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.