In the culture of European porcelain, the theme of copies and fakes arose more than once.Moreover, throughout its almost three hundred years of history, it has become essentially an organic feature of this type of art.All European porcelain manufactories since the 18th century were in the broad sense of the word epigones, with more or less accuracy and enviable constancy, copying the techniques and plots of their predecessors, while often not striving for falsification.
Small manufactories already in the XVIII century began with copying great samples.Thus, at the beginning of their activities, the masters of Meysen tried to imitate the products of Chinese masters, later the Saxon porcelain itself became a model for imitation both among artists and sculptors of German lands - Prussia, Thuringia and Bavaria, and beyond - in Russia, England, Italy and Italy and ItalianFrance, where by the end of the 19th century the industry of fakes and imitations reached a huge scope.
