The mark, a star formed of two superimposed triangles, is derived from the arms of the family, but this mark has often been omitted. In the eighteenth century many kinds of ware were imitated; the plain white porcelain is, however, the most interesting, such as the already mentioned statuettes and the imitations of the Fukien ware, specimens of which were sent by Sir Horace Mann to Walpole in 1760. This kind of ware is whiter and of a more dead aspect than that made at Naples and at Buen Retiro. In the Franks collection are specimens from an interesting series of small medallions with portraits of the grand ducal and other families, in white relief on a grey-blue ground. These were made at Doccia, probably towards the end of the eighteenth century. SPAIN BUEN RETIRO.--During the sixteenth century we have frequent references to the importation of Oriental porcelain into the Peninsula--the white ware of Fukien is said to have been above all prized. In the seventeenth century we find Portuguese travelling merchants selling porcelain at the fair of St. Germain, and we hear that their stalls were visited by people of quality from Paris. (_Cf._ p. 230.) But this ware of the Far East has left little or no mark upon the fayence or porcelain made in Spain. In the former, at least, the influence of the nearer Saracenic East has always remained predominant.[205] The porcelain fever that raged at times in the rest of Europe seems to have left Spain untouched until the advent of the half-French, half-Italian king in 1759. Charles III., who abandoned his Neapolitan throne in that year to succeed his brother as King of Spain, was on the whole the best of the many descendants of Louis XIV. who ruled in France, Spain, and Italy in the eighteenth century. We have seen that he was an enthusiastic potter, and his first care, even before leaving Naples, was to see to the transhipping to Spain of practically the whole of the staff, to say nothing of the moulds and other appliances in use at the Capo di Monte factory. Don Juan Riaño, in his _Handbook of Spanish Arts_, gives the names of nineteen modellers and fourteen painters who sailed for Alicante in a vessel specially chartered for this purpose. Among these Italian emigrants two names are worthy of mention--Buonicelli--he and his son after him superintended the new works till the end of the century--and Gricci (there were three men of this name among the modellers), the designer of the famous porcelain chamber at Aranjuez.