do seculo XVII (Cat.), Lisboa, 1994, p. 28.
[2] “Peacock’s eye” or “peacock’s feather”: are terms that designate Italian majolica decoration comprising of repetitive semi-circular modules of stylized peacock feathers. In the 16th century this ornamental motif, rarely equalled, was used in several Italian cities. Henry – Pierre Fourest, La Céramique européenne, Paris, CELIV, p. 60.
[3] Tânia Casimiro, Faiança Portuguesa nas Ilhas Britânicas – Dos finais do século XVI aos inícios do século XVIII, PhD Dissertation, p. 655.
[4] Alexandre Pais, Fabricado no Reino Lusitano o que antes nos vendeu tão caro a China, PhD Dissertation, p. 405 e Tânia Casimiro, Op. Cit., p. 600.
[5] Maria Isabel da Camara Santa Clara Gomes Pestana, Das coisas visíveis às Invisíveis – Vol. II, PhD Dissertation, p. 66, Fig. 158.
[6] Alcina Silva Santos Silva, As Flores na Pintura da “Anunciação” nos séculos XVI e XVII: a simbologia cristã e a Arte Decorativa, MA Dissertation, Porto, 2011, pp.68 – 71.