History of Ceramics in Manises: Spain’s Legendary City of Pottery and Tile Art

Manises: The True Ceramic Capital with 700 Years of Craft

Manises has earned its reputation as a city of ceramics for good reason. This town has been making ceramics nonstop for over 700 years. That long tradition goes back to the time of James I, right after he took over the area. The earliest written proof shows up in the Llibre del Repartiment, which listed land and goods after the conquest. Ceramics weren’t just part of the culture, they were part of the foundation.

What makes Manises different is that everything needed to create ceramics exists right there in the city. You’ve got the raw materials, the coloring agents, the kilns, and the workshops where the pieces take shape. Every part of the process happens locally. That’s not something you see often.

Manises also keeps ancient ceramic methods alive. One of the oldest and most respected is lustreware. That’s a technique where metallic glazes create a shiny, almost golden surface. Artisans in Manises still use it the same way their ancestors did.

Ceramic training is part of daily life in Manises. The city offers formal education, like specialized courses and even a full degree program at the Ceramics School. Outside of formal classes, the city supports hands-on learning, too. There are public workshops, ceramics clubs, and local groups that focus on home crafts. The city council helps make sure ceramics stay part of everyday learning, not just museum history.

Ceramics also support the local economy. The craft isn’t just a tradition. It’s an active part of what keeps the city running. Workshops, businesses, and cultural tourism all feed off the city’s ceramic scene.

The Deep Roots of Ceramics in Manises

The history of ceramics in Manises isn’t just long, it’s important. For over seven centuries, this city has played a key role in ceramic production across Europe. Lustreware is what put Manises on the map, especially during the 1300s. But the city didn’t stop there. It also produced pieces with copper and manganese oxide decoration, creating green-manganese finishes. Blue-painted and multicolored ceramics also became popular, following changes in taste and technique over the years.

The roots of these ceramic styles go even further back. They can be traced to the Abbasid caliphate in Baghdad between 750 and 945 CE. That’s where polychrome, tin-glazed earthenware, and lustreware really started to shine. These pieces weren’t just pretty. They were symbols of power, used in royal courts and elite settings.

The first time lustreware reached Al-Andalus was during the Taifa period in the 1000s. Seville played a big role in spreading these styles, having picked them up from Cordoba. By the 1200s and 1300s, the city of Malaga, under Nasrid rule, became a hub for lustreware production.

Manises joined this long ceramic lineage in the early 1300s. The lustreware technique came to the city through Pere Boïl. He was sent to the Nasrid Kingdom of Granada in 1309 as an ambassador for King Jaume II. When he returned, he brought the technique with him, and it took root in Manises.

Since then, the craft hasn’t stopped growing. Manises kept evolving its ceramic work without losing its deep connection to its origins. From its early Islamic influence to its lasting European legacy, the city remains one of the most important places in the world for ceramic art and production.

 

Manises and the Growth of Ceramic Craft into an Industry

As new methods developed and the ceramic industry began to expand, Manises became known not just for tradition, but for quality production. The town grew into a serious center for making earthenware and ceramic tiles. Everyday items like jugs, plates, and bowls became standard output. At the same time, Manises started producing decorative pieces that were more refined, the kind of work made to last. Many of those early designs are still around today.

The switch from local craft to large-scale industry didn’t happen overnight. It was built on centuries of steady change, with people adapting techniques and protecting access to key materials. The timeline below, first recorded by Josep Pérez Camps, helps explain how this transformation took shape.

Early Origins and Access to Clay

Before James I took control, the villages of Paterna and Manises were handed over to a knight named Artal de Luna. That was in 1237. After the conquest in 1238, Muslim-run pottery workshops kept running. These local potters had experience, tools, and access to good clay. That early setup gave the craft a solid foundation.

In 1304, Pere Boïl i d’Aragó bought the land rights to Manises from Lope Ferrench III of Lluna. His first move was to make sure he had control of the clay supply. One area near Riba-roja was known for its “terra de cànter,” a type of clay that was perfect for shaping pitchers and other vessels. Controlling that source was essential for any future ceramic production.

Lustreware Arrives in Manises

In 1308 and again in 1309, Pere Boïl (by then the fourth Lord of Manises) was sent as an ambassador to the Nasrid Kingdom of Granada by James II of Aragon. These visits, along with trade deals that followed, likely brought the lustreware technique to Manises. Boïl didn’t just learn about it; he made sure it became part of the local craft. That decision changed the course of the town’s ceramic history.

By 1325, there was written proof of lustreware being made in Manises. One record names Abdelaçiz and Abrahim Almurcí, two well-known potters from a respected family of artisans. Their work continued even after the Moriscos were expelled, showing how deeply the practice was rooted in the town.

Ties to Granada and the Spread to Europe

In 1335, two Mudejar residents of Manises, Alí Albastí and his son Abrafín, were given permission to travel to Granada. A few days later, another potter named Abdalla ben Ytal followed. These trips helped keep the connection alive between Manises and the Islamic ceramic tradition in the south. Those cross-cultural ties kept new techniques and designs flowing into the town.

Then in 1362, two tile and lustreware masters from Manises, Juan Albalat and Pascasio Martín, signed a contract to travel to Avignon, France. Their job was to work on tiles glazed and painted in blue, white, green, and purple. This kind of overseas work helped spread Manises ceramics into new markets across Europe.

Setbacks from War, and a Rebuild

Things didn’t always go smoothly. During the war between Castile and Aragon, Castilian troops laid siege to Valencia twice. That happened between 1363 and 1364. Manises suffered heavy damage during those attacks. The castle, houses, and pottery workshops were all destroyed. But the town didn’t give up. Between 1363 and 1372, Manises was rebuilt. That recovery made it possible for the ceramic trade to continue and grow stronger in the years that followed.

Manises After the War: Recovery, Growth, and the Golden Age of Lustreware

After the war between Aragon and Castile, Manises needed to rebuild both its structures and its society. In 1370, Felipe Boïl, the fifth Lord of Manises, took a major step by founding the parish of San Juan Bautista. This separated Manises from Paterna in a formal way and gave the town its own religious and social identity. It was a spiritual change, and it was part of a broader push to restore civic life and local pride.

By 1383, Manises was gaining serious recognition far beyond its borders. In his political work Regiment de la Cosa Pública, Francesc Eiximenis praised the city’s lustreware. He wrote that the pieces were so well made that popes, cardinals, and royalty sought them out as rare treasures. The quality and detail of the work turned ceramic art into a global export.

Manises Lustreware Reaches Italy

From 1393 to 1407, the Datini company, one of the largest trading firms in Europe at the time, was shipping high-end lustreware from Manises to northern Italy. Most of this work came from the hands of Asmet Zuleima, a Mudejar ceramic master based in Manises. These shipments left from the port of Valencia, proving that Manises pottery wasn’t just valued at home, for it was in demand across Europe.

In 1405, two ceramicists from Manises, Mahomat Çuleymen and Maymo Annajar, signed a contract with Guillem de Martorell, the lord of Murla in Alicante. Both were experts in Islamic art and skilled in making lustreware. They agreed to work for five years helping Martorell set up his own ceramic workshop. This shows how influential Manises had become. Other towns wanted to copy its model and bring the same quality to their own regions.

Ceramic Tiles for the Pope and Palaces

Around 1440, floor tiles bearing the heraldic symbols of Pope Eugene IV were found during a dig in the old part of Manises. The tiles had flaws, which meant they were likely discarded samples, but they proved the point: Manises tiles were being made for the papacy in Rome. This wasn’t folk art anymore. It was international, official, and political.

From 1446 to 1530, two tile makers, Joan and Jaume Almurcí, rose to the top of their craft. They became the most well-known ceramic artists of their time. Their work wasn’t just for private homes. They handled major public buildings in Valencia, including the Palacio del Real, the Palacio de la Generalitat, the Lonja, the city council building, and the shipyards. Their reach and reputation helped place Manises at the heart of Spanish tile production.

Royal Orders and Urban Expansion

Between 1446 and 1458, King Alphonse V of Aragon (also King of Naples) ordered 44,300 ceramic tiles from Johan Almurcí. These were meant for the royal castles in Naples and Gaeta. The size of the order alone says everything about the scale and value of the Manises workshops at the time. These tiles were considered works of art.

In 1454, Queen Mary of Aragon personally requested lustreware tableware from Don Pedro Boïl, the tenth Lord of Manises. She said she made the request because he was not only loyal but also close to the source of the craft. That direct link between royalty and Manises shows just how embedded the town had become in elite circles.

In 1473, Pere Boïl, the eleventh Lord of Manises, expanded the town by creating Carrer Nou, known today as Mayor Street. This project made room for 26 new families to settle. Half of them were Mudejars, the other half were Christians. Many of them worked in ceramics. The expansion helped support the growing population and made space for more workers in the booming ceramic trade.

Cultural Respect and a Diverse Community

Even as Manises grew in prestige and business, it also held onto its religious and cultural tolerance. In 1484, Mahomet Bellvís, the mayor of the Kingdom of Valencia, was buried in the Muslim cemetery of Manises. That simple fact proves the deep respect the town had for its Mudejar community. These were respected members of society.

This final detail sums up what made Manises unique. It was a town where Christian and Muslim artisans worked side by side, sharing knowledge and craft. It was a place that valued skill and kept tradition alive, even while evolving and expanding. That mix of history, artistry, and cultural openness is what gave Manises its lasting role in the world of ceramics.

Manises Ceramics: Prestige, Power, and Craft Through the Centuries

By the late 1400s, Manises was no longer just a center of production. It had become a trusted name in high-quality ceramics, well-known across Spain and beyond. This period shows how deep the craft had grown into the culture, economy, and politics of the region. These final records give us a clear picture of how Manises pottery was tied to big names, big events, and major changes in history.

Trusted Artisans and Travel Permits

On November 14, 1492, two Mudejars from Manises, Mahomet Alahmí and Azmet, an Islamic legal expert known as an alfaquí, received permission to travel for business through the Kingdoms of Castile and Granada. Pedro Boïl, the ninth Lord of Manises, vouched for their return. This shows the level of trust that Mudejar craftsmen had earned, even as tensions were rising across the peninsula.

Ceramics for the Vatican and Local Palaces

Between 1493 and 1494, Manises produced floor tiles for the Borgia Apartments in the Vatican. These tiles carried the coat of arms of Pope Alexander VI. That work brought Manises craftsmanship into one of the most powerful buildings in Europe.

In 1577, Felipe Boïl, the fourteenth Lord of Manises, supplied golden ceramic tiles to cover the roof of the tower at the Palau de la Diputació del General. That building now holds the offices of Valencia’s regional government. These kinds of commissions speak to the prestige of Manises ceramics and their importance in civic architecture.

Royal Visits and Ceramics as Gifts

When King Philip II visited Valencia in 1595, he was greeted with a formal reception. In the Consulate Hall, the city presented “a hundred large plates in Manises artwork” filled with assorted jams. Ceramics weren’t just household items. They were symbols of hospitality and craftsmanship, used to honor royalty.

The Business of Ceramics: Mills and Licenses

In 1598, Pedro Joan, once known as Boil de la Scala and Lord of Manises, leased out several mills. These included wheat, rice, and varnish mills, which were essential to the ceramics process. He rented them to a couple, Raimundo Maçià and Inés de Vilanova, for 240 pounds a year. That deal lasted four years and points to the steady business structure behind the craft.

Earlier, in 1571, twenty-five Morisco heads of household from Manises held a formal assembly. Among them were twelve farmers and thirteen skilled clay workers. With permission from Felipe Boil, they appointed a representative to contest the seizure of their property by the Inquisition. That moment reflected both their place in the trade and the dangers they faced under growing religious pressure.

The 1609 Expulsion and Its Impact on the Trade

The worst blow came in 1609 when the Moriscos were expelled from the Kingdom of Valencia. Many of them had been expert potters in Manises. Their forced removal caused a serious decline in the production of blue and lustreware, which had already been struggling as other towns gained attention for polychrome ceramics. The craft took a hit, but it didn’t disappear.

Guilds, Quality Control, and New Standards

By 1614, the Guild of Clay Work of Manises made its rules official. Dedicated to Saint Hippolyte, the group aimed to protect the quality of local ceramics and regulate how it was made and sold. It also offered support to its members, showing how the industry had become a structured and self-managed trade.

On June 25, 1625, Felipe Boil gave the guild official permission to deliver 160 quintals of lead and tin to the Chamber for varnish production. Twenty-five masters joined the project, overseen by a leader from the Clavaría Order. This kind of collaboration proved how vital ceramics had become to both commerce and government.

In 1632, during King Philip IV’s visit to Valencia, the local government honored him with fifty Manises plates, each full of food. Like earlier royal visits, this gift blended craft and diplomacy.

Finally, in 1652, at a guild meeting for the Gremi de Mestres d’Obra de Terra, new rules were set. They gave permanent firing licenses to twenty-four masters and temporary one-year permits to eight others. After that year, the temporary holders would need to pass an exam. These steps helped ensure that standards stayed high and that only trained artisans could keep the tradition going.

Across centuries of war, politics, and change, the people of Manises kept shaping, firing, and painting ceramics with skill and pride. What started as a craft became an identity, one that still shapes the city’s story today.

Ceramics and Agriculture: The Backbone of Manises’ Economy

The economy in Manises has always relied on two things: farming and ceramics. The town’s setup, from its buildings to its local rules, was built around both. You can see that clearly in the way things were managed. In 1664, the Lord of Manises rented out the local mill and set rules for how it worked. Certain days were set aside to grind wheat. Others were for grinding varnish used in ceramics. And during the lean farming months, flour production was given priority.

Lustreware Gains Value and Respect

In 1685, the potters' guild in Manises pushed back against prices they felt were too low for their lustreware. A month earlier, the city of Valencia had set fixed rates. The guild didn’t agree. After a review, the juries ruled in the potters' favor. They raised the value of their work by about 30 percent. That change showed how important and respected Manises ceramics had become.

Fight Against Monopoly and Support for the Guild

In 1739, someone tried to take over all ceramic sales in Manises. With support from the Marquis of La Scala, this private party aimed to create a monopoly over the town’s pottery trade. The potters’ guild fought back. A year later, the Royal Board of Commerce ruled in their favor. The guild kept control, keeping things fair for local artisans.

New Rules and Patron Saints for the Potters' Guild

In 1749, King Ferdinand VI approved new rules for the Manises guild that made blue and lustreware. The updated ordinances brought changes to how the trade was organized. That same year, the guild chose Saints Justa and Rufina as their official patrons, tying their work to two figures long linked to pottery and crafts.

Ceramic Art Becomes Part of the Church

By 1751, ceramics weren’t just used for home goods or trade. They had become part of the town’s identity. When the Church of Saint John the Baptist was completed, its roof and dome were covered in Manises-made lustreware. The shine and detail made it stand out, a clear sign that ceramics had become both art and architecture.

New Styles Emerge and Guild Control Starts to Fade

In 1786, a merchant named Vicente Morera opened a new ceramic factory in the Barri dels Obradors. He focused on making Alcora-style chinaware, which was more refined and colorful than older styles. This marked the start of polychrome ceramic production in Manises. At the same time, the potters’ guild began to lose its tight grip on the local industry.

Napoleon’s Troops Attack Manises

Manises suffered a major blow in 1808. After failing to conquer Valencia, Napoleon’s army moved into the town and caused chaos. They attacked key buildings like City Hall, destroyed workshops, and killed 36 people. The victims included the mayor and three ceramic factory owners. It was one of the darkest days in Manises’ history.

Recognition for Manises Porcelain

Despite setbacks, Manises ceramics kept evolving. In 1829, the Royal Economic Society of the Friends of Valencia gave a silver medal to Francisco Gallego. He won for his white porcelain coffee set with gold trim. The design was typical of his factory in Manises, showing that the town was still producing high-quality ceramic goods that stood out.

Ceramics Enter the Construction World

By 1840, ceramics in Manises weren’t just for art or tableware. They started being used in buildings. Valentín Carsí began making prefabricated fired clay pieces for construction. A local newspaper, La Esperanza, reported that ceramic balusters in Valencia’s new market came from Manises. This opened up a new use for the craft.

Water Filters Bring More Ceramic Growth

In 1850, water filters were installed to provide clean drinking water to Valencia. These filters were located in an area called Partida del Calvario, now known as Avinguda dels Tramvies. Their setup triggered a new wave of ceramic businesses nearby. Factories like Aviñó, Mora, and Huerta sprung up around them, adding even more energy to the local ceramic industry.

Manises Enters the Modern Age of Ceramics

By the mid-1800s, Manises was no longer just a historic center for pottery. It was stepping into the spotlight again, this time on international stages. The town’s ceramic makers began to showcase their work across Europe and the Americas. These exhibitions not only put Manises back on the map, they sparked a real revival in tile and earthenware production.

In 1851, Juan Bautista Casany Folgado became the only local ceramic maker to join the Public Exhibition held by the Royal Economic Society of Friends of Valencia. He exhibited select pieces of Manises lustreware. That same year, Rafael González Valls, who ran four tile factories (three in Valencia and one in Manises), participated in the Great Exhibition in London. His factory in Manises helped bring tile production back to the city, something that hadn’t happened since the 1600s.

International Recognition and Artistic Influence

In 1876, Salvador Díez Cataluña took part in the International Exhibition in Philadelphia. This event marked the centennial of U.S. independence. His work in faience, a type of tin-glazed pottery, showed that Manises ceramics had global appeal.

By 1887, lustreware was still holding on, thanks to craftsmen like Juan Bautista Casany Folgado. That year, he welcomed visits from two major architects, Lluís Domènech i Montaner and Antoni Gaudí. Both were deeply interested in using lustreware for architectural decoration. Their visit confirmed that the influence of Manises ceramics had moved beyond pottery into building design.

In 1888, the Félix Vilar Hermanos factory earned a Silver Medal at the World Exhibition in Barcelona. The award highlighted both the skill of the makers and the continued evolution of ceramic art in Manises.

Rail, Industry, and Urban Growth

In 1889, the Valencia and Aragon railway opened. It passed through Manises, making it easier to move raw materials and finished ceramics. Even though the line only went as far as Llíria, it had a major impact. The railway brought in firewood for kilns and helped ship products to wider markets.

From 1890 to 1917, new ceramic factories were built south and west of the train station. These included the workshops of Juan Bautista Cabedo, Francisco Valldecabres, and Lucio Gallego. At the same time, the area north of the station started to develop into what would become the Paseo Guillermo de Osma. Wealthy ceramic business owners like Francisco Gimeno, Vicente Montaner, Leopoldo Mora, and Francisco Valldecabres built their homes there. The School of Ceramics was also built during this period, solidifying Manises as a place of both production and education.

Modern Equipment and Growing Workforces

By 1892, Vicente Mora Osca’s factory stood out. He had 50 workers and 25 women working as painters. That same year, he installed a hydraulic mill for processing colors and varnishes. It not only served his own workshop, but also supplied materials to other factories in the area.

In 1893, Monera y Compañía, led by Francisco Monera and Francisco Valldecabres, won a Gold Medal at the National Exhibition of Artistic Industries and the International Exhibition of Reproductions in Barcelona. That award pushed Manises ceramics into the national spotlight once again.

A Push for Preservation

By 1896, the value of Manises ceramics was clear. A formal request was sent to the General Directorate of Public Instruction to create a Ceramics Museum in the town. The petition was signed by the mayor, Vicente Soler, and a group of important local figures including José Català, Silverio Royo, José Vilar, Justo Vilar, Rafael Valls David, José Gómez, Francisco Monera, and Salvador Martínez. Their goal was to make sure that the legacy of Manises ceramics would be protected and passed down to future generations.

This period marked a true comeback for Manises, proving that even after centuries of tradition, the town could adapt, grow, and lead in ceramic art and industry.

Manises Enters the Modern Ceramic Era

As the 19th century turned into the 20th, Manises began changing into a more modern industrial hub. Ceramics remained central, but the way the city produced, taught, and powered that craft started to change. New names, fresh energy, and outside interest helped shape this next chapter.

In 1897, a school of drawing opened with a clear goal: support the ceramics trade. It was led by Luis Soria and backed by engineer Rafael Valls David and other local figures. The school had separate classrooms for men and women. It focused on drawing as a core skill for ceramic design, preparing future craftsmen and artists for the growing demands of the industry.

The next year, in 1898, the ceramics trade needed more power than traditional sources could handle. That demand pushed the creation of the Manises Electricity Company. It was the start of a new energy era. Other companies followed, including Amat Hermanos, Barberá y Compañía, Sociedad Eléctrica Hidráulica del Turia, and Electra Torrentina. These suppliers kept the kilns running and the workshops working longer and faster.

But production didn’t rely on electricity alone. It needed the right raw materials. On April 22, 1889, Antonio Català Sanchis bought the Carbonnell Mill at auction. He turned it into a space for grinding ceramic varnishes and expanded it to produce ceramic pastes. That move gave local makers access to quality materials close to home. It made Manises less dependent on outside suppliers and helped it stay ahead in innovation.

Royal Visits and National Recognition

In 1908, Princess Isabel of Borbon visited several pottery and tile factories in Manises. Reports say she admired the work and bought several pieces, and was also gifted Japanese-style vases made by local artisans. That visit marked a turning point in public awareness, linking the Manises name to high-quality craftsmanship at a national level.

The following year, the Regional Valencian Exhibition was held in Valencia. It came right after the National Exhibition and focused on highlighting the best of the region. In the ceramics category, five Gold Medals with Diplomas of Honour were awarded. Three of those went to factories from Manises: Juan Bautista Cabedo, Francisco Valldecabres, and Justo Vilar e Hijos. The recognition confirmed that the town was producing volume as well as excellence.

Also in 1909, local ceramic manufacturers came together to support the Red Cross. They donated large amounts of pottery for a new hospital being built in the Grao district of Valencia to care for those injured in the war in Melilla. It showed how deeply ceramics were tied to both the economy and the community.

Ceramic Education Becomes Official

On October 14, 1916, the Practical School of Ceramics in Manises officially became part of the state educational system. Though it started in temporary classrooms, the teachers were top-tier. Names like Gregorio Muñoz Dueñas, Manuel González Martí, Luis Soria Roca, and Vicente Vilar David brought their expertise and helped raise the level of instruction.

A few months later, on January 14, 1917, Mayor Vicente Mora Arenes led the official ceremony to lay the first stone for the school’s permanent building. Teachers and many townspeople attended. The event wasn’t just about education, for it was a sign that the town was investing in its future.

Manises on the International Stage

The International Trade Fair of Valencia opened on April 10, 1917. It was Spain’s first trade fair of its kind, and it gave Manises pottery a platform to reach global buyers. Several local factories showcased their work, including Sons of Justo Vilar, Francisco Valldecabres, José Piqueres, and Daughter of Juan Bautista Cabedo. It marked a clear moment when Manises ceramics started gaining international reach.

Not long after, on June 2, 1917, the town's first telegraph station began operating. During the opening ceremony, a local educator named Buenaventura Guillém spoke about how important these kinds of tech upgrades were for an industrial town like Manises. The message was clear: Manises wasn’t just holding onto the past. It was ready for the future.

By the early 20th century, Manises had become more than just a center for traditional ceramics. It was now a modern industrial town, fully equipped to keep its long history alive while adapting to the changes that would define the next century.

Industrial Changes and Ceramic Innovation in 20th Century Manises

By the early 20th century, the ceramic industry in Manises began a major change. In 1920, tile factories started replacing the old flywheel presses with semi-automatic electric friction presses. This change made it easier to produce more tiles at a faster pace. It also allowed for thinner tile designs, which meant less material and lower shipping costs. It was a turning point for ceramic manufacturing in the town.

In 1921, Manises showed its commitment to social causes. The local association of ceramic manufacturers donated more than seventeen thousand tiles to the Colony-Sanatorium of Fontilles. It was a large-scale donation and highlighted the town's growing ability to produce and give back at the same time.

A Creative Hub for Ceramic Artists

Between 1922 and 1932, Manises became a magnet for artists from all over the world. The booming industry and strong ceramic training programs drew in creative talent. The Practical School in Manises attracted artists like Andrés Campos Cervera from Paraguay, Vicente Speranza from Uruguay, Carmen Saco from Peru, and Josefina Plá, who worked between Spain and Paraguay. Spanish artists like Dionisia Masdeu from Zaragoza also came to learn and contribute.

The mix of traditional technique and industrial progress made the town one of the top places in the world to study ceramics during that time.

Recognition from the Crown and International Awards

In 1924, Manises received a formal honor from King Alphonse XIII. He gave the town the title of “Historic and Industrious City” for its long-standing dedication to ceramic production and majolica art. The citation also recognized the global reach of Manises ceramics, especially in Europe and South America.

A year later, in 1925, Manises stood out at the International Exhibition of Decorative Arts in Paris. The local School of Ceramics won a bronze medal. The company Heirs of Francisco Valldecabres, also known as Azulejos J. Mª Verdejo, took home the gold medal. Juan Bautista Huerta earned the top distinction awarded at the event. These honors helped solidify Manises as a world-class ceramic center.

In 1926, the International Exhibition in Philadelphia brought more attention. The Spanish pavilion made a strong impression. From Manises, several names stood out. Juan Bautista Huerta received the Grand Prize. Carlos Nadal Monera earned a diploma and medal of honor. Juan Bautista Cabedo and José Mª Martínez Aviñó also exhibited their work.

New Ideas, New Products, and Business Growth

Manises wasn’t just improving old techniques. It was also inventing new ones. In 1927, chemist Conrado Granell applied for a patent for the "Sinaí" water filter. This ceramic device was registered under number 103867. He worked with local business owners Salvador Pérez Burgos and Vicente Montaner Lerma to produce and sell it. This move showed how ceramics could be used for more than just art and decoration.

That same year, Manises became home to a new trade group. The Union of Manufacturers of Ceramics of the Kingdom of Valencia was formed in September 1927. This group was created to support the industry and protect local business interests. It lasted until 1936.

In 1927, two professionals joined forces to push things even further. Trader Manuel Martí Donderis and chemical engineer Vicente Vilar David started the town’s first factory focused on producing ceramic frits, glazes, and colorants. Locals called it “The colour factory.” It supplied materials that helped local production stay modern and competitive.

Boosting Output with New Firing Technology

In 1928, a major improvement hit local tile factories. The Eloy Domínguez factory, also known as CEDOLESA, introduced the first continuous kiln in Manises for second firing. This type of kiln made it easier to produce more tiles at a higher quality. It was a big step toward industrial-scale production and showed how technology could support both tradition and growth in the ceramic sector.

These years marked a turning point for Manises. The town evolved from a historic craft center into a modern industry leader without losing its roots in art and tradition. The balance between invention, education, and culture is what kept Manises ahead in ceramics. And it still does.

Modern Ceramics in Manises: From Artisanship to Industry

By the early 1900s, Manises ceramics began moving into a new era. Makers didn’t just preserve tradition, they adapted. New forms of art and commercial design started to blend with classic styles. The town’s long history of craftsmanship now met modern needs and tastes.

In 1928, José Gimeno Martínez ran an ad in Las Provincias promoting his factory and showroom at Calle del Huerto 26. He branded his work as “Valencian Ceramics” and offered more than just historical replicas. He also sold modern ceramic art and advertising signs made from fired clay. It was one of the first signs that ceramic work in Manises was stepping into commercial and artistic innovation at once.

A year later, in January 1929, Carmen Botet opened her first solo exhibit at Sala Imperium in Valencia. She was a young artist from Manises, and her work got attention from every major newspaper in the city. J. Mª. Bayarri wrote in Diario de Valencia that her show revealed "clear talent that can still grow.” It was a major moment for a local artist at the start of a changing time.

Ceramic Makers Organize During Political Change

In April 1931, Spain declared its Second Republic. That political change reenergized unions and local groups. In Manises, workers came together to form the “La Protección” Union. Manufacturers had already formed their own union in 1927, and now they began pushing more demands forward.

That same year, forty-two ceramic factories in Manises joined forces to create the Centre for Earthenware and Ceramics. The goal was to market their products together and avoid undercutting each other. The group made a strong public showing in 1932 with six booths at the Valencia International Trade Fair. That marked a key moment of industrial unity in a town built on craft.

The Civil War and Worker Control

When Spain’s Civil War broke out in 1936, the structure of the ceramic factories changed fast. Every workshop in Manises was placed under the control of an elected Intervention Committee. These groups were made up of workers and supervised by the UGT and CNT unions. Factory owners usually stayed involved as members of each board. Production didn’t stop, but it now ran through a system driven by workers during wartime conditions.

Post-War Control and Industry Revival

After the war ended in 1939, the new regime forced everyone into one state-approved trade union. But ceramic producers in Manises reorganized under a more focused group known as the Guild of the Manufacturers. It had two parts: one for tile production and one for majolica earthenware. That same year, new pricing tariffs were officially published to control rates.

In 1942, the Calipha of the Spanish Protectorate in Morocco, Muley Hassan, visited several ceramic factories in Manises. These workshops specialized in earthenware, majolica, and tile-making. His visit highlighted how Manises was becoming known internationally once again, even during the restrictions of the regime.

First Porcelain Factory and Technical Growth

By 1944, just three years after it started, Cerámicas Hispania S.L. reached a major goal. It became the first porcelain factory in Manises. It was a major step forward in local production. The plant had state-of-the-art equipment and employed 110 people. Out of those, 42 were women, which showed how the labor force was beginning to change, too.

In 1949, a major educational change came to the city. The Official State Gazette announced a new structure for the Practical School of Ceramics in Manises. The updated system started with a shared prep course, then let students branch off into two tracks. One focused on technical ceramic work. The other focused on artistic design. That structure helped Manises stay current in both industry and creativity, continuing its legacy as a city built on clay.

Manises Becomes Spain’s Top Producer of Sanitary Ceramics

In 1949, a major transformation happened in the ceramic industry in Manises. Eighteen local factories came together to form UNISAN, the Association of Manufacturers of Sanitary Ware. That move brought structure and strength to the sanitary ceramics sector. With a clear focus on quality and price, the group made Manises the top producer of sanitary ware in Spain. That title held for 25 years. The factories under UNISAN turned Manises into a national leader in this specialized ceramic market.

Health Risks in the Ceramic Industry Are Studied in Manises

In 1954, Dr. José Catalá Díez joined the CEDOLESA tile factory as an in-house doctor. Born in Manises in 1908, he had already built a solid reputation as a general practitioner. While at the factory, he focused on the health problems tied to ceramic work. His most important research looked into lead poisoning caused by handling glazes. In 1958, he published a study called A Contribution to the Study and Treatment of Lead Poisoning at Work. His work helped raise awareness about workplace safety in the industry.

Manises Joins a Global Trade Tour Through Latin America

Two years later, in 1956, Spain launched a trade initiative by sea. The ship Ciudad de Toledo became a floating showroom for Spanish goods. It stopped at 27 ports across 14 countries in Central and South America. Manises was part of that global push. Local participants included UNISAN, S. Valldecabres, CEDOLESA, La Azulejera de Emilio Tovar, and Viuda de Francisco Lahuerta. That effort helped introduce Manises ceramics to new markets far from home.

New Fair Showcases Ceramic Innovation in Valencia

In 1964, the Ceramics, Glass, and Decorative Elements Fair was launched. Known as CEVEDER, it was a branch of the larger Valencia International Trade Fair. The ceramics section covered both decorative and functional ware, along with coatings and production machinery. It gave manufacturers from Manises a new platform to display their work and keep up with new tools and trends in the industry.

Ceramic Artisans Gain Official Support and Recognition

By 1965, the need for formal recognition of artisan skills led to the creation of the Guild of Master Ceramist Potters. Though it served the whole province, its main office was based in Manises. The guild had the authority to issue Artisan in the Field cards, a type of professional ID. Manuel Gimeno Aguilella from La Cerámica Valenciana became the guild’s first president. It marked a big step in supporting ceramic artists as both craftsmen and professionals.

Manises Opens Its Own Ceramics Museum

In 1967, the city took another cultural step forward. The Manises Municipal Museum officially opened its doors. The collection came from the donation of José Casanova Dalfó and Pilar Sanchis Causa. The project got support from Vicente Ferris Soler, then a city council member focused on culture. Francisco Gimeno Adrián was the mayor at the time. The museum became a space where the city's long ceramic tradition could be preserved and shared with the public.

National Ceramics Competition Starts in Manises

By 1972, Manises had grown into a major name in ceramics. That year, the city government, with backing from the Gallego Vilar company, launched the National Competition in Ceramics. The contest helped highlight modern ceramic talent across Spain. In the first year, the top award, the City of Manises Prize, went to Enrique Mestre for his piece Estrómboli. This event helped position Manises as a hub for both traditional and contemporary ceramic work.

Local Factory Becomes a National Export Leader

The Vicente Montaner Lerma factory had been around since 1913, but it really took off in the 1960s. As Spain opened up more to foreign trade, the company expanded its reach. By 1975, it was recognized with the National Prize for Exports. It had become the second biggest exporter of decorated earthenware in the country. This win proved that Manises wasn’t just rich in history, but fully active in the modern ceramic economy.

Modern Industry and Cultural Growth in Manises Ceramics

In the late 20th century, Manises continued to build on its ceramic legacy, moving toward organized industry, improved education, and cultural preservation. These years marked major changes, with local makers adapting to modern production methods while keeping the city's heritage front and center.

In April 1977, the Valencian Association of Entrepreneurs in Ceramics, or AVEC, was formed. It replaced the older Trade Union of Manufacturers of Ceramics and Glass. Its headquarters were set up at what’s now Avenida Blasco Ibáñez, number 3, right in Manises. AVEC gave ceramic businesses a unified voice and a stronger network to support the local industry.

That same year, a group of Valencian business owners launched a new company called PORSAN. It focused on ceramic sanitaryware and set up production sites in Chiva and at the La Cova factory in Manises. By 1979, PORSAN’s products had received official type-approval from AENOR, confirming their quality and boosting the company's status.

In December 1982, natural gas service finally reached Manises. Out of 84 ceramic businesses that had pre-contracted the service, several began switching over after converting their ovens from propane to natural gas. This change made production more efficient and reduced operating costs, allowing factories to update their systems and stay competitive.

By 1984, Manises made another big move. CEVISAMA, a trade fair that had been operating under CEVIDER for 19 years, became its own event. It joined the Valencia International Fair with a focus on ceramics and glass for the building sector. This gave local producers a platform to reach larger, international markets.

Two years later, in 1986, the new School of Ceramics was completed. It opened on Avenida Ceramista Alfons Blat, named after the school’s director from 1948 to 1970. The upgraded building, with better facilities and equipment, helped improve the level of ceramic education. It officially opened for the 1986–1987 school year, giving students a stronger path into the industry.

In 1989, the city reopened and redesigned the Municipal Museum as the Manises Ceramics Museum. With more space and better collections, it offered a clear view of the local ceramic scene from the 1300s through the 1900s. The change gave Manises a more defined cultural identity and helped promote ceramic heritage to locals and visitors alike.

By 1993, the city took its ceramics competition global. What started as the National Competition of Ceramics became the European Biennial of Ceramics. Ten years later, the event reached full international status, turning into the International Biennial of Ceramics. This put Manises on the world stage as a city of ceramic art and innovation.

In 1994, the city took steps to protect its past. The Manises City Council, following a proposal from the Ceramics Museum, approved new zoning rules to protect the town's archaeological heritage. This included the historical center and the Barri dels Obradors, where many old pottery workshops had been located. The update was part of the first major change to the urban zoning plan and helped make sure the city’s ceramic roots would be preserved for future generations.

Modern Ceramic Innovation in Manises

In 1996, a group of Valencia-based entrepreneurs took over the old PORSAN factory in Manises. They turned it into UNISAN XXI, a new company focused on ceramic sanitaryware. Just eight years later, the Portuguese multinational SANINDUSA bought the entire business. That move gave them a stronger hold in the Spanish market and expanded their reach.

The following year, on September 17, 1997, Manises opened the Centre for Services and the Promotion of Valencian Ceramics. It also became the new home for AVEC, the Valencian Ceramics Association. Built on land donated by the city council, the 3,000 square meter building included offices, an auditorium, and a permanent showroom filled with work from AVEC members.

By June 10, 1998, the center was drawing international attention. The Cuban Minister of Industry, Jesús Pérez Othón, came to visit the AVEC building, along with two well-known factories: La Cerámica Valenciana and Cerámicas Teflor. Both companies specialized in a wicker-style ceramic that stood out for its detail and craftsmanship.

A New Focus on Research and Technical Ceramics

In 2000, VICAR S.A., a major clay producer in Manises, moved operations to a modern plant. They also strengthened their R&D department to experiment with high-performance ceramic materials like cordierite, steatite, and alumina. This change made VICAR the first company in Spain to focus on this area of advanced ceramics.

That same year, the Valencian Association of Ceramics joined forces with the Guild of Ceramist Artisans. They became one group under the name AVEC-Gremio and moved their headquarters to Calle Valencia 29, right in Manises.

Ceramic Education and Recognition Through Hard Times

As the decorative ceramics market struggled through a long economic downturn, Manises made changes to keep ceramic education alive. In 2001, the local school was renamed the Higher School of Art and Ceramics. It began offering full degree programs alongside technical and vocational training to help new artists continue the craft.

Innovation didn’t stop. In 2007, the Generalitat Valenciana gave the Nova Prize for crafts to La Cerámica Valenciana Sucesores de José Gimeno Martínez. Their winning project, called Sagen/Ceramics, created new collections in collaboration with young designers, bringing fresh life into traditional methods.

Between 2009 and 2010, a big change happened in the historic Barri dels Obradors. The old buildings were torn down, but in their place, an archaeological site was found. The site still waits for full protection and careful study.

Artisans, Archaeology, and Global Recognition

On December 2, 2014, ceramicist Juan Carlos Iñesta registered the trademark DOMANISES. His goal was to explore new paths in ceramics by working with designers, artists, and tech developers. The project focused on mixing old methods with modern ideas.

Between 2015 and 2017, archaeologist Jaume Coll led several dig campaigns at a site on Calle Valencia, number 17. One of the major finds was a piece marked with the royal crest of Charles VI, King of France. That find proved how far Manises ceramics had traveled centuries ago.

In 2019, artisan Arturo Mora won top honors for traditional ceramics at both the International Biennial of Ceramics in Talavera and the Crafts Competition of the Valencian region. His work continued Manises’ legacy of excellence in lustreware.

In May 2021, after a long campaign supported by citizens, local government, and public and private groups, Manises officially became part of UNESCO’s Creative Cities Network. It was recognized under the category of Crafts and Folk Arts, putting it on the global map once again.

The Role of Women in Manises Ceramics

Women started taking part in ceramic work in Manises around the end of the 1800s. They focused mostly on decorative arts, shaping flowers, leaves, and other ornaments. Most of them worked as painters in the workshops, and they made up the majority in that role.

Today, some women are still known for their dedication to crafting floral forms in both clay and ceramics. Their work continues to shape the identity of Manises ceramics, honoring a long legacy of skill and patience passed down through generations.

 

To read more about the general history of ceramics in Iberia, check out our other article here:
Spanish Ceramics: History, Styles, Techniques, and Pottery Traditions of Spain