Tadeusz Mańkowski's article 'The Royal Faience Factory in Belvedere' in the journal 'Fine Arts',1932, no. 3, pp. 73-90 (public domain, reprinted after the Library of the University of Silesia, Katowice) presents the history of the Royal Faience Factory at the Belvedere and is illustrated with reproductions of the 'Sultan's Service', the surviving elements of which can be found in the Topkapi Palace in Istanbul, among other places.

A modernised reading of the text.

The royal farfur factory at the Belvedere.

Amongst the many intellectual interests of Augustus Moszyński, the Great Crown Prince, there was also room for chemistry. His multifaceted mind also encompassed this field of knowledge, still rather vague and mysterious at the time. A friend of Stanisław August's young years, Moszyński lived in the castle in Warsaw after his election, as his confidant. Commissioned by the King to write memoranda on political science, economics and treasury, to draw up plans for state reforms, or to take part in Stanisław August's collecting and help him with art, he always found enough time for chemical experiments. On the one hand, his chemical research was regarded by his servants and many of the courtiers as something cloaked in a mystical cloak of secrecy, while on the other hand, news of the high dignity he held in the secretive Freemasons' Association gave Moszyński the appearance of some kind of magician or medieval alchemist. It was feared that he would have a negative influence on the King, and his influence was attributed to a number of evils that came to light at the court of Stanisław August in the very first years of his reign. In this public opinion lay perhaps one of the reasons for the subsequent decline of Moszyński's influence at the court of Stanisław August.

In the state of the science of chemistry at that time, the mostly accidental results of chemical experiments were all the more jealously protected from the eyes of others. Research results were not scientifically substantiated, but were merely used in the most profitable manner. Industrial production was full of "secrets" of all kinds. Porcelain manufacturing was one of them.

During the 18th century, porcelain manufacturing in Europe reached a high level of excellence. It was an artistic industry worthy of the name of royalty. The reigning monarchs competed with each other in setting up and improving the products of their factories, in recruiting the best technical and artistic forces for them. Sèvres near Paris, Saxon Meissen, Vienna and so many other royal, imperial and princely porcelain 'manufactories' competed with each other for the better.

This competition also had a theoretical justification in the prevailing theory of mercantilism, which argued that the manufacture of objects of luxury, providing employment and earnings for large swathes of the population, was an economic lever for the country and state. These views were shared by both August Moszyński and Stanislaw August himself. This is why the establishment of a royal porcelain factory in Poland was intended both to meet these theoretical requirements and to place the Republic and its elected king, Stanislaus Augustus, among the ranks of contemporary cultural states competing with each other in this field too. At the same time as founding the factory, the aim was to acquire the "secret" of porcelain manufacture and to find kaolin clay suitable for the manufacture of porcelain products in Poland itself. Stanisław August placed the solution to these tasks in the hands of a trusted chemistry expert, August Moszyński.

There was no shortage of owners of the "secret" of porcelain manufacture. A large number of them came forward in Warsaw during the years 1768 and 1769, on hearing of the Polish king's intention to set up a new porcelain factory. However, it was not easy to distinguish between impostors claiming to be the owners of the secret and professional experts and keepers of the factory secret.

Moszynski himself first and foremost tried to penetrate the 'secret'. He read descriptions of porcelain manufacture in China, which was the prototype for Europe and whose secret was supposed to have been brought from China by Christian missionaries. Moszyński experimented on his own, roasting various types of "ingredient" recommended in various recipes in retorts, and studied the chemical composition of kaolin clays sent in from various parts of Poland. In addition, other owners of the secret of porcelain manufacture came forward.

The application of a certain Jan Eberhard Ludwig Ehrenreich, a German who was a physician in the service of King Adolf Friedrich of Sweden, was not accepted. Ehrenreich was to have been in charge of the royal porcelain factory near Stockholm, and later he was to have established a porcelain factory in Stralsund, in Swedish Pomerania, on the model of the Stockholm porcelain factory. The efforts made in Warsaw by Captain Potz and Major Süssmilch, formerly of Prussian service, who, as military commander in Meissen, had allegedly had the opportunity to become acquainted with the Saxon porcelain factory, were also unsuccessful. In turn, the reported offers of Colonel Ludwik Rogaliński and Franz Josef Teodor Br. Schütter. Both wished to devote their "manufacturing secrets", on terms favourable to themselves, to the royal factory in Poland, and both submitted projects for its establishment and management, criticising each other. Moszyński's opinion seemed to lean towards choosing Rogaliński, while Stanisław August's opinion prevailed in favour of Schütter.

Moszyński was sceptical about Schütter and his professional qualifications. A native of Bavaria, expelled from his homeland as a result of a dispute with a minister, after the confiscation of his estate he arrived in Warsaw, where he was for some time "maître de chapelle" to the Bishop of Warmia, and later in the service of Wielhorski. Attributing to his knowledge of porcelain manufacture, Schütter's first attempts in this direction were to be made in Grzybów. Wishing to make himself known to the King, he sought access to him and obtained permission to experiment in the kitchens of the Ujazdowski Palace, where he set up a small porcelain firing furnace for this purpose. However, these attempts, based on the theoretical deductions of a manuscript, did not lead to a result. Schütter therefore attempted to associate himself with two chemists, Potz and Rogalinski, and extract their secret from them. He was also to obtain some funds - probably from Canon Wyszyński and Captain Wodzicki - with which he began the construction of a factory in Solec, near Warsaw, which was never completed. On this past of Schütter's, preceding his foray into the affairs of the King's Belvedere factory, Moszyński could not base his hopes of success.

Schütter's wife may have played a role in the fact that it was not Rogaliński, favoured by Moszyński, but Schütter who became director of the factory and was to take charge of its construction. The enterprising "Baroness", as she was briefly called in his letters to the King by Moszyński, was of Greek origin, born Cumano. She sought a financial solution to the factory on her own, submitting plans directly to Moszyński, trying to involve outsiders in the business - as Moszyński makes clear - one of her admirers. From Rogaliński she attempted to extract his 'secret', trying to gain personal influence over him. It is possible that she may also have succeeded in gaining some influence over the King, usually sensitive to the charms of a non-woman.

Arch. Main Warsz. pp. 104, 106; see also Mus. Czartoryski, rkps 799, p. 620, a bond issued by Stanislaus Augustus for 15,000 red zlotys to Maria de Cumano, Baroness Schütter.

The specimen of the dedication on it in Turkish was inscribed by the translator of that language at the royal court, Krutta. General Rieule calls this service a 'fort belle'. It is possible that one of the intentions of offering it to the Sultan was the thought of finding a market in Turkey for the products of the Belvedere factory; just as there was thought of a way to sell them behind the Austrian cordon in Galicia.

"Le service turc" is still to this day in Istanbul, preserved today in the Old Seraglio Museum. The inventory books of the Old Seraglio state under the date of r. 1192 of the Mohammedan era, corresponding to the date 1777 of the Christian era, the same number of 160 pieces that the service consisted of when it left Warsaw. The relevant note translated from Turkish reads as follows:

"In connection with the report of the noble (Esseid) Numan Bej of the State Council and professor, sent as ambassador to the Republic of Poland, the following items donated by the king were brought by him:
In the Viennese type, small and large round and oval plates - pieces 73 (Fig. 1 and 2)
In the Viennese type, round plates with a grid pattern - pieces 16
In Viennese type baskets - pieces 16
In Viennese type salt cellars - pieces 12
Plates - pieces 35
Small vases - pieces 8 "At present, 13 pieces of this service are exhibited in the Old Seraglio Museum in Istanbul; several other pieces of the same service are also deposited in the museum's warehouse. The director of the Old Seraglio Museum (currently Tahsim Bey) explains the reduction of the service, which once numbered 160 pieces, by the custom of the Padishah's court to give the honoured guests a part of the service and the individual plates on which they ate after the reception.

The colours used in this service are white background, part of the background blue. The flowers (chrysanthemums from Japanese patterns, as well as the entire ornamental composition of this service) are tomato-red ("tomate"), the leaves green, the lettering and some arabesques gold.

In addition to the remnants of the Sultan service stored in Istanbul, we find sometimes scattered individual pieces, mostly plates of the same type, undoubtedly also from the Belvedere factory. Some of them have Turkish inscriptions analogous to the Sultan service, made in gold in medallions, others do not have these inscriptions, while in others the Turkish inscriptions have been replaced by the image of a butterfly or another ornament.

We can find such plates in the collection in Wilanów, in the National Museum in Kraków (inventory no. 135501), in the National Museum in Warsaw (inv. no. 20669), in the Museum of Artistic Industry in Lviv, in the possession of the antiquarian company B. Gutnajer in Warsaw, and finally in the Schlossmuseum in Mannheim.

In these pieces analogous to the Sultan's service, we are perhaps dealing with sample creations that remained in Warsaw, which, in the number of 60 shallow plates and 50 deep plates, are listed in the inventory of objects in the 'garde-meuble' of the Warsaw castle, under the care of Susson. This inventory dates from March 1795.

Repeating larger pieces of this service, such as vases, outside Istanbul, are also found in the National Museum in Kraków (inv. no. 135501 b). A platter with a Turkish inscription and the date 1776 is in the collection of the Jagiellonian University Art Museum in Cracow.

The above archival information, from both Polish and Turkish sources, corrects the detail given after Gołębiowski by Korzon that the service was taken to Constantinople by Piotr Potocki, starosta of Szczeczec, who travelled to Istanbul on an envoy in 1780. The service had already been in Istanbul for 12 years before the date of Potocki's envoy, and was presented to him by Stanisław August as a gift from the Turkish envoy Numan-Bey, whose reception and stay in Warsaw in 1777 was described in detail by Antoni Krutta, translator of Turkish at the court of Stanisław August.

The decoration of the Belvedere faience, both the 1777 Sultan service and the royal service commissioned in 1780 by Stanisław August himself, the latter of which we know to have been "imitée du Japon", as well as many other products of the Belvedere factory before and after those dates, was mostly based on East Asian, Chinese and Japanese models.

However, it was not a direct imitation of these designs. In this respect, the artistic management of the Belvedere factory followed the beaten path, following in the footsteps of Western European ceramics, which had already made use of these patterns before - in the Dutch, Saxon, Viennese and English porcelain creations, which were based on Far Eastern ceramic patterns.

Patterns of Chinese and Japanese painterly decoration found their way onto European porcelain or faience transformed, transposed into the language of Western decorative art, without their European makers understanding the originals, their Eastern symbolism and the thought contained therein. Japanese landscapes were left with some schemes, animals and human figures acquired shapes that were sometimes caricatured, forms were generally thickened and colours changed the harmony in which the Eastern artist had put them together.

In the West, types of pseudo-Eastern vessels with a certain peculiar style developed. Rococo art, by absorbing Eastern motifs, created in this respect a kind of separate and proper expression of decorative forms.

In spite of this insincerity, resulting from the assimilation of eastern motifs through Rococo art, Belvedere faience has something that attracts more than just a collector's sense and love of the past. The faience of the Belvedere factory has a tone of never-too-bright, yet warm colours, softer and gentler on faience than on the inherently colder porcelain, which makes it a particularly decorative object for the aesthetically sensitive eye.

A Belvedere vase, which is becoming increasingly rare today, immediately catches the eye of the connoisseur among other objects in a museum display case or in the storeroom of an antiquities dealer, forgives it certain shortcomings in its drawing, and appreciates in it the spring mood in which the flower branches are decoratively framed. Among the belvedere faience known to us, certain groups can be distinguished in terms of the view of the style of their decoration. In one of these, the painted decoration is based on the patterns of Western European, Saxon and Viennese porcelain, which again followed the French decoration of the Rococo style. Light garlands of flowers, or floral 'ornements semés' projected onto a predominantly white and cream background, are a characteristic feature of this group (colour figure). Plants and flowers, sometimes also birds and butterflies, are treated naturalistically in the style of the Rococo era. The whole breathes the charm of the art of the period (e.g. a vase of this type in the National Museum in Warsaw) (Fig. 3).

This type of Belvedere faience was made during the period of the factory's operation, after it had limited itself to producing faience only, and ceased producing porcelain from 1770. This is evident from the descriptions of the services made for Mrs Humiecka, which include coffee and chocolate tableware, and candlesticks - for the castellan of Sierpc (Popiel?), among which we find "soupières en panneaux et feuillage en reliefs", large baskets, etc., i.e. types of vessels "par excellence", i.e. the types of crockery 'par excellence' of Rococo. Unfortunately, I have not been able to find these services.

Soon, however, the type of Rococo decoration as understood in the West was relegated to the background by the imitation of East Asian porcelain, which was also widely imitated in the West at this time. We have already mentioned two large services of this type made for the Turkish Sultan and for Stanislaus August himself.

Among the Belvedere faience based on examples from the Far East, we should also distinguish a type of vases indirectly imitating Chinese "famille bleu", or rather Dutch "Delphi", with larger, at other times smaller, floral decoration, blue on a cream-white background, or vice versa - with white flowers on a blue background (nos. 3880, 2873 National Museum in Warsaw) (Fig. 4). It is likely that a pair of vases of large size, now in the National Museum in Cracow, imitating Chinese 'famille bleu', also came out of the Belvedere factory.

There are no maker's marks on them, but a sheet of paper glued inside states that one of them belonged to Prince Józef Poniatowski and the other to Stanisław Kostka Potocki. It is possible that these vases are identical to those previously owned by Stanisław August, and mentioned in the 1795 inventory of the royal garde-meuble at Warsaw Castle in the words 'deux grands pots de la fabrique de Belweder peints en bleu et blancs'.

There are more varied colours in the vases with figural representations. These include figures of Chinese men and women, birds, especially pheasants and flowers, sometimes outlines of some Chinese architecture. Once composed, the decoration was then repeated on vases of a different shape, as exemplified by No. 21049 of the National Museum in Warsaw (Fig. 5) and a pair of vases found in the Łazienki Park (Figs. 6 and 7).

Another type with eastern designs again are the Belvedere vases with a straw yellow ('paille') background, with colour decoration of flowers, birds of paradise and Chinese pheasants. All of the types of belvedere faience mentioned here remain related to the decorative forms of Rococo art. Rarer than these must have been the faience specimens produced at the Belvedere factory, alluding to the new forms in art brought by the return to antiquity in modern times. One of the proponents and propagators of this current in Poland was Moszyński.

Stanisław Potocki mentions an authentic Etruscan vase of rare beauty, given to Prince Stanisław Poniatowski, nephew of Stanisław August, at the court of the King of Naples, of which the Belvedere factory "provided us with so many and such accurate transformations". Belvedere wares of this type are probably the two vases preserved in the Warsaw Castle (Fig. 8).

The Belvedere factory made the most decorative vases. This is because the vase or vase (Stanisław Potocki, for example, used to say 'this vase') became one of the leading forms of decoration at this time. It could be a vase for flowers or rather a decorative shape, with no specific purpose or use, an object with ornamental and representative features. Vases were also the most marketable. Their shape is usually spherical or pear-shaped body on a leg, similar to an upturned chalice, with the neck also in the shape of a chalice with a raised rim. Another type is pear-shaped vases with a cylindrical neck. All the types of Belvedere faience mentioned here are related to the decorative forms of Rococo art. Rarer than these must have been the faience specimens produced at the Belvedere factory, alluding to the new forms in art brought by the return to antiquity. One of the proponents and propagators of this current in Poland was Moszyński. Stanisław Potocki mentions an authentic Etruscan vase of rare beauty, given to Prince Stanisław Poniatowski, nephew of Stanisław August, at the court of the King of Naples, of which the Belvedere factory "provided us with so many and such accurate transformations". Belvedere wares of this type are probably the two vases preserved in the Warsaw Castle (Fig. 8).

The Belvedere factory made the most decorative vases. This is because the vase or vase (Stanisław Potocki, for example, used to say 'this vase') became one of the leading forms of decoration at this time. It could be a vase for flowers or rather a decorative shape, with no specific purpose or use, an object with ornamental and representative features. Vases were also the most marketable. Their shape is usually spherical or pear-shaped body on a leg, similar to an upturned chalice, with the neck also in the shape of a chalice with a raised rim. Another type is pear-shaped vases with a cylindrical neck.

Belvedere faience bears the factory brand 'Varsovie', in various colours under the glaze, or has no brand at all. In the Sultan service, brands are only placed on the larger vases and platters, not at all on the plates. Outside of this service, individual vases usually carry the brand, but when there is a pair of identical vases, the 'Varsovie' brand is usually carried by only one of them (Baths).

Schütter managed to put the factory at least artistically on a high level. He failed to do the same in terms of ceramic technique and to come close to the ideal of English faience, which was supposed to be his goal.

At first, clay was mined in Mokotow in the Belvedere area and this may have determined where the factory was established. Subsequently, in 1776, he tested the "white earth" from Skrzynno near Drzewica at the Royal Foundry d'Alster, and in 1773 Samuel Lorenz Koch recommended clay from the village of "Zborowskie" in Silesia for production. Later, from 1777 onwards, "white earth" from the village of Brodla near Spytkowice in the Krakow Voivodship, mined on the land belonging to the Ruthenian Voivode Czartoryski, was used to fire faience vessels. Samples of this white earth were brought to Warsaw by a Reformer, the definitor of the Lesser Poland province of this order, Fr Diedlewski. Before that, this clay had already been sent to the Netherlands. One of the Schütter agreements mentions the fabrication of "de la fayance commune" from white or yellow clay ("terre blanche ou jaune"). Glazes and enamels were imported from Gdansk - cobalt for the production of certain pigments from Saxony From a technological point of view, the products of the Belvedere factory should be classified as so-called enamelled faience. They were made from marl clay with an admixture of very fine sand. The faience is covered with an opaque tin glaze, white in colour with a bluish tinge. The paint decoration of the vessels was done with glazed paints which do not tolerate the high temperature of the pottery kiln. These paints do not bond tightly to the glaze during firing and do not blend into its background, so that the decoration reflects slightly off the glaze. The background was usually covered with a thin layer of paint. The most common colours used for decoration were green in light and dark tones, dark blue, pink, tomato-red and black. The contours of the drawing were often edged in black. Polished gold was used to emphasise certain lines, inscriptions, e.g. in Turkish service. The vessels were probably fired four times, first in a blast furnace for the raw head, a second time for the enamel, a third time for the consolidation of the already applied paints, and a final time for the gold.

The artistic side of the Belvedere faience consisted, on the one hand, of the form of the vessels produced, and on the other, of the drawing and colouring of their decoration. These things depended on the so-called modellers, who gave various shapes to the faience wares before firing them, depending on their purpose, and on the painters employed by the factory.

The posts of the factory's employees mention the modellers. The "maître modeleur" was a certain Botheim. The persons of the others, as they were called 'arcanists', remain almost anonymous. They were usually called by their first name alone, without being named. The names listed in one of the factory's early posts under the heading 'tourneurs et modeleurs' - Feidynand, Frantz, Johann, Michel - indicate their German origin. They may have come from Meissen in Saxony or Vienna and learned their skills in the factories there. In addition, two "vanniens tourneurs" were employed at the Belvedere. The highest paid of them all was Ferdinand.

One of the first modelers at the Belvedere factory was Jan Waltzer, who came from Austria and who had also worked in Częstochowa before. Bachmayer stands first among the painters, as the highest paid. He also signed himself Gerhard Pachmaier. We know about him from elsewhere that before he joined the staff of the Belvedere factory, he was occupied at the faience factory in Częstochowa. Bachmayer remained in the royal service at Belvedere until the end of the reign of Stanislaus Augustus, and we can still find him after the partitions. In the years 1793-1796, he was entrusted with the care of everything in the Belvedere, including the stock of the remaining faience wares. The records at the time called him "concierge de Belweder". In 1795, in Bacciarelli's list of people in the court service, he is listed by Bacciarelli under the category of "differents personnes de service sous ma disposition". In his service at the Belvedere factory, Bachmayer thus earned his trust. But it was not qualities of character that led him to it. It must undoubtedly have been the professional proficiency of a specialist painter on porcelain. There is much to suggest that Bachmayer's hands were responsible for the best decoration of the Belvedere faience, and that the stylistic direction of the paintings on them depended largely on him.

A vase with Chinese decoration, located in the National Museum in Warsaw under inv. no. 21049, may, in my opinion, be attributed to Bachmayer. Apart from the brand "Varsovie", it bears the letter "B" above it, which I believe is Bachmayer's signum. In Chinese taste, I attribute the decorative figural composition on this faience to Bachmayer's hands, and he or his associates repeated it on other vases coming out of the Belvedere factory, such as, among the altered floral decoration, on a pair of vases found in the Lazienki Park.

Where outside Poland had Bachmayer and his assistants worked before? Whether it was Meissen or Vienna - it is difficult to determine. Saxon porcelain was contemporarily placed above Viennese porcelain. There is also evidence of intermediaries approaching Stanislaus Augustus, offering to recruit workers from Saxony for the Belvedere factory. However, in the programme arranged by Stanislaus Augustus and Moszyński with Schütter, the designs of Viennese porcelain were accepted as those which Schütter, as the responsible manager of the Belvedere factory, was to approach in technical and artistic terms. During the period when porcelain fabrication was abandoned and limited to the manufacture of faience vessels, English faience was set as a model at Belvedere.

Artistically, the stylistic tendencies revealed in the decoration of Belvedere wares did not suit Moszyński, who criticises them. According to him, the factory workers have neither enough taste to give the faience a beautiful shape, nor enough talent to create beautiful models and drawings. Moszyński is particularly blatant about vases with an old-fashioned taste, decorated on top with leaves or poorly composed groupings. Similar criticisms apply to candlesticks and tableware objects.

Otherwise familiar with Moszyński's stylistic tendencies, following the contemporary trend of a return to the art of antiquity, it is easy to grasp the motives behind this criticism. Schütter and Bachmayer followed the old models of the Saxon and Viennese factories, with Rococo decoration. This is that 'l'ancien goût' opposed to classicism. A follower of classicism and an admirer of antiquity, Moszyński was. Nevertheless, Moszyński does concede some merit to large vases or faience parade crockery, in which he praises the unadorned colours and raises the glossy glaze. Moszynski's most far-reaching criticism is directed against the objects of ordinary tableware manufactured at the Belvedere factory and intended for sale. Compared to foreign faience, they cost not much less, and as far as quality is concerned, they do not match English or Strasbourg faience. In his opinion, their painterly decoration is poor, consisting of unshaded colour patches with sloppy drawing, etc. Moszyński's accusation against the factory's management of high production costs resulted in his project to move the factory from Belvedere to Kozienice, further away from Warsaw, where the cost of running it would be lower.

The high production costs and the need for the King to continually contribute money to the factory brought to mind the need for reform. Moszyński thought that a favourable moment for him had come when Schütter quarrelled with his wife. He also supposed that no one was more called upon than himself to carry out reforms and put the factory on a different footing. In Moszyński's opinion, the King, by not allowing the factory to collapse and by continuing to contribute to the financially unprofitable enterprise, had two objectives in mind - the benefit of the country and giving bread to Schütter. He believed that Schütter could be pushed into the background when his wife, who was able to exert influence on Stanisław August, was no longer standing next to him.

It was in 1777 that Moszyński submitted to the King a project for Schütter to be gradually removed from the factory's management, and placed under the supervision of a "Construction Commission" (Commission de bâtiments), and for an "arcanist" to be brought in from England via the Polish resident in Hamburg, Henry Weckede, and Jan Willi. Oberman, who maintained a warehouse of English faience in Warsaw. The management of the factory was to be taken over by Moszyński himself, who assured that within six months, with the help of Potz, he would be able to make the Belvedere faience equal in quality to English faience.

Moszyński's project met with criticism from General Rieule, chairman of the building commission, whom Stanislaus Augustus had asked for his opinion. Knowing Moszyński's disposition well, it was feared that he would turn the factory into his chemical laboratory by experimenting, and forget its proper purposes.

Moszyński's project fell through, but Schütter came up with a different one, which was accepted by Stanislaus Augustus, and on 1 July 1779 became the basis for a new arrangement. The factory, which retained the royal name, was leased to Schütter for a period of 4 years. Schütter was to report his activities to the royal building commission every month. In any case, he was to carry out production at his own discretion and at his own expense.

But this state of affairs, which represented a triumph for Schütter over Moszyński, was not to last long. Schütter was no longer able to cope with the task, both administratively and financially. Production was collapsing, workers were leaving the factory.

New competitors sprang up under Schütter's thumb and surpassed him. In Warsaw, a new faience factory was established in 1779 by two partners, Bernardi and Wolff. Schütter complained that someone sent on their behalf was rebelling and taking away his workers. It had already happened before that workers at the Belvedere factory were leaving it for the factory founded near Slonim by Hetman Oginski.

The gradual decline of the factory was evident at every turn. Schütter, unable to get the situation under control, turned to the King with his grievances, the validity of which, however, was not recognised by the Royal Construction Commission headed by General Rieule.

The Belvedere factory continued to live for some time under increasingly difficult conditions. The indefatigable Moszyński kept submitting memoranda to the King, devising ways of reforming it, and predicting that one day Schütter would leave the factory with a stick in his hand. This is what ultimately had to happen. The royal farfur factory, as it was commonly called, had to cease to exist when the king could not continue to contribute substantial sums to sustain it, and its tenant Schütter had no other sources to do so. It seems that in 1783 production was already in question.

On the other hand, a new faience factory of Bernardi & Wolff (in Bielin) was developing in Warsaw as a private industrial enterprise, later in the hands of Karol Wolff alone. It produced faience wares that at first differed little from those of Belvedere in the decoration and shape of the vessels. They may be distinguished by the more fantastically depicted decoration according to East Asian patterns of painted birds and flowers, and the factory brand "W.".

In the Wolff factory, however, faience was made in a different "taste" over time. A style of imitation of antiquity prevailed. The Wolff factory furnaces produced so-called Etruscan vases and tableware modelled on Pompeian decorative motifs. Stanislaus Augustus himself ordered "une grande vase étrusque" from the factory in 1789, and a year later purchased a second vase there, according to accounts from that time. The Wolff factory was superior to the Belvedere factory in terms of the technical excellence of its products.

The farfur factory of J. Król. Majesty's factory at Belvedere collapsed, but through its initiation Stanisław August gave the initiative on the basis of which, by the end of the 18th century, factories developed in Poland both of noblemen following in the King's footsteps, such as Ogiński, the Czartoryskis and the Radziwiłłs, who often treated the matter from the point of view of ambition and vanity, but also of professional industrialists such as Wolff.

The King's aspiration to 'faire une chose utile au pais', as Moszyński expressed it, achieved its goal, albeit indirectly.