The Valencian tiling was, as a rule, coarse and inartistic. On a series of wall-pieces were figures of some of the apostles, and a landscape, fairly drawn, but weak in color. The artist manifested an unfortunate predilection for a shading of brownish purple, which enhanced neither his figures nor landscapes. The old style of mosaic tiling was represented by some specimens composed of small star-shaped and elongated hexagonal tiles. There was no sign of the preservation of even a tradition of Hispano-Moresque art. We may turn to Spanish history for an explanation of this decadence, and find in the latter an illustration of its history. Its art was essentially foreign; and when it fell entirely into the hands of the Spanish, on the expulsion of the Moors by the bigotry of Philip II., its doom was sealed. We read the history of the ceramic art during its best days in Spain as an additional chapter to the Saracenic and Maghrebrian, and as that of a branch which, by the accident of location, and not from its having any element really Spanish, came to be known as Hispano-Moresque. We nowhere find any literary evidence that the Persians who settled in Spain exercised any practical influence upon its ceramics. Very likely they did; and, further, it is not improbable that commerce may have brought Spain into a closer connection with the East than is generally suspected. The early Hispano-Moresque works are so clearly suggestive of Eastern influence, that one is almost led at times to question their right to the name conferred upon them. As if to give the half-shaped doubt a more decided form, we remember also that as the art becomes more purely Spanish it declines from its ancient beauty. We can only admire and criticise the odd combinations of color and form; and while indulging in conjectures as to the immediate fabrication of the pottery under consideration, we must regard it as illustrative of the development of an art of Oriental origin. The manufacture of artificial porcelain in Spain was instituted, about 1760, by Charles III., who took with him a number of workmen and artists from Naples. This accounts for the similarity between the Spanish and Neapolitan productions. The works were situated in the gardens of the Buen Retiro at Madrid, and were kept strictly secluded from visitors. The ware was of fine quality, and was said by some writers who had seen specimens at the palace, to rival that of Sèvres. La China, as the Royal Manufactory was called, was blown up by Lord Hill during the Peninsular War, in 1812. A second manufactory was established at Moncloa, near Madrid, in 1827. Mention is also made of a factory of natural porcelain at Alcora, in 1756, but the reference must be accepted with hesitation.