This information may be increased by quoting another interesting MS. on the history of this town (Bib. Nac. F. 142) in which the writer, Fr. Andres de Torrejon, who professed in the convent of Santa Catalina in 1568, says:—"The earthenware pottery made here has reached to a great height of perfection; it is formed of white and red clay. Vases, cups, bucaros and brinquiños are made of different kinds, dishes and table centres, and imitations of snails, owls, dogs and every kind of fruits, olives, and almonds. These objects are painted with great perfection, and the imitations of porcelain brought from the Portuguese Indies are most excellent. Every one wonders that in so small a town such excellent things should be made. The varnish used for the white pottery is made with tin and sand, it is now found to be more acceptable than coloured earthenware, so much so, that persons of importance who pass by this town although they have in their houses dinner services of silver, buy earthenware made at Talavera, on account of its excellence. The sand which was used to make the white varnish was brought from Hita, it is now found at Mejorada, near Talavera. This sand is as fine and soft as silk."
"The red pottery made at Talavera is much to be commended, for besides the great variety of objects which they make, the different medals which they place upon them, they have invented some small brinquiños of so small and delicate a kind, that the ladies wear them. Rosaries are also made of the same material. A certain scent is added in the manufacture of this pottery which excites the appetite and taste of the women, who eat the pottery so frequently that it gives great trouble to their confessors to check this custom."
In a volume of "Relaciones Topograficas de los Pueblos de España hechas en 1576," (MS. in fol. t. ii.) we find, in speaking of Talavera, that the author says: "What is most excellent there is the white pottery, and tiles and other objects of this earthenware with which the kingdom and part of Portugal are provided."
In Larruga's "Memorias Politicas y Economicas," (vol. x. Madrid, 1741,) we find, p. 22, that "the manufactory of fine earthenware of Talavera de la Reyna continued to make much pottery of importance until 1720: eight kilns existed then, which employed more than 400 persons, men, women and children. These manufactories possessed at that time large sums of money. From that time this industry decayed to such an extent, that in 1730 only four kilns existed where pottery of a very inferior kind was produced."
The industry was revived later on in the century, but the finest specimens are of an earlier date. Larruga adds, in p. 17, vol. x., of his "Memorias," that "Talavera ware is of a lighter clay than the imitations of this earthenware which were made in other localities."
Pottery of a similar kind was also made in different other localities of Spain. Mendez Silva says that at Puente del Arzobispo, near Toledo, "fine pottery is manufactured in about 8 kilns, which produce more than 40,000 ducats yearly." ("Relacion General de España," Madrid, 1645, fo1. 32.) Paton likewise in his "Historia de Jaen," 1628, writes that "the white unglazed earthenware made at these towns, is very remarkable for the curious manner in which they imitate different figures of animals, such as porcupines, fish, syrens, tortoises, &c." Objects of a similar kind are still made in Spain.
The English traveller Clarke, in his "Letters concerning the Spanish Nation during the years 1760-1761," London, 1763, p. 263, says, "the pottery fabrics are very numerous and excellent, particularly Talavera." And in "Annales de l'Espagne," by Alvarez de Colmenares, Amsterdam, 1741, we find, p. 187, in speaking of Talavera, that "On y fait des ouvrages vernissés d'une façon ingénieuse, avec des peintures de bon goût; on estime ces ouvrages autant que ceux de Pise et des Indes Orientales; on en fournit plusieurs provinces. Ce négoce rend plus de 50,000 ducats par an."
Udal ap Rhys in his "An Account of the Most Remarkable Places and Curiosities in Spain and Portugal," London, 1749, in speaking of Talavera says, "It is noted also for a very curious kind of earthenware that is made in imitation of China."
Although we find by the remarks we have quoted from contemporary authors that earthenware of every description was made at Talavera, the specimens which are more generally met with may be divided into two groups, which are painted on a white ground, either in blue, or in colours in the manner of Italian maiolica. The most important examples which have reached us consist of bowls of different sizes, dishes, vases, tinajas, holy-water vessels, medicine jars, and wall decorations. Blue oriental china was imitated to a vast extent, the colouring was successful but the design was an imitation of the baroque school of the time, and the figures, landscapes, and decoration follow the bad taste so general in Spain in the 18th century. The imitations of Italian maiolica are effective. The colours most commonly used are manganese, orange, blue and green.
Several specimens of this manufacture are in the South Kensington Museum; among these may be noted—
No. 327-'76. A large vase painted in blue with cavaliers and men on foot in a hilly landscape, on the shoulder are the words "Silva Coronel."
No. 1282-'71. Holy-water vessel, with raised flowers and scrolls of foliage with polychrome decoration.
No. 1281-'71. Soup tureen and cover, white, with raised scrolls and groups of painted flowers.
No. 351-'76. Another soup tureen with cover and stand, painted with garlands and the arms of Portugal. On the cover is a group of fishes and shells in relief.
No. 1279-'71. A bowl decorated within with a bull-fight; outside are storks and trees in green, orange, and manganese. (See woodcut.)
EARTHENWARE BOWL. TALAVERA WARE. SOUTH KENSINGTON MUSEUM.
EARTHENWARE BOWL. TALAVERA WARE. SOUTH KENSINGTON MUSEUM.
Several pottery works were established in Spain in the 18th century, all of them, in the same manner as the earlier fabriques, modified the system of decorating their wares. In some instances the colours and designs of Italian maiolica were imitated, others copy the blue faïences of Pisa, Genoa, and Savona, while others adopted the styles of Moustiers, Nevers, and Rouen, or English earthenwares.
Ten or twelve manufactories existed at Toledo in the 17th century which imitated Talavera ware; in the 18th they hardly produced anything of importance. Ignacio de Velasco in 1735 founded one at great expense at Toledo in which imitations of Genoese pottery were chiefly made. At the death of Ignacio in 1738, these works passed to his son George; in 1742 Francisco Hernandez directed them, and in 1747 imitated Japanese models. Several specimens proceeding from Toledo, at the South Kensington Museum, painted blue on a white ground, in the style of Savona and Japan, belong to this period.
In 1755 thirteen pottery kilns existed at Puente del Arzobispo near Toledo; they still worked in 1791, but their productions were very inferior in artistic merit.
Earthenware pottery was made at Segovia from a very early period, chiefly for domestic use, until a manufactory was founded by two brothers—Manuel and Tomás Ledesma in 1752—they had seen some specimens which were made at Bolonia for Isabel Farnesio, the widow of King Philip V., and they endeavoured to imitate them. In 1774 they tried with a most unsatisfactory result to imitate English wares. This industry fell into decay towards the end of the century, and only ware of a very common description was made there.
Talavera ware was also imitated at Zamora. At the middle of the 18th century works existed there where pottery was made in the manner adopted at Alcora with few results, for soon after it was established the master potter, who was at the head of these works, left the locality. ["Memorias," Larruga, Vols. 13 and 34.]
The further we advance into the 18th century, the more we find the tendency in Spanish ceramic art to imitate the pottery most in vogue in other countries. Francisco Cavalli, a potter of Ruidoms, won a prize at Tarragona in 1787, for his excellent imitations of brown and white Genoese ware. [MS. fol. Bibl. de S. Magestad el Rey, S. 2, E. B. pt. 8.]
The efforts made by King Charles III. towards increasing industrial arts in Spain, contributed to the reproductions and efforts made to imitate foreign wares. When the king founded in 1768 the villages of La Carolina and La Carlota in Andalucia, he ordered that pottery works should be set up there. At the same time that he established at Madrid the important porcelain manufactory of Buen Retiro, he wished that earthenware works should exist in the same locality, where specimens should be made in imitation of the best work produced elsewhere. The king was most anxious to revive to a great extent the almost extinct industry of metallic lustred pottery, and thanks to this we are able to know most accurately the receipt and manner in which this lustre was applied. In the same volume in which I found these documents, [Brit. Mus. MS. Egerton, 507], are two reports addressed to Count Florida Blanca in 1786, by Iriarte and Vargas, who were instructed to facilitate the development of this industry. The first report contains information relating to the pottery works of the county of Stafford; the second tells us that in the building of San Isidro el Real, essays had been made to reproduce English wares, and the lustred productions of Manises, with an idea of establishing inside or outside of Madrid pottery works on a large scale, under the protection of Count Florida Blanca. Iriarte and Vargas were of opinion that these works should be established far from Madrid, suggesting as the best spot El Viso in La Mancha, owing to the excellent quality of the clay. Don Sebastian Schepers, a son or brother of Cayetano Schepers, was at the head of these works. Cayetano was the chief modeller at the Retiro manufactory. Their imitations of English earthenware did not succeed; the varnish turned out badly, and they determined to bring out English workmen. Their imitations of gold lustred ware were eminently successful, so much so that competent judges declared it was equal to what was made at Manises. Pottery works where earthenwares of different descriptions were made existed also at this time in Madrid; the best were those of Rodriguez and Reato, mentioned in Larruga's "Memorias Economicas."
At the end of the 18th, and beginning of the 19th century, Valencia and Aragon supplied the country with painted tiles. One of the finest examples of this class which have reached us is the pavement of the chapter house of the cathedral of Saragossa, on which landscapes, medallions, and animals are finely designed in the Italian renaissance style. In a shield may be read the following inscription:
Reals Fbcas
D E
Dª Maria Salb
adora
Disdier
Bru ft
Año 1808.
Valencia has been much renowned for its manufacture of painted tiles, azulejos, which continue to be made there in a very creditable manner at the present time. J. Townsend, in his "Journey through Spain in the Years 1786-1787, London," 1792, says: "I was most delighted with the manufacture of painted tiles. In Valencia their best apartments are floored with these, and are remarkable for their neatness and elegance. They are stronger and more beautiful than those brought from Holland." In a "Nouveau Voyage en Espagne," Paris, 1789, p. 56, the author says: "L'industrie des Valenciens tire d'ailleurs parti de toutes les productions de leur sol. Il contient une espèce de terre, dont ils font ces carreaux de faïence colorée connus sous le nom de azulejos, et qu'on ne fabrique qu'à Valence. On en pave les appartements, et on en revêt leurs lambris; on y peint les sujets les plus compliqués, tels par exemple qu'un bal masqué, une fête de taureaux. La couleur rouge est la seule qui ne puisse être fixée sur cette espèce de faïence. Elle s'altère par la cuisson." In "Voyage en Espagne, 1797-1798," Paris 1801, the author says, p. 245: "Les plats sont faits de faïence bleuâtre ou toute autre couleur orné de figures d'oies."
Before we pass to describe another most important branch of Spanish pottery the unglazed earthenware must be mentioned, which from a very early period has constituted and still constitutes a most important branch of its industry. This pottery, generally used for cooling water, consists of white porous vessels of which a large modern collection may be seen at the South Kensington Museum proceeding from Andujar and La Rambla (Andalusia). This industry remains in precisely the same state as in the time of the Arabs.
The earthenware vessels called Bucaros are similar to these. This porous pottery was made to a very large extent at Talavera. It was imported originally from America; the great centre existed at Mejico. The paste of this ware is unglazed and whitish, black or red—when painted the colours chosen are generally red, black, and gold. It was made in Spain as early as the 16th century, and we constantly find Bucaros alluded to in documents of this period. In the inventory of the effects belonging to Dna Juana, the sister of Philip the Second, drawn up in 1573, bucaros made at Lisbon, Estremoz, and Montemayor in Portugal, and those of Ciudad Rodrigo and Castille, are also mentioned. Madame d'Aunoy in her "Voyage d'Espagne," Lyon, [MDCXCIII.], mentions the habit of Spanish ladies of eating this porous clay. At the South Kensington Museum there are several good specimens of red pottery of this kind, Nos. 285 to 318—'72, which, as we have remarked were made at Talavera and Toledo.
Don Buenaventura Pedro de Alcantara inherited in 1725 the estates belonging to the title of Aranda in the province of Valencia. Count Aranda found that the inhabitants of the village of Alcora made coarse earthenware of every description, and that their vicinity to the sea coast favoured exportation; he determined, therefore, upon establishing in 1726 a manufacture of pottery there, in which fine wares might be made in imitation of those imported from Italy, Germany, France and England. The count's efforts were so successful that in less than two years specimens of different kinds of Alcora pottery were exported to a very large extent.
No account has hitherto been published which gives any idea of the importance of this manufactory, nor have the names of the artists who worked there been known, or the works which they executed. Wishing to ascertain this, I applied to the Duchess of Hijar, the present representative of the house of Aranda, and permission was granted me, thanks to the kindness of the Duchess's Apoderado general, Sr. Robles, to look through the Archives, where the accounts, contracts, and details of the manufactory are kept. This has enabled me to give an idea of the importance of this industry, and the names of the artists who worked there, which have been ignored until the present time by writers on ceramic art.
Count Aranda spent in 1726 about £10,000 in establishing the manufactory of Alcora, and in May, 1727, the first specimens appeared, consisting of pottery made "in the manner of China, Holland, and other localities." The manufactory was at that time under the superintendence of Dn. Joaquin Joseph de Sayas and Joseph Ollery, a Frenchman, chief draughtsman and carver, who was engaged at a good salary in 1726, and brought to Alcora from Moustiers by the painter, Edward Roux. In 1728 Count Aranda increased his salary owing to the "excellent manner in which Ollery has worked at Alcora, the fine and numerous models which he constructed, which have contributed to make my manufacture the first in Spain."
Five painters and two modellers from Cataluña and six Valencian painters and two modellers joined these French artists. The personnel of the fabrique was completed with eleven potters from the locality. The French painters, M. Pierre Maurissy and M. Gras, and the master of the modellers, M. Sebastian Carvonel, were engaged in 1728 for two years to work at the manufactory. Ollery only appears in the lists up to 1737. The Count granted him a yearly pension of 500 francs besides his salary, "for his especial zeal in the improvement of the manufactory, and his great skill in directing the construction of every kind of work." From this date until the manufacture of porcelain in 1764, only Spanish artists worked at Alcora.
The Count was able from the year 1729 to circulate the pottery made at Alcora through the Spanish dominions, free of custom-house duties. The government granted him several other privileges and the manufactory continued to improve, and spared no pains to import the foreign shapes and designs which were most acceptable. No Spanish pottery manufactory could compare with Alcora in the excellence and beauty of its work.
Among the obligations of the artists engaged, whether Spaniards or Frenchmen, was that of teaching drawing and modelling to a certain number of pupils. A special Academy was created for this purpose, which at one time held more than one hundred pupils, who were constantly renewed and increased with those who appear henceforward in the works at Alcora. In 1736 there were fifty-six painters, eleven masters, twenty workers at the wheel, and twenty-five apprentices. In this same year, 1736, specimens of pottery made at Alcora were sent "to all the dominions of Spain, Rome, Naples, Malta, many Italian cities, Portugal, and some provinces of France."
The manufactory produced yearly about 300,000 specimens of different kinds. The ordinances are interesting which in 1732-1733 prescribe, "that in our manufactory only pottery of the most excellent kind should be made, similar to the Chinese, to be equally fine as to the earths employed, that the models and wheels should be perfect, the drawing of a first-rate kind, and the varnish and colours excellent, and the pottery light and of good quality, for it is our express wish that the best pottery should only be distinguished from that of an inferior kind by the greater or less amount of painting which covers it."
Miguel Soliva, Christobal Cros, Francisco Grangel, Miguel Vilar, Christobal Rocafort, Vicente Serrania, and Joseph Pastor were the best painters at Alcora in 1743; they decorated a fine dinner service made for the Tribunal of Commerce, and the large slabs for the Convent of Las Descalzas Reales at Madrid, representing the Virgin as the Divine Shepherdess.
Pottery painted with metallic lustre was made in 1749. We find among the receipts used in that year one brought from Manises for this object.
We find it also stated in the communications which passed between the Tribunal of Commerce and the count in 1746, that "the perfection of the earthenware of Alcora consisted in the excellent models which had been made by competent foreign artists, the quality of the earth and receipts brought at great expense from abroad." Joseph Ochando is mentioned in that year as an excellent painter, and Juan Lopez as the best carver and modeller. This document tells us "that from the earliest period of the manufacture pyramids with figures of children, holding garlands of flowers and baskets of fruits on their heads, were made with great perfection, likewise brackets, centre and three-cornered tables, large objects, some as large as five feet high, to be placed upon them, chandeliers, cornucopias, statues of different kinds, and animals of different sorts and sizes. The entire ornamentation of a room has also been made here; the work is so perfect that nothing in Spain, France, Italy or Holland could equal it in merit."
The objects which were made to a great extent at this time consisted in:
In 1750 Count Aranda passed the pottery works on to a private company, in whose hands they remained until 1766. We know the pottery continued to be excellent. Unfortunately almost all the details of this period are missing from the Archives. One of the few documents remaining is a contract drawn up in October, 1741, with François Haly (the name of this artist is given by Baron Davillier), a Frenchman, in which he agreed to work at the manufactory during a period of ten years with a yearly salary of over 1000 francs, under the following conditions:
"That the travelling expenses of his wife and children should be given him, and that his salary should be paid as soon as he made before the Director and two competent judges the different kinds of porcelain which he had undertaken to make." He agreed to give up his receipts, and it was promised him that he should have two modellers and one painter working by his side, and that if in one year Haly's porcelain was satisfactory the Count undertook to make him a present of 1000 livres (tornoises).
Towards the middle of the century, porcelain was made for the first time at Alcora. A contract was drawn up on 24th March, 1764, with a German, called John Christian Knipfer, who had already worked there in the pottery section. By the original agreement, which exists at the Archives, we find he was to prepare works of "porcelain and painting similar to those made at Dresden, during a period of six years, under the following conditions:"
"That the said Knipfer obliges himself to make and teach the apprentices the composition and perfection of porcelain paste, its varnishes, and colours, and whatever he may know at the present time, or discover during this period of six years; he is not to prevent the Director of the Works from being present at all the essays made."
"The said Knipfer offers to make and varnish porcelain, and to employ gold and silver in its decoration, and in that of the ordinary wares; likewise the colours of crimson, purple, violet, blues of different shades, yellow, greens, browns, reds, and black.
"That Knipfer will give up an account of his secrets, and the management and manner of using them, in order that in all times the truth of what he has asserted may be verified."
From the original documents which exist we gather that Knipfer was chiefly famed for his excellence in the painting and decoration of porcelain.
François Martin was engaged in 1774 for his skill in preparing different pastes for manufacturing porcelain and pipeclay. He agreed to make "hard paste porcelain, Japanese faïence, English paste (pipeclay), and likewise to mould and bake it. The necessary materials were to be provided by the Count of Aranda." His expenses were to be paid if the specimens he presented to the competent authorities gave a satisfactory result, and his salary was to be increased to 1200 francs a year.
Knipfer and Martin greatly added to the importance of the works made at the manufactory. Don Pedro Abadia, the Count's steward, an intelligent man, possessing great scientific knowledge, who had studied this subject in Paris and London, writes to the Count that the presence of both these artists was of absolute necessity at Alcora, "until the workmen who were near them perfected themselves." For owing to the carelessness of the managers of the porcelain works in 1776 Count Aranda wrote from Paris, during his embassy there: "My pottery of Alcora, notwithstanding every effort which has been made, the money spent, and foreign masters which have been brought over, gets worse every day instead of improving." Abadia repeats this in his reports. Porcelain of other kinds decidedly improved. He says also that the pipeclay which Martin had found at Alcora was the best in Europe.
In my opinion, a large number of unmarked white biscuit and demi-porcelain figures which are so constantly found in collections belong to this period of the manufactory of Alcora. They have hitherto been classified with very great difficulty, and attributed to the porcelain manufactory of Buen Retiro, without any reason which justifies this opinion. For the help of collectors I will mention the subjects which they represent, which I have found in a document, dated 1777, of the figures and groups and other objects made during that year.
We find also the following figures of painted and glazed porcelain:
In 1780 four rival pottery works were established in the neighbourhood which copied and imitated the pottery made at Alcora. The two most important were at Rivasalbes and Onda, the other two at Alcora itself. Many of the artists who belonged to the works established by Count Aranda worked at the rival factories; among them were Mariano Causada, Joaquin Ten, Francisco Marsal, Vicente Alvaro, Christoval Mascarós, Francisco and Miguel Badenas, and Nadal Nebot; some of these artists returned to the Count's manufactory. In order to distinguish the genuine pottery from imitations, orders were given, with the authorization of the Tribunal of Commerce, that the pottery made there should be marked henceforward with the letter A; no special mark had hitherto been used at the manufactory, the artists very often signed the specimens they made with their monograms or signatures, of which those most frequently met with will be found accompanying the list of artists' names, for the help of collectors; all of them have been copied from original documents. It is interesting for collectors to bear in mind, that all specimens which are marked with the letter A are posterior to 1784. The pottery works founded in imitation of the manufactory belonging to Count Aranda came to an end before 1790, some by special agreement with the owners themselves, and others by the express orders of the authorities, in virtue of the privileges granted to the Count.
Mr. Martin died at Alcora in the month of May, 1786. Knipfer left soon afterwards, and was succeeded by a French artist, M. Pierre Cloostermans, a skilful man, and well versed in the manufacture of porcelain pastes, as well as in painting and decorating them. According to his contract, which was drawn up in Paris in 1787, "Pierre Cloostermans, chemiste, natif de Paris, demeurant à Paris, Rue de Clery, au coin de celle Montmartre," agreed to "live for thirty years at Alcora as director and workman, to make soft and hard porcelains, and all the necessary colours with which to paint and decorate it."
He also promised to make good pipeclay pottery and marbled wares which were to be as excellent as those of Strasburg. The expenses of his journey were paid, his sons were to be employed in the works, and it was stipulated that if the works increased to a great extent, 500 pounds (Valencian money), was to be added to his yearly salary. It was against the Count's express desire that pottery of an exclusively artistic character should be produced at Alcora; his chief object was to improve the industry itself. In one of his letters to Abadia, written in October, 1789, he says: "I wish to export the porcelain of my manufactory, but chiefly in common objects, such as cups of different kinds, tea and coffee services, etc. These may be varied in form and colour, the principal point being that the paste should bear hot liquids, for we Spaniards above everything wish that nothing we buy should ever break. By no means let time be wasted in making anything that requires much loss of time. The chief object is that the pastes should be of first-rate excellence and durability."
Cloostermans suffered much discomfort and annoyance from other workmen at Alcora, who were envious of his merit: they put every difficulty in his path, insulted him daily with pasquins, accused him of not fulfilling his religious duties, and annoyed him incessantly. His letters are full of these complaints. Count Aranda treated him with every consideration. During Cloostermans' stay at Alcora, the pottery made improved greatly in artistic merit. Figures and groups of many kinds were attempted, and even Wedgwood jasper ware was creditably imitated. In 1789, among other pottery that was sent to Madrid were "two hard paste porcelain cups, adorned with low relief in the English style." The most important one was moulded by Francisco Garcés, the garlands and low reliefs by Joaquin Ferrer, sculptor, the flowers on the covers by an apprentice, helped by Cloostermans. The composition of these objects was suggested by Abadia, who brought some specimens from Paris which came from England.
Cloostermans sent the Count in 1789 a number of objects of different kinds made of porcelain. Among them the most interesting were "a tea and coffee service painted and gilt of glazed porcelain, and ten unglazed figures. Those painted by Albaro are marked A, those by Escuder, E, and by Mas, M, and Cloostermans' son." A large and varied collection of marbled wares and toys were sent at the same time. Cloostermans' marbled wares are pronounced superb.
Count Aranda writes in July, 1790, to Diez Robles alluding to a large collection of pots for plants, which were made at Alcora for the King, decorated with the royal arms. Another series are still to be met with at the Royal Gardens; they are of pipeclay, and ornamented with rams' heads.
In 1784 the Count sent two potters, Christoval Pastor and Vicente Alvaro, to Paris to study the last improvements in porcelain. They returned in 1789, and the porcelain they made was much commended and highly approved. They write to the Count in September, 1789: "We know that Don Domingo has sent your Excellency 97 objects made by us, marked No. 3, 1, No. 4, No. 3, with a dot, and No. 3 with the letter 'P'; No. 4 with the letter 'H,' all made by me in clay, and varnished with the greatest care. Three flask-stands and two toothpick-stands were made by me, Pastor, before I went to Paris. The marble wares, Nos. 3 and 4, and other similar objects with gold lines, are also made by me."
In 1784, Mariano Garcia of Valencia made some experiments before the Directors of laying on gold, and different shades of purples. A number of specimens were sent to the Count, but Knipfer did not approve of the plan adopted, and it was afterwards abandoned.
Marbled wares of different colours were made at Alcora in vast quantities in 1790. A large depôt was established in 1791 of Alcora ware in the Calle de Luzon at Madrid. The printed prospectuses which were issued give a long and detailed list of the different productions of the manufactory, which chiefly consisted of dinner and tea services, and other objects of domestic use.
In 1792 nearly 100 painters and modellers existed at the manufactory; 45 were employed to work in porcelain and pipeclays, and 26 were apprentices.
Cloostermans was forced to leave Alcora in April, 1793, owing to certain disturbances which occurred at Valencia, when, owing to a proclamation of the Captain-Generals, he and other Frenchmen residing in the province of Valencia, were ordered to leave the country. The Count gives instructions that Cloostermans should want for nothing on his journey; he writes ordering that 3000 reales should be given him, and his yearly pension of 1200 pounds (tornoises). Cloostermans left with his three sons after giving up the receipts and other documents connected with the manufactory. In 1795 permission was given that Frenchmen might return to Spain, and he resumed his post in the manufactory.
The principal efforts at Alcora since Knipfer, Martin, and Cloostermans entered the manufactory, had been centred in making porcelain and pipeclay wares of different kinds. A great number of essays with foreign earths were made; and all those of a suitable kind which were known in Spain. Count Aranda was always most anxious that Spanish materials should be used in the manufactory; he says, in a letter written in 1790, "the Kaolin of Cataluña may be good or bad, but it is acknowledged to be Kaolin, and if not used these works must be closed." This Kaolin had been found by Christobal Pastor and Vicente Albaro on their return from Paris.
Baron Davillier has been good enough to inform me that he has found mention of some objects of Alcora wares which Count Aranda sent as a present to his friend Voltaire, at Ferney.
From 1789 to 1797 the following kinds of pottery were made at Alcora:—
In 1799 we find mention made of partridges modelled by Christoval Mas, and Clemente Aycart much commended for his dogs, ducks, tortoises and frogs.
Joseph Ferrer writes to the Duke of Hijar in the same year, that "he had just seen a bust of Dn José Delgado, a trifle smaller than the one previously sent of your excellency." These busts and some medallion portraits were made of porcelain frite. Ferrer complains in the same letter that Delgado the manager had asked for a fine jug and basin of Sèvres, which had been given by the King of France to the late Count, and that he had been obliged to hide it away with some English specimens which were in the warehouse.
Count Aranda died in January, 1798, and was succeeded by his son the Duke of Hijar. Cloostermans died the same year; Vicente Prats is stated to be the best painter and decorator at Alcora at this date. In an extract drawn up of the state of the pottery works in 1798, it appears that 200 workmen were employed, and pottery of every description was made, common earthenware, pipeclays in imitation of the English ones, and porcelain in small quantities; common wares were made in large quantities; the pipeclays were pronounced superior to the English in brilliancy, but were so porous that they were easily stained, a large number of snuff-boxes and other small objects belong to this period.
In 1800, the Duke of Hijar, who succeeded the Count of Aranda in the management of the manufactory, writes to Dn Josef Ferrer, saying: "As I do not know the authors of the pipe-clay porcelain or that of other kinds which is sent here, I beg you to order the master workmen of porcelain and common pottery to engrave, in making it, the initials of their names, as it will enable me to distinguish the good from the bad."
Twelve porcelain baths with the arms of Spain in blue were made at Alcora for Queen Maria Louisa in 1800.
The Duke of Hijar ordered in 1800 that a dinner-service should be made there for his use. He sent instructions that it should be of the same kind as a tea-service previously sent to his son the Duke of Aliaga. The painter chosen to decorate it was Mariano Alvaro, and the designs selected by Ferrer were taken from the Loggie of Raphael.
In the same year some cases of pottery were sent to the Duke; in one of them was a fine soup tureen modelled by Josef Ferrer, Cloostermans' son, Pierre, writes at this time, asking to be appointed to the post left vacant by his father's death; his petition however was not granted.
We have already seen that pottery and porcelain continued to be manufactured in the present century at Alcora in the same manner as in the 18th century, but owing to the French invasion of 1808 this industry suffered the consequences of war, and the work done there greatly diminished in excellence and quantity. Even before this the Director, Dn José Delgado complains in several documents of the bad state of the manufactory, the Directors who replaced him, Dn Juan Bautista Cabot and Dn Pedro Bezarco, write continually repeating the same thing. After the French were turned out of Spain, the industry was revived and strengthened by fresh artists from the porcelain manufactory of Madrid. Dn Luis Poggetti was appointed drawing master there in 1815, and Dn Domingo Palmera master of ornamental art, both these artists had worked at Buen Retiro, Poggetti as Director of pietre dure, and Palmera as second-class sculptor. After this time the manufactory of pottery at Alcora ceased to produce artistic works, and limited itself to send out common wares for domestic purposes; this system continued until 1858, when the Duke of Hijar sold the manufactory to Dn Ramon Girona, who brought over English workmen from Staffordshire in order to improve the wares. Many imitations of the older styles have also been made at Alcora of late years.
One of the most important results of the present study is the necessity of changing the classifications of a great number of specimens which have been believed to be manufactured at Moustiers and other localities in France, but which in fact were made at Alcora. It is sufficient to mention the names of Grangel, Cros, Soliva, and Vilar, which one of the best informed writers on Ceramic industry, Baron Davillier, has discovered on different specimens of pottery, and which, in his "Hist. des faïences et porcelaines de Moustiers, etc., Paris, 1863," he considers to be the names of artists who worked in France, although all of them belonged exclusively to Alcora, as will be seen in the subjoined list of artists' names. I am in hopes, also, that many errors may be corrected in future, touching French and English pottery, which was imitated to a great extent, and with much success at Alcora.
We gather also by this information that an immense number of objects were made of pipeclay porcelain, in imitation of English wares; and, in my opinion, a great quantity of objects of white pipeclay porcelain which have been found of late years in Spain are of Alcora manufacture. They have been hitherto classified by amateurs as Leeds pottery. We find, in papers relating to Alcora, that a decided distinction is made between white and straw-coloured pottery. This indication may be sufficient to distinguish it from English wares.
Townsend, in "A Journey to Spain in the years 1786-1787," London, 1792, p. 255, says: "At Alcora, in the neighbourhood of Valencia, a manufacture of porcelain has been successfully established by Count Aranda, and deserves encouragement. I was much pleased with their imitations of gilding. It is very natural, and the manager informed me that after many years' trial it was found to be durable."
EARTHENWARE PLAQUE, ALCORA WARE. SOUTH KENSINGTON MUSEUM.
EARTHENWARE PLAQUE, ALCORA WARE. SOUTH KENSINGTON MUSEUM.
Specimens exist of Alcora ware and porcelain at the South Kensington Museum.
Nos. 1051, 1052-'71. Two fine plaques, painted with mythological subjects of Pomona and Galatea, the borders raised in form of a frame, with scroll ornaments [see woodcut of No. 1052].
No. 341-'76. A porcelain cup and saucer, blue ground, gilt; painted with flowers in white medallions.
No. 333-'76. A plate painted with sprigs, and containing models of fruit in full relief.
From 1727 to 1784 no special mark was used at Alcora. In several instances specimens were signed with the painter's name or initials.
In order to distinguish the qualities or sizes, coloured numbers were frequently added.
From 1784 the letter A in gold or colours was used to mark the pottery and porcelain made at Alcora.
The following marks were used after 1784. The a underlined, A, sometimes in blue.
A number and letter, No. 4 A, G 8; No. 3 P. In 1799 the pottery made by Friar Joseph de Zaragoza was marked M. O. X.
In 1759 King Charles III. came from Naples, having inherited the Spanish crown on the death of his brother Ferdinand VI. Soon after his arrival he determined to establish a porcelain manufactory at Madrid in the same style as one which in 1736 he had founded at Naples. The documents which exist relating to this manufactory at the archives of the Royal Palace, Madrid, Alcala, Ministry of Finance, etc., state that before the King left Naples, he ordered the following letter to be written to the Secretary of State, Richard Wall, on September 11, 1759: "Likewise the workmen and utensils used at the royal manufactory of porcelain of Capo di Monte must be embarked from Naples to Alicant, in the vessels prepared for that purpose, in order to continue from there the journey to Madrid. The necessary conveyances are to be provided, and the expenses to be charged to his Majesty's account."
Charles III. landed at Barcelona on the 17th of October, 1759, and we find a letter written by order of the King, by the Marquis of Esquilace to Secretary Wall, in November of the same year, in which he says that the King had heard of the arrival in Spain of the workmen from Capo di Monte, and gives orders that money should be supplied to the Director, Don Juan Thomas Bonicelli. Wall answers that he "will give orders and help the workmen who are to establish the manufactory, and let them have every facility to examine different sorts of earths and localities which may suit them, and that the Director, Bonicelli, should have the money he might require."
It appears also that 300 gold ducats were given to Giuseppe Gricci, "modeller," in absence of Bonicelli. The King ordered Wall to be informed that he understood that a place had been found near Madrid to establish these works, and that he was anxious to see a plan of the exact locality. Giuseppe Gricci drew the plan of the spot chosen, and was paid 100 gold doubloons for works connected with the manufactory. Bonicelli sends the following list of workmen who had arrived from Naples to the King.
| Cayetano Schepers, | chief composer. |
| Pablo Forni. | |
| Joseph Gricci, | principal modeller. |
| Carlos Gricci. | |
| Esteban Gricci, | modeller. |
| Cayetano Fumo, | " |
| Basilio Fumo, | " |
| Joseph Fumo, | " |
| Carlos Fumo, | " |
| Macedonio Fumo, | " |
| Joseph Santorum, | " |
| Juan Bescia, | " |
| Bautista de Bautista, | " |
| Antonio Morelly, | " |
| Salvador Nofri, | " |
| Phelipe Esplores, | " |
| Ambrosio de Giorgi, | " |
| Pedro Antonio de Giorgi, | " |
| Pablo Frate, | " |
| Workmen employed in the Kilns. | |
| Jenaro Bonincosa. Nicolas Rocio. Pasqual Rocco. Juan Frate. Baldo de Beneditis. |
Vincenzio Frate. Matheo Mayni. Giorchino Amable. Joseph Esclavo. Antonio Aquaviva Esclavo. |
| Workmen who Pounded the Colours. | |
| Francisco Conte. Nicolas Conte. Angelo Lionelli. |
Joseph Caramello. Joachim Pataroti, carver in pietri dure. |
| Workmen employed at the Wheel. | |
| Joseph Grossi. Nicolas Botino. |
Juan Remini, gold beater. Pedro Chevalier, mounter. |
| Painters. | |
| José de la Torre. Juan Bautista de la Torre. Nicolas de la Torre. Fernando Sorrentini. Mariano Nani. Jenaro Boltri. Nicolas Donadio. |
Antonio Provinciale. Joseph del Coco. Carlos Remissi. Francesco Simini. Xavier Brancacio. Joseph Esclavo. Francisco Esclavo. |
On the 19th of December, 1759, Don Carlos de Borbon, the King's architect, presented him with the plans of the porcelain manufactory. The spot selected was inside the gardens of the Royal Palace of Buen Retiro. Ponz tells us in his "Viage," Vol. VI. p. 108, that the building was large and of regular architecture. We know it cost 179,130 reals.
Don Carlos de Borbon was a black slave who had been captured with other blacks during the reign of Ferdinand VI. The Queen-mother sent them to Naples, and Charles III. gave them an artistic education.
Don Carlos Antonio became the King's architect. On the 22nd of May, 1760, the building was finished, the money then spent amounted to upwards of 145,000 reals, and Larruga tells us, in his Memorias, "The King spent in establishing this manufactory £115,000, with a yearly cost to keep it up of £20,000."
William Clarke, in his "Letters concerning the Spanish Nation during the years 1760-1761," London, 1763, says, p. 262: "At Madrid is lately set up a manufacture of porcelain in the gardens of the King's palace at the Retiro, wrought by artificers brought from Saxony." Documents exist proving that in 1760-1761, they were already working there. Townsend, in his "Journey through Spain in 1786 and 1787," London, 1792, says, Vol. II., p. 278:—
"I tried to obtain admission to the china manufacture, which is likewise administered on the King's account, but His Majesty's injunctions are so severe that I could neither get introduced to see it, nor meet with any one who had ever been able to procure that favour for himself. I was the less mortified upon this occasion because, from the specimens which I have seen, both in the palace at Madrid, and in the provinces, it resembles the manufacture of Sèvres which I had formerly visited in a tour through France."
In the "Nouveau voyage en Espagne, ou Tableau de l'état actuel de cette monarchie," Paris, 1789, Vol. I. p. 233, the author tells us, how "Le monarque actuel à établi dans leur interieur une fabrique de porcelaine, dont l'entrée est jusquà present interdite à tout le monde. On veut sans doute que ses essais se perfectionment dans le silence, avant de les exposer aux yeux des curieux. Ses productions ne peuvent encore se voir que dans les Palais des Souverains, ou dans quelques Cours d'Italie, auxquelles il les envoie en presens."
We find in a "Nouveau voyage en Espagne," Paris, 1805, p. 34, in describing this porcelain manufactory that the author says; "Cet établissement tres couteux ne travaille que pour le Roi et a son compte; il en sort des vases d'une beaute et d'un fini qui ne le cedent point à ceux de Sèvres."
Citoyen Alquier, in 1800, the envoy of the French Republic, was allowed to visit the manufactory.
We do not know the precise date when porcelain began to be manufactured at the Retiro. Clarke, writing in 1761, says the works had begun, and in 1764 pupils attended the classes at the Academy of Sn Fernando. Larruga, in his "Memorias," says that as soon as the building was finished, china was made under the superintendence of Don Cayetano Schepers; the works, during his superintendence, proved very unsatisfactory, to his great astonishment, as the same process and workmen were employed as at Naples. Schepers attributes it to squabbles between the Spanish and Italian workmen. Sebastian Schepers, from 1783, a son of Cayetano's, tried various experiments with different clays of the country.
The porcelain made at Buen Retiro was kept for the first thirty years for the exclusive use of the royal family, or to be sent as presents to foreign courts. Nothing was offered for sale until January, 1789, after Charles III.'s death, 1788, when Charles IV. determined that the china manufactured at Buen Retiro might be sold. Even in Spain the specimens of this china are very scarce; it is only at the palaces of Madrid, Aranjuez, the Escorial and La Granja that an idea can be formed of the perfection of this manufacture.
The director at that time was Don Domingo Bonicelli, a son of Don Juan Bonicelli. Don Domingo chose a room within the Retiro, which was arranged at a cost of £350, in which to exhibit the objects for sale. Another room was taken in the Calle del Turco, which is mentioned in "Noticias varias y curiosas de Madrid," Valero Chicarro, 1762-1793, which we find was closed in 1800, as the "objects manufactured at the Retiro were simply for ornament, and could only be bought by very rich persons." Southey in his "Letters from Spain," London, 1797, p. 118, says, "The old palace of Buen Retiro is converted into a royal porcelain manufactory; the prices are extravagantly high, but they have arrived at great excellence in the manufacture. The false taste of the people is displayed in all the vases I saw there, which though made from Roman models, are all terminated by porcelain flowers."