The general title of the Spanish potter was _ollero_, a comprehensive term which reaches from the most ambitious _azulejero_ to the maker of the meanest kitchen-ware. The _olleros_ of older Seville produced for centuries, not only glazed and coloured tiling by the processes already indicated, but countless other objects such as brims of wells, apothecary's jars, baptismal fonts, and dishes of every shape and size. They used a general mark (the tower of the Giralda) to stamp their pottery; but private marks are nearly always absent. The facts that have appeared in recent years concerning these artificers are seldom interesting. The mere mention of a name is meaningless, or even perplexing, seeing that a Moor or Mudejar would frequently assume the name and surname of a Christian. Nevertheless, Gestoso has brought to light important notices concerning one or two, and in particular a document dating from the reign of Ferdinand and Isabella, relating to a celebrated potter of that period named Fernan Martinez Guijarro. This document, which is dated 1479, describes Martinez as "a very great master in the art of making _azulejos_, fonts, and all the things pertaining to his trade, insomuch that none other in all this kingdom is like unto him," and subsequently, "considering him to be so excellent a craftsman that persons come hither from Portugal and other parts to purchase and to carry off his ware." It is further stated that Martinez Guijarro was in wealthy circumstances ("hombre rrico e de mucha rrenta e fasyenda"). His _talleres_ or workshops were in the _barrio_ of Triana, and included (as we learn from one of the documents copied by the same investigator) a separate department for the manufacture or storage of lustred ware. Unfortunately, even Gestoso is unable to point to any piece of tiling or other pottery now existing, as being unquestionably executed by this master. Another Sevillian potter of exceptional merit was Cristóbal de Augusta, who worked in the latter half of the sixteenth century, and left his name upon the _azulejo_ dadoes of the Halls of Charles the Fifth in the Alcázar. The style of these most brilliant tiles is pure Renaissance, and forms a worthy continuation of the splendid work of Niculoso. Augusta, indeed, is termed in the Archives of the Alcázar "master of making tiles in the Pisano manner" (_del pisano_).[74] Some tilemakers of little note succeeded him, but even the names of these are carefully recorded by Gestoso. [74] The _pisano_ process is believed by Gestoso to have succumbed before the _cuenca_. He says he is aware of no _pisano_ tiling which can be dated from as late as the second half of the seventeenth century.