We nowhere find any literary evidence that the Persians who settled in Spain exercised any practical influence upon its ceramics. Very likely they did; and, further, it is not improbable that commerce may have brought Spain into a closer connection with the East than is generally suspected. The early Hispano-Moresque works are so clearly suggestive of Eastern influence, that one is almost led at times to question their right to the name conferred upon them. As if to give the half-shaped doubt a more decided form, we remember also that as the art becomes more purely Spanish it declines from its ancient beauty. We can only admire and criticise the odd combinations of color and form; and while indulging in conjectures as to the immediate fabrication of the pottery under consideration, we must regard it as illustrative of the development of an art of Oriental origin.
The manufacture of artificial porcelain in Spain was instituted, about 1760, by Charles III., who took with him a number of workmen and artists from Naples. This accounts for the similarity between the Spanish and Neapolitan productions. The works were situated in the gardens of the Buen Retiro at Madrid, and were kept strictly secluded from visitors. The ware was of fine quality, and was said by some writers who had seen specimens at the palace, to rival that of Sèvres. La China, as the Royal Manufactory was called, was blown up by Lord Hill during the Peninsular War, in 1812. A second manufactory was established at Moncloa, near Madrid, in 1827. Mention is also made of a factory of natural porcelain at Alcora, in 1756, but the reference must be accepted with hesitation.
Of the ceramics of Portugal very little is known; but that little is sufficient to lead us to wish for more exact knowledge. In this matter, Portugal has not yet, in fact, been appointed to any recognized place in history. Her ceramic art has not been known to Europeans for more than ten years, and to Americans for little more than one; and we have no means of telling whence it was derived. Probably it came from Spain, as we learn that the Portuguese use azulejos as extensively as the Spaniards. We are further told that many of their imitations are exceedingly clever. Of the truth of this we have had ample evidence. None of the imitation Palissy ware exhibited at the Centennial was more realistic and full of life than that of Portugal. Some majolica vases, with coiled snake handles, were very creditable. The snake evidently plays an important part in Portuguese ceramics, as we met with it elsewhere, and notably as the handle of a fish-shaped dish. Very remarkable were the unique and droll little figures of painted pottery, sometimes grouped into a humorous scene, sometimes single, and illustrative of the national costumes. The humor which the Portuguese contrived to infuse into their art evidently lent the pottery section of their department at the Centennial its greatest attraction; and combined as it was with excellent modelling and colors, the nature of which we can hardly specify, it excited our curiosity to learn what historical background there may be to the art which now chooses such expression. A natural porcelain factory at Vista Allegre, near Oporto, is mentioned, and the faience fabrics of Rato and Caldas.