Early Meissen Porcelain.

      The output of white porcelain in the early years was limited and it was not until 1713. Porcelain of the early period (1713-1720) has been called "Böttger porcelain". Fine lacework borders and overall scroll designs in gold were used in the decoration. Meissen's chinoiserie period began in the 1720s with the arrival from Vienna of Johann Gregor Höroldt who brought with him superior skills in enamel painting on porcelain. His contribution to Meissen was to develop a palette of very fine bright enamel colors and that were new to on glaze enamel colors on porcelain. In 1724/1725 Höroldt compiled a sketchbook, the so-called Schultz-Codex, containing more than thousand drawings with Chinese themes. Of 36 painters working for Höroldt in 1731, there were four who particularly close to him in style: J.C.Horn, B.G. Hauer, P.E. Schindler, J.E. Stadler and C.F. Herold. A.F. Lowenfinck's manner should also be seen in this context. In the early years the production consisted mainly of tea and coffee services. The porcelain had the early creamy appearance, which was only gradually replaced by the white. In addition to chinoiseries, another decorative theme favored at Meissen during the 1720's and 1730's was the harbor scene. Polychrome or monochromatic views of harbors with ships, wharfs, dockside warehouses, and bales of cargo were typical. At times, harbor scenes were done in pseudo-Oriental or Near Eastern settings, the figures being clothed in Oriental as well as European styles. Some harbor scenes are attributed to C. F. Herold (1700-1779) who was one of the outstanding painters at Meissen from 1725 to 1778.
       During the years 1720/23, the period of greatest success with underglaze blue, the motifs used at Meissen appear to have been inspired by Chinese and Japanese prototype. The strongest influences on antique Meissen was Japanese Kakiemon style and Imari type porcelain. "Kakiemono ware" has a very fine, white body, and is decorated in several characteristic enamels such as soft orange-red and sky-blue. Designs are delicate and restrained: they show a fine sense of composition using asymmetry of design in creative juxtaposition with empty space. While the term "Imari" in Meissen to designate a specific type of decoration with floral and geometrical designs that often cover most of the surface. The colors usually consisted of underglaze blue with iron-red and gold painted on the glaze. Other colors, such as black and sea-green, at times were added, and the decorations may imitate textile designs.
       By the 1740's there is a change of scale in scenes painted . These subtle changes show the shift from baroque to rococo. Foliate patterns and flowers were always on important feature of decoration. On Böttger porcelain are found molded, as well as applied, floral patterns such as stylized acanthus and laurel leaves, Prunus and grapevines, and a variety of roses. "Indianische Blumen" flowers developed in the 1720's by Höroldt are part of chinoiserie and oriental decoration. In the late 1730's the "Holzschnittblumen" (woodcut flowers) copied from botanical illustrations were used. At times this type of flowers were accompanied by light shadows, birds and all manner of insects. In the mid 1740's the "Deutsche Blumen" flowers was introduced, and in the 1755 the " Naturliche Blumen" were used. Meissen's production in the first of the 18th century established and set the standard for porcelain production in Europe.

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