The production of hard porcelain at this period had become a matter of importance; for it was well known that at Dresden most finished work of this kind had for a long time been made. Soft porcelain, though equally or more beautiful, was difficult to make, was then expensive, and lacked the strength and durability of the hard. Hard porcelain or _pâte dure_, was the one thing desired. But this could not be made without the peculiar clay called kaolin, which the Saxons had, but which they would not allow the French to get. This was not obtained, as has been said, till 1765, and from that time Sèvres entered upon a period of production which has had no equal in Europe. The buildings were ample, the gardens were pleasant, and the interest in the production of the royal works may be appreciated from the fact that the king, accompanied by Madame de Pompadour, made weekly visits, to see that all went well. And all did go will. No money was wanting; artists of the highest rank were enlisted; skilled men of every kind contributed their knowledge and keenness to bring the delicate work to perfection. Madame de Pompadour, herself an artist in her way, not only came weekly to enjoy the work of others, but she often applied her own hands to making designs, or to touching or perfecting what fine thing might be going forward. Under such stimulus as this it was inevitable that every modeler, every artist, every colorist, should be inspired to do his best. They were patronized by royal hands which disposed of all the glory and wealth of France. Painters having a wonderful technical skill were eagerly engaged, and much of the work done has the merit--not the highest one, certainly--of being most delicately and elaborately penciled. No work of this kind ever has surpassed what was done on the vases, teacups, écuelles, etc., made at Sèvres. The variety of decoration upon these elaborate pieces was great, comprising among others, birds, flowers in wreaths and garlands, and bouquets, landscapes, figures, arabesques, Cupids, emblems, cameos, masks, miniatures, Watteau pictures, children, pastoral subjects, Chinese and Japanese imitations, butterflies, medallions, sea-pieces, insects, etc.: the whole of Nature and art was ransacked for interesting and attractive material. Almost or quite all of this may be characterized as most clever imitation, exquisitely painted. Even the artists who were inspired by love of Oriental work seem to have imitated or copied that; they did not learn by it how to express Occidental life and growth, in their own individual way, and with that piquant fresh touch which marks so much of the best Oriental work. Nevertheless, it is exquisite, and conveys a sense of satisfaction and completeness because of that, even to those who do not approve of it as the best decorative art.