| Figures of Demi-Porcelain. |
| Figures | of tritons. |
| „ | of soldiers (two sizes). |
| „ | of soldiers, one-third of a palmo high. |
| „ | of the four seasons (two sizes). |
| „ | of dancers. |
| „ | of tritons in the form of children. |
| „ | with brackets. |
| „ | of different animals. |
| „ | of gardener and female companion in the Dresden style. |
| Dancing figures in the German style. |
| Figures | of Neptune. |
| „ | of shepherd and shepherdess. |
| „ | of the Moorish king, Armenius. |
| „ | of the four parts of the world (two sizes). |
| „ | of peasant and his wife. |
| Small figures holding musical instruments. |
| Figures | representing different monarchies. |
| „ | representing historical personages. |
| „ | representing the history of Alexander the Great (two sizes). |
| „ | representing Martius Curtius (two sizes). |
| „ | of elephants. |
| „ | of a man mounted on an elephant. |
| „ | representing Chinese figures. |
| „ | of Heliogabalus. |
| „ | of a general on horseback. |
| „ | of a grenadier supporting a candlestick. |
| Large figures representing Julius Cæsar. |
| Figures representing the different costumes worn in Spain, on brackets. Groups of Chinese figures. |
| Snuff-boxes, sugar-basins, inkstands. |
| Rabbits, horns, and pug-dogs for holding scent. |
| Small scent-bottles. |
| Needle-cases. |
| Large vases with foot and cover. |
| Brackets. |
| Walking-stick handles. |
| Knife handles. |
| Teaspoons. |
| Figures of white Biscuit China. |
| Figures representing Spanish costumes (two sizes). |
| Groups of two figures. |
| Large and small figures of the four parts of the world. |
| Figures of the four seasons (two sizes). |
We find also, says Riaño, the following figures of painted and glazed porcelain:—
| Four seasons (two sizes). |
| Groups of two figures. |
| Figure | of a Moorish king. |
| „ | of musicians and huntsmen. |
| „ | of peasants. |
| „ | of Chinese. |
| Small figures of a gardener and female companion. |
| Figures of soldiers in the German style. |
From 1789 to 1797, continues Riaño, the following kinds of pottery were made at Alcora:—
| Hard paste porcelain (French). |
| Porcelain of three different kinds called Spanish. |
| Porcelain of pipeclay (English). |
| Blue pipeclay porcelain. |
| Marbled pipeclay porcelain.. |
| Bucaros, painted and gilt. |
| Strasburg ware. |
| Porcelain painted en froid. |
| Marbled and gilt wares, hitherto unknown. |
| Porcelain (Frita). |
| Porcelain | painted with gilt lines. |
| „ | painted without gold. |
| „ | (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. |
| „ | porcelain, ornamented and plain. |
| Boxes with busts. |
| Boxes with ornamentations in relief. |
| Vases for holding flowers, plates, etc. |
| Large figures of the four seasons. |
| Flower vases with rams' heads. |
| Plain boxes. |
| Boxes with ornaments in relief. |
| White Porcelain. |
| Plates, cups, etc. |
| Figures of different kinds. |
| Painted Porcelain. |
| Cups, saucers, plates, etc. |
| Cream-pots. |
| Plain snuff-boxes, or in the shape of a dog. |
| Fruit-stands in relief. |
Footnotes:
[59] The following passage from Townsend's Journey through Spain (Vol. II., p. 56), is curious as showing where jet was formerly found in this Peninsula. “When I returned to Oviedo, a gentleman gave me a collection of amber and of jet, of which there is great abundance in this province: but the two most considerable mines of it are in the territory of Beloncia, one in a valley called Las Guerrias, the other on the side of a high mountain in the village of Arenas, in the parish of Val de Soto. The former is found in slate, and looks like wood: but when broke, the nodules discover a white crust, inclosing yellow amber, bright and transparent. Jet and a species of kennel coal, abounding with marcasites, universally accompany the amber.”
[60] As for the clothing of sacred images in Spain, even these are subject to changes in the fashion of costume. Ford makes merry over “the Saviour in a court-dress, with wig and breeches.” Swinburne wrote in 1775, from Alicante: “We have been all the morning in great uneasiness about Sir T. G.'s valet de chambre, who, till within this hour, was not to be found in any of the places he usually frequents. His appearance has quieted our apprehensions; and it seems he has been from sunrise till dinner-time locked up in the sacristy of the great church, curling and frizzling the flaxen periwig of the statue of the Virgin, who is to-morrow to be carried in solemn procession through the city.”
A similar passage occurs in one of the letters of Lady Mary Wortley Montagu. “I was particularly diverted,” she wrote from Nuremberg in 1716, “in a little Roman Catholic church which is permitted here, where the professors of that religion are not very rich, and consequently cannot adorn their images in so rich a manner as their neighbours. For, not to be quite destitute of all finery, they have dressed up an image of our Saviour over the altar in a fair, full-bottomed wig, very well powdered.”