The Industrial Arts in Spain Part 43

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 quant.i.ties 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-gla.s.ses, 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 j.a.panese style, in high relief, painted with colours and gold with the most exquisite details. The figures unite the fine Italian modelling with the j.a.panese 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 s.h.i.+elds near the roof we find,

AnO 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 princ.i.p.al ornata di bei putti, di ba.s.si relievi, e di altre opere di porcellana della nuova Real Fabbricca del Ritiro." Ponz, in his "Viage de Espana," 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-gla.s.ses are let in." (See woodcut.)

[Ill.u.s.tration: 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. Bartolome Sureda went to Paris to learn the manner in which Sevres 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 Sevres. 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 metres 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 cla.s.sic 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 baccha.n.a.ls in rose camaeu, 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 cla.s.sic groups, and with coloured scroll foliage in relief, the lower part painted with leaves and scrolls on white ground. (See woodcut on next page.)

[Ill.u.s.tration: BUEN RETIRO VASE. SOUTH KENSINGTON MUSEUM.]

MARKS USED AT THE PORCELAIN MANUFACTORY OF BUEN RETIRO.

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The usual mark in blue.

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In blue, and sometimes in violet and gold.

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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.

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

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Ochogavia? graved in the soft clay on a figure.

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

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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.

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

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

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

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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.

[Ill.u.s.tration]

At the room decorated with Buen Retiro plaques at Aranjuez. It appears on a vase in relief, which is placed on the bas.e.m.e.nt to the right on entering. The date 1765 appears on the ceiling, probably the year when the work was finished.

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

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