When the National Socialists came to power in 1933, they began to impose a new ideology in Germany. Strict regulation and tight control over every area of human life and activity led to the creation of an extraordinarily sharp structure of society, which found its reflection not primarily in monumental art but in the art of small forms, in decorative works, and household items.

A distinctive feature of all totalitarian systems is the desire not only to create their own official art but also to penetrate into every area of human life, including private life. For example, every newlywed couple was required to purchase "Mein Kampf" when registering their marriage and to hang a portrait of the Führer in their home.

The object, as an item of everyday use, also proved to be an effective means of manipulating mass consciousness. Even household items were "called to ideological service" for the new order. The choice of themes and forms, motives, and methods of decorating everyday objects—all of this was supposed to reflect the ideas of the greatness of the German people, the military and civil power of the young Nazi state, and its close connection to the empire of ancient Romans.

The ideology of the new regime was most vividly reflected in a developed system of symbols. The most common among them became the swastika (an ancient solar sign, associated in ancient civilizations with the idea of the infinity of movement, and thus accumulating potential energy), the eagle (the companion of the supreme god of thunder Zeus/Jupiter, a symbol of the empire since antiquity), the cross (an ancient symbol of ...

Here is the translated text in English: "Symbols of the four cardinal directions, the four elements, the tree of life, and all kinds of power), a wreath or oak leaves (the tree, as understood by the Germans, symbolizing life force and immortality), swords (a symbol of military success), which were complemented by recognizable symbols from various fields of human activity — a submarine, a torpedo ship, motifs from the city crest, the head of the Greek goddess of wisdom Athena, and others. A distinctive feature of the porcelain products manufactured by the factories of the Third Reich was not only the illustrative symbolism. The choice of themes and motifs in the works of small sculpture and votive plates and plaques, forms of candlesticks and tableware reflected both the general political ideas of the totalitarian regime in Germany and the characteristics of private life and everyday life of the era. Among the numerous porcelain factories of that time, the utmost primacy, at least from an ideological standpoint, belonged to the Allah-Munich factory, considered an "SS enterprise" (which also included the mineral water factory "Apollinaris," the furniture factory "Edel," the publishing house "Nordland," and the company that manufactured swords for internal SS needs). Officially, the factory, founded by the personal decree of H. Himmler and considered his "beloved project," began operations on January 3, 1936. However, it is known that as a private enterprise, it functioned even before obtaining the status of the main porcelain enterprise in the country. This is evidenced by examples of its products from 1934 (in particular, one of the most famous figures — "The Standard Bearer") as well as recorded accounts in accounting books from 1935. Among the founders of the factory were Himmler's personal friend, artist Karl Dibich, sculptor and designer Theodor Kärner, and two other partners — merchants Bruno Galke and Franz Nad."Here is the translated text: "Until December 20, 1938, the factory was under the jurisdiction of the cultural department (managed by K. Dibich) of the personal staff of SS Reichsführer H. Himmler, who also held the title of artistic director of the manufactory. However, H. Himmler officially took charge of this enterprise only in 1938 when it came under the administration of the SS Economic and Administrative Office (1939-1942, later known until 1945 as the SS Economic Management Office). The manufactory was primarily intended to serve the purposes of political propaganda, the development of taste, and the cultural elevation of true Aryans (specifically not the ordinary members of German society, but the chosen—members of the SS). In other words, the economic benefits of the enterprise were not of particular importance. It is known that before the war, the enterprise achieved profits of up to 100%. The profitability of the factory significantly decreased during the war, especially in the early 1940s, due to reduced funding and the mobilization of its workers. It was during this time that the labor of prisoners from the nearby Dachau concentration camp began to be used extensively. According to the recollections of some of them, this practice had originated as early as 1939, but while in early 1941 there were only two or three prisoners working at the factory, by autumn 1941 their numbers had increased to 40-50, and by 1943, there were already 100 individuals. It was believed that one ordinary worker could be replaced by two or even three prisoners. It is also known that despite H. Himmler's dissatisfaction, many of them sometimes occupied quite significant positions. Moreover, by working at the factory, they effectively saved themselves from death. For example, in the accounting department of the manufactory, Karl Adolf Gross worked, who in his memoirs spoke about a Polish student named Józef Sobczak, who was engaged in painting porcelain. Others were involved in firing, casting, and polishing. A prisoner named Hans Landauer was even allowed to create ideologically significant figures. Little is known about the last years of the manufactory’s operations. With the end of the war, it..."as a Nazi enterprise, ceased to exist. The history and character of porcelain production are best conveyed by the items themselves. The most significant of them today are quite rare in the antique market. This is primarily explained by the limited production of "elite" items (with the exception of the figurines of animals produced for mass sale), numerous bombings of Munich, and destruction at the end of the war. It is also known that so-called "political" porcelain figures began to be destroyed during the war years. Not only did the porcelain items themselves perish in the fire, but nearly the entire archive of the manufactory was also lost. Some company documents were destroyed by employees who were covering up the traces of their financial crimes. The only original list of items that has survived to this day is a catalog of 40 products from the manufactory from 1936. However, it is completely inaccessible to researchers: the catalog was part of Adolf Hitler's private book collection, later ended up in the Library of Congress in the United States, and is still classified as a secret document. The main sources of information about the items from this manufactory to this day remain: the memoirs of contemporaries, the repeatedly reissued catalog from 1937, its variants, and the appendices from 1938 and 1939 (Porzellan-Manufaktur Allach-Munchen. Verzeichnis der Erzeugnisse. Liste 1938/39. Verlag ?), and, of course, the items themselves, most of which have been dispersed into private collections. The most comprehensive consolidated list of the manufactory's models over the years includes about 240 ceramic and porcelain items. The priority focus of the Allach manufactory was the production of small porcelain figurines, which were mostly intended as gifts for high-ranking state officials.The products were designed to reflect the main ideas of the Nazi movement. These included figurines of soldiers from various eras and modern-day heroes, German peasants and craftsmen, bathers and dancers, ancient gods and heraldic figures of German cities, symbolic images, and a variety of animals. The task of the "SS enterprise" also included the production of a number of significant award items—decorative plates and plaques with decor suitable for the occasion. While porcelain figures from the factory are rare today, these items are truly unique, as they were typically made in single copies. Only the production of lamps and vases on behalf of Allah could be considered mass-produced, as it also met the requirements of ideological propaganda. Tableware was hardly produced here, except for personal orders from the SS chief or the Führer himself. All porcelain items (with the exception of the "Fencer" figurine) were glazed, some were painted, while others were left white. Ceramic items from this enterprise are also quite rare today. Among the works executed in this technique were some of the most important pieces from the factory: the imperial eagle and the head of A. Hitler, as well as the "Jullüchter" lamp, which became a symbol of the new social order and the most mass-produced item from the factory. Notably, they were not glazed, seemingly imitating the technique of the ancient items from the first Germanic tribes. **Glorious Past** One of the main themes of the porcelain figures, which constituted the pride of the Allah factory, was the figurines of soldiers depicting famous historical figures as well as a composite image of representatives from different branches of the military. Within the framework of the new Nazi ideology, the theme of cultivating the ideal soldier based on worthy examples from the past became especially popular by the early 1930s. At that time, decorative soldier figurines, which adorned tables, dressers, fireplaces, etc., began to appear in the assortments of various German factories (including Meissen, Nymphenburg, Eltest Porcelain, among others).Here is the translation of the provided text into English: - Celan Factory, Hudler, and others, including in glass production (Rosenthal). The manufacture of Allach was no exception, where the best forces were allocated for the production of "porcelain soldiers." Almost all of its "military" figures were made based on designs and models from the best master of the production — Theodor Kärner or, as an exception, his pupil Richard Förster. The former was responsible for making the riders, while the latter was responsible for the infantry. It should be noted that after 1942-1943, there are no further references to Kärner's models, so it seems that Förster became the author of both rider figures and infantry figures from that point onward. Three figures from the infantry series (1943-1944) were created by Adolf Rörung, whose name is mentioned in the 1938-1939 catalog alongside a horse figure being saddled and figures of birds (a thrush, a greenfinch). The popular theme of "equestrian monuments" in porcelain art since the 18th century (Meissen, Nymphenburg) gained a triumphant and even heroic significance in Nazi Germany, which inherited the traditions of ancient culture. It was especially favored by Kärner. In the introduction to the post-war catalog of his works, one can read: "The depiction of riders in the costumes of their time is a particularly beloved area of the master." Heinrich Himmler also repeatedly emphasized that cavalrymen were the best work produced by the chief artist of his favorite porcelain factory. A painting by the master depicting a mounted courier, presented at the Great Exhibition of German Art in 1941, was even acquired by the Imperial Chancellery. Previously working in Nymphenburg and Rosenthal, T. Kärner created models for Allach of all the figures of hussars, as well as dragoons, cuirassiers, pandurs (Slovenian infantry), and the famous "Old Fritz."The Prussian King Frederick the Great and his best soldiers became the icons of the era's porcelain figures. The nickname "Old Fritz," given to King Frederick by his soldiers during his lifetime, also became the name of the porcelain figurine by T. Kerner. In the "mythology" of the Third Reich, Frederick the Great embodied exclusively German virtues of a ruler: love for the homeland, the people, and culture. In 1932, Joseph Goebbels referred to him as the "first Nazi." Hitler himself associated with him, considering himself a spiritual son of Frederick. It is known that in the new chancellery, a painting by A. Menzel depicting Frederick the Great hung in the Führer's office, and a porcelain likeness of him (produced by Elteste Porcelain Factory, Volksstadt) stood under a glass dome on a small table. Such analogies were also actively promoted in mass culture. For example, a preserved advertisement poster from Elteste Porcelain Factory in Volksstadt shows a display case at its center featuring Frederick the Great. In front of it are two portrait busts: one of Frederick and one of Hitler, presented here as the follower of the renowned king-warrior. To the left stands a hunter from Kurpfalz, to the right - the Great Elector (Frederick William I), and once again, Frederick the Great, alongside Seydlitz and other famous hussars and generals of the king. Together, they were meant to symbolize the continuity of German history and to emphasize the greatness of their nation rather than of specific individuals. The popularization of the image of the great king began in the late 1920s: artistic and documentary films emerged that told the story of his life and deeds, engravings depicting Frederick and his troops were produced, and of course, porcelain figurines were made in various manufactories based on both new designs and models from the 18th century. We can find reproductions of models from that century at the Meissen, Fürstenberg, and Rosenthal manufactories (based on designs by Louis Tuilon), as well as in the range of lesser-known factories: Kochendorf...Here is the translation of the provided text into English: "In Osterrode or Akkerman and Fritz in Rudolstadt. The Royal Porcelain Manufactory in Berlin began to reproduce even those items used by the king himself or to create new ones based on them. A distinctive feature of the Kerner model was the composition, in which the rider is depicted in an unconventional way — not on a stepping horse, but on a calmly standing one. The king gazes intently ahead and slightly to the right, as if observing the course of the battle. His look is purposeful, he is focused, but only outwardly calm — all of this enhances the martial character of a monarch already known for his victories. For comparison, one can cite just a few examples of such iconography of the king — the engraving by D. Chodoviki, where he is depicted on horseback among the people, and the woodcut by A. Menzel in Kugler's biography. The figurine of Frederick was very popular among high-ranking SS officers. It is known that in 1939, T. Kerner produced 36 figures (32 in white and 4 in color). And already the following year, the Führer personally ordered 100 such figures without decoration. The officers of Frederick represent a collective image of Prussian warriors, but there are also figures of well-known historical military figures: the ‘hussar officer von Zieten’ (Hans Joachim von Zieten, 1699–1786), who is ready for battle and drawing his sword; the ‘Malakhov hussar’ (Paul Joseph von Malakhov, who died in 1774), charging forward; and the ‘officer of the cuirassiers Zeydlitz’ (Friedrich Wilhelm von Zeydlitz, who died in 1728), prepared for a march. The figurine of the latter (to whom figures from the Reich, likely including Hitler himself, appeared to show particular interest; his image was produced by other manufactories as well) became one of the most popular models and was possibly regarded as one of the best figures of the manufactory. Not coincidentally, it was entrusted with representative functions — it adorns the cover of the catalog from 1937, and is mentioned twice inside, in both painted and unpainted variants. Its production did not cease until 1945, despite the fact that it was one of the most expensive figures: the white version cost..."7.5 reichsmarks, colored—170. In 1938, nearly 100 copies were produced, and in 1939—129. Samples of uniforms from the time of Frederick the Great were taken by T. Kərner from lithographs by A. Menzel, which served as a detailed reference for him, as can be seen by closely examining the image of the hussar von Ziegen. Along with lithographs and engravings in Allach, as well as in Nymphenburg, where Kərner once worked, products from previous years were also used as samples, particularly the works of 18th-century porcelain artist F.A. Böttger, who created a large number of models of hunters on horseback at the Nymphenburg factory. His works received high recognition from the leaders of the Third Reich. The orientation towards these Rococo-era works is primarily manifested in the specific shape of the base, decorated with rocaille scrolls. At the same time, these reminiscences serve as a reference to the time when the hero of the miniature lived, known as the golden age of German porcelain. The figures of infantrymen by R. Förster, designed to convey the ideas of preserving and inheriting all the virtues of German Landsknecht, Prussian soldiers, Austrian warriors, etc., remained the main products of the factory until 1941, when production volume began to decline due to emerging economic problems. Among such figurines are mentioned "Knight Maximilian" (Emperor Maximilian I in the "mythology" of the Third Reich—the last nationalistically inclined ruler of the German Empire), "Landsknecht," "Brandenburg Musketeer circa 1700" (both in modern uniforms), "Butler Dragoons of the Wallenstein Era" — symbols of fearlessness and loyalty to the Kaiser. Following the figures of the Frederick era, the theme transitions to the War of Independence, the struggle against Napoleon.Here is the English translation of the provided text: --- 806—1812), this includes: "Dragoon of 1806," "Grenadier of the Bavarian Line Troops (Trommler) of 1809." "Great German Knight" — a symbol of Great Germany (united with Austria). Among the rather rare works of the factory on military themes are figures of well-known German military leaders and knights, commissioned by Himmler in June 1944 – early 1945: "Prince Eugene" (Prince Eugene Maurice of Savoy-Carignan, 1663—1736, Austrian military commander and diplomat of Leopold I and Charles VI), "Frundsberg" (Georg von Frundsberg, 1473—1528, "father of German Landsknechts," participant in the "Sack of Rome"), "Götz von Berlichingen" (1480—1562, a figure from the Peasants' War), "Knight Franz" (Franz von Sickingen, 1481—1523, a hero of the German Reformation, a zealous fighter for secularization). Their names were assigned to new SS divisions created in the summer of 1943 to strengthen their morale and faith in victory. This entire parade of troops from various branches and eras is now perceived as a peculiar illustration of the history of military uniform development, which itself became one of the symbols of Nazi Germany. In the Nazi state, it was worn by almost everyone; it became an expression of the strict hierarchy and division of society into distinct castes or estates. Party officials, civil servants, bureaucrats, soldiers, and peasants all wore it. Uniforms were recognized as markers of a person's affiliation with a particular organization (sports, youth, women's, etc.). This is why the artisans sought to convey the details of the costume and equipment as realistically as possible in porcelain figures. **Heroes of the Present** Another significant theme of the Allach porcelain is the so-called "images of the Nazi movement" (to which we also refer the figures of military personnel from the contemporary manufacturing era). Among the most important products of this group, the "SS standard-bearer" should be mentioned first, as its depiction is a direct allusion to the mythologized events of the "Beer Hall Putsch." --- If you need further assistance or more translations, feel free to ask!Here is the translation of the text into English: "About the coup that occurred on November 9, 1923. In the ideology of the Nazi state, the 'Blood Banner' of the coup was endowed with a relic-like character, evoking particular reverence, serving as an 'insignia' of the new power. The porcelain figurine of the standard-bearer, created by T. Kärner in 1934, also had a pseudo-religious, almost cult significance. From later catalogs, it is known that it was never put up for sale; it could only be given as a gift from the SS. It was forbidden to display the figure in store windows (there is a known incident involving a shop owner in Poznań, Wartenberg, who incurred Himmler's wrath by displaying this figure in his window). The standard-bearer by Kärner is presented in the parade uniform of the SS, wearing a steel helmet, with a heraldic emblem in the shape of a heart on his chest. In his right hand, he holds the pole of the banner, which does not directly depict the relic but only hints at it. Unlike the 'historical figures,' the 'SS standard-bearer' has a strictly rectangular base, devoid of historical or stylistic reminiscences, thereby emphasizing the relevance of the image. The overall composition clearly shows allusions to ancient and Renaissance plasticity—the artist sought to underscore the military nature of the figure, seriousness, importance, and inner dignity of the hero. Another famous product from the manufactory is the 'Officer of the Cavalry of the Third Reich,' possibly created by R. Förster (meaning, only after 1942), which vividly demonstrates the continuation of traditions. Here, figures of other representatives of the Nazi army also appeared."Here's the translated text into English: >For instance, "Luftwaffe Officer," "Pilot," "Police Officer," "Worker," and so on. Among the figures associated with the symbolism and ideology of the Nazi movement, "The Fencer" by O. Obermayer undoubtedly stands out. It is well known how much attention Hitler paid to the physical development of the nation and the sports training of youth. One of the "duties of the state," as formulated by the Führer in "Mein Kampf," was "to promote sporting activities among youth to an unprecedented level of preparedness." In state policy, there was a peculiar blurring of the boundaries between sports and military training. The ideal nation was expected to be strong, robust, healthy, and physically developed. Sports instill discipline, a sense of community, solidarity, and a will to win in individuals. Without appropriate physical development, a career in the SS was impossible. >It is no coincidence that the theme of fencing was chosen for the depiction of the athlete in the manufactory. The fact is that one of the members of the Third Reich government—the head of the Reich Main Security Office, General Reinhard Heydrich—was an accomplished fencer and a winner of many competitions. The image of Heydrich, who was not only an ideal role model in terms of physical education but also the only one among the party leadership that conformed to the concept of a pure Nordic race (height, hair color, and eye color), enjoyed immense popularity in Nazi mass culture. (For example, his portrait by the Prague artist, academic Joseph Vits, was prominently displayed at the Great German Exhibition in Munich in 1941. Interestingly, the portrait features a small figure of a fencer as an attribute, possibly received as a prize in competitions.) >However, Allah's "Fencer" is still not a portrait of Reinhard Heydrich, a prominent figure of the Third Reich, but rather an idealized image of a well-developed athlete that German youth should aspire to. He is not depicted in the moment of competition; his figure...Sure! Here's the translation: "Oh, he is resting, possibly after a competition. His sports pants, which are slightly below the knee, and smoothly styled hair reveal him to be a modern athlete, while his bare torso evokes images of the perfect athletes of Ancient Greece. By the way, an interesting fact: the figures of the athletes (known as “The Champion” and “The Discus Thrower”) are the only products of the manufactory, executed in the biscuit technique, the perfectly white porous surface of which imitates marble. Thus, the porcelain athletes of Allah are direct heirs to ancient sculpture. Like the figure of the standard-bearer, the figures of the athletes were not made for sale; they were valuable prizes at competitions. The series "Figures of the Nazi Movement" is complemented by images of various officials of the Third Reich (T. Kärner), as well as members of the Hitler Youth and the League of German Girls (R. Förster). All of them, like the military, are dressed in uniforms that indicate their position and role in society. Images of representatives from the broadest layers of society were also interpreted as national symbols, as they are the support of the state, which is destined for global dominance in the future. Such figurines could be found in free sale, produced in much larger quantities. They were meant to be inexpensive and accessible to the general population, representatives of all social groups. A greater rarity was the more expensive painted figures. According to catalogs, coloring doubled the cost of the products, which made them less affordable, and therefore they were produced in smaller quantities. **Apologia of Bourgeois Life, or Symbols and Allegories** Alongside such overtly ideological products, the manufactory produced a whole range of other items that did not so directly express the militaristic character of the era. Its assortment includes decorative figurines that are more entertaining in nature."Here is the translated text in English: "If of an ideological nature: dancers, 'nudes,' national types, and so on. First of all, these are peasant figures, drawing on traditional 'peasant' motifs in porcelain art. All of them are depicted in national costumes, which in this case did not have an ethnographic but a symbolic character, meaning that the characters symbolized the German nation, connection to the homeland, its traditions, and land. In this series, created based on the models of R. Förster (who made figures of ethnic types such as a Persian, Indian, and Javanese back in 1924 while working at the Rosenthal factory), the so-called Bückeburg couple, Upper Bavarian, Black Forest, Hesse, and Frisian are well-known. It is possible that the series was continued, but there is no information about other models. It should be noted that in Allah, peasant figures were made not only in painted versions, as was customary for traditional products, where distinctive features often relied on the variety of colorful details of the bright clothing. More often, they were produced in an unpainted version made of white glazed porcelain. And despite the great popularity of colored products, they were offered in catalogs as white, thus emphasizing not so much their charm as the embodiment of an abstract idea, for which simplicity of material and conciseness of decor were more appropriate. The absence of an entertaining folkloric motif makes these figures somewhat resemble political ones. This similarity is also noticeable in their appearance—they are equally serious, their figures are motionless, and their poses are solemn. The rigid, geometrized square base further enhances this impression. The peasant of Allah is not an image of the ideal peasant, but rather a symbolic expression of national traits and history."Among the decorative figures of Allah, there are also nude images, ranging from entirely unpretentious entertainment allegories to serious programmatic compositions with ancient allusions. One such series is the allegorical "Seasons," created based on models by F. Nagy. Each of the four elegant figures has symbols of the respective season: spring features a flute and a bird on its pedestal, summer has a straw hat, a sickle, and ears of grain, autumn includes a slain rabbit and a club (notably lacking traditional Bacchic motifs), and winter is represented by a campfire. It is known that "Seasons" were only produced in 1937 and exclusively in white. This is the only instance in which an entire series of figures was withdrawn from production. Poor sales might have contributed to this decision; however, other figures should have been excluded as well if that were the case. It is more likely explained by a weak connection to national art and national ideas of that period. Today, figures from this series are a great rarity in the antique market. Among the porcelain figurines are bathers by R. Förster. One of these represents a girl emerging from the water. With a towel held behind her back, she seemingly deliberately displays her nude body to the viewer. Her image undoubtedly harkens back to depictions of ancient Venuses, a type that was among the most popular images in the art of the Third Reich. Interestingly, it is known that models for porcelain were also made by one of the most successful official artists of Nazi Germany, F. Klimsch. In 1939, at the Great Exhibition of German Art, he presented a nude female figure made, at the Führer's instruction, in the manner of Greek examples. For the porcelain manufactory in Rosenthal, he created models of a crouching and a reclining nude, as well as a figure of a naiad. Another porcelain "Venus" by Allah is depicted as if she has been caught off guard: with her left hand she covers her chest, while with her right she pulls up a covering. She resembles the well-known iconography of the "Modest Venus" found in ancient monuments. However, the...This figure has other prototypes that are more contemporary, such as "The Bathers" by E. Falcone, one of which evidently "bestowed" Allah with the characteristic gesture of the right hand. Among the decorative figures of the manufactory are several variations of the figurative group "Mother and Child," executed based on the models by K. Dibich. The popularity of the theme of motherhood in Nazi Germany was determined by the official demographic policy, which was based on the belief that the German nation could establish world dominance only by increasing the "good blood" of its people. In the porcelain sculptures of Allah, this theme is interpreted in a variety of ways: from imitations of classical statues of Athena (in the strict, static figures of mothers with children) to simple scenes where a mother plays with her child (in the spirit of genre sculpture of the 19th century). In the former, more official, almost heraldic compositions, the theme of childhood, maternal pride, and certainly, national heritage (in the spirit of the "Roman with the portrait busts of ancestors") dominates, while in the latter, they are more intimate images filled with a lyrical, intimate feeling that unites mother and child. In the cosmology of the new German society, Athena—the Greek goddess of war and wisdom—was viewed as a symbol of the art and science of a martial nation, a symbol of Germanic-Aryan culture, which implied continuity with Greek culture. It is no coincidence that the figure of "Athena Pallas" was never painted, so that its whiteness would further associate it with the marble sculptures of Ancient Greece. It is known that the image of the goddess also adorned the medallion of the German order for merits in the fields of science and art and decorated the House of German Art, etc.Here is the translated text into English: "And no less 'antique' is the heroine from this manufactory’s assortment — the ‘Amazon.’ A naked woman with a weapon is also a theme of a warlike nation. It is curious that figures of Amazons were present in the assortment of almost every porcelain manufactory of that time. The Allah company, like many other things, made these only for gifts and did not display them for free sale. The true roots of the mighty nation were to be expressed through the so-called Moorish (Morris) dancers (from English ‘morris,’ French ‘moresque,’ Spanish and German ‘morisco’ — popular during the Middle Ages in 'eastern-style' dance). They were miniature copies (one-third the size of life) of late Gothic statues by the German sculptor Erasmus Grasser, created around 1480 to decorate the dance hall of the Munich City Hall (the assumption about the original location of the figures, now kept in the Munich City Museum, was suggested in 1902). Of the 16 statues, only 10 have survived to this day. In porcelain, R. Förster replicated only 6 models, but only 5 of them went into production. In the manufactory's program, they were intended, in contrast to antiquated images, to embody local national traditions of the great German culture, whose roots trace back to the Middle Ages. All the figurines made from 1939 to 1943 were created specifically as gifts for high-ranking officials from the city and were never sold. However, they were so popular that the management of the manufactory decided to create another series of dancers."Here is the translated text: "She was called 'Jesters, or Deceivers,' created in imitation of Gothic art and epitomized a whole layer of folk images from the carnival-fair culture of the Middle Ages. The most famous of them was the hero of German folklore, Till Eulenspiegel. In the same spirit is another figurine — 'The Chicken Thief.' This is not an independent work by the craftsmen of the manufactory, but a replica of a large statue of a fountain located in the bird market square in Aachen (author — G.I. Pagel, 1911-1913). The merry, mischievous rogue is stealing two roosters, one of which is sticking its head out and crowing, thereby exposing the thief. The creation of replicas of already existing artworks can perhaps be explained by a shortage of artists and the difficult economic situation of the enterprise during the war years. Also noteworthy among the ideologically significant figures are the 'Signs of the Cities' of Berlin and Munich. These two major cities of the state: the first being the capital and the latter the main city of the Nazi movement, situated between German Nordic identity and Southern antiquity. The symbolic signs became the 'Berlin Bear' and the 'Little Munich Man.' No indications regarding the purpose and use of these figurines have survived. Since they were produced in large quantities, it can be assumed that they were souvenir items, also conceived in the context of state cultural policy aimed at shaping the taste of the people. It is possible that such figurines were used in..."As prizes in various competitions, as indicated by the inscription on the pedestal of one of them. The figure of a Munich citizen in a medieval monk's robe with a hood, modeled by T. Kerner and borrowed from the city coat of arms, became one of the most popular products of the manufactory — in 1938 alone, 1,802 were made. Another very popular theme of the manufactory is the depiction of animals. This is also not new to the fine art of porcelain. Figures of animals became widely popular during the Art Nouveau era, not least thanks to the Copenhagen Porcelain Manufactory, and spurred the development of this theme in the works of Nymphenburg in the early 20th century. Interestingly, most of them were created based on models by T. Kerner, W. Neuhausser, and W. Zügel, who were working there at the time and later, like T. Kerner, moved to the enterprise in Allach. It should be noted that the theme of animals is one of the favorites in the art of the Third Reich. For example, in 1937, an exhibition of works in the animalistic genre titled "From the 19th Century to the Present Day" was held in Berlin. Both the topic and its representation caused a significant resonance in the press. Moreover, a perception even emerged at the state level regarding how to depict animals. In this regard, the remarks made by the director of the Berlin Zoo about the held exhibition were quite indicative, as he spoke about the necessity of understanding the structure and behavior of animals well.Here is the translated text into English: "Oh, something that was not observed in the avant-garde art of the 1920s (primarily German Expressionism). The depiction of animals became a peculiar expression of the idea of the closeness of the German people to nature—hence the demand for plausibility and realism. It is known, for example, that unlike Hermann Göring, Heinrich Himmler, as well as Adolf Hitler, was a principled opponent of hunting, believing that it disrupts the natural state of nature. After the war, he planned to introduce a whole range of laws for the protection of nature and animals. At the state level, non-naturalistic depictions of animals—implausibly colored, with incorrect anatomy and distorted proportions—were not approved. A law was enacted for the protection of national symbols, among which animals were included. However, the prescribed naturalism in the depiction of animals did not diminish their symbolic significance. For example, in 1935, Max Ernst, one of the leading German animalists of the 1930s and 1940s, published an article in which he provided a semantic definition for animal imagery. According to this version, endorsed from above, the sea otter symbolizes a thief, the bear—a friend, the beaver—a builder, an excellent swimmer, and an athlete, the panther—energy and strength, the dog—a friend and helper of man, and so on. Naturally, in this context, the national symbol—the imperial eagle—was also not forgotten. The Allah's animals became perhaps the only product produced for widespread sale and earned truly nationwide love, primarily due to the plausibility and recognizability of their image. Adorning dressers, fireplaces, sideboards, and other items, they contributed to creating a cozy and soulful atmosphere in the strictly regulated surroundings of a true German's home, serving as a sort of analog to Meissen porcelain. The assortment of this, perhaps the most extensive group of products in terms of the number of titles, includes domestic, wild, and exotic animals. Among the first, the leadership rightfully belongs to dogs of various breeds. This includes the shepherd and..."Here is the translation of the provided text into English: "Short-haired and long-haired Dachshunds, terriers and bulldogs, pinchers, and even the charming mutt (models by T. Kerner, O. Obermeyer, F. Nagy). All of them were eagerly purchased by pet owners and were highly appreciated by the party leadership, while T. Kerner earned a reputation as an excellent animal sculptor. Among the domestic pets are also a cat, and inhabitants of rural farms — sheep, lambs, and kids (ill. 16). Perhaps the long-standing tradition in Germany of depicting animal figurines for Christmas cribs played a significant role in the choice of these motifs. The depiction of the "Jumping Horse" also falls under the category of domestic animals. The fact that this particular figure is featured on the title page of the 1938-1939 catalog of the manufactory indicates that it was considered undoubtedly successful and representative. It was made after a model by T. Kerner, who had already created such figures at the manufactories in Rosenthal (1934) and Nymphenburg (1935). Wild animals, or "Beasts of the German Forest" from the Allah manufactory, include a lying or sneaking fox, a lying or roaring stag, roe deer, a mouse, a pheasant, squirrels, rabbits, and bear cubs. Just like the figurines of domestic animals, they are made in accordance with all principles of realistic, even, one might say, deliberately naturalistic art. Perhaps the only figure that could carry any symbolic meaning is that of the stag, whose image plays a quite significant role in German mythology (it is the stags that are harnessed to the chariot of the sun deity), and therefore is closely tied to the widely spread cult of light. The rabbit is the most popular hero of European fairy tale folklore, a beloved Easter symbol, as well as the well-known protagonist of the famous Dürer watercolor — an archetypal German image. This theme was reflected in the products of other porcelain manufactories. An example of this is the exhibition of porcelain figurines, which drew huge interest at the international exhibition "Hunting." Among the exotic..." (Note: The text seems to be cut off at the end, so I ended the translation there.)Here is the translation of your provided text into English: "The only animals that can be attributed to their manufactories are perhaps elephants, whose popularity in European cultures is primarily associated with circus performances and their spectacular nature. A rather formidable animal in nature is depicted here as tamed, trained, and subservient to man and his mighty will. **Symbols of Power and Their Heroes** The theme of symbols of power is also untouched. At least two examples of the depiction of the figure of the imperial eagle in the manufactory's ceramics are known. One of these models, made of gray-brown unglazed clay and created based on a model by V. Krieger, was a limited-edition and very expensive exclusive item, likely intended for state institutions. The second version, known from the wooden sculpture by T. Kerner, was made in only three copies by personal order from H. Himmler for the courtroom in Wewelsburg (the site for the solemn oath by the SS leader). The eagle, adorned with a swastika and a wreath of oak leaves, with its head turned to the left (like the party eagle), was named the "Eagle of Power." Other significant products of the manufactory include portrait images. Among them are a ceramic head of Hitler (ill. 20, by O. Obermeyer) and a porcelain one of Göring (by R. Förster). While the first was planned for mass production by the manufactory starting in 1940, the second was created only as an exclusive item in 1943, possibly as a variant of the bronze bust presented at the Great Exhibition of German Art in 1941. In the manufactory's program, ceramics were perceived as an exceptional material, contrasted with the fine, exquisite aristocratic porcelain. Ceramics— the simplest, most accessible material—had been used by humans since…"Here is the translation of the provided text into English: "In those times, at the same time this is the material from which in all ancient myths and religions, the gods made man. It was specifically in ceramics that the artists of the manufactory embodied the most significant works, directly related to supreme authority. Interestingly, another piece—the head of a 'Warrior in a Helmet' (T. Kerner), also made of unglazed gray-blue ceramics—was twice as expensive as the head of Hitler and was also evidently not intended for wide sale. It is known that since the early 1930s, the head of Hitler became fashionable as a decorative motif. Dishware featuring the Führer’s portrait was in demand, and porcelain with Nazi symbolism appeared, using the party’s colors (white, black, red). However, fearing the discrimination of the party's image and mockery, the government put an end to this 'outrage' with a decree in 1933. From then on, only select enterprises, including Allahskaya, had the right to depict the Führer or party symbols. Overall, the range of small sculptures from the manufactory is limited to the products mentioned above, but the nomenclature of products is not exhausted. As already noted, they also produced other, non-figurative items that were not the main focus of the enterprise's work. These works are less exclusive, but certainly more numerous in terms of production. The items from the manufactory predominantly include products with Nazi symbolism: the swastika, meander ornaments, runes, and other signs. Generally, these were mass-produced items. **Physical and Metaphysical Light** The most popular among the non-figurative products of the manufactory were..."/candlesticks. Some of them are variations on the theme of barbaric products from the early centuries of our era, reflecting archaeological cultures of ancient times. Others are banal variations of consumer goods from the 19th century. Among the most famous works in this group is a uniquely shaped terracotta lamp, known as the "Jullichter" — a gift for the "Julfest," a pagan festival held in midwinter, which was overshadowed by Christmas with the advent of Christianity. By a special decree of A. Hitler, it became the main state holiday, whose power harkened back to pagan times. It was designated for December 22 — the day of the winter solstice, marking one of the first steps towards replacing Christianity with pagan religion. The ancient Germans placed a key emphasis on the imagery of light (one manifestation of which was the sun rotating across the sky, and its symbol was the swastika). The special lamp first appeared in 1935. It was made at the Allah factory as a gift to H. Himmler, modeled after an ancient German lamp discovered in archaeological excavations. Subsequently, it was produced as a gift for SS officers and was recognized as a mark of special honor. The lamp has the shape of a slightly truncated pyramid about 20 cm tall, with walls cut into the shape of hearts and a six-spoked wheel. The edges of the symbols and the walls are highlighted with embossed borders and irregularly cut "strokes" that indicate the craftsmanship involved. Two candles can be inserted into the lamp: one inside and one on the upper platform. The small light at the bottom symbolizes the passing year, while the larger light on the lamp represents the beginning of a new one. It was prescribed to light the Christmas tree from this candle. In analogy with the...In July 1939, Heinrich Himmler decided to organize a celebration in honor of the summer solstice, distinct from the winter solstice celebration. A similar lamp was created, this time made of porcelain, to differentiate it from the previous one. According to ancient Germanic tradition, the summer solstice is a time for entering into new marriages and conceiving children. Thus, the celebration of the winter solstice is focused on the past, while the summer solstice looks towards the future. In line with this new worldview, the porcelain factory of Allah produced countless candlesticks, crafted in various styles from past eras, using different techniques and in a range of price categories, making it possible for representatives from almost all layers of German society to acquire items from the main official porcelain factory in the country. Most of the candlesticks have a plastic, almost sculptural pseudo-baroque form, based on the undulating elements of plant ornamentation. They reflect the examples that the factory's artisans were guided by—now it is not the refined rococo of German factories at the time of porcelain's invention but rather the historical style of the 19th century, which was so favored in the Reich Chancellery during the era of Prussian military power. A lamp in a distinctive shape reminiscent of ancient altars, featuring a frieze depicting children (alluding to Renaissance reliefs with putti), and resting on legs resembling swirling scrolls (or volutes), was specially designed as a gift for families of SS officers who had a fourth child, and it was named the "Lamp of Life." **Distinctive Marks** A whole range of products from the factory consists of decorative plates and plaques, adorned with extensively developed Nazi symbolism, accompanied by dedicatory inscriptions, typically produced as unique pieces. For gifts during the country’s major holidays, “Julteller” plates were created.Most of them were created specifically on the orders of H. Himmler, who personally presented them to his officers and employees of other agencies. Usually, they were made of white glazed porcelain and decorated with relief images of runes or symbols of various organizations. For example, there is a model of a plate that was never put into production, featuring the Cross of Honor of the German Mother in the center, surrounded by a "wreath" of oak leaves alternating with the Iron Cross. Around the edge is the inscription: "To Victory, thanks to our Mothers and Heroes." Ornamental plates depicting flowers and poetic quotes were typically made on the order of Oswald Pohl, the economic chief of H. Himmler's office. **From the Dining Room of the Powerful** The tableware of the Allah Manufacture is today a fully unique phenomenon. We have already seen that it did not engage in the actual production of tableware. However, there were exceptions made for orders from the Führer or the SS chief. Large dining and tea sets were usually produced as gifts for the birthdays or major celebrations of A. Hitler, H. Himmler, and other high-ranking state officials. The items in these sets have clear, precisely defined shapes reminiscent of the elegant porcelains of the classical era. As a rule, they are left unpainted, with their sugary whiteness only highlighted by small heraldic eagles of the Reich or the Führer—the only decoration on the cups and plates. The only exception in this series might be the sets made for the passionate hunter H. Göring.Sure! Here's the translation of the provided text into English: "Yes, in Rococo forms, with pastoral and hunting scenes. **Goods for the People**   The only household item developed for mass production was the vases. They are divided into two types based on their shape. The vases of one type imitate ancient vessels, while those of the other type are remarkably minimalist, consisting of simple geometric forms and very modestly decorated with strict geometric ornamentation in the form of horizontal stripes of varying widths. **Everyday Life and Yen** Thus, at the main porcelain factory of Hitler's Germany, small sculptures predominated, while non-figurative representative products played a lesser role, and household items were almost completely absent. Today, the products of the manufactory are highly valued by collectors, as well as by those interested in porcelain art or German history. They are not widely represented on the market and are not easily found everywhere. It should be noted that unlike well-known old porcelain manufactories like Meissen, Nymphenburg, or even Rosenthal, the manufactory in Allah existed for a very short time, and its works perished along with their owners during the bombings. They are most likely to be acquired at auctions of famous auction houses rather than through online auctions or in small antique shops, where Allah porcelain is a great rarity, even more so as a rarity in flea markets, where [the rest of the text is cut off]."The majority of merchants have never even heard that a manufactory with that name ever existed in Germany. Among the likely and accessible purchases are serial vases and candlesticks, especially the famous "Juliächter," which became almost an essential item in every German family of that time. Prices for these items range from 100 euros (for the mentioned "Juliächter") to 500 euros (for other items), depending on the edition and size of the piece. Animal figurines are slightly more expensive. The large edition and lack of direct ideological significance, which ensured these works from the manufactory a quiet existence in the post-war years, make them quite common in the antique market. They can be acquired online from reputable and lesser-known antique dealers, and in "war antiques" shops in Moscow. On average, prices for these items range from 1000 to 2000 euros. For example, the most "affordable" — the more common bear figurines (fighting, pulling out a splinter, or licking a paw) can be sold for about 1150–1250 euros, while slightly more expensive are the figurines of foxes, terriers, and dachshunds — ranging from 1200 to 1400 euros. Following them are figurines of squirrels, fawns, goat kids, and bunnies — from 1600 to 1800 euros per figurine. However, prices for rarer items, such as a shepherd dog figurine, can reach up to 3500–4000 euros. It is also worth mentioning the quite common mass-produced souvenirs — the "little Munichers," for which today one asks from 1000 to 1500 euros. Next, there are also fairly common but more complexly modeled figurines of Amazons, bathers,Here is the English translation of the provided text: "Mothers with children, Hitler Youth sportsmen, and peasants; their prices already reach several thousand euros, averaging between 6,500 to 8,500 euros. Far rarer and thus more expensive guests on the market are figures created on special order in small batches as gifts for high-ranking SS officials and the Führer's associates. Among the items are figures of military personnel (from both earlier eras and the Nazi period) and athletes. The prices for this exclusive product from the factory are already measured in tens of thousands. However, it is impossible to provide an average cost for these items, as their prices can vary widely depending on uniqueness and condition. For example, the renowned figure of a fencer, which is extremely rare in complete preservation with an intact rapier, can increase its value by about 15,000 euros. Items that were produced for a short time, such as allegories of the seasons, are currently rarely found. Unique acquisitions can also include named plaques, commemorative bowls, and plates, whose prices can reach 10,000 to 20,000 euros (compared to 1,200 to 2,800 euros for their unnamed counterparts). Service items belonging to the Führer or his associates can also be found on the table (or in the display case) of an eager history enthusiast; a plate from such a service may cost between 1,250 to 1,500 dollars, while a tea set for two people, which was never delivered to the Führer in 1945, can go for 9,500 dollars. Extremely rare today are the once-popular busts of Hitler that were found in ordinary German apartments and were actively destroyed afterward; an owner can now expect to receive around 50,000 euros for such a bust. In concluding the overview of the market for Allah porcelain, it is important to warn novice collectors against impulsive purchases without prior research on the manufacturer's mark. Many models developed for Allah..."Here is the translation of your text into English: "With the closure of the factory, the production moved together with its creators, for instance, the famous designer T. Kerner, to other enterprises in Nymphenburg and Rosenthal. This primarily concerns the very popular and fairly accessible animal figurines today, often directly replicating those from the Allach factory; however, they are actually not so rare (and therefore not expensive) and have no real connection to the history of the German factory Allach-Munich, which had a brief yet vibrant existence, sharing the fate of its creators. Anastasia KOROLEVA Illustrations provided by the author. Magazine 'Antiquities, Art Objects, and Collecting', No. 57 (May 2008), p. 4"