Third Period (1735-40).--This is often termed the ((plastic period?' The sculptor, Johann Joachim Kindler, brought great renown with his masterly human figures and groups .("crinoline groups))) and other relief work Herold was forced to let flat color decoration take second place.
Characteristics.— Elaborate moulded Ba roque ornament produced a plastic body, human heads, swans, cupids, dolphins, acted as handles. While continuing, to some extent, the Oriental forms and painted motifs, European decoration was preferred. Cobalt blue decora tion was now a success. Figures innumerable were made, including classical gods and god desses, shepherds and shepherdesses, street hawkers, the Seasons and the noted "monkey Fourth Period (1740-56).— Called also "rococo period." The Louis Quinze rococo style began to displace the former baroque early in this period. Groups found their fullest play now. The Seasons were followed by the Senses, Quarters of the Globe, Arts and Sci ences. Watteau groups, cupids (amorini) be came the rage, "Dresden" flower decoration for candelabra.
Characteristics.—The rococo "scroll)) ap pears and the former ground color gives place to 'scales and other motifs in purple, blue, green, yellow. Paris prints are found in the decoration; camaieu is in vogue. Underglaze blue was continued and armorial bearing deco ration made to order was popular with the wealthy.
Fifth Period (1756-63).-- Prussia, under Frederick the Great, ravaged the country now and forced a tribute of great lots of porcelain, besides deporting many of Meissen:s best workers. Nothing new in style or decoration appears in this time except the commencement of Greco-Roman antique tendencies.
Sixth Period (1763-74).— The factory now had to be revitalized and the rivalry of por celain factories at Sevres, Vienna, Berlin, etc., contended with. Michael Victor Acier, the Paris sculptor, was engaged in 1764 to give new life to the modeled forms, as Kindler's work had lost in popularity. He created the figures of French street criers, etc., and assisted Meis sen's prosperity. Lovely, delicate lace effects were produced in this period. Search was made for improved colors in other factories, Sevres bleu de roi especially. Meissen's fame was waning.
Seventh Period (1774-1814).— Often termed the "Marcolini" period. Count Camillo Marcolini was made chief director and started retrenchment to make up for immense losses caused through severe competition. He forced sales of surplus stock by lowering prices; he reduced salaries. Financial embar rassment, in 1790, forced a subsidy from the state. All without success. His resignation, in
face of impossible retrievement, when offered was refused and the factory had to close in 1810. This caused so much labor disturbance that the works were opened again and sales prices again reduced, while much was sold without decoration. Such sales account for much of the spurious "Dresden)) ware which is of Dresden body but fake decoration. Marcolini retired in 1814. Napoleon's activities were ruining all European commerce; Wedgwood's ware, from Staffordshire, had become the rage all over the civilized world (see WEDGEWOOD WARE). By 1833, with Kuhn as director, the Konigliche S5.chsische Porzellan Manufaktur gradually began to rally in its finances, now using old forms and decoration which had made Meissen famous. Later followed Barthel (1871), Brunnemann (1895). Up to the time just before the World War (1914) "Dresden* art ware was made on quite a large scale and found a good all-world demand.
Characteristics.— Wcntzel succeeded in producing the noted bleu de roi ground color so long sought after. Acier's rococo style had to change to the more modern Louis Seize style, with its torch and crescent, festoon, creased ribbon bow motifs, oval medallions encircled with laurels and containing monograms or por traits. Classic forms were revived. Imitations were made of Wedgwood's white reliefs on blue backgrounds.
Marks.— The Dresden "cross was used from 1723 to the present time. It was taken from the state coat-of-arms. Chinese marks were used at different times. A.R., for Augustus Rex, was used from 1725 to 1740. K.P.M., for Konigliche Porzellan Manufaktur, occurs from 1723 to 1730. Other marks, K.H.C., K.H.K., K.H.K.W. K.C.P.C., etc., were initials of different branches of the royal household or estates of the king. The "cross swords* scratched through is the erased mark on pieces that were sold in the white for others to decorate.
Bibliography.— Berling,
'Das Meiss ner Porzellan und seine Geschichte' (Leipzig 1900) ; Doenges, Willy, 'Meissner Porzellan: seine Geschichte und kunstlerische Entwickel ung) (Berlin 1907) ; Mew, Egan,