succeeded Kandler.
They introduced the neo-classical style, which was spreading like a
blight all over Europe, and this departure was perfected under the
directorship of Count Marcolini (1774-1814), when Meissen, fallen from
its high estate, was content to follow the lead of Sevres.

After the Marcolini period there is nothing to be said of Meissen. The
old productions of the factory had become valuable, and the custom of
reproducing them, marks included, was adopted. Such a practice was not
likely to lead to further progress, and, though the factory was removed
from its old site in the Albrechtsburg in 1863, it cannot be said to
have added anything to the progress of European porcelain during the
19th century.

[Illustration: "Dresden" Potter's mark.]

During the initiatory period the "Dresden" pieces bore the monogram
"A.R." interlaced (Augustus Rex), and between 1712 and 1716 pieces
intended for sale and not for the use of the court were marked with
the sign of Aesculapius (a snake twining round a staff). From about
1720 two crossed swords, painted in blue under the glaze, with or
without accompanying stars, crosses, &c., formed the general mark, but
the mark has been so often used on other porcelains that, in itself,
it is of slight value as a means of identification.

_Vienna._--The first mention of the manufacture of porcelain in Vienna
occurs in 1718, when a Dutchman, Claude du Paquier, was granted a
patent. He had secured two runaways from Meissen, Stolzel and Hunger,
yet little progress was made until after 1744, when the factory was
bought by the empress Maria Theresa. At first the traditional styles of
Meissen were continued, but the characteristic Viennese porcelain was
produced after 1785. In this ware figure-painting, rich ground colours
and elaborate gilding are associated in an unmistakeable manner.
Leithner, who was chemist and colour maker at this period, succeeded in
producing a more extensive and brilliant palette of colours than was in
use at any other European porcelain factory in the last quarter of the
18th century; and the gilding was rich and elaborate. Apart from its
technical merits the ware has nothing to recommend it, for the styles of
decoration showed pronounced neo-classical influence, and lacked the
saving merits of the French work in the same style. The works was closed
in 1864, on account of the heavy expenses, and collectors should be
reminded that many spurious i