CIRCA 1745

R.G. Vater Collection no. 585 (paper collection label applied to the underside).

An ormolu-mounted version of this model from a private collection is illustrated by Claire Dumortier and Patrick Habets, Porcelain Pugs: A Passion, Brussels, 2019, p. 162, cat. no. 9 (left). By the 18th century, the pug-dog had become a favourite of court society across Europe, frequently depicted in paintings and sculpture commissioned by the aristocracy. Meissen was soon to immortalise the breed in porcelain as Kändler's work reports suggest that by May 1734, Meissen was making various miniature models of the breed and by 1736 a pug was included in a group of lovers also modelled by Kändler. The pug-dog's depiction in Meissen is discussed in the essay by Sarah-Katharine Andres-Acevedo, 'The pug, a pet dog at court, its represenations in Meissen porcelain', ibid., Brussels, 2019, pp. 30-47.

The pug became particularly popular following the formation of quasi-Masonic lodges in response to the Papal bill issued by Clement XII in 1738, forbidding Roman Catholics from belonging to Masonic orders. As a reactionary measure Clemens August of Bavaria (1700-1761), Archbishop Elector of Cologne, founded an alternative pseudo-masonic order in Germany and Sweden to provide members with a legitimate substitute for Masonic social rites.This pseudo-Masonic order was called the Order of the Pug or Mops-Orden. The Order was principally composed of Roman Catholics and was active between 1740 and 1782. Members of the Mops-Orden were pledged to secrecy and unlike Freemasons, admitted women to their meetings. The pug-dog was chosen as their emblem as it symbolised the attributes of devotion and fidelity. It is interesting to note that the Director of the manufactory and Prime Minister of Poland, Count Brühl, was particularly fond of pug-dogs.

For a further discussion of the Mops-Orden, see Erich Köllmann, 'Der Mopsorden', Keramos, no. 50, October 1970, pp. 71-82.