But, alongside of this practical use of porcelain, the use of it as an ornament still continued. One thinks of the fantastic plans of Augustus the Strong for his ' Indian Pleasurehouse,' now Pillnitz, where, according to Wackenbarth, something quite new and strange, such as had never been seen either in Welsh-land (i.e., Italy) or elsewhere, was to be created. "Walls, ceilings, window-recesses, and the like were panelled with porcelain."2 The pediment group on the ' J apanese-Meissen ' palace, as Wack en barth called that graceful building, made Augustus the recognized patron and protector of porcelain production, native and foreign. The king actually conceived the Bizarre and thoroughly Rococo idea of having tables and chairs made of porcelain.3 Thus it fell to the lot of Saxony to be the elaborator qf this porcelainRococo. From 1710, was carried on in Meissen the earliest European manufacture of hard-paste white porcelain. To trace the history of all the changes in style, and all the experiments made in the attempt to imitate Chinese porcelain, would be an attractive task, but would outrun the limits of the present treatise. It is indispensable, however, that we should follow in outline the development which, through the inventive genius of Meissen, bore such rich fruit for the Rococo culture of which we are speaking.