Foremost among these was the Capodimonte (also spelled Capo-di-Monte or Capo di Monte) porcelain factory in Naples.
While Meissen may have been the place where European porcelain was born, Dresden is where its decoration was perfected and popularized, so much so that today, many people still mistakenly talk about Dresden china when they really mean Meissen.
Of the many techniques perfected there, Dresden lace is the most sought.
It was used to create the illusion of real fabric on figurines of, say, ladies dancing at a court ball or posing in so-called crinoline groups.
To achieve the effect, decorators would dip real pieces of delicate lace into porcelain slip before applying it to the figurine.
That's probably because figurines are such an extreme art form, ranging from sentimental and maudlin kitsch to over-the-top masterpieces of dizzying, even headache-inducing detail.
The practice of depicting characters from history, people from our daily lives, and a veritable Noah’s Ark of animals in miniaturized porcelain began in the West in 1710, when a Dresden alchemist named Johann Friedrich Böttger finally figured out the formula for hard-paste porcelain equal to that produced in Asia.
Occupied Japan was printed on pottery, porcelain, toys, and other goods made during the American occupation of Japan after World War II, from 1947 to 1952.
At the time, Böttger had already established a faience (glazed earthenware) factory in Dresden, so he located his porcelain works in Meissen, just down the Elbe River.
To this day, Meissen remains a major center for the earthy art, while Dresden is best known as the place where Meissen porcelain is decorated, often within an inch of its life.