splendid clock and four vases, two mètres high, with porcelain flowers,
which exist in one of the state rooms of the Palace of Madrid. The vases
are placed in the four corners of the room. The clock is ornamented with
large biscuit figures. A large number of vases exist at the royal
Palaces of Madrid, Aranjuez, and Escorial, of Retiro china. They are
often finely mounted in gilt bronze with muslin or porcelain flowers.
The blue of the imitations of Wedgwood is not so pure, nor is the
biscuit work so fine as the English. Gold is often added to these
specimens.
We find at the archives of the Ministry of Finance interesting details
of a dinner service made in 1798 for Charles IV., and a centre-piece,
which probably is that now in the Casa del Labrador at Aranjuez.
When the French made their entry into Madrid in the spring of 1808 they
took possession of the position occupied by the royal manufactory. In
July of the same year it continued in the hands of the French, who
forced open the doors of the laboratory. Porcelain continued, however,
to be made there during the reign of Joseph I.; we find in "Travels
through Spain and part of Portugal," London, 1808, p. 23, that, the
author says, "the gardens of the Buen Retiro are open to the public. In
the neighbourhood of these the royal porcelain manufacture is carried on
in a large white building." Lord Blayney, in his "Narrative of a Journey
through Spain and France in 1810-1814," London, 1814, says that "the
royal manufactures of tapestry and porcelain have declined since the
death of Charles III. and have now entirely ceased."
We find in "Paseos por Madrid," Madrid, 1815-8, p. 87, it stated that
"The English, at the second entry of our troops in Madrid, ruined this
building in order that it should not be used as a fortress by the French
troops."
Richard Ford, in his "Handbook for Travellers in Spain," London, 1845,
says, "Everything was destroyed by the invaders, who turned the
manufactory into a fortification, which surrendered with 200 cannon,
Aug. 14th, 1812, to the Duke of Wellington. Ferdinand VII., on his
restoration, re-created La China, removing the workshops and ware rooms
to the Moneloa."
The South Kensington Museum contains an interesting collection of Buen
Retiro porcelain of different kinds, of which may be named:
No. 344-'66. A vase of biscuit porcelain, two-handled, with frieze of
classic dancing figures and flowers.
Nos. 333, 4-'66. Two small vases for tea, white porcelain, covered with
flowers in relief.
No. 892-'75. A pair of vases painted with young bacchanals in rose
camaïeu, and gilt.
No. 893-'75. A pair of draped female figures, each holding a cornucopia,
standing on an altar-shaped plinth.
No. 894-'75. A clock case, white porcelain, of rock and scroll work,
with flowers and groups of amorini.
No. 332-'76. A group of Ariadne and the panther.
No. 1068-'73. A pair of tall vases, with gilt serpent handles, the necks
fluted with gold, the upper part of the body painted with classic
groups, and with coloured scroll foliage in relief, the lower part
painted with leaves and scrolls on white ground. (See woodcut on next
page.)
[Illustration: BUEN RETIRO VASE. SOUTH KENSINGTON MUSEUM.]
MARKS USED AT THE PORCELAIN MANUFACTORY OF BUEN RETIRO.
[Illustration]
The usual mark in blue.
[Illustration]
In blue, and sometimes in violet and gold.
[Illustration]
Cayetano or Carlos Fumo. The initials and date are graved in the clay
under the glaze; the fleur-de-lis is pencilled in blue. On a fine group
of children playing with a goat.
[Illustration]
This mark is graved in the clay, under the glaze, on a fine group
modelled by Salvador Nofri.
[Illustration]
Ochogavia? graved in the soft clay on a figure.
[Illustration]
1798, Sorrentini? These marks are pencilled in red on a pink cup and
saucer, with landscapes painted _en grisaille._
[Illustration]
Pedro Antonio Georgi? The initials P. G. are gilt; the M crowned in red;
the V and M graved in the clay; on a cup and saucer buff coloured.
[Illustration]
Provinciale? The letters Po are graved in the clay, the fleur-de-lis in
blue; on two saucers, beautifully painted with children.
[Illustration]
Probably the initial of the king. On two jardinières; the interlaced C's
graved in the clay, the fleur-de-lis in blue.
[Illustration]
On two large vases imitating Wedgwood's blue and white jasper, with
white biscuit flowers.
[Illustration]
On a group of biscuit Retiro porcelain of two figures representing
Painting. The same mark appears on a figure of Apollo, about one foot
high. This mark is stamped on the porcelain; the letters are in relief
tinted rose colour.
[Illustration]
At the room decorated with Buen Retiro plaques at Aranjuez. It appears
on a vase in relief, which is placed on the basement to the right on
entering. The date 1765 appears on the ceiling, probably the year when
the work was finished.
[Illustration]
Graven on the clay on a white soft paste bracket painted with coloured
flowers belonging to Count Valencia de D^{n} Juan.
[Illustration]
On a cup at the Museo Arqueologico, Mad., painted with landscapes. The
initials are of Pedro Antonio Giorgi, who painted from 1802 to 1808.
[Illustration]
Engraved on the clay on a plaque of blue biscuit porcelain imitating
Wedgwood jasper ware, representing a mythological subject.
[Illustration]
On a dessert plate representing a vine leaf at the Museo Arqueologico.
The initials appear to be those of Felipe Gricci, a son of the first
modeller José, who came with Charles III. from Naples.
[Illustration]
Fleur-de-lis graven in the clay on a fine group of three figures.
LIST OF DIRECTORS AND ARTISTS WHO WERE EMPLOYED IN THE ROYAL MANUFACTORY
OF THE BUEN RETIRO FROM ITS FOUNDATION, IN 1759, UNTIL 1808:
DIRECTORS.
Bonicelli, Juan Thomas, principal Director at the establishment of the
manufactory in 1759.
Bonicelli, Domingo. In 1786 he was Director; in 1796 he solicits his
retirement, and died soon after.
Cristobal de Torrijos, appointed Director in 1797, after the death of
Don Domingo Bonicelli.
Sureda, Bartolomé, Director in 1804, and continues in 1808.
PRINCIPAL MODELLERS AND SUPERINTENDENTS, POSSESSING THE SECRETS OF THE
FABRICATION (SECRETISTAS).
Schepers, Cayetano, first Modeller in 1759.
Gricci, Carlos, son of Joseph Gricci, came to Spain, 1759. He appears in
a list of artists employed in 1764: he died 1795.
Gricci, Felipe, 1785. In 1802 he was first Modeller.
Forni, Antonio, second Modeller in 1802.
SCULPTORS.
Agreda, Esteban, born at Logroño, 1759. He obtained several prizes at
the Academy of San Fernando; employed in 1797, and continued to work
there in 1808.
Avila, Ceferino de, employed 1799, and continued there in 1808.
Avila, Juan de, 1771, and continued there in 1808.
Bautista, Bautista de, 1759.
Bautista, Cayetano, 1785.
Bautista, Juan Lopez, employed from 1799 to 1808.
Benedictis, Cayetano, 1785, 1802.
Benincasa, Miguel, 1778, and continues to work in 1808.
Benincasa, Vicente, 1785.
Bergaz, Alonso, 1764.
Bescia, Juan, 1759.
Borbon, Geronimo, 1802
Borbon, Genaro, 1784 and 1808.
Caravielo, Miguel, 1785.
Chaves, Alonso, born at Madrid in 1741. In 1760 was appointed Modeller,
and in 1763 obtained a Second Prize at the Academy, and a First Prize in
1766.
Chaves, Justo, 1785.
Esplores, Felipe, 1759.
Estebe, Antonio, 1778 and 1808.
Flores, Josef, 1785.
Forni, Pablo, 1759.
Francholy, Angel, 1776 to 1808.
Francholy, José, 1804 to 1808.
Francholy, Luis, 1785.
Frate, Carlos, 1785 to 1802.
Frate, Josef, 1785.
Frates, Juan, 1794 to 1808.
Frate, Pablo, from 1759 to 1785.
Frates, Mateo, 1797 to 1808.
Frates, Mateo, born at Madrid in 1788. First Prize of the Academy in
1805; in 1829 was appointed Director of the China establishment at the
Moncloa.
Frates, Francisco, 1764 to 1808.
Fumo, Basilio, in 1759 was Director of the China manufactory; in 1779 he
was appointed a Member of the Academy of San Fernando; died in 1797.
Fumo, Carlos, 1759.
Fumo, Cayetano, 1759.
Fumo, Joseph, 1759; died in 1799.
Fumo, Macedonio, 1759, and continues in 1802.
Fumo, Bernabé, 1802.
Giorgi, Pedro Antonio de, 1759, and continues in 1785.
Giorgi, Carlos, 1785 to 1808.
Giorgi, Ambrosio de, 1759.
Giorgi, Antonio, 1795 to 1808.
Gricchi, Joseph, 1759. In 1766 was appointed Honorary Director of the
Academy of San Fernando; died in 1769.
Gricci, Esteban, 1759.
Guijarro, Dionisio, 1798 to 1808.
Llorente, Manuel, 1764 to 1785.
Morelly, Antonio, 1759 to 1785.
Nofri, Salvador, 1759 to 1785.
Nofri, Justo, 1778 to 1808.
Nofri, or Noferi, Juan, 1802.
Ochogavia, Manuel, 1764. Born in Galicia in 1744; in 1760 won a Second
Prize of Sculpture at the Academy, and in 1763 a First Prize.
Palmerani, Domingo, 1795, 1808.
Palmerani, Angel, 1799 to 1808.
Penaba, Joseph, 1793 to 1808.
Rodriguez, Antonio, 1797 to 1808.
Sancho, Dionisio, 1788. Born at Cienpozuelos in 1762; won a Prize at the
Academy in 1793; was appointed a Member of the Academy, 1796; in 1810 he
went to Mexico, where he died, 1829.
Santorum, Joseph, 1759.
Sorrentini, Fernando, 1785 to 1808.
Sorrentini, Rafael, 1785.
Sorrentini, Francisco, 1802.
Valentin, José, 1779 to 1808.
Valentin, Miguel, 1785.
PAINTERS.
Alonso, Francisco, 1764.
Boltri, Genaro, 1756. Born in Naples in 1730; in 1759 he came to Madrid
with Charles III.'s household, and worked at the Retiro; died in Madrid
in 1788.
Brancasio, Xavier, 1759.
Brancacho, Domingo, 1762 to 1803.
Branga, Ignacio de, 1800, painter of figures; he continues there in
1808.
Camaron, Josef, 1802. Born at Segorbe in 1760; in 1776 he won a prize of
painting at Valencia; he was pensioned to Rome, and appointed Painter in
Ordinary to the King.
Castillo, Fernando del, born at Madrid in 1740. He was appointed Painter
at the manufactory, and worked there until his death in 1777.
Coco, Joseph del, 1759.
Cruz, Mariano de la, 1807, 1808.
Domeu, Carlos, 1785.
Donadio, Nicolas, 1759.
Giorgi, Pedro Antonio, 1802.
Martinez, Antonio, 1764.
Martinez, Pedro, 1796 to 1808.
Nani, Mariano, 1759. His wife received a pension from 1804, probably the
year of his death.
Peshorn, Jorge, 1788, and continues working in 1802.
Provinciale, Antonio, 1759 and 1785.
Quirós, Juan José, 1802.
Rimini, Carlos, 1759.
Romero, Juan Bautista, 1800. Flowers and fruit; appears in lists of
1802.
Rubio, Joseph, 1799 to 1808.
Semini, Francisco, 1759.
Soriano, Joaquin, 1799. Landscape painter in 1800; continues in 1808.
Sorrentini, Josef, 1756, probably from Capo di Monte. In 1802 he asks
for a retiring pension.
Sorrentini, Fernando, 1759.
Sorrentini, Pablo, 1764 to 1808.
Sorrentini, Gabriel, 1769 to 1808.
Sorrentini, Manuel, 1785 to 1802.
Torre, Joseph de la, 1759.
Torre, Nicolas de la, 1759. In 1802 asks for a retiring pension.
Torre, Raphael de la, 1759.
Torre, Juan Bautista de la, 1759 and 1808.
Torre, Josef de la, 1785 and 1802.
Torre, Francisco de la, 1796 to 1808.
Torre, Julian de la, 1802.
Velasquez, Castor, 1807, and continued in 1808. Born in Madrid in 1768
and obtained a prize at the Academy in 1787.
VARIOUS ARTISTS EMPLOYED IN THE MANUFACTORY.
Agreda, Manuel, Sculptor, a brother of Esteban Agreda; he superintended
the making of biscuit china; born at Haro in 1773; won prizes at the
Academy; and was employed at the Manufactory from 1805 to 1808.
Bautista, Juan, employed to make porcelain flowers from 1785 to 1808.
Bautista, Francisco, appears in 1802 as maker of porcelain flowers.
Bautista, Sebastian, appears in 1802 as a maker of porcelain flowers.
Chevalier, Pedro, mounter of snuff-boxes from 1759, and continued to
work at the Manufactory in 1763.
Escalera, Josef, mounter of snuff-boxes from 1781, and continued to work
at the Manufactory in 1808.
Perche, Jaime Victor, French workman brought from Paris to prepare
porcelain, from 1803 to 1809.
Vivien, French workman, brought from Paris to prepare porcelain, from
1803 to 1809.
At the same time that porcelain was made at Retiro and Alcora, other
manufactories of a similar kind were established in Spain; but none of
them could compete with these. The most important was established at
Sargadelos, Galicia, in 1804. One of the finest specimens which have
reached us of this manufactory is a large bas relief representing the
massacres of the Spaniards by the French in Madrid on the 2nd of May,
1808.
GLASS.
Since the South Kensington Museum purchased the largest collection of
old and modern Spanish glass in Europe, the taste for and study of this
branch of industry has increased to a very great extent. It is evident
that this manufacture attained great importance during the three last
centuries, and possibly existed at an earlier period; and that glass
objects made in Spain possess a special and distinct character,
different to those made in other countries. Before the objects at the
Kensington Museum were collected, the existence of this industry in
Spain was comparatively unknown.
The earliest mention of glass works in Spain will be found in Pliny,
who, while explaining the proceedings which were employed in this
industry, says that glass was made in a similar manner in France and
Spain: "Jam vero et per Gallias Hispaniasque simili modo harenae
temperantur."--L. XXXVI. cap. 66.
The next allusion to this industry will be found in the works of San
Isidoro. This eminent man lived in the 7th century, and after quoting
the observations of the Roman author, gives us to understand that this
industry existed before his time in Italy, France, and Spain: "Olim
fiebat et in Italia, et per Gallias, et Hispaniam arena alba mollissima
pila mola que terebatur." [Divi. Isid. Hisp. Etymologiarum, I. XVI. cap.
16.] It is evident, therefore, from this passage, that glass was made to
a large extent in the Spanish Peninsula during the Roman period. This is
confirmed by the number of specimens which are constantly found in
ruins. We learn also that the manufacture had ceased to exist in the
seventh century.
Glass vessels of the Roman period found in Spain are similar in form and
manufacture to those which we know were made in France and Italy. This
is not to be wondered at, if we remember that the Romans imposed their
artistic forms on the countries they conquered. It is impossible to
classify the specimens of this industry into determined localities. The
study of the glass paste may, at some future period, give materials for
such a classification.
One special characteristic of Roman glass may be taken into account to
be applied to Spanish glass of a later period. We find ancient specimens
constantly ornamented with a sort of thread or line which runs all over
the vase. These lines are sometimes made of transparent glass, and
sometimes of white opaque glass, termed in Italy _latticinio_ from its
milky whiteness. When the industry of glass making was revived in Europe
during the fifteenth and sixteenth centuries, classical forms were
copied in this as in other industries; this line ornamentation was
copied on a much smaller scale in Italy than in Spain, where it
constituted the chief and constant characteristic of glass making. It is
an interesting fact that objects of a traditional Moorish form have the
greatest amount of lines of this style of ornamentation. We cannot,
until this subject is more thoroughly investigated, do otherwise than
infer either that the tradition of this industry was preserved in Spain,
or that the Arabs imported this style of decoration from the same
localities from which it had been copied by the Romans centuries before.
The comparison of these different styles of glass making can be carried
out in a most satisfactory manner in London by examining the fine
specimens of glass in the British Museum (Slade collection), and the old
Spanish glass at South Kensington.
We have no specimens of glass of the Visigothic period. If, as is most
probable, glass was used by the Visigoths, they may have imported it
from the East, for the text I have quoted from the works of St. Isidore
seems to prove that this industry had ceased to exist in his time. The
glass paste of different colours must, however, be mentioned, which is
set in gold in the Visigothic crowns found at Guarrazar, near Toledo. It
imitates precious stones, and was very generally used during the
Byzantine period; its occurrence here makes it appear probable that at
any rate the tradition of this industry existed in Spain.
From the 8th to the end of the 15th century, during the Mahomedan
domination, I infer that the industry of glass making became as
important in Spain as that of pottery. No specimens, however, of the
earlier period have reached us, and we must judge of what it was from
the glass vessels in the Kensington Museum, belonging to the Renaissance
period, which preserve their Oriental form, and are of a different style
to that of Venice and other localities in Europe.
A most interesting fact, which confirms this theory, will be found in a
translation made from Hebrew to Arabic of a work which treats of the
virtues of precious stones, _Lapidario_ [MS. Biblioteca del Escorial],
quoted by Rico y Sinobas in "Almanaque de la Industria," 1873. We do not
know exactly when the author Abolais lived, but in the prologue to this
MS. it is mentioned that D^{n}. Alfonso el Sabio found this book at
Toledo, and gave orders to a Jew called Juda Mosca, and a priest, Garci
Perez, to translate it into Spanish. The translation was terminated in
1250. Technical details are given in this volume concerning the
substances which are employed in glass making, and some of the minerals
found in Spain which are used in painting or enamelling it, but as this
work was written to explain the properties of minerals, as they were
understood in the author's time, he does not enter into any interesting
details, or describe the forms of these objects. Another allusion to
glass making in Spain will be found in Al Makkari, the Arabian author of
"Mohamedan Dynasties in Spain," [London, 1840, 2 vols. 4to], who quotes
an Oriental writer of the 13th century, who says, "Almeria was also
famous for the fabrication of all sorts of vases and utensils, whether
of iron, copper, or glass." (Vol. I. p. 51.)
The tradition of this industry has been undoubtedly preserved at Almeria
until the present day, for in this province, and in the adjoining
villages of the province of Granada, we find that specimens are to be
met with, which possess a marked Oriental form, and are completely free
from the influence of Italian models which existed in other localities.
The most characteristic specimens consist of jars of two, four and eight
handles, bowls with ribs and handles, pilgrim's bottles, etc., of which
interesting examples exist at the South Kensington Museum. Woodcuts of
several of these are given.
All these objects are decorated with a serrated ornamentation of
buttons, trellis-work, and the lines to which I have already alluded
which were placed there after the object was made, in the Roman style.
The paste is generally of a dark green colour, and when we find these
same features in vessels of white clear glass, we may affirm that they
are contemporary imitations made at Cadalso or elsewhere, for they are
very seldom to be met with in the provinces of Almeria and Granada, and
are generally found at Toledo and other localities; it is, moreover, a
common condition of Oriental art that its general form complies with a
geometrical tracery, and we never find as in Italian works of art, forms
and capricious ornamentations which interfere with the symmetry of the
general lines, and sacrifice them to the beauty of the whole.
[Illustration: GLASS VASE.--SPANISH, 16TH CENTURY.]
I have been unable to find the glass industries of this period mentioned
by any contemporary author, but I owe to the courtesy of S^{r}. Romero
Ortiz some interesting details which have been taken from the archives
of certain villages, which although of a more modern date prove that
this industry existed in these localities. At about 14 miles from the
Puebla de D^{n}. Fadrique, there is a locality called Pinar de la
Vidriera, where traces of ovens and scoriæ exist belonging to an
ancient glass manufactory, which is likewise mentioned in documents of
the municipality as continuing to work in 1620. At Castril de la Peña, a
manufactory yet exists where glass is still made, and which has existed
from time immemorial in the village. The building itself is decorated
with the escutcheon of the family of Hernando de Zafra, one of the
secretaries of Queen Isabel, late in the 15th century, who must have
purchased it with other lands which he possessed there, towards the year
1492. A gallery, one mile long, which exists at the entrance of the town
from whence the sand has been extracted for this manufacture, gives an
idea of the antiquity of this industry in this particular locality. It
has been calculated that about two tons of sand were used at these glass
works every month. At Royo Molino, in the province of Jaen, a very
ancient building still exists, now half in ruins, which has been used
until very lately as a glass factory. At Maria, in the province of
Almeria, several glass manufactories have existed. The oldest, it is
believed, was about two miles from the town, and is called traditionally
"del Campo," but I have not found mention of it in any document. Three
glass ovens existed inside the town: one was established by Vicente
Botia, towards the year 1750, which lasted until 1790. Juan Martinez
established at about this period an industry of a similar kind near the
former one, which continued to work until 1854. The same green glass has
been constantly made in these localities, the same forms have been
copied, the only difference between the older and more modern specimens
consisting in the coarser and heavier quality of the glass.
[Illustration: PILGRIMS' GLASS BOTTLE.--SPANISH, 17TH CENTURY.]
In treating of the glass manufactures in Spain, where Italian models
were imitated to a very great extent, we find very few allusions in
contemporary authors of the Middle Ages; it may be because glass vessels
were chiefly used with wooden and pottery utensils by the poorer
classes, and metal utensils of all kinds by those who were able to
afford them. At any rate, it is only towards the end of the Middle Ages
that we meet with information concerning this industry, which continues
uninterrupted until the present day.
Barcelona is one of the towns distinguished for the antiquity and
excellence of its glass. In a municipal edict of 1324, we find a special
prohibition that the glass ovens should not be inside the city, owing to
the danger they might cause to the rest of the population. In 1455,
permission was granted to the _vidrieros_, glassmakers, to form a guild
under the patronage of St. Bernardino, and from this period some of its
members figure as holding municipal charges. Capmany, "Memorias," Vol.
I. p. 134. According to this author, the special Ordinances of this
corporation are not known, but only those which were given by the
municipality in 1659. He adds that the master _vidrieros_ required six
years of apprenticeship and practice to be admitted to work.