No. 1279-'71. A bowl decorated within with a bull-fight; outside are storks and trees in green, orange, and manganese. (See woodcut.) [Illustration: EARTHENWARE BOWL. TALAVERA WARE. SOUTH KENSINGTON MUSEUM.] Several pottery works were established in Spain in the 18th century, all of them, in the same manner as the earlier fabriques, modified the system of decorating their wares. In some instances the colours and designs of Italian maiolica were imitated, others copy the blue faïences of Pisa, Genoa, and Savona, while others adopted the styles of Moustiers, Nevers, and Rouen, or English earthenwares. Ten or twelve manufactories existed at Toledo in the 17th century which imitated Talavera ware; in the 18th they hardly produced anything of importance. Ignacio de Velasco in 1735 founded one at great expense at Toledo in which imitations of Genoese pottery were chiefly made. At the death of Ignacio in 1738, these works passed to his son George; in 1742 Francisco Hernandez directed them, and in 1747 imitated Japanese models. Several specimens proceeding from Toledo, at the South Kensington Museum, painted blue on a white ground, in the style of Savona and Japan, belong to this period. In 1755 thirteen pottery kilns existed at Puente del Arzobispo near Toledo; they still worked in 1791, but their productions were very inferior in artistic merit. Earthenware pottery was made at Segovia from a very early period, chiefly for domestic use, until a manufactory was founded by two brothers--Manuel and Tomás Ledesma in 1752--they had seen some specimens which were made at Bolonia for Isabel Farnesio, the widow of King Philip V., and they endeavoured to imitate them. In 1774 they tried with a most unsatisfactory result to imitate English wares. This industry fell into decay towards the end of the century, and only ware of a very common description was made there. Talavera ware was also imitated at Zamora. At the middle of the 18th century works existed there where pottery was made in the manner adopted at Alcora with few results, for soon after it was established the master potter, who was at the head of these works, left the locality. ["Memorias," Larruga, Vols. 13 and 34.] The further we advance into the 18th century, the more we find the tendency in Spanish ceramic art to imitate the pottery most in vogue in other countries. Francisco Cavalli, a potter of Ruidoms, won a prize at Tarragona in 1787, for his excellent imitations of brown and white Genoese ware. [MS. fol. Bibl. de S. Magestad el Rey, S. 2, E. B. pt. 8.]