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There has been a belief that during the delivery of Napoleon’s present from Europe to Russia in 1805, a number of objects from the porcelain manufactories of Meissen and Berlin were added to it.

“There was nothing extraordinary about it. Such kind of large presents usually included pieces of different origin. For example, the diplomatic gifts of the 17th century incorporated works from various artistic and handicraft centres regardless of the national identity of the embassy. /…/ Porcelain gifts were often of a complicated structure since the idea was to present a fairly large number of items of good quality whereas their combination did not make a big difference. Besides, in the 18th and 19th centuries, the fact of presenting meant rather personal sympathy than official action.”

The porcelain complex from the “German” part of Napoleon’s gift is hardly representative regarding the content but it is significant regarding quality and variety. It includes the items produced by two outstanding enterprises: the Meissen Manufactory – the founder of porcelain production in Europe – and the Royal Porcelain Factory in Berlin.

The Armoury Chamber keeps eleven exhibits belonging to the rococo epoch that represent the blossoming period of Meissen porcelain. By the early 19th century, the factory loses its leading role and begins to follow the stylistic devices of Sèvres to remain fashionable. Meissen’s classicism still demonstrated excellent quality, but was deprived of fantasy, limited in ornamental language and was rather a good work than a piece of art. At the same time, the production of the Berlin Factory was in high demand and enjoyed popularity. Decorated in delicate pastel colouring, its objects attracted buyers by lyrical German sentimentality along with Prussian thoroughness. “Obviously, some time later these features made the cosy Vienna style ‘Biedermeier’(1830-1840s) popular in Germany. Though the style appeared much later, the items produced at the Berlin Factory already had its germs.”

The production of Meissen and Berlin manufactories in the collection of the Armoury Chamber include utensils from different services, personal demand items, the sets of painted ornamental plates depicting architectural views, monuments, and urban landscapes.

The collection also has interesting samples of faience, majolica and stoneware produced in Rhineland: Cologne, Frechen, Siegburg.


Rhineland


TankardTankard. AspectTankardKefKeg. AspectTea service of ten pieces (teapot, tea caddy, sugar bowl, rinsing bowl, six cups with saucers)Saucer. Fragment of painting

The ceramic production of the Rhineland achieved certain success in the 16th century when factories started producing majolica, tiles and items made of stoneware. The high firing was used during the production of such objects, it provided material with a special homogeneity and density. Salt glaze covered the objects rendering a thin, transparent, almost invisible layer on the ceramic surface. The body of the items was usually decorated with relief patterns, plated or embossed (made with the help of stamping mold). Such cities as Cologne, Frechen, Siegburg, Rechren and several other places stood out among the centres of stoneware manufactory in the Rhineland. Each centre had its peculiar décor and colouring, conditioned by technical capacity. For example, the artistic style of masters who were employed at the Fürstenberg Manufactory founded in 1747 on the initiative of Duke Charles I of Braunschweig, developed under the strong influence of two absolutely different enterprises – the Meissen manufactory and the Wedgwood factory in Etruria- Burslem. The objects of Fürstenberg were notable for the high quality of both material and décor: the porcelain was adorned with fine painting and relief compositions.


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