“Stop to admire this lustrous maiolica plate from Renaissance Florence. Its shimmering surface and prominent family crest offer a glimpse into the wealth and artistic sophistication of the era.”
This vibrant maiolica plate, crafted in Florence around 1495, immediately draws the eye with its central shield bearing the coat of arms of the Tosinghi family. The Tosinghi, a prominent Florentine banking family, would have commissioned such a piece to display their wealth and status. The plate's surface shimmers with a metallic luster, a sophisticated technique achieved by firing the tin-glazed earthenware a third time with metallic salts. This iridescent finish, known as lustro, was a specialty of Italian maiolica workshops and made these pieces highly prized. Look closely at the delicate scrollwork and foliate motifs that frame the heraldic shield, executed with a lively hand. This piece isn't just a decorative object; it's a tangible link to Renaissance Florence, reflecting the city's rich artistic traditions and the patronage of its powerful families.
- Artist
- Artist Unknown - The Mercat Cross, Aberdeen
- Date
- 1495
- Medium
- Maiolica (tin-glazed earthenware), lustered
- Location
- The Metropolitan Museum of Art
- Dimensions
- Overall: 3/4 × 8 7/8 in. (1.9 × 22.5 cm)
- Collection
- European Sculpture and Decorative Arts
- Culture
- Italian, Deruta
- Credit line
- Samuel D. Lee Fund, 1941
What to Notice
Five details hide in plain sight. Here’s where to look.

The Tosinghi family's coat of arms at the center of the plate.
The iridescent, metallic sheen of the lustered surface.
The intricate scrollwork and leaf motifs surrounding the shield.
The slightly raised, textured quality of the tin glaze.
1 more detail is waiting.
See all 5 in Art Whisper →Stand in front of it and listen
The full narration walks you through Plate with arms of the Tosinghi family — the story behind it, the details most visitors miss, and why it matters. Free in the Art Whisper app.
Artist Unknown - The Mercat Cross, Aberdeen
This 'Artist Unknown' represents a vast collection of anonymous creators, whose works like 'Boston Common' and 'Self Portrait' offer glimpses into diverse historical periods and artistic practices.
Further Works by Aberdeen
Southern Barbarians
1625 · Art Institute of Chicago
Baskets with Flowers of the Four Seasons
1701 · Art Institute of Chicago
Sketchbook: Souvenir of Naples
1821 · The Metropolitan Museum of Art
The Five Points
1822 · The Metropolitan Museum of Art
Flower Arrangements
1595 · Art Institute of Chicago
Side Chair
1750 · Art Institute of Chicago
Pair of Side Chairs
1770 · Art Institute of Chicago
Punch Bowl
1789 · Art Institute of Chicago
More works to explore
Beyond Aberdeen: works from the same years.
Same era · 1480s–1510s
Christ Crowned with Thorns
Hieronymus Bosch · 1495 · National Gallery
Same era · 1480s–1510s
Portrait of a Musician
Leonardo da Vinci · 1485 · Pinacoteca Ambrosiana
Same era · 1480s–1510s
Jacopo Pesaro, Bishop of Paphos, being presented by Pope Alexander VI to Saint Peter
Titian · 1504 · Royal Museum of Fine Arts Antwerp
Same era · 1480s–1510s
Drunkenness of Noah
Michelangelo · 1509 · Sistine Chapel
Same era · 1480s–1510s
Marriage of Mary and Joseph
Master of the View of Saint Gudula · 1480 · Munich Central Collecting Point
Same era · 1480s–1510s
Hercules
Albrecht Dürer · 1496 · Cleveland Museum of Art
Same era · 1480s–1510s
Madonna and Child Enthroned with Saints John the Baptist and Sebastian
Pietro Perugino · 1493 · Uffizi Gallery
