The aim of the researchis to analyse the sources of inspiration of motives of the "German flowers" ("the Saxon pattern", "the Saxon attire") in the European porcelain and the faience, connected with creative works of thw well-known masters of the "small Dutch".The research methodologyincludes ontological, historical and chronological methods as well as the method of the art criticism analysis. The ontological method is connected with the presence of a genre of a flower still-life in the paintings of old masters. The second method correlates with the list of names of artists who used to turn to the image of field and garden flowers in the Flemish and Holland fine arts in the ХVІІ–ХVІІІ centures. The method of the art criticism analysis will be used for the analysis of works of leading European manufactories of thin ceramics where the assortment patterns of "the Saxon attire" were largely popular.Scientific noveltyis connected with the defining of interrelations of the decor of the "German flowers" in the Ukrainian porcelain and faience of the end of the ХVІІІ – the beginnings of the ХХ centures with the samples of flower still-lifes of the "small Dutch" in the ХVІ–ХVІІІ ct.Conclusions. Thus, having considered the still lives of the first elements of the "little Dutch" of the XVIII-XVIII centuries and European porcelain and faience products of the XVIII-XX centuries the genetic affinity of their floral motives was established. In particular, the works of leading European centers of “white gold”, beginning with Meissen and Berlin, and ending with Ukrainian Korts and Baranivka, evidence this. At the same time, artists of fine ceramic enterprises relied on a bank of drawings and iconography of flowers of “fantasy bouquet” (from different seasons), which included, first of all, motives of “king-flower” (tulip, carnation, daffodil, rose) surrounded by flowers of “royal suite”, namely, daisies, cornflowers, poppies, blushes, marigolds, violets, lilies of the valley, peonies, forget-me-nots, wild hips, and more.