How about stepping back in time to witness the birth of European porcelain? Here, in Meißen, we stand before the legacy of a remarkable feat. Meißen porcelain wasn’t just a product. It was a revolution.
In the 18th century porcelain was known as “white gold”. It was one of the most prized commodities. The method for making it remained a mystery to Europeans. That is, until Johann Friedrich Böttger discovered the secret. In 1710 the Meissen factory was established.
Augustus the Strong, ruler of Saxony, played a crucial role. He was porcelain-crazy. He already had an enormous collection of Asian pieces. Augustus essentially financed Böttger’s alchemic pursuits. Böttger bragged he could make gold from base metal. Augustus imprisoned him. He told him to prove it. Böttger didn’t produce gold. But he discovered how to make hard-paste stoneware and then true porcelain.
As a result of Böttger’s discovery Augustus founded a porcelain factory in Meißen. He hired artists and craftsmen to produce decorative wares. The makers experimented with glazes and recruited glass-cutters. Johann Gregorius Höroldt arrived from Vienna. He set up the painting workshops. That’s when things really started to take off.
The factory belonged to Augustus. He ordered huge quantities for himself. He also sold it to Europe’s grand families. Diplomatic gifts were integral to European politics. Augustus commissioned many from the factory. Porcelain became a symbol of his power and wealth.
Initially, Meißen designs copied Oriental forms. In the 1720s, Meißen decorated wares with fantasy chinoiserie scenes. Kakiemon designs from Japan were introduced. Forms inspired by Japanese originals were also used. The craftsmen often gave Asian designs a Baroque makeover. They combined them with European forms.
Small porcelain figures came from sugar ornaments. These sugar ornaments were seen on fashionable dining tables. They were very expensive and ephemeral since they could be eaten. Producing similar figures in porcelain made them more permanent and valuable. The figures conveyed information about their owners. They showed their level of scholarship, military prowess, or humor.
One common figure was the Harlequin. He was a character in the commedia dell’arte. It was a form of traveling theater. Augustus even had a menagerie of porcelain animals created. They ranged from exotic birds to elephants. These life-size animals were made for the Japanese Palace in Dresden. Johann Gottlieb Kirchner and Johann Joachim Kändler were involved in this undertaking.
Today most of the animals are in the Zwinger collection in Dresden. Pieces that are rare, beautiful, and in good condition achieve high prices. Provenance is important. The “feel” of the porcelain is important. As is its color. Early porcelain should be smoky-colored white. Gilding should have a deep, honey-colored richness.
Meißen gilding has a particular glow. It differs from other factories like K.P.M. Berlin. Their 18th-century gilding has a flatter sheen. For figures, the modeling should be appropriate to the period. Kändler’s figures should have fluidity and life.
The crossed-swords mark is a symbol of Meißen. It protects its production. The mark is one of the oldest trademarks.
So, as you stand here before the testament to artistic ingenuity, remember the story of Meißen. Remember the alchemist, the king, and the birth of European porcelain. It’s a story etched in clay and fired in the flames of ambition.