Floral And Trellis Motifs: The Meissen factory was followed by those at Nymphenburg in 1747, where floral patterns, imitation chintz designs, wooden-ware reproductions, and chinoiseries were produced, and at Berlin in 1751, which factory was supported by Frederick the Great. Other factories were established at Furstenberg, Frankenthal, Vienna, and Ludwigsburg. All the German factories made similar designs and produced both glazed and biscuit wares. The most usual patterns were colorful floral and trellis motifs, which were both surface painted and in relief. Other motifs were imitations of mosaic and chintz patterns, gold scrolls, and birds. The Chinese, Sevres, and later the English Wedgwood wares were extensively copied. On the whole, the Germans were excellent chemists and technicians, but lacked imagination in design.
The Meissen factory was followed by those at Nymphenburg in 1747, where floral patterns, imitation chintz designs, wooden-ware reproductions, and chinoiseries were produced, and at Berlin in 1751, which factory was supported by Frederick the Great. Other factories were established at Furstenberg, Frankenthal, Vienna, and Ludwigsburg. All the German factories made similar designs and produced both glazed and biscuit wares. The most usual patterns were colorful floral and trellis motifs, which were both surface painted and in relief. Other motifs were imitations of mosaic and chintz patterns, gold scrolls, and birds. The Chinese, Sevres, and later the English Wedgwood wares were extensively copied. On the whole, the Germans were excellent chemists and technicians, but lacked imagination in design.
Hausmalerei was pottery that was decorated by independent artists and amateurs working in their homes. Plain pieces were furnished by the kilns, and after being decorated were returned for glazing and further firing. Unfortunately many of the amateurs produced forgeries in imitation of the work done in the better factories. The Meissen ware suffered particularly with this abuse, and adopted the crossed swords as a symbol of its own productions. Many interesting patterns were created, however, from 1725 to 1750, with Chinese motifs, landscapes, ruins, flowers, birds, hunting scenes, arms, trophies, and mythological subjects; but, the excellence of technique in the drawings depended upon the talent of the individual, and, as a result, this type of ware varies greatly in quality.
By the end of the 18th century, Indian patterns were out of style, and England was making designs that were distinctly adapted to cotton. The large central floral spray was, of course, derived from the original Indian pattern, but the flowers were truly English. Porcelain motifs copied from real porcelains came into vogue, and later, with the revived interest in classicism, many classical motifs were included. This was particularly true during the Adam period, when delicate classical figures and arabesques, based on Pompeian motifs, were produced in chintz and lampas to harmonize with the Wedgwood and Kauffmann productions.
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