The successive directors after Horoldt were the king, Augustus II., from 1731 to 1733; Count Brühl from 1733; the count’s widow from 1763; the king, Augustus III., from 1778; Count Marcolini from 1796 to 1814; Bengrath Oppal from 1814 to 1833. The factory was, for the second time, plundered in 1759, and although it subsequently attained to a high position, it never reached its former prosperity. A marked change in style is noticeable during the last quarter of the eighteenth century. The forms and ornaments both assume more of a classical character. This style, borrowed most likely from France, was adopted by Marcolini, and entirely superseded its predecessors. The manufacture was now in its decline. Meissen had lost its prestige, and gradually sank in importance. From about fifty years ago the decoration became coarse and the works no longer paid expenses, and at the present time Dresden ware is a decidedly inferior fabrication. According to Jacquemart, the manufactory is busy counterfeiting its own old productions and its old marks. In comparing Dresden with its former self, its present position relative to other factories must not be lost sight of. It still gives to commerce many works which are valuable either for their historical associations or for their intrinsic merit. The candelabrum here given (Fig. 297) represents a style of work once very much in vogue at Dresden. It was Kandler who, while superintending the modelling department under Augustus II., between 1731 and 1733, introduced the beautifully fashioned flowers in relief, of which some idea may be formed from our specimen. Another, and a very curious work, is still reproduced, and specimens can occasionally be picked up in this country. Reference is made to the figures “Count Brühl’s Tailor” and “his Wife.” The originals of these pieces were made by Kandler in 1760, under the count’s directorate. With all his profligacy, Count Brühl was a good deal of a wit, and having been repeatedly requested by his tailor to accord him permission to look through the manufactory, at length consented. The tailor presented himself at the works in due time, and was there, to give him an appetite for farther exploration, presented with the two figures referred to. In one he saw himself astride of a he-goat, brandishing his professional shears and carrying the other appurtenances of his business on his back, while the goat carries his “goose” in its mouth. The other figure was that of his wife, with a baby in her arms, sitting upon a she-goat. The discomfited tailor saw no more of the porcelain manufactory. The many elegant forms and styles of Dresden are too numerous to be detailed. They embrace vases, candlesticks, snuff-boxes, butterflies, flowers, clock-cases, and animal figures. The miniature paintings on some of the smaller pieces are exquisitely finished and wonderfully tinted. [Illustration: Fig. 295.--Early Meissen. (A. Belmont Coll.)]