Many of the object d’art familiar to Jane Austen (and used extensively as set pieces in the many adaptations of her works) are based on the pieces produced by the famous Meissen Porcelain factory in the mid 1700’s. The company became known for their exquisite china patterns, including the Blue Onion pattern, still in production today, clocks, vases, figurines and just about any other decorative item which could be made of porcelain. Among the first to discover the secret of China’s “White Gold”, craftsmen in the artist town of Meissen protected and improved the recipe long before Josiah Wedgewood or Josiah Spode set up their showrooms in London or artisans in Sevres could create their first vase.
The Chinese had mastered the production of porcelain long before the west became aware of it, and by the seventeenth century oriental porcelain had become a valuable export commodity in the China trade. Mostly provided by the Dutch East India Company, porcelain from China and Japan represented wealth, importance, and refined taste in Europe, while local attempts to produce porcelain, such as the brief experiment that produced “Medici porcelain” had met with failure.
At the beginning of the eighteenth century Johann Friedrich Böttger pretended he had solved the dream of the alchemists, to produce gold from worthless materials. When the Elector of Saxony Augustus the Strong heard of it, he kept him in protective custody and requested him to produce gold. For years Johann Friedrich Böttger was unsuccessful in this effort. At the same time, Ehrenfried Walther von Tschirnhaus, a mathematician and scientist, experimented with the manufacture of glass, trying to make porcelain as well. Tschirnhaus supervised Böttger and by 1707 Böttger reluctantly started to help in the experiments by Tschirnhaus. When Tschirnhaus suddenly died, the recipe apparently was handed over to Böttger, who within one week announced to the Elector that he could make porcelain. Böttger refined the formula and with some Dutch co-workers, experienced in firing and painting tiles, the stage was set for the manufacturing of porcelain. In 1709, the Elector established the first Meissen manufactory, placed Böttger’s laboratory at Albrechtsburg castle in Meissen and production started officially in 1710.
The first type of porcelain produced by Böttger was a refined and extremely hard red stoneware known in Germany as Böttgersteinzeug. It retained very crisp definition in its mold-cast applied details, on bodies that could be polished to a gloss before firing. Models were derived from Baroque silver shapes and Chinese ceramic examples. Meissen’s production of a hard paste white porcelain that could be glazed and painted soon followed, and wares were put on the market in 1713.
Böttger’s experimental wares rapidly gained quality but never achieved successful painted and fired decor. The first successful ornaments were gold decorations applied upon the fired body and finely engraved before they received a second firing at a lower temperature. Multicolor enamelled painting was introduced by Johann Gregorius Höroldt in 1723, with an increasingly broad palette of colors that marked the beginning of the classic phase of Meissen porcelain. His enamel paints are still the basis for ceramic paints today. Initially paintings often imitated oriental patterns. The signature underglaze “Meissen Blue” was introduced by Friedrich August Köttig. Soon minutely detailed landscapes and port scenes, animals, flowers, galante courtly scenes and chinoiseries— fanciful Chinese-inspired decorations— were to be found on Meissen porcelain. The Kakiemon vases and tea wares of kilns in Arita, Japan were imitated as Indianische Blume (“Flowers of the Indies”). Paintings by Watteau were copied. Wares were also sold in solid glazed colors, to be enamelled in private workshops (Hausmalerei) and independently retailed. The support of Augustus’ patronage attracted to Meissen some of the finest painters and modelers of Europe as staff artists.
The Albrechtsburg was utilized to protect the secrets of the manufacture of the white gold. As a further precaution, very few workers knew the special secret (arcanum) of how to make porcelain, and then perhaps only part of the process. Thus, for a few years, Meissen retained its monopoly on the production of hard-paste porcelain in Europe. By 1717, however, a competing production was set up at Vienna, as Samuel Stöltzel sold the secret recipe, which involved the use of kaolin, also known as china clay. By 1760 about thirty porcelain manufacturers were operating in Europe, most of them, however, producing frit based soft-paste porcelain.
In order to identify the original Meissen products, Meissen developed markings that initially were painted on, but were soon fired in underglaze blue. Early markings such as AR (Augustus Rex, the monogram of the King), K.P.M. (Königliche Porzellan-Manufaktur), M.P.M. (Meissener Porzellan-Manufaktur), and K.P.F. (“Königliche Porzellan-Fabrik) were eventually replaced by the crossed swords logo. Introduced in 1720, it was used consistently after 1731 by official decree. Variations in the “crossed swords” logo allow approximate dating of the wares.
Augustus II charged first Johann Jakob Irminger with the design of new vessels. In 1720 Johann Gregorius Höroldt became the director and introduced brilliant colors which made Meissen porcelain famous. The next sculptor, Johann Jakob Kirchner, was the first to make large-scale statues and figurines, especially of Baroque saints. His assistant was Johann Joachim Kaendler; in 1733 Kirchner resigned, and Kaendler took over as chief “modelmaster”. He became the most famous of the Meissen sculptors. Under his direction Meissen produced the series of small figurines, often depicting scenes of gallantry, which brought out the best of the new material. His menagerie of large-scale animals, left in the white, are some of the high points of European porcelain manufacture. His work resulted in the production of exquisite figurines in the rococo style that influenced porcelain making in all of Europe. Supported by assistants like Johann Friedrich Eberlein and Peter Reinecke, he worked until his death in 1775.
In 1756, during the Seven Years’ War, Prussian troops occupied Meissen, giving Frederick II of Prussia the opportunity to relocate some of the artisans to establish the Königliche Porzellan Manufaktur Berlin. With the changing tastes of the neoclassical period and the rise of Sèvres porcelain in the 1760s, Meissen had to readjust its production, and in the reorganization from 1763, C.W.E. Dietrich of the Dresden Academy became artistic director and Michel- Victor Acier from France became the modelmaster. The practice of impressing numerals that correspond to moulds in the inventory books began in 1763. Sèvres styles and ventures into Neoclassicism, such as matte bisque wares that had the effect of white marble, marked the manufactory’s output under Count Camillo Marcolini, from 1774.
In the nineteenth century Ernst August Leuteritz modernized many of the rococo figurines, and reissued them, creating a “Second Rococo” characterized by lacework details (made from actual lace dipped in slip and fired) and applied flowers; English collectors used the term Dresden porcelain to describe these wares, especially the somewhat simpering and coy figurines. Under Erich Hösel, who became head of the modelling department in 1903, old styles were revived and reinterpreted. Hösel also restored eighteenth century models. Some appealing work in the Art Nouveau style was produced, but Meissen’s mainstay continued to be the constant production of revived eighteenth-century models.
After 1933, the artistic freedom of the artists became restricted by the State of Saxony in accordance with the contemporary indoctrination process in Germany. Some artists (i.e. Ernst Barlach) who had contributed to progressive Meissen during the Weimar period were banned.
After World War II and under Communist rule, the manufactory that had always catered to the rich and wealthy had some difficulty finding its way. The danger was that Meissen would become a factory merely producing for the masses. It was not until 1969, when Karl Petermann became the director, that Meissen went back to focus on its old traditions and was also allowed a freer artistic expression. Production continues to this day. Meissen products can be found online, in antique stores world wide (look for the crossed swords logo) and at buymeissen.com.
Information from antique-china-porcelain-collectibles.com, Victoriamag.com and Wikipedia.com
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