Harlequin Family Clock c. 1740

Editor: Here we have the "Harlequin Family Clock," made around 1740 by the Meissen Porcelain Manufactory. It's a whimsical ceramic sculpture with an integrated clock. The figures, especially the Harlequin, are so vibrant and detailed. What stands out to you when you look at this piece? Curator: For me, it’s the blatant display of luxury through materiality. This isn't just a clock; it’s a statement of power afforded by access to these specialized, rare materials and skilled labor. How many hands, from the mine to the workshop, do you think it took to bring this clock into existence? Editor: That's a fascinating perspective! I hadn't considered the sheer number of people involved in its creation. It seems so removed from the process of digging up the clay, shaping and painting it. Curator: Exactly! Think about the specialized knowledge of porcelain production that Meissen held. The control of materials, like kaolin, and the closely guarded process of firing, positioned them uniquely. The price it demanded likely ensured a consumer base of elites. Even the Rococo style, all those delicate flourishes, becomes about consumption and exclusivity. Do you see the potential critiques implied? Editor: I think so. By focusing on the resources and labour required, the clock isn’t just a decorative object but a physical embodiment of social stratification. So it's not just beautiful, it's also evidence of its time? Curator: Precisely. We’re less focused on inherent artistic genius here; and more on how the production, material properties, and social context combine to produce an object imbued with layers of economic and social meaning. Editor: Wow, I hadn't thought about it that way. Seeing it as more than just a pretty clock—as evidence of material control and a reflection of social inequalities —adds so much depth to the experience. Curator: Indeed, understanding the 'stuff' it's made of reveals the 'stuff' of its society.