Chapter VII: Part 7

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.

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.)

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.

Among the finest specimens of this period of the manufactory are a 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.)

MARKS USED AT THE PORCELAIN MANUFACTORY OF BUEN RETIRO.

The usual mark in blue.

In blue, and sometimes in violet and gold.

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.

This mark is graved in the clay, under the glaze, on a fine group modelled by Salvador Nofri.

Ochogavia? graved in the soft clay on a figure.

1798, Sorrentini? These marks are pencilled in red on a pink cup and saucer, with landscapes painted _en grisaille._

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.

Provinciale? The letters Po are graved in the clay, the fleur-de-lis in blue; on two saucers, beautifully painted with children.

Probably the initial of the king. On two jardinières; the interlaced C's graved in the clay, the fleur-de-lis in blue.

On two large vases imitating Wedgwood's blue and white jasper, with white biscuit flowers.

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.

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.

Graven on the clay on a white soft paste bracket painted with coloured flowers belonging to Count Valencia de D^{n} Juan.

On a cup at the Museo Arqueologico, Mad., painted with landscapes. The initials are of Pedro Antonio Giorgi, who painted from 1802 to 1808.

Engraved on the clay on a plaque of blue biscuit porcelain imitating Wedgwood jasper ware, representing a mythological subject.

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.

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.

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.

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.

From the 15th century several authors praise the glass made at Barcelona. In a MS. by Jeronimo Paulo, who writes in 1491, a description in Latin of the most remarkable things at Barcelona, he says, "they also send to Rome and other places many glass vessels of different sorts and kinds which may well compete with those of Venice." In the account of Philip le Bel's journey to Spain on his marriage with Queen Joanna we find the following mention of the town of Barcelona: "Et sont là faicts les plus beauls ouvrages de voires (verres) et de cire qui soient faicts au monde. Le Jordi (19 Janvier, 1503) Monsigneur alla au dehors de la ville vioir ung jour où on faict voires (verres) de cristallin très beaus." ["Collection des Voyages," Bruxelles, 1876, Vol. I., p. 257.] Marineus Siculus, who writes early in the 16th century says, "the best glass made in Spain is that of Barcelona," and Gaspar Barreiros in his "Chorographia," [Coimbra, 1569,] tells us, "they made excellent glass at Barcelona, almost equal to the Venetian." At the beginning of the 17th century the authors, Jaime Rebullosa, in his "Descripcion del mundo," [Barcelona, 1603, 8vo,] and Luis Nuñez in "Hispania," [Antverpiæ, 1607, 8vo, p. 279,] continue to praise the glass made at Barcelona, and from that period we find its merit and the vast quantity which was exported constantly alluded to. The fame of Spanish glass must have been justified, for in the "Viage del Cardinal Infante," by Aedo, printed in 1639, we find it stated that when the Infant Cardinal was at Barcelona, in 1632, he went with his galleys to Mataró, four leagues from Barcelona, to see the "glass made there which was so abundantly sold all over the country." The Spanish translator of "La Piazza universale di tutte le professioni," [Madrid, 1615,] adds the name of Barcelona to the Italian author's mention of glass objects made in Venice, saying, "This industry has reached such a degree of excellence at Murano and Barcelona that nothing can be compared to it; there is nothing now which cannot be made of glass and crystal, even cabinets have been made, and castles with their towers, battlements, artillery, and fortifications." Mendez Silva in his "Poblacion de España, [Madrid, 1654, p. 243,] repeats the same idea when he says they made at Barcelona, "fine glass which might compete with the Venetian." This industry continued in Cataluña to a great extent in the last century, and was praised by the following writers. The author of the "Atlante Español," [Vol. IV., Madrid, 1778-1795,] tells us that "they continued to make excellent glass at Barcelona, in imitation of the Venetian, with which it might compete," and that this industry was carried out to a great extent at Mataró, Cervelló, and Almatret, all three towns of Cataluña; he says that in this last mentioned town the glass made was "so excellent, and the number of workmen employed was so large, that an oratory had been built in order that the workmen should hear mass there."

The constant comparisons which we find between the glass made at Barcelona with that of Murano suggests two things--that Spanish glass must have been of a first-rate order, and that the form of the glass vessels was similar to those made at Venice. It is highly probable that a great part of the specimens of glass of different kinds which are classified as Italian in several collections, are really Spanish, although it is extremely difficult to point out the difference. In this, as in other branches of industry, the mania for classifying has gone too far, and comparative studies of a more concrete order are necessary; until these are made, the principal fact to be borne in mind in classifying glass vessels is to compare them with objects of a similar manufacture which have been made until very lately in Cataluña, and of which an extremely interesting collection exists at the South Kensington Museum, proceeding from Barcelona, Mataró and Cervelló, (Nos. 149 to 193) which will enable the amateur to see how the industry of glass-making has continued traditionally to be preserved in that province. See woodcut opposite representing a glass bottle, also the central vessel in woodcut on p. 238.

Among the specimens of old Spanish glass we may consider to have proceeded from Cataluña the following examples, forming part of the collection acquired in 1873. Bottles, Nos. 249 to 262, cups, Nos. 336 to 339, and tumblers, Nos. 303 to 305, 312 to 314, and 328, '29. Among these, there are some which are undoubtedly still made in the locality. The most characteristic are the _arruxiadós_, or _borracha_, a vessel spirally ribbed with several narrow spouts, used by the peasant girls of the villages to sprinkle rose water in the festival of the patron saint of the district; the _porrones_, a bottle with a long spout, used by the peasantry for drinking wine; the _cantaro_, a jug, funnel shaped with wide mouth, handle and curved spout, and the _pilas de agua bendita_, a holy water vessel of different shapes.

Very few details have reached us of the famous glass works which existed at Cadalso, in the province of Toledo; we know, however, that the glass made there was as excellent as that made at Cataluña, and was compared in a similar manner to the Venetian. The unknown author of "El Crotalon," published by the Spanish Bibliophiles, from a rare MS., in 1871, writing in the time of the Emperor Charles V., mentions "the fine glass made at Cadalso." Marineus Siculus also writes in 1517 in his "De las Cosas Memorables de España," [Alcala de Henares, 1539, fol., Vol. I.,] that "Glass was made in several towns of Castile, the most important of them being Cadalso, which supplied the whole kingdom." It would appear therefore that this glass manufactory was already established in that locality in the 16th century, and we frequently meet with allusions to the excellence of its productions in contemporary authors. The town itself has continually been called "Cadalso de los vidrios." Mendez Silva in his "Poblacion general de España," [Madrid, 1645, p. 40] says: "They make in three glass ovens fine glass of beautiful colours and forms, which can compete with the Venetian." At the South Kensington Museum, there are two fine specimens of glass made at Cadalso--No. 1068, '73, a drinking vessel of white glass, the upper part in form of the Spanish vessel called "bucaro," ribbed and streaked with colours; the stem pineapple shape, with remains of gilding (this is represented in the woodcut); and No. 1082, '73, a bowl of plain glass, the lower part spirally waved, and decorated with scale pattern in gold and coloured dots. Both these objects proceed from a nunnery in a village near Cadalso.

Larruga says in his "Memorias," [Madrid, 1791, Vol. X., p. 53,] that "two glass ovens existed at Cadalso, which belonged to the Marchioness of Villena; they are worked by the inhabitants of this town. One of the ovens has fallen into disuse from the beginning of the present (18th) century, and the fame of the glass made there, formerly so renowned for its clearness and variety of the objects made, has declined. In examining the state of this industry during the reign of Charles II. we find how much it had fallen off, for Dn. Antonio de Obando in 1692, undertook to reestablish it, and to make glass vessels, and window glasses as had been made there formerly. It appears that 200 dozens of objects of different kinds were sent out from there yearly." The vase, No. 333, '73 represented in the woodcut is an example of the coloured glass of Cadalso.

Glass ovens existed from a very early period in the central provinces of Spain, which probably imitated from the 16th century the productions of Cadalso. We know from papers at the Archives of the Convent, of two of these which paid a yearly rent to the monastery of San Jeronimo de Guisando, from 1478 to 1480. One of these glass works was situated at the Venta del Cojo on the borders of Escalona, and the other at the Venta de los Toros de Guisando.

It is evident that a glass manufactory existed at Toledo, from some accounts which I have found in the Archives of the Cathedral, in which Bartolomé Lopez, vidriero, is mentioned in 1546--Pedro Fernandez in 1590, and Tomas Nuñez in 1660; as furnishing glass vessels, principally lamps for the cathedral. Tomas Nuñez is also paid for "three crosses of crystalline glass." In a letter written in 1690 to Count Gondomar, the celebrated ambassador to James I., (Archives of the Palace at Madrid), I find a glass manufactory mentioned which existed at Cebreros in the province of Segovia. The writer says, "Your lordship knows we have a glass oven here; this week we have made the glass called crystalline, of which I send in a basket sixteen specimens for my lady Dna. Costanza."

Larruga tells us in his "Memorias," [Madrid, 1792, Vol. XVI., p. 222,] "That in 1680 a glass manufactory was established at San Martin de Valdeiglesias, where glass in the Venetian style was made--the glass was excellent. This manufactory was under the direction of Diodonet Lambot a native of Namur. He was succeeded by Santiago Bandoleto, who was by no means as skilful. Glass ovens were also established at the Torre de Estevan, Hambroz, under the direction of Guillermo Torcada." At Recuenco, in the province of Cuenca, glass works existed at the beginning of the 16th century; but in 1722 Don Fernando Lopez de Aragon established a manufactory on a large scale. The glass made there was used by the king and the greater part of the rich people at Madrid. In 1739 two other glass works existed there, which continued their operations during the rest of the century. In the same province several glass ovens existed towards the middle of the last century. The principal ones were established in the villages of Arbetota, Vindel and Armallones; only coarse specimens were made there, but at an earlier period their productions had been, Larruga tells us in the nineteenth volume of his "Memorias," very important. The glass works which we find mentioned in the "Atlante Español," [Madrid, 1795,] were also of a very inferior quality; they were established at the end of the last century at Busot, in the province of Alicante, Hinojares and Carolina, province of Jaen. The "Correo de España," [Vol. I. Madrid, 1771,] mentions an important glass manufactory which existed at Andorra near Alcañiz, and one where glass of an inferior quality was made at Cabra, in the province of Cordova. Cabanilles, "Historia y descripcion del reino de Valencia," Barcelona, mentions the existence from a very early period of glass works at Olleria, a village of the kingdom of Valencia.

The only mention which I have found in which Seville appears as a centre of this industry, is an interesting allusion to the village of Cala, which was represented in a festival which was given to Philip II. in 1578, "with a crystal glass in its hand, and several others at its feet, because a famous glass oven existed there." ["Recibimiento que hizo Sevilla al Rey Don Phelipe." Por Juan de Mallara, Sevilla, 1570, p. 89.]

In the 17th century, during the reign of Philip IV., the glass made at Valdemaqueda in the province of Avila was very celebrated. In a royal schedule, dated 1680, which states the price at which things were sold at Madrid, "the glass made at Barcelona, Valdemaqueda, and Villafranca" are mentioned. We find the glass of Valdemaqueda was sold for a higher price than that made at the other localities.

The principal value of these extracts is to prove that the industry of glass-making existed in these localities; none of the authors mentions the principal characteristics by which the vessels made may be classified. Those made at Almeria and Barcelona are more easily known, for they have kept until very recently their general character; while at Cadalso and other localities of the centre of Spain, the tradition of the Italian models has quite disappeared. In one fact every author agrees, namely, that the glass made in those provinces closely resembled the Venetian, and was completely different to the system followed by the Arabs. It is, therefore, highly probable, as I have already stated, that a large number of objects of glass of different kinds, which have been hitherto considered Italian, were made in Spain.

The following observations may serve as a guide in the difficult task of classifying this group. The specimens of glass vessels most generally met with in the neighbourhood of Cadalso are:--

Objects of white transparent glass, sweetmeat dishes ornamented with ribs, buttons, and reticulated rims with touches of gold.

Objects of clear greenish glass of a paler hue than is made in the province of Almeria, decorated with blue, or some opaque colour (see woodcut); in some instances part of the object is decorated with a rough crackled surface.

Objects of opaque glass with different colours, vases, glasses, cups and saucers, of thin milk-white texture with blue spots, or imitations in the Japanese style of different colours. Vases for holding flowers, and other objects, of dark blue glass, milk-white cups, glass and other objects ornamented with lines of red or blue of a thicker paste than the preceding ones.

Although these objects are copied from Venetian models, they are coarser in every detail, they are heavier and thicker, and the delicate and elegant ornamentation which we find on Italian specimens is almost always wanting, we seldom find examples of the beautiful _millefiori_ chalcedony or tortoise-shell paste, and the outline of these objects is symmetrical and Oriental in style.

* * * * *

The royal glass manufactory at La Granja de San Ildefonso, was founded on the remains of an important one which had been established some years before, under the protection of Philip the 5th, at the Nuevo Bastan, in the province of Madrid.

Towards the years 1712 to 1718, this king commissioned D^{n}. Tomas del Burgo and D^{n}. Juan B. Pomerague to establish glass-works at the Bastan; twenty foreign workmen were brought over with this purpose, with their families, and the necessary implements. These gentlemen did not carry out the undertaking to the king's satisfaction, and in 1720 his majesty gave D^{n}. Juan de Goyeneche special privileges that he might "make every kind of glass manufacture up to the height of twenty inches, and have these glasses worked and polished, embroidered and covered with metal; to make looking-glass and similar decorations, and every kind of glass vessels, and white glass for window-panes, and every sort of glass vessel of different kinds and forms which have been invented in the present time, or likely to be invented in this art." In order to carry this out, the king allowed them to have as many foreign masters and workmen as they might require, with the sole condition that a fourth part of the workmen employed should be Spaniards. It was prohibited that any industry of a similar kind should be established in Spain for thirty years, or that glass made abroad should be imported into the country.

After a long series of annoyances of every kind, Goyeneche succeeded in meeting with the king's approbation, but as fuel was very scarce at the Bastan, he removed the glass works to Villanueva de Alcorcon, in the province of Cuenca. From the ruins of this glass manufactory, Larruga says in his "Memorias," [vol. xiii., p. 274], "was founded the splendid glass manufactory of San Ildefonso."

Ventura Sit, a native of Catalonia, constructed an oven there, which worked from 1728 to 1736 with great success. Queen Doña Isabel encouraged Sit, and the king ordered him to make some glasses which might serve for mirrors. Those he made at first were small, but Sit began by making them 30 inches long and ended by making them as large as 145 inches. The machine for polishing them was invented by a Catalan called Pedro Fronvila.

The section of glass vessels of a superior quality began to work in 1771. Glasses, bottles, and objects of all kinds were made there under the direction of a glass worker called Eder, a Swede, and Sivert, a Frenchman. Another section where the same quality of glass was made was directed by Don Segismundo Brun, a native of Hanover, but who had been brought up from a very early age at La Granja. It was this artist who invented gilded glass _a feu_. A large number of foreign artists worked at this manufacture; they impressed their special style on the objects they made, which were similar to those of the same kind manufactured in France, England, and Germany.

From the time of Ventura Sit, towards the year 1734, the manufactory of glass at La Granja belonged to the crown, and continued under the protection of the Spanish kings, who spared no expense to obtain its development. Early in the present century this industry began to decay. Towards 1828 it passed into private hands, and continued to work until 1849. The manufactory is now closed, although there is some talk of reviving this industry.