SPANISH PORCELAINS
AND
TERRA COTTAS
IN THE COLLECTION OF
THE HISPANIC SOCIETY OF AMERICA
BY
EDWIN ATLEE BARBER, PH.D.
Director of the Pennsylvania Museum and School of Industrial Art
Philadelphia, Pa.
THE HISPANIC SOCIETY OF AMERICA
156TH STREET, WEST OF BROADWAY
NEW YORK, 1915
 
PUBLICATIONS OF
THE HISPANIC SOCIETY OF AMERICA
No. 93
 
 
Candelabrum
Buen Retiro Porcelain
About 1780
(See Nos. 13 and 14, pages 21 and 22)
SPAxNISH PORCEÎ VíiWS
AND
TERRA CO i r VlS
IN THE COLLECTION !
Mr HISPANIC SOCIETY r>r AMERICA
EDWIN ATLEE BARRER, PFf I
"
of the Pennsylvania Museuni ast School ^ , /irt
Philadelphia, i a
HE HISPANIC SOCîEî* OF AxMERIC A
156TH STREET, WEST O S BROADWAY
NEW YORK. Pv:-: «lli
mikl
 
SPANISH PORCELAINS
AND
TERRA COTTAS
IN THE COLLECTION OF
THE HISPANIC SOCIETY OF AMERICA
BY
EDWIN ATLEE BARBER, PH.D.
Director o£ the Pennsylvania Museum and School of Industrial Art
Philadelphia, Pa.
THE HISPANIC SOCIETY OF AMERICA
156TH STREET, WEST OF BROADWAY
NEW YORK, 1915
Copyright, 1915, by
The Hispanic Society of America
SPANISH PORCELAINS
AND
TERRA COTTAS
 
SPANISH PORCELAINS
AND TERRA COTTAS
INTRODUCTORY NOTES
WHEN Charles III. succeeded to the throne of
Spain, in 1759, many of the best artists and
workmen from the Capo di Monte factory were
taken from Naples for the purpose of establishing
a similar fabrique at Madrid.
Riaiio,* who had access to the documents pre-
served in the State archives, states that before the
king departed from Naples, "he ordered the follow-
ing 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
*The Industrial Arts in Spain.
[5]
journey to Madrid. The necessary conveyances are
to be provided, and the expenses to be charged to
his Majesty's account.' "
Riaiio gives a list of names of fifty-two model-
ers, painters and workmen, who arrived from Naples.
The spot selected for the porcelain manufactory was
inside the gardens of the royal palace at Buen Retiro,
in the vicinity of Madrid.
Quoting from Riaiio : "Larruga, in his 'Memo-
rias,' says that as soon as the building was finished
(in 1760), 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 work-
men were employed as at Naples. Schepers attrib-
utes 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 Ill's death, 1788, when Charles
IV. determined that the china manufactured at Buen
Retiro might be sold. Even in Spain the specimens
[6]
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.
"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 of Wedgwood, and they also made flowers,
coloured and biscuit, groups, and single figures, and
painted porcelain of different kinds. . . . 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 cov-
ered 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 fol-
lowing inscription ;
[7]
JOSEPH
GRICCI
DELINEAVit
ET
SCULit
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.
"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 endeav-
oured to imitate the paste and brilliancy of decora-
tion of Sèvres. Two workmen came over from
Paris — Victor Perche and Vivien. . . .
"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
[8]
of the same year it continued in the hands of the
French, who forced open the doors of the labora-
tory. Porcelain continued, however, to be made
there during the reign of Joseph 1. ; we find in
'Travels through Spain and part of Portugal,' Lon-
don, 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 manufac-
ture 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 porce-
lain 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 de-
stroyed by the invaders, who turned the manufactory
into a fortification, which surrendered with 200 can-
non, Aug. 14th, 1812, to the Duke of Wellington.
Eerdinand VIL, on his restoration, re-created La
[9]
China, removing the workshops and ware rooms to
the Moneloa.'
Writers on ceramic art have followed each other
in the assertion that the porcelain of Buen Retiro
presents many points of similarity in paste and glaze
to that of Capo di Monte, since the modelers, deco-
rators, and potters brought from that factory to
Spain by Charles III. would probably continue to
pursue the same methods there. This supposition,
however, is entirely at variance with the facts, since
both the pate tendre, or soft paste, and the later hard
paste of the two establishments are quite dissimilar
in appearance and color, the result of different con-
ditions and environment. The clays and other mate-
rials found available for the manufacture in Spain
were of an entirely different quality from those used
in Italy.
The early soft paste of Buen Retiro is more
diaphanous than that of Capo di Monte, which latter
is whiter and more chalky in appearance. The for-
mer possesses more of a waxy quality than is found
in other pate tendre porcelains, and is frequently of
a pronounced greenish tint. The decorations are
subdued in coloring, a rose or lake being particularly
*Moncloa, near Madrid.
[lO]
characteristic. Another marked peculiarity is the
gilded traceries around the edges. Later on, the soft
paste became whiter and coarser in texture. The
hard paste porcelain of Buen Retiro likewise bears
no resemblance to that of Naples, being of a much
whiter tint and of finer texture. Since some of the
modelers and painters worked at both factories, there
is more or less similarity in the treatment of groups
and figures produced at both establishments, and in
their decoration. It is necessary, therefore, to study
the pastes to distinguish the one product from the
other.
[II]
 
CATALOGUE
I
PORCELAIN OF THE BUEN RETIRO,
MADRID, SPAIN
1-8. PLATES (8)
Diameter, lo inches.
Artificial soft paste (fritted), thick and
heavy. Waving, hexagonal outline. Decorated
with fioral designs in colors, touched with gold.
A heavy line of gold bordering the guttered
edge. On back the fleur-de-lis mark in blue.
About 1770. Plate 1
9. SNUFF BOX
Diameter, 2^/^ inches.
Artificial soft paste. Modeled in form of
shells overlapping each other in hemispherical
form, with flattened lid in the semblance of a
clam shell. Small shells in relief scattered over
the surface and covered with gold. Interior of
box solidly gilded. The inside of the gold-
[13]
mounted and hinged lid is covered with a figure
scene painted in subdued coloring — a lady with
fan conversing with a gentleman; trees in back-
ground.
Early period, 1760-1770. Plate II
10. SNUFF BOX
Diameter, 3 inches.
Artificial soft paste. Conventionalized shell
form, standing on narrow flattened base on which
is a miniature painting of Apollo riding a dolphin,
followed by other dolphins. The outside of the
gold hinged lid is covered with small sea-shells
in colored relief. Interior of the box solidly
gilded. The inside of lid is painted with a
marine flgure scene — The Loves of the Sea
Gods — a sea monster with human body and
head bearing away a woman, while an amorino
is seated on the monster's tail, and at the left a
satyr is blowing a conch shell.
Early period, 1760-1770. Plate II
11. FIGURE
Height, 7^ inches.
Artificial soft paste. A crouching woman
seated on a rock, with upraised hand holding a
key. In front, a large tureen or vase with cover
raised in front, for holding comfits. Fleur-de-lis
mark in blue on base.
Late period, 1780-1790. Plate III
[14]
Plate I
1-8. Porcelain Plate
P>nen Retiro, about 1770
 
Plate II
X
o O
m .i=:
"S
Çai
p
z
CO <V
d m
 
 
 
12. GROUP
Height, 6^ inches.
Artificial soft paste. Figures of a man and
woman standing on either side of a rectangular
pedestal, representing Summer and Autumn.
The woman carries in her caught-up skirt a
bundle of wheat. The man holds in one hand,
supported by the pedestal, a vase, while in the
other he holds aloft a bunch of grapes. The
robes of the figures are touched with gold and
blue, while the flesh parts are delicately stippled.
The front of the pedestal is decorated with a
bird and foliage in heavy gilding on a dark Idue
ground, surrounded by a frame in relief gilding.
Mark on base, a fleur-de-lis in blue.
Late period, 1780-1790. Plate IV
13. CANDELABRUM
Height, 22^2 inches.
Artificial soft paste. A cylindrical column,
standing on a plinth 6^4 inches square, support-
ing three arms surmounted by a slender three-
sided pyramid of porcelain decorated with con-
ventional arabesque designs in colors. The three
bobeches are of porcelain at the ends of the
ormolu arms. The column is painted in brown
with the figure of a man wearing a cape and
boots, and blowing a double pipe. On reverse
the head of a man in brown surrounded by a
gold frame, and scrolled ornamentation in col-
[21]
ors. Ormolu mounts at base and top of column
and at point of pyramid. On base fleur-de-lis
mark in blue.
Louis XVI. period, about 1780. See Frontis-
piece.
14. CANDELABRUM
Companion to preceding. Similarly deco-
rated, except the subject of the front panel of
the column, on which is a man with raised wand
and at his feet a bird.
15, 16. VASES (Pair)
Height, 8)4 inches.
Artiflcial soft paste. Broad, inverted pear
shape. Sides vertically ribbed by overlapping
strips. Handles in form of grape stalks, with
vines and clusters of grapes in natural colors
and full relief, extending around the neck. On
base the fleur-de-lis mark in blue.
Late period, 1780-1790. Plate V
17. VASE
Height, i8)4 inches.
Artificial soft paste, of waxy cjuality. Jar
with dome-shaped cover. Decorated with figure
scene, painted in deep rose or lake — a woman
leaning against a tree, with a distaff in her hand.
A naked boy asleep at her side, a man reclining
[22]
Plate IV
I
12. Group (Summer and Autumn)
Buen Retiro
I,
 
Plate V
 
Plate VI
pq
 
on the ground, with flute in hand. On reverse
a boy asleep at the base of a ruined wall, with a
guitar beside him, while a woman watches near
by. Around neck and edge of cover gilded
traceries, which are characteristic of this period.
On base fleur-de-lis in blue.
Early period, 1760-1765. Plate VI
II
CAPO DI MONTE
The complete history of the porcelain manufac-
tory projected at Capo di Monte, near Naples, Italy,
in 1739, by Charles Bourbon, Duke of Parma and
King of Naples and Sicily, has yet to be written. It
is known that experiments in clays and pastes were
carried on for several years before the buildings were
flnished and the making of porcelain began, which
was not until 1743. The first period extended from
that date until 1759, when Charles succeeded to the
throne of Spain. Artificial soft paste porcelain was
first attempted, but it is uncertain whether the manu-
facture of hard paste was commenced under the
patronage of Charles III. or at a later date.
The second period began in 1760, under Eerdi-
nand IV. of Naples, son of Charles III. On the
departure of the latter for Spain in 1759, the Capo
[29]
di Monte works were dismantled and partially de-
stroyed. The manufacture does not appear to have
been resumed there, but a sufficient amount of ware
remained on hand to supply the demand for several
years.
In 1771 the new porcelain works were established
at Portici, some five miles southeast of Naples, on
the bay. In the following year plans were prepared
for the removal of the works to Naples, which was
accomplished soon after.
During the second period (1759-1821), hard
paste porcelain was manufactured in great abundance,
and the production of soft paste continued only in a
spasmodic manner.
The mark most commonly used on the soft paste
of the early period of Capo di Monte was the
crowned N. It was seldom, if ever, used on the hard
paste, decorated with reliefs, of the second period,
which latter does not appear to have been marked at
all. Modern forgeries of this late ware, however,
are almost invariably so marked, and the .presence
of this mark on hard paste is an almost infallible
indication that the piece is a forgery.
In the books on potters' marks the fleur-de-lis is
given as one of the early Capo di Monte marks, but
there seems to be little, if any, basis for this suppo-
sition. In our many years of study of Capo di Monte
wares we have never seen a single example so marked.
The hard porcelain of the second period, or late
eighteenth century, possesses several distinguishing
[30]
 
 
p
j
1
Î
Plate VIII
i
i
i
1
i 19. Group (The Empty Tomb)
Capo di Monte
i-
 
characteristics by which it may be readily recognized.
The paste is rather coarse and the glaze is of a gray-
ish or bluish-green tint, which, when placed in com-
parison with pure white porcelain, as that of Sèvres,
is quite pronounced. The relief decorations are well
modeled, clear cut and sharp, the human figures being
slender and elongated, while the flesh tints are daintily
stippled, as in miniature painting. Where gilding is
used, it is found to be applied over red color, in the
manner of Italian and French furniture of the eight-
eenth century.
Two flue groups of hard paste Capo di Monte,
made in the latter half of the eighteenth century,
after the works had been re-established at Naples,
are exhibited in connection with the Buen Retiro
porcelain, as prototypes of the latter and for pur-
poses of comparison.
i8. GROUP (CHRIST MOURNED)
Length, 25 inches; width, 9)4 inches; height, 15 inches.
The dead Christ recumbent, the weeping
Mary seated above Him on a rock, in the atti-
tude of bending down and looking into His
face, one arm outstretched behind her, the other
holding a napkin with which to wipe away the
blood. At His feet an angel is kneeling with
outstretched arms.
The flgures are beautifully modeled and
evidently the work of a noted sculptor. The
[35]
w
coloring is exquisite in tone, the flesh tints being ;
'
delicately stippled. Mary wears a dark red
garment over which is a purple robe which has
fallen to her waist. The angel wears draperies
of green and white, lined with purple. The
figure of Christ is partially covered with a white
drapery. The gilding, which edges Mary's head-
dress and robe, is applied over red, in the usual .?
Capo di Monte manner.
Hard paste porcelain of grayish tint. Capo
di Monte of the second period. Unmarked.
Late eighteenth century. Plate VII
'L
19. GROUP (THE EMPTY TOMB)
Length, 26 inches ; width, 14^ inches ; height, 27 inches.
Christ's sepulchre, or empty tomb, of rec-
tangular form, standing on four rococo modeled ^
feet. '
The cover is raised at one side, the other
side having fallen in. Suspended in front is an
angel holding a napkin to his weeping eyes. A
cherub, with yellow drapery, stands on the edge,
grasping the grave clothes which a second cherub, ^
suspended above, is bearing from the tomb. The
angel wears a loose green drapery. The wings
of the cherubs are painted in polychrome. The i
casket itself is marbled in purple and yellow. |
The modeling of this group was done by ;
another sculptor. While the two pieces were ;
probably executed independently, they fittingly j
[36] ;
•Í
4
 
 
vi
 
supplement each other in illustrating the Cruci-
fixion and Resurrection of Christ.
Hard paste porcelain, of grayish tint. Capo
di Monte, of the second period.
Late eighteenth century. Plate VIII
III
SPANISH TERRA COTTAS
». GROUP (THE I-IOLY FAMILY)
Length, 17 inches.
The Virgin seated, with Child on knee;
Joseph standing in background, and a woman
kneeling in adoration. An angel stands at one
side, offering gifts. Cherubs surround Mary's
feet. The modeling is particularly fine. The
figures are painted in dull reds and browns.
Marked Doña Luisa Roldan, Es.
This sculptor was a daughter of Pedro
Roldan, a famous carver and sculptor, who was
born in 1624, and belonged to a distinguished
family of Seville. Doña Luisa was noted for
her modeling of small figures and groups. In
the hospital in Cadiz is a good example of her
more important work — a Magdalen supported
by an angel. Her work belongs to the latter
half of the seventeenth century. Plate IX
[41]
21. GROUP (THE HOLY FAMILY)
Length, i8 inches.
The Virgin seated, with Child on knee :
Joseph kneeling in adoration. An angel is offer-
ing gifts. Above Mary's head are three cherubs.
In the background stands an ass. The colors
are dull red, blue, and brown.
The piece is not marked and may be of
slightly later date than the preceding. It may
be attributed to the end of the seventeenth or
beginning of the eighteenth century. Plate X
22. GROUP
Similar in treatment to preceding but of
more recent date, probably nineteenth century.
A dying woman surrounded by ministering
angels and cherubs.
[42]
 
 
 
Printed
At the Sign of the Ivy Leaf in Sansom Street
Philadeiphia
Buen Retiro. MCB 29;15
 
t-
i
on the ground, with flute in hand. On reverse
a boy asleep at the base of a ruined wall, with a
guitar beside him, while a woman watches near
by. Around neck and edge of cover gilded
traceries, which are characteristic of this period.
On base fleur-de-lis in blue.
Early period, 1760-1765. Plate VI
II
CAPO DI MONTE
The complete history of the porcelain manufac-
tory projected at Capo di Monte, near Naples, Italy,
aa and