peacocks, herons, pelicans, and other birds. Among the pieces produced
about this time by, or under the direction of, Kändler, at Meissen was
Count Bruhl's tailor mounted upon a goat, with all the implements of his
trade about him. This vain man had a great desire that his likeness
should be executed in porcelain at the royal manufactory, and his
request was complied with, but probably not in such a way as to gratify
his vanity, for not only the tailor but his wife were thus immortalised,
_aere perennius_, in porcelain. In 1754 Dietrich became Director, and he
was succeeded in 1796 by Marcolini, whose beautiful productions are well
known. Porcelain of his period is always distinguished by a star
underneath crossed swords. In spite of the precautions taken at Meissen
to prevent the secret becoming known--the penalty being death, or
perpetual imprisonment in the Castle of Königstein--some workmen escaped
to reveal it elsewhere.
[Illustration: FIG. 131.--VASE AND COVER. _Painted with views of public
buildings in Dresden._]
The white Meissen porcelain was sometimes ornamented by private persons,
especially by a Baron Busch, Canon of Hildesheim, who was the only
person possessed of the secret of engraving with a diamond on china.
[Illustration: FIG. 132.--BUST OF A GIRL. _White porcelain._]
[Illustration: FIG. 133.--TEAPOT AND SAUCER. _Pink ground, painted with
landscapes and figures._]
BERLIN. This manufactory for _Hard Paste_ was established by Wilhelm
Caspar Wegeli in 1751, in the Neue Friedrichsstrasse. It was carried on
for about ten years, but it never remunerated the originator, and he
abandoned it in 1761, when Gottskowski, a celebrated banker, became the
purchaser, and removed the works to Leipziger Strasse; assisted by his
capital, they were brought to great perfection.
[Illustration: FIG. 134.--GROUP. _In plain white. Wegeli period._ Height
9 in.]
Johann Ernst Gottskowski obtained the secret of porcelain from Ernst
Heinrich Richard, who had been employed by Wegeli. Gottskowski did not
personally manage the manufactory, but placed it under the management of
the Commissioner Grunenger, which led to his employment from the year
1763 to 1786 as the head of the royal porcelain manufactory at Berlin.
In 1763, Gottskowski gave up to the king the whole of his factory of
porcelain, receiving 225,000 dollars, and entering into a contract for
the sale of his secrets.
[Illustration: FIG. 135.--GROUP. _Wegeli period._ Height 6-3/4 in.]
With a view to encouraging the manufacture in his kingdom, the king made
presents of superb services of Berlin china to several German princes in
the year 1766. When Frederick the Great occupied Dresden, in the seven
years' war, he expatriated many of the best modellers and painters to
form his royal manufactory; among these were Meyer, Klipsel, and Böhme.
The king also transported great quantities of the clay and a portion of
the collection. Independently of this, and the better to insure
employment for the five hundred persons engaged in the processes, he
restricted the Jews resident in any part of his dominions from entering
into the marriage state, until each man had obtained a certificate from
himself, which was only granted on the production of a voucher from the
Director of the manufactory that porcelain to a given amount had been
purchased, and that there was reasonable cause for granting the
indulgence. Of course the Jews more readily disposed of their purchases
than the general dealers, and the device was attended with favourable
results. To insure the success of the establishment and extend its
operations, Frederick embraced every opportunity that was presented; and
it was so well supported that in 1776 seven hundred men were constantly
employed, and it is said that three thousand pieces of porcelain were
made daily.
[Illustration: FIG. 136.--MILK-POT, CUP AND SAUCER.]
In 1769 an order was published permitting a lottery company to purchase
annually to the amount of 90,000 dollars.
About 1872, the Berlin Royal Porcelain Manufactory was working seven
kilns, and employing three hundred workmen; the annual produce amounted
on an average to half a million finished articles, value 150,000
Prussian dollars. The superintendence was entrusted to Herr Kolbe (who
succeeded Herr Frick in the direction), under whom were Dr. Eisner as
chemist, Herr Mantel as master modeller, and Herr Looschen as head
painter.
HÖCHST, a town situated on the Main, and now in Nassau, belonged to the
Electors of Mainz. A manufactory was founded in 1746 by J. C. Göltz and
J. F. Clarus, two merchants of Frankfort, assisted by A. von Löwenfinck,
but they were unsuccessful, and called in Ringler, of Vienna, who had
escaped from the manufactory. During the Electorate of Johann Friedrich
Karl, Archbishop of Mainz, their porcelain ranked among the first in
Europe. About 1760 the celebrated modeller Melchior was engaged, and
some very elegant statuettes and designs for vases, &c., were produced.
Melchior left the manufactory about 1785, and his successor, Ries, was
not so skilful, and all his figures having disproportionate heads, the
so-called "thick-head" period commenced. Christian Gottlieb Kuntze was
another celebrated worker in this _fabrique_. On the invasion of the
French under General Custine in 1794, all the materials were sold by
auction.
[Illustration: FIG. 137.--LAMP-STAND.]
[Illustration: FIG. 138.--TRAY AND SUCRIER.]
FRANKENTHAL, in Bavaria. Established in 1754, by Paul Hannong, who,
having discovered the secret of hard porcelain, offered it to the royal
manufactory at Sèvres, but the authorities not agreeing as to the price,
the offer was declined, and they commenced persecuting him--for in that
year a decree forbade the making of translucent ware in France except at
Sèvres--and Hannong was compelled to go to Frankenthal, leaving his
fayence manufactory at Strassburg in charge of his sons. In 1761 the
factory was purchased by the Elector Carl Theodore, and it attained
great celebrity, which it maintained until he became Elector of Bavaria,
in 1777. It then declined, and all the stock and utensils were sold in
1800 and removed to Greinstadt. The following chronogram denotes the
year 1775:--
VARIANTIBVS · FLOSCVLIS · DIVERSI · COLORES ·
FABRICÆ · SVB · REVIVISCENTIS · SOLIS · HVIVS ·
RADIIS · EXVLTANTIS ·
IN·FRANKENTHAL· [star]
It occurs on a porcelain plate, Fig. 139, having in the centre the
initials of Carl Theodore, interlaced and crowned, within a gold star of
flaming rays; radiating from this are thirty divisions, and on the
border thirty more, all numbered and painted with small bouquets, _en
camaïeu_, of all the various shades of colour employed in the
manufactory.
[Illustration: FIG. 139.--PLATE.]
[Illustration: FIG. 140.--A DÉJEUNER SERVICE.]
NEUDECK, on the Au, and NYMPHENBURG. This factory was established in
1747, by a potter named Niedermayer. Graf von Hainshausen became its
patron in 1754, and in 1756 he sent for Ringler, who organised the
establishment, and it was then placed under the protection of the
Elector Maximilian Joseph. On the death of his successor, Carl Theodore,
in 1799, the Frankenthal manufactory was abandoned, and transferred to
Nymphenburg, which is still a royal establishment, and well supported.
The pieces are manufactured in white at Nymphenburg, but chiefly
decorated at Munich and elsewhere; that is the reason why on the same
piece the Nymphenburg mark is frequently found impressed, with the mark
of some other factory painted in colour.
[Illustration: FIG. 141.--TANKARD.]
Fig. 141, moulded in relief and painted with flowers; marks, the coat of
Bavaria, 1765 in gold, two leaves and I. A. H. in green; height 7-1/4
in.
Fig. 142, painted in colours; marks, the coat of arms of Bavaria, and A
incised; diameter 3-1/4 in. and 5-1/4 in.
[Illustration: FIG. 142.--CUP AND SAUCER.]
[Illustration: FIG. 143.--CUP AND SAUCER.]
ANSPACH, a town which belonged to the Margraves of Anspach and is now
in Bavaria. There was a factory here about 1760.
Fig. 143 is painted with figures in colour; signed "Schelk, pinx."; mark
A in blue; diameter 3 ins. and 5-1/4 in.
BAYREUTH was under the same rulers as Anspach, and is now also in
Bavaria. There was a manufactory here in the 18th century, but little
appears to be known respecting it.
[Illustration: FIG. 144.--CUP.]
Fig. 144 is painted in colours, and gilt inside; mark, "Metzsch 1748
Bayr"; diameter 2-3/4 in.
KELSTERBACH, in Hesse. A manufactory for pottery was founded here about
1758, where later porcelain was also made. The works only lasted about
sixteen years.
[Illustration: FIG. 145.--HARLEQUIN.]
Fig. 145 is painted in colours; mark, H. D. under a crown, in blue;
height 6-3/4 in.
THURINGIA. In the middle of the 18th century a number of small porcelain
factories sprang up in this district. It is said that they owe their
origin to a chemist named Macheleid, who discovered by accident a
deposit of kaolin, and obtained permission from the Prince of
Schwarzburg to establish a factory at SITZENRODA, which in 1762 was
removed to Volkstedt.
[Illustration: FIG. 146.--CUP AND SAUCER. Diam. 2-3/4 in. and 5-3/4 in.]
CLOSTER, or KLOSTER, VEILSDORF, or VOLKSTEDT. The porcelain manufactory
of Sitzenroda was transferred to Volkstedt, in Thuringia, in 1762, where
it was farmed by a merchant named Nonne, of Erfurt, who greatly enlarged
and improved the works. About the year 1770 it was carried on by
Greiner. In 1795 more than 120 workmen were employed.
[Illustration: FIG. 147.--TEAPOT.]
[Illustration: FIG. 148.--TRAY.]
Fig. 148 is moulded in rococo style, and painted with flowers; mark,
shield of Saxe-Meiningen between C. V.; length 12-1/2 in.
RUDOLSTADT. The factory at Volkstedt was afterwards removed to
Rudolstadt, near Jena. Gotthelf Greiner had the direction of several of
the other Thuringian manufactories; he died in 1797.
[Illustration: FIG. 149.--MILK-POT AND CUP AND SAUCER.]
FULDA, in Hesse. A factory was established here about 1763 by Arnandus,
Prince-Bishop of Fulda, for the manufacture of porcelain. The best
artists were employed, and many grand vases, figures, and services of a
fine white paste and handsomely decorated were produced.
[Illustration: FIG. 150.--A PEASANT.]
[Illustration: FIG. 151.--A PEASANT.]
[Illustration: FIG. 152.--CUP AND SAUCER.]
[Illustration: FIG. 153.--COFFEE-POT.]
FÜRSTENBERG. In Brunswick, established in 1750, by the help of Bengraf,
who came from Höchst; he died the same year, and Baron von Lang, a
distinguished chemist, undertook the direction of the works, under the
patronage of Carl, Duke of Brunswick. The manufactory was carried on by
the Government up to the middle of last century.
Fig. 154, a bust of Augusta, Duchess of Brunswick, grand-daughter of
King George II., is in white biscuit; mark, F in blue, a running
horse, and W; height 20-1/2 in.
[Illustration: FIG. 154.--BUST.]
[Illustration: FIG. 155--MEDALLIONS. _In white biscuit._]
Fig. 155. Portraits of O. D. Beckmann and A. L. Schlötzer; marked with a
running horse and F; length 2-7/8 in.
LUDWIGSBURG, in Würtemberg. Established by J. J. Ringler in 1758, under
the patronage of Carl Eugene, the reigning duke. It was celebrated for
the excellence of its productions and the fine paintings on its vases
and services, as well as for its excellent groups. This factory ceased
in 1824.
[Illustration: FIG. 156.--CHOCOLATE-POT.]
Fig. 156 is painted with figures of Hope and Music in panels; mark,
double C under a crown, in blue; height 5-1/4 in.
[Illustration: FIG. 157.--COFFEE-POT.]
Fig. 157 is painted in lake _camaïeu_, with a landscape and buildings
after Claude, and has a gilt, arabesque and scroll border.
REGENSBURG, or RATISBON. This factory was established about 1760.
[Illustration: FIG. 158.--CUP AND SAUCER.]
GROSSBREITENBACH. A factory was established here about 1770 by Greiner.
The demand for his porcelain was so great, that not being able to
enlarge his works at Limbach, he started this as well as Veilsdorf and
Volkstedt.
[Illustration: FIG. 159.--MILK-POT.]
Fig. 159 is grey blue ware in imitation of Wedgwood, with classical
group in white relief, bearing a wreath with the cypher F. G. C. under a
crown; marks, "Breitenbach et Limbach," and "Gruber"; height 4 in.
[Illustration: LIMBACH
FIG. 160.--SUCRIER, COVER, AND STAND.]
LIMBACH, Saxe-Meiningen. This manufactory was also under the direction
of Gotthelf Greiner. It was established about 1762.
Fig. 160 is painted with flowers; mark, two letters L crossed; diameters
4-7/8 and 8-1/4 in.
GERA. A manufactory was founded here about 1780.
[Illustration: FIG. 161.--SUGAR BASIN.]
Fig. 161 is painted with festoons of pink flowers; mark, G in blue;
height 6-1/4 in.
[Illustration: FIG. 162.--CUP, COVER, AND SAUCER.]
Fig. 162 is grained in imitation of oak, with medallions painted with
views, "Schloss aus dem Kohlenhofe" on cup, and "Lauchstaedt vor dem
Brunnen" on saucer; signed, "Rühlig Fec"; mark, G in blue; diameters 3
and 5-1/4 in.
BADEN-BADEN. A porcelain manufactory was established in 1753 by the
widow Sperl and workmen from Höchst, with the patronage of the reigning
Margrave, under Pfälzer. It ceased in 1778.
[Illustration: GOTHA
FIG. 163.--FIGURE OF BACCHUS. _In white biscuit._ Height 11 in.]
GOTHA. Founded in 1780 by Rothenberg, and afterwards (1802) conducted by
Henneberg.
RAUENSTEIN, in Saxe-Meiningen. A factory for hard paste was established
here in 1760.
[Illustration: FIG. 164.--CUP AND SAUCER.]
Fig. 164 is painted with flowers; mark, R--n; diameters 3 and 5 in.
WALLENDORF, in Saxe-Coburg. There was also a factory for hard paste
established by Greiner and Haman here in 1762.
Fig. 165 is painted in dark blue, and with leaves in relief; mark, W, in
blue; height 10 in.
[Illustration: FIG. 165.--VASE.]
AUSTRIA
VIENNA
This manufactory for _hard paste_ was founded about 1717. There are
several traditions as to its origin: one is that a musician named La
France, and a billiard-marker, named Dupuis, brought with them to
Vienna, in October 1717, a certain Cristofle Conrad Hünger, who had been
employed at Meissen as an enamel painter and gilder, and that in the
following year they were joined by a man named Stölzel of Meissen, who
was possessed of the secret, and became director. Another that it was a
private enterprise set on foot by Claude du Pasquier, who obtained from
the Emperor Charles VII. a privilege for twenty-five years. Major Byng
Hall (_Adventures of a Bric-à-Brac Hunter_), however, says that it was
established in 1718 by Claude Innocenz de Blaquier, who engaged one
Stenzel or Stölzel to co-operate with him. With this object in view De
Blaquier proceeded secretly to Meissen, where he contrived to scrape
acquaintance with the arcanist in a coffee-house. He engaged with
Stenzel in a game of billiards, taking care to lose, and thus he secured
his object. Stenzel after some slight hesitation, accepted an offer of a
thousand dollars to be paid yearly.
[Illustration: FIG. 166.--CABARET.]
De Blaquier had to contend with many difficulties owing to his not being
possessed of the secret, and at the end of the second year Stenzel not
having been paid regularly according to his contract, returned to
Meissen, after having maliciously destroyed many of the models. The
works had consequently to be suspended. But De Blaquier, being a man of
energy and determination, endeavoured by numerous experiments to
discover the porcelain mixture, and his efforts were finally crowned
with success.
[Illustration: FIG. 167.--MILK-POT.]
After twenty-five years' labour De Blaquier decided in 1744 to offer the
works to the Government.
The young Empress Maria Theresa resolved to support the factory, which
promised to give occupation and profit to her subjects, honour and gain
to the State. She therefore commanded that it should be taken by State
contract from its owner, and that De Blaquier should receive the
direction with a salary of 1500 florins a year.
[Illustration: FIG. 168.--PLATE.]
From 1747 to 1790 was the best period for figures and groups, while from
1780 to 1820 painting on china became celebrated, the subjects being
taken from paintings by Watteau, Lancret, Boucher, Angelica Kauffmann,
and others.
In 1785 the most important improvements were made under the Baron de
Lorgenthal or Sorgenthal; artists of the highest talents were employed,
a first-rate chemist named Leithner was engaged to prepare the colours
and gilding, the _chefs d'oeuvre_ of the early masters were copied,
while the gilding was brought to a perfection which has never been
surpassed.
[Illustration: FIG. 169.--CUP AND "TREMBLEUSE" SAUCER. _18th Century._]
After the death of the Baron in 1805, Neidermayer became Director. The
manufacture continued in its flourishing condition until about 1815.
From the year 1784 to the date of its extinction, it was the custom to
mark every piece with the number of the year, which circumstance may be
of great service to the connoisseur who seeks early specimens of Vienna
porcelain. It is stamped without colour underneath the piece--or rather
indented, the first numeral being omitted; thus the number 792 stands
for 1792; 802 for 1802; and so on.
From 1827, under the direction of Scholtz, who followed Niedermayer, the
manufactory began to decline, and what with economy, indifferent
workmen, and bad artists copying from French models its doom was sealed.
It gradually dwindled down to a second-rate factory, and in consequence
of the great annual expense it was discontinued in 1864. The books on
art belonging to the factory, and all the drawings of its most
successful period, together with many of the models, the library, and
the keramic collection, were given to the Imperial Museum in Vienna, to
be retained as a lasting memorial of its celebrity.
Fig. 166 is painted in _camaïeu_ on purple ground, and gilt; mark,
shield crowned; length of tray 12 in.
Fig. 167 is painted in colours and gilt, with busts of ladies, entitled
"L'Hérisson" and "Fantaisie Moderne"; mark, the shield in blue; height 6
in.
Fig. 168 is painted in colours, with two nymphs in a landscape playing
with the infant Bacchus; mark, the Austrian shield of arms, in blue; the
painting attributed to Fürstler.
SCHLAGGENWALD, in Bohemia. This manufactory was established in the year
1810. George Lippert was the owner in 1842, and much improved the
industry. Some pieces are marked "Lippert & Haas."
[Illustration: FIG. 170.--CUP AND SAUCER.]
Fig. 170 is painted in colours, with medallions containing figures of
Justice; mark, S; diam. 2-1/2 and 5 in.
HEREND, in Hungary. There was a manufactory of porcelain here towards
the end of the 18th century, but particulars concerning its origin are
not known.
Fig. 171 is painted in oriental style, with flowers, &c.; late 18th
century.
[Illustration: FIG. 171.--PORTION OF A CABARET OR BREAKFAST SERVICE.]
SWITZERLAND
NYON, on the lake of Geneva. A manufactory was in full work here towards
the end of the 18th century. It is said to have been established by a
French flower painter named Maubrée, and several Genevese artists
painted on the porcelain, occasionally marking it with a "G" or "Geneva"
in full; but there never was a manufactory of china at Geneva itself.
[Illustration: FIG. 172.--CUP AND SAUCER.]
ZÜRICH. Established here in 1763 by a few Zürich gentlemen, with the aid
of a workman, named Spengler, from Höchst. Another German, Sonnenschein,
a sculptor, was employed to model figures and groups. The factory was
not a financial success. In 1793 the works were sold to a potter named
Nehracher, and on his death in 1800 the works ceased.
[Illustration: NYON
FIG. 173.--CUP AND SAUCER. _With mark, fish in blue._]
Fig. 174 represents a soldier trampling on a Turk and unveiling a lady,
martial and love trophies on the ground.
[Illustration: FIG. 174.--A GROUP.]
HOLLAND
WEESP. The first manufactory for porcelain in Holland was at Weesp, near
Amsterdam. It was established in 1764 by the Count Cronsfeldt-Diepenbroick,
who had by some means obtained the secret of the composition of hard
paste. After existing seven years, the factory was closed in 1771.
Notwithstanding the unsuccessful result from a commercial point of view,
it was reopened by a Protestant minister, the Rev. De Moll, of Oude
Loosdrecht, associated with some capitalists of Amsterdam, but the next
year it was removed to Loosdrecht. The decorations are very much of the
Saxon character.
[Illustration: FIG. 175.--EWER. _With mark, W._]
[Illustration: FIG. 176.--COFFEE-POT. _Mark, a cross and dots._]
OUDE LOOSDRECHT, situated between Utrecht and Amsterdam, was the next
town where porcelain was successfully made. It sprang from the ashes of
Weesp, and in 1772 became a company, with the Rev. De Moll at its head;
after his death, in 1782, the concern passed into the hands of his
partners, J. Rendorp, A. Dedel, C. Van der Hoop, Gysbz, and J. Hope, and
was by them removed, in 1784, to Oude Amstel. The ware is of fine
quality, decorated in the Saxon style; specimens are frequently met
with, having gilt borders and a light blue flower between green leaves.
[Illustration: FIG. 177.--VASE.]
[Illustration: FIG. 178.--PANEL. _Mark, M : o L. in blue._ Width 12-3/4
in.]
AMSTERDAM. Fig. 179. Painted in lake _camaïeu_ with birds and trees; the
mark, lion, in blue.
[Illustration: FIG. 179.--A PAIR OF BOTTLES.]
OUDE AMSTEL. On the death of the Rev. De Moll in the year 1782, the
manufactory of Loosdrecht was removed to Oude Amstel (Old Amstel), near
Amsterdam, and carried on with redoubled zeal by the same company,
directed by a German named Däuber, about 1784. It flourished under his
direction for a few years, and produced a fine description of porcelain,
but it gradually declined, in consequence of the large importations from
England which inundated the country. In 1789 it came into the hands of
J. Rendorp, C. Van der Hoop, and Gysbz, still remaining under Däuber's
direction, but it was entirely demolished at the close of the 18th
century.
[Illustration: FIG. 180.--TEAPOT AND SUCRIER.]
[Illustration: FIG. 181.--SUCRIER.]
THE HAGUE. About the year 1775, a porcelain manufactory for both hard
and soft paste was opened at The Hague, under the direction of a German
named Leichner or Lynker. The works ceased in 1785 or 1786.
[Illustration: FIG. 182.--PLATE. _Of soft paste._]
Fig. 182 bears the mark of a stork in blue; diam. 9-1/2 in.
BELGIUM AND LUXEMBURG
BELGIUM
TOURNAI. Established in 1750 by Peterinck. For some time previous to
1815 the works were carried on by M. Maximilien de Bettignies, who, in
consequence of the annexation of Tournai to Belgium, ceded it in that
year to his brother Henri, and established another factory at St.
Amand-les-Eaux. Soft paste, which has been discontinued for many years
in every other _fabrique_ in France, is still made at both places, and
they consequently produce the closest imitations of old Sèvres _pâte
tendre_.
[Illustration: FIG. 183.--CUP AND SAUCER. _With the early mark in
gold._]
Fig. 184 is painted in blue; mark, crossed swords and three crosses;
diam. 9-1/2 in.
[Illustration: FIG. 184.--PLATE.]
[Illustration: FIG. 185.--SALT-CELLAR.]
Fig. 185 is painted with birds; mark, crossed swords and four crosses,
in gold; height 4-3/8 in.
BRUSSELS. There was a manufactory of hard paste porcelain here towards
the end of the 18th century.
[Illustration: FIG. 186.--MILK JUG. _Signed L. Cretté._]
[Illustration: FIG. 187.--TEAPOT.]
LUXEMBURG
A factory for hard paste porcelain was established at Sept Fontaines
about 1806, by the brothers Boch. Both pottery and porcelain were made
here, including plates, vases, figures, &c.
[Illustration: LUXEMBURG
FIG. 188.--TWO FIGURES OF "THE SEASONS." _With mark, B. L._]
RUSSIA