ssion of the taste of their period. The fame
of Kandler is better perpetuated (see example, Plate IX.) by the little
statuettes and groups of figures and animals that flowed in a steady
stream from his facile hand; for though these figures have prettiness
rather than grace, and _flair_ rather than style, they are instinct with
the spirit of the middle 18th century, and were eagerly imitated or
boldly copied at every factory in Europe. Only in the _biscuit_
porcelain figures of Sevres, and in some few of the portrait figures of
Derby, do we find anything artistically superior. These Meissen
statuettes look their best when they are simply in white; many are
grotesque and ugly, and the colour decorations are usually in very poor
taste, the harsh, shining colours contrasting unpleasantly with the
pronounced white of the porcelain.

Mention must be made of the use of modelled flowers at Meissen.
Originating in the simple application of modelled branches of prunus,
&c. in imitation of the white porcelains of Fu-kien, the method
developed until we get not only the characteristic "May-flower"
decoration (see example, Plate IX.), but also independent sprays and
bouquets modelled in porcelain and coloured with the utmost mechanical
precision. It is not quite clear whether this production of porcelain
flowers was first perfected at Meissen or at Vincennes,[35] but it was
largely practised at both places.

Toward the end of this period, vases, candelabra, mirror-frames and
clock cases were modelled in the most _outre_ rococo forms with applied
scrolls, shells and flowers. These pieces had their modelled details
picked out in gold and colours, while the success of the French styles
of decoration is still further shown by the copies of Watteau figures
and groups on the more important vases, dishes and plates. Frederick the
Great made sad havoc with the prosperity of Meissen during the Seven
Years' War. He looted the factory both in 1759 and 1761, and is said on
the latter occasion to have carried away to Berlin both models, working
moulds and many workmen. This misfortune marks the end of the most
distinctive Meissen porcelain, for after this time Sevres became the
most important porcelain factory in Europe, and the later productions of
Meissen were, for the most part, German versions of the styles initiated
at the French royal factory. From 1764 to 1774 Dietrich, a painter, was
at the head of affairs, while a Frenchman named Acier