1 66 
KERAMC STUDIO 
PERSIAN VASE 
Designed and Decorated by Claka S. Taylor. 
*" •f 
DRESDEN PORCELAIN 
Anna M. Thomas 
N the 13th century the Portuguese were possibly the 
first to introduce porcelain into Europe, though in 
very small quantities, only enabling the wealthy to 
to possess it. Wood and pewter were used on 
the table by the majority. From this time many 
experiments were made to manufacture it, but with no 
success until Bottcher, a young chemist, accidently discovered 
the secret. John Frederick Bottcher was born at Schleiz, 
where his father was master of the mint. He was apprenticed 
to an apothecary, but becoming an enthusiast for the philoso- 
pher's stone — the great desideratum of the alchemists, — he 
neglected his duties to such an extent that he incurred the ill 
will of his employers, which compelled him to flee in order to 
escape persecution. At the Court of Saxony, he found pro- 
tection and patrons who supplied him with money to continue 
his studies in alchemy. Meeting with many disappointments, 
he was requested to reveal his secret in writing, which he did, 
but in so mysterious a paper that it met with the King's dis- 
satisfaction. The Count of Tschirnhausen, an experienced 
chemist in the King's employ, had such faith in Bottcher's 
abilities that he solicited the King's permission to avail him- 
self of the young chemist's knowledge, with a view to experi- 
menting in clay for the production of porcelain. 
Together they made experiments in the old castle of 
Konigstein, about twelve miles from Dresden on the Elbe, 
using clay found near there. Bottcher succeeded in produc- 
ing a hard pottery which he called red porcelain ; it was not 
porcelain, however, but a fine stoneware, having the grain and 
toughness of pottery. This Bottcher ware, as it was known, 
was produced in great quantities and variety of shapes ; it was 
reddish brown, unglazed ware, decorated by polishing and en- 
graving on a lapidary's wheel or by varnishing with lacquer. 
Later productions had a good glaze, chiefly with oriental decor- 
ation in gold and silver. 
Recognizingthe value of the discovery, the King, Augustus 
II, Elector of Saxony, encouraged him to continue his experi- 
ments for true porcelain. In 1700, shortly after Tschirnhau- 
sen's death, Bottcher accidently discovered the necessary in. 
gredient. 
As the story goes, a rich iron master by the name of John 
Schnorr, while riding through Aue, near Schneeberg, noticed 
that the hoofs of his hor^e were covered with a clay of peculiar 
whiteness. Knowing the richness of the surrounding mineral 
district, it occurred to him that this clay might prove to be of 
some commercial value, and accordingly had some examined, 
only to ascertain that he could put it to no better use than as 
a hair powder, which was so abundantly used at that time. 
It was made principally from wheat flour, which cost more 
than the new found material, commercially known, later, as 
Schnorrische Weisse Erde. It happened that Bottcher used 
some of the new powder and his attention was attracted to it 
by its heaviness. After making inquiry, he learned that it 
was a finely powdered clay, and procured more to use in one 
of his mixtures— the one which resulted so successfully. In 
analyzing it, he found the identical proportions of the kaolin. 
This Schnorrische Weisse Erde became the foundation of 
Meissen porcelain. Most rigid precautions were taken by the 
King to preserve secrecy regarding the precious clay. It was 
packed and sealed in casks by dumb persons and sent to the 
old castle at Meissen, which was used for a factory. The 
workmen were practically imprisoned. Each one was made 
to take the oath of secrecy, never to reveal it. On the walls, 
in every place, were the words "Secrecy to the grave." These 
strict measures were imposed upon every one connected with 
the factory, until Napoleon sent Brongniart, the savant and 
director at Sevres, to inspect the Meissen factory. Even then 
it was necessary to release the director from the obligation of 
his oath, so that he could explain the process. However, 
before this, despite the rigid precautions taken to preserve 
secrecy, one of the workmen escaped, and in this way factories 
were established at various places in Germany under royal 
patronage. 
Bottcher was appointed director of the factory and re. 
mained so until his death in 1 7 19, when Horoldt filled his 
place. The first color used at Meissen was the blue from 
Cobalt. Pieces were decorated in the blue and white oriental 
style but the artists soon used all colors in their decorations. 
Rapid strides were made during Horoldt's management, 
both in form and decoration. Much superior work in gilding 
was done and flowers were introduced. In 1 73 1 , the King 
himself became director and continued so until his death in 
1733, when Count Bruhl was appointed and remained mana- 
ger until the breaking up of the factory during the seven 
year's war, when Frederick the Great, in 1745, took Dresden 
and seized the royal factory, which was the properly of the 
crown, taking with him workmen, models and even some of 
the Aue clay. It is from this time that the Berlin factory 
dates the origin of its success. 
Under Bruhl's management the painting of flowers in 
miniature achieved success, also the well known May blossoms 
modelled in high relief, colored and gilded. Some of the 
best pieces were produced from [731-56. At this time, 
Kundler, a sculptor, superintended the modelling of groups, 
animals, roses, wreaths, et cetera, and Lindiner, one of the 
most celebrated artists of these times, painted birds and in- 
sects. Others made copies from Flemish artists. This is said, 
by many, to have been the palmy time of the factory, though 
fine specimens were produced during Count Marcolini's man- 
agement, which commenced in 1774. After this time the 
designs are said to have been more classical in outline and 
shape. 
Specimens of early pieces of white porcelain were reserved 
for the King and are rare. Good pieces of the work of Baron 
Busche, Canon of Hildesheim, who possessed the secret of en- 
graving or etching on white porcelain with a diamond, are also 
rare. 
