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.
FIGURES OF DEMI-PORCELAIN.
Figures of tritons.
" of soldiers, two sizes.
" " one-third _palmos_ high.
" of the four seasons (two sizes).
" of dancers.
" of tritons in form of children.
" with brackets.
" of different animals.
" of gardener and female companion in the Dresden style.
Dancing figures in the German style.
Figures of Neptune.
Figures of shepherd and shepherdess.
" of the Moorish king, Armenius.
" of the four parts of the world, two sizes.
" of peasant and his wife.
Small figures holding musical instruments.
Figures representing different monarchies.
" " historical personages.
" " the history of Alexander the Great, two sizes.
" " Marius Curtius, two sizes.
" of elephants.
" of a man mounted on an elephant.
" representing Chinese figures.
" of Heliogabalus.
" of a general on horseback.
" of a grenadier supporting a candlestick.
Large figures representing Julius Cæsar.
Figures representing the different costumes worn in Spain, on brackets.
Groups of Chinese figures.
Snuff-boxes, sugar basins, inkstands.
Rabbits, horns, and pug dogs for holding scent.
Small scent bottles.
Needle cases.
Large vases with foot and cover.
Brackets.
Walking-stick handles.
Knife handles.
Tea-spoons.
FIGURES OF WHITE BISCUIT CHINA.
Figures representing Spanish costumes, two sizes.
Groups of two figures.
Large and small figures of the four parts of the world.
Figures of the four seasons, two sizes.
We find also the following figures of painted and glazed porcelain:
Four seasons, two sizes.
Groups of two figures.
Figure of a Moorish king.
" of musicians and huntsmen.
Figure of peasants.
" of Chinese.
Small figures of a gardener and female companion.
Figures of soldiers in the German style.
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:--
Hard paste porcelain (French).
Porcelain of three different kinds called Spanish.
Porcelain of pipe-clay (English).
Blue pipe-clay porcelain.
Marbled pipe-clay porcelain.
_Bucaro_, painted and gilt.
Strasburg Ware.
Porcelain painted _en froid._
Marbled and gilt wares, hitherto unknown.
PORCELAIN (FRITA).
Porcelain painted with gilt lines.
" " without gold.
Porcelain (frita), canary colour.
Boxes in relief.
" plain.
Porcelain (frita), painted with marble wares.
Plain boxes of the same kind.
Porcelain (frita), of blue and brown ground.
Cups and saucers of a similar kind.
BISCUIT PORCELAIN.
Figures.
Vases.
Pedestals.
White porcelain (frita) cups of different kinds.
" " ornamented and plain.
Boxes with busts.
Boxes with ornamentations in relief.
Figures.
Vases for holding flowers, plates, etc.
Large figures of the Four Seasons.
Flower vases with rams' heads.
Plain boxes.
Boxes with ornaments in relief.
WHITE PORCELAIN.
Plates, cups, etc.
Figures of different kinds.
PAINTED PORCELAIN.
Cups, saucers, plates, etc.
Cream pots.
Plain snuff boxes, or in the shape of a dog.
Fruit stands in relief.
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 D^{n} 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 D^{n} 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,
D^{n} José Delgado complains in several documents of the bad state of
the manufactory, the Directors who replaced him, D^{n} Juan Bautista
Cabot and D^{n} 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. D^{n} Luis Poggetti was appointed drawing master there in 1815,
and D^{n} 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 D^{n} 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."
[Illustration: 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.
A LIST OF THE DIRECTORS AND ARTISTS WHO WERE EMPLOYED IN THE
MANUFACTORY OF POTTERY AND PORCELAIN OF ALCORA FROM ITS FOUNDATION,
1726, UNTIL THE BEGINNING OF THE PRESENT CENTURY.
DIRECTORS.
Dr. Joaquin Joseph de Sayas, 1727.
Joseph Ollery, 1727 to 1733.
Manuel de Molina, 1727 to 1735.
Cayetano Allue, 1727 to 1750.
Marcial Guirandeta, 1778 to 1783.
Juan Villalonga, 1789.
Pierre Cloostermans, 1789.
Domingo Abadia, 1789.
Gabriel Berenguer y Cebrian, 1789.
Josef Ferrer, 1799.
Josef Delgado, 1800.
ARTISTS.
Abella, Francisco, 1750, at Alcora.
Alvaro, Cristobal, 1750.
Alvaro, Joseph, paints pottery in 1743, 1750.
Alvaro, Vicente, el mayor, works at the wheel in 1750.
Alvaro, Vicente, painted with Knipfer in 1783; he was sent by Count
Aranda in 1784 to Paris to learn the making of porcelain; he returned to
Spain in 1789, and continued to work at Alcora.
Alvaro, Tiburcio, painted with Knipfer in 1783.
Andrés, Cristoval, modeller and carver in 1783.
Andrés, Francisco, modeller in 1783.
Andrés, Francisco, modeller, 1743 to 1750.
Andrés, Gabriel, painter, 1743 to 1750.
Andrés, Gabriel, figures as one of the leading painters in 1794.
Andrés, Jaime, painter, from 1728 to 1737.
Andrés, Mariano, paints from 1739 to 1750.
Andrés, Mariano, works in 1789.
Andrés, Miguel, painter, 1743 to 1750.
Aparicio, Manuel, painter, 1750.
Arqua, Vicente, 1750.
Aycart, Clemente, sculptor, worked at the porcelain works in 1789.
Aycart, Roque, worked at the wheel in 1783.
Aycart, Ventura, worked at the wheel in 1783.
Bachero, Vicente, painted porcelain in 1789.
Badenas, Cristoval, painter, 1727 to 1750.
Badenes, Francisco, establishes with Miguel Badenas pottery works, where
pottery was made in imitation of Alcora: it was put a stop to by
agreement in 1789.
Badenes, Miguel; see Francisco.
Beltran, Pedro, retouched painting on porcelain in 1783 to 1789.
Berenguer, Cristoval, painter, painted from 1727 to 1750.
Blasco, Bautista, painted from 1727 to 1750.
Blasco, Francisco, painted from 1731 to 1738.
Blasco, Joaquin, painted in 1750.
Blasco, Joseph, modeller, 1731 to 1735; he painted in 1750.
Blasco, Manuel, painter, 1728 to 1750.
Blasco, Vicente, painted 1727 to 1750.
Buxadós, Ildefonso, painted 1727 to 1750.
Buxadós, Manuel, painted common pottery in 1783.
Calvo Perales, Joseph, painter from 1727 to 1750.
Calvo, Manuel, painter of common pottery in 1783.
Calvo, Ramon, painted common earthenware from 1750 to 1783.
Campion, Juan, a Frenchman, worked at the wheel in 1743.
Carnicer, Juan, worked at pipe-clay porcelain in 1789.
Carnicer, Vicente, modeller from 1783 to 1789.
Carbonel, Sebastian, a Frenchman; he modelled in 1728.
Catalá, Cristoval, modelled in 1783.
Catalá, Juan, 1750.
Catalá, Manuel, 1750.
Catalá, Pascual, painter from 1729 to 1750.
Catalá, Pedro Juan, painted common pottery in 1783.
Caussada, mayor, Jacinto, painted from 1727 to 1750.
Caussada, menor, Jacinto, from 1727.
Caussada, Joseph, a son of Jacinto, painted from 1743 to 1750. He ran
away from the manufactory and went to work at Talavera, and was brought
back to Alcora.
Caussada, Mariano. It was proposed that he should be turned out of the
manufactory, owing to his having gone over to the works established at
Onda, where he gave them the receipts of the colours and varnishes used
at Alcora; he returned to Alcora in 1789.
Caveta, Pascual, painter, 1743.
Chiva, Cristoval de, painted porcelain in 1789.
Chiva, Joseph, painted from 1727 to 1738.
Chiva, Manuel, painted in 1789.
Cloostermans, Pierre, a French artist; he entered the manufactory in
1787, and continued to work there until his death in 1798.
Cloostermans, a son of Pierre's, was an excellent painter on porcelain
in 1789.
Corrás, Ignacio, a native of Cataluña, painted from 1727 to 1728.
Coll, Jaime, a native of Cataluña, painted from 1727 to 1736.
Cros, Cristoval, painted from May, 1727 to 1743; he was one of the best
artists who painted at Alcora.
Cros, Manuel, worked at the wheel in 1783.
Cros, Manuel, 1750.
Cros, Pascual, painted from 1727 to 1736.
Cros, menor, Vicente, painted porcelain from 1750 to 1789.
Cros, Vicente, 1735 to 1750.
Datos, Gaspar, modeller, 1731 to 1750.
Datos, Julian, modeller, in 1783.
Datos, Ramon, painted in 1750.
Datos, Vicente, 1750.