The Industrial Arts in Spain Part 33

" of Chinese.

Small figures of a gardener and female companion.

Figures of soldiers in the German style.

In 1780 four rival pottery works were established in the neighbourhood which copied and imitated the pottery made at Alcora. The two most important were at Rivasalbes and Onda, the other two at Alcora itself.

Many of the artists who belonged to the works established by Count Aranda worked at the rival factories; among them were Mariano Causada, Joaquin Ten, Francisco Marsal, Vicente Alvaro, Christoval Mascaros, Francisco and Miguel Badenas, and Nadal Nebot; some of these artists returned to the Count's manufactory. In order to distinguish the genuine pottery from imitations, orders were given, with the authorization of the Tribunal of Commerce, that the pottery made there should be marked henceforward with the letter A; no special mark had hitherto been used at the manufactory, the artists very often signed the specimens they made with their monograms or signatures, of which those most frequently met with will be found accompanying the list of artists' names, for the help of collectors; all of them have been copied from original doc.u.ments. It is interesting for collectors to bear in mind, that all specimens which are marked with the letter A are _posterior_ to 1784.

The pottery works founded in imitation of the manufactory belonging to Count Aranda came to an end before 1790, some by special agreement with the owners themselves, and others by the express orders of the authorities, in virtue of the privileges granted to the Count.

Mr. Martin died at Alcora in the month of May, 1786. Knipfer left soon afterwards, and was succeeded by a French artist, M. Pierre Cloostermans, a skilful man, and well versed in the manufacture of porcelain pastes, as well as in painting and decorating them. According to his contract, which was drawn up in Paris in 1787, "Pierre Cloostermans, chemiste, natif de Paris, demeurant a Paris, Rue de Clery, au coin de celle Montmartre," agreed to "live for thirty years at Alcora as director and workman, to make soft and hard porcelains, and all the necessary colours with which to paint and decorate it."

He also promised to make good pipeclay pottery and marbled wares which were to be as excellent as those of Strasburg. The expenses of his journey were paid, his sons were to be employed in the works, and it was stipulated that if the works increased to a great extent, 500 pounds (Valencian money), was to be added to his yearly salary. It was against the Count's express desire that pottery of an exclusively artistic character should be produced at Alcora; his chief object was to improve the industry itself. In one of his letters to Abadia, written in October, 1789, he says: "I wish to export the porcelain of my manufactory, but chiefly in common objects, such as cups of different kinds, tea and coffee services, etc. These may be varied in form and colour, the princ.i.p.al point being that the paste should bear hot liquids, for we Spaniards above everything wish that nothing we buy should ever break. By no means let time be wasted in making anything that requires much loss of time. The chief object is that the pastes should be of first-rate excellence and durability."

Cloostermans suffered much discomfort and annoyance from other workmen at Alcora, who were envious of his merit: they put every difficulty in his path, insulted him daily with pasquins, accused him of not fulfilling his religious duties, and annoyed him incessantly. His letters are full of these complaints. Count Aranda treated him with every consideration. During Cloostermans' stay at Alcora, the pottery made improved greatly in artistic merit. Figures and groups of many kinds were attempted, and even Wedgwood jasper ware was creditably imitated. In 1789, among other pottery that was sent to Madrid were "two hard paste porcelain cups, adorned with low relief in the English style." The most important one was moulded by Francisco Garces, the garlands and low reliefs by Joaquin Ferrer, sculptor, the flowers on the covers by an apprentice, helped by Cloostermans. The composition of these objects was suggested by Abadia, who brought some specimens from Paris which came from England.

Cloostermans sent the Count in 1789 a number of objects of different kinds made of porcelain. Among them the most interesting were "a tea and coffee service painted and gilt of glazed porcelain, and ten unglazed figures. Those painted by Albaro are marked A, those by Escuder, E, and by Mas, M, and Cloostermans' son." A large and varied collection of marbled wares and toys were sent at the same time. Cloostermans' marbled wares are p.r.o.nounced superb.

Count Aranda writes in July, 1790, to Diez Robles alluding to a large collection of pots for plants, which were made at Alcora for the King, decorated with the royal arms. Another series are still to be met with at the Royal Gardens; they are of pipeclay, and ornamented with rams'

heads.

In 1784 the Count sent two potters, Christoval Pastor and Vicente Alvaro, to Paris to study the last improvements in porcelain. They returned in 1789, and the porcelain they made was much commended and highly approved. They write to the Count in September, 1789: "We know that Don Domingo has sent your Excellency 97 objects made by us, marked No. 3, 1, No. 4, No. 3, with a dot, and No. 3 with the letter 'P'; No. 4 with the letter 'H,' all made by me in clay, and varnished with the greatest care. Three flask-stands and two toothpick-stands were made by me, Pastor, before I went to Paris. The marble wares, Nos. 3 and 4, and other similar objects with gold lines, are also made by me."

In 1784, Mariano Garcia of Valencia made some experiments before the Directors of laying on gold, and different shades of purples. A number of specimens were sent to the Count, but Knipfer did not approve of the plan adopted, and it was afterwards abandoned.

Marbled wares of different colours were made at Alcora in vast quant.i.ties in 1790. A large depot was established in 1791 of Alcora ware in the Calle de Luzon at Madrid. The printed prospectuses which were issued give a long and detailed list of the different productions of the manufactory, which chiefly consisted of dinner and tea services, and other objects of domestic use.

In 1792 nearly 100 painters and modellers existed at the manufactory; 45 were employed to work in porcelain and pipeclays, and 26 were apprentices.

Cloostermans was forced to leave Alcora in April, 1793, owing to certain disturbances which occurred at Valencia, when, owing to a proclamation of the Captain-Generals, he and other Frenchmen residing in the province of Valencia, were ordered to leave the country. The Count gives instructions that Cloostermans should want for nothing on his journey; he writes ordering that 3000 reales should be given him, and his yearly pension of 1200 pounds (_tornoises_). Cloostermans left with his three sons after giving up the receipts and other doc.u.ments connected with the manufactory. In 1795 permission was given that Frenchmen might return to Spain, and he resumed his post in the manufactory.

The princ.i.p.al efforts at Alcora since Knipfer, Martin, and Cloostermans entered the manufactory, had been centred in making porcelain and pipeclay wares of different kinds. A great number of essays with foreign earths were made; and all those of a suitable kind which were known in Spain. Count Aranda was always most anxious that Spanish materials should be used in the manufactory; he says, in a letter written in 1790, "the Kaolin of Cataluna may be good or bad, but it is acknowledged to be Kaolin, and if not used these works must be closed." This Kaolin had been found by Christobal Pastor and Vicente Albaro on their return from Paris.

Baron Davillier has been good enough to inform me that he has found mention of some objects of Alcora wares which Count Aranda sent as a present to his friend Voltaire, at Ferney.

From 1789 to 1797 the following kinds of pottery were made at Alcora:--

Hard paste porcelain (French).

Porcelain of three different kinds called Spanish.

Porcelain of pipe-clay (English).

Blue pipe-clay porcelain.

Marbled pipe-clay porcelain.

_Bucaro_, painted and gilt.

Strasburg Ware.

Porcelain painted _en froid._

Marbled and gilt wares, hitherto unknown.

PORCELAIN (FRITA).

Porcelain painted with gilt lines.

" " without gold.

Porcelain (frita), canary colour.

Boxes in relief.

" plain.

Porcelain (frita), painted with marble wares.

Plain boxes of the same kind.

Porcelain (frita), of blue and brown ground.

Cups and saucers of a similar kind.

BISCUIT PORCELAIN.

Figures.

Vases.

Pedestals.

White porcelain (frita) cups of different kinds.

" " ornamented and plain.

Boxes with busts.

Boxes with ornamentations in relief.

Figures.

Vases for holding flowers, plates, etc.

Large figures of the Four Seasons.

Flower vases with rams' heads.