‘2. Eine Croppe, welche von zweien Figuren bestehet, aufs Waarenlager verfertiget, wie ein wohl angekleideter junger Mensch auf einem grünen Raßen sitzet und ein mit einer adriene gebutztes frauenzimmer umbarmet, Darneben ist auch ein kleiner Vogelgebauer befindlich, worinnen Vögelein sietzen. Zu solchen Figürgen aber ist annoch gefertiget worden, um selbige zu verändern, ein gedecktes und gebutztes Coffee Tischlein, zugleich auch Teller mit frisch Obstwerk, wie auch noch mit einem verziertem Taberett, worauf ein Mops Hünd-lein lieget, wie auch noch eines anderen Vogelbauers, darinnen Vögelein befindl.’

Work report by Johann Joachim Kaendler, December 1736:

‘4. Drey Stück oben erwehnte Croppgen in der Massa corrigiret und tüchtig gemachet.’

The model to be presented is the very first ‘gallant’ group recorded in Kaendlers work reports. Sitting on a rocket adorned with light turquoise leaves and flowers with gilt pistils, a young gentleman dressed in a red justaucorps, pink vest and knee breeches with gold borders and white shirt and socks leans with his left hand on a large birdcage containing a pigeon and embraces a lady standing next to him with his right arm. The lady, wearing a yellow manteau with blue flowers and a black hoop skirt decorated with polychrome ‘Indian’ flowers, has her left arm around his neck, her right arm clasping his chin and is about to kiss him.

Here the quintessential character of rococo small-format porcelain sculptures, described by art historians Hermann Bauer (1929–2000) and Hans Sedlmayr (1896–1984) in their standard work on the rococo as ‘anecdotal’, ‘surprising’ and ‘witty’, becomes evident, since each one of these three additions accompanying the pair of lovers on the greensward underlines the meaning of that particular group. The pug on the tabouret, here symbolizing decorum, reflects — depending on the mood rendered — the delicate nature of the situation. As depicted in many Meissen groups, the bird in the cage stands for the young lady’s innocence following 18th century symbolism; here, still locked in the cage, it signals that innocence is still intact, but imperilled by the gentleman, who has already laid his hand on the cage. And finally, an occasional table with a snuffbox or a coffee, tea, or chocolate set — all standing for the joys of courtly existence — which, free of material cares and hard work, sought out other challenges.