Glazed terracotta sculpture was widespread during the Renaissance not only in Italy but also in the main courts of Europe. This ancient technique (the same one used to glaze pots and other objects for domestic use) was reintroduced in the early 1400s, following the canons at monumental sculpture, by the Florentine artist Luca della Robbia far wham this Robbian artwork is named. This particular sculptural technique was worthily continued by same of his family members: the nephew Andrea and the son Giovanni had a successful workshop in via Guelfa in Florence. The apprentices Benedetto and Santi Buglioni, once they had mastered the secrets of the technique, founded a competitive workshop of their own. Contrary to popular legend, the glazing technique is not the result of mysterious processes. It is said that a woman of the della Robbia household stole the formula ta give to the competition; when she gave to the rivals the Madonna's head in which the formula was hidden, the head broke into pieces. The truth is that the technique required the application of a layer of shiny tin based enamel that, when it is fired with the clay in the kiln, farms a hard, shiny film that continues to preserve these fragile works in the open air, The inclusion of other minerals determines the different colors.
Pistoia preserves examples by some of the major artists working in this kind of sculpture such as one of Luca's masterpieces: the Visitation of 1445 in the Church of San Giovanni Fuorcivitas (vs29). Jacopo and the work Is shown today on the staircase that leads to the Municipal Museum's second It's a sculpture in the round that is arranged in a triangular composition: the Virgin meets Elizabeth who kneels, an original pose with respect to the scene's traditional iconagraphy.
In the late 1400s Benedetto Buglioni carried out the great Resurrection altarpiece far the back of the silver altar of San floor (vs46). A few years later, at the beginning of the 1500s, Andrea delta Robbia was commissioned to make the Virgin and Child with Angels far the cathedral doorway (vs31). The Virgin is portrayed at the center, in a three quarter pose, holding her Son on a pedestal as he looks down towards the faithful. They are surrounded by angels in poses of adoration and prayer. Together with the lunette, Andrea also made the decoration far the portico's vault where geometric panels are separated by long friezes of greenery done in the vivid colors typical of the Robbian style.
Pistoia is also home to what is considered the last great Robbian work: Santi Buglioni and Giovanni della Robbia's polychrome decorations of the frieze at the Ospedale del Ceppo (vs17).
Other examples of this particular kind of art can be seen in the heraldic coats of arms that decorate the façades of the Palazzo Pretorio (vs12) and the Bell Tower (vs32)

(n.) refers to the number of the file-card (s.i.) means see information inside

Andrea Della Robbia, Madonna con Bambino tra angelli

Vasari's Writing on Glazed Terracotta

In his Lives Giorgio Vasari wrote about Luca della Robbia: But not like that, Luca della Robbia, a Florentine sculptor who labored in marble for many years. Having a wonderful technique with clay which he worked with the utmost diligence, he found the method of glazing clay with fire, in such a way that neither water nor wind could harm it. And since this invention worked out well, he left the heredity of this secret to his children and it has been passed down to our day; his descendants work in this way, filing not only Italy with their art but a/so sending it to different parts of the world. Luca was certainly deservedly well praised for this invention as he has been for the sculpture which made him famous.
(from G. Vasari, Le vite de' più eccellenti architetti, pittori, et scultori italiani, da Cimabue insino a' tempi nostri, a cura di L. Bellosi e A. Rossi, Torino, 1986)