 igurative
pottery dates back over 7,000 years. Porcelain is essentially 'vitriefied'
or glass-like clay. Its characteristic translucency and lightness
is achieved by firing to 1400 c. This was first achieved in China
during the ninth century. For 800 years Europe sought to learn the
secret of 'white gold'.
Frederick Bottger, an alchemist employed by the Elector of Saxony
was the first European to make true porcelain at meissen, near Dresden,
in l710. The secrets of its manufacture gradually spread to other
parts of Europe resulting in the founding of new factories.
During
the early c18th large Baroque piece, familiar from stately homes
and some of the great national mueseum collections, became derigeur
for every court in Europe. This cemented the fourtunes of the great
manufacturies in Germany, that still dominate porcelain today.
As
the century wore on, the manufacturies increasingly developed by
personal and domestic piece in the Roccocco style. Porcelain took
on a greater sophistication in painting and modelling to reflect
this. While the huge vases and other neo classical pieces of the
early part of the century have their impressive grandeur, the intimate
and fantastically detailed plates, figures and table sets of the
latter half of the century really established the ideal way to make
use the inherent beauty of porcelain.
The
next giant leap for porcelain came in the early twentieth century.
Firstly, improved quality of clay, firing technique and range of
paints allowed ever greater workmaship and artistry. Secondly, during
the art nouveau and art deco eras porcelain was injected with a
spirit of innovation, adventure and fun with continues to develop
in the contemporary output of Meissen.
 he
materials
The three ingredients of porcelain are quartz, feldspar and kaolin.
Because it is impossible to scan for impurities which could mar
the fired piece until it is too late, huge trouble is taken to source
the purest ingredients.
Water is first bubbled through the kaolin. It is then added to the
ready mixed feldspar and quartz. The water is then pressed out and
the remaining cake stored in conditions of fixed humidity until
it has acquired the elasticity required for modelling - a minimum
of 2 years.
 oulding
Moulding When modelling figures, liquid porcelain (slip) is poured
into several plaster of Paris moulds. Some complex figures may contain
over 100 moulds which should be constantly replaced to maintain
definition.
The inside of the mould is coated with the slip, the excess being
poured out after 29-30 minutes when a crust has formed. When properly
set the mould is removed and the basic figure is left to dry out
normally taking about a week. All the other moulded parts and items
such as flowers that have been made by hand are then joined to the
body with slip. During the first firing of 24 hours at 950 c. all
parts become fully integrated.
The
completed model is then dipped in the glaze ( a yet weaker mixture
of slip) before being fired again for 36 hours at a temperature
of 1400 c. During the fireing, the plaster of Paris absorbs any
remaining moisture and this results in shrinkage of about 20 %.
 ainting
and Gilding
Many colours change during the firing process and artists training
to paint on porcelain must gain understanding of these changes in
order to achieve a realistic outcome. An example is that after 48
hours firing at 850 c. a dull grey will be transformed into a brilliant
green.
The final firing of any gold decoration is at 650 c. When leaving
the kiln, this gilding is black and must be polished with agate
to achieve its brilliance.
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