Fabra, Francisco, painted from 1730 to 1743.
Fabra, Vicente, painter, 1727 to 1735.
Falco, Joseph, painter, 1727 to 1743.
Falco, Pedro, painter, 1727 to 1735.
Feliu, Vicente Tomas, painter, from 1727 to 1750.
Feliu y Thomas, Vicente, painted common pottery in 1783.
Ferrer, Joaquin, a carver, who worked with Mr. Martin from 1783 to 1789.
Ferrer, Esteban, painted porcelain in 1789.
Ferrer y Carnicer, Vicente, worked at the wheel in 1783. In December,
1789, he had an oven on his own account at Alcora, the only one which
remained out of four which had been established four years previously
there.
Ferrer, menor, Vicente, 1750.
Ferrer, Vicente, painted from 1727 to 1743.
Flor, Antonio, painted common pottery from 1750 to 1783.
Fores, Joseph, painter, 1727.
Fornench, Joseph, painted in 1739.
Fornench, Phelipe, painted common pottery in 1783.
Fornench, Francisco, worked at the wheel in 1783.
Fornench, Phelipe, painter, 1727 to 1750.
Fuste, Salvador, painter, 1727.
Galvez, Juan, modeller, 1731 to 1735.
Garcés, Joaquin, painter. He worked with Joaquin Ter at the manufactory
which he established at Alcora, and returned to the Counts in 1789.
Garcés, Francisco, worked at the wheel with Mr. Martin in 1783, and was
considered by Cloostermans, in 1789, his most able workman.
Garcés, Joseph, painter, 1727.
Garcés, Pedro, 1743.
Garcia, Mariano, a native of Valencia. He went to Alcora to try a system
of gilding and purple which he had invented, which produced an
unsatisfactory result.
Gasch, Agustin, painter from 1728 to 1750, although he was absent from
the works from 1735 to 1741.
Gasch, Bruno, a son of Juan's, worked at the wheel from 1743 to 1750.
Gasch, Cristoval, worked with the turners, 1731 to 1741, and joined the
painters until 1750.
Gasch, Francisco, worked at the wheel from 1729 to 1750.
Gasch, mayor, Joaquin, worked at the wheel in 1783.
Gasch, Joseph, painter, 1731 to 1735.
Gasch, Juan, worked at the wheel from 1728 to 1750.
Gasch, Manuel, worked at the wheel in 1783.
Gasch, Miguel, the son of Juan, painted in 1743.
Gasch, Vicente, 1750.
Gasch, Correo Vicente, worked at the wheel in 1783.
Gardo, Juan, painter and modeller, 1731 to 1735.
Gil, Francisco, modeller, 1783.
Giner, Manuel, painter, 1727.
Gomez, Cristoval, painter on common pottery, 1783.
Gomez, Francisco, modeller, 1731 to 1750.
Gomez, Vicente, painter, 1750, 1783.
Gomez, menor, Vicente, worked at the wheel and painted from 1783 to
1789.
Gorris, Joseph, 1750.
Granell, Cristoval, painter, 1729, 1750.
Granell, Joseph, modeller, 1731 to 1735.
Granell, Vicente, 1731 to 1750.
Grangel, Francisco, pintor, painted from 1727 to 1783. In 1743 the
finest work was given to him.
Grangel, Juan, painted from 1727 to 1750.
Gras, Monsieur, painter, 1728.
Haly, François, 1751.
Herrando, Francisco, 1727.
Herrando, Joseph, painter, 1727 to 1736.
Herrando, Juan, painted from 1729 to 1735.
Herrando, Manuel, modeller, 1783.
Herrando, Pascual, worked at the wheel from 1728 to 1743.
Herrando, Thadeo, 1750.
Huguet, Cristobal, worked at the wheel in 1783.
Huguet, Francisco, worked at the wheel and modelled in porcelain from
1783 to 1789.
Huguet y Mascarós, Joseph, painter, 1783 to 1794.
Huguet, Vicente, painter. He worked at the manufactory established by
Joaquin Ten at Alcora, and returned to Count Arandas in 1789, and
continued there in 1794.
Huguet Serra, Joseph, modeller in 1783.
Ibañez, Juan, painter from 1727 to 1735.
Knipfer, Juan, a native of Saxony, 1783.
Lazaro, Joseph, painter, 1727.
Lopez, Julian, 1792.
Llorente, Francisco, 1750.
Lloscos, Joaquin, painter, 1783.
Llosca, menor, painter, 1783.
Malanco, Nicolas, painter, 1727.
Marin, Pedro, painter, 1727 to 1736.
Marques, Miguel, painter, 1794.
Marras, Francisco, painter and modeller in 1727.
Marsal, Bautista, painter from 1727 to 1743.
Marsal, Francisco. He worked at Alcora, and left it for the manufactory
of Onda; in 1783 he returned to Count Aranda's works.
Marti, Miguel, worked at the wheel in 1783.
Martin, Francisco, modeller in 1783.
Martir, Pedro, worked at the wheel in 1739.
Mas, Cristoval, modeller from 1783 to 1789.
Mas, Francisco, painted common pottery in 1783.
Mas, Julian, a skilful painter on porcelain in 1789.
Mas, menor, Manuel, painted common pottery in 1783.
Mas, Manuel, painted from 1727 to 1750.
Mas, Pedro, painter in 1743.
Mascarós, Cristobal, painter from 1728 to 1750.
Mascarós y Thomas, Cristoval, painted on pottery from 1783 to 1794.
Mascarós, Francisco, 1743 to 1750.
Mascarós, Joseph, painted porcelain in 1789.
Mascarós, José, painter in 1735 to 1736.
Mascarós, Pedro Martin, painted from 1729 to 1736.
Mascarós, Vicente, worked at the wheel from 1750 to 1780.
Masso y Fabra, Vicente, painted in 1727.
Massó, Joseph, 1750.
Massó y Fabra, Francisco, painter, 1739, 1750.
Massó Nadal, Vicente, painter from 1727 to 1750.
Mallol, Joaquin, modeller, 1783.
Mallol, Cristoval, modeller in 1783.
Mallol, Vicente, modeller, 1783.
Maurisi, Pedro, a Frenchman, began to work in 1728.
Mezquita y Chiva, Francisco, worked at the wheel in 1783.
Mezquita, Francisco, painted in 1750.
Mezquita, Jaime, painter, 1731 to 1750.
Mezquita, Pascual, painter from 1727 to 1735.
Miguel, Vicente, 1750.
Miralles, Vicente, worked in clay from 1731 to 1743.
Moliner, Cristoval, worked at the wheel in 1783.
Moliner, Miguel, painted from 1728 to 1750.
Moliner, Vicente, modeller in 1783.
Monfort, Agustin, modeller in 1783.
Monfort, Pablo, modeller in 1783.
Montemenor, Joseph, modeller in 1783.
Montolin, Jacinto, painter, from 1731 to 1750.
Montolin, Juan, painter, the son of Jacinto, from 1735 to 1750.
Montolin, Juan, varnisher and painter in 1783.
Montolin, Joseph, painter on porcelain in 1789.
Montolin, Vicente, painter of common pottery in 1783.
Montolin, Vicente, painter, from 1727 to 1750.
Moya, Crisostomo, retouched porcelain in 1789.
Nadal, Felix, 1727 to 1735.
Nadal, Juan, master at the wheel, painter and carver from 1727 to 1737.
Nadal, Miguel, 1783.
Nadal, Nebot, works from 1743 to 1783.
Navarro, Cristoval, worked at the wheel in 1783, and painted porcelain
in 1789.
Nebot, Bautista, painter, 1794.
Nebot, Cristoval, modeller, 1750.
Nebot, Cristoval, menor, 1794.
Nebot, Francisco, 1750.
Nebot, Francisco, painter in 1794.
Nebot, Joseph, worked at the wheel from 1728 to 1740.
Nebot, Joaquin, worked at the wheel in 1794.
Nebot, Juan, painter, 1750 to 1783.
Nebot, Miguel, painter, 1783 to 1794.
Nebot, Narciso, painter, 1794.
Negre, Deodato, painter, 1727.
Negre, Francisco, worked at the wheel from 1783 to 1794.
Negre, Julian, worked at the wheel in 1794.
Negre, Manuel, modeller, 1783 to 1794.
Negre, Ramon, painter, 1783 to 1794.
Negre, Vicente, modeller, 1727.
Nondedeu, Cristoval, modeller, 1729.
Nondedeu, Miguel, turner, 1731 to 1743.
Ochando, Joseph, draughtsman and carver, from 1727 to 1742.
Olery, Joseph, director of the works from 1735 to 1737. In August, 1729,
he was appointed principal draughtsman.
Pacor, Bartolomé, painter, 1728 to 1735.
Palau, Francisco, painter, from 1727 to 1750.
Palmera, Domingo, master of ornamental art, 1815.
Pardo, Cristoval, turner, from 1727 to 1750.
Pardo, Francisco, 1750.
Pardo, Joseph, turner, from 1731 to 1750.
Pardo, Vicente, master at the wheel in 1728.
Pastor Bartolo, Antonio, painter, 1750.
Pastor Butoni, Antonio, painter, 1750.
Pastor, Bartolomé, a brother of Vicente's, from 1729 to 1750.
Pastor, Bautista, varnisher, 1783.
Pastor, Cristoval, worked at the wheel with Mr. Martin from 1783 to
1789.
Pastor, Gaspar, 1750.
Pastor, Joseph, painted in common pottery and porcelain from 1783 to
1789.
Pastor, Joseph, painter, from 1728 to 1750; his name appears in 1743
among the best artists of Alcora.
Pastor, Vicente, painter, from 1728 to 1743.
Pastor, Vicente, painter, was pensioned in Paris by Count Aranda in
1784; he returned to the works in 1789, and continued there for several
years afterwards.
Peña, Vicente, modeller, 1783.
Perales, Ramon de, painter, 1750.
Periz, Joseph, modeller, from 1727 to 1731.
Periz, Joseph, mayor, painter, from 1750 to 1783.
Periz, Joseph, menor, modeller, 1783.
Perpiñan, Cristoval, a son of Vicente, painter, from 1727 to 1740.
Perpiñan, Vicente, modeller, from 1731 to 1743.
Pinazo, Andres, draughtsman and carver, 1727.
Poggetti, Luis, drawing master, 1815.
Porcar, Cristoval, painter, from 1727 to 1735.
Porcar, Pascual, modeller, from 1729 to 1735.
Prast, Antonio, painter of common pottery in 1783.
Prats, Cristoval, modeller, 1783.
Prats, Cristoval, turner, from 1731 to 1750.
Prats, Francisco, modeller, from 1750 to 1783.
Prats, Fulgencio, painter, 1783.
Prats, Vicente, painter, from 1750 to 1794. In 1789 he ranked among the
first artists at Alcora.
Querol, Vicente, 1743.
Querol, Joseph, a son of Vicente, painter, from 1727 to 1750.
Querol, Manuel, painter, from 1750 to 1783.
Rech, Joseph, a native of Cataluña, painter, in 1727.
Redolat, Joseph, painter on porcelain in 1789.
Ribot, Joseph, turner, from 1731 to 1735.
Ricart, Antonio, turner, from 1729 to 1735.
Ricart, Clemente, modeller, in 1783.
Ricart, Joaquin, modeller, in 1783.
Robert, a Frenchman, painted in 1729.
Rocafort, Cristoval, painted from 1727 to 1750; he was one of the best
artists at the manufactory in 1743.
Roman, Juan, painted from 1731 to 1735.
Roman, Manuel, painted from 1735 to 1750.
Romualdo, Joseph, painter, from 1728 to 1750.
Roux, Edouard, a French painter, who worked at Alcora, where he had been
brought by Ollery in 1728 until 1735.
Rules, Joseph de, turner, from 1731 to 1735.
Saborit, Cristoval, modeller, in 1783.
Saborit, Cristoval, painted from 1727 to 1736.
Saborit, Joaquin, painter, 1783.
Saborit, Joaquin, painted from 1728 to 1750.
Saborit, Manuel, modeller, in 1783.
Sagao, Rafael, draughtsman and carver, 1727.
Salvada, Joseph, 1789.
Sancho, Joaquin, painted in 1783.
Serrania, Cristoval, 1750.
Serrania, Vicente, painted from 1728 to 1743.
Soliva, Joaquin, painted pottery in 1783, and retouched porcelain in
1789.
Soliva, Miguel, painted from 1727 to 1750. In 1743 he was considered the
best artist at Alcora.
Soriano, Joseph, turner from 1731 to 1735.
Soriano, Nicasio, turner from 1731 to 1735.
Sorolla, Manuel, worked at the wheel in 1783.
Tarazona, menor, Cristoval, modeller, 1783.
Tarazona, Cristoval, painted from 1727 to 1750.
Tarazona, Ramon, retouched porcelain in 1783.
Tarragó, Joseph, painter from 1728 to 1735.
Tarragó, Vicente, painter from 1727 to 1750.
Ten, Francisco, modeller in 1783.
Ten, Joaquin, painter from 1732 to 1750. In 1789 he closes the pottery
works which he had established in imitation of those of Alcora.
Ten, Joseph, 1750.
Ten, Jaime, painter from 1735 to 1750.
Terra, Cristobal, modeller, 1783.
Terra, Vicente, varnisher, 1783.
Thomas, Antonio, modeller, 1783.
Thomas, Gaspar, 1750.
Thomas, Joaquin, modeller in 1783.
Thomas, José, 1750.
Thomas, José, worked at the wheel in 1783.
Thomas, Juan, 1743, 1750.
Thomas, Mateo, 1750.
Thomas Feliu, Vicente, painter from 1729 to 1740.
Thomas, Vicente, 1783.
Torres, Cristoval, painter from 1728 to 1750.
Torres, Juan, from 1731 to 1735.
Vadenes, Cristobal, 1770.
Valentin, Pedro, painter from 1727 to 1743.
Vilar, Cristobal, painter from 1727 to 1750.
Vilar, Cristobal, sculptor, works in porcelain in 1789.
Vilar, Francisco, 1750.
Vilar, Joseph, modeller in 1783.
Vilar, Miguel, painter from 1727 to 1743.
Vilar, Pedro, worked in the ovens from 1735 to 1750.
Vilar, Ramon, retouched porcelain in 1789.
Vilar y Bordoñan, Cristobal, modeller in 1783.
Vilar y Bordoñan, Mariano, worked at pipe-clay porcelain in 1789.
Vilar Perpiñan, Cristobal, painted from 1739 to 1743.
Vilar Ricart, Cristobal, painter from 1727 to 1735.
Vilar Porcar, Cristobal, painter, 1727.
Vilar Ricart, Joseph, painter from January, 1731, to 1735.
Vilar Porcar, Joaquin, painter from 1727 to 1735.
Vilar Saboret, Joaquin, painter in 1729.
Yguet, Vicente, painted common pottery in 1783.
Zaragoza, Friar, worker in porcelain, 1799.
MARKS AND SIGNATURES OF THE PAINTERS WHO WORKED AT ALCORA.
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.
[Illustration]
[Illustration]
[Illustration]
[Illustration]
[Illustration]
[Illustration]
[Illustration]
MADRID.--BUEN RETIRO PORCELAIN.
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 S^{n} 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."
Every kind of porcelain was made at Buen Retiro, hard and soft paste,
white china, glazed or unglazed, or painted and modelled in the style of
Capo di Monte. A great many existed imitating the blue jasper ware of
Wedgwood, and they also made flowers, coloured and biscuit, groups, and
single figures, and painted porcelain of different kinds. Great
quantities of tiles for pavements were also made there, which may still
be seen at the Casa del Labrador at Aranjuez; they are mentioned in the
accounts which exist at the Ministry of Finance for 1807 and 1808. We
find in these same accounts interesting details of the objects made
monthly. In January, 1808, a large number of figures were made,
including 151 heads for the table centre which was made for the king,
306 objects ornamented with paintings, 2,056 tiles, 577 objects of less
artistic importance, such as dishes, plates, etc. The finest specimens
which exist are in the Neapolitan style, and are two rooms at the
Palaces of Madrid and Aranjuez of which the walls are completely covered
with china plaques and looking-glasses, modelled in the most admirable
manner with figures, fruits, and flowers. The room at Aranjuez is
covered with a bold ornamentation of figures in the Japanese style, in
high relief, painted with colours and gold with the most exquisite
details. The figures unite the fine Italian modelling with the Japanese
decoration. The chandelier is in the same style. Upon a vase on the
wainscot to the right of the entrance door is the following inscription:
JOSEPH
GRICC^{I}
DELINEAV^{it}
ET
SCUL^{it}
1763.
This same date is repeated in the angles, and in some shields near the
roof we find,
AÑO
1765;
probably the year the work was terminated. Antonio Conca, in his
"Descrizione Odeporica della Spagna in cui spezialmente si da notizia
delle cose spettanti alle Belle Arti," Parma, 1793, Vol. III., p. 310,
says, "Il Gabineto abbelitto di porcellana della Fabbricca del Retiro ha
meritato le bodi de curiozi viaggiatori." We also find in p. 119, "Un
altro Gabinetto vien chiamato della Cina pel sud principal ornata di bei
putti, di bassi relievi, e di altre opere di porcellana della nuova Real
Fabbricca del Ritiro." Ponz, in his "Viage de España," Madrid, 1782,
describes the room at the Palace of Madrid, saying, "it is covered with
large plaques of porcelain made at Buen Retiro. In some are represented
figures of children copied from models, and between each compartment
looking-glasses are let in." (See woodcut.)
[Illustration: ROOM DECORATED WITH BUEN RETIRO PORCELAIN, IN THE PALACE
AT MADRID.]
From the establishment of the manufactory in 1759 by Charles III.
until 1803 the styles adopted at Capo di Monte had been followed. At the
beginning of this century Dn. Bartolomé Sureda went to Paris to learn
the manner in which Sèvres porcelain was made. On his return in 1803 he
was appointed director of the works at Buen Retiro and endeavoured to
imitate the paste and brilliancy of decoration of Sèvres. Two workmen
came over from Paris--Victor Perche, and Vivien.