and designer, having charge of a number of
Spanish potters and painters. Olerys introduced the Moustiers style of
decoration, and the glaze and body of the Alcora wares of the best
period recall the fine quality of Moustiers faience. It is only fair to
add that Olerys in his turn learnt the use of various delicate yellow
and green colours from the Spaniards, and when he returned to France in
1737, having acquitted himself most honourably, he introduced this new
style of delicate polychrome decoration at Moustiers. The mixture of
motives and ideas that animated the duke and his potters may be seen by
the following list of wares produced about 1750. Vases of different
shapes; small teapots; teapots and covers, Chinese fashion; teapots and
covers, Dutch fashion; cruets, Chinese style; entree dishes;
salt-cellars, Chinese style; _escudillas_ (bowls) of Constantinople;
_barquillos_ (sauce-bowls), Chinese style; cups, plates, and saucers of
different kinds with good painted borders in imitation of lace-work, and
finally fruit-stands, salad-bowls and dishes, trays and refrigerators.
Later in the century the manufacture of porcelain was introduced here,
as well as white earthenware made in imitation of the productions of
Wedgwood, and the tin-enamelled wares flickered out in Spain as they did
elsewhere.

The manufacture of a kind of debased majolica was also practised in
Portugal from the 16th century down to our own times; but the ware never
attained to any distinction and is little known outside that country.
The best-known specimens were made at Rato, near Lisbon, where a factory
was founded in 1767 under the patronage of the court.

Mention must be made of the unglazed native pottery of Spain and
Portugal, for wine-jars, water-jars and bottles, cooking pots, and other
domestic utensils are still made in these countries for ordinary
domestic use, in traditional forms and by methods of the most primitive
kind. Many of these vessels, especially the _tinajas_ (wine-jars) and
water-coolers, are based on ancient, classical or Arab forms, and in
every country market-place it is still common to see groups of vessels,
in unglazed pottery of fine shape and finish, exposed for sale--a very
different state of things from what obtains in France, Germany, and
particularly in England, where the primitive methods of the peasant are
being imitated by those who ought to know better. From the 16th to the
18th century a special kind of unglaz