Wedgwood’s alliances with the neo-classical art of his time nonwithstanding, the judgement of Winckel­mann has proved to be the lasting judgement of the art world. Kaendler’s rococo figurines, the main objective of Winckelmann’s criticism, eventually pulled Wedgwood’s most well-researched and high-profiled antique replica, the Portland Vase, with them in the art critical elite’s condamnation of ceramics as such. This very same dismissal of ceramics en bloc is most recently repeated by Mario Perniola, writing in 1983 that