Fig. 166.—Cabaret.
De Blaquier had to contend with many difficulties owing to his not being possessed of the secret, and at the end of the second year Stenzel not having been paid regularly according to his contract, returned to Meissen, after having maliciously destroyed many of the models. The works had consequently to be suspended. But De Blaquier, being a man of energy and determination, endeavoured by numerous experiments to discover the porcelain mixture, and his efforts were finally crowned with success.
Fig. 167.—Milk-pot.
After twenty-five years’ labour De Blaquier decided in 1744 to offer the works to the Government.
The young Empress Maria Theresa resolved to support the factory, which promised to give occupation and profit to her subjects, honour and gain to the State. She therefore commanded that it should be taken by State contract from its owner, and that De Blaquier should receive the direction with a salary of 1500 florins a year.
Fig. 168.—Plate.
From 1747 to 1790 was the best period for figures and groups, while from 1780 to 1820 painting on china became celebrated, the subjects being taken from paintings by Watteau, Lancret, Boucher, Angelica Kauffmann, and others.
In 1785 the most important improvements were made under the Baron de Lorgenthal or Sorgenthal; artists of the highest talents were employed, a first-rate chemist named Leithner was engaged to prepare the colours and gilding, the chefs d’œuvre of the early masters were copied, while the gilding was brought to a perfection which has never been surpassed.