PRODUCTION AT DOCCIA BETWEEN 1790 -1847 AND ROYAL COMMISSIONS FOR THE LUCCA PALACES

By Atidrcina d’Agliano

Production at the Doccia manufactory in the last decade of the 18th century was particularly influ­ enced by the taste for the antique, which affected the development of the Tuscan manufactory in two principal directions. On the one hand there was the influence of the taste for classical ruins introduced through prints by French artists working in Rome in the circle of Piranesi1, and on the other hand the archaeological discoveries made in Naples, and the dynastic links between the Neapolitan and the Florentine courts, which added extensive Neapolitan iconographical sources to the Doccia repertoire2. In 1785, the extremely good relationship between the Marchesi Ginori and the Neapolitan sovereigns inspired Ferdinand IV of Naples to send Lorenzo Ginori the first two volumes of the most valuable publication to be printed in Naples, Le Antichitd di Ercolano esposte. This was a collection of prints repre­ senting the frescoes and statues brought to light during the archaeological excavations at Hercula­ Figure 2. Two biscuit statuettes representing the Flora Farnese neum and Pompeii. Published in ten volumes (1757- and Bacchus, Doccia, 1800-1815, 8'/inches (21 cm) and 8 inches (20.5 cm) high. Musco dclle Porcellanc, . 1792) to be found today in the archives at Doccia, they had immense impact on the shapes and decora­ tion of the tableware produced at Doccia at the turn Further innovations, especially technical and of the century ' (fig. 1). stylistic, were introduced in the first fifteen years of the 19th century when Tuscany was politically reorganised during the Napoleonic era. In 1799 Ferdinand III of Tuscany left and went into exile, replaced in 1801 by Louis of Bourbon-Parma, who was named King of Etruria. After his death in 1803, his widow Maria Luisa acted as regent for their son Carlo Lodovico until 1807. Meanwhile, Napoleon's sister, Elisa Baciocchi, became Princess of Lucca and Piombino in 1805, remaining so until 1809 when she became Grand Duchess of Tuscany (1809-1814). Under Napoleonic influence the courts in both Lucca and Florence received important gifts of Sevres porcelain (some are today in the Palazzo Pitti) with, among the most valuable pieces, the colossal Sevres vase (more than 2 metres high) after a model by Boizot Figure 1. Plate painted in black and red monochrome with a view and with bronze mounts by Thomire, which was a of Herculaneum based on a print illustrated in Le Antichita di Ercolano exposte, vol. VII, Doccia, c. 1800-1810, 9V: inches gift from Napoleon to Louis, King of Etruria, in (24 cm). Musco delle Porcellane di Doccia, Sesto Fiorentino. l SOI4.

ICF&S 2002 Elisa Baciocchi favoured the promotion of local craftmanship. While Princess of Lucca, she promoted the Accademia di Belle Arti of Carrara5, where copies in marble were produced after the antique statues in the Capitoline Museums in Rome and the in Florence. At Doccia biscuit figures after the antique were produced; a series of white biscuit figures made at Doccia in the first decade of the 19th century and today in the Palazzo Pitti, illustrates this kind of taste (fig. 2). The inventory of the Villa Marlia near Lucca also

Figure 3a. Cup in biscuit representing Elisa Baciocchi, the interior gilded and the saucer (?) decorated with gilded leaves, Doccia, c. 1810-1814. Cup: 3Y inches (9.3 cm). Saucer: 5 inches (13 cm) diameter. Private Collection.

Elisa herself and made at Doccia, which is today in the Doccia Museum (fig. 3, 3a)". The influence of Neapolitan porcelain production became more marked at Doccia after 1807, when the Real Fabbrica of Naples closed and various painters joined the Ginori factory. Among these was the landscape painter Ferdinando Ammannati who introduced view painting to Doccia. According to archival sources he painted a service decorated with polychrome views of Italy between 1810 and 1820''. Among the Doccia porcelain listed in the Villa Marlia inventory is a "senrito di porcellana biattca rappre- scntanle delle vedute di Napoli, c ornato coil proftlo dorato c bleu". It is probably that assigned to Ammannati10. Objects belonging to the so-called sewizio a vedute are to be found in different private and public collec­ tions: among the most beautiful is the ice-pail in the Doccia porcelain museum (fig. 4). Figure 3. Cup in biscuit representing Carolina Murat, Queen of Although fascinated by local production, Elisa Naples, the interior gilded, Manifattura Poulard Prad, Napoli, Baciocchi was also especially interested in French c. 1810, 2'Ainches (6.7cm) high. Saucer: 5 inches (12.7 cm) porcelain, as the palaces inventories reveal. Apart diameter. Musco dellc Porcellane Palazzo Pitti. from Sevres, she was particularly keen on Dagoty services. At Marlia there was a large service of so- lists, among the porcellana ordinaria (the name given to called porcellana forestiera. This term mainly referred the porcelain from the Doccia factor)') a number of to French porcelain until, in 1983, Sheila Tabakoff biscuit statuettes'’. identified a beautiful Dagoty dessert service today Elisa preferred the Villa Marlia above all her shared between the Villa Petraia and Palazzo Pitti. It residences. The inventor)' made of the Villa’s is interesting to note that in the years when Florence contents in 1814, after she had left Tuscany, records was capital of Italy the ice-pails from this service different porcelain services, among which can be were brought to La Petraia and used as vases, identified three different kinds in particular: the although the plates were kept in the Pitti" where Neapolitan porcelain, probably acquired through her they were often used at official dinners. Any break­ sister, Carolina Murat, Queen of Naples, some ages were replaced by Doccia, whose decorators had French porcelain and the so-called porcellana ordinaria become so skilled as to be able to imitate perfectly acquired from Doccia7. any piece of porcelain from the royal collections. The influence of the Neapolitan manufactory on Among the French porcelain in the possession of Doccia production is evident if we compare two Elisa Baciocchi, there was also a Dagoty tele <) fete cups, one representing Carolina Murat and made in service, designed by the factory between 1804 and Naples circa 1810 by the Poulard Prad factory and 1814. Two cups from this service (fig. 5), still in the the other, made at Doccia, and bearing a portrait of Palazzo Pitti today, were replaced by Doccia12. In the

ICF&S 2002 12 Figure 4. Ice-pail from the so-called Servito a vedute painted by Figure 5. Design for a biscuit service, Dagoty, 1810. Paris, Fcrdinando Ammannati and Giovanni Fancinllacci, Doccia, Musce des Arts Dccoratifs. Illustration taken from R. Plinval dc c. 1810-1815. 11 Vi inches (30 cm) high. Musco dellc Porccllanc Guillebon, 1995, p.318. The sendee is today in the Musco dellc di Doccia, Scsto Fiorentino. Porccllane, Palazzo Pitti.

Doccia porcelain museum there is cup in biscuit Figure 5a. Cup in biscuit, with gilded interior, Doccia, 1815- 1820, 3'A inches (8.5 cm) high. Musco dcllc Porccllane di with a gilded interior, marked with the golden star Doccia, Scsto Fiorentino. typical of Doccia (fig. 5a) and a perfect copy of a Dagoty original. The technical and stylistic changes made due to the close links with France and, in particular, with Pouyat at Limoges, brought about a decisive change in the composition of the paste and in the decoration of Doccia porcelain. In 1803 the decision was made to mark all porcelain objects made with kaolin imported from Limoges with the letter F (fine) P.S (prinut scclta) and P.F. (porcellana sopraffme). In 1805, Pouyat sent Carlo Leopoldo Ginori Lisci a drawing for a new kind of oval-shaped oven, called a forno alia franccsc, which allowed for better temperature regulation. Opaque colours and matt gold were also introduced thanks to a French artist, Giovanni David, and the shapes of the tableware became closer to those fashionable in France1'. The beautiful gifts of Sevres given to Elisa by her brother Napoleon also had a strong influence on stylistic developments at Doccia. The most impor-

13 ICF&S 2002 Figure 6. Dessert sendee made for Elisa Baciocchi, Grand Figure 6a. Plate decorated with a view of Florence Cathedral in Duchess of Tuscany, Sevres, 1809- IS 10. Ice-pail: 13 inches polychrome; the dark blue border gilded with a frieze of eagles, (33.5 cm) high. IVine cooler: TA inches (IS.5 cm) high. Doccia, c. 1815-1820, 9 Ainches (24 cm) diameter. Plate: 9'A inches (23.4 cm) diameter. Mttsco delle Porcellane, Palazzo Pitti. tarn is probably the magnificent service with a pale- maintained close links with Alexandre Brogniart. In violet ground, today in the Palazzo Pitti, which was 1810 Ginori Lisci visited Sevres, a visit that made especially for her in 1809u and delivered to Brogniart returned in 1822. Frequent trips abroad her in Florence a year later. and the technical research carried out by Ginori Lisci In 1809, Elisa Baciocchi became Grand Duchess of to improve factory production, resulted in new kinds Tuscany, and this service must have been in of decoration for the tableware undertaken by the acknowledgment of her new position. If we French artists working at Doccia. In 1814 the painter compare the decoration on the border of the plates Giuseppe de Germain is recorded as specializing in with that on a series of plates decorated with views the use of opaque colours. To him can be attributed of Florence (fig. 6. 6a) we can see just how strong a series of beautiful cups, some of which were previ­ the influence of Sevres was on Doccia production. ously in the Royal Palace at Lucca and are today in The inventories of the Villa Marlia for 1820 mention the porcelain museum at the Palazzo Pitti17 (fig. 8). “32 piatti con paesi gia esistenti net Palazzo”'* probably With the fall of Napoleon, the political landscape to be identified with those made at Doccia. of Tuscany changed again, although French taste Among the porcelain objects made during the continued to have a strong influence over the Napoleonic period, there are a number of cups, kept decorative arts. In 1814, Ferdinando III of today in the Doccia porcelain museum, which must Hapsburg-Lorraine returned to Florence, bringing have belonged to Elisa, among them the green cup with him the magnificent gifts of Sevres porcelain bearing a portrait of Napoleon (fig. 7), which was given to him by NapoleonIK. The Duchy of Lucca, probably painted by chief painter Giovanni Fanciul- after a brief Austrian presence, was assigned to Maria lacci, to whom is also attributed the cup with the Luisa of Bourbon-Parma, former Queen of Etruria, portrait of Elisa, painted in 1812. As we know from who arrived in Lucca in 1817. According to the Ginori Lisci’s notes and from the inventories kept in inventories, new furnishings were ordered for the the archives of the museum, Elisa Baciocchi ordered Royal Palace amongst them various porcelain different services during her reign from the Ginori services and vases. Over the next seven years (1817- factory, among these a service bearing her initials 24) Maria Luisa did her best to eradicate the memory only and a second bearing her initials and those of of the Napoleonic princess in Lucca, although in her her husband, Felice Baciocchi1'’. choice of furnishings she made no attempt to Contacts between Doccia and Sevres were also abandon the French taste, which was still so popular. extremely close, thanks not only to the presence of a The modernising of the Royal Palace was French government in Tuscany, but also to the entrusted to the architect Lorenzo Nottolini, who, choices of Carlo Leopoldo Ginori Lisci, who between 1817 and 1820, employed various artists

ICF&S 2002 14 Figure 8. Cup and saucer until pale pink ground and decorated in blue, gold and green with a frieze of strawberries, Doccia, 1816, 3!/ inches (8.2 cm) high. The shape of the cup, known as jasmin was referred to as tazza sbavata at Doccia. Museo delle Porcellane, Palazzo Pitti.

Figure 7. Cup and saucer with dark green ground and gilding, the cup decorated with an equestrian portrait of Napoleon, Doccia, 1810-1814, 3'/inches (8.2 cm) high. Museo dcllc PorccUanc di Doccia, Scsto Fiorcntino. who had already worked for Elisa Baciocchi. They ordered on the occasion of her son’s marriage to combined neoclassical ideas, inspired by Piranesi, Maria Teresa of Savoy in September 1820, are four with the French Empire style1', as seen in the two jasmin vases with so-called cachemir decoration and beautiful Doccia jasmin-vases decorated with views fondo color d’anchina, probably a deliberate imitation of Roman monuments and painted in sepia of Sevres nankin yellow. Another two white vases monochrome probably by the painter Ferdinando with gilt decoration are mentioned in the Anticamera Ammannati (fig. 9). The vases are decorated with dipinta dal Colignon2'. One of the four with cachemir views of the Foro di Nerva and the Temple of decoration is today in the Villa della Petraia, near Concordia and are of a shape used at Sevres for the Florence, whereas the two white vases with gilt first time in 1801, and which would have been in decoration are in the Palazzo Pitti. use at Doccia throughout the first half of the 19th Among the services ordered by Maria Luisa of century. Bourbon-Parma from Doccia, the inventories Regarding the porcelain orders, we can see from mention a service with white and gilt decoration and the inventories drawn up between 1820 and 1824 another painted with the Bourbon Jlcur dc lys. This that Maria Luisa of Bourbon Parma brought with service would have been added to during the reign her and ordered large quantities of porcelain. Much of her son Carlo Lodovico (1824-1847) as can be of it was French, such as the superb Nast vases today seen from the inventories22. in the Pitti Palace, whose shape was also adopted by With the presence of the Sevres painter Abraham the Doccia manufactory (fig. 10), as we can see from Constantin at Doccia between 1814 and 1823, the two very beautiful vases decorated with quality of the painted decoration increased monochrome figures derived from ancient Roman enormously assisted no doubt by the fact that cameos2". Constantin was sent to Florence by Brogniart to Studying the different inventories of the Royal copy the finest paintings onto porcelain plaques. Palace at Lucca and of the Villa Marlia compiled in In the Doccia archives he is registered as *7francesc 1820, 1824 and 1834, we learn that Maria Luisa was and he often worked with the chief painter, mostly responsible for furnishing the palace with Giovanni FanciullaccP. The taste of the time leaned services and a few vases. Her son. Carlo Lodovico, towards vases and plates decorated with copies of who succeeded her in 1824, was responsible for famous paintings, items as soughtafter from the acquiring a large number of decorative vases, many French manufactories as they were from Doccia. French and many acquired directly from Doccia. The beautiful vases painted with flower bouquets Among the vases in Doccia porcelain acquired based on prints by Provost, directly acquired from during Maria Luisa’s reign and most probably Doccia and now in the Palazzo Pitti, can be attrib-

15 ICF&S 2002 de Launay25; (fig. 11, I hi). The same French taste inspired many of the other vases that decorated his palace, such as a small pair of jasmin vases painted in white and gold with a pattern associated with Limoges porcelain. Most of the objects in foreign porcelain made for the Duke of Lucca personally are marked with the name Carolus and the royal crown. Among these, there are a couple of vases attributed to the French manufactory of Dihl and Guerhard reproducing two

Figure 10. Vase partially gilt and with gilded handles in the form of winged sphinxes; the central section of the body left white and painted in sepia monochrome with figures based on a Roman cameo by Alexandras entitled Amor leonem domans, Doccia, 1820-1825, 13 X inches (35 cm) high. Villa della Petraia, Florence.

Figure 9. Vase painted in sepia monochrome, probably by Ferdinando Ammannati, with a view of the Temple of Concordia in Rome, Doccia, IS 15-1820, 9X inches (25 cm) high. Villa della Petraia, Florence.

uted to the hand of Giovanni FanciullaccP. Most of the Doccia vases today in the Palazzo Pitti, the Villa della Petraia and Poggio a Caiano were originally in the Lucca Palace and belonged to Carlo Lodovico of Bourbon-Parma. After his acces­ sion in 1824, the palace was furnished with decora­ tive vases, some French and many ordered from Doccia. The objects brought into the palace by the new King are listed for the first time in the inventory of the Royal Palace at Lucca compiled in 1834, when Carlo Lodovico decided to remain there, after having spent the greater part of the first ten years of his reign travelling around Europe. This inventory probably includes all the porcelain pieces that entered the palace between 1824 and 1834, and, in the case of the different vases, we can see that the French style still dominated fashionable taste. Taking, for example, a Doccia vase in the Palazzo Pitti, dating to circa 1820-25, and once in the possession of Carlo Lodovico of Bourbon-Parma. Not only docs it adopt the shape of the Medici Vase often used in French porcelain between 1810 and 1820, but the painted decoration derives from the very famous painting by Jean Honore Fragonard, L’Education fait Tout, illustrated in a print by Nicolas

ICF&S 2002 16 paintings by Francois Richard, Charles the VIII leaving Agnes Sorcl and Valentina da Milano mourning her Dead Husband*'. These subjects, derived from so- called troubadour painting, were particularly dear to the Dukes of Lucca, as we can also see from the decoration of the Nast vases once in the Royal Palace*’. Among the most important vases to have decorated the Royal Palace at Lucca is the magnifi­ cent Munchcncr Vase, ordered in 1833 from the Koeniglichc Porzellan Manufaktur in Berlin by the King of Prussia, Frederick William III. He sent it Carlo Lodovico di Bourbon-Parma as a gift37. This vase (fig. 12) is today in the royal apartments in the Pitti Palace and is one of the last pieces made in the neoclassical taste to be acquired for the Royal Palace at Lucca. In the last decade of Carlo Lodovico’s reign, the porcelain acquired for the Royal Palace had a diver­ sity of shapes in neo-rococo taste from French and Bohemian porcelain factories38. At Doccia, the taste for classical shapes remained popular, until the death of Carlo Leopoldo Ginori Lisci (1837) when factory production concentrated more on the reproduction of decoration a bassorilievo istoriato, (previously in vogue in the 18th century). Objects decorated in this way were added to production in French style, giving way to a series of tablewares often marked with a crowned N. This has created confusion in the attribution of porcelain made in Naples and at Doccia, porcelain only recently attributed to the Ginori manufactory and dated to the right period3,1 Figure 11. Vase of Medici shape painted until polychrome figures on white ground after a painting byJ.H. Fragonard, the foot and (fig- 13, 13a). handles partially gilt, Doccia, IS20-1825, II inches (28 cm) high. Musco degli Argenti, Palazzo Pitti. Acknowledgements: I am particularly grateful to Patrizia Bongiorno, Figure I la. L’Education fait Tout, an engraving by Benedetto Director of the Museo delle Porcellane di Doccia, Eredi (1750-1812), copied from an engraving by Nicolas de for her kind collaboration. I am also thankful to Launay (1739-1790). Private Collection, Florence. Marilcna Moso, Director of the Silver and Porcelain Museum, Palazzo Pitti, Serena Padovani, Director of the Galleria Palatina, Palazzo Pitti, Carlo Sisi, Director of the Galleria d’Arte Moderna, Palazzo Pitti and Isabella Lapi, Director of the Villa della Petraia, for having kindly given the authorisation to publish the objects kept in their museums. A partic­ ular acknowledgement to Antonio Paolucci, Soprintcndente ai Beni Artistici e Storici di Firenze, Prato e and Mario Lolli Ghetti, Soprinten- dente ai Beni Architettonici e Ambientali di Firenze Prato e Pistoia, for giving permission to photograph the objects in the different museums. A particular thank you goes to Enrico Colie, Chantal Meslin-Perrier, Director of the Musee Adrien Dubouche in Limoges and to Brian and Anna Haughton for their kind assistance.

17 ICF&S 2002 Notes i For the taste for ruins and its development on the decoration ol Doccia porcelain, see A. d'Agliano, “Porcellane di Doccia a Palazzo Pitti e fonti iconografiche”, in Antichild I iiu, 1981 , no. 6, pp. 43 -51. The two volumes ol the work of the pupil of Piranesi, Jean Barbault, hri plus beaux monuments dc Rome anaemic et modenic, Paris, 1761, are kept in the library of the Doccia porcelain museum. The plates of this work inspired the decoration of Doccia porcelain of the neoclassical period. Among the most famous objects, we like to quote the two um-shaped vases in the Pitti Palace with purple monochrome decoration (see A. d’Agliano, Lc porccllane italiane a Palazzo Pitti, Firenze 1986 , p. 64, no. 50. 2 In 1785 the Royal Family of Naples visited Tuscany and the Ginori factors'. In the same year, Pietro Leopoldo of Tuscany visited Naples, accompanied during his visit by the Marchesc Ginori and his wife (see L. Ginori Lisci. La porcellana di Doccia, Milano, 1963 , p.81). Maria Carolina of Naples was the sister of Pietro Leopoldo of Hapsburg- Lorrainc, Grand Duke of Tuscany. In the year 1790, his son Ferdinand III married Maria Luisa of Uourbon-Naplcs. Thanks to these family links and to the different visits paid by the Neapolitan sovereigns, different quantities of Neapolitan porcelain reached the Florentine collections as royal gifts. Examples can still be seen in the Palazzo Pitti (see also A. d’Agliano, 1986 , op. cit. ppl23-175). 3 In the Doccia porcelain museum there is also a collection of biscuit busts copying the bronzes from Herculaneum. 4 For this vase and its archival references, see S. Eriksen, Lc porccllane Jranccsi a Palazzo Pitti, Firenze 1973 , no.53. 5 See F. Haskell & N. Penny, L’antico nclla storia del gusto, Torino , 1984, p. 151. For the decorative arts at Lucca under Elisa Baciocchi, see also A. Gonzalez-Palacios, II tempio del gusto. Lc arti decorative in Italia tra classicismo c Figure 12. Mihtclicner vase, Berlin, K.P.M., 1833, 24'/inches barocco.il Granducato di Toscana egli Stati Scttcntrionali, Milano 2000 (62 cm) high. Apartamenti Rcali, Palazzo Pitti. 6 See A. d’Agliano, 1986, pp. 76-83, no. 63-71 7 See Archivio di Stato di Firenze, Coni Borboniche di Lucca compostierc quadrate, sci piccoli piatti ovali, sci compostierc grandi no. 157: tondc, sci dette piccolc, novantasci tondini. Inventario generate dei Mobili di Lucca c Madia, anno 1814: In 12 Sec S. Eriksen , 1973, p. 143, no. 85. The design for this Lucca questo giomo sci dicembrc 1814. Invcntario dci Mobili service has been published by R. Dc Plinval dcGuillebon, esistenti nclla villa di Madia gid posseduta dai Principi Baciocchi Fayencc ct Porcelaine dc Paris XVIII-XIX sicclc, Paris, 1999, p. ... :scrvito di porcellana bianca dorata del Ginori ... Scrvito di 318. porcellana di Napoli con figure , c dorato ... Scrvito di porcellana bianca ordinaria ... 13 On this matter, see L. Ginori Lisci, 1963, pp. 97-107. 8 See A. d’Agliano, 1986 ,op. cit.p.175, no. 185 and L. Ginori 14 See S. Eriksen , 1973, no. 58. Lisci, 1963, op. cit tav. LXXI. 15 Vedi Archivio di Stato di Firenze.Corti Borboniche di 9 See L. Ginori Lisci, 1963, op. cit. p. 310 and Archivio della Lucca , no. 156, Invcntario dci Rcali Palazzi di Lucca c Marlia. Manifattura di Doccia, anno 1812, addi. 3 settembre A 16 See L. Ginori Lisci, 1963, pp. 106, 135. Among the Pcrdinando Anunannati dati n. 6 tondini con fascia bln a farsi a porcelain services ordered at the Doccia manufactory for veduta. The same kind of decoration was also assigned to Elisa Baciocchi was also a service decorated with a central /I Giovanni Fanciullacci, as we know from the archival and a reticular gilt decoration on the plate border. Ginori reference A Giovannino Fanciullacci dato n. 12 tondini perfarsi Lisci writes that a plate of this service belongs to the Musec a fascia blu eveduta. The volumes of the production between Adrien Dubouche in Limoges, but apparently it has not 1812 and 1824 are today kept in the Archives of the Doccia been found among the porcelain in the Museum. Giovanni porcelain museum. Fanciullacci was chief painter at Doccia between 1810 and 10 See Archivio di Stato di Firenze, Invcntario della Villa di 1843. Marlia, 6 diccmbre 1814: Senrito di porccllana bianca 17 For this cup see also A. d’Agliano, 1986, p.74, no. 61. The rappresentante dcllc vedutc di Napoli, c omato con profile dorato c cup bears the mark PF (jmccllana soprajfma) and was in the blcau. Remaining in the palace at this date were “ninety Royal Palace at Lucca until 1865, the year in which seven sidcplates, thirty three ccucllcs, two salad bowls, fifty Florence became capital of Italy. In the same year, many oval compote bowls, ten smaller compote bowls". objects that previously belonged to the different royal 11 Sec A. d’Agliano, T.Clarkc and S.Tabakoff, Porccllane families of the Italian peninsula were brought to the Palazzo deirOttoccnto a Palazzo Pitti, catalogue of the exhibition, Pitti in order to refurbish the new residence of the Savoy Florence 1983, no. 3, p. 26. See also Invcntario della Real royal family, who previously lived in Turin (On this matter, Villa di Marlia , 6 diccnibrc 1814, Scrvito di porccllana dorata a sec, among other publications, M. Chiarini-S. Padovani Gli colori di Parigi: quattro vasi dagclati con figure, quattro frutticre appartamenti rcali di Palazzo Pitti, Firenze, 1993 and related in jigura di cestinc con piedi, quattro zucclicricrc con loro copcrclii, bibliography). sci piccoli piatti ovali port anti ciascuno due compostierc, sci 18 For the different gifts of Sevres porcelain given by

ICF&S 2002 18 Nast vases arc decorated with subjects derived from two paintings by Louis Ducis exhibited at the Salon in Paris in 1822: they have to be dated around 1822 and 1824, and were probably commissioned in the last years of reign of Maria Luisa or at the beginning of the reign of Carlo Lodovico di Borbone Parma. See also Archivio di Stato di Firenze, Corti Borboniche di Lucca , n. 156. For the Doccia vases, see A. d’Agliano, 1986 , pp. 90-91, no. 78 and Archivio di Stato di Firenze, Corti Borboniche di Lucca, n. 155 hwentario dci Mobili del Palazzo Rcale di Madia, anno 1834 , p. 224). 21 Colignon worked in the Royal Palace of Lucca in the year 1819, so these vases have to be dated after that year and the year 1824, last date reported in the inventory. Corti Borboniche di Lucca, 156. This inventory mentions several times “items made for the new queen”, the latter must have been either Maria Luisa of Bourbon-Parma or Maria Teresa of Savoy, consort of Carlo Lodovico. For these vases, see d’Agliano, 1986, p. 92, no. 79 and Archivo di Stato di Firenze, Corti Borboniche di Lucca, no. 156, Invenlario dci Mobili Lucca e Madia, 1824, p. 55. 22 Among the Doccia porcelain ordered new for the arrival of the new Queen, we find a service in white of ordinary porcelain, which included “one large tureen in Etruscan style, one extra large tray, two salad bowls, five large round plates, a dozen small bowls, nine and a half dozen plates, fifteen round fruit bowls plus two oval ones, three tea mugs, one sugar pot, one ecuelle with plate, one smaller ecuelle, five very small saucers, two mustard pots, one milk mug, two oil stands with their carafes, twelve coffee cups with seven saucers, four small tankards". Another service, with Figure 13. Coffee Pot, decorated with a black medallion set gilt decoration and another one listed as porccllana bianca con within a gilded frieze on a white ground, c. 1835-1840, van disegni in oro among which are listed different objects Doccia, 9X inches (24.5 cm) high. Museo delle Porcellane with the fleur de lys (congiglio). In the inventory of 1834 , di Doccia, Sesto Fiorentino. this service is also mentioned as porccllana del Ginori (See Corti Borboniche di Lucca , n. 155, pp.l, 58, 199, 244). Figure 13a. Mark on the base of the same coffee pot (see 23 See L. Ginori Lisci, 1963, p.103. The registers of the fig. 13). Doccia manufactory for the years 1820-1824 report different works by Abraham Constantin, among which are the reproductions of L»i Fomarina by Rafael, Titian’s Venus and Rafael’s Madonna, painted in collaboration with Giovanni Fanciullaci. 24 For these vases see A. d’Agliano, in catalogo della mostra L'innnaginc djlessa. dalla srampa alia porccllana, a cura di M. Mosco. E. Revai, Firenze, 1997,nos. 47-48 25 See A. d’Agliano, 1986 , p.87 no. 75 and 1997, p. 119. The original by Fragonard is today in the Sao Paolo Museum, Brazil. The vase was originally from a series of two. the other bearing a subject derived from another Fragonard painting (Dues Done, s'il vous plait) today in the Wallace Collection, London. 26 For these vases , see T. Clarke-A. d’Agliano- S.Tabakoff, 19S3 , no. 23 and A. d’Agliano, in catalogue of the exhibition Lucca e le porcellanc della manifattura Ginori, edited by A. d’Agliano, A. Biancalana, L. Melegati, G. Turchi, Lucca, 2001. 27 For the Munchener Vase see A. d’Agliano . in cat.dclla Napoleon to Ferdinand III when he was Duke of mostra , 1997 n. and W. Baer- I. Baer, Aitf allediocchstai Wurzburg, see S. Eriksen, 1973, pp. 110-113. Ferdinand of befcltl, Berlin 1983 ,no. 25, p. 43. Hapsburg-Lorraine, Grand-Duke of Tuscany, was the uncle 28 See T. Clarke-A. d’Agliano - S. Tabakoff, 19S3, pp. 59-60. of Maria Luisa, second wife of Napoleon and the gifts were 29 See d’Agliano , 1986 p. 23, and Angela Carola Perrotti, Lc made on the occasion of her marriage to the Emperor in Porcellano dci Borbone di Napoli, Naples 1986, pp.500-501. 1810 and in 1811, when the Grand Duke, exiled to The problem of the production marked with a crowned .V Wiirzburg, was godfather "per procuration" to the King of started in 1834 when the Societa Ceramica Partenopea, Rome. which had acquired the Guillot company (formerly Poulard Prad) transferred the models of the former Real Fabbrica di 19 On Lorenzo Nottolini and the refurbishing of the Royal Napoli to Doccia. This event probably caused the Palace in Lucca, see Enrico Colle, II mobile impero in Italia. beginning of a production marked with a crowned :Y, a Arrcdi c decorazioni d'intemi dal 1800 al 1843, Milano, 1998 mark that was not only restricted to copies of Neapolitan 20 See also Clarke-d’Agliano-Tabakolf, 1983, n. 23. The two production.

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