Date of Graduation


Document Type


Degree Type



College of Creative Arts


Art History

Committee Chair

Janet Snyder.

Committee Co-Chair

Rhonda Reymond

Committee Member

Jeff Greenham

Committee Member

Michael Belman


invention of Meissen porcelain and how these factors impact certain restoration and conservation protocol. The diversity and range of objects produced at the Meissen studio paired with the artistic genius of their design repositioned European ceramics as a superior craft form among its pottery-producing competitors. The ware's enthusiastic reception amongst upper-class European society established the pieces as being highly-valued and prompted their widespread recognition. What resulted was an efflorescence of creativity, artistic and technical accomplishments, and an original aesthetic quality that initiated a new conceptual reframing of how ceramic media could be presented. Throughout the past three centuries, Meissen porcelain has continued to be coveted, collected, and exhibited. As a result, the work requires the aid of conservation science in order to preserve its cultural and material integrity.;For a body of work so steeped in precision, presentation, and material science, certain attributes that are crucial to Meissen porcelain's identity must be taken into account prior to the assembly of an appropriate conservation protocol. By considering these factors, conservators, museum professionals, and historians are able to devise more informed and appropriate decisions involving the direction of a conservation route for an individual object. For the purposes of this argument, three case studies are observed: ceramic riveting, material substitution and/or object replacement, and a condition assessment of the Furstenzug mural in Dresden, Germany. All three situations present some of the most visually-intrusive and structurally-jeopardizing tactics pertaining to conservation methodologies. The historical, artistic, and technological attributes of Meissen porcelain are assessed in an attempt to devise proper treatment plans for all three case studies.;The purpose of this paper is not to discredit or undermine alternative porcelain media and the restorations applied to their framework. Instead, its objective is to bring an individuality to Meissen porcelain and the restorative processes applied in its conservation. This, in turn, contributes to and expands upon preexisting conservation methodologies involving the restoration of porcelain media. The main goal is to educate and inform art historians, museum professionals, and conservators alike about the particularities of specific clay media and the significance of their individual attributes within ceramic art.