,,books ,,for ,,collectors ,with ,frontispieces and many ,illustrations ,large ,crown #hvo1 cloth4 ,,chats ,,on ,,english ,,china4 ,by ,,arthur ,,hayden4 ,,chats ,,on ,,old ,,furniture4 ,by ,,arthur ,,hayden4 ,,chats ,,on ,,old ,,prints4 7,how to collect and value ,old ,engravings47 ,by ,,arthur ,,hayden4 ,,chats ,,on ,,costume4 ,by ,g4 ,,woolliscroft ,,rhead4 ,,chats ,,on ,,old ,,lace ,,and ,,needlework4 ,by ,e4 ,l4 ,,lowes4 ,,chats ,,on ,,oriental ,,china4 ,by ,j4 ,f4 ,,blacker4 ,,chats ,,on ,,old ,,miniatures4 ,by ,j4 ,j4 ,,foster1 ,f4,s4,a4 ,,chats ,,on ,,english ,,earthenware4 7,companion volume to ,chats on ,english ,china47 ,by ,,arthur ,,hayden4 ,,chats ,,on ,,autographs4 ,by ,a4 ,m4 ,,broadley4 ,,chats ,,on ,,pewter4 ,by ,h4 ,j4 ,l4 ,j4 ,,mass1 ,m4,a4 ,,chats ,,on ,,postage ,,stamps4 ,by ,,fred4 ,j ,,melville4 ,,chats ,,on ,,old ,,jewellery ,,and ,,trinkets4 ,by ,,maciver ,,percival4 ,,chats ,,on ,,cottage ,,and ,,farmhouse ,,furniture4 7,companion volume to ,chats on ,old ,furniture47 ,by ,,arthur ,,hayden4 ,,chats ,,on ,,old ,,coins4 ,by ,,fred4 ,w4 ,,burgess4 ,,chats ,,on ,,old ,,copper ,,and ,,brass4 ,by ,,fred4 ,w4 ,,burgess4 ,,chats ,,on ,,household ,,curios4 ,by ,,fred4 ,w4 ,,burgess4 ,,chats ,,on ,,old ,,silver4 ,by ,,arthur ,,hayden4 ,,chats ,,on ,,japanese ,,prints4 ,by ,,arthur ,,davison ,,ficke4 ,,chats ,,on ,,military ,,curios4 ,by ,,stanley ,c4 ,,johnson4 ,,chats ,,on ,,old ,,clocks4 ,by ,,arthur ,,hayden4 ,,london3 ,t4 ,,fisher ,,unwin1 ,,ltd4 ,,new ,,york3 ,f4 ,a4 ,,stokes ,,company4 ,,chats ,,on ,,royal ,,copenhagen ,,porcelain ,illustration3 ,,old ,,copenhagen ,,figure ,,group4 ,lady and gentleman in contemporary costume4 ,frontispiece4 ,,chats ,,on ,,royal ,,copenhagen ,,porcelain ,,by ,,arthur ,,hayden ,,knight ,,of ,,the ,,dannebrog ,,author ,,of ,,chats ,,on ,,english ,,china1 ,,chats ,,on ,,old ,,prints1 ,,etc4 ,,with ,,frontispiece ,,and #ef ,,full-,,page ,,illustrations ,,together ,,with ,,illustrated ,,tables ,,of ,,marks ,,london ,t4 ,,fisher ,,unwin ,,ltd4 ,,adelphi ,,terrace ,first published in #aiah 7,all rights reserved7 ,,to ,,william ,,petersen1 ,esq4 ,,as ,a ,,token ,,of ,,appreciation ,,of ,,his ,,patriotism ,,and ,,generosity ,,in ,,furthering ,,the ,,interests ,,of ,,art ,,and ,,stimulating ,,anglo-,,danish ,,friendship4 ,,preface ,a good wine needs no bush is an old ,english proverb1 and this is essentially true in regard to the art of the ,royal ,copenhagen ,porcelain ,factory4 ,the late ,m4 ,louis ,solon1 in preparing his colossal bibliographic work on ,ceramic ,literature1 called my attention to the curious fact that a small pamphlet 7some four and a half by five inches square1 of fourteen pages7 written by me originally for the ,artist magazine in #aijb1 and reprinted as a guide to the ,royal ,copenhagen porcelain exhibit at the ,wolverhampton ,exhibition in #aijb1 was marked rare and being sold to collectors for five shillings4 ,m4 ,solon1 with his usual perspicacity1 added3 ,it looks as though1 in its course from ,east to ,west1 ceramic painting has deserted its old home to take refuge in the ,north4 ,c'est du ,nord aujourd'hui que nous vient la lumire6 ,in #aiaa1 ,royal ,copenhagen ,porcelain3 ,its ,history and ,development from the ,eighteenth ,century to the ,present ,day was issued by my publisher1 who in bringing out this sumptuous monograph fell under the spell of the beauty of ,copenhagen art4 ,that volume appealed to connoisseurs and collectors and was welcomed both here1 on the ,continent1 and in ,america4 ,it has been thought desirable1 in view of the limited circulation of that volume1 to issue a popular edition1 which is here presented in a slightly abridged form with none of the essentials omitted4 ,many of the illustrations have not found their way into this gallery4 ,but a brave array of pictures is given to convey to the general reader1 and to those who have not perused the larger volume1 the chief characteristics of ,royal ,copenhagen porcelain1 and indicate reasons why this factory is now regarded as the leading factory in ,europe4 ,how many of the great factories of the world can claim two great epochs in their history8 ,but ,copenhagen can do this4 ,the first is the ,mller period 7overglaze decoration71 when the factory assumed its well-known mark1 in #agge1 of the three blue lines indicating the three waterways of ,denmark--the ,sound and the ,great and ,little ,belts4 ,the second great period1 the ,modern ,renaissance 7underglaze decoration71 practically commenced in #ahhe4 ,the porcelain of this factory has long been held in high esteem4 ,admiral ,nelson in #ahja1 when with the ,british fleet outside ,copenhagen1 wrote to ,lady ,hamilton1 ,i was in hopes to have got off some ,copenhagen china to have sent you2 and later1 ,as ,i know you have a valuable collection of china1 ,i send you some of the ,copenhagen manufacture4 ,the bowl made at the royal factory in memory of the brave ,danes who fell in the battle of ,copenhagen is herein illustrated4 ,the ,encyclopdia ,britannica 7#aath ,edition71 #aiaa 7article on ,ceramics71 awards a high place to the ,royal ,copenhagen ,factory1 the productions of which are not only famous all over the world1 but have set a new style in porcelain decoration which is being followed at most of the continental factories4 ,at the present time museums and private collectors in this country and in various parts of the world are acquiring ,royal ,copenhagen porcelain on account of its artistic character4 ,ordinary collectors of porcelain have always been desirous of selecting a subject which has not been exploited4 ,the ,worcester vase which to-day brings two thousand guineas at ,christie's was once bought when it was new for as many shillings by some person who recognized its beauty4 ,but in regard to old factories1 most of the histories have been written to extol their work when the factory had closed down for ever4 ,the lack of contemporary records of ,english porcelain is particularly noticeable4 ,it is as though the factories attempted to hide their personalities1 as indeed they did disguise their productions by trade signs only decipherable by the indefatigable zeal of later generations4 ,they assumed pseudo-,chinese marks or adopted the crossed ,l's of ,svres and the crossed swords of ,meissen1 to the confusion of collectors a hundred years afterwards4 ,it is therefore with no misgiving that in the present volume modernity receives due consideration4 ,national recognition for the artist potter comes1 alas6 often too late4 ,in passing1 we may add that there are some wonderful productions being made in ,england to-day1 especially in earthenware1 and those who are buying wisely are laying down wine for posterity4 ,i have to offer my renewed thanks to the various museum authorities1 mainly in ,scandinavia1 and to private collectors and friends who were duly acknowledged in my larger volume as being instrumental in affording me access to data on a new subject4 ,in that work1 although the omission was corrected in the ,german edition published at ,leipsic in #aiab1 various notes were embodied and remain in the present volume1 which were supplied to me by correspondents without any knowledge on my part that they were based on the work of ,professor ,nyrop of ,copenhagen1 who has made assiduous research into the history of the old ,copenhagen factory1 and to whom1 therefore1 a tribute is in courteous acknowledgment obviously due4 ,a new chapter has been added to this volume dealing with ,copenhagen ,art ,faience1 the character of which ware has claimed recognition from competent critics throughout ,europe and in ,america as having brought a new note into ceramic art4 ,,arthur ,,hayden4 ,,contents ,,page ,,preface #i ,,list ,,of ,,illustrations #ae ,,chapter ,i4 ,,the ,,early ,,history ,,of ,,the ,,copenhagen ,,factory #ai ,,the ,,fournier ,,period4 ,,soft ,,paste ,,porcelain 7#agfj-agff7 ,,ii4 ,,frantz ,,heinrich ,m,,ller 7#aggc-ahja7 #da ,,queen ,,juliane ,,marie ,,period 7,,part ,i1 #agge-aghj7 ,,iii4 ,,frantz ,,heinrich ,m,,ller 7#aggc-ahja7--;continued #gc ,,queen ,,juliane ,,marie ,,period 7,,part ,,ii1 #aghj-agif7 ,,iv4 ,,figure ,,subjects ,,and ,,groups 7#aghj-ahbj7 #aaa ,v4 ,,the ,,flora ,,danica ,,service 7#agij-ahjb7 #acg ,,made ,,for ,,catherine ,,ii1 ,,empress ,,of ,,russia ,,vi4 ,,early ,,blue-,,and-,,white ,,underglaze ,,painted #aeg ,,vii4 ,,the ,,successors ,,of ,m,,ller 7#ahbj-ahhj7 #agg ,,the ,,decadence ,,viii4 ,,the ,,modern ,,renaissance #aii ,,ix4 ,,figure ,,subjects ,,and ,,groups--,,renaissance ,,period #bfc ,x4 ,,crystalline ,,glazes #bhi ,,xi4 ,,copenhagen ,,art ,,faience #cjg ,,xii4 ,,the ,,factory ,,to-,,day #ccc ,,index #cdg ,,list ,,of ,,illustrations ,,lady ,,and ,,gentleman ,,dancing4 ,,old ,,copenhagen ,,figure ,,group ,frontispiece ,,page ,,chapter ,i4--,,early ,,history ,,of ,,the ,,copenhagen ,,factory4 ,groups4 ,fournier ,period 7#agfj-agff74 ,soft-paste ,porcelain #be ,vase4 ,fournier ,period 7#agfj-agff74 ,soft-paste ,porcelain #cc ,,chapter ,,ii4--,,frantz ,,heinrich ,m,,ller 7,part ,i1 #agge-aghj74 ,portrait of ,frantz ,heinrich ,mller #da ,vase with medallion portrait of ,queen ,juliane ,marie #de ,vase with medallion portrait of ,crown ,prince ,frederik #di ,tea and ,coffee ,service #ec ,saucer4 ,eagle and ,lamb #eg ,saucer4 ,water-god #fa ,coffee ,cups4 ,rose and spray of flowers3 ,group of cavalry #fe ,cup with ,frantz ,heinrich ,mller in his ,laboratory #fi ,,chapter ,,iii4--,,frantz ,,heinrich ,m,,ller 7,part ,,ii1 #aghj-agif74 ,sucrier with ,cover and ,cup #ha ,pastille ,burner and ,cover #hi ,octagonal ,dish4 ,man with ,hound #ic ,tray with oval panel #ig ,,chapter ,,iv4--,,figure ,,subjects ,,and ,,groups 7#aghj-ahbj74 ,statuette of a ,hero4 #aghj #aae ,two ,figures of ,sea ,horses #aai ,figure ,group with ,cupid #abc ,figures4 ,old ,woman2 ,man playing ,flute #abg ,figures4 ,market ,woman and ,lobster-seller #aca ,figures4 ,naval and ,military ,uniform #acc ,,chapter ,v4--,,the ,,flora ,,danica ,,service 7#agij-ahjb74 ,fish ,dish and ,drainer #ade ,cruet ,stand and ,tray #aea ,,chapter ,,vi4--,,early ,,blue-,,and-,,white ,,underglaze ,,painted4 ,group of ,underglaze blue painted 7,bornholm period7 #afa ,early ,blue-and-white ,plates 7,danish pattern7 #afc ,teapot and ,tea ,caddies #afg ,dish and two ,plates #afi ,,chapter ,,vii4--,,the ,,successors ,,of ,m,,ller 7#ahbj-ahhj74 ,bowl4 ,battle of ,copenhagen #aha ,cup4 ,kronborg ,castle and ,shipping in ,sound #ahe ,plate4 ,painted with ,flower ,subject #ahi ,figure of ,mercury1 after ,thorvaldsen #aic ,,chapter ,,viii4--,,the ,,modern ,,renaissance4 ,placque4 ,wild ,geese on ,ice 7,arnold ,krog7 #bjc ,placque4 ,autumnal ,scene 7,arnold ,krog7 #bjg ,placques4 ,kestrel 7,v4 ,th4 ,fischer72 ,meadow with ,farmhouse 7,c4 ,f4 ,liisberg7 #baa ,placques4 ,birds 7,v4 ,th4 ,fischer72 ,cow in meadow 7,g4 ,rode7 #bag ,placque4 ,with ,lake ,scene 7,c4 ,f4 ,liisberg7 #bba ,placque4 ,snow ,scene with ,setting ,sun 7,a4 ,smidth7 #bbg ,placque4 ,geese and ,landscape 7,c4 ,f4 ,liisberg7 #bca ,vases4 ,with ,waterfowl 7,v4 ,th4 ,fischer and ,c4 ,f4 ,liisberg7 #bci ,memorial ,commemorative ,placque1 ,ribe ,cathedral 7,a4 ,krog7 #bdc ,dessert ,plate1 blue-and-white1 with ,danish pattern #bdi ,,chapter ,,ix4--,,figure ,,subjects ,,and ,,groups 7,,renaissance ,,period74 ,figure4 ,woman and ,cow 7,chr4 ,thomsen7 #bga ,figure4 ,boy and ,calf 7,chr4 ,thomsen7 #bge ,figures of ,peasants4 ,child and ,old ,woman 7,chr4 ,thomsen7 #bgi ,figure ,group4 ,from ,hans ,christian ,andersen's ,story of ,princess and ,swineherd 7,chr4 ,thomsen7 #bhe ,,chapter ,x4--,,crystalline ,,glazes4 ,figure ,group4 ,polar ,bears on an ,ice ,floe 7,c4 ,e4 ,bonnesen and ,v4 ,engelhardt7 #bic ,figure ,subject4 ,frog imbedded in ,ice 7,a4 ,krog and ,v4 ,engelhardt7 #big ,vases4 7,a4 ,krog and ,v4 ,engelhardt7 #bii ,vases4 ,crystalline ,glaze 7,v4 ,engelhardt7 #cjc ,,chapter ,,xi4--,,copenhagen ,,art ,,faience4 ,dish with tropical bird 7,christian ,joachim7 #cjg ,placque with parrot 7,christian ,joachim7 #caa ,vase with floral decoration #cae ,vase--hexagonal--with floral and arabesque decoration #cai ,figures4 ,a ,midsummer ,night's ,dream #cbc ,figures4 ,clown1 ,columbine1 and ,harlequin #cbg ,boxes and ,vase #cca ,,chapter ,,xii4--,,the ,,factory ,,to-,,day4 ,courtyard of ,factory1 showing ,turkey with ,brood #ccg ,interior1 showing ,studios of ,lady ,artists #cda ,,chapter ,i ,,the ,,early ,,history ,,of ,,the ,,copenhagen ,,factory ,,the ,,fournier ,,period ,,soft-,,paste ,,porcelain 7#agfj-agff7 ,,chapter ,i ,,the ,,early ,,history ,,of ,,the ,,copenhagen ,,factory ,,the ,,fournier ,,period 7#agfj-agff7 ,establishment of porcelain factories in ,europe--,the ,german ,school and the ,french ,school--,hard paste--,soft paste--,the new ceramic art--,the great secret--,the secret divulged--,the first porcelain in ,denmark4 ,in order to understand the initial stages in the history of the manufacture of porcelain in ,denmark1 it is necessary to review the peculiar conditions in which china factories existed in the eighteenth century4 ,at the middle of the century there were two great schools1 the ,german and the ,french4 ,the former made hard or true porcelain according to the formula of ,meissen1 and the latter made soft or artificial porcelain in the manner of ,st4 ,cloud4 ,hard ,paste4--,the impulse of the ,western potter had always been to reproduce exactly and chemically the ,oriental porcelain4 ,until the first decade of the eighteenth century this had not been achieved4 ,the news of the great discovery by ,johann ,fredrich ,bttger1 in #agji1 of a white translucent porcelain1 having all the characteristics of the ,chinese ware1 ran like a flame throughout ,europe4 ,translucent porcelain may be either what is termed hard paste 7pte dure71 containing only natural elements in the composition of the body and the glaze2 or soft paste 7pte tendre71 where the body is an artificial combination of various materials used as a substitute for the natural earths4 ,all ,chinese or true porcelain is of the hard-paste variety4 ,the term pte tendre really applies to the feeble resistance of this artificial porcelain to the action of a high temperature as compared with that offered by true porcelain1 and also to the softness of the glaze1 which can be scratched by steel4 ,the body of the true porcelain is essentially of two elements--the white clay or kaolin1 the infusible element which may be said to be the skeleton1 and petuntse1 the felspathic stone1 which is fusible at a high temperature1 which may be termed the flesh1 and gives transparency to the porcelain4 ,of the two ,chinese names1 which have become classical since they were adopted in the dictionary of the ,french ,academy1 kaolin is the name of a locality where the best porcelain earth is mined1 and petuntse1 literally white briquettes1 refers to the shape in which the finely pulverized porcelain stone is brought to the ,chinese potteries1 after it has been submitted to the preliminary processes of pounding and decantation4#a #a ,chinese ,art1 vol4 ii4 p4 #af1 #aijf1 by ,stephen ,w4 ,bushell1 ,c4,m4,g4 7late ,physician to ,h4,m4 ,legation1 ,peking74 ,soft ,paste4--,the artificial porcelain1 which was difficult of fabrication1 was an imitation of the true ,chinese porcelain1 although its whiteness1 its translucency1 and its brilliant glaze have all the appearance of true porcelain4 ,kaolin and petuntse are of little importance in the composition of soft porcelain4 ,its transparency was obtained by the addition of glass1 its plasticity by the use of soapstone1 and its glaze by an admixture of silica and lead4 ,moreover1 the composition of artificial porcelain has required researches and combinations much more intricate than those which had led to the discovery of hard porcelain1 the latter being produced by two substances already provided by nature4 ,imitative porcelain had been made at ,florence under the auspices of the ,grand ,duke of ,tuscany as early as from #aefh to #aehg1 of which fabrique only about thirty pieces are known4 ,france is the most prolific in porcelain factories of the pte tendre1 as it came afterwards to be termed in contradistinction to the pte dure or true porcelain of ,meissen4 ,the factory at ,st4 ,cloud lasted from #afie till #aggc4 ,vincennes was founded in #agdj1 and was finally transferred to ,svres in #agef1 which factory stands paramount in its porcelain1 known to collectors as vieux ,svres4 ,at ,nove1 near ,venice1 in #ageb1 ,pasqual ,antonibon brought from ,meissen a potter1 ,sigismond ,fischer1 to construct a furnace for making porcelain in the ,saxon style4 ,in #agfa there were three furnaces1 one for hard paste ad uso ,sassonia1 and two for soft paste ad uso ,francia4#b #b ,marks and ,monograms on ,pottery and ,porcelain1 by ,william ,chaffers4 7,letter from ,francesco ,antonibon to ,lady ,charlotte ,schreiber47 ,it will thus be seen that the two schools had begun to run side by side4 ,the crowning point was in #agfh1 when the ,svres factory commenced to make hard paste4 ,both bodies were simultaneously made until #ahjd1 after which the manufacture of soft porcelain at ,svres was discontinued by ,m4 ,brongniart4 ,in #ahdg1 the old style was revived by his successor1 ,m4 ,edelman 7,report on ,pottery at the ,paris ,exhibition by ,m4 ,arnoux1 #ahfg74 ,in general1 it may be said that the manufacture of soft porcelain is beset with difficulties and uncertainties4 ,its artificial composition renders it capricious in the kiln4 ,in connection therefore with the modern manufacture of ,svres of the old pte tendre variety1 it is interesting to record that in the late eighties the original formul of the early potters were used in an attempt to reproduce the old body1 but had1 after repeated and costly failures1 to be abandoned as hopeless4 ,illustration3 ,,sucrier ,,and ,,cover4 ,fournier period 7#agfj-agff74 ,soft-paste porcelain4 ,illustration3 ,,dish ,,and ,,cover ,,and ,,custard ,,cup4 ,fournier period 7#agfj-agff74 ,soft-paste porcelain4 7,at ,rosenborg ,castle1 ,copenhagen47 ,in regard to ,england1 it is interesting to note in passing that the old porcelains so highly prized by collectors are all artificial with the exception of ,plymouth 7#agfh-agga71 ,bristol 7#agga-agha71 followed by the company of ,staffordshire potters at ,new ,hall who bought the ,bristol factory patents1 although ,wedgwood in his jasper ware and ,staffordshire salt glazed ware are fine stone wares which approximate to true porcelain4 ,our soft-paste factories are here set in chronological order3 ,bow 7#agde71 ,chelsea 7#agde71 ,derby 7#agea71 ,worcester 7#agea71 ,lowestoft 7#agfb71 ,caughley 7#aggb71 ,pinxton 7#agie71 ,coalport 7#agih71 ,minton 7#agih74 ,it should be observed that these1 as do all soft-paste porcelains1 differ in body in an enormous degree1 whereas the true porcelain differs in a minor degree whether it be ,canton or ,meissen4 ,it was only for fifty years that the ,english potters used the capricious body of the glassy soft porcelains then made4 ,gradually1 by experiment1 the standard body for artificial porcelain was perfected by the addition of bone-ash1 which has been adopted since the late eighteenth century in varying forms by all ,english potters4 ,it is more related to true porcelain1 and is as safe to manufacture as that body1 and at a lower heat1 but it retains many of the qualities of the soft body4 ,the painted colours melt into the glaze in its final firing and produce that mellow effect so much esteemed by connoisseurs of old porcelain4 ,it is peculiarly ,english1 and stands unique in having technical assets not possessed by any other porcelain4 ,this is something great to record to the honour of the ,english potter in his mastery of technique4 ,the ,new ,ceramic ,art4--,the eighteenth century1 in spite of the wars which shook the kingdoms of ,europe to their foundations1 showed a singular enthusiasm for the art of the potter4 ,a reference to a table of the factory marks of ,european porcelain of that period will disclose the fact that most of the leading factories were under the auspices of royal or noble patrons whose arms or monograms were incorporated in the mark of the factory4 ,kings1 princes1 electors1 grand dukes1 and margraves vied with each other in producing rival ware4 ,the ,st4 ,petersburg factory had the cipher of the ,emperor ,paul4 ,at ,weesp1 in ,holland1 ,count ,gronsveldt-,diepenbroek's factory1 the works were handed over to the direction of a ,protestant pastor4 ,from ,vienna with the mark of the ,austrian arms1 to ,la ,haye with the design of the stork1 the symbol of the city2 from the arms of the ,archbishop of ,mayence and the cross and initials of the ,prince ,bishop of ,fulda1 to the design of ,lille1 the ,manufacture ,royale de ,monseigneur le ,dauphin with the crowned dolphin1 a bewildering entanglement of royal marks and patrician ciphers is studded on china1 to the confusion of collectors1 adding zest to the art of the connoisseur4 ,the ,great ,secret4--,the actual discovery of the composition of true porcelain by ,bttger is interwoven with romance1 and the betrayal of the secret processes of its manufacture at ,meissen to the leading factories of ,europe is a record filled with stirring incidents of the most piquant character4 ,the story of young ,bttger1 the alchemist and inventor1 is told in full by ,professor ,ernst ,zimmermann1 ,keeper of the ,royal ,porcelain ,collection at ,dresden1 ,die ,erfindung und ,frhzeit des ,meissner ,porzellans1 ,berlin1 #aijh4 ,the search for the philosopher's stone to transmute baser metals into gold had fascinated all chemists4 ,bttger was credited with more knowledge than he possessed1 and he hastily quitted ,berlin to avoid the too assiduous attentions of the ,king of ,prussia4 ,for years he wandered in ,saxony1 and finally claimed protection in #agja from ,frederick ,augustus1 ,elector of ,saxony4 ,his life at the laboratory at ,meissen1 under ,ehrenfried ,walter von ,tschirnhaus1 who was a distinguished scientific scholar1 was that of a guarded prisoner with a wonderful secret4 ,tschirnhaus1 who was a good chemist1 established a glass furnace and invented an ingenious burning mirror1 and had essayed to make porcelain4 ,but on the assumption that it was a vitrification1 his results only led him to the production of a milky glass4 ,a specimen of this milch glass is in the ,japanese ,palace at ,dresden4 ,when ,charles ,,xii of ,sweden invaded ,saxony1 ,bttger and his workmen were hurried off to the impregnable fortress of ,knigstein1 where a laboratory was erected4 ,a year later he was back at ,meissen conducting experiments and cheerfully exhorting the workmen4 ,in #agji he produced his true hard porcelain from natural earth obtained from ,aue1 near ,schneeberg4 ,the most elaborate precautions were taken at ,meissen to prevent the secret becoming known4 ,the earth was delivered in sealed casks4 ,it was in vain that an oath was exacted from each workman and written on the walls--,silence until death 7,geheim bis ins grab74 ,the punishment for betrayal was incarceration as a ,state prisoner in the fortress of ,knigsberg for life4 ,the terrible silent conditions of the labour produced a longing on the part of the immured workmen to escape4 ,and escape they did4 ,the ,secret divulged4--,in #agah1 the year previous to ,bttger's death ,stolzel1 the chief workman at ,meissen1 made his way to ,vienna and proceeded to establish1 under the direction of a ,belgian named ,claude ,du ,pasquier1 a manufactory of hard porcelain4 ,the factory was acquired for the ,state by the ,empress ,maria ,theresa in #agdd4 ,from ,vienna a workman named ,ringler carried the secret far and wide4 ,his name is linked with the founding of several factories--at ,hchst in #agdj1 at ,frankenthal in #aged1 where he became director1 at ,nymphenberg in #agef1 where his aid was invoked1 at ,ludwigsberg 7in ,wrtemberg7 in #ageh1 and at ,zurich in #agei4 ,the workmen of ,hchst1 in their turn1 further divulged the secret4 ,bengraf1 in #agej1 carried the process to ,frstenberg1 the factory under the patronage of the ,duke of ,brunswick4 ,in #agdd an imperial china factory was established at ,st4 ,petersburg by the ,empress ,elizabeth ,petrowna1 who employed workmen from ,meissen1 and in #agfe1 under the patronage of the ,empress ,catherine ,,ii1 the works were enlarged4 ,there were two methods of obtaining the great secret of ,meissen--by stealth and by experiment2 most of the factories employed the former means4 ,the attempts to arrive at the hard paste by experiment resulted in the establishment of many soft-paste factories4 ,one remarkable instance of indefatigable industry is that of the chemist ,pott1 in the employ of the ,king of ,prussia at ,berlin1 who endeavoured honestly to arrive at the nature of the composition of the ,meissen body4 ,he is credited with having made no fewer than thirty thousand experiments1 and in so doing he contributed largely to the modern chemical knowledge of the effect of high temperatures on minerals4#c #c ,roscoe and ,schorlemmer1 ,treatise on ,chemistry1 vol4 ii4 p4 #eih4 ,it is thus seen how great was the discovery of ,bttger1 of ,meissen1 and how far-reaching were the results of the manufacture of true porcelain in ,saxony4 ,a wild burst of enthusiasm followed which has been rarely equalled4 ,soldier-princes engaged in the wars which were waged in the ,german ,states turned aside to indulge in speculation concerning the new art4 ,in #agag about a hundred and fifty pieces of fine porcelain1 many of them old ,oriental1 now at the ,japanese ,palace at ,dresden1 were acquired by ,augustus the ,strong of ,saxony from the ,king of ,prussia in exchange for a regiment of dragoons1 without uniforms1 horses1 or arms4 ,when the vigilant ,frederick the ,great commenced the ,seven ,years' ,war1 and on a sudden filled the electorate of ,saxony with sixty thousand ,prussian troops1 ,dresden was taken4 ,it was in vain that the ,queen of ,poland1 daughter of an emperor and mother-in-law of a dauphin1 placed the secret ,state documents in her bedroom to avoid seizure4 ,they were too valuable to ,frederick1 who had them forcibly removed1 and by publishing them proved that he was to be assailed at once by ,austria1 ,france1 ,russia1 ,sweden1 ,saxony1 and the ,germanic body4 ,the factory of ,meissen was depleted of material and models1 and he transported artists and workmen to ,berlin to found his factory there4 ,five hundred persons were engaged at this new factory1 and in order to win commercial success he executed a master-stroke by framing a decree that all ,jews in his kingdom must produce a voucher from the director of the factory that they had purchased a certain amount of the royal porcelain before permission would be granted to enable them to marry4 ,illustration3 ,,vase 7,,one ,,of ,a ,,pair74 ,decorated in rococo style with panels having allegorical subjects1 one of which has a medallion supported by cupids upon which a crown and ,f#e are inscribed in gold4 ,festoons of flowers1 painted in natural colours1 are suspended from a ring at top of vase2 all in high relief4 ,marked ,f#e in gold4 7,in the collection of ,count ,moltke1 of ,bregentved47 ,it is such human touches as these1 significant in their piquancy1 which give exceptional interest to the porcelain of the old days produced in conditions of no little difficulty4 ,under ,court patronage1 beset by espionage and hedged about by intrigue1 the secret of one factory rapidly found its way across the frontier to the neighbouring ,state4 ,the fortunes of potters have not lain in smooth places1 and fate has been as capricious as the fire of the furnace4 ,in eighteenth-century days the furore of mad dilettantism pursued them relentlessly4 ,royal amateurs more often than not asked them to make bricks without straw1 and there was still in the air the lingering suspicion that the furnace might yield up the secret of the philosopher's stone and fill the ,state treasury to the full4 ,the ,first ,porcelain in ,denmark4--,it is not difficult to imagine the situation4 ,king ,frederik ,v determined to found a porcelain factory of his own4 ,his queen consort was ,louise1 daughter of ,george ,,ii1 who died in #agea1 eight years after her marriage4 ,his second wife was ,juliane ,marie1 of ,brunswick-,wolfenbttel4 ,illustration3 ,,mark4 ,fournier period 7#agfj-agff74 ,soft-paste ,porcelain4 ,faience was made at various factories in ,denmark1 and it is more than conjectural that various native attempts were made to produce porcelain4 ,the royal factory1 which the king built near the ,blue ,tower at ,christianshavn1 with the aid of foreign workmen whom he had induced to enter his service1 commenced to make various experiments4 ,mehlhorn was one of the alien potters brought from ,saxony1 but apparently1 whether from paucity of natural earths or owing to faulty kilns1 nothing of any moment resulted until ,louis ,fournier1 a ,frenchman 7#agfj-agff71 was induced to take charge of the factory4 ,during what is known as the ,fournier period the ,french director had the assistance of ,danish artists1 including ,johannes ,wiedewelt the sculptor4 ,his contemporaries speak of the services he designed4 ,doubtless many of them were intended as presents to foreign princes and ambassadors1 and found their way into royal and foreign cabinets4 ,although only about twenty pieces of the ,fournier period are known1 it is not impossible that careful research may discover that some of the early pieces attributed to ,frstenberg may really belong to ,fournier of ,copenhagen4 ,obviously1 on account of their rarity they are of great value and of exceptional interest as being the first creations of the ,royal ,copenhagen ,porcelain ,factory4 ,the identification should be rendered the easier when it is borne in mind that the early ,copenhagen porcelain of the ,fournier period is soft paste1 whereas the ,frstenberg porcelain is hard paste4 ,the mark ,f with the figure #e stands for ,frederik ,v and not for ,fournier4 ,the coincidence of the initial letter is like the ,w in ,worcester porcelain of the ,dr4 ,wall period4 ,the early creations of the ,copenhagen factory were porcelain1 it is true1 but they are not the hard or true porcelain of ,meissen4 ,they are the soft paste of the same nature as the pte tendre of contemporary ,svres4 ,they did not attain the high ideal contemplated by ,frederik ,v when he set out to equal the ,saxon porcelain and the other hard-paste porcelains of ,germany1 but they arrived at a dignity and a grace of style which are worthy of regard4 ,as first attempts they are of surprising beauty1 and the few specimens remaining arouse curiosity as to what masterpieces of this short period have been lost to posterity4 ,the modelling1 the design1 and the colouring of such early examples as these of a new factory are naturally dependent on prototypes4 ,it was a great thing to produce porcelain at all1 consequently the style is found to be derivative4 ,a fine ,svres jar with cover1 in date #agfa1 at the ,svres ,museum1 has a family likeness to the ,fournier cups with covers in ,rosenborg ,castle1 ,copenhagen4 ,although these latter have the same type of decoration with a white panel on a dark ground1 it will be seen that the ,svres example exhibits the sure mastery of technique of an older factory4 ,the painting is richer and of more detail1 with birds of tropical plumage4 ,the ,fournier examples1 with handles1 were evidently designed for use4 ,there are five of these covered custard cups at ,rosenborg ,castle1 three having green and two having blue grounds2 we illustrate an example4 ,at the ,kunstindustri ,museum at ,copenhagen there are two custard cups and covers of similar form--one with red decoration2 and the other with red and green1 and floral decoration painted in colours4 ,these are both marked ,f#e in blue4 ,it is interesting to note1 in the archives of the ,svres factory1 that ,louis ,,xv sent1 in #ageh1 to the ,king of ,denmark a service of green1 decorated with figures1 flowers1 and birds1 which cost #cj1jjj livres4 ,here1 at hand1 was a fine ,svres service as model for ,fournier1 and the resemblance of soft-paste ,copenhagen porcelain to ,svres is not difficult to understand4 ,in the illustration of the ,oval ,dish and ,cover standing beside the cup with handle1 the ware is coarser and in paste and colouring is not unlike some of the earlier specimens of ,bow china4 ,these and the other illustration of ,sucrier with ,cover and ,dish are from the famous collection at ,rosenborg ,castle4 ,the sucrier and cover are decorated with scale pattern2 portions of the outer rim are moulded in relief and the floral decoration is in natural colours4 ,a ,teapot from a tea service at the ,national ,museum at ,stockholm exhibits a similar style in this experimental period4 ,the colours of the teapot1 cream jug1 and cups and saucers are emerald green borders with gilding4 ,the flowers are painted in natural colours4 ,they bear the ,fournier mark ,f#e in gold4 ,the service was a present to ,king ,charles ,,xv of ,sweden from the ,countess ,dannemand4 ,in the collection of ,count ,moltke of ,bregentved are four fine ,vases of this period4 ,they exhibit the rococo style then prevalent and are remarkable works emanating from the little royal factory of ,copenhagen during the first years of its existence4 ,on one of these vases is a panel decorated with a group of ,cupids supporting a shield upon which is inscribed the mark used by ,fournier in the period of ,frederik ,v4 ,all these soft-paste ,copenhagen examples are of great rarity4 ,the ,fournier period was of short duration4 ,the death of ,frederik ,v1 in #agff1 removed its royal patron4 ,the winter of #agff-g brought great distress in ,copenhagen1 and the masked balls and masquerades and the luxurious riot of the ,court of the young king ,christian ,,vii at ,christianborg inflamed public opinion against the new monarch4 ,it is obvious that at such a juncture the royal factory1 which in its struggling infancy needed enthusiastic patronage1 suffered from neglect so that it is not surprising to find that its days were numbered1 and after a vain struggle it finally ceased work4 ,louis ,fournier returned to ,france1 and the first period of ,copenhagen porcelain came to an end4 ,,chapter ,,ii ,,frantz ,,heinrich ,m,,ller 7#aggc-ahja7 ,,queen ,,juliane ,,marie ,,period ,,part ,i 7#agge-aghj7 ,illustration3 ,,portrait ,,of ,,frantz ,,heinrich ,m,,ller4 7,from an old lithograph47 ,reproduced by kind permission of ,tidsskrift for ,industri1 ,copenhagen4 ,,chronology #agcb4 ,frantz ,heinrich ,mller born1 #agth ,november4 #agfe4 ,mller solicits support for the establishment of a porcelain factory4 #aggc4 ,frantz ,heinrich ,mller presents his first pieces of hard-fired transparent porcelain to ,christian ,,vii4 ,the first hard porcelain made in ,denmark4 #agge4 ,a company formed1 of which the members of the ,royal ,family held shares4 ,the ,dowager ,queen ,juliane ,marie suggests the factory mark of the three blue lines1 symbolizing the three waterways of ,denmark1 which mark was adopted and has been continuously used since that date4 #aggi4 ,the factory taken over by the king becomes the ,royal ,porcelain ,manufactory4 #aghj4 ,the first retail depot opened in ,copenhagen4 ,,chapter ,,ii ,,frantz ,,heinrich ,m,,ller 7#aggc-ahja7 ,,queen ,,juliane ,,marie ,,period ,,part ,i 7#agge-aghj7 ,the ,court of the young king ,christian ,,vii--,a great ,court scandal--,a ,coup d',etat--,the inception of the ,porcelain ,factory--,the origin of the mark of the ,three ,blue ,lines--,mller's technique--,mller's range of subjects4 ,at the death of ,king ,frederik ,v1 in ,january #agff1 and the succession of ,christian ,,vii1 then seventeen years of age1 the royal china factory at the ,blue ,tower fell upon evil days4 ,when ,frantz ,heinrich ,mller1 only after numerous unsuccessful attempts1 presented his first three pieces of hard-fired transparent porcelain to the young king in ,september #aggc1 there were matters of much graver moment occupying public attention4 ,it was almost in vain that ,mller had built new kilns differing from those in which soft porcelain was made1 travelled to ,bornholm to find suitable clay1 and experimented with glazes4 ,in the six years since the death of ,frederik1 ,denmark had passed through one of the most tragical periods of her history4 ,christian ,,vii1 a manikin prince1 became the sport of fate4 ,caroline ,matilda1 the sister of ,george ,,iii of ,england1 at the early age of fifteen1 became his queen4 ,himself the son of the beloved ,louise1 daughter of ,george ,,ii1 great hopes were entertained by the ,danish people of the alliance4 ,but perverse circumstances--with the grim figure of the ,dowager ,queen ,juliane ,marie in the background--beset the path of the young couple4 ,the ,court at ,christianborg1 an echo of ,versailles1 filled with painted men and women who affected to despise ,danish customs and even the ,danish tongue1 was a hot-bed of intrigue4 ,christian threw etiquette to the winds in his sanctum1 surrounded by boon companions4 ,the coterie had all the abandon of ,sans ,souci without the master-mind of ,frederick of ,prussia and the wit and satire of that monarch's confidantes4 ,madame de ,plessen1 lady-in-waiting1 stern precisian in etiquette1 devoted to her young mistress1 but heedlessly tactless1 made a breach between the king and queen4 ,the bride of a year retired to the company of staid dowagers and played chess4 ,the petulance and malicious tricks of the king early showed that1 unable to govern himself1 he was unable to govern others4 ,madame de ,plessen was dismissed by the king and ordered to leave ,denmark4 ,christian's dissipation was rapidly becoming a public scandal4 ,the ,northern ,rogue was the mild epithet of the ,english populace1 who cheered the little king when he came to ,st4 ,james's4 ,echoes of his wild life reached ,matilda at ,copenhagen4 ,illustration3 ,,vase ,,with ,,cover4 ,with wreaths of roses and other flowers in high relief1 painted in natural colours4 ,cover with seated figure of cupid with garland4 ,panel with painted portrait of the ,dowager ,queen ,juliane ,marie4 ,height #ae inches4 7,at ,rosenborg ,castle1 ,copenhagen47 ,a ,great ,court ,scandal4--,at this juncture a remarkable man1 ,john ,frederick ,struensee1 the king's physician1 a ,german1 possessed of extraordinary talents1 gradually began to assume control of ,state affairs4 ,the tragic story is too intricate to refer to here in more than a cursory manner4 ,queen ,matilda's attachment to ,struensee is as romantic as that of ,mary ,queen of ,scots for ,rizzio4 ,an ,english author has termed her ,a ,queen of ,tears4#d ,it is ,madame de ,genlis who affirms that men summon physicians only when they suffer1 women when they are merely afflicted with ennui4 ,in six years this man became the most powerful in ,denmark4 ,an amazing state of things followed4 ,the envoys of the various ,powers became alarmed at the situation4 ,drastic reforms followed one another in quick succession1 inaugurated by ,struensee1 but promulgated in the king's name4 ,undoubtedly ,struensee had a genius for government had he tempered his reforms with discretion4 ,he was saturated with ,german philosophy1 and based his ethics on ,voltaire and the sordid sentiment of ,rousseau4 ,it is the path of the passions that has conducted me to philosophy1 writes ,jean-,jacques1 and ,struensee might well have applauded that sentiment4 ,he invented a new office and became ,master of ,requests and virtually ,prime ,minister4 ,but he offended too many people's interests and became the object of hatred4 ,he galled the old nobility by his despotic power1 and the ,dowager-,queen ,juliane ,marie1 from her seclusion at ,fredensborg1 filled the ,court with spies4 ,the weak-minded king1 now showing signs of mental aberration1 signed everything put before him1 and the young ,queen ,matilda was under the domination of ,struensee1 who openly treated her with disrespect4 #d ,a ,queen of ,tears1 ,caroline ,matilda1 ,queen of ,denmark and ,norway1 and ,princess of ,great ,britain and ,ireland1 by ,w4 ,h4 ,wilkins1 ,m4,a41 ,f4,s4,a4 7#b vols471 ,london1 #aijd4 ,in #agga there was great distress in the country and discontent was growing4 ,scurrilous letters fell at the feet of ,struensee and ,matilda on their walks at ,hirscholm1 and placards of a threatening nature were affixed to the walls of the royal palaces4 ,struensee had flouted the army by attempting to disband the ,guards4 ,the mutterings of disaffection became more audible4 ,his effrontery deserted him4 ,he grew craven-hearted in face of grave dangers4 ,his failure stamps him as a colossal adventurer at bottom2 had he been of sterner stuff he might have become a hero4 ,a ,coup d',etat4--,the hour for striking a blow was at hand1 and ,queen ,juliane ,marie and her son ,frederik1 with a band of conspirators1 at a masked ball on the night of ,january #af1 #aggb1 seized the person of the king1 together with ,matilda2 the latter was hurried off to the fortress of ,kronborg1 and ,struensee and ,brandt1 his coadjutor1 were imprisoned in the citadel at ,copenhagen4 ,illustration3 ,,vase ,,with ,,cover4 ,with wreaths of roses and other flowers in high relief1 painted in natural colours4 ,cover with seated figure of cupid with garland ,panel with painted portrait of the ,crown ,prince ,frederik4 ,height #ae inches4 7,at ,rosenborg ,castle1 ,copenhagen47 ,the trial and divorce of ,matilda and the beheading of ,struensee and ,brandt is a poignant story4 ,the name of the unfortunate young queen was ordered to be officially omitted from the prayer-book at a time when she surely stood most in need of prayer4 ,juliane ,marie pursued ,matilda with vindictiveness1 and her malevolence nearly precipitated ,denmark in a war with ,england4 ,it was intended that ,matilda should be imprisoned in a remote fortress in ,jutland4 ,the ,british ,minister1 ,sir ,robert ,murray ,keith1 informed the ,danish ,government that unless ,queen ,matilda was released he would present his letters of recall and war would be declared4 ,the ,danish ,minister in ,london wrote in great haste to say that a fleet was fitting out4 ,it was only then that ,queen ,juliane ,marie released her hold of ,matilda and allowed her to depart to ,celle1 in the ,state of ,hanover1 where she died in #agge in her twenty-third year4 ,here1 then1 was the state of affairs when ,mller was experimenting with his clays1 his glazes1 and his colours4 ,in #agga a hundred and fifty weavers set out on foot from ,copenhagen to ,hirscholm1 in days of panic1 to complain that they were starving because the royal silk factory was closed4 ,it was an ill-starred venture to attempt the establishment of a new porcelain factory1 but in face of reverses of fortune and undeterred by lack of support1 ,mller by his immense energy fired into being the great porcelain factory of ,copenhagen4 ,to ,mller the ,dane belongs the honour of founding the little factory which strove to achieve results no less beautiful than ,meissen1 ,berlin1 or ,svres4 ,begun in a spirit of worthy emulation1 the ,copenhagen factory shortly began to develop an original and national style1 in spite of the fact that it worked in the early days on foreign suggestion and employed foreign artists4 ,the ,inception of the ,porcelain ,factory4--,frantz ,heinrich ,mller was born on the #agth of ,november #agcb4 ,when an apprentice1 from the age of fifteen1 at the ,kong ,salomon's ,pharmacy at ,copenhagen1 he devoted his leisure to the study of chemistry1 botany1 mineralogy1 and metallurgy4 ,he was appointed as ,guardian of the ,mint at the ,bank of ,copenhagen in his twenty-eighth year1 and held the post from #agfj to #agfg4 ,as early as #agfe he had the object in view of establishing a porcelain factory2 together with a painter named ,richter we find him soliciting support4 ,in common with his contemporaries he cast eager eyes on foreign porcelain4 ,he wandered for three years on the ,continent under an assumed name1 and the unravelling of this period of his career would throw much light on his researches4 ,illustration3 ,,portion ,,of ,,tea ,,and ,,coffee ,,service1 ,,with ,,tea-,,caddies1 ,,etc4 ,decorated1 overglaze1 in ,indian red4 ,mller1 on his secret mission in ,germany1 found that the china factories of ,frstenberg1 ,meissen1 and ,berlin were closed to him4 ,but he threw his whole life and energy into his work4 ,he outlived the opposition of the ,society of ,apothecaries1 who objected to a licence being granted him as a druggist and dispenser4 ,but in face of the objection the ,college of ,medicine found the applicant a very capable1 learned1 and experienced man1 not only in ,pharmacy1 but also in ,chemistry1 ,assaying1 and ,natural ,history4 ,with characteristic energy he passed the pharmaceutical examination at the age of forty-one2 already he had shown originality and inventiveness by making several discoveries in colours and in dyeing4 ,but with all his virility he found financial success no easy matter at such a disturbed period4 ,he endeavoured to form a company for the manufacture of ,danish porcelain4 ,to his chagrin1 only one share was sold4 ,at the outset there was little promise that his untiring efforts would win the remotest recognition from his countrymen4 ,it seemed imminent that the whole enterprise would have to be abandoned4 ,happily1 ,privy ,chancellor ,holm1 the private secretary to the ,dowager-,queen ,juliane ,marie1 saw possibilities in the venture4 ,to revive the old factory which ,fournier had vacated was an opportunity not to be missed4 ,if it proved a success1 it would redound to the credit of the queen and add lustre to the new rgime just commenced under the sway of ,juliane ,marie1 with ,guldberg as the power behind the throne4 ,christian ,,vii had simply passed as a signer of documents into the keeping of another set of masters4 ,of the shares1 most of them in the new factory were held by members of the royal family and one by ,mller himself4 ,the directors were ,holm2 ,suhm1 the historian2 ,general ,eickstedt1 one of the conspirators who took a leading part in the arrest at the masked ball2 and ,guldberg1 who had a finger in every pie4 ,on the #acth of ,march #agge the company obtained the monopoly of the manufacture of porcelain in all the dominions of the ,king of ,denmark1 in spite of the opposition of the ,board of ,trade4 ,the ,origin of the ,mark of the ,three ,blue ,lines4--,the first meeting of the company was held on the #ast of ,may #agge4 ,it was decided that the trade-mark of the factory1 according to the proposal of ,queen ,juliane ,marie1 should be three wavy lines1 always marked in blue1 representing ,denmark's three waterways--,oresund1 and the two belts3 ,storebelt1 between ,sjaelland and ,fyen2 ,lillebelt1 between ,fyen and ,jutland4 ,with this trade-mark of the three blue lines the ,copenhagen factory 7,den ,danske ,porcellnsfabrik7 took its place beside the older factories on the ,continent1 and to this day1 a hundred and forty-three years afterwards1 this same mark appears on all porcelain emanating from the ,royal ,copenhagen ,factory4 ,illustration3 ,,saucer4 ,subject1 ,eagle and lamb painted in natural colours4 ,richly gilded border4 7,at the ,kunstindustri ,museum1 ,copenhagen47 ,although ,mller only had one share of the subscribed capital1 there was only one controlling brain4 ,he worked the enterprise single-handedly4 ,it was par ses seules lumires1 to quote a contemporary ,french account of the factory1 that he had succeeded in producing the beautiful porcelain which won early recognition from connoisseurs4 ,but the ,court were not eager to encourage ambition4 ,after the late startling exhibition of a now defunct medico1 whose head still stuck on a pole on ,gallows ,hill1 genius must needs be rigorously safeguarded4 ,in common1 therefore1 with his artisans1 ,mller was required to sign a contract binding him to remain in the employ of the ,court factory1 and to keep secret all that he knew of the manufacture of porcelain--his own invention4 ,his official position was only that of works manager4 ,genius1 that indomitable and unquenchable spirit which overrides all obstacles1 found ,mller1 with his crowd of untried soldier workmen and crude apprentices1 ceaselessly working in the factory from five in the morning till seven in the evening1 and often superintending the firing all night4 ,in #aggf three workmen were inveigled from ,meissen to the ,court factory at ,copenhagen1 but only two out of the three showed any ability4 ,their supercilious manners1 together with their higher wages1 brought trouble in the factory among the other workmen1 and ,mller expelled them by force4 ,but he made one appointment which undoubtedly was of benefit to the factory2 by contributing part of the salary himself1 he brought ,a4 ,c4 ,luplau from the ,frstenberg factory1 who became modelling master4 ,as early as #aggf the name of ,ba er appears as a painter in colours1 as opposed to the painters in underglaze blue4 ,it was ,ba er who afterwards was entrusted with the painting of the celebrated ,flora ,danica service1 begun in #agij4 ,others whose names are found in the early records are ,hans ,clio and the portrait painters1 ,camrath and ,ondrup4 ,the first four years of the factory were very critical4 ,notwithstanding the close application of ,mller1 the financial position came to a serious crisis in #aggi4 ,there seemed every likelihood that the factory would follow in the steps of ,fournier and close its doors4 ,how the royal shareholders adjusted matters is not known1 nor what became of ,mller's one share in the enterprise4 ,the debts were paid in the king's name1 and the factory was taken over by the ,state and became the ,royal ,porcelain ,manufactory 7,den ,kongelige ,porcellnsfabrik71 which name it bears at the present day4 ,in ,march #aghj a retail business was opened at ,copenhagen in connection with the factory4 ,mller was made inspector of the factory and the title of ,councillor of ,justice was conferred upon him4 ,illustration3 ,,saucer4 ,subject1 ,water-god painted in purple1 with green wreath of aquatic foliage on a base of shells and seaweed4 7,at the ,kunstindustri ,museum1 ,copenhagen47 ,dated specimens have an exceptional interest in proving that no inconsiderable progress had at that time been made in the artistic development of the factory4 ,already in form and in decoration there was something distinctive in ,mller's ware4 ,such pieces show indisputably that great days were at hand1 if indeed in these first few years success had not already been achieved in training artists and craftsmen in the new industry4 ,mller's ,technique4--,danish ceramic art is profoundly indebted to ,mller for his pioneer work4 ,he was a giant in days when pigmies controlled the destinies4 ,his unflagging energy1 his practical experiments1 and his original and inventive genius impelled him to implant national characteristics in the ,royal ,copenhagen porcelain which have never departed from the ware of this factory4 ,his first attempts were made with kaolin which he obtained from the island of ,bornholm4 ,he soon realized that this did not fulfil all the conditions necessary for a fine body4 ,it was of a greyish-blue tint1 and was liable to lose its shape in firing4 ,in appearance it is not very transparent and is somewhat coarse1 like some of the old ,japanese porcelain4 ,of this ,bornholm period mention will be made later in dealing with the early examples of blue underglaze painted ware1 which is a special variety by itself1 running concurrently with the overglaze painted ware which ,mller brought in his best period to unexampled perfection4 ,he prepared the glazes himself1 determined the correct method of firing1 and made the colours used at the factory4 ,the blue that he invented is perfect1 and is to be found on the early specimens of underglaze painted porcelain for domestic use4 ,the green and the purple found in the early ,mller period were his own discovery and of exceptional quality in tone4 ,he was a master of technique1 and perfected a new body which he called virgin paste4 ,this is of a dazzling white1 and ,mller's glaze is transparent and smooth as polished crystal4 ,the tint is that of the green of the sea1 and without doubt its technical excellence lends great beauty to the porcelain of this period4 ,considering the primitive methods of working and the impure materials then available1 the perfection and beauty of the results claim profound admiration from the connoisseur4 ,even with the aid of modern technology and chemistry it has not yet been found possible to equal the technique of ,mller's best period4 ,the year #aghj1 the date when the first opening of the retail business took place1 was the turning-point in the history of the factory4 ,mller was acclaimed as a genius by his countrymen4 ,it was proposed that a statue should be erected to his honour--and this in his lifetime4 ,a wave of enthusiasm found an outlet in ,latin poems to the man who had done so much for his king and country4 ,it is exceptional to find such contemporary honour bestowed on a potter4 ,rarely is a man a prophet in his own country4 ,but happily ,mller lived to wear the laurel wreath4 ,what honour1 writes a contemporary1 this industry has brought its founder6 ,i was enraptured with the things which ,i saw4 ,how could ,i have dreamed that these could be made by a ,dane and in my native land6 ,illustration3 ,,coffee ,,cups4 ,painted in overglaze colours with blue border richly gilded4 ,rose and spray in natural colours4 ,group of cavalry in rich uniform1 in colours4 ,we catch an insight into ,mller's methods from a letter he wrote1 when eighty years of age1 to ,boye1 a subsequent director1 who had suggested the use of some pieces of new apparatus for the laboratory4 ,old ,mller wrote as follows3 ,i fail to see the use or necessity of the thermometer1 eudiometer1 or hydrometer4 ,i have never found it necessary to apply such exact learning in the manufacture of porcelain1 and ideas such as these appear to me to be absolutely absurd4 ,while allowance must be made for ,mller's advanced age and his hypersensitiveness towards his successors1 it is of great interest to speculate upon his point of view4 ,man of science that he was1 his deprecatory regard for these instruments seems to denote that his technique was arrived at by practical rule-of-thumb methods1 dependent upon personal exactitude rather than upon formul4 ,it is idle to scoff at ,mller's conservatism1 for science has yet to unravel the secret of the lost art of tempering the ,damascene blade and the subtleties of the potter's art of the ,k'ang ,hsi period in the single coloured glazes1 la qualit matresse de la cramique1 the delicacies of the rare peau de pche1 the famille rose1 and the famille verte4 ,in the late seventeenth and early eighteenth-century days the methods of ,chinese potters were as unscientific as those defended by ,mller1 but the results are not of an age1 but for all time4 ,and ,mller's results stand the test of intense criticism2 they are hitherto inimitable4 ,mller's ,range of ,subjects4--,in regard to the periods of the various styles of ,mller1 with very few data to guide the critic it must be largely a matter of conjecture as to the exact chronological order of their manufacture4 ,it seems to the present writer1 in endeavouring to classify the examples1 that they naturally fall under the following heads4 ,one class overlaps another in point of time1 and although at first1 in the experimental period1 elaborate artistic creations cannot at that stage have been attempted1 it must equally follow that in the middle and later period the simpler and utilitarian forms were still being made concurrently with the finer works of art4 ,the natural order of development in point of technique would be3-- #a4 ,underglaze painted mussel blue-and-white fluted porcelain 7pp4 #afa1 #afc1 #afg74 #b4 ,early examples painted in colours overglaze4 7,see illustrations1 pp4 #fe1 #hi47 7a7 ,dishes1 plates1 tea and coffee services4 7b7 ,vases and ornamental pieces of a minor character4 #c4 ,vases with modelled figures4 ,figure subjects in colours4 #d4 ,busts1 in biscuit4 #e4 ,elaborate and finely modelled vases and sumptuous services1 of which the ,flora ,danica is the culmination4 ,illustration3 ,,coffee ,,cup4 ,with painted subject of ,frantz ,heinrich ,mller in his laboratory1 in an oval surrounded by wreath of flowers in gold4 ,marked with three blue lines4 ,blue border with inscription in verse in gold3-- ,forstanden1 ,sind og ,sands kan samtligen frnojes--,naar ved ,naturens ,kraft paa chymiske veije plijes--,men vil og ,nytten sees da skal ,forstanden raade--,og binde ,sind om ,sands til det som ,skatter baade4 7,translation47 ,the finest senses may well pleased be--,when ,nature leans on ,science for her aid--,but ,art in wedlock with ,utility--,demands from skill a double debt be paid4 7,at the ,national ,museum1 ,stockholm47 ,it is obvious that in the immature years of a pottery figure subjects would be rarely attempted until such time as the potters were sure of their ground and the technique had been securely established4 ,the highest artistic achievements must necessarily come after the rudiments of the art have been mastered4 ,in regard to figure subjects1 the fact that ,luplau came to ,copenhagen in #aggf with eighteen years' experience from the ,frstenberg factory must be taken into consideration in regard to the appearance1 at an earlier stage than usual in the history of a factory1 of figures of excellent character4 ,but at the same time it must be borne in mind that the utilitarian blue-and-white services1 the national ,danish pattern now so well known1 were made simultaneously with such fine creations as the elaborate royal services at ,rosenborg ,castle and elsewhere4 ,all through the periods from ,mller onwards the famous blue-and-white has remained as a standard output2 but as a rough generalization1 with the reservation admitted in regard to figures1 it may be said that the classes above mentioned followed one another in quick succession1 until the climax of the ,mller period was reached1 when the ,royal ,copenhagen ,factory worthily claimed a place beside the great factories in ,europe4 ,,chapter ,,iii ,,frantz ,,heinrich ,m,,ller 7#aggc-ahja7 continued ,,queen ,,juliane ,,marie ,,period ,,part ,,ii 7#aghj-agif7 ,,chronology #aghj4 ,the first retail depot opened by the ,royal ,porcelain ,manufactory in ,copenhagen4 ,the china becomes national4 #aghd4 ,queen ,juliane ,marie and her son ,frederik1 the ,hereditary ,prince1 overthrown4 ,the ,crown ,prince ,frederik undertakes the government of the country on behalf of his imbecile father1 ,christian ,,vii4 #agij4 ,the importation of foreign porcelain into ,denmark prohibited4 ,the great ,flora ,danica service for ,catherine ,,ii1 ,empress of ,russia1 commenced4 #agif4 ,queen ,juliane ,marie dies in retirement4 #ahja4 ,the battle of ,copenhagen4 ,mller retires from active work at the factory1 then in his sixty-ninth year4 #ahjg4 ,copenhagen bombarded by the ,british fleet4 ,considerable damage done to the ,royal ,porcelain ,factory4 #ahjh4 ,the ,crown ,prince ,frederik ascends the throne as ,frederik ,,vi on the death of his father1 ,christian ,,vii4 ,the ,flora ,danica service completed4 #ahbj4 ,death of ,mller4 ,buried #ith ,march4 ,,chapter ,,iii ,,frantz ,,heinrich ,m,,ller 7#aggc-ahja7 continued ,,queen ,,juliane ,,marie ,,period ,,part ,,ii 7#aghj-agif7 ,the great outburst of activity in #aghj--,the manufacture of porcelain an assured success--,a contemporary account of the factory--,a national style created--,the diversity of ,mller's designs--,national sentiment--,table of marks 7#agge-ahja7--,list of leading painters and modellers 7#aggc-ahja74 ,the masterpieces of ,mller come1 as do all chefs-d'uvres1 as a surprise4 ,their gracefulness and poetic charm are captivating4 ,to those who have never had the opportunity to examine a fine collection of old ,copenhagen porcelain the discovery of these works of art is a revelation4 ,it has hitherto been supposed that the productions of the little ,danish factory were only imitative of the works of the older and better-known ,german factories4 ,but to the most superficial observer it is at once evident that here is something at once national and beautiful4 ,during the ten years subsequent to the opening of the retail establishment in ,copenhagen1 the output of the factory must have been very extensive4 ,it is interesting to find that in #agij the ,custom ,house regulations relative to the subject are as follows3 ,foreign china is prohibited1 because the manufactory at ,copenhagen1 which is at the charge of the ,state1 has been of late productive enough to supply the two kingdoms with an article of luxury1 more than of necessity4 ,painted earthenware is likewise prohibited1 from its resemblance to china being so great that many may be induced to purchase it instead of a more valuable article2 but plain earthenware1 being more generally necessary1 is allowed1 as is also the porcelain brought over by the ,east ,india ships belonging to the ,asiatic ,company4 ,a ,contemporary ,account of the ,factory4--,the testimony of two foreign critics who visited the factory in #agij is a valuable record1 as they produced authoritative statistical volumes on ,northern ,europe4 ,their opinion assists the modern student in forming an estimate of the relative value of the ,royal ,copenhagen porcelain as compared with that of the great contemporary factories1 especially ,meissen4 ,in ,les ,voyages de deux ,franois dans le ,nord de l',europe 7the ,chevalier ,louis de ,boisgelin and the ,comte ,alfonse de ,fortia71 published by the latter1 the trade and manufactures of ,denmark receive full treatment4 ,we quote from the ,english edition1 ,travels through ,denmark and ,sweden3 to which is prefixed a ,journal of a ,voyage down the ,elbe from ,dresden to ,hamburgh1 including a compendious historical account of the ,hanseatic ,league1 by ,louis de ,boisgelin1 ,knight of ,malta1 with views from drawings taken on the spot by ,dr4 ,charles ,parry4 ,this was published in two quarto volumes in #ahaj4 ,the author states that the former volume written by his fellow-traveller is so rare that it is hardly possible to procure a copy either of the original edition or of the counterfeit one produced in ,germany4 ,the details in regard to the factory as it then existed are very interesting4 ,there were three large and two small ovens2 one of these was the first employed by ,mller when he produced his hard porcelain4 ,the ovens were of brick4 ,a firing lasted eighteen hours4 ,it took four days to cool4 ,these ovens are capable of firing eight complete services at once1 whereas those of ,saxony cannot take in more than three4 ,the fire here is so well distributed that in many of the firings of fine porcelain the loss sustained is scarcely more than ten rix-dollars4 ,after describing the process of glazing1 the writer proceeds to describe the most important operation of all1 performed in a room where there is only one man1 who takes an oath to have no communication whatsoever with any other workman4 ,he works a mill by hand in which he prepares the paste1 and mixes the different matters which compose the glaze4 ,of the mills for grinding there were two4 ,the granite came from ,zealand2 the black is of no use for this operation1 which is not performed in the same manner as in ,saxony1 where the matter is mixed without water1 but here it is quite the contrary4 ,by the method employed in this country there is as much made in two hours as they can possibly produce in ,saxony in twenty-four2 besides the advantage of having no occasion for sieves4 ,a contemporary account such as this by competent observers who had visited other porcelain factories in ,europe and came with the definite object of finding out as much as possible1 is of supreme importance as a document4 ,it appears that the blue which came from ,norway was considered the finest4 ,there was an immense loft for coffins1 or cases1 to be stored for a year before being ready for use4 ,these were made from ,bornholm clay1 and were used in the ovens as saggers1 as the term is in ,english pottery1 to contain the porcelain4 ,the moulds are made of a kind of plaster which comes from ,france4 ,this1 says the narrative1 is the only foreign article employed in the manufactory4 ,in regard to the overglaze colours used there are some interesting facts4 ,yellow is made from pure tin2 purple1 with tin and gold2 dark poppy1 with iron2 sky-blue1 with cobalt2 black1 with manganese2 rose-colour1 with gold2 and green1 with copper4 ,these colours never change in firing1 but remain precisely as they were first drawn2 whereas they spread in many other factories4 ,bearing in mind that the travellers were comparing the manufactures of one country with another in their precise records1 which excited ,european interest in regard to their statistic and economic value1 the praise of the ,royal ,copenhagen porcelain makes the more pleasant reading4 ,the ,copenhagen porcelain is less glassy than that of ,china4 ,the paste of the biscuit is lighter and closer than that of the ,saxon porcelain1 the white keeps its colour better1 and it is easier to wash4 ,in short1 the whole of this manufacture is perfectly well understood1 and carried on with great spirit and diligence4 ,it has only been established thirteen years1 and at the end of four the storehouses were already filled with a variety of articles4 ,we saw some flutes1 for which they asked seventy rix-dollars each4 ,these are very just in tune1 but too heavy to be played upon conveniently2 they are likewise astonishingly brittle4 ,we were also shown vases two and a half feet high most beautifully painted by ,camrath4 ,the writer makes one extraordinary statement1 which goes to show that the finest works were made for rich people1 and were not seen by the ,danish people in general4 ,the ,copenhagen porcelain is very little known even in ,denmark2 for the original expenses of a manufacture of this nature are such1 that it must necessarily be sold very dear3 it is indeed more so at present than the ,saxon china2 but it is imagined the price will be lowered in a short time4 ,the number of workmen employed at the factory at the time of this inspection was three hundred1 forty of whom were for the painting part of the business1 which we thought but few for that important branch4 ,in regard to the director1 ,mller1 himself1 some trenchant criticisms are made as to the poor recognition the ,state had given to so great a potter4 ,in other factories there were different directors1 one for the body and glaze1 another for the ovens and firing1 a third for the artistic form1 and a fourth for the painting and gilding1 all of whom were paid at a high rate4 ,but here ,m4 ,mller1 an excellent chemist1 acts himself in these various departments1 and is very shabbily paid1 having only a salary of #ejj rix-dollars4 ,he is also the original inventor of this manufacture1 and when it is known that he was never out of ,copenhagen1 and consequently could have had no model to go by1 it is inconceivable to what a degree of perfection he has brought it1 and that1 too1 entirely from his own enlightened genius1 without the smallest foreign assistance4 ,illustration3 ,,sucrier ,,with ,,cover1 ,,and ,,cup4 ,with deep-blue bands having rich and elaborate gilding4 ,sucrier with panel inscribed ,guds ,frcht1 figure representing ,harvest4 ,cup with convolvulus painted in natural colours4 7,at ,dansk ,folke ,museum1 ,copenhagen47 ,concerning the salary of ,mller of #ejj rix-dollars per annum1 it is noteworthy to observe that at that time the retail price in ,copenhagen of a complete afternoon service1 consisting of six chocolate cups with handles1 twelve coffee cups1 coffee-pot1 teapot and dish1 sugar dish1 tea caddy and cream jug1 was #ai rix-dollars #c marks first quality blue-and-white1 and #bf rix-dollars #d marks painted with natural flowers4 ,mller's yearly labours were evidently reckoned as only worth a score of such afternoon services4 ,hence the piquant strictures of the foreign noblemen4 ,the point raised as to ,mller not having had the smallest foreign assistance may be dismissed as somewhat erroneous4 ,there was ,anton ,carl ,luplau1 who was at the ,frstenberg factory for eighteen years1 and who came to ,copenhagen in #aggf2 ,johan ,christoph ,ba er1 who was born in ,nuremberg1 and came to ,copenhagen in #agfh1 when he was thirty years old2 ,peter ,heinrich ,benjamin ,lehmann1 who was a native of ,hamburg1 and came to ,copenhagen from the ,berlin factory in #aghj1 and was naturalized in #agha2 ,carl ,fridrich ,thomaschefsky1 who worked a short time at the factory2 and ,martin ,cadewitz1 who served eleven years and died in #agia4 ,but in #agha1 of two hundred persons employed at the factory only ten were foreigners4 ,as to whether ,mller ever left ,copenhagen the ,count de ,boisgelin adds a footnote3 ,according to ,m4 ,catteau1 this was not the fact2 we only repeat what the man told us was the case4 ,the work referred to is ,le ,tableau des ,etats ,dannois envisags sous le ,rapport du ,mcanisme ,social1 par ,jean ,pierre ,catteau1 printed in ,paris in #ahjb in three volumes4 ,it is rather an interesting point1 but the evidence is against de ,boisgelin1 for ,mller not only visited ,brunswick when he entered into negotiations with ,luplau to enter the ,danish service1 but at a slightly earlier date he made a tour of the ,german factories--in an assumed name1 as some accounts go4 ,that he made good use of his time is amply borne out by the results he achieved in so short a space of time on his return to his native land4 ,there is nothing to detract from the originality and inventiveness of his work4 ,the personality of his genius illuminates the work of the factory4 ,he experienced as many reverses of fortune as did ,bernard ,palissy1 and battled against adverse circumstances with no less indomitable spirit4 ,he conquered technical difficulties1 and experimented with clays and bodies and glazes and pigments with hardly less assiduity than did ,josiah ,wedgwood4 ,a ,national ,style ,created4--,no art is wholly independent in origin or of sporadic growth4 ,in the early days and the initial stages it must always be derivative4 ,in ceramic art this applies either to form or decoration1 often to both4 ,the form and decoration of ,chinese blue-and-white porcelain was the basis of the school of ,delft faience4 ,the scale pattern and the panel with exotic birds were slavishly adopted at ,svres from ,oriental prototypes4 ,similarly the older ,european factories impressed their styles upon factories of a later growth4 ,the crowd of ,german factories came under the direct influence of ,meissen in design as well as in technique4 ,it is a significant fact that ,copenhagen porcelain under ,mller's guiding spirit developed an original style from the first establishment of the factory4 ,this achievement should be placed to ,mller's credit in determining his position among ,european potters4 ,he did something more than assimilate the technique of ,meissen in his hard paste1 and the fact that he was the first man to make real porcelain in ,denmark is only a part of the honour due to him4 ,he created what was far more difficult--a national style4 ,influences there undoubtedly were bearing on the form and on the style of decoration employed at ,copenhagen4 ,luplau had little technique to learn4 ,he came as a maturely trained modeller from ,frstenberg1 which accounts for the fact that busts and statuettes were produced at a much earlier date in the history of the ,copenhagen than in a factory having slowly to train its modellers4 ,but undoubtedly a close examination of the porcelain of the ,mller period exhibits the fact that there was a fine reticence applied to the form and the decoration which stands out in strong contrast to the extravagances and reckless prodigality of ornament employed by factories with older traditions4 ,the new factory at ,copenhagen was endowed with a sense of beauty from the first4 ,the rococo style prevalent then at ,meissen and dominating art is seldom found in old ,danish porcelain2 now and again its presence is noticeable and indicates that the work is of the early experimental days4 ,but ,copenhagen created a characteristic and natural style of its own1 not only in the choice of ,danish or ,norwegian subjects1 but in its intense love of nature and of simple forms4 ,the whole series of fine pot-pourri vases with natural flowers in relief is essentially different from ,meissen examples where the vase is overloaded with fancifully modelled flowers and leaves4 ,the graceful form and subdued decoration of ,copenhagen stand out in effective contrast4 ,moreover1 the flowers themselves were evidently copied direct from nature1 and are executed with such skill and refinement that they still stand as ideals of technical and artistic perfection4 ,in regard to the modelling of figures1 especially those in costume1 the reticence of ,copenhagen is noticeable in comparison with the outr cavaliers and dames in crinolines of the ,saxon and other factories4 ,the subdued colouring and the simple charm of the ,danish figures places them in a gallery of their own4 ,nor must this be mistaken for insipidity or weakness of design4 ,judged by the highest canons of art1 the quality of such creations indicates complete control and mastery of technique1 and art in due subjection4 ,the outburst of strong national intensity1 love of nature1 breadth of conception1 and virility of execution lasted at the most for twenty years4 ,the verse on a plate3-- ,enhver sin ,sk til ,mllen brer ,hvor tungt den ham end og besvrer3 which may be turned into ,english3-- ,each man to the mill must bear his sack ,although the load may break his back-- was the leading precept of the staff under ,mller4 ,all worked together with single-heartedness of purpose1 and the result is the admiration of all who love ceramic art1 purposeful1 and instinct with grace and dignity4 ,the ,diversity of ,designs4--,the illustrations accompanying this chapter will show the range of subjects executed under the masterly rgime of ,mller4 ,at first vases and services for royal use were made1 but as soon as the retail establishment in #aghj enabled persons outside the royal entourage to purchase the porcelain1 the feet of the factory were set on a rock4 ,similar forms to those embellished with royal ciphers and monograms and portraits were subsequently employed for persons of lesser degree4 ,the portrait of ,mller shows him to have been a keen1 virile1 determined man1 as we know1 of endless resources1 and possessed of abnormal energy4 ,in less than twenty years there had been a constant and untiring enthusiasm in order to bring the factory to such perfection that it would be able to compete with the older and larger factories of ,meissen1 ,berlin1 and ,svres4 ,perhaps this object was not achieved1 inasmuch as the little factory did not enter into the lists to win ,european approval1 but it succeeded in developing a national style1 and this in spite of the fact that at the early stages it worked on foreign suggestion and employed foreign artists4 ,owing to the crowd of smaller factories at that date assimilating the technique and copying the designs of ,meissen1 it has come to be erroneously believed1 owing to the looseness of generalization by writers on the subject and the absence of detailed study of ,copenhagen porcelain of that period1 that the ,danish factory was another echo of ,meissen or ,berlin4 ,the contemporary opinion of the two ,french counts1 men of practised skill in observation and keen critics in regard to comparing the state of technique and conditions of manufacture of one country with another1 comes as a complete refutation to the belief that ,copenhagen was then in the second rank4 ,in regard to ,mller's technical achievements1 they stand to this day as a permanent record of his mastery of his art4 ,the new body which he invented and called virgin paste is of a clear dazzling white1 and is covered with a glaze transparent and smooth as polished crystal1 tinted with the green of the sea2 this glaze enhanced the beauty of the porcelain4 ,considering the impure materials then available1 and the primitive working methods 7for instance1 fuel used at that time was wood1 in poles #aj feet long of pine and fir71 the perfection and beauty of the results demand profound admiration4 ,even with the aid of modern technology and chemistry it has not yet been found possible at the factory to produce porcelain equal in every respect to the old ,mller period4 ,illustration3 ,,pastille ,,burner ,,and ,,cover4 ,on tripod stand with modelled dolphins as supports4 ,moulded cherub heads1 and gilded banded wreath in high relief4 ,perforated cover surmounted by gilded pine-cone ornament4 ,the diverse character of the output was stupendous4 ,it was rich in design1 varied and original in invention1 virile in modelling1 and national in spirit4 ,the beautiful body invented by ,mller had its decoration with his perfected overglaze colours1 green and blue and purple4 ,in regard to gilding1 the artistic ideal seems to have been attained4 ,it is not possible to convey as illustrations in this volume the extraordinary variety and beauty exhibited in this field4 ,in the cups and saucers herein illustrated1 the fine quality of the designs is lost in translation1 but these borders of deep blue enriched with gilded designs of the most exquisite character are something to marvel at in connection with the work of the ,mller period4 ,the creations of the factory cover a wide range4 ,the versatility of the modellers and the artists is pronouncedly marked4 ,it bespeaks a great and prolific period when ideas were not lacking4 ,evidently there was no great searching after novelty1 the gold was not beaten thin1 apparently there was a profusion of intellectual force behind the factory4 ,the difference is noticeable as soon as the great period is passed1 when one falls on barren ways and thinly eked out inventions1 the long years of the dreary twilight4 ,the love of landscape especially appealed to ,copenhagen4 ,the colours of the ceramic artist have limitations peculiarly their own4 ,atmosphere is rare in overglaze painting4 ,there is a tendency to prettiness and an absence of breadth4 ,but with pigments so refractory there are instances of work surprisingly powerful4 ,single colour scenes fare best1 and there is one example in purple1 poor enough medium1 which has qualities almost suggesting the strength of a ,dutch etching1 as shown on a cup and saucer in the ,dansk ,folke ,museum4 ,the picturesque in colour finds its exposition in two octagonal dishes with sporting subjects4 ,the one shows a man with a hound 7illustrated1 p4 #ic71 and the other a man with a red coat engaged in the pastime of hawking4 ,vases with portraits secured their patrons4 ,there is one at the ,kunstindustri ,museum at ,bergen2 with the portrait of ,g4 ,w4 ,rabener1 born at ,leipsic in #agad and died in #agga1 the friend of ,klopstock1 and the good-humoured satirist of ,german bourgeois society4 ,illustration3 ,,octagonal ,,dish4 ,with figure subject1 ,huntsman with hound1 finely painted in colours4 ,blue border with rich gold decoration4 ,apart from colour and decoration1 there is the fine modelling4 ,the symmetry of the more important vases1 instinct with decorative qualities of the highest order1 having ornament in relief1 moulded garlands1 gay ,cupids1 or mask handles of some wood-god1 is always paramount4 ,rarely is there a false note4 ,to form and the mastery of the difficulties and the due observance of the technique of the potter1 it is necessary to devote another chapter in which the illustrations convey sufficient evidence to show that projecting limbs and fantastic shapes more suitable to the metal-worker were eschewed at ,copenhagen4 ,the essentials of ceramics were never lost sight of by the band of modellers working under ,mller4 ,national ,sentiment4--,there is a vein of sentiment1 very pleasing and very piquant1 running through much of the work of this period4 ,it is the under-note of the potter1 who1 as other potters of other nations have before him1 desired to convey a written message as well as the message in line1 in colour1 and in beauty of form that he set before his generation4 ,centuries before ,mller1 the ,chinese potter revelled in his inscriptions4 ,potters the world over apparently are poets4 ,on an old ,chinese porcelain vase painted in blue1 with a garden scene by moonlight1 the following inscription in ,chinese is found3-- ,heaven and earth are the associates of creation1 as light and darkness are the passing guests of a hundred generations4 ,fleeting life is like a dream2 how long do we enjoy it8 ,it was this knowledge that made men in the old days trim the midnight lamp4 ,and now ,yang ,chun invites us with smoke to illuminate the world with literature1 to associate the fragrant gardens of the peach and the plum1 and to talk of happiness4 ,all graciously join me1 and as they chant and sing1 ,i alone am ashamed2 they become vivacious1 ,i in solitude rejoice4 ,with loud talk they grow merry2 a scholar's feast is spread1 and sitting amid the flowers we pass the goblet quickly and drink till we are drunken4 ,when the moon is not in its splendour1 how can one expatiate on its ecstasy8 ,but if my verses are not perfect ,i am fined the customary gold and the embarrassing wine4 ,here is the ,chinese potter--almost ,viking-like in his song of the wine-cup in place of the wassail-bowl4 ,or shall it be the ,persian astronomer-poet ,omar ,khayym with his-- ,the ,grape that can with ,logic absolute ,the ,two-and-seventy jarring ,sects confute3 ,the subtle ,alchemist that in a ,trice ,life's leaden ,metal into ,gold transmute4 ,the ,staffordshire potters to a man loved a rhymed couplet on a jug or mug or punch-bowl1 and their crude efforts amuse the latter-day collector4 ,their subjects were varied in character--loyalty1 naval victories1 courtship1 and conviviality1 with a smack of religion1 as1 for instance3-- ,drink to live and live to die ,that you may live eternally4 ,illustration3 ,,tray4 ,with oval panel with landscape painted in deep green4 ,wreaths around panel in purple4 ,finely gilded at borders4 ,painted by ,elias ,meyer4 ,given by ,frederik ,,vi to ,pastor ,mandal1 ,srum1 ,norway1 #agij4 7,at the ,kunstindustri ,museum1 ,copenhagen47 ,there are many pretty sentiments found on ,mller's ware4 ,we have already quoted one 7p4 #hg71 and there are many mottoes inscribed in ,danish on the porcelain of his period4 ,there is the long inscription on the cup with his portrait 7see p4 #fi71 and there are others which we have translated as follows3-- ,art bends nature to herself that clay ,by magic is transformed to gold alway2 and an inscription on another example1 translated runs3-- ,long live the ,king1 and glorious be his reign2 ,long live ourselves to drink this toast again4 ,in the collection at ,rosenborg ,castle there is a cup and saucer upon which the letter ,f is painted in forget-me-nots4 ,it is dated ,november #bb1 #agig1 with this inscription3-- ,uforglemmelige ungdomsaar for mig6 7,years of youth1 unforgettable for me67 ,we wonder for whom this initial ,f stands4 ,the permanently abiding sentiment enshrined behind the glass case is to-day as fresh as the forget-me-nots4 ,what romance lies hidden in these four ,danish words burnt into the clay8 ,but the records are silent1 and ,f the giver or the receiver is turned into dust1 while the potter's clay stands to symbolize an old-world story of the days when youthful ambitions and dreams lit up the memory4 ,,table ,,of ,,marks#e ,found on ,royal ,copenhagen porcelain with decoration painted overglaze of the ,frantz ,heinrich ,mller period 7#agge-ahja74 #e ,these marks are strictly copyright4 ,these signatures and initials of painters and modellers1 either painted or incised1 are found in conjunction with the usual factory mark of the three blue lines4 ,,general ,the usual ,factory ,mark1 in blue1 found alone or in addition to painter's or modeller's signature or initials4 ,this mark was adopted at the suggestion of ,queen ,juliane ,marie in #agge1 and symbolizes the three waterways of ,denmark--the ,sound1 and the ,great and ,little ,belts4 ,illustration ,illustration ,this mark has been used on all porcelain made at the ,royal ,copenhagen ,factory1 both with overglaze and underglaze painted decoration1 since that date4 ,n4,b4--,from #aggc-agge the porcelain of the ,copenhagen factory made by ,mller bore no mark4 ,signature of ,anton ,carl ,luplau1 who came to ,copenhagen in #aggf1 and died in #agie4 ,a ,bust of ,queen ,juliane ,marie at ,rosenborg ,castle bears this signature on base3-- ,illustration ,signature of ,hans ,clio1 who was working at the factory prior to #aggi1 and who died in #aghf4 ,illustration ,peter ,heinrich ,benjamin ,lehmann4 ,came to the factory in #aghj4 ,died #ahjh4 ,painter of landscapes1 figures1 and birds4 ,illustration ,signature of ,hans ,christopher ,ondrup 7#aggi-aghg74 ,sometimes signed ,ondrup mahlt 7,ondrup painted it74 ,painted signature frequently in red4 ,this signature in full has been traced from an example in the collection of ,count ,chr4 ,danneskjold-,samse1 at ,gissenfeldt4 ,illustration ,signature of ,andreas ,hald 7#agha-agig71 modeller and sculptor4 ,frequently marked his pieces in full or with initials ,,ah incised4 ,in some instances his initials are painted in blue on side of base1 as in ,figure of ,flute ,player 7illustrated1 p4 #abg74 ,illustration ,jesper ,johansen ,holm4 ,born #agdg4 ,member of ,royal ,academy4 ,incised mark1 ,,holm #aghj on ,statuette at ,national ,museum1 ,stockholm4 7,see illustration1 p4 #aae47 ,i ,,holm #agha incised marked on a ,bust of ,prince ,frederik at ,kunstindustri ,museum1 ,copenhagen4 ,illustration ,signature of ,johan ,christoph ,ba er4 ,came to ,copenhagen in #agfh4 ,died #ahab4 ,landscape painter1 followed the style of ,johann ,christoph ,dietsche1 of ,nuremberg 7#agaj-agfi74 ,engaged on painting the flowers in the ,flora ,danica service4 ,illustration ,the mark of ,jacob ,schmidt1 modeller and sculptor4 ,he was1 in #aggi1 a pupil at the factory in his fourteenth year4 ,he died in #ahjg4 ,many of his pieces have his initials incised4 ,an example at the ,dansk ,folke ,museum1 ,copenhagen1 has this mark together with the three lines incised1 which is an exceedingly rare mark4 ,illustration ,incised mark on a cream cup and cover at the ,kunstindustri ,museum1 ,copenhagen1 decorated with purple flowers and rococo ornamentation1 gilded1 and having scale-pattern in red4 ,this mark 7signifying that the piece belongs to the ,christian ,,vii era7 is unusual4 ,this may be conjectured to be a specimen made by ,mller prior to #agge1 that is1 before the adoption of the mark of the three blue lines4 ,illustration ,the incised mark of ,hans ,meehl1 who was a modeller at the factory in #agia4 ,this mark is found on a polychrome ,figure of a ,man in national costume 7,norsk ,bjergmund71 at the ,kunstindustri ,museum1 ,copenhagen4 ,illustration ,this mark is incised on the base of a polychrome figure of a ,woman with ,hens at the ,kunstindustri ,museum1 ,copenhagen4 ,illustration ,,list ,,of ,,leading ,,painters ,,and ,,modellers#f ,who worked at the ,royal factory under the ,direction of ,frantz ,heinrich ,mller 7#aggc-ahja74 #f ,for the leading facts contained herein1 ,i am indebted to ,professor ,karl ,madsen in his article in ,tidsskrift for ,kunstindustri1 #ahic4 ,,anton ,,carl ,,luplau4 #aggf-agie4 ,was at the ,frstenberg factory for eighteen years4 ,mller visited ,luplau at ,brunswick in #aggf1 and on ,november #adth an agreement was signed1 and ,luplau joined the ,copenhagen factory as modelling-master4 ,he died in #agie4 ,he was a perfect craftsman4 ,many of his pieces were signed1 e4g4 the ,bust of ,queen ,juliane ,marie4 ,luplau made many of the models for the ,flora ,danica service1 and executed #bj ,norwegian types after the well-known sandstone figures at ,fredensborg4 ,,claus ,,tvede4 #agge-aghc4 ,sculptor and modeller at the factory4 ,he is supposed to have made the ,statuette of the ,hereditary ,prince ,frederik after the design by ,ludovico ,grossi1 which piece bears the initials of the modeller ,andreas ,hald4 ,,johan ,,christoph ,,ba,,er4 #aggf-ahab4 ,born in ,nuremberg #agch4 ,came to ,denmark in #agfh4 ,agreement signed on ,november #af1 #aggf1 when he entered the service of the factory4 ,he died in his seventy-fifth year1 in #ahab4 ,landscape painter2 followed the style of ,johann ,christoph ,dietsche1 ,nuremberg landscape painter 7#agaj-agfi74 ,executed drawings for ,holmskjold's book on ,danish ,fungi4 ,entrusted with the work of flower painting on the ,flora ,danica service4 ,,hans ,,clio4 ,working before #aggi4 ,died in #aghf4 ,painter4 ,appointed drawing-master to train the pupils at the factory4 ,his signature appears on some of the porcelain with landscapes painted by him4 ,,lars ,,hansen4 #aggg-ahjj4 ,born in #agci4 ,in #aggg he is noted as being one of the best painters in blue underglaze ware4 ,he died in #ahjj4 ,,jacob ,,schmidt4 #aggi-ahjg4 ,born in #agfd4 ,modeller and sculptor4 ,at factory in #aggi as pupil in modelling in his fourteenth year4 ,many of his pieces are marked with his initials incised4 ,,hans ,,christoph ,,ondrup4 #aggi-aghg4 ,painter4 ,his signature1 or his initials1 painted in red1 is found on several pieces4 ,,peter ,,heinrich ,,benjamin ,,lehmann4 #aghj-ahjh4 ,born in #ageb at ,hamburg4 ,came to the factory from ,berlin in #aghj4 ,was naturalized in #agha and died in #ahjh4 ,he was a painter of landscapes1 figures1 and birds4 ,g4 ,,kalleberg4 #aghj-ahaj4 ,modeller of figures and repouss worker4 ,he appears to have had a large share in the production of figures and moulds1 and there is presumptive evidence that his work was of a superlative character4 ,,jesper ,,johansen ,,holm4 #aghj-ahjb4 ,modeller4 ,born in #agdg4 ,member of the ,royal ,academy4 ,trained by ,wiedevelt1 the sculptor4 ,his statuettes are finely executed4 ,see ,a ,hero 7with ,i ,,holm #aghj incised mark71 illustrated1 p4 #aae1 at ,national ,museum1 ,stockholm4 ,he became model-master in #ahjb4 ,,abildgaard4 #aghj- ,danish artist and sculptor1 returned to ,copenhagen from ,continental travels in #aggg1 and brought new impulses4 ,consulted as adviser to factory in regard to art matters and correctness of modelling4 ,,martin ,,cadewitz4 #aghj-agia4 ,served eleven years at factory4 ,died in #agia4 ,,johan ,,camrath1 ,senior4 #aghj-agif4 ,portrait painter4 ,executed work for the factory till #agif4 ,died in #ahad1 in his seventy-sixth year4 ,he was engaged on fine vases1 and painted grey medallion panel portraits of ,queen ,juliane ,marie1 and other royalties1 for important pieces4 ,there is a small cup at ,rosenborg ,castle with the portrait of ,p4 ,a4 ,heiberg painted by him4 ,he was not permanently at the factory1 but undertook work of a highly artistic nature4 ,,nicolaj ,,christian ,,faxoe4 #aghc-ahaj4 ,born in #agfb4 ,pupil at the factory in painting1 #aghc4 ,flower painter4 ,worked at the factory till his death in #ahaj4 ,s,,ren ,,preus4 #aghd- ,modeller4 ,executed the delicate flowers in relief on vases1 baskets1 and groups4 ,the vases with ,cupids and garlands1 and the magnificent vase1 with portrait of ,queen ,juliane ,marie painted by ,camrath1 having a ,cupid seated on body of vase amidst a garland of exquisitely moulded flowers and two lions finely modelled on cover1 is the work of ,sren ,preus4 ,the baskets of flowers and bouquets and ornaments in the dessert centre pieces of the ,flora ,danica service suggest his master-hand4 ,,elias ,,meyer4 #aghe-ahji4 ,born in #agfc at ,copenhagen1 trained at ,dresden4 ,flower and landscape painter4 ,he occasionally marked pieces with his name4 ,his work is not in the first flight4 ,he died in #ahji as member of the ,royal ,academy4 ,m4 ,,meyer4 #aghd-agib4 ,this artist was mentioned in conjunction with ,camrath by ,count ,louis de ,boisgelin1 who visited the factory thirteen years after it had been founded4 ,m4 ,meyer is much esteemed for the beauty of his designs4 ,it appears that both he and ,camrath were not actually in the factory service on a fixed salary1 but received payment for each piece executed4 ,,andreas ,,hald4 #agha-agig4 ,modeller and sculptor4 ,this artist modelled a number of gracefully conceived figures4 ,he frequently signed his work either ,a4 ,hald or with initials1 incised1 sometimes initials painted in blue1 as on figure of ,flute ,player4 ,see illustration1 p4 #abg4 ,,johan ,,arentz4 #aghf-agif4 ,n4 ,,bau4 #agia-ahbj4 ,landscape painter1 animals and figures1 genre subjects of peasants1 and also silhouettes4 ,bau was the head painter from #ahab4 ,he died in #ahbj4 ,many of his landscape subjects are painted in purple4 ,,johannes ,,ludvig ,,camrath1 ,junior4 #agid- ,flower and fruit painter4 ,born in #aggi4 ,became pupil at factory in #agid4 ,died in #ahdi4 ,,carl ,,fridrich ,,thomaschefsky4 #aghj- ,this painter1 originally trained at ,berlin1 worked only a short time at the factory4 ,a colleague of ,lehmann4 ,,raben ,,svardahlyn4 ,,hans ,,jacob ,,hansen4 ,,christian ,,ahrensborg4 ,,matthias ,,wolstrup4 ,,schaltz4 ,these painters were engaged on the underglaze mussel-blue painted ware during the ,mller rgime1 together with ,lars ,hansen1 who1 in #aggg1 was considered the leading painter in this style4 ,,chapter ,,iv ,,figure ,,subjects ,,and ,,groups 7#aghj-ahbj7 ,,chapter ,,iv ,,figure ,,subjects ,,and ,,groups 7#aghj-ahbj7 ,the inauguration of new impulses1 #aghj--,luplau1 the modelling-master--,the figure subjects of ,kalleberg--,classification of figure subjects--,old ,copenhagen figures1 their national character--,the last days of ,mller4 ,apart from the royal busts and statuettes1 the sumptuous vases with portraits of royalties1 and the magnificent services made for royal use or for some important personage1 culminating in the great and extensive ,flora ,danica service1 there were other examples1 notably figure subjects and groups1 often of a minor character1 and vases and services of less splendour in their decoration but not of inferior character4 ,the date of these may be determined as subsequent to the year #aghj1 when a retail establishment was opened in ,copenhagen in the heyday of ,mller's triumph1 for the sale of the factory productions4 ,an outburst of popular feeling hailed this adventure with delight4 ,the chronicles of the time are full of the subject4 ,hitherto great and important pieces were made under the ,court patronage of ,queen ,juliane ,marie and of ,prince ,frederik1 her son1 and important subjects were executed1 giving to this period a character and dignity not surpassed by many of the older factories4 ,but the royal factory now became the national factory4 ,henceforth merchants1 burghers1 the professional classes1 and the ,danish public in general were enabled to see a permanent exhibition of the ware of the ,royal ,porcelain ,factory1 and to purchase or give orders for a national ware which1 naturally1 was supplanting the use of all others in the country4 ,in the year #agij the importation of any foreign porcelain save ,chinese was prohibited by law4 ,from #aghj to #agij one may expect to find the factory in full enjoyment of success1 particularly in regard to its manufacture and sale of utilitarian blue fluted services1 underglaze painted1 and of small figures and vases1 overglaze painted1 of a less magnificent character1 designed for use and ornament in the home rather than representative of types more fitted for presents to foreign princes and plenipotentiaries4 ,in #agij ,mller was fifty-eight years of age4 ,in #ahja he had retired from the factory4 ,this chapter1 while including important figures and groups1 deals with types of a class which may be termed as in the second flight of ,mller's artistic triumphs1 and be it said much of the work is contemporary with more ambitious creations equal in character to some of the finest4 ,,illustration3 ,,statuette ,,entitled ,a ,,hero4 ,with incised ,mark ,,holm_/#aghj and three blue lines painted4 ,height #ab-a_/e inches4 7,at the ,national ,museum1 ,stockholm47 ,as many of these minor pieces are dated and others have the signature of the artist or modeller1 it is possible to arrive1 with some degree of accuracy1 at the period of their manufacture4 ,contemporary with all these overglaze painted examples of the factory one must not lose sight of the fact that the mussel-blue underglaze painted ware was continuously being made4 ,new forms were being added1 and its decoration with the ,danish pattern adhered closely to the original floral motif now perennial to the ware4 ,luplau1 the ,modelling ,master4--,in regarding the figure subjects1 it must be borne in mind that the foreign assistance which ,mller called in at the inception of the factory had not a little influence on the early and sure production of figures which could not have been attempted without experienced supervision4 ,under ,anton ,carl ,luplau1 the modelling-master who came to ,copenhagen from the ,frstenberg factory1 where he had spent eighteen years1 the early stages of the ,copenhagen modelling show a completer mastery of the technique than is usually exhibited by so young a factory4 ,but design and modelling1 excellent though they undoubtedly were in the hands of ,luplau1 were only factors in the problem towards perfected results4 ,the body1 the glaze1 and the colours were ,mller's4 ,nor is it to be supposed that ,luplau contributed more than the idea1 practical without doubt1 but it is improbable that he carried his supervision beyond the plastic stages4 ,all credit is due to him for instilling the principles of fine lines and graceful forms into the minds of the young potters4 ,but it was ,mller by day and by night1 with long vigils1 often all night1 at the ovens with his workmen whom he was training to control the caprice of the furnace1 who seized the situation and gladly profited by experience in his uphill struggle to establish his factory in the face of all difficulties4 ,mller had the genius of moulding men in plastic circumstance4 ,nor was ,luplau the swan he is sometimes thought to have been4 ,there is a suggestion in one of ,mller's letters to the board of management of the factory which illuminates the inner history4 ,speaking of ,luplau1 and probably the old story--the cost of production--he says3 ,on the contrary1 he demands extra payment for any work which he does himself1 and as the factory cannot afford this1 most of the figures and moulds are made by ,kalleberg1 and in this work ,luplau appears to take a very small share4 ,illustration3 ,,two ,,figures ,,of ,,sea ,,horses4 ,painted in colours1 brown predominating on a white ground4 ,each marked with three blue lines4 ,height #c-c_/d inches4 ,length #f-c_/aj inches4 7,in the ,national ,museum1 ,stockholm47 ,the ,figure ,subjects of ,kalleberg4--,the fertility of the early ,copenhagen period when masterpieces1 full of charm and perfect in style1 rapidly appeared one after another in a short but crowded period1 has puzzled students of the old period4 ,to accept ,luplau as the creator of them all1 is to believe him classic and precise1 and at the same moment capable of transforming his style into elegant1 restrained creations of gaiety and fanciful forms in due subjection4 ,to omit the subtle and critical examination of style is to fall into the pit which contains those curious mortals who believe the exact1 terse1 and laboured prose of ,bacon to be by the author of ,a ,midsummer ,night's ,dream and ,hamlet4 ,to such1 it is possible to credit ,julius ,csar with having written the ode of ,horatius ,flaccus to ,lyde4 ,there is some mystery as to the designer of the dancing figures1 the flute-player1 the lady at the tea-table1 the ,copenhagen group1 the ,norwegian dalemen in ,fredensborg1 the mountain-men1 and certain dainty ,cupids4 ,they differ entirely from ,laplau's productions in every respect1 and stand far above them in artistic merit4 ,the late ,professor ,krohn1 whose patient researches1 on this and other vexed questions concerning old ,copenhagen porcelain1 were unfortunately broken off by his untimely death1 was of the opinion that these figure subjects were the work of the repouss worker ,kalleberg4 ,authentic confirmation is lacking1 other than the letter above quoted4 ,until further evidence is forthcoming and further investigations are made into the ,mller period1 we must accept the authentic pronouncement by ,mller as the last word on the subject4 ,in regard to the employment of foreigners1 it is certain that the experiment was not a success4 ,five workmen were inveigled from ,meissen in #aggf4 ,out of the five1 probably induced by monetary considerations to quit the ,meissen factory1 two did not make an appearance in ,copenhagen4 ,of the three who came1 it seems that only one showed any great talent4 ,it would appear1 too1 that they exhibited an arrogance that stirred up strife in the factory4 ,they received higher wages than the ,danish workmen and began to assume correspondingly superior manners1 with the belief that the factory could not proceed without them4 ,but ,mller speedily put an end to this state of affairs by closing the factory gates against them1 and when they attempted to break in1 he had them turned out by force4 ,with these experiences in mind1 it is not surprising that when1 at a later date1 some ,english workmen from the ,wedgwood factory desired employment1 they received scanty consideration4 ,illustration3 ,,figure ,,group 7,,one ,,of ,a ,,pair74 ,painted in overglaze colours4 ,period #aghj-agij4 ,marked with three blue lines4 ,height #i-a_/e inches4 7,from the collection of the late ,hr4 ,b4 ,hirschsprng7 ,classification of ,figure ,subjects4--,the figure subjects under examination in this chapter may be divided into the following groups3-- ,portrait ,busts and ,statuettes and ,classic figures1 in biscuit-- such as those of ,queen ,juliane ,marie and the ,hereditary ,prince ,frederik1 and the statuette of ,a ,hero at the ,national ,museum1 ,stockholm 7illustrated1 p4 #aae7 ,ornamental subjects1 in white-- such as the centre-piece with the supporting ,cupids at the ,dansk ,folke ,museum1 ,copenhagen1 and the remarkably fine vases1 #d feet high1 at ,frederiksborg1 having powerfully modelled groups of female classic figures4 ,classic figures and subjects1 decorated in colours1 overglaze-- such as the group ,flora and ,minerva by ,jacob ,schmidt and ,sea ,horses at the ,national ,museum1 ,stockholm 7illustrated1 p4 #aai74 ,romantic subjects in costume1 decorated in colours1 overglaze-- such as ,lovers with ,cupid and ,garlands 7illustrated1 p4 #abc71 and small figures of women and children in fanciful costume4 ,there is at ,frederiksborg ,castle a group--,chinese ,woman and ,chinaman1 who is offering her a basket of fruit4 ,this ,oriental subject is very rare4 ,marked with three lines underglaze in blue1 but the yellow overglaze pigment on base has turned the blue into three green lines4 ,figure subjects in correct contemporary costume--practically a ceramic gallery faithfully reflecting the social character of the period-- such as the ,flute ,player1 the ,lady and ,gentleman dancing1 the ,beggar1 and an especially fine series of peasant types in old costume1 engaged at their various vocations--e4g4 two groups of ,norwegian ,miners1 with black costume and green caps1 with ,c#g in gold 7at ,frederiksborg ,castle74 ,the ,woman with ,hens1 in ,norwegian costume1 a ,market ,woman with ,fowls1 a ,lobster-seller1 ,woman selling ,fruit1 ,woman milking ,cow4 ,figures in naval and military uniform1 and many others4 ,old ,copenhagen ,figures--their ,national ,character4--,in regard to the series of figures in contemporary costume1 there is an air about them which stamps them at once as being the work of the old ,copenhagen factory4 ,they are practically portrait studies1 with that added touch of poetic charm which fits them for their place among the gods of the china cabinet4 ,they challenge comparison with the work of other ,european factories4 ,kndler1 the modeller at ,meissen1 in what is styled the ,krinolinengruppen period in mid eighteenth-century days1 produced figures of lovers and ladies in rich costumes4 ,they belong to that impossible world of the china-shelf1 of shepherds and shepherdesses and bending cavaliers and gay ladies1 conjured up in the fertile brain of the potter4 ,they invaded ,france and they conquered ,england in the glorious days of ,derby and ,chelsea4 ,but with a few notable exceptions they did not penetrate to ,copenhagen4 ,illustration3 ,,figures4 ,old woman supplicating alms4 ,man playing flute4 ,marks4--,a4,h4 incised on base1 and ,a4,h4 painted in blue at side of base4 ,height #f-c_/h inches4 7,at the ,dansk ,folke ,museum1 ,copenhagen47 ,the groups of ,lovers with ,cupids and chains of roses are two examples of this romantic movement which came into the world of ceramics1 a reflex of the decorative art of fashionable ,court painters1 who invented a topsy-turvy world of make-believe4 ,the quiet strength and the subdued restraint of the old ,copenhagen figures stand out in contrast to this outburst of fanciful exuberance4 ,the note of fidelity is as apparent in the figures in costume of the ,mller period as it is noticeable in regard to floral decorations and modelled foliage taken direct from nature4 ,nor does this betray a want of imagination or a lack of ideality in choice of figure subjects4 ,if it be classic1 there is poetry in the statuette of ,a ,hero1 or a loose rein is given by the modeller to his ,sea ,horses1 a poet's vision of the sea rollers leaping shore-wards from the ,baltic4 ,the fashion for the romantic did eventually tinge the ,copenhagen atelier4 ,some of the little figures are graceful1 retiring1 modest examples of the movement4 ,it is true they are decked in impossible costumes1 but the mode has in the transplantation acquired simplicity and reticence4 ,some of them suggest1 in porcelain1 the quaint charm of ,kate ,greenaway's world of picturesque children4 ,of the gallery of contemporary life the ,copenhagen figures1 in the main1 are faithful likenesses4 ,the dancing cavalier and lady 7see ,frontispiece7 represent persons who actually did dance as they are modelled4 ,there is nothing added except that touch of the modeller's genius in catching the rhythmical pose of the poetry of motion which crystallizes them as a work of art4 ,the ,flute ,player is equally caught in the act1 natural and unobtrusive4 ,there is nothing affected in his attitude or in his costume 7illustrated1 p4 #abg74 ,it is such traits as these which endear the old ,copenhagen figures to connoisseurs4 ,the glaze is rich and liquid and the colours are subdued in tone and appeal to lovers of subtlety in art4 ,whatever extraneous influences in art press upon the work of the ,danish potters1 there is a process of refining which they seemingly undergo1 and in so doing ,suffer a sea change ,into something rich and strange4 ,as may be imagined1 these old-world figures are much treasured by ,danish collectors1 who realize that they represent a national phase of art and form a record of quaint and forgotten costume4 ,the sellers in the market-place1 the women with fowls1 the fisherman with the striped jersey and shiny hat familiar in old prints of our own sailormen1 and the ,admiral with his speaking trumpet--it might be the great ,fischer himself1 of the days when fleets were sweeping the ,north ,sea and the ,baltic--come with peculiar associations from bygone days4 ,illustration3 ,,figure ,,groups4 ,market woman with ,fruit and ,lobster seller4 ,height #f-b_/e inches4 ,illustration3 ,,figures ,,in ,,contemporary ,,naval ,,and ,,military ,,uniforms4 ,decorated in colour4 7,from the collection of ,his ,excellency the late ,m4 de ,bille47 ,the ,last ,days of ,mller4--,the illustrations herein given cover this diverse field and serve to indicate the versatility of the modellers who worked during the ,mller period4 ,the peasant types and some of the smaller figures belong to the latter days of the ,mller rgime4 ,although ,mller retired from the factory in #ahja1 he kept in touch with what was in progress4 ,his hand may not have been on the helm1 but he had spirit enough left in his retirement to burst forth with pungent criticisms upon the later methods pursued1 and there is no doubt the old veteran was frequently consulted by those upon whom his mantle had fallen4 ,the fiery spirit of ,mller1 proof against all adversity1 with the eye of the eagle saw across a longer space than men of ordinary vision4 ,everything which has been done after ,i left the factory1 growls out the fiery old man1 has been to its detriment4 ,and who shall say that his words were not true8 ,mller had heard the guns booming in the ,sound in #ahja1 he had seen the havoc of bombardment by an alien fleet in #ahjg4 ,his heart's desire1 his beloved factory1 had been wrecked4 ,a great man's treasure-house of dreams had been devastated4 ,the story of the ruin which overtook the factory comes with stunning poignancy with the knowledge that owing to the misery which followed the war the factory actually closed down in #ahaj1 for a time1 owing to the want of fuel4 ,years after the death of ,mller and the glories of his day had departed1 a number of his oldest models and moulds were found in a heap of shards stowed away in a loft in the old factory4 ,at the removal to the new factory at ,frederiksberg it was hardly thought worth while to carry them away4 ,fortunately1 this was done1 and in spite of their wrecked condition1 loving hands have pieced them together4 ,it is now happily possible to reproduce faithfully some two hundred of the beautiful models of the great days4 ,frantz ,heinrich ,mller1 the greatest potter of ,denmark1 is not dead1 although his ashes have lain in a nameless grave for nearly a century4 ,his memory still lies green in the hearts of those who love great things finely conceived1 great triumphs nobly won1 and great dreams perfectly consummated4 ,,chapter ,v ,,the ,,flora ,,danica ,,service 7#agij-ahjb7 ,,made ,,for ,,catherine ,,ii1 ,,empress ,,of ,,russia ,,chapter ,v ,,the ,,flora ,,danica ,,service 7#agij-ahjb7 ,,made ,,for ,,catherine ,,ii1 ,,empress ,,of ,,russia ,the ,crown ,prince ,frederik 7afterwards ,frederik ,,vi7 orders the ,flora ,danica service to be made--,a period of twelve years occupied in making it--,the taste of the ,empress ,catherine ,,ii of ,russia--,theodor ,holmskjold1 the botanist--,the service4 ,a separate chapter is devoted to the great service executed by the ,royal ,copenhagen ,factory during the years #agij to #ahjb4 ,it takes a place with other great services1 the masterpieces of old and distinguished factories1 such as the magnificent table service of pte tendre ,svres porcelain finished in #aggh for the ,empress ,catherine ,,ii of ,russia1 consisting of about #gej pieces and costing some #ac1bjj4 ,the ,empress1 it is interesting to read1 considered this price exorbitant1 and a lengthy diplomatic correspondence ensued4 ,this service was part of the imperial collection at ,st4 ,petersburg4 ,the celebrated ,wedgwood dinner service of earthenware made for ,catherine ,,ii and delivered in #aggd1 consists of painted ,english scenery1 depicting famous views and noblemen's seats4 ,this comprised over #iej pieces1 and a portion of it was exhibited in ,london in #aiji by ,messrs4 ,josiah ,wedgwood and ,sons1 of ,etruria1 by permission of late ,his ,imperial ,majesty the ,emperor of ,russia4#g #g ,see illustrated descriptive ,catalogue of ,wedgwood ,exhibition1 #aiji1 #dto1 #bb pp41 by the present writer1 also ,connoisseur1 ,december #aiji4 ,the ,flora ,danica service had as a patron the ,crown ,prince ,frederik1 the son of ,christian ,,vii and ,queen ,caroline ,matilda4 ,in #aghd another palace revolution had happened4 ,the power of ,queen ,juliane ,marie and her son1 the king's brother1 was broken4 ,prince ,frederik 7afterwards ,frederik ,,vi on the death of his father ,christian ,,vii1 at the age of fifty-nine1 in #ahjh7 assumed the presidency of the ,state ,council1 after an unseemly struggle for the person of the imbecile king had taken place between him and his uncle ,frederik1 ,prince ,hereditary1 resulting in the complete rout of the latter4 ,the same day1 ,april #ad1 #aghd1 the ,crown ,prince ,frederik was proclaimed ,regent4 ,from that moment the rule of the ,queen ,dowager and her son ,frederik was ended4 ,she and her son retained their apartments at ,christiansborg ,palace1 and ,fredensborg was set apart for the use of ,queen ,juliane ,marie4 ,she lived in retirement until her death in #agif4 ,her son ,frederik refrained from meddling in ,state affairs1 and confined his attention to the welfare of art and science4 ,frederik ,,vi1 endeared to his people more than any other ,danish king1 in spite of his military brusqueness1 was as simple and frugal as our own ,farmer-,king1 ,george ,,iii1 whose grandson he was4 ,frederik's blue cotton umbrella is still exhibited as a relic in his apartments in ,rosenborg ,castle1 and at his death1 in #ahcj1 all classes mourned the loss of a friend4 ,peasants bore the coffin of the old monarch tenderly to his last resting-place at ,roskilde4 ,he was twenty years of age when ,count ,marshal ,blow1 with a fatherly regard for the ,crown ,prince1 and desirous of giving that touch of refinement denied the youth by the naturalistic theories of ,struensee and the sterner methods of the ,queen ,dowager1 took him from his military duties to pay early morning visits to the ,royal factory4 ,these glimpses into a world of artistry cannot have been other than stimulating to the young prince4 ,struensee's ,rousseau-like training had made him a child of nature1 and ,juliane ,marie had twisted him into the cast-iron grooves of a stiff and formal ,court etiquette4 ,in regard to art1 he came at a time when the love of nature was becoming paramount4 ,the age was rapidly shaking off the artificial4 ,sated with rococo ornament and with insipid and frivolous unrealities1 the pendulum swung to the natural and to the essentially simple4 ,straight or shapely curved lines became the fashion4 ,the period of ,louis ,seize had succeeded the rococo taste of ,louis ,quinze in ,continental art4 ,the ,taste of the ,empress ,catherine of ,russia4--,from #aghd1 when he made his coup d'tat1 ,frederik advisedly gave important orders to the royal factory4 ,in #agij the ,flora ,danica service was ordered by the ,crown ,prince4 ,it was not at first known for whom it was intended4 ,the old factory books record it as ,perle model broge malet med ,flora ,danica 7,pearl body1 colour painted with ,flora ,danica74 ,as the service progressed it transpired that it was to be presented to ,catherine ,,ii1 ,empress of ,russia4 ,the modern spirit was in the air1 the new style was realistic and tinged with a scientific motif2 moreover1 it was to be a gift to a bluestocking4 ,the ,empress ,catherine essayed to make her ,court the centre of letters and art4 ,at great cost she purchased the library of ,diderot1 and invited him to come to ,st4 ,petersburg to be the custodian of his own collection4 ,she corresponded with ,voltaire and she talked philosophy with ,grimm1 who1 in his celebrated ,correspondance ,littraire1 kept her informed of the latest plays and books appearing in ,paris4 ,she established a ,french theatre in ,st4 ,petersburg1 and fined absentee courtiers fifty roubles and sent her guards to bring in those who had failed to attend4 ,french visionaries looked to ,russia as a land of promise4 ,voltaire never tired of proclaiming that the ,mohammedans should be driven out of ,europe4 ,and the ,empress ,catherine was to be the chosen instrument4 ,the philosopher of ,ferney1 with his pen dipped in honey1 writes3-- ,si vous tiez souveraine de ,constantinople votre majest tablirait bien vite une belle acadmie grecque2 on vous ferait une ,catriniade2 les ,zeuxis et les ,phidias couvriraient la terre de vos images2 la chute de l'empire ottoman serait clbre en grec2 ,athnes serait une de vos capitales2 la langue grecque deviendrait la langue universelle2 tous les negocians de la mer ,ege demanderaient des passeports de votre majest4 ,the great ,danish service was therefore to be a fitting present for so powerful a queen4 ,for some twelve years the work was continued uninterruptedly4 ,at first it was designed for eighty persons1 and in #agid no less than #a1hce pieces were ready4 ,the death of the ,empress ,catherine ,,ii in #agif precluded the service joining those of ,svres and ,wedgwood in the imperial palace at ,st4 ,petersburg4 ,but its manufacture was still continued4 ,in #agig it had enlarged its dimensions1 and was fit for a hundred persons4 ,in #ahjb it was stopped4 ,if counted in ,english fashion1 with lid1 bowl1 and stand as three pieces1 the number had grown to three thousand pieces1 or some two thousand1 counting such vessels as one piece4 ,the dessert service alone amounted to six hundred and twenty-three pieces1 consisting of basket vases1 flower and fruit stands1 and1 as is usual in dessert services1 exceptionally fine examples1 elegant1 finely modelled1 and exquisitely painted4 ,the date of the completion of the ,flora ,danica service practically coincides with the date of the retirement of ,mller from the directorship of the factory1 and therefore with this service ends the great and prolific ,mller period4 ,in the examination of the ,flora ,danica service considerable attention has been paid to the artistic and decorative results1 but insufficient study has been given to the causes which led to the inception of so scientific an idea in regard to the record of the national flora on a service of such importance4 ,illustration3 ,,fish-,,dish4 ,with drainer having modelled trout painted in natural colours4 ,from ,flora ,danica service made for ,catherine ,,ii1 ,empress of ,russia4 7,at ,rosenborg ,castle1 ,copenhagen47 ,theodor ,holmskjold1 the ,botanist4--,the patron1 as we have seen1 was the ,crown ,prince ,frederik4 ,the artist entrusted with the painting of the work was ,a4 ,c4 ,ba er1 but the guiding spirit of the enterprise undoubtedly was ,theodor ,holmskjold1 who was a botanist of some distinction1 had studied under the world-renowned ,von ,linn at ,upsala1 and was his favourite pupil4 ,holmskjold1 a director of the factory throughout the great ,juliane ,marie period1 and almost to the end of ,mller's long control1 brought the scientific spirit of exactitude into the field of decorative art4 ,originally by name ,holm1 he took1 after his ennoblement in #agha1 the title of ,holmskjold4 ,he was professor of medicine and natural history at ,sroe1 the ,danish ,eton1 where he planned a botanical garden1 and later he took part in the management of the ,botanical ,gardens at ,copenhagen4 ,his work on ,danish ,fungi is distinguished by the artistic excellence of the illustrations1 which were made by ,ba er4 ,in #agfg he became postmaster-general of ,copenhagen4 ,in #aggb1 the year of the masked ball at ,christiansborg1 we find him cabinet secretary to ,queen ,juliane ,marie4 ,undoubtedly at that time the man of science put aside his dried specimens to join in the whirl of politics and ,court intrigue which ended in the seizure of ,struensee and ,queen ,matilda--the gallows-tree for the dictator and imprisonment for ,denmark's young queen4 ,the classification of fungi was seemingly little enough preparation for the pinking of ,court butterflies1 when plots of assassination were rife1 and when the actors' heads were not secure on their shoulders4 ,but ,holmskjold1 together with another student1 ,suhm1 the historian1 who came from his library and helped to make history1 ably acquitted himself4 ,he was a trusted confidant of ,queen ,juliane ,marie4 ,it was he who induced the queen to take up ,mller's company1 and himself 7then ,holm7 became one of the directors4 ,long after ,queen ,juliane ,marie's power had waned1 we find him true to his allegiance to her1 as in #agib he became chamberlain to her ,court4 ,his connection with ,mller was intimate4 ,a widower in #aghj1 ,mller married ,holm's somewhat elderly sister4 ,in brother-in-law ,holm ,mller found a good patron4 ,his position at the ,court1 his relationship with ,mller1 his intense desire to win renown for an enterprise to which he had himself obtained the royal appellation1 made him at once a powerful and interested ally4 ,he died in #agic1 before the final completion of the great service to which his influence had contributed so much1 but not before he had seen the establishment of the ,royal ,copenhagen porcelain under the rgime of ,queen ,juliane ,marie1 his mistress1 attain great eminence and distinction4 ,it is impossible to ignore ,holmskjold's special and particular influence on the character of the decorations of the great ,copenhagen ,catherine ,,ii service4 ,the personality of the botanist-director is here evident4 ,but apart from this individual influence1 in an examination of the causes likely to have contributed to the style of decoration employed1 passing mention must be made of the great national enterprise planned by ,oeder in #agfa3 the original idea being that all ,european ,governments should contribute to a series of volumes illustrating the complete flora of ,europe4 ,by this scientific co-operation duplication was thus to be avoided1 and each plant would be described once only4 ,denmark alone took sufficient interest in the botanical work to complete it4 ,austria touched the fringe of her flora with five hundred illustrations1 and ,russia contributed a hundred4 ,so the ,flora ,danica1 under the guidance of several generations of botanists1 ploughed its solitary furrow alone4 ,the first volume1 containing the first three parts1 was issued by ,oeder in #agff4 ,the plants were painted in situ by zealous artist-botanists who travelled to the remote districts of ,denmark4 ,this magnificent undertaking was in its earliest stages when the great porcelain service was in contemplation4 ,it is interesting here to note the further history of the great botanical work4 ,five parts were issued by ,o4 ,f4 ,mller from #agge to #aghg4 ,vahl1 the great botanist1 who died in #ahjd1 followed on by another five parts1 and the next seventeen parts1 extending over a period of thirty-five years1 were under the editorship of ,j4 ,w4 ,horniman1 who published a history of the progress of the work from its inception down to #ahcf4 ,by royal decree in #ahdg it was decided to accept illustrations of ,swedish and ,norwegian plants not found in ,denmark1 thus increasing the scope and value of the work4 ,it was to be completed in fifty-one parts1 and not until the year #ahhc was this great botanical work of the ,flora ,danica pronounced finished6 ,it will thus be seen that1 apart from ,holmskjold's special and particular predilections1 there were general and national impulses directed towards this work of exceptional character and of ,european importance4 ,it may readily be imagined that1 prior to the advent of the ,flora ,danica service1 the artists at the royal factory who painted flowers had1 under the vigilant eye of the specialist director1 to paint them from nature4 ,a convolvulus did not become so decoratively treated as to evade identification4 ,the ,greek honeysuckle pattern of conventional use would not have passed at ,copenhagen4 ,conventionality was as much eschewed in decoration as was the rococo in modelling4 ,it is thus evident that nature and nature study1 so remarkable and beautiful a feature in ,copenhagen porcelain1 owes not a little to the trained scientific vision of ,theodor ,holmskjold1 the botanist4 ,other factors enter into the question of the consideration of this ,flora ,danica service4 ,it is obvious that the national feeling in artistic and scientific circles was centred on nature and nature study4 ,jean-,jacques had shown mankind that ,dame ,nature was capable of being wooed with intense passion4 ,it was not until the late eighteenth century that the beauties of landscape began to be assiduously sought after4 ,travellers crossed the ,alps from one country to another and regarded the frowning mountain1 the sombre pass1 or the rushing torrent much in the same manner as the unpoetic mariner feared the hurricane4 ,nature in her majestic loneliness was appalling4 ,the sunny slopes of the ,apennines concealed volcanic terrors4 ,the smile of the blue ,lake of ,como was as treacherous as the dancing waves of the fickle sea itself4 ,lakes and mountains and mountain gorges were to be avoided2 no mortal had conceived the idea of discovering their beauty4 ,they were as fearsome as the ,pillars of ,hercules to the ,latin mariners4 ,illustration3 ,,cruet ,,stand4 ,from ,flora ,danica service made for ,catherine ,,ii of ,russia4 7,at ,rosenborg ,castle1 ,copenhagen47 ,in ,england1 ,thomas ,gray1 the poet1 made a journey into ,westmoreland and ,cumberland in #agfe to see the ,lake ,country4 ,his letters are the first note in ,english literature of man's kinship with nature4 ,it took a century for the modern thought to germinate--great men are part of the infinite1 brothers of the mountain and the sea4 ,as early as #agci1 ,gray's letters to his mother are filled with passages extolling the grandeur of the crags and precipices of the ,alps1 at a time when ,rousseau had not developed his later method1 and ,vernet had only commenced to paint the turbulent sea with ecstasy4 ,in ,denmark1 in #agij1 when the first model of the ,flora ,danica service was turned on the potter's wheel1 this inquiring and reflective spirit was in the air1 and the general tendency manifestly found a reflex in the great national service being manufactured at the ,royal ,porcelain ,factory4 ,the ,russian ,government had already entered into co-operation in a small degree in regard to bringing the records of the ,russian flora into line with that of ,denmark1 and ,catherine ,,ii1 as is known1 was the patron of the ,german naturalist ,dr4 ,p4 ,s4 ,pallas1 who1 in #aghd1 commenced a ,flora ,russica1 which was to eclipse anything yet attempted4 ,this was to be published at the expense of ,catherine4 ,at her wish ,pallas had in #agfh undertaken a scientific expedition to ,siberia1 which occupied six years4 ,in this connection1 therefore1 and knowing the ,empress ,catherine to be a votary of science and of art1 the services made in ,england1 ,france1 and ,denmark for imperial use were not undertaken without due consideration of this fact4 ,the ,svres service was embellished with the art of the schools of ,boucher1 ,lancret1 and ,watteau2 the ,wedgwood service was frankly topographical1 having painted copies1 in mulberry purple1 of old engravings1 and ,copenhagen was designedly botanical1 based on the coloured illustrations of the ,flora ,danica volumes4 ,the ,service4--,a notable visitor to the factory at the time of the inception of the ,flora ,danica service was the ,chevalier ,louis de ,boisgelin1 ,knight of ,malta1 who published his ,travels through ,denmark and ,sweden in ,english in two volumes1 at ,london1 in #ahaj4 ,the ,comte ,alfonse de ,fortia1 his fellow-traveller1 had previously published ,les ,voyages de deux ,franois dans le ,nord de l',europe4 ,as a trustworthy account of a contemporary eye-witness the opinion of de ,boisgelin is quoted3-- ,the most beautiful porcelain likely to be sent for a long time from this manufacture will be a complete service upon which is to be represented1 in natural colours1 all the plants of the ,flora ,danica1 with one upon each piece1 large or small1 according to the dimensions of the piece4 ,the name of the plant will be marked under the plate1 and the whole is to be classed according to the ,linnan system4 ,the drawings are traced with such wonderful accuracy1 that the most famous painters belonging to the manufactory would not undertake so difficult and slavish a piece of work4 ,this last statement as to the mechanical accuracy required in the painting of the flora stamps it as something outside the realm of the ordinary flower painter1 and indicates at once the extreme scientific definition of drawing required4 ,the ,royal ,copenhagen ,factory had come to be recognized by other ,continental factories as excelling in the modelling of flowers1 and as exhibiting truthful and natural beauty in their employment for decorative effect4 ,the originality of the shapes of this service in comparison with those of contemporary factories shows them to possess a fine reticence which does not detract from the grand and imposing character of the imperial service4 ,the border is a new and bold treatment with serrated leaf design1 richly gilded and having three rows of gilt pearls4 ,in point of decoration the new style is realistic1 but far too scientific in treatment4 ,as a service it is magnificent4 ,it amply fulfils the great and inspired conceptions of its originators4 ,luplau was still a modeller1 skilful and practised in his own field of dignified1 restrained1 and well-balanced forms compelling admiration1 and the bouquets and floral ornaments were modelled by ,sren ,preus4 ,in painted decoration the scientific atmosphere is only too evident4 ,ba er's pencil too faithfully followed the botanical volumes of the ,flora ,danica4 ,each piece is different2 the whole gamut of the flora was covered1 but each subject was obviously not equally suitable for decorative effect4 ,true decorative art1 however realistic1 is alien from scientific exactitude4 ,the plants with their roots1 leaves1 and cross-sections of the stems evade decorative treatment4 ,the scientific spirit is further exhibited in the written ,latin names and references to the text of ,flora ,danica appearing at the back of each piece4 ,but it must be reiterated that it was intended as a present to a votary of ,von ,linn1 and the scientific study of nature had challenged the capture of nature by art4 ,the magnificence of the great service is the magnificence of a great series of ceramic volumes1 reflecting in another medium the triumphs of the illustrated volumes of the ,flora ,danica4 ,it is the first instance of the ,copenhagen factory searching for designs in a domain foreign to the true natural sources of inspiration proper to the artist designer on porcelain4 ,another and later instance is the series of imitative porcelain statuettes after ,thorvaldsen's creations in marble4 ,,chapter ,,vi ,,early ,,blue-,,and-,,white ,,underglaze ,,painted ,,chapter ,,vi ,,early ,,blue-,,and-,,white ,,underglaze ,,painted ,the ,danish ,pattern--,the ,bornholm ,clay period--,peculiarities in marking--,table of ,marks 7old blue-and-white underglaze painted porcelain74 ,the blue-and-white underglaze painted porcelain of ,copenhagen has become recognized as characteristic of the royal factory and of ,denmark4 ,the original design is of ,chinese origin1 in common with other forms of decoration1 centuries old1 followed by all ,european potters in early days when the art of making true porcelain was discovered in the ,west4 ,but1 like many another transplantation in art1 it found congenial atmosphere1 and has become national to the country of its adoption4 ,the light1 graceful plant motif shown in the blue-and-white painted fluted porcelain is as welcome a sight to ,danes the world over as the slender twin spires of ,roskilde ,cathedral1 where the kings of ,denmark sleep in eternal peace4 ,the ,danish pattern bears in a measure a certain relationship to works in literature where the translation is greater than the original4 ,this is especially true when the work of a decadent period is translated into the richer tongue of a more golden age4 ,the ,english ,bible translated in the time of ,james ,i is richer in its fine wealth of prose than the original sacred tongues4 ,some arts have been lost4 ,it is said that the art of translation has never been discovered4 ,all have laboured after it in vain2 it is as hard to seek as hidden treasure1 and one never finds it4 ,but the ,royal ,copenhagen ,porcelain ,factory found the hidden treasure in the design which has grown into a thousand shapes inspired by the traditions of ,mller1 who laid the ,east in fee1 and whose successors true to his memory are not those ,who would keep an ancient form ,through which the spirit breathes no more4 ,from the manor farms of ,vendsyssel to the confines of ,danish-built ,altona1 from the white cliffs of ,men to the ancient roofed city of ,ribe1 the blue-and-white underglaze painted porcelain plates and dishes have been family heirlooms since the days of ,christian ,,vii4 ,illustration3 ,,group ,,of ,,underglaze1 ,,blue ,,painted4 ,bornholm ,period4 7,in ,museum of ,royal ,porcelain ,factory1 ,copenhagen47 ,illustration3 ,,early ,,plates4 ,painted in blue underglaze1 showing variation of national ,danish pattern4 7,at ,dansk ,folke ,museum1 ,copenhagen47 ,the ,flora ,danica service represents the greatest complete creation in the overglaze painted work of the royal factory1 and this blue-and-white stands as the greatest and most complete creation of the underglaze work4 ,it has been advanced1 and on sure grounds1 that this ,copenhagen blue-and-white porcelain1 with its continuity of national design extending in unbroken line for over a century and a quarter1 is the largest service the world has seen4 ,it has grown by steady process of evolution into thousands of well-defined forms1 rich in inventive modelling1 and keeping abreast with modern requirements1 and it is to this day decorated with the old pattern of the early days4 ,this of itself is an achievement not equalled by any other factory4 ,a ,copenhagen breakfast set of the twentieth century or a tte--tte tea service can stand beside eighteenth-century blue-and-white porcelain from the same factory1 and be in perfect harmony in colour1 in decoration1 and in character4 ,kindred and allied by birth1 ,and made of the same clay4 ,the ,danish pattern in blue was not long in attracting copyists from other ,european factories4 ,to-day in ,copenhagen itself ,english faience transfer-printed in blue stands as a trade imitation and a tribute to the genius and originality of its prototype4 ,possibly the potter plagiarists may never have heard of the pregnant words of ,goethe3 ,there are many echoes1 but few voices4 ,the ,bornholm ,clay ,period4--,mention has already been made1 in dealing with the early discoveries of ,mller and the experiments he made1 of the clay which he found in the island of ,bornholm4 ,this clay forms the body of some of the earliest-known pieces made by him4 ,it may be readily recognized by its heavy weight and by its grey tone4 ,it is easy1 after making an examination of a great number of specimens of the old blue-and-white ware1 to distinguish this ,bornholm period1 even although in the two years 7#aggc-agge7 prior to the adoption of the three blue lines as a factory mark1 some pieces bear no mark whatever4 ,it somewhat resembles certain heavy ,japanese ware in its compact and solid body and grey-blue colour4 ,the author has made a fairly exhaustive test of several hundred pieces1 both in public and in private collections4 ,the gradual development in regard to the perfection of the paste and the glaze is so noticeable that it is possible to place the old blue-and-white fluted ware in successive grades according to the stages of evolution4 ,at first coarse1 though never meaningless nor offensive1 when the ware was obviously in an experimental period1 it betrayed fire-cracks and warpings in form and slight departures from perfect symmetry4 ,later it became whiter and thinner1 and was manifestly more completely under the control of the potter4 ,when the perfected period was reached1 there were tea caddies1 pounce boxes1 and1 in particular1 certain dishes1 of which an example is illustrated 7p4 #afi7 which are not unworthy to be compared favourably with specimens of old blue-and-white ,worcester of the early period4 ,there is a delicacy and refinement in the modelling and potting1 and that tenderness in the glaze and thinness in the body which at once betoken that the technique has been subjected to the patient potter's control4 ,illustration3 ,,group1 ,,painted ,,in ,,blue ,,underglaze4 ,tea ,caddy1 circular4 ,mark1 three lines1 figure #a 7blue72 ,,ii 7incised74 ,teapot4 ,fine rich blue4 ,mark1 three lines and figure #c on lid4 ,tea ,caddy4 ,mark1 three lines1 figure #b and two lines 7blue72 ,t 7incised74 7,in ,museum at ,royal ,copenhagen ,porcelain ,factory47 ,illustration3 ,,dish 7,,national ,,danish ,,pattern71 ,,and ,,two ,,plates4 ,decorated with underglaze blue painting4 ,peculiarities in ,marking4--,for the first time in any treatment of the subject1 the potters and modellers' marks are given in a table appended to this chapter1 which the writer hopes will be found useful in identifying early examples4 ,these hieroglyphics1 usually accompanied by the factory mark of the three blue lines1 are painters' marks1 and in the case of incised marks are representative of the modellers or turners4 ,it may be possible1 upon further research being given to the subject1 to identify the individual marks of each painter or modeller1 and thus arrive at some more definite conclusion in regard to the date at which these early blue-and-white pieces were made4 ,but until the exact list of painters at the factory1 together with the dates at which they were employed1 is subjected to exhaustive research1 it is obviously impossible to establish more than the present series of marks1 with limited conclusions in regard to chronological order4 ,the marks now given have been specially drawn from old examples of undoubted authenticity4 ,there is one peculiarity in connection with the marks found on this early blue-and-white porcelain4 ,the bases are frequently ground1 and the factory mark of the three blue lines1 with an accompanying painter's mark1 are on the base1 with little spots of glaze put over them no bigger than a threepenny-piece4 ,another idiosyncrasy of ,copenhagen marks1 not confined to the blue-and-white1 is the almost hidden position in which some of the marks are found4 ,in overglaze painted figures the three blue lines will peep from beneath the hem of some garment4 ,in the blue-and-white examples the mark is sometimes found on the inside of the handle of a teapot or on a lid4 ,in some of the earlier pieces the blue mark has turned to black under the action of the oven4 ,similarly1 in the early days of experiments in connection with the perfecting of the blue1 a series of plates will be found of exactly the same decoration and bearing the same painter's signature2 but the caprice of the fire1 or the inexact knowledge of the craftsman1 has converted the blue of some of them into a very deep blue1 approaching black in tone4 ,there is no doubt that the old blue-and-white porcelain of ,copenhagen has not yet been exploited by collectors4 ,it came concurrently with the rich overglaze painting in colours and the magnificence of gilding for which the ,mller period is remarkable4 ,it stands quite apart2 its decoration is underglaze1 and not at that time1 nor since1 has gold ever been added to this mussel-blue painted and fluted utilitarian ware other than in very exceptional circumstances4 ,it is simple and delightful1 and what it was in the old days it is now4 ,the style of painted decoration is perennial4 ,it is a pattern known all over the world4 ,it has lived for a hundred and thirty-six years4 ,its life-history suggests the long-continued idealities of the ,chinese potter or the coloured intricacies of the ,persian rug-weaver continued by the wise children of clever craftsmen with equal fidelity from generation to generation4 ,,table ,,of ,,marks 7,old ,blue-and-white ,porcelain ,underglaze ,painted7 of ,painters and ,modellers1 found usually in conjunction with the ,factory ,mark of the three blue lines4 ,painter's mark in blue4 ,modeller's mark incised4 ,mark found on examples of the ,bornholm clay period1 see ,apothecary ,jar 7illustrated1 p4 #afa74 ,illustration ,on ,oval ,dish1 fine body1 and with scale pattern decoration in rich blue4 ,,mii 7incised74 7,illustrated1 p4 #afi74 ,illustration ,coffee ,pot1 ,bornholm period1 ,,ml incised4 7,illustrated1 p4 #afa74 ,illustration ,on a ,soup ,tureen1 marked at bottom of vessel inside4 ,illustration ,on a ,soup ,tureen1 at bottom of vessel inside1 ,,ti on base 7incised74 ,illustration ,bornholm period mark4 ,on a ,pounce ,box1 ,cup with spout and handle1 and other examples4 ,illustration ,on a ,plate with pierced edge 7illustrated1 p4 #afi74 ,illustration ,on a round ,inkstand ,three lines and cross 7in black74 ,k 7incised74 ,illustration ,on a ,pounce ,box1 at ,museum1 ,royal ,copenhagen ,manufactory4 ,l 7incised74 ,illustration ,on a round ,tea ,caddy1 with floral decoration4 ,,ii 7incised74 ,illustration ,on a ,tea ,caddy4 ,inside rim 7in blue74 ,t on base 7incised74 ,illustration ,on a ,small ,teapot4 ,moulded rosebud on lid4 ,figure #c 7in blue7 on rim of lid4 ,other mark on base 7in blue74 7,illustrated1 p4 #afg74 ,illustration ,on a ,compotier 7in blue74 ,at the ,museum1 ,royal ,copenhagen ,porcelain ,factory4 ,illustration ,mark 7in blue7 on ,plate with pierced edge4 ,illustration ,on a ,soup ,tureen and ,cover1 with lemon and leaves modelled on cover1 natural size4 ,figure #b 7incised74 ,illustration ,on a ,cup1 and other examples4 ,illustration ,on a ,plate1 at ,museum1 ,royal ,copenhagen ,factory1 and other examples4 ,illustration ,on ,cup1 of unusual decoration1 with blue banded ornament4 ,illustration ,on a ,fruit ,basket1 pierced work1 twisted handles1 and roses in relief4 ,w#b 7incised74 ,illustration ,on a ,jug at the ,dansk ,folke ,museum1 ,copenhagen4 ,illustration ,on a ,dish at the ,dansk ,folke ,museum1 ,copenhagen4 ,other numerals are found from #a to #g4 ,illustration ,,chapter ,,vii ,,the ,,successors ,,of ,m,,ller 7#ahbj-ahhj7 ,,the ,,decadence ,,chapter ,,vii ,,the ,,successors ,,of ,m,,ller 7#ahbj-ahhj7 ,,the ,,decadence ,battle of ,copenhagen1 #ahja--,nelson's ,letters to ,lady ,hamilton--,the so-called ,empire style--,the ,thorvaldsen period4 ,the great days of the ,mller rgime had come to an end4 ,a quarter of a century of brilliant success was followed by twice that length of gloom4 ,the ,arctic night of early nineteenth-century years had settled on art4 ,mller's retirement in #ahja was not the only contributory cause of the decadence of the factory4 ,the ,french ,revolution had shaken ,europe from end to end4 ,the ,napoleonic ,wars following in its wake disturbed serenity and repose in art and letters4 ,the fortunes of ,states were in the melting-pot1 and destiny was moulding men in plastic circumstance4 ,the storm cyclone had more than once centred around ,denmark4 ,the century opened ill for the fortunes of the factory4 ,in ,april #ahja a ,british fleet entered the ,sound and engaged in a great naval battle with the ,danish fleet4 ,i have been in a hundred and five engagements1 said ,nelson1 but that of to-day is the most terrible of them all4 ,the genius of ,napoleon conceived the idea of conquering the sea by the land1 to quote his own words4 ,paul ,i of ,russia became ,napoleon's ally and tool4 ,russia brought pressure to bear on ,sweden1 ,denmark1 and ,prussia1 and these ,powers were federated as the ,league of ,armed ,neutrality1 with the avowed purpose of challenging the maritime supremacy of ,england4 ,prussia marched troops into ,hanover4 ,russia seized all ,british ships in ,russian ports1 and every port from the ,north ,cape to ,gibraltar was closed against the ,british flag4 ,behind this combination was the brain of ,napoleon4 ,the story of the battle is well known4 ,the ,danes fought stubbornly4 ,the love of the fatherland and the flag1 the split flag of old ,denmark--the ,dannebrog--a white cross on a red field1 was stimulated by the poets of the day4 ,old memories were awakened of the days of ,juel1 ,hvidfeldt1 and ,tordenskjold4 ,workmen1 peasants from the farms1 and merchants from the city hastened to enroll4 ,the students of the university1 a thousand strong1 enlisted to a man4 ,the ,danish ships1 supported by the shore batteries1 lay in the shallow waters of the ,sound4 ,the attacking party had to navigate their ships through narrow and dangerous shoals4 ,on the church towers and roofs hundreds of spectators watched the great fight4 ,there was a dearth of seamen4 ,in some of the vessels there was1 so a ,danish account narrates1 only one sailor in twenty4 ,these raw crews were kept at their drill throughout the night prior to the battle4 ,illustration3 ,,large ,,porcelain ,,bowl4 ,painted in colours and richly gilded4 ,dated #b ,april #ahja4 ,with inscription in memory of the brave ,danes who fell at the ,battle of ,copenhagen 7,at ,dansk ,folke ,museum1 ,copenhagen47 ,writing to the ,times in #ahja1 an officer present at the engagement says3 ,the enemy made a very obstinate resistance and fought like brave men4 ,most of our ships are very much cut up 444 and the vessels which have been captured are perfect sieves1 there being hardly a single plank in any one of them but has at least ten shot-holes in it4 ,in fact1 it was the most dreadfully fought action that ever took place in the annals of history4 ,of the shattered prizes1 only one ,danish vessel was fit to be repaired and taken to ,portsmouth4 ,it was at this battle1 as every schoolboy knows1 that ,nelson disregarded ,admiral ,parker's signal1 ,i have only one eye1 he said1 turning to his captain1 and may be allowed to be blind on occasion4 ,placing the spy-glass to his blind eye he said1 ,upon my word1 ,i do not see any signal4 ,a young ,danish officer1 a lad of seventeen1 ,villemoes1 commanding a floating battery with twenty-four men1 stuck to his post till only four of his men remained4 ,nelson1 after the battle1 begged the ,crown ,prince to introduce the young officer to him4 ,the brave deeds of two great fighting races stand out on that day of awful carnage4 ,captain ,larssen1 after the battle1 when he appeared in the streets of ,copenhagen1 was the object of universal homage as the hero of ,bloody ,maundy ,thursday4 ,when he passed ,amagertorv1 the fishwives would rise and make him a deep curtsy4 ,yet he passed his days in straitened circumstances and died well-nigh forgotten4 ,no statue commemorates his memory4 ,but there is a ceramic record of that day of great battle4 ,we illustrate a ,copenhagen porcelain bowl1 with painted scene1 showing the ,dannebrog flying and the sea-fight in progress4 ,it was given1 painted in colours1 to the officers1 and uncoloured to the sous-officiers who fought on the #bnd of ,april #ahja4 ,there is one at the ,dansk ,folke ,museum and another at ,rosenborg ,castle1 and the few other bowls in private hands are highly treasured as heirlooms4 ,it is inscribed on a panel3-- ,tilegnet ,o4 ,fischer og alle brave ,danske4 ,kibenhavn #b ,april #ahja1 af ,roepstorff4 7,dedicated to ,o4 ,fischer and all the brave ,danes4 ,copenhagen1 #b ,april #ahja1 by ,roepstorff47 ,it is a sad story--the world-wide-empire dreams of one man had brought devastating ruin to friend and foe alike4 ,there are many memories of the ,battle of the ,baltic2 many links of friendship between the island kingdoms by the sea have been forged since then4 ,let us think of them that sleep ,full many a fathom deep ,by thy wild and stormy steep1 ,elsinore6 ,lord ,nelson's ,letters to ,lady ,hamilton4--,the letters of ,lord ,nelson at that date have an interesting reference to ,copenhagen porcelain4 ,apart from finding his portrait on ,staffordshire earthenware mugs and jugs as a national hero1 and commemorative of his victories1 he took a considerable pleasure in ceramic art4 ,in #ahjb he ordered a ,worcester service1 pieces of which are found in the cabinets of collectors4 ,his letters frequently contain references to his china1 e4g43 ,i send by the coach a little parcel containing the keys of the plate-chest and the case of the tea-urn1 and there is a case of ,colebrook ,dale breakfast set and some other things4 ,illustration3 ,,cup 7#ahcj-ahdj7 ,with view of ,kronborg ,castle1 with shipping on the ,sound4 ,painted in colours and richly gilded4 7,at ,dansk ,folke ,museum1 ,copenhagen47 ,after the ,battle of ,copenhagen one of his letters to ,lady ,hamilton is as follows3-- ,april #ad1 #ahja4 ,my dear ,friend1 ,i was in hopes that ,i should have got off some ,copenhagen china to have sent you by ,captain ,bligh1 who was one of my seconds on the #bnd4 ,he is a steady seaman1 and a good and brave man4444 ,another letter to ,lady ,hamilton1 written on the following day1 runs3-- ,st4 ,george1 ,april #ae1 #ahja4 ,my dearest ,friend1 ,i can get nothing here worth your acceptance1 but as ,i know you have a valuable collection of china1 ,i send you some of the ,copenhagen manufacture4 ,it will bring to your recollection that here your attached friend ,nelson fought and conquered4 ,captain ,bligh has promised to take charge of it1 and ,i hope it will reach you safe4444 ,ever yours1 most faithfully1 ,,nelson ,,and ,,bronte4 ,at this date ,mller had not retired from the factory1 and ,nelson undoubtedly procured some specimens of the best period4 ,it is a matter of conjecture as to whether these examples are now known and in what collection in ,england they may be found4 ,hardly had the echoes of the booming guns died away when ,copenhagen was again bombarded by a ,british fleet in #ahjg1 and the ,danish fleet captured to prevent it falling into the hands of ,napoleon4 ,a fire had consumed a quarter of the city in #agie1 and1 succeeded by these later calamities1 produced a condition of considerable distress and misery4 ,the porcelain factory had its share of disaster4 ,falling bombs did irreparable damage3 thousands of pounds' worth of porcelain and moulds were destroyed4 ,this last blow was indeed a terrible one for the factory1 and helped to complete its ruin4 ,illustration3 ,,plate4 ,painted with flower subject in natural colours overglaze by ,jensen4 ,date #ahbg ,rich gilding at border with apparently experimental designs4 ,mark three lines and in blue4 7,at ,museum1 ,royal ,copenhagen ,porcelain ,factory47 ,the so-called ,empire ,style4--,but there came another ,continental movement inimical to art in no less degree than war--the great inventive spirit which produced the age of machinery4 ,art grew impoverished and unfertile4 ,genius seemed to have descended on the workshop and the loom4 ,the painter1 the designer1 the creator of forms1 and the artist in colours lived in a nightmare of banalities4 ,in regard to ,england1 this industrial revolution has been a most powerful factor in stifling art4 ,in ,denmark1 happily1 this problem has not even yet come with overwhelming force1 as there are no mines1 no copper1 iron1 or coal1 and the shadowy side of scientific invention and deadening commerce has not darkened the artistic horizon4 ,in considering the ceramics of ,denmark1 it should be borne in mind that1 owing to an isolated northern position1 artistic movements affecting the great ,european centres were slower in obtaining a foothold in ,copenhagen4 ,this in a great measure explains the steady growth of national art on its own lines4 ,it was not until #ahbd1 when ,g4 ,hetch became director1 that the ,copenhagen factory commenced to produce designs1 then almost disappearing in other parts of ,europe1 in the ,empire style4 ,count ,caylus in ,france and ,winckelmann in ,germany in middle eighteenth-century days had heralded the oncoming classic movement which had its furore of simplicity under the ,empire4 ,sir ,william ,hamilton and ,wedgwood had carried on the traditions in ,england4 ,the ,copenhagen factory at this date followed the decoration of ,berlin and ,vienna4 ,a ,cup of this period 7#ahcj-ahdj7 is illustrated 7p4 #ahe74 ,this cup is heavily gilded in the prevalent atrocious style4 ,it is finely painted in natural colours1 having a marine scene representing the ,castle of ,kronborg1 with the ,sound1 and a vessel in full sail4 ,it was here on the ramparts that ,hamlet met the ghost of his father4 ,to-day the ,danish soldiers in blue uniform keep sentry-go on the platform of the bastion4 ,the bugle-call echoes across the ,sound1 and the grey frowning walls hold the mystery of the poet's dream4 ,one recalls ,hamlet's vigil here1 with his ,the air bites shrewdly1 it is very cold1 and ,horatio's reply1 ,it is a nipping and an eager air1 and the angry waves beating below and the gathering storm from the north complete the picture4 ,we recollect the words-- ,the king doth wake to-night1 and takes his rouse1 ,keeps wassail1 and the swaggering up-spring reels2 ,the kettle-drum and trumpet thus bray out ,the triumph of his pledge4 ,and remembering1 fall in a muse1 to be aroused by the note of the bugle and the clash of arms of the guard4 ,illustration3 ,,figure ,,of ,,mercury4 ,after ,thorvaldsen4 ,white porcelain unglazed4 ,it was here that ,charles ,,xii of ,sweden came with an army to lay siege1 and the place where the manacled prisoners sat in the chapel is yet another link between yesterday and to-day4 ,here1 too1 is the tiny room1 the prison of the young ,queen ,caroline ,matilda1 with barred window1 overlooking the stormy sea4 ,the picture of ,kronborg ,castle on a cup conjures up a list of tragic memories4 ,it is meet that it should find a record in ,copenhagen porcelain4 ,it is a page from ,danish history4 ,illustration ,illustration ,plates of this period show the heavy style that had descended on the factory4 ,deep gold bands enclose a circular picture1 painted in a warm brown colour by ,garmein about #ahbj-ahbe4 ,they are mainly topographical in character4 ,a plate painted by ,jensen is signed with his initial1 together with the three blue lines as a factory mark 7illustrated1 p4 #ahi74 ,it is a fine flower-subject in natural colours1 representing primula1 blue flowers1 and daffodil4 ,the border is richly gilded and has three distinct patterns2 it evidently has been used as an experimental piece4 ,it is now in the ,museum at the royal factory4 ,there are other plates painted in colours by ,l4 ,lyngbe1 in #ahca and #ahcc respectively1 bearing his initial ,l4 ,they are decorated in rich gilding by ,brandstrup4 ,one represents ,sroe 7with title on medallion71 the ,eton of ,denmark4 ,the other is of ,prince's ,palace1 ,christiansborg1 ,copenhagen4 ,the ,thorvaldsen ,period4--,in #ahfg the factory came under the control of ,a4 ,falck1 and the director ,holm1 although not capable of raising the artistic output to its old level1 introduced a new feature in a number of biscuit figures after ,thorvaldsen1 the great ,danish sculptor4 ,we reproduce the well-known figure of the god ,mercury1 as indicating the beauty of these productions4 ,interesting as they are1 and undoubtedly possessing great delicacy as replicas of masterpieces of another art1 the decadent note is still present in denoting that the modellers had to seek inspiration elsewhere4 ,it is pleasurable to be able to collect a miniature gallery of ,thorvaldsen's work in porcelain1 but the potting and modelling of them added nothing to the creative faculty of the artists at the factory4 ,the only productions of importance now conducted were an occasional jubilee or presentation vase made from ,hetch's old moulds1 decorated with a view of some villa or some edifice associated with the person who ordered the vase4 ,they were usually covered with lilac or purple ground and profusely gilded4 ,the flame had not gone out1 but it was flickering fitfully1 and the artistic impulses in painting1 and the poetry that had never died in ,denmark1 were stirring to kindle the fire into renewed life4 ,since ,hyen1 the historian1 delivered his lecture in #ahdd ,on the ,conditions for the ,development of a ,national ,scandinavian ,art1 artists had turned homewards4 ,there was the national spirit of the northern people1 the peasants and the fisher-folk1 to make the ,danish genre picture4 ,there was nothing northern to be found in ,rome4 ,eckersberg had indicated the way1 and with the study of man came the study of nature4 ,johann ,thomas ,lunbye1 with his cattle and his forest landscapes1 caught the somnolent air of cattle before ,troyon had set the fashion in ,france4 ,peter ,christian ,skovgaad interpreted the spiritual beauty of the ,danish beech-woods2 his favourite light was the cold pale day of the northern sky with its sober blue4 ,kroyer1 with his ,skagen ,fishers at ,sunset1 and his ,fishermen setting out by ,night1 surrounds the ,dansk ,folke with mystery and poetry4 ,to these days belong the rejuvenation of ,danish art1 and what the painter was doing on his canvas the ceramic artist was shortly to do on his vase and on his placque4 ,the dawn of the ,renaissance was at hand4 ,,chapter ,,viii ,,the ,,modern ,,renaissance ,,chapter ,,viii ,,the ,,modern ,,renaissance ,the after-effects of war--,philip ,schou1 ,councillor of ,state1 rebuilds the factory--,arnold ,krog appointed art director--,a new technique developed--,triumph of modern ,copenhagen porcelain--,the new impulses stimulate other ,european potters--,a new note added to ,european ceramic art--,the avoidance of classic or stereotyped styles--,the idiosyncrasies of ,copenhagen--,intense national sentiment of ,copenhagen--,marks of leading painters and modellers4 ,on the threshold of the great ,renaissance of art which re-established the name and fame of the ,royal ,copenhagen ,factory1 it is necessary to look at the subject from more than one point of view4 ,the fire which ,mller had lit had been burning dimly2 indeed1 save for the blue-and-white utilitarian ware1 it had almost gone out4 ,the ,copenhagen factory was a century old in the seventies4 ,most of our ,english porcelain factories had put out their furnaces for ever4 ,chelsea1 ,derby1 ,plymouth1 ,bristol1 and ,bow had entered that ghostly realm where collectors snatch at the body of the potters and posterity portions out the inheritance of the departed great4 ,the years of the ,english porcelain factories1 with their triumphs and their decadence1 were compassed within the span of a man's life4 ,plymouth and ,bristol1 the only hard-paste factories1 together ran less than twenty years4 ,bow succumbed in less than half a century4 ,chelsea existed only thirty-nine years1 and ,derby1 with all its vicissitudes of fortune1 changing hands many times1 never reached a century old4 ,the ,worcester factory is the only ,english porcelain factory in existence to-day with a history which goes back to the middle years of the eighteenth century4 ,illustration3 ,,placque4 ,,wild ,,geese ,,on ,,ice4 ,painted in underglaze colours by ,arnold ,krog4 ,period #ahia-ahie4 ,the half-century from #ahbe to #ahge1 not only in ,copenhagen but in every part of ,europe1 represents a dead level of banality in art4 ,sporadic attempts to awaken enthusiasm or to stimulate public interest fell on stony ground4 ,genius unrequited1 and hardly recognized1 consumed its life energy in solitary grandeur in many a lonely furrow4 ,the period is bounded on the one side by the ,napoleonic ,wars1 and on the other by the ,crimean ,war and by the ,franco-,prussian ,war4 ,in ,england1 artistic impulses were stifled by the rapid progress of the age of machinery1 led by the ,manchester school of thought--,ricardo and ,john ,stuart ,mill4 ,a soil so sterile as this was incapable of producing the highest artistic results4 ,the treasuries of many of the great ,european ,powers had been drained almost to depletion by vital wars1 and the little kingdom of ,denmark had her share of political troubles4 ,the war-cloud had settled on the isthmus of ,schleswig-,holstein4 ,prussia and ,austria and ,denmark were whirled in a maelstrom of incessant warfare concerning the duchies of ,schleswig-,holstein4 ,all the ,great ,powers became involved4 ,for forty years the struggle in one form or another broke out anew like a smouldering fire4 ,it was not until #ahff that the ,treaty of ,vienna definitely assigned the future of the duchies to the ,powers4 ,this is not the place to discuss the rights and wrongs of a prolonged struggle by ,denmark against more powerful neighbours1 but in consequence of the widespread arena of conflict1 from ,missunde to ,jutland1 and the large war indemnity paid1 it is manifest that the fine arts came very near extinction in such troublous times1 when blow upon blow was rained upon the kingdom of ,denmark4 ,the fortunes of the factory were at a low ebb1 as we have seen in dealing with the decadent period4 ,but in #ahhc the models1 stores1 and other effects of the factory were sold to the limited company ,aluminia4 ,from this date a new future commenced for the factory4 ,philip ,schou rebuilds the ,factory4--,the hour demanded the man1 and the man was ,philip ,schou1 who came as the pioneer of modernity4 ,in the outskirts of the capital1 close to the park of the ,castle of ,frederiksberg1 large buildings were erected1 containing workshops provided with the latest improvements in machines and kilns of the newest designs4 ,the ovens were much larger than the older type1 and designed to hold about #ae1jjj pieces of average size4 ,these drastic changes at the dawn of the ,renaissance1 entirely due to the foresight of ,schou1 necessitated the expenditure of a considerable amount of money4 ,it is not surprising to find that during the first years the undertaking1 from a financial point of view1 did not prove successful4 ,this1 at the time1 except to ,schou1 may not have been recognized as the happiest omen1 but it is a postulate that art and commercialism do not usually thrive together4 ,it was the same in ,mller's day2 it has always been an admitted fact1 and it always will be acknowledged that the cloven hoof of commercialism has marked the oncoming of a decadent period4 ,but ,philip ,schou had ambitions and desires which no reverses could thwart4 ,his practical grasp of the situation and his perspicacious conception of future possibilities1 which have now been realized1 stamp him as a man possessed of that rare combination of poetry and practicability which marks the pioneer of any great enterprise4 ,illustration3 ,,placque4 ,with autumnal scene painted in underglaze colours4 ,by ,arnold ,krog4 ,period #ahif-aijj4 ,there are triumphs of great business organization which compel our admiration in no less degree than artistic achievements won in equally adverse conditions4 ,to build up the decayed fortunes of a moribund art1 to combat financial disaster and impending ruin1 require indomitable courage and intensity of application which cannot be classed other than as genius4 ,the great period of ,mller and the great triumphs were sinking into oblivion4 ,of the once famous factory it seemed as though little might be left but the name4 ,the old models of beautiful symmetry had long been set aside or even destroyed4 ,the favourite blue-and-white service1 the national pattern treasured as the remaining heirloom1 had lost all its style and harmony4 ,haphazard conditions prevailed and slovenly results predominated4 ,originality had taken wing and deserted the old factory4 ,the old mussel design was painted on any form that found its way into ,denmark from other factories4 ,copenhagen was content to follow1 and leave art and prestige to take care of themselves4 ,now and again artistic productions1 such as a wedding or a jubilee vase made from the old moulds1 like milestones1 marked the road4 ,with this material1 with its poverty of art and paucity of ideas1 the new director1 shrewd and energetic1 saw that no headway could be made4 ,a demand for artistic and original decoration of articles of domestic use and luxury was just making itself felt1 and there was some talk of creating a national ,christian ,,vi style4 ,but the factory has accomplished something greater--it has created a ,european style4 ,the early days of the factory1 with its new impulses and its youthful spirit of modernity1 are reflected at once in the first attempts to inaugurate something of artistic and permanent value4 ,the comparison between ,schou and ,mller holds good in many respects4 ,they both were men in advance of their day4 ,they were builders1 not only in the sense of being pioneers of an artistic industry1 but in the practical sense of laying down ovens and expending money on valuable plant as a means to the great end they had in view4 ,the struggle against adversity1 the accumulating cloud of financial losses1 the want of outside support1 are common factors in both these men's sturdy fight against failure4 ,mller had to combat the inheritance of failure left by ,fournier1 and ,philip ,schou had to overcome the deathly inertia that had paralysed the factory during the decadence4 ,it is not easy to find co-operation in face of a general tendency in an opposite direction4 ,mediocre minds find it more congenial to float unconcernedly with the stream4 ,schou was the strong swimmer fighting against the current4 ,there is one other point where he claims kinship with ,mller2 he was felicitous in the selection of his lieutenants1 and his choice of artistic assistance to further his ambitions was as wise as it was phenomenally prescient4 ,illustration3 ,,placques4 ,painted in underglaze colours4 ,diameter #i inches4 ,kestrel by ,v4 ,th4 ,fischer4 ,meadow with farmhouse by ,c4 ,f4 ,liisberg4 ,arnold ,krog appointed ,art ,director4--,in #ahhe ,arnold ,krog became an artist at the factory4 ,trained as an architect and a painter1 he had already spent five years in the restoration of ,frederiksborg ,castle1 and like those old ,italian craftsmen who made all art their domain1 he came to the decoration of porcelain with instinctive appreciation of its qualities4 ,a happier combination than this could not have been desired4 ,schou1 the business head1 the man of strength of purpose1 tenacity of will1 battling with stern facts and figures1 and ,arnold ,krog1 the artist and dreamer1 inventing new forms1 wrestling with technical problems with a practical skill wedded to poetic impulses4 ,the days of early ,renaissance were filled with eager incessant work1 and whatever difficulties surged up to the doors of the factory1 ,schou resisted them bravely4 ,he believed in the future of the factory1 he believed in the work of the artists4 ,it was this great proud belief of a great man in his life's work that created the second great period in the history of the ,royal ,copenhagen ,porcelain ,factory4 ,this quotation from a fellow-worker of that date shows how lovingly his memory is still cherished3 ,optimistic and broad-minded man as he was1 he firmly believed that the factory would succeed in spite of all difficulties4 ,he did not look for immediate profit1 but left us to work in peace1 undisturbed by all the anxieties and pecuniary difficulties with which he1 as managing director1 must have had to contend4 ,a ,new ,technique developed4--,in regard to the direction in decoration which the new porcelain took1 it is interesting to realize how distinct a departure this was from contemporary art4 ,the moment that ,arnold ,krog awakened to the fact that the body of the porcelain is smooth1 white1 hard1 and of surpassing beauty1 that moment determined its future4 ,to cover it with colours or with gold in the overglaze style1 as his predecessors had done1 was at once to extinguish its innate loveliness4 ,if blue dots and lines could be painted on plates1 surely1 thought the new art director1 other artistic designs could be produced in the same manner4 ,from these premises the principle of underglaze painting was accepted1 and has been since followed so successfully4 ,the determination of the method employed immediately led to the inquiry as to the exact definition such painting was to take4 ,the difficulty now was to decide what to paint4 ,it was obvious that mere ornamentation would lead to nothing new4 ,could ,europe teach ,copenhagen anything8 ,it apparently could1 at that stage4 ,accordingly1 ,philip ,schou and ,arnold ,krog made a tour of ,holland1 ,belgium1 ,france1 and ,england1 and visited many of the leading factories4 ,at the ,antwerp ,exhibition they saw many beautiful things from ,svres and the other great ,european factories1 but they had to admit that their journey was in a great measure fruitless1 as they did not discover what they sought--new impulses for original work4 ,it was not enough that all traditional arabesques and scrolls should be discarded3 the plain white resplendent surface of the ware demanded its place in the scheme of decoration4 ,at ,paris1 ,arnold ,krog visited the collection of ,m4 ,s4 ,bing1 who had just returned with rich treasures of ,oriental art from ,china and ,japan4 ,these masterpieces in bronze1 earthenware1 porcelain1 and ivory1 together with drawings and colour-prints with endless variety of composition1 brought with them an atmosphere of ancient culture1 artistic genius1 and unerring instinct1 and to the mind capable of unlocking the mysteries of the old unexplored ,east they revealed their secret4 ,the immediate results indicate clearly enough that ,copenhagen had not jumped a claim and found treasure-trove upon which she could live till others gained the secret4 ,there was no slavish imitation of the designs of the ,oriental potter1 as was the case with ,svres and with ,worcester4 ,with true vision1 the results of the ,east were traced to the original source of inspiration1 and henceforth ,nature in all her forms1 in all her varying phases and moods1 became the mirror into which ,copenhagen looked to see herself reflected4 ,with such an ideal before the factory there was work enough for all and much to be accomplished4 ,the records of this period show the incessant labours of all concerned in building anew the fortunes of the factory4 ,liisberg the sculptor was appointed modeller1 and a young apprentice1 ,hallin1 was made his assistant4 ,the extreme difficulty of the technique offered frequent disappointments4 ,the tone is determined by the exact thickness of the layer of pigment applied1 and it is impossible to distinguish between the different shades before the firing has taken place4 ,the only guide in this work is a fine instinct4 ,but the enthusiasm of the little band of workers1 modellers and artists1 was not damped by the vagaries of the furnace4 ,with little enough by way of precedent to guide them1 they attained a sure and unerring technique and a complete mastery over the idiosyncrasies of the medium in which they worked4 ,these early years of intense application have created traditions for the factory1 and the days of ,philip ,schou stand as never to be forgotten in the strenuous outburst of initiative industry which has raised a monument to ,danish handicraft and culture4 ,in #aijb ,philip ,schou resigned his position as managing director1 and it is pleasurable to record that in a full and complete life he has seen his early dreams realized4 ,he received decoration at the hands of foreign ,governments1 and in #ahhh was made a knight-commander of the ,legion of ,honour4 ,copenhagen porcelain had won ,european distinction1 being acclaimed as adding new impulses and teaching a new technique to the older factories4 ,illustration3 ,,placques4 ,painted in underglaze colours4 ,diameter #i inches4 ,bird subject by ,v4 ,th4 ,fischer4 ,cow in meadow at edge of lake by ,g4 ,rode4 ,the early successes of the porcelain were as surprising to the leading experts of ,europe as they were gratifying to the pioneers of the ,copenhagen ,renaissance4 ,it is an interesting fact that the first piece painted in underglaze colours was bought in ,september #ahhe by the ,duke of ,sutherland1 whose yacht was lying in the ,sound4 ,the ,duke paid a visit to the royal factory1 and although at that time only three pieces were finished1 he carried off a specimen decorated with a stork flying over a lake4 ,such an historic piece as this is now worth a considerable sum4 ,triumph of ,modern ,copenhagen ,porcelain4--,at the great ,international ,exposition at ,paris in #ahhi1 the ,royal ,copenhagen exhibit attracted unusual attention4 ,although the factory was not then in a position to make a grand show of large or costly pieces1 ,french collectors and connoisseurs besieged the show-cases1 and the demand far exceeded the supply1 ten times the price asked being offered in many instances by disappointed collectors4 ,within fourteen days of the opening of the ,exhibition everything of any artistic value was sold4 ,coupled with this commercial success came the award of the ,grand ,prix d'honneur1 a rare distinction at that time1 especially for so small an undertaking4 ,at this ,exhibition the coloured crystalline glazes were shown for the first time4 ,these1 now so well known in the adoption by most of the leading factories of the world1 were discovered in #ahhf by ,clement1 the chemist at the ,royal ,copenhagen ,factory1 and perfected by his successor1 ,hr4 ,engelhardt4 7,this crystalline ware is dealt with separately in ,chapter ,x47 ,the days of the early ,renaissance were full of promise--a promise that has not been unfulfilled4 ,the old factories1 with traditions of a century and a half1 threw off their lethargy at the trumpet-blast of modernity4 ,the ,copenhagen factory was like the fairy prince of the romantic tale who blew the magic horn and awakened the sleeping princesses4 ,the ,new ,impulses stimulate other ,european ,potters4--,art criticism of this period abounds in glowing tribute4 ,m4 ,edouard ,garnier1 one of the directors of the ,svres factory1 wrote in the ,gazette des ,beaux ,arts in #ahhi3 ,not one of the foreign porcelain factories which in #ahgh threatened to become dangerous rivals to us seems to have made any progress2 on the other hand1 the beautiful exhibits of the ,royal ,porcelain ,factory of ,copenhagen are quite a revelation to us3 they show quite a new spirit in the art of porcelain-making4 ,among the varied developments at this time considerable attention was given to the form of the blue-and-white mussel-painted ware1 and a wonderful variety of shapes followed each other in quick succession4 ,all the old artificial and oftentimes meaningless designs which had crept in during the decadent period were discarded1 and were replaced by tasteful and natural designs which were conceived with a view to the characteristic lines in their decoration4 ,the great and wonderful inventiveness and rich variety of this table ware in its thousand forms are therefore the consummation of the incessant search for truth and symmetry and beauty which characterized the early ,renaissance period4 ,illustration3 ,,placque4 ,painted in underglaze colours1 by ,c4 ,liisberg4 ,diameter #ab inches4 ,if proof be needed of the great influence ,copenhagen art exercised on contemporary ceramics1 the proof is ready to hand4 ,just eleven years after the ,paris ,exposition of #ahhi came the great ,exposition of #aijj1 and an examination of the grand-feu specimens of the ,svres factory shows to what extent the delicate tones of the new ,copenhagen technique in underglaze painting had affected the ,french potters4 ,crystalline glazes had by this time been developed4 ,in #ahid ,m4 ,edouard ,garnier1 of the ,national factory at ,svres1 in again passing judgment upon the work of ,copenhagen1 refers to the fact that two specimens exhibiting marvellous skill in the execution--the ,flight of the ,sparrows and the ,lilacs--were bought for inclusion in the modern collection of ceramic art of the ,svres ,museum1 and to this museum ,hr4 ,philip ,schou sent the first specimens of varied colorations au grand feu and the experiments made by ,hr4 ,engelhardt of full or partial crystallized glazes4 ,in regard to the general atmosphere of the grand-feu ceramics1 the ,svres factory had by #aijj1 the year of the ,exhibition1 turned with such fond eyes to ,copenhagen that the results then offered1 triumphs though they were1 reflected something more than usual of the ,northern spirit4 ,for instance1 one remembers the two great biscuit groups in hard porcelain for table decoration at the lyse1 by ,frmiet1 the master sculptor4 ,these were #d feet #h inches in height1 and were marvels of fabrication4 ,the one was the ,athenian ,minerva1 and the other the ,scandinavian ,diana standing in her chariot1 with a hound at her feet and driving two reindeer4 ,these were the first pieces of so great a size ever made in biscuit at ,svres4 ,figures of ,northern animals followed the success of the factory by the ,baltic1 and there was one1 a ,wolf tracing human steps in the snow1 by ,m4 ,valton1 which won commendation4 ,nor was this all4 ,the grey tones were successfully reproduced in the ,danish ,dogs1 by ,gardet4 ,there is no greater tribute to pay to the inspiring genius behind the ,royal ,copenhagen ,factory than to enumerate these instances of old factories with the prestige of ,svres and ,meissen hailing the newly awakened spirit of a younger factory4 ,on every side1 in these days1 came the tribute of praise generously given by masters of technique and by rival workers in art4 ,the ,renaissance was something more than a name--it had become an accomplished fact4 ,the great achievement of the modern ,renaissance period is the creation of a new technique in underglaze decoration1 which has added something to modern ,european ceramic art4 ,the underglaze blue1 employed at the old royal factory by ,mller1 was familiar from early ,meissen days4 ,but the revelation that underglaze painting of landscape had become something more romantic than ,chinese prototypes was a fact only realized after ,copenhagen had made successful experiment4 ,the landscape of the ,oriental potter1 at the best1 had something of formality and followed a convention alien to ,western laws of perspective4 ,differing essentially from the enamel colours of the overglaze ,continental work1 and not less so from the glost-kiln colours of the ,english factories in their underglaze work1 the grand-feu colours1 with their scheme of harmonies imparted something fresh and original to the art of the modern potter4 ,it is1 therefore1 of great interest1 commingled with considerable speculation1 to contemplate the various stages of evolution of this characteristic style1 and to await the future phases of its development4 ,in reviewing the work of this ,renaissance period1 an attempt has been made by the writer to arrive at some conclusion as to that exact point of time at which the genius of the factory reaches its whitest heat during a brilliant quarter of a century of work4 ,in a rich field of design which exhibits so much character and freshness1 when new surprises may come forth from the oven at any moment1 no inconsiderable difficulty presents itself in selecting any period where the work is more excellent4 ,happily1 in contemplating the underglaze productions of ,copenhagen1 there is an extended period which may be passed in review4 ,it is perhaps natural1 when making tests of the general output of work1 to select the middle years as productive of ceramic art of the highest order4 ,there is the advantage in point of date of being able to apply a standard to it1 either side by side with earlier work1 or in comparison with later creations in the same style of decoration by the same band of artists and modellers4 ,the number and character of the decorative pieces produced at the ,royal ,copenhagen ,porcelain ,factory during the ten years from #ahif to #aije1 to which the highest praise has been given1 seem to indicate that a close investigation of the details of the work of the individual modellers and artists might with advantage be pursued by those cosmopolitan collectors intent on acquiring masterpieces representative of the highest modern ceramic art4 ,illustration3 ,,placque4 ,,snow ,,scene ,,with ,,setting ,,sun4 ,painted in underglaze colours4 ,signed ,a4 ,smidth4 ,personal tastes and predilections are not unimportant factors in passing judgment upon the present-day work of the factory1 but the authorities of museums in various parts of the world1 whose standard is a high one1 have not hesitated in selecting modern examples of ,royal ,copenhagen porcelain4 ,in following the trend of the development of the porcelain since the great outburst in #aijj1 when at the ,paris ,exhibition by general acclamation ,copenhagen was acknowledged to be ahead of all other ,european factories1 disinterested critics and less disinterested competitors have eagerly watched the progress of the ,danish ware4 ,art requires no passport to cross international barriers1 and foreign experts have enthusiastically admitted that the work of ,copenhagen is of surprising beauty4 ,at successive exhibitions1 when nation has stood in friendly rivalry with nation1 the ceramic record of ,copenhagen has not been dimmed by equal work4 ,so far it is still in advance of every one in ,europe4 ,imitators it has1 and1 as the old adage puts it1 imitation is the sincerest form of flattery4 ,the question is always asked of factories with a past1 whether it be ,svres or ,meissen1 ,wedgwood or ,worcester--,is the work of to-day an echo of past glories1 has the lamp burned dim1 is the sacred fire still alight8 ,in regard to other factories this is not the place to make any pronouncement1 nor is it impossible to say that at any moment the spirit of the presiding genius of these great factories with great traditions may awaken to inspire anew the modern potters upon whom the mantle of succession has fallen4 ,to cover ,european factories in a survey is often to come upon silent and deserted temples with decrepit worshippers offering sacrifices to a dim and distant past4 ,but the oracle may yet speak4 ,it is here that ,copenhagen1 with its great period of overglaze work1 under the ,mller rgime1 holding equality with the great factories of its day1 as we have shown in earlier chapters1 now comes forward with a second great period of underglaze work1 bearing no immediate relationship with the first4 ,holger ,danske has awakened to give magic potency to the ,danish art4 ,the following are the chief characteristics of ,royal ,copenhagen porcelain4 ,it is always hard fired au grand feu1 and the various classes of the underglaze decorated ware may be summarized as follows3-- ,underglaze ,painted ,i4 ,individual ,pieces4 ,vases and placques signed by the artists who have painted them4 ,such unique specimens of personal work are never reproduced4 7,a list of artists1 with facsimile reproductions of their signatures1 will be found at the end of this chapter47 ,,ii4 ,general ,art ,objects4 ,vases1 placques1 bibelots1 and ornamental subjects4 ,these are designed with a view to general production1 and this practice has originated since #ahic4 ,illustration3 ,,placque4 ,with geese and landscape painted in underglaze colours4 ,signed ,c4 ,f4 ,liisberg4 ,in this class may be included the collection of ,commemorative ,placques designed by ,arnold ,krog4 ,the number struck of these is limited1 and they are never repeated after the occasion for which they were made 7see p4 #bdc74 ,more strictly utilitarian ware is represented by the continuous output of the blue-and-white fluted service1 to which new forms are constantly being added4 ,,iii4 ,figure ,subjects4 ,peasants1 children1 and animal life--quadrupeds1 birds1 and fish--all modelled directly from nature4 ,,iv4 ,vases and ,modelled ,subjects with ,coloured or ,crystallized ,glazes4 ,this style was commenced at ,copenhagen as early as #ahhf1 and is described in detail1 ,chapter ,x4 ,overglaze ,painted ,porcelain ,revival of porcelain in the style of the ,juliane ,marie period1 modelled and decorated from old and rare examples4 ,this is the latest phase of development4 99 99 99 99 99 ,in tabulated form some conception may be formed as to the classes into which the work of the modern ,renaissance may be divided4 ,something must be said about the immediate causes which directed the line of progression and advancement in the course it has taken4 ,the principles of decoration especially applying to porcelain1 smooth1 white1 and hard1 such as this1 have been realized to the full by ,arnold ,krog1 the art director of the factory4 ,the uttermost developments of the underglaze painting are governed by the axiom that such a fine body as that of the ,copenhagen porcelain is instantly destroyed by being covered with colours or with gilding4 ,the old ,danish mussel-blue painted underglaze dinner ware is the skeleton upon which the fabric of the modern ,renaissance movement has been built4 ,the ,avoidance of ,classic or ,stereotyped ,styles4--,something of the forcefulness of the originality of ,copenhagen may be gathered from a brief hypothetical survey of what divergent paths design might have taken even at that critical moment when it was determined to employ the underglaze colours for decorative landscape subjects4 ,the conventional panel might have been still employed1 and with it the formal scenes of gardens with cavaliers and ladies1 bringing the ,chinese landscape subject into ,western perspective1 and at the same time eschewing the vivid colours of ,svres or ,meissen4 ,or underglaze painting1 in blue and the other grand-feu colours1 might have found itself in panels supplemented by overglaze enamel colours of bright tone1 in floral decoration1 or il-de-perdrix and other luscious patterns1 and richly gilded4 ,it might1 not unnaturally1 have appeared to be a safer beginning to develop the ,danish conventional pattern into something more intricate in design1 with geometrical borders and formal floral painting or with old ,scandinavian interlaced designs of ,runic character1 exhibiting the newer advance of underglaze treatment4 ,copenhagen1 with wise rejection1 took none of these courses1 and the ,renaissance leapt into being not only with new applications of underglaze painting1 but with a complete and rapidly perfected theory wherein the subject became a ceramic poem4 ,throwing all convention to the winds1 it brought tone to underglaze painting1 and within the limits of the potter's technique1 the same relative atmospheric quality to the decorated vase or placque as there is on the canvas of the painter4 ,the porcelain found itself in an incredibly short time1 and rapidly passed through its initial stages4 ,the first light had come from the ,east4 ,the influx into ,europe of some of the finest art work of ,japan had a marked effect on design4 ,but ,krog's genius was too original to snatch at the body2 he caught the spirit of the best1 and the first attempts have a slight indication of their origin1 till with full strength ,copenhagen needed no guiding hand to lead her to the inspiration of all true design4 ,the simple forms of nature were translated into ceramic art1 and the melting1 dreamy1 sad-hued porcelain was imbued with the subtle effects of the ,danish landscape4 ,the great simplicity of motif was the great simplicity of genius4 ,the effects are so natural and reticent that their greatness might well escape common observation4 ,but the trained eyes of half the potters in ,europe and of connoisseurs of the highest ceramic art were turned1 and are turned still1 to the output of the ,copenhagen factory4 ,summa ars est celare artem is eminently applicable to the art of ,arnold ,krog and the band of ,danish artists trained under him4 ,there is nothing showy or clever1 nothing cheap or meretricious in all their work4 ,everything that has come from ,krog's hands has been well conceived1 and an honest attempt made not to win admiration but to make one step forward in artistic evolution towards the ideal4 ,without seeking reward he has won the esteem of the cultured critics of a whole continent4 ,the ,idiosyncrasies of ,copenhagen4--,wherein lies the strength of ,copenhagen porcelain8 ,the mysteries of underglaze did not originate in ,denmark4 ,the blue1 greenish-yellow1 brown1 sea-green1 maroon1 lemon-colour1 celadon-green1 and red1 are colours found painted under the glaze in old ,chinese examples in collections in various ,european museums4 ,but there is a difference4 ,chinese landscapes in blue have a charm and atmosphere of their own1 although the ,european taste has shown a marked preference for enamel-painted porcelain of more brilliant colours4 ,the underglaze of the ,east was mainly confined to decorative conventional treatment4 ,there is the exquisite family of jars1 designed as presents at the ,new ,year1 painted underglaze1 with the prunus blossom1 and geometric pattern representing the breaking ice4 ,these are grotesquely termed ginger jars in the jargon of the auction-room1 and fine specimens bring immense prices under the hammer4 ,in a measure these1 and vases and beakers with floral decoration1 and cups and saucers1 with dragons or with the well-known aster pattern1 may be regarded as conventional4 ,from these prototypes ,meissen and ,svres and ,worcester drew many fine inspirations4 ,in underglaze blue painting there is another class with landscapes and figures1 such as bowls1 of which there are infinite variety1 which convey1 in lieu of regular ornament1 a certain atmosphere4 ,even the ordinary ginger jar of commerce1 if it be old enough1 exhibits a most alluring suggestiveness4 ,these designs appear to be traditional on common ginger jars half a century apart in point of time4 ,there is a background of mountains1 and stretch of sky with a triangular flight of birds1 flying high4 ,there is a tree in the foreground1 and a rustic homestead4 ,on a bank a fisherman casts a line into the water1 and away on the expanse of lake stands a junk4 ,the whole is crudely and hastily drawn1 and one jar1 if not exactly the counterpart of another1 has the same details in the scene4 ,but1 curiously enough1 there is a poetry and depth of tone about these common ginger jars which is difficult to define4 ,to arrive at a technical reason for these differences in styles is to examine the theories governing the art of ceramics4 ,to take the overglaze painting2 this may be compared to the canvas of the painter which is covered with pigment4 ,his sky is blue or red or yellow or an admixture of all three2 the reflections of light on the water are touches of pigment4 ,there is no part of the canvas over which his deft brush has not travelled4 ,the underglaze painter on porcelain is like the etcher1 who obtains his illumination from the uncovered surface of the copper upon which he works4 ,the untouched portion of the plate of the etcher forms the wide expanse of sky1 and gives luminosity to the deeply bitten lines of his subject4 ,similarly1 in underglaze painting on porcelain1 the dazzling white expanse of the body1 afterwards to be coated with limpid transparent glaze1 is the background into which the design of the artist must imperceptibly melt4 ,it is this depth of tone and atmosphere which give poetic charm to underglaze painting4 ,but the subject is not left to take care of itself4 ,without pictorial indefinition the work may still remain on the plain of formal decoration even though that be superlatively conceived and executed4 ,illustration3 ,,vase4 ,painted in underglaze colours by ,v4 ,th4 ,fischer4 ,height #ac inches4 ,illustration3 ,,vase4 ,painted in underglaze colours by ,c4 ,liisberg4 ,height #bj inches4 ,what is it that one sees when one comes face to face for the first time with a ,copenhagen vase of this golden period8 ,the merest dilettante in porcelain-collecting must at once recognize something that he will find nowhere else in his cabinets4 ,in form there is always1 necessarily1 a full expanse to carry the subject1 if it be landscape4 ,nor is there a front and a reverse1 as in the old school of conventionally treated landscapes circumscribed by panels4 ,there is a breadth and continuity of subject traversing the circumference of the vase1 which1 from new points of view1 offers new surprises4 ,the body is white and hard and of ivory-like closeness when seen by transmitted light4 ,the rich liquid glaze has a slight greenish tone and has a surface like polished crystal4 ,the quality of this glaze is exceptionally fine and possesses artistic properties peculiarly its own4 ,in modelled subjects such as fish this is especially noticeable4 ,in the noble figure of a ,sea ,lion1 this glaze simulates the original so skilfully that the sensation conveyed is exactly that of the smooth1 sleek1 satin-like texture of that animal's body4 ,it is obvious that with such a vehicle as this glaze the effects produced in landscape painting are those seen in nature in the sun-pierced vaporous haze of a climate remarkable for its exquisite tones4 ,in colour the subjects appear in low tones of subtle elusiveness1 never1 by reason of the technique of the underglaze palette1 departing from the strictly limited range of colours we have enumerated4 ,the tones of all these are pitched in a minor key4 ,the brilliance of the painter in enamel is conspicuously absent4 ,there is no scarlet1 or bright yellow1 or mazarin blue1 or vivid green4 ,the charm of colour lies in its exquisite delicacy4 ,it is the highest ceramic landscape painting offered to the delectation of those possessed of sufficient connoisseurship to appreciate the supreme handling of a difficult technique4 ,it departs from the ,chinese prototypes in underglaze blue4 ,the deep blue of ,nankin is delightful in its poetry1 but it is a convention that landscapes are painted all blue4 ,copenhagen becomes more realistic1 but no less poetical1 with added touches of amber1 and mauve1 and grey1 and sage green1 and the blue1 pale and tender1 carries out a colour scheme which stamps this ,western art as something original and ideal4 ,it is thus seen that in body and glaze and colouring ,copenhagen has excellent points challenging comparison with anything that has gone before4 ,but with these technical problems solved satisfactorily1 there is yet something to be added1 which has created a reflective school of design and elevated ,copenhagen to its present status4 ,this quality1 difficult to describe1 and yet ever-present in the results when submitted to definite criticism1 may be roughly summarized as consisting of two essential traits of disciplined art--the apt choice of decorative subject and the complete mastery exercised in fittingly decorating the object4 ,illustration3 ,,decorative ,,memorial ,,placque4 ,by ,arnold ,krog4 ,commemorating the restoration of ,ribe ,cathedral1 ,denmark4 ,apart from the technical excellence of selection of idea and symmetrical incorporation with the form under decoration1 there is the national spirit1 which is the soul imparted to the work of artists filled with intense love of nature4 ,this charm1 lightly and daintily woven into the dreams which the porcelain conveys in dim mysterious manner1 cannot be captured by the snare of the imitator4 ,the ,western potter hitherto had not quite realized that he must be a poet as well as a potter4 ,to study ,copenhagen porcelain is to read poetry conveyed in another medium than printing-ink and paper4 ,nor is this new of the highest ceramic art4 ,to contemplate old ,chinese porcelain is not to think in poetry but to speak in poetry4 ,great potters have twin souls the world over4 ,the ,chinese themselves have terms for their own ware which indicate the plane on which all great ceramic art should stand4 ,to one colour is given the term the moonlight1 to another the blue of the prune skin1 to another the violet of the wild apple1 to another the liquid dawn1 to yet another the red of the bean blossom4 ,descriptions of certain ware and certain colours and glazes become little poems1 such as the account of the ,ch'ai ,yao--,as blue as the sky1 as clear as a mirror1 as thin as paper1 and as resonant as a musical stone of jade4 ,nor is ,chinese literature wanting in reiterated allusions to the beauty of the national porcelain4 ,the wine cups are likened to disks of thinnest ice or to tilted lotus leaves floating down a stream4 ,the strain of poetry1 so pronouncedly a feature in modern ,copenhagen work1 is noticeable even in the old overglaze decorated porcelain4 ,the innate love of nature found expression in its refusal to follow stereotyped forms of ceramic decoration4 ,the national note never departed except during the decadence4 ,the ,flora ,danica service1 with its stiff and painstaking decorations in botanical style1 was a monument to national ceramic art4 ,the modern spirit1 with its landscape and realism1 is crystallized in a great gallery of placques and vases1 and may be said to embody the ,poetica ,danica--the new interpretation of nature4 ,the flowers are no longer botanical specimens pressed between the pages of a ceramic album4 ,they are painted in situ1 and become delicate units in dream pictures1 beside still lakes or embosomed in grassy dells4 ,intense ,national ,sentiment of ,copenhagen ,style4--,the ,renaissance period is at once national and reflective of the moods of the land of its origin4 ,the illustrations appearing in this chapter faintly suggest the luminosity of the originals1 but in their selection an attempt has been made to show that a certain ordered progress has been at work4 ,the earlier examples are significant of the lingering traces of ,oriental suggestion1 rapidly and completely assimilated1 and any mannerism1 if such there be1 was pushed aside by the native growth of vigorous inventiveness and the rich profusion of forms and designs not dependent on any outside influence4 ,to compare ,japanese art with that of ,copenhagen is to compare two parallel lines which only meet in infinity and never coincide4 ,truth and sincerity1 love of nature1 and mastery of form are common to the ,japanese and the ,danish ceramists4 ,but the former reflect the brilliance of colour harmonies of a land teeming with rich colour and steeped in ,oriental tradition4 ,the mirror is held to national life and sentiment1 and accordingly movement1 humour1 poetry1 are essentials in ,japanese pottery4 ,the art of ,copenhagen equally reflects the national life and character under a northern sky4 ,pensive1 dreamy1 tinged with the stillness of the ,arctic night1 with its violet sky1 the wistful art of the ,north never attempts the sensuous moments of the art of the ,far ,east4 ,the beauty of form is reticent and reposeful4 ,the range of the grand-feu colours coincides exactly with the tender colours of the little kingdom1 and the melting glaze adds that luminosity which makes the ,danish landscape so spirituelle4 ,danish art has never attempted to be ,japanese2 on the other hand1 ,japan has seriously realized that the art of ,copenhagen is worth the copying1 and has done this with a light heart4 ,again and again one is struck with the originality of a design new to ceramic decoration4 ,the ,placque1 of the period #ahif to #aijj 7illustrated1 p4 #bjg71 is a case in point1 and is almost the only instance of a dallying with the romantically artificial4 ,but the effect is so charming and so poetical that it disarms criticism4 ,what could promise so little as a subject for decorative treatment8 ,a pair of iron gates1 flanked with stone pillars surmounted by formal urns4 ,an avenue of poplars approached by the ascending steps of a terrace1 stretching from the foreground in two converging lines1 with the solitary figure of a woman in black in the middle distance4 ,that is all4 ,but the result is an alluring picture of an old-world chateau4 ,a touch of ,southern elegance and courtly grace makes itself evident in the formal scene1 with its pathos of the figure symbolizing lonely sorrow and the dark shadow of the chapel at the end of the grove4 ,it is possible1 without eliminating much1 to trace the steady growth of temperamental art during a quarter of a century in successive stages of five years4 ,true to first impelling motives1 the art of the factory has never turned back4 ,the modern movement known as l'art nouveau1 which swept across ,europe with its meaningless swirls and curves1 left no trace on the work of the ,royal ,copenhagen ,factory4 ,rich in the possession and eager in the fulfilment of its own original conceptions1 it had no need of extraneous impulses1 and has remained unstirred by ephemeral art movements4 ,the illustrations in this chapter are arranged chronologically as far as possible1 and it will be seen that the subjects become as ,danish as the ballad of ,king ,christian4 ,the gallery is rich in its dreamy suggestiveness1 the ceramic record of reposeful scenes luxuriating in luscious somnolence--the sea1 the sand-dunes1 the wild swans1 and geese1 and mallards1 the wood with its deer and wild life1 the secluded lake with its denizens1 the meadows1 and the cattle of the farm lands4 ,illustration3 ,,dessert ,,plate4 ,with perforated border and rim decorated with scale design in blue1 and having national ,danish pattern in centre4 ,there has been a process of fermentation going on in modern ,danish pictorial art1 and its influence is seen on the porcelain produced at the royal factory4 ,it is new because it is everlastingly old--the worship of ,nature4 ,there is in modern ,copenhagen porcelain the tender1 dreamy melancholy of the old ,danish ballads4 ,it is like some magic story told in the twilight4 ,everything is silent1 nebulous1 steeped in fragrant yet pathetic memories4 ,there is a subtle and refined introspection1 an sthetic yearning akin to sadness4 ,every ,dane remembers ,jacobsen's whimsical visionary ,mogens1 who hums softly to himself the refrain--,i ,lngsel1 ,i ,lngsel jeg lever6 7,longing1 longing ,i live674 ,this tristful ideality is a note in literature not far to seek4 ,the ,danish poets have reflected ,nature's moods with throbbing ecstasy1 tinged with sombre forebodings4 ,it comes with unexpected pathos as an ending to ,christian ,winther's poem ,en ,vandrer 7,a ,wanderer71 who1 after a pilgrimage through woodland glades of summerland1 exclaims at the sight of the cloud-capped mountains in the distance-- ,og--naar de er bestegne ,imorgen--ak6--hvad saa8 7,and when they are climbed1 to-morrow1 alas6 what then87 ,the outlook of the ,copenhagen potter-artists reflects the genius of inspired vision4 ,the face of ,nature is transfigured4 ,this interpretation links poesy and pensive art indissolubly together in these ceramic poems palpitating with sensitiveness4 ,a touch of tender melancholy pervades the art of the potter4 ,he has caught the pale green of the sea1 the vibrating light on the long sand dunes and the silvery vaporous clouds that fret the horizon4 ,to take a ,copenhagen vase with its sea-scape and dancing spray and pack of scudding storm-clouds1 tempts one to place it to one's ear as children do sea-shells2 surely one shall hear the sound of the leaping surge and the roll of the breakers6 ,bathed in liquid light1 that soft effulgence peculiar to ,denmark1 where the sunlight is so soft and subdued and nothing stands out in harsh contrast1 the scenery lends itself to soothing reverie4 ,it has been given to few to commune with ,nature in her melting moods1 like ,niobe all tears4 ,corot stands for all time as having pierced the veil1 and ,cazin has caught the quivering play of ghostly light rarely made known to mortals4 ,the modern ,copenhagen potters have1 daring greatly1 communed with ,nature in like manner4 ,they have essayed to snatch a grace beyond the reach of art--or of ceramic art4 ,but success is theirs4 ,the transparent atmosphere lending a pearly tone to the trembling stretches of soft verdure and the cool limpid shadows resting on the still meres are reflected in the porcelain4 ,the pictures are soothing and restful2 we can hear the flutter of the mallards among the reeds4 ,of the paysage intime there is profusion of wealth in the long vista of the low-lying seashore of a beautiful land1 the wheeling gulls1 the stretch of dunes1 and the circling procession of clouds over a wind-swept sea4 ,the poetry and dreamy searchings of ,copenhagen porcelain have held the mirror to ,nature4 ,with outer eye illumined with spiritual vision1 the potters have translated the soul of ,nature's physical beauty into porcelain4 ,here is the natural--but there is the vast1 unfathomed supernatural4 ,can it be possible that there are yet other secrets of the magic of the ,northlands8 ,will the inner vision bring forth into the furnace the dreams of the old world deep in the ,northern heart1 buried these long centuries8 ,can the potter poet call up the fleets of ghostly ships that set forth from ,trondhjem ,fjord with ,king ,olaf and ,olgafar the mystic boat with neither sail nor helm nor galley oar8 ,all the wealth of dead ages lies as a hidden treasure-house for him who can with wizardry open these portals and bring back the ,northern poesie4 ,the ,valrafy1 or ,raven of ,battle1 loved the swell and the roar of the fierce ,northern ,main4 ,the ocean sprite frequented the cold waters of the ,baltic and flashed1 icy bearded1 through the rack and cloud of storm4 ,mermen and mermaidens still plash in the sea-caves where mortals venture not1 and to this day in story and tradition they are treasured in the hearts of fisher-folk and those who go down to the sea in ships4 ,but these are vain imaginings1 and to ask more of an art already raised to a plane of evasive and incommunicable inventiveness is to clamour impertinently for the impossible4 ,,table ,,of ,,marks#h ,used by the leading ,painters and ,modellers during the ,renaissance ,period from #ahhe4 #h ,these marks are published by the courtesy of the ,royal ,copenhagen ,porcelain ,factory1 being supplied from official data1 and are strictly copyright4 ,all these initials or signatures of painters are used in conjunction with the factory mark of the three blue lines4 99 99 99 99 99 ,various signatures of ,,arnold ,,krog1 ,art ,director of the ,royal ,copenhagen ,porcelain ,factory since #ahhe to the present time4 ,illustration ,illustration ,illustration ,examples of the diverse character of the work of ,professor ,krog permeate the ,renaissance period1 and include-- ,blue fluted service 7continuous invention of new forms with elaborate decoration7-- e4g4 ,dessert ,plate 7illustrated1 p4 #bdi74 ,vases with landscapes and bird subjects4 ,placques-- ,birds1 e4g4 illustration1 p4 #bjc4 ,series of heraldic placques1 e4g4 illustration1 p4 #bdc4 ,figure ,subjects-- ,various1 including quadrupeds and birds1 e4g4 ,polar bear1 ,peacock on an urn1 etc4 ,initials of ,c4 ,f4 ,,liisberg4 ,sometimes the name is signed in full4 ,painter of landscapes1 quadrupeds1 birds1 and flowers4 ,modeller of animal subjects4 ,came to factory in #ahhe1 died in #aiji4 ,illustration ,for examples of the beauty of the late ,hr4 ,liisberg's work1 see illustrations3-- ,vase 7p4 #bci74 ,placques 7pp4 #baa1 #bba1 #bca74 ,c4 ,,mortensen4 ,painter of landscape and animal subjects4 ,modeller of animals4 #ahhg-aija4 ,illustration ,,oluf ,,jensen4 ,painter of flower subjects4 #ahhe to present time4 ,illustration ,,aug ,,hallin4 ,painter4 #ahhe-ahie4 ,illustration ,,gotfred ,,rode4 ,painter of landscapes and animals4 #ahie to present time4 ,illustration ,see illustration1 p4 #bag4 ,,vilh4 ,,th4 ,,fischer4 ,painter of animal subjects4 #ahid to present time4 ,illustration ,for illustrations of ,hr4 ,fischer's work1 see pp4 #baa1 #bag1 #bci4 ,,stephan ,,ussing4 ,painter of flowers and landscapes4 #ahid to present time4 ,illustration ,,frk4 ,a4 ,,smidth4 ,painter of landscapes and flowers4 #ahhe to present time4 ,illustration ,for example of ,frk4 ,smidth's work1 see illustration1 p4 #bbg4 ,,frk4 ,m4 ,h,,st4 ,painter of animals and flowers4 ,illustration ,,frk4 ,,bertha ,,nathanielsen4 ,painter of flowers and landscapes4 ,illustration ,,frk4 ,,jenny ,,meyer4 ,painter of flower subjects4 ,illustration ,,frk4 ,c4 ,,zernichow4 ,painter of children4 ,illustration ,,gerhard ,,heilmann4 ,painter of landscapes and animals4 ,illustration ,the following mark is found on examples of crystalline glazes of the ,renaissance period3-- ,illustration ,this is the signature of ,hr4 ,v4 ,,engelhardt1 the chemist at the royal factory1 whose researches have perfected the glazes and won considerable distinction for the factory in ,european ceramics4 #ahib to present time4 ,for examples of ,hr4 ,engelhardt's work1 see illustrations1 pp4 #bic1 #big1 #bii1 #cjc4 ,the following marks are incised and are of modellers1 and are used in conjunction with the factory mark of the three blue lines4 ,,axel ,,locher4 ,modeller of figures4 ,illustration ,e4 ,,nielsen4 ,modeller of animals4 ,illustration ,,christian ,,thomsen4 ,modeller of figures and animals4 ,for examples1 see illustrations1 pp4 #bga1 #bge1 #bgi1 #bhe4 ,illustration ,,theodor ,,madsen4 ,modeller of animals4 ,illustration ,,knud ,,kyhn4 ,modeller of animals4 ,illustration ,,frk4 ,a4 ,,pedersen4 ,modeller of animals4 ,illustration ,,frk4 ,m4 ,,nielsen4 ,modeller of birds and fishes4 #aijc to present time4 ,illustration ,,carl ,,martin ,,hansen4 ,modeller of figures4 #aije to present day4 ,illustration ,,gerhard ,,henning4 ,modeller and painter of figures4 #aiji to present time4 ,illustration ,this mark of the factory1 with the crown and words ,royal ,copenhagen inscribed in circle are in green4 ,the three lines beneath are in blue4 ,illustration ,the use of this mark is from the year #ahhi1 on many examples for the ,english and ,american markets4 ,these marks of the crown and the three lines1 in blue1 are used on all copies of the old models of the overglaze ,mller period4 ,these are found on reproductions of old and rare examples of the early days1 made by the factory on traditional lines4 ,the revival of this overglaze painting is a new impulse4 ,the artist's initials are added to the crown in colour or gold4 ,illustration ,,chapter ,,ix ,,figure ,,subjects ,,and ,,groups ,,renaissance ,,period ,,chapter ,,ix ,,figure ,,subjects ,,and ,,groups ,,renaissance ,,period ,form versus colour--,the technique of modelling--,the sound principles of old ,copenhagen porcelain--,underglaze succeeds overglaze colouring--,the love of animal life--,peasant types and children4 ,the highest test to apply to a figure subject in porcelain is that it should be criticized in the biscuit stage4 ,the crudities1 the disproportioned ornament or the restless lack of cohesion become at once evident1 without the touches of colour added to conceal the poverty of the art4 ,in our old factories at ,plymouth and ,bristol in the hard paste and at ,bow in the soft paste1 owing to an imperfect knowledge of the technique1 fire-cracks often appeared in the body of objects intended for ornament4 ,collectors of experience and mature judgment know exactly what the potters did in these trying circumstances4 ,the scientific examination of the treasures of the china cabinet has revealed many of the potter's tricks4 ,a fire-crack becomes the body of a butterfly gaudily painted in rich colours4 ,this is one instance of the use of colour to conceal the inexactitude of the craftsman4 ,similarly1 in figures it becomes a speculative question as to what their character would turn out to be when they were stripped of the gorgeous costumes with which they are decked4 ,many a ,chelsea figure with rich brocaded surtout1 yellow vest1 and breeches of amazing colour in scale pattern of peacock hues1 would turn out to be a veritable scarecrow if stripped of the glories of pigment4 ,the colour has deceived the eye in regard to form4 ,this love of colour and disregard of the niceties of form has betrayed many enthusiasts into going into raptures over monstrosities which would not bear the light of day upon them if they were in biscuit state4 ,it is a matter for conjecture how many ,staffordshire figures or ,toby ,jugs1 minus pigment1 would call for a word of praise judged solely on their modelling and symmetrical beauty4 ,in ,copenhagen1 from the early overglaze painted figures of the ,mller period to the underglaze decorated figures of the ,renaissance style1 there is one quality that they have in common4 ,this is especially noticeable in comparing them with work of other factories over an extended period of time4 ,they exhibit with unerring precision the limitations of the potter in regard to the medium in which he works4 ,at no time has the ,copenhagen modeller attempted1 save in the decadent period when he copied ,thorvaldsen's sculpture1 to encroach upon the work of the silversmith or the glass-blower4 ,he has been true to the clay whose properties in the fire he knows so well4 ,the technique of modelling in clay follows laws as definite as can well be laid down4 ,it is the same in all crafts where strict observance is paid to the use for which objects are created4 ,the ,japanese ivory-carver in his netsukes1 or ivory fastenings for garments1 carves them as nearly oval or round as is possible4 ,it may be a curled-up mouse1 or an old man with a barrel1 or any other fanciful subject1 but the absence of spikes is the sign that the work is old and not modern carving for the ,european markets1 when such objects bristle with points4 ,similarly1 in figures1 for many reasons they should have no jutting arms or over out-thrust ornaments4 ,first because in use they will be broken off4 ,a glance at the damaged specimens on the china shelf will at once show the mistakes of the potter4 ,rarely at the ,copenhagen factory did the modeller fancy for the moment he was a silver-worker and leave a projecting arm4 ,there is one instance in an old figure most noticeable4 ,a seller of kringler has an outstretched hand offering his ware for sale1 but that is missing in the example the writer examined4 ,another reason for the avoidance of undue extension is the technical difficulty of supporting this in the oven during firing4 ,clay in the oven requires every assistance to keep it from warping or bending over1 and to introduce unnecessary difficulties in modelling is to produce bad art4 ,this1 coupled with the fact that porcelain shrinks in firing to about six-sevenths of its original size1 is sufficient reason for the artistic potter to keep strictly within the limitations of his technique4 ,the ,sound ,principles of ,old ,copenhagen ,porcelain4--,throughout the ,mller period it will be seen how carefully these axioms were followed4 ,in regard to the styles of decoration1 the old school worked in overglaze painting and the ,renaissance school employs underglaze painting4 ,they are in complete contrast to one another in the treatment of a subject4 ,the narrow range of underglaze colours in a measure limits the results of the decorator of figures4 ,but it must not be imagined that the overglaze school of painting1 by reason of its freer palette1 allowed the modelling of the figures to be less than ideal4 ,a reference to the ,mller chapter on ,figure ,subjects will show that a great many examples were produced in white or in biscuit1 and were thus entirely independent of colour to help out any deficiencies in modelling1 if such existed4 ,an indication of the strong individuality of the figure modelling of the ,juliane ,marie period1 is forthcoming in the fact that the factory to-day is producing some of the coloured figures of that period in white4 ,underglaze succeeds ,overglaze ,colouring4--,concerning the ,renaissance figures as a whole1 there is a tendency to produce them in white2 this bespeaks great strength of modelling1 and1 varied as they are in character1 dealing with different phases of life1 they are never insipid4 ,but it may be advanced that the underglaze colours are not extended enough in their range to do justice to some of the costume subjects4 ,it seems to the present writer1 and perhaps the criticism is confirmed by a pronounced tendency in that direction by the latest artistic movement in the factory1 that many of the modern figures1 such as peasant women in costume and the soldier in ,hans ,andersen's story of the ,tinder ,box1 would give more complete results in overglaze painting4 ,this revival of overglaze painting in ,copenhagen in figures1 and in combination with underglaze work1 is a new development which is being curiously watched by connoisseurs and technical experts4 ,the underglaze colours find complete harmony in the decoration of figures of birds1 and are delicate and true to nature in the modelled fish1 which have a graceful charm especially their own4 ,they are a perfect medium for placques and vases1 depicting the long vaporous clouds stretched across a leaden sky1 the silvery blue transparent billows tossing in from the ,baltic1 or in the foreground streaming wearily over the level grey-yellow sand1 flecked with the lilac seashore flowers and tufts of grass on the sand-dunes4 ,the pale sad blues1 the delicate greens1 the amber1 and pink1 and dun-grey tones verging into violet which are transmuted in the grand feu convey the faint colours1 the mist and the sadness1 the storm and the rainy air1 the dim haze extending over meadow and lake1 and the tremulously yellow tones of sunset4 ,the landscape is tinged with that soft melancholy which tones down all harshness and softens all lines4 ,meditative1 somnolent1 indecisive1 liquid1 limpid1 and alluring in tender serenity1 these characteristics appeal to the soul of the artist as belonging to the dream country of lakes and beech-woods and sand-hills and kaleidoscopic waters4 ,these intangible and wraith-like impressions have been momentarily snatched by the potters and painters at the factory1 nor has anything been dropped in the fiery ordeal of the furnace1 and they stand in ceramic art as a permanent national record of the homeland of the ,dane4 ,the ,love of ,animal ,life4--,there is one point at which the modern figure subjects break new ground4 ,the ,renaissance period is rich in its love of the animal kingdom4 ,the wheeling gulls1 the wild swans1 and geese1 and mallards1 wading and diving birds1 and storks1 and owls have been modelled4 ,the wild life of ,denmark has provided a new field4 ,this is studied from nature4 ,there is a figure of a turkey1 a denizen of the factory grounds1 modelled from life4 ,what other factory in the world is there where one may meet1 as did the writer1 a turkey with her brood being ushered from the garden up a staircase into a pen in one of the studios8 ,the original with her brood may be seen illustrated1 p4 #ccg4 ,illustration3 ,,figure ,,of ,,woman ,,and ,,cow4 ,painted in underglaze colours4 ,modelled by ,chr4 ,thomsen4 ,animals and fish have obtained full recognition in the gallery of figure subjects4 ,the ,zoological ,gardens in close proximity to the factory has provided the ,polar bear and other studies4 ,a notable example of fine modelling is a ,sea ,lion1 which is life-like in its faithful representation4 ,the modelled fish1 with the liquid glaze suggestive that they have just been captured1 are a remarkable feature and are true in every detail--as true as were the botanical specimens on the ,flora ,danica service4 ,they come as decorative objects as surprisingly beautiful in form as are the birds1 and their variety captivates the lover of natural form and subdued colour4 ,peasant ,types and ,children4--,the peasant life of the country1 the costume1 now fast disappearing1 and the old-world character1 still happily preserved in many districts1 were reproduced in the overglaze figures of an earlier period4 ,this love of veracity in costume and environment is a feature which is traditional in the factory2 it therefore comes as no surprise to find that peasant types are produced with underglaze treatment in colours4 ,the only example of an animal in the overglaze ,mller period is the ,woman milking a ,cow1 and a similar subject of a ,milkmaid and ,cow may be seen treated in modern manner in underglaze style1 with delicate suggestion of colour in the pale grey dress1 delicate blue shawl1 and kerchief with infinitesimal spots4 ,the cow is white save for one or two splashes of light brown4 ,if ,cupids be child-life1 then the old style offers scores of examples1 but the modern child has been denuded of his wings and is employed in other occupations than twining wreaths of roses around lovers4 ,the usual children of the china shelf are armed with baskets and posies1 and are ,cupid-like in their character4 ,but in the ,renaissance figures of ,copenhagen children the spirit of childhood is present4 ,the simple peasant ,child 7illustrated1 p4 #bgi71 with burden of bottle and basket1 is as true to life as the faithful record of an old ,dutch master4 ,it is1 possibly without meaning to be1 symbolic of the life of toil of the peasant4 ,it is a tale the clay tells of the busy life of the fields4 ,even a tiny child has to bear her share of the long day's work4 ,it is just that sad touch of reflection which illuminates great works of art1 and it is here present4 ,a figure such as this is worth1 as a work of art1 fifty meaningless ,rockingham ,flower ,boys or ,chelsea manikins in grotesque costume4 ,illustration3 ,,figure ,,of ,,boy ,,and ,,calf4 ,painted in underglaze colours4 ,modelled by ,chr4 ,thomsen4 ,the ,old ,woman1 modelled by the same artist1 with bonnet and shawl with fringe1 represents a type now belonging to days rapidly passing4 ,the character of an obsolescent type has been caught with exceptional cleverness4 ,there is another figure of an old woman less robust1 and indicating less lovable qualities1 with ,bible in hand1 and1 if the truth be told1 a somewhat crafty look4 ,such types as these will be recognized by those who know ,denmark well2 they are racy of the soil1 and represent the acute perception of the modern potters in seizing disappearing types4 ,such crystallized character forms a permanent and very valuable record of the remoter side of country life1 and is instinct with a truer feeling of art than whole galleries representing impossible porcelain cavaliers and ladies in costume the like of which no man has ever seen4 ,in dealing with the underglaze ware from its first application to utilitarian services to its subtle use in placques and vases with grand-feu colours1 and finally in figure subjects and groups1 it will be seen1 both in regard to mastery of technique and artistic evolution1 the natural order of development is that given in ,chapter ,,ii in examining the stages of overglaze painting and modelling4 ,at that period the order proceeds on lines of its own1 and the usual stages of progression were influenced by the fact that in the early days of the factory ,luplau1 the first modelling-master1 brought his experience to bear on the work1 and figure subjects of a high order were attempted almost from the beginning4 ,here1 in the ,renaissance period1 by slower evolution and particularly sure processes1 the modelling of figures has arrived at a state of undoubted excellence4 ,apart from the first early inspiration when things ,japanese broke upon ,europe with overwhelming force1 the ,copenhagen artists have obtained their inspiration from within4 ,they have followed the instincts of their own race1 and they have developed on lines essentially their own1 both in form1 in colour1 and in technique4 ,the ,europe of sixty years ago was sated with meaningless formalities4 ,tired with the repetition of the scanty stock of ,greek ornaments1 and in search of novelty1 it is only natural that men should turn their eyes to the only living schools of decorative art then in existence4 ,in ,india1 ,china1 and ,japan was found the freshness that design needed4 ,when ,mller was producing his masterpieces in clay1 ,wedgwood was transplanting ,greek gods and goddesses into ,staffordshire1 and ,chippendale was fashioning his fretwork angles to tables and chairs1 taken direct from ,china4 ,between those days and the present is the great wave of classicism which dug out ,etruscan vases and remodelled them1 brought the ,latin chair into the early nineteenth-century drawing-room1 and with stilted affectation of simplicity drove elegance and comfort far afield4 ,illustration3 ,,peasant ,,figures4 ,painted in underglaze colours4 ,modelled by ,chr4 ,thomsen4 ,of all ,oriental schools it is thus natural that the ,japanese1 with the unexpected and unsymmetrical treatment of design1 should appeal most at such a time4 ,the true and fine feeling of the ,japanese for birds and beasts1 for the flower world and for landscape in its larger features1 is shown in all their design1 from the small ivory carvings to the lacquer work or the colour prints of ,katsuchika ,hokusai4 ,the ,west has learned much from the ,east in the nineteenth century4 ,whistler's ,nocturnes and ,aubrey ,beardsley's pen drawings catch their germ of novelty from sources other than ,european4 ,but ,east is ,east and ,west is ,west1 and ,copenhagen underglaze decoration has produced the tones of the ,northern world4 ,of all curious happenings1 it is singular to record that to-day the ,japanese ceramic artists are fashioning their work in the same subdued tones1 and producing similar subjects in figures1 to the little band of ceramic workers in ,denmark4 ,in the history of the manufacture of porcelain this is not exactly a new thing4 ,in ,england we have ,worcester copying ,chinese examples and inventing a pseudo mark1 and the ,bow and ,lowestoft factories copying ,worcester's copy of ,chinese originals4 ,meissen and ,svres have both suffered heavily from votaries who have loved the originals so well that they could not forbear from imitating them4 ,in ,england1 at ,worcester and at ,coalport1 the copyists excelled in their love for the ,svres and ,meissen originals by putting the marks of those factories on their productions4 ,it is a remarkable fact that ,denmark1 with no coal and with no minerals1 and with no quartz and no china clay1 should stand to-day as the leading porcelain factory in ,europe4 ,in the admirable article on ,ceramics in the new edition of the ,encyclopdia ,britannica 7#aiaa7 this verdict stands3 ,the most admirable result of this revived interest in ,japanese art was1 however1 developed at the ,royal ,copenhagen works1 the productions of which are not only famous all over the world1 but have set a new style in porcelain decorations which is being followed at most of the ,continental factories4 ,in connection with figure subjects the same critic recognizes their precious qualities4 ,the ,royal ,copenhagen works have also produced a profusion of skilfully modelled animals1 birds1 and fishes1 either in pure white or tinted after nature with the same underglaze colours4 ,other ,european factories have adopted the modern ,copenhagen style of decoration4 ,something should be said in passing of the domestic influence of the ,royal ,copenhagen ,factory upon the art of ,denmark4 ,like a sturdy oak-tree1 the old factory has continued in its steady growth from the days of ,queen ,juliane ,marie4 ,it has weathered many storms1 and now proudly rears its head as a beloved landmark4 ,its influence on generations of artists has been deep and lasting4 ,it has scattered its largesse1 and its sheltering branches have lent their protecting shade to many grateful pilgrims4 ,in common with many another great factory1 it has added new impulses to the centre of its origin4 ,like the acorn dropping from the parent tree1 productive of flourishing young oaks1 so has it been with the royal factory4 ,it is pleasurable to be able to record here the successes of a ,copenhagen porcelain factory conducted by ,messrs4 ,bing and ,grndahl4 ,their art is fresh and winning1 their painters have caught the touch of the royal factory1 and their modellers have found inspiration in the work marked with the three blue lines4 ,the ,bing and ,grndahl ware is marked with the initials ,b ,g4 ,it was originated in the year #ahec1 and has been marked with a successful career4 ,many of its productions are to be found in museums side by side with work of the royal factory4 ,there is a spirit of friendly rivalry between the ancestor and the youthful scion4 ,this is only natural4 ,but the old oak and the young tree will still continue to flourish side by side1 and the old oak will always be the monarch of the forest1 even a hundred years hence1 when painstaking collectors wrangle as to dates and marks and weigh the ,b ,g with the three blue lines1 and find1 as undoubtedly they will1 beauty and poetry reminiscent of the ,danish art4 ,many of the early figure subjects of the ,renaissance period were of surprising originality1 and in some cases only one example was made4 ,the collectors who were fortunate enough to secure these examples have since realized how happy was their choice4 ,there is one figure of a ,black ,cat1 exhibited at the ,paris ,exhibition1 #aijj1 which has never been repeated in black1 owing to the great difficulty experienced in manipulating the glaze and the hazardous nature of the experiment4 ,white cats have been modelled in similar fashion1 but there is only one black ,copenhagen cat1 and naturally such a rare piece is exceedingly valuable4 ,among some of the later productions in figures are some finely modelled subjects taken from ,hans ,christian ,andersen's ,stories4 ,who does not remember the ,tinder ,box1 that tale of enchantment where the soldier1 coming home from the wars1 marching along the road with knapsack on back1 meets a witch who induces him to descend into the great cavern and procure the magic tinder box4 ,a dainty little group in white represents the ,soldier and the ,witch4 ,we know of his sudden rise to fortune1 armed with a talisman as potent as ,aladdin's ,lamp4 ,the sleeping princess imprisoned in a copper castle is brought to him by the faithful canine genii of the tinder box4 ,how he narrowly escaped the gallows and finally took the princess as his bride is one of our own nursery stories1 and there is a ,copenhagen figure group showing the soldier with his arm around the princess in soldierly and lover-like fashion4 ,illustration3 ,,group ,,in ,,white ,,porcelain4 ,the ,princess and the ,swineherd4 7,from ,hans ,christian ,andersen's ,stories47 ,modelled by ,chr4 ,thomsen4 ,the story of the ,swineherd provides another subject1 and what grace and elegance and beauty are in the lines1 and delicacy in the sentiment4 ,it is an idyll in porcelain4 ,away with pierrots and mimes1 the fevered extravagances of imagination run riot in bizarre form and garish colour6 ,such a group as this should have a niche to itself in the china cabinet4 ,it is superlatively chaste and reticent1 daintily conceived and faultless in technique4 ,the story is of the prince who became swineherd to the father of the weary princess4 ,his taste for music took a mechanical turn in the whimsical invention of a pot that played tunes when it boiled1 and1 among other like toys1 a rattle that would play waltzes and polkas4 ,his hobby gained the fancy of the princess1 who had to buy them with kisses4 ,the porcelain represents the completion of the fairy-tale bargain4 ,alas6 there is no happy ending1 for the kissing became so fast and furious that the swineherd threw off his disguise1 became prince on a sudden1 and departed home to his kingdom1 in disgust with a princess who could look with disdain on his presents of a rose and a nightingale because they were only natural1 and set her affections on the trivialities of a swineherd4 ,among the figures calling for regard in the highest sense1 that of the ,peacock standing on an urn1 modelled by ,arnold ,krog1 is of surprising grace and symmetry4 ,its modelling is at once true to nature and true to the requirements of the potter's art4 ,a model on a lower plane would have placed the peacock on a base or tree-stump and utilized this as a support1 and no figure would be complete without the gorgeous colouring of the tail4 ,this is exactly what happens in a ,derby figure of a ,peacock 7at the ,victoria and ,albert ,museum74 ,on a rococo base covered with a wealth of coloured flowers1 a peacock stands in brilliant natural colouring4 ,but in the ,copenhagen figure the drooping tail is support enough in the kiln1 and the natural pose of the bird1 proud and erect1 conveys dignity and beauty of form4 ,the treatment at ,copenhagen is exactly the opposite to the old school of ceramic artists4 ,here it is beauty of form first and colour in reticent subjection as an adjunct1 and the results are undeniably superlative4 ,,chapter ,x ,,crystalline ,,glazes ,,chapter ,x ,,crystalline ,,glazes ,flamb or transmutation glazes of the ,chinese potters--,the ,royal ,copenhagen ,factory produces the first specimen of crystallized glaze in #ahhf--;,blue crackled glaze produced with design under control4 ,during the last decade of the nineteenth century the ,western potter came under the spell of the modern chemist4 ,scientific study applied to the body and glaze and vitrifaction of the materials composing porcelain and faience1 together with a closer study of the exact conditions of temperatures in the kilns1 resulted in the discovery of certain well-defined decorative qualities in connection with glazes which1 after considerable experiment1 offered practically a new field for colour-work of a very beautiful nature4 ,in the flamb or transmutation glazes for which the ,chinese potters were renowned1 the effects of variegated or splashed colour are due to the capricious action of the fire on the glazes during the firing process4 ,the single-coloured glazes of the ,chinese applied to vases and other objects have been much prized by ,europeans4 ,the tints are very numerous1 sea-green or celadon1 yellow1 red1 blue1 purple1 brown1 black1 and other tones4 ,these include the celebrated sang-de-buf colour of ,french collectors1 so highly prized in ,china4 ,it is thought probable that many of these single-colour glazes have been applied at a somewhat lower temperature1 termed by the ,french demi-grand feu4 ,the mottled classes owe their appearance less to the difference in the colouring matter than to the manner in which it is applied4 ,they are termed in ,french flamb1 and there is no doubt that they were originally accidentally produced4 ,according to the letters of a ,jesuit missionary1 ,pre d',entrecolles1 written in the early years of the eighteenth century1 such vases were called ,yao pien or transmutation vases4 ,such types1 with turquoise colour passing into green1 green melting into purple1 and amber fading into grey1 are suggestive of the permutation of colour harmonies which these transmutation glazes undergo in the furnace4 ,beside the flamb glazes there are crackled glazes of turquoise-blue1 apple-green1 or of greyish white4 ,this crackle porcelain is now artificially produced1 but it doubtless owes its origin to accident and caprice of firing4 ,illustration3 ,,polar ,,bears ,,on ,,an ,,ice ,,floe4 ,modelled by ,c4 ,e4 ,bonnesen4 ,crystalline glaze by ,v4 ,engelhardt4 ,in flamb glazes an ,english potter1 ,mr4 ,bernard ,moore1 of ,longton1 has succeeded in producing sang-de-buf colour with delightful gradations of tone2 unhappily1 some of these pieces were destroyed by fire at the ,brussels ,exhibition in #aiaj4 ,copenhagen produces the ,first ,crystalline ,glaze4--,at the ,copenhagen factory grand-feu coloured glazes have been developed in a remarkable manner4 ,the crystal glaze1 the serpent-skin1 the tiger-eye1 and crackled glaze1 as well as many other varieties1 show effects which hitherto have been unknown in porcelain1 and have won the admiration of all connoisseurs4 ,the inception of the crystalline glaze was due to ,hr4 ,clement1 the chemist at the ,royal ,copenhagen ,factory1 and it was owing to the indefatigable energy and experiments of ,hr4 ,clement that1 in #ahhf1 the first piece of porcelain with crystalline glaze achieved a record for the ,copenhagen laboratory and studio4 ,since that day other ,european potters have succeeded in producing crystalline glazed ware of exceptional beauty4 ,we illustrate a fine specimen of the early crystalline glaze of ,copenhagen now preserved at the ,museum of the ,national ,porcelain ,manufactory at ,svres4 ,it represents a frog on a leaf4 ,we should like specially to point out1 says ,m4 ,edouard ,garnier1 the ,director of the ,museum at ,svres1 writing in #ahid1 a large water-lily leaf on which a frog is imbedded in a thin layer of ice1 which it has just succeeded in breaking4 ,we have never seen a more striking example of what may be attained by a purely scientific process applied to art decoration1 and we cannot repress the wish that this example may be followed by our modern ceramists4 ,this is one of ,arnold ,krog's fine conceptions4 ,this specimen of the work of the ,copenhagen chemist1 ,hr4 ,v4 ,engelhardt1 in crystallized glaze1 has been followed by many notable achievements on his part4 ,in #aijb there was a figure of a ,polar ,bear lapping water1 modelled by ,arnold ,krog and produced in crystalline glaze by ,hr4 ,engelhardt4 ,this1 of which only thirty pieces were made1 was executed for an artistic club in ,paris4 ,another fine subject is that representing two ,polar ,bears on the ice1 one mounted on a frozen pinnacle4 ,the whole is a skilful piece of modelling by ,c4 ,e4 ,bonnesen1 and crystalline glazing by ,hr4 ,v4 ,engelhardt4 ,illustration3 ,,frog ,,imbedded ,,in ,,ice ,,on ,a ,,water-,,lily ,,leaf4 ,modelled by ,arnold ,krog4 ,crystalline glaze by ,v4 ,engelhardt4 ,period #ahia-ahie4 7,at ,svres ,museum47 ,illustration3 ,,vases4 ,designed by ,arnold ,krog4 ,crystalline glaze by ,v4 ,engelhardt4 ,new shapes are continually being invented1 and a long chain of experiments in the laboratory has resulted in the production of some very remarkable examples of colouring which are always welcome to collectors1 who are quick to realize that no two examples can ever be the same4 ,all colours can be handled in this manner4 ,the range is a wide one1 and the surprising gradations of tone have a charm undoubtedly their own1 and not unworthy to be regarded as representative of some of the most wonderful creations of the modern potter4 ,the metallic oxides in the hands of the twentieth-century chemist become possessed of magical properties and are transformed into tender harmonies vibrating with exquisite tones4 ,yellows1 and blues1 and browns merge into mauve or grey1 in delightful tenderness1 and black and white are included in the colour schemes of which this style is now capable4 ,blue ,crackled ,glaze4--,in regard to crackled glazes there is evidence that they are coming more under the governance of the chemist4 ,there is a beautiful deep blue variety produced at ,copenhagen1 with a network of crackle graduated to a nicety1 now swelling1 when on the belly of the beaker or vase1 and now contracting into minute meshes when on the slender neck4 ,this is completely under mechanical control4 ,as yet blue is the only colour produced in this style4 ,at the ,brussels ,exhibition1 #aiaj1 the ,svres factory exhibited some large vases with crystalline glaze evidently under the complete mastery of the potter and chemist4 ,these vases were of a very fine character1 and the suggestion arises that at no far distant date the glazes now termed transmutation or adventitious will be completely mastered by the latest developments of modern science as applied to pottery1 and thus transmutation will be a word of the past4 ,the technique of ,copenhagen differs from that of ,svres or of ,berlin4 ,in these latter cases the crystals appear like spots on the surface1 whereas in ,copenhagen ware the crystals have a more subtle and intimate incorporation with the glaze4 ,they never stand on the surface1 and often1 as in the mellow brown glaze1 they lie beneath and glow in reflected light4 ,a series of effects in broken colour1 delicate in marking and veined and mottled in most pleasing character1 is being attempted in vases4 ,we illustrate several types in whole and partial crystallization1 which lose considerably by appearing as black-and-white illustrations4 ,such vases are conspicuous for their revelry in colour1 not the hard1 dense1 opaque colours of the old ,chinese single glazes1 but the limpid1 vibrating1 restless subtleties of ,nature's own play of pulsating colours in changeful mood--the dazzling and fairy-like opalescence of the frost and the deep blue of the ice cave1 or the pale amber sand-dunes imperceptibly fading into a translucent green stretch of waters1 with the vaporous haze of a violet sky4 ,in the white heat of the modern furnace the flowers of a prehistoric day1 which have lain buried in the coal seams of an alien land1 transmute the dull clay and the mineral glaze under the hand of the modern magician into colour nocturnes4 ,illustration3 ,,vases4 ,with ,crystalline glazes by ,v4 ,engelhardt4 ,,chapter ,,xi ,,copenhagen ,,art ,,faience ,,chapter ,,xi ,,copenhagen ,,art ,,faience ,the inception of a new technique--,the slow growth of a new art--,the old masters of majolica--,the great promise of a new school--,the rich output of colour and inventive form4 ,illustration3 ,,copenhagen ,,art ,,faience4 ,dish1 with tropical bird1 decorated in rich colours4 ,designed by ,christian ,joachim4 ,the student of ceramic art well knows that porcelain and earthenware1 although as poles asunder in their technique1 do oftentimes touch one another in apparent affinity4 ,for instance1 what is more earthen than the brown crumbling body of the ,dutch delft ware8 ,it is a poor relation of porcelain4 ,but the ,dutch potter had in mind the great prototypes of the ,east4 ,his dishes and his jars were an attempt to copy blue-and-white ,kang-,he porcelain4 ,he covered his brown body with a white enamel and painted his tulips and his ,batavian-,chinese designs to imitate the ,dutch ,east ,india ,company's examples he had before him4 ,he created a new art1 but he started as a copyist4 ,beautiful as is ,delft1 it is really only a simulation in earthenware of blue-and-white porcelain4 ,similarly in regard to ,english earthenware1 with the noteworthy exceptions of a few types essentially true to the technique of earthenware1 it is singular how peculiarly obtuse the ,staffordshire potters have been to the limitations of earthenware4 ,they have assiduously attempted to bring it into line with porcelain in its decoration and its appearance4 ,the line of demarcation between earthenware and porcelain has become in ,england very indefinite1 owing to the fact that true porcelain is not manufactured in this country4 ,in consequence1 the artificial composition of the body of ,english porcelain1 where calcined bones form an addition to the ,chinese formula of true porcelain1 has brought it into closer relationship with earthenware than is the case in any other ,european porcelain4 ,semi-porcelain1 a term in ,english ceramics1 is not to be found elsewhere4 ,it is still a moot-point whether to classify ,wedgwood's jasper ware as earthenware or porcelain4 ,ironstone china1 a hardware introduced by ,mason in #ahcj and copied by other potters1 is earthenware1 and the instances could be multiplied of confusion in nomenclature4 ,but where1 as on the ,continent1 only hard paste that is true porcelain in the ,chinese manner is produced1 save at ,svres1 the distinction between this and earthenware is most clearly defined4 ,illustration3 ,,copenhagen ,,art ,,faience4 ,placque1 with parrot1 decorated in rich colours by ,christian ,joachim4 ,at ,copenhagen1 therefore1 the manufacture of faience at a porcelain factory was a leap into the unknown4 ,not only were different kilns to be employed1 but a different technique and especial conditions governed the manufacture4 ,the theories which had been skilfully put into practice and the ideals which had been reached in the art of porcelain were alien to the new departure in the field of faience4 ,to have welded together the two arts and the two techniques would have ruined the enterprise at its commencement4 ,the two streams were allowed to run apart1 and the result is an artistic achievement no less noteworthy than the ,renaissance of the ,royal ,copenhagen porcelain4 ,the mantle of ,philip ,schou has descended on his son-in-law1 ,frederik ,dalgas1 who has ably continued the traditions of his predecessor in the management of this national enterprise4 ,the inception and development of this art faience of ,copenhagen is due to ,mr4 ,frederik ,dalgas1 who brought a keen and virile intuition into this new field of ceramic adventure4 ,whereas in the porcelain there is delicate artistry and finesse1 in the faience there is breadth and vivacity of colour schemes4 ,never do the twain touch each other in kinship4 ,the faience is not a poor kinsman of the porcelain4 ,it is a new creation1 a fresh and forceful note in ceramic art4 ,it has a relationship with bygone majolica of another land4 ,it is a transplantation of a southern stock into a northern clime4 ,one is reminded of those labels at ,kew ,gardens indicating that certain rare trees from sunnier lands have been acclimatized and have become beauty spots in a far country4 ,the ,slow ,growth of a ,new ,art4--,it is always interesting to the student to examine specimens belonging to the experimental stage of an art4 ,it is here that the potter struggling with his new technique betrays in his motifs suggestions as to its origin4 ,there are very few wares in ceramic art that stand out as supremely original4 ,in some way or another they bear relationship to earlier potters' work1 as a rule4 ,whole schools of artistic potters have been avowedly copyist4 ,this is a truism in regard to ,european ceramic art as a whole3 it is admittedly derivative from ,oriental prototypes4 ,but in regard to various branches of pottery apart from porcelain1 there is little doubt that it has a long lineage4 ,it is therefore possible to compare the stages of evolution of faience in the ,western countries and to realize that since ,greek and ,roman and ,etruscan days man was a progressive potter1 though even in this field derivative technique came from east of ,suez4 ,the earliest examples of the ,copenhagen faience suggest that the old ,italian majolica models had lingered in the memory of the potters making their essay into a new domain4 ,those who have carefully watched the slow but sure growth of this art faience of ,copenhagen will have come to realize how surely the potter has put his foot on a new plane and established something that is characteristic and original4 ,he has by a gradual process year by year added new forms1 created dishes and beakers of sound design1 and perfected the decorations in colour till they have reached something which is gay without being garish and exuberant in rich colouring without being other than surprisingly harmonious4 ,one wonders how the ,oriental rug-weaver can place his blues and his reds seemingly so disastrous to tone effect4 ,but there they are1 and1 either by strong contrast or perfect harmony1 the results are artistically true4 ,it is the same question one asks of the colour effects in the ,copenhagen art faience4 ,they are perfectly luscious and strikingly original4 ,no one else has employed these combinations of pigments1 nor their wide range of colours4 ,they appear to have been produced by magic4 ,but to any one with a working knowledge of a great factory will come the reflection that the apparent magic is the wizardry of genius1 and genius has been defined as the infinite capacity for taking pains4 ,the strenuous work1 the long vigils1 the indefatigable and indomitable determination to accomplish the mastery of the technique is here evident4 ,it is the strong and fruitful harvest of a slow growth carefully tended in an especially artistic environment by trained minds4 ,illustration3 ,,copenhagen ,,art ,,faience4 ,vase1 decorated with sprays of flowers in rich colours4 ,the ,old ,masters of ,majolica4--,the ,italian school with its glazed ware of polychrome decorative effects1 ,faenza1 ,caffaggiolo1 ,urbino1 ,pesarro1 and later its lustre 7notably the ruby ware of ,gubbio71 was partially derivative from ,persian and from ,hispano-,moresque prototypes4 ,figure subjects form an important feature4 ,groups in contemporary costume1 portraits1 and religious or allegorical subjects1 as well as heraldic devices1 occupy the centre of the dish4 ,but the border is a framework which is richly decorated with brilliant and varied colours4 ,the designs are conceived in the best vein of sixteenth-century fecundity of invention4 ,elaborate floriate ornament is in combination with satyrs and grotesque masks1 or cupids1 or birds1 or sea monsters4 ,it suggests the sprightly grace which enlivens the tail-pieces engraved in contemporary ,italian books4 ,design1 till it ran riot later1 was exuberant1 and there seemed no end to the outburst of originality and imagination4 ,it is to these old masters1 particularly of the ,italian period from about #adhj to about #aehj1 that one turns for great ideas and perfect execution4 ,before the latter date signs were evident that the art was declining3 already the secret of the ,gubbio ruby lustre had been lost4 ,the earlier ,persian pottery and the ,rhodian ware1 produced as far afield as ,damascus and ,ispahan1 had disseminated the wondrous technique of the ,east4 ,the ,hispano-,moresque ware of ,malaga and ,valencia1 a century earlier than the greatest period of the ,italian school1 gradually lost its ,moorish character with arabesque design and pseudo-,arabic characters1 till1 in the late sixteenth century1 designs in contemporary ,spanish costume and broad floriate borders found favour4 ,the copper lustre was1 however1 still a feature4 ,illustration3 ,,copenhagen ,,art ,,faience4 ,vase with hexagonal top and base1 richly decorated with flowers and arabesque ornament1 by ,christian ,joachim4 ,it is obvious1 therefore1 that the old masters are the fount from which so much has been derived4 ,nevers1 ,rouen1 and ,moustiers caught the colour-schemes of ,persia and ,italy1 and each in turn made them her own4 ,in studying the finest work of the old masters of faience we see that the technique is something very different from what ,staffordshire has made it4 ,john ,dwight in the seventeenth1 and ,thomas ,whieldon in the eighteenth century both worked on sound lines4 ,it is not high art to attempt to make faience simulate porcelain1 any more than it is when wall paper pretends to be marble1 or leather1 or tapestry4 ,porcelain shows as much of its white body and sparkling glaze as is possible4 ,it depends1 as does an etching1 on its uncovered background for its luminous effects and its atmosphere4 ,faience is like an oil painting3 it demands that the whole surface be covered4 ,it has a yellow1 or brown1 or green1 or lilac ground4 ,the decoration1 in contradistinction to porcelain1 is broad and strong4 ,there are no finicking ,chantilly sprigs in faience4 ,bold1 virile1 and striking must be the notes that dominate faience1 but withal--and herein lies the supremest difficulty--it must be nave and simple4 ,it must not suggest the palace1 and certainly not the boudoir4 ,it must bespeak the open air4 ,it is the perennial herbaceous border in ceramic art1 and not the hot-house or the conservatory4 ,the ,great ,promise of a ,new ,school4--,lovers of ,copenhagen ware and connoisseurs who were aware of the possibilities of faience produced under rightly understood principles have not been disappointed in the art faience which ,mr4 ,christian ,joachim has made his own under a group of trained artist potters4 ,his is the guerdon of praise1 and the laurel wreath should be placed on his head for his services to the art of his native country4 ,he has happily received the support of a farseeing directorate4 ,his life record will stand as a great triumph for the ,copenhagen art faience4 ,what ,arnold ,krog has done in porcelain1 ,christian ,joachim has done in faience4 ,with a fine appreciation of the limitations of his technique1 and with a bold imagination as to further possibilities in modern conditions1 he has sent forth his pottery with a message of gaiety and youth4 ,no man is a prophet in his own country4 ,but in ,europe and in ,america ,christian ,joachim's work has become noteworthy4 ,danes the world over buy it because it is ,danish4 ,we ,english and other strangers buy it because it is beautiful art4 ,illustration3 ,,copenhagen ,,art ,,faience4 ,figures4 ,a ,midsummer ,night's ,dream4 ,modelled by ,r4 ,harboe4 ,bottom the ,weaver4 ,fairy4 ,philostrate1 ,master of the ,revels4 ,in an examination of the art tendencies of the new school1 it would appear that in the attempt to be surprisingly original there is the wilful abandonment of anything suggestive of ,persian1 or ,rhodian1 or ,moorish1 or ,italian ideals4 ,the motifs are especially modern1 and the schemes of colour are skilfully handled in a novel manner1 and owing to scientific development the potter's palette is more extensive than heretofore4 ,the promise has already been fulfilled1 and connoisseurs await later developments with no little curiosity4 ,the ,rich ,output of ,colour and ,inventive ,form4--,the illustrations to this chapter lack colour1 and therefore they cannot do justice to what is one of the most important features in the new art faience4 ,among the pigments that are used are the following1 no incomplete range in comparison with what has gone before in this ceramic field4 ,the ,dutch found blue the least refractory of colours1 and adhered largely to its use till later they employed yellow4 ,rouen employed yellow and red and green4 ,but ,copenhagen has a palette consisting of cream1 yellow1 green1 blue1 red1 lilac1 and a warm plum colour or purple4 ,this latter colour1 the product of scientific modernity1 is wielded with a sure hand by ,christian ,joachim and his school of artists4 ,it is in such examples as the dish and the placque with tropical birds 7illustrated1 pp4 #cjg1 #caa7 that the rich colour effects procurable are seen at their best4 ,in the placque extreme simplicity and artlessness of design is exhibited in the floral border4 ,in the dish the border is luxuriant with colour1 although broad in treatment4 ,such examples are extremely decorative1 and exhibit this branch of ceramic art on a high level4 ,they attain their excellence by methods of their own4 ,they cannot be confounded with the productions of any other factory1 either older or contemporary4 ,their originality is a factor not to be eliminated in adjudging them4 ,in vases and other vessels demanding attention to form there is apparent the striving1 natural in all potters1 for unique forms4 ,a fine vase with rich floral decoration 7illustrated1 p4 #cae7 follows the early ,italian drug pot4 ,another breaks new ground1 and its square hexagonal surfaces require a touch of geometric ornament1 rarely found in ,copenhagen faience 7illustrated1 p4 #cai74 ,punch-bowls with covers1 having as a knob a full-sized lemon in natural colours1 are novel and utilitarian4 ,the modelling of ,mr4 ,harboe and of ,mr4 ,slott-,mller is deserving of recognition4 ,a ,midsummer ,night's ,dream was performed some years ago in the open air in a glade in the ,deerhavn1 near ,copenhagen1 before some thousands of people4 ,it is natural1 therefore1 to find little faience figures of ,bottom the ,weaver1 of ,flute the ,bellows-mender1 and of ,philostrate the ,master of the ,revels1 of ,puck1 of ,oberon and of ,titania1 and of delightful fairies4 ,these are not conjured up from the ,german translation by ,schlegel of ,shakespeare's plays1 but from ,shakespeare's own imaginings1 minus the addition of the heavy hand of ,german ,kultur4 ,we do not remember that ,staffordshire has attempted to reproduce ,shakespearean characters in clay1 though at one time1 after ,wedgwood1 ,jupiter and ,venus and other alien gods and goddesses were found on every cottager's mantelshelf4 ,the ,copenhagen figures of ,clown1 ,columbine1 and ,harlequin are pleasing in their graceful simplicity 7illustrated1 p4 #cbg74 ,illustration3 ,,copenhagen ,,art ,,faience4 ,figures--,clown1 ,columbine1 and ,harlequin--by ,christian ,joachim4 ,boxes--bonbonnires as the ,french term them--are produced in great variety4 ,we reproduce two1 broadly decorated and having covers with original design of bird and wood sprite4 ,this latter follows the true canons of plastic art4 ,he is as rotund1 with no breakable projections1 as a ,japanese ivory button netsuke4 ,with them is illustrated a vase ,persian in character1 but with modern colour effects4 ,all this is excellent1 but one asks for more4 ,in wishing the new school of the ,north bon voyage1 we may be allowed to express a hope that it will continue its outburst of resplendent colour and perpetuate its virile design1 that it may worthily vie with the great masters of faience in the ,south and in the ,east4 ,in regard to personal inclinations1 the writer would like to see sometimes embodied in the decorative borders of placques and vases the interlaced work of ,runic design1 symbolic of the ,norse mystery and magic4 ,if the ,italian saints find place on the tazzas of ,faenza1 surely ,thor and ,wodin1 who gave their names to two days of the week1 and other heroes of ,northern mythology1 should be embodied in this ,copenhagen gallery4 ,the triumphs of the ,vikings and their sagas quicken the imagination4 ,of heroes of later date1 one could wish to see ,cnut at the ,english seashore1 or the rugged portrait of old ,christian ,,iv4 ,it may be that these vain cravings for pages from the past run not attune to the dreams of the master potter with an eye to the future2 possibly decorative technique forbids--but here are the stray lines of a foreign spectator in kindly spirit4 ,illustration ,the ware is marked in green with an italic ,a to signify its origin from the parent ,aluminia factory as early as #ahfc1 and to this are added the three lines so well known as a ,royal ,copenhagen ,porcelain mark4 ,illustration3 ,,copenhagen ,,art ,,faience4 ,vase and ,boxes with lids surmounted by wood sprite and by bird1 richly decorated in colours4 ,by ,h4 ,slott-,mller and ,christian ,joachim4 ,,chapter ,,xii ,,the ,,factory ,,to-,,day ,,chapter ,,xii ,,the ,,factory ,,to-,,day ,its situation and surroundings--,facilities for the study of plant1 flower1 and animal life--,modern equipment in machinery and in hygienic improvements--,the absence of lead poisoning--,new impulses4 ,in the word factory there is nothing suggestive of poetry4 ,in ,england it represents the ,frankenstein who has slain many cottage industries4 ,in connection with our own potteries there are the ,five ,towns1 merged into one1 with a quarter of a million of inhabitants4 ,they stand for organized science and applied manufacture4 ,their architecture is an architecture of chimney-shafts and kilns1 black with smoke4 ,it is a prosperous district1 crammed with the workers in a gigantic industry4 ,there are visions of murky canals and great hills of accumulated rubble of the mines1 coal and copper and iron1 dug from the bowels of the earth and blotting out the skyline4 ,there are crowded byways filled with hurrying operatives1 men and women and girls4 ,the beauty of the rich1 green1 undulating lands of ,staffordshire has been effaced by this delving of human moles4 ,it is as though some ruthless giant had made sport of the hills and worked havoc on a smiling plain4 ,but modern life demands sacrifices1 and chinaware must be made to send to the four corners of the earth--this is the great ,white ,country4 ,in ,denmark things are managed differently4 ,it comes as a welcome surprise to the ,english visitor1 educated to other scenes1 to find the ,royal ,porcelain ,factory set in a pleasant suburb of the city near the old gardens of the ,palace of ,frederiksberg4 ,one cannot have an omelette without breaking eggs3 the factory chimneys are there1 the green-hedged paths are surely a snare leading up to another such prison-house as are all factories the world over4 ,here are the heaps of quartz1 and we catch the hum of the machinery4 ,the workers are in the hive2 some unkind sprite has snatched them from the pleasant ways of a delightful city set by the sea and immured them for their sins in this fortress of stone4 ,illustration3 ,,courtyard ,,of ,,royal ,,copenhagen ,,factory4 ,showing turkey and brood4 ,it suggests the story of ,bttger and his workmen imprisoned by reason of the secrets they held4 ,surely these workmen and artists who know the secret of the ,copenhagen ware will not be allowed to escape4 ,it is too precious a thing to ,denmark that its secrets be divulged4 ,but the reply comes suddenly when the doors are opened and the secret1 that is no secret1 is disclosed4 ,these men and women are ,danes1 and proud of their art and filled with the love of their ,copenhagen porcelain4 ,they come and go as they will4 ,like bees they roam over the flowers and the gems of nature1 and they return home to the hive because they love their art4 ,that which their hand findeth to do1 they do with all their might4 ,facility for ,study of ,animal and ,plant ,life4--,there is sunshine here in this ,northern pottery4 ,the courtyard shows a scene no other factory in the world can offer2 it is bewildering to a student of potteries3 a turkey with her brood proudly dominates the scene4 ,we have with the camera caught this as a record4 ,it is as suggestive as it is remarkable that the artists have carried their love for fidelity so far that flowers and animals and birds find themselves in suitable environment at this strange enchanted factory4 ,animal life is dear to the potters here4 ,there are over three hundred moulds of different types--wading and diving wild fowl from the remoter haunts of coot and hern2 sea-gulls1 never absent from the harbour and canals spanned by bridges over which trams pass2 bears and seals1 the originals of which are to be found at the ,zoological ,gardens close by2 and if the ,phnix--that fabulous bird which lives for five hundred years1 making its nest of spices and burning itself to ashes1 coming forth with renewed life for another five hundred years--could be captured1 it would find a place in the aviary of the factory which1 ,phnix-like1 has arisen with youth and vigour4 ,the ,absence of ,lead ,poisoning4--,in place of the white-faced factory workers1 we find at the ,copenhagen factory a healthy band of workmen1 artisans1 and artists1 employed in conditions that are a credit to all concerned4 ,the usual drudgery of a pottery is eliminated as much as possible in this factory4 ,the latest modern appliances to ventilate the dust-laden air are in use4 ,there are no cases of lead-poisoning1 because lead is not used in the factory either in pigments or in glazes4 ,a dining-hall and dressing-rooms have been erected for the workmen4 ,the factory provides its own electricity and mechanical power2 it is heated throughout by hot water1 and has a complete system of vacuum and pressure mains4 ,the lady artists work in almost ideal conditions4 ,they are installed in studios filled with flowers and plants1 and in no other factory are the artistic conditions so favourable to the study of plant and animal life4 ,the photographs we reproduce are taken of the normal surroundings of everyday work4 ,illustration3 ,,interior ,,of ,,royal ,,copenhagen ,,porcelain ,,factory4 ,showing studios of lady artists4 ,the writer has indelible memory pictures of the workmen at the machinery1 or in the open air turning over the quartz where it lies in heaps weathering1 exposed to the sun and the frost1 of slowly grinding stones revolving in a vat mixing and amalgamating the raw materials1 in preparing them for the next stage of handling1 revealing the slow and patient processes of the potter's art4 ,there is something hazardous in manipulating the raw materials1 crushing them into powder1 and bringing them together in the correct proportions for the body4 ,it is here that the long traditions of the factory1 the well-guarded secrets in the mixing1 and the skilful instinct in conjunction with scientific exactitude1 come into full operation4 ,the result is evident in the smooth1 white1 pearly body and the transparent liquid glaze1 so technically perfect and so much admired by other potters4 ,one recalls an anxious and expectant group at the ovens when a firing is being removed after the ovens have cooled down from the intense heat of the grand feu1 a temperature never attempted by the manufacturers of soft-paste porcelain in this country4 ,the laboratory holds mysteries of its own4 ,it is an inner sanctum to which few penetrate4 ,these little human touches indicate that there is a romance in manufacture as well as in more stirring scenes to the accompaniment of the roll of the drum or the rousing bugle-call4 ,the potter's art is rich in associations which render the arts of peace as alluring in story as the arts of war4 ,many victories have been won in silence1 but no less triumphant for that1 and these represent man's conquest of earth and the white-hot flame of the furnace1 whereby he transmutes the rocks from the quarry and the mountain-side into crystal vases reflecting those same mountains1 and streams1 and placid lakes1 and clouds in stately procession4 ,this is the art of the magician1 and modern science has added one more laurel wreath to her victories over the elements4 ,the interior of a great factory where art is in the making has many exciting moments4 ,the cruel fire is no respecter of persons4 ,after the various steps have been taken1 the grinding1 the mixing1 the moulding into form1 the firing in biscuit1 the painting1 and the subsequent glazing1 the creation comes out of the oven as a finished work of art4 ,at any one of these stages a slip may mean disaster4 ,each successive process gains in difficulty4 ,it is a tragic instant when the last hour is reached4 ,after the oven has cooled the news goes round that a firing is being taken from the kiln4 ,a knot of artists gathers round as each piece comes out4 ,some call for admiration2 there is a hush of joyful surprise when a completed masterpiece comes forth perfect4 ,alas6 too often some delightful dream with its tender colours has twisted out of shape in the intense heat4 ,a graceful form has coalesced with a neighbouring vase4 ,they stand as failures1 and the workman with swift1 relentless hand gives them a tap with a hammer1 and they become shards4 ,the poet-painter's dream has ended in nothingness4 ,new ,impulses4--,in regard to the future there are golden hopes and happy anticipations4 ,the past has been glorious1 the present is triumphant4 ,a true and living school of design amid sound artistic environment has its band of artist-potters1 trained under happy auspices1 whose aims are set steadfastly on art that is nothing unless it be national--these are the children of to-morrow4 ,new generations will come and go1 and new art impulses will beat1 as the waves breaking from the ,baltic1 on the little pottery set on a rock and proud in its great achievements4 ,the future1 like the vessel in the furnace1 is in the hands of ,fate4 ,taking courage in both hands1 the potter-sons of ,denmark will in those yet unborn days carry on the great traditions4 ,there is a great heritage for the sons of the days to come1 and looking backward1 they will place the laurel wreath on the brow of the masters who1 in the old days and at the present era1 have fought the good fight and won the guerdon of praise from potters in far-off lands who have paid homage to the art of the ,three ,blue ,lines4 ,illustration ,,finis ,,index ,,index ,a as a mark1 ,copenhagen faience1 #ccj ,abildgaard1 #ajg ,a4,h4 as a mark1 #ajb ,aluminia ,company buys factory 7in #ahhc71 #bje ,aluminia mark on ,art faience1 #ccj ,andersen1 ,hans1 ,princess and ,swineherd1 ,tinder ,box1 figures illustrating1 #bfi1 #bhd ,animal life1 study of1 at ,copenhagen1 #bgj1 #cci ,antonibon1 ,pasqual1 potter at ,venice1 #bd ,arentz1 ,johan1 #aji ,arnoux1 ,report on ,pottery at ,paris ,exhibition 7#ahfg71 #bd ,art ,faience1 ,copenhagen1 #cjg-ccj ,b and ,g 7as a mark71 #bhc ,bargains in porcelain1 a regiment of dragoons exchanged for collection of porcelain1 #cb ,battle of ,copenhagen1 #agi ,bowl commemorating1 #ahd ,bau1 ,n41 #aji ,baer1 ,j4 ,c41 the painter of the ,flora ,danica service1 #aje ,signature of1 #ajc ,berlin factory founded by ,frederick the ,great1 #cb ,bing1 ,m41 collection of ,oriental art at ,paris1 #bae ,bing and ,grndahl1 ,messrs41 the factory of1 at ,copenhagen1 #bhc ,bird life1 strongly represented in figures and painted work1 #bgj1 #cci ,biscuit figures1 a high test of ceramic art1 #bff ,biscuit figures of great size 7,svres porcelain7 7#aijj71 #bbd ,blue-and-white1 early1 underglaze painted1 #aeg-gf ,painters of1 #ajd1 #aaj ,table of marks1 #agd-f ,boisgelin1 ,count ,louis de1 visits ,copenhagen factory 7#agij71 #gf1 #aji his report quoted1 #gf-hd1 #aej1 #aea ,bornholm clay used at early period1 #fc1 #gh1 #afe ,botanical character of ,copenhagen1 decoration in ,flora ,danica service1 #adh ,bttger1 ,johann ,fredrich1 his discovery of hard porcelain1 #bb1 #bi his secret divulged throughout ,europe1 #cj1 #ce ,bowl in memory of ,battle of ,copenhagen1 #ahd ,brandstrup1 gilding by1 #aie ,brongniart discontinues making pte tendre at ,svres1 #bd ,bushell1 ,stephen ,w41 ,chinese ,art1 quoted1 #bc ,c#g 7incised7 as a mark1 illustrated1 #ajd ,cadewitz1 ,martin1 #ajg ,camrath1 ,johan1 junior1 #aaj senior1 #ajh ,caroline ,matilda 7,queen of ,denmark71 her tragic history1 #dg ,catherine ,,ii1 ,empress of ,russia2 her friendship with contemporary philosophers and scientists1 #adb ,establishes a ,french theatre at ,st4 ,petersburg1 #adb ,letter of ,voltaire to1 #adc ,great services made for-- ,flora ,danica1 #aci ,svres1 #aci ,wedgwood1 #adj ,characteristics of modern ,copenhagen porcelain1 #bcj1 #bcc ,charles ,,xv of ,sweden1 present of ,fournier ,copenhagen service to1 #ci ,child-life a feature in ,copenhagen modelling1 #bgd ,chinese ,art1 by ,stephen ,w4 ,bushell1 quoted1 #bc ,chinese conventional underglaze blue-painted types1 #bcc1 #bch ,crackled glazes1 #bib ,flamb glazes1 #bia ,influence on ,copenhagen at the outset of the modern period1 #baa ,potter1 the poetry of the1 #ie1 #bde ,prototypes in underglaze painted porcelain1 #bcc ,subjects at ,copenhagen1 rare1 #abe ,christian ,,vii 7of ,denmark71 the court of1 #dc-eb ,chronology 7,queen ,juliane ,marie period7 7#agcb-aghj71 #db ,chronology 7#aghj-ahbj71 #gd ,classic movement the1 in ,europe1 #aia ,classic ornament1 avoidance of1 in modern ,copenhagen porcelain1 #bcd used in ,copenhagen decadent period1 #aif ,clement1 chemist at ,copenhagen factory1 produces first crystalline glaze in #ahhf1 #bai ,clio1 ,hans1 signature of1 #aja1 #ajf ,colour1 combinations of rich1 in ,copenhagen art faience1 #cbe ,colours of underglaze painting1 their limitation1 #bcf1 #bfh ,colours invented by ,mller1 #fd1 #gh ,commemorative placques1 #bcj1 #bdc ,commonplace development of underglaze painting avoided at ,copenhagen1 #bcd ,contemporary criticism of ,copenhagen factory 7#agij71 quoted1 #gf ,copenhagen ,art ,faience1 #cji-ca ,copenhagen factory compared with ,meissen1 #gg-hj1 #abf ,copenhagen ,factory ,mark1 its origin and symbolic meaning1 #ef ,copenhagen porcelain1 early 7soft-paste71 #cg ,copenhagen porcelain1 characteristics of modern style1 #bcj1 #bcc ,copyists of modern ,copenhagen porcelain1 #bbi1 #bie ,costume subjects1 weakness of1 in china1 #bff ,costume subjects1 respective claims of overglaze and underglaze painting1 #bfh ,costume subjects4 ,meissen vitiates ,europe1 #abf ,costume subjects in ,meissen and ,chelsea manner avoided at ,copenhagen1 #abf1 #abi1 #bgg ,court scandal4 ,coup d'tat of ,crown ,prince ,frederik1 #dh ,court scandal4 ,the story of ,queen ,caroline ,matilda1 #dg ,crackled glazes1 #bib1 #cja ,crown1 use of1 as a mark1 #bfb ,crystalline glazes1 #bhi-cjc ,crystalline glazes invented by ,hr4 ,clement in #ahhf1 the chemist at the ,copenhagen factory1 #bai ,dalgas1 ,frederik1 his activity in upholding the traditions of the factory1 #cac his development of the ,art ,faience1 #cac ,dannemand1 ,countess1 presents a service of ,copenhagen porcelain to ,charles ,,xv of ,sweden1 #ci ,danish and ,japanese ceramic art compared1 #bdg ,danish heroes of the ,battle of ,copenhagen1 #ahd ,danish pattern1 the1 in blue and white1 #aei ,dish1 illustrated1 #afi ,plate1 illustrated1 #bdi ,decadence1 the1 at ,copenhagen factory 7#ahbj-ahhj71 #agg-ig ,decoration1 fitting1 a true test of high ceramic art1 #bch ,defects in firing in porcelain corrected by the painter1 #bfe ,delft and its origin1 #cji ,denmark the arena of ,european conflicts1 art impulses extinguished1 #agi ,denmark1 the first porcelain made in1 #ce ,derby porcelain peacock compared with ,copenhagen model1 #bhh ,diderot and ,catherine ,,ii of ,russia1 #adb ,diversity of designs1 ,mller period1 #ha ,dutch potters' imitation of ,chinese porcelain1 #cji ,eckersberg1 ,danish painter1 #aig ,eighteenth century1 outburst of enthusiasm for art of potter1 #bh ,empire style1 the so-called1 #aia ,encyclopdia ,britannica 7#aiaa71 article on ,ceramics 7re ,copenhagen7 quoted1 #bhb ,engelhardt1 ,hr4 ,v41 chemist at ,copenhagen factory1 his crystalline glazes1 #bbc1 #bif ,english factories1 soft-paste1 list of1 #bg ,hard paste1 #bg ,english factories1 slavish imitation of ,oriental models and marks1 #aa1 #bha ,the short duration of the old1 #bjb ,english factories1 soft paste mainly produced at1 #bg ,english porcelain1 its peculiar technique1 #caj ,english potters1 clever technique of1 #bg ,europe1 establishment of china factories in1 #ba ,secret of hard paste discovered1 #bi ,european ceramic art1 a new note added by ,copenhagen1 #baf ,european factories1 hard-paste1 origin of1 #cj ,f painted in forget-me-nots1 #ii ,f#e1 mark ,fournier period1 #cf ,factory marks1 ,european1 with royal and patrician cyphers1 #bh ,factory ,mark1 not used from #aggc-agge at ,copenhagen1 #db1 #ef ,factory ,mark 7,copenhagen71 origin and meaning of the three blue lines1 #ef ,factory1 the old1 closed down for want of fuel1 #ace ,factory1 the ,royal ,copenhagen1 to-day1 #ccc-de ,art ,faience and its future1 #ccj ,dalgas1 ,frederik1 the modern spirit of1 the artistic distinction achieved under his direction1 #cac ,facilities for study of plant and animal life1 #cci ,its artistic environment1 #cci ,its modern equipment1 its hygienic improvements1 #cdj ,the studios 7illustrated71 #cda ,faience1 ,copenhagen ,art1 #cji-ca ,faience1 its technique1 #cba ,falck1 ,a41 buys factory in #ahfg1 #aif ,figure ,subjects1 early production of1 at ,copenhagen1 #ga ,national character of1 #abf1 #bgd ,figure ,subjects and ,groups 7#aghj-ahbj71 #aaa-cf ,classification of1 #abb ,renaissance period1 #bfc-hh ,figure ,subjects1 ,thorvaldsen period1 #aif ,fischer1 ,admiral1 bowl in memory of1 #ahd ,fish modelled from nature1 #bgc ,flamb glazes of ,chinese potters1 #bia ,flora ,danica service1 the1 #acg-ef ,painters and modellers of1 #aje1 #ajf1 #ajh1 #add1 #aee1 #aef ,flora ,russica1 by ,dr4 ,p4 ,s4 ,pallas1 ,german naturalist1 #aec ,florence1 imitative porcelain made at1 #bc ,foreign porcelain prohibited in ,denmark1 #aad ,foreign workmen and artists at ,copenhagen-- ,baer1 #hc ,cadewitz1 #hc from ,meissen1 #ei ,luplau1 #fj1 #hc1 #aba1 #abb ,thomaschefsky1 #hc ,form versus ,colour1 #bfe1 #bff ,formal landscape1 the1 supplanted by modern ,copenhagen1 #bcd ,fortia1 de1 ,count ,alphonse1 his volume1 #gf ,fournier1 ,louis1 ,french potter at ,copenhagen1 #cf ,fournier1 ,louis1 and his period 7#agfj-agff71 #ce-i ,mark used by1 #cf ,frederick the ,great carries off ,meissen workmen to ,berlin1 #cb ,frederick the ,great founds the ,berlin factory1 #cb his ruse to stimulate interest in porcelain1 #cb ,frederik ,v of ,denmark1 ,svres service a present from ,louis ,,xv1 #ch ,frederik ,v establishes a factory at ,copenhagen1 #ce ,frederik ,,vi1 his early training1 #ada ,orders the ,flora ,danica to be made1 #adj ,frederiksborg ,castle1 vases at1 #abe ,frstenberg1 artist from1 at ,copenhagen1 #ga ,frstenberg1 mark of1 mistaken for early ,copenhagen porcelain1 #cf ,future triumphs1 the supernatural yet unplumbed1 #bec ,garmein1 painter 7#ahbj-ahbe71 #aie ,garnier1 ,m4 ,edouard 7of ,svres ,museum71 quoted1 #bbj1 #bbc ,genius independent of modern science1 #fg1 #ia ,george ,,iii demands release of his sister on pain of war being declared1 #ea ,gilding of exquisite quality at ,copenhagen1 #ia ,ginger jar1 the ,chinese1 of commerce1 its beauty1 #bcg ,glaze-- ,overglaze decoration1 #bcc ,underglaze decoration1 #bad1 #bbd1 #bcf1 #bfh ,glazes-- ,chinese crackled1 #bib ,chinese flamb1 #bia ,crystalline 7,copenhagen71 #bie ,transmutation1 #bia1 #cja ,gray1 ,thomas1 student of nature1 #aec ,the first note of love of nature in ,english literature in his ,letters1 #aec ,grimm and ,catherine ,,ii of ,russia1 #adb ,gubbio1 ruby lustre glaze of1 #cah ,hald1 ,andreas1 #aji ,signature of1 #ajb ,hamilton1 ,lady1 ,nelson's letters to1 #ahg ,hamlet1 quoted1 #aib ,hansen1 ,lars1 painter1 #ajf ,hard paste-- first made at ,meissen1 #bb1 #bi ,plymouth1 ,bristol1 and ,new ,hall1 #bg ,svres1 manufacture of1 at1 #bd ,heraldic placques designed by ,arnold ,krog1 #bcj1 #bdc ,hetch1 ,g41 ,director of ,copenhagen factory1 #aia ,highest work of ,copenhagen1 an attempt to indicate1 #bcj1 #bcc ,hispano-,moresque ware1 #cah ,,hm 7incised7 as a mark1 illustrated1 #ajd ,holm 7,privy ,chancellor to ,queen ,juliane ,marie71 encourages ,mller1 #ee ,holm 7potter71 signature of1 #ajc ,holmskjold1 the botanist1 director of ,copenhagen factory1 #add ,hyen1 his lecture on the natural ,scandinavian art1 #aif ,i as a mark1 #aie ,i4 ,holm1 #ajc1 #ajg ,imitativeness of ,european potters1 #aa1 #bae1 #bha1 #cji1 #cad ,imitators of modern ,copenhagen porcelain1 #bbi1 #bha ,initials on ,copenhagen porcelain 7,f71 #ii ,inscription on ,chinese vase1 #ie ,copenhagen 7bowl71 #ahd 7cup71 #fi1 #ii 7plate71 #hg 7cup and saucer71 #ii ,staffordshire pottery1 #if ,italian ,majolica1 old masters of1 #cag ,j 7mark of ,jensen71 #aie ,jacobsen1 quoted1 #bea ,japanese and ,danish ceramic art compared1 #bdg ,japanese imitations of ,copenhagen porcelain1 #bdg1 #bha ,japanese influence in ,copenhagen at outset of modern period1 #bce ,japanese ivory carver1 his technique1 #bfg1 #cbi ,jensen1 mark of1 #aie ,jews compelled by ,frederick the ,great to buy porcelain1 #cb ,joachim1 ,christian1 his art faience1 #cbb1 #cbe ,,js 7incised7 as a mark1 #ajc ,juliane ,marie1 ,dowager ,queen1 patron of ,mller1 #ee ,part of1 in overthrow of ,struensee1 #dh ,juliane ,marie porcelain period-- ,part ,i 7#agge-aghj71 #da-ga ,part ,,ii 7#aghj-agif71 #gc-aaj ,excellence of modelling an ideal for modern work1 #bfh ,juliane ,marie style revived1 #bcc ,k 7incised7 as a mark1 #age ,kalleberg1 ,g41 the designer of fine subjects1 #ajg1 #aah ,kndler of ,meissen and his style1 #abf ,kaolin1 definition of1 #bb ,keith1 ,sir ,robert ,murray1 ,british ,minister at ,copenhagen1 #ea ,krog1 ,arnold1 ,art ,director at ,royal ,copenhagen ,factory 7from #ahhe71 #baj his artistic impulses1 #bac his development of new style in underglaze painting1 #bad ,traditional ornament discarded1 #bcd ,nature1 the source of inspiration1 #bae ,signatures of1 #bee ,kronborg1 ,castle of1 painted on a cup1 #aib ,kroyer1 ,danish painter1 #aig ,l as a mark 7incised71 #age 7painted71 #aie ,landscape subjects painted in underglaze colours1 #bcg ,lead glaze not used at ,copenhagen1 #cdj ,lead-poisoning1 no cases at ,copenhagen1 #cdj ,lehmann1 ,peter ,heinrich ,benjamin1#ajg ,signature of1 #aja ,living schools of decorative art1 #cde ,lost arts1 the technique of genius1 #ia ,louis ,,xv sends a ,svres service to ,frederik ,v of ,denmark1 #ch ,ludwigsberg factory1 #ca ,lunbye1 ,johan ,thomas1 ,danish painter1 #aig ,luplau1 comes to ,copenhagen from ,frstenberg factory1 #ga1 #aje his limitations1 #aag ,signature of1 #aja ,lyngbe1 ,l41 mark of1 #aie ,m 7incised7 as a mark1 #ajd ,madsen1 ,professor ,karl1 quoted1 #aje ,majolica1 old masters of1 #cag ,mark not used at ,copenhagen 7#aggc-agge71 #ajd ,marks 7continental7 with royal and patrician cyphers1 #bh 7,copenhagen7 art faience1 #ccj ,early blue-and-white porcelain1 #agd-f ,fournier period 7illustrated71 #cf ,mller period 7#agge-ahja71 #ajj-d ,peculiarities in position of 7blue-and-white porcelain71 #aga ,renaissance period1 used by leading painters and modellers 7from #ahhe71 #bee-fb ,similarity between early ,copenhagen and ,frstenberg1 #cf ,three blue lines1 origin of the1 #ef 7,english7 imitation of ,oriental1 ,svres1 and ,meissen1 #aa1 #bha ,mason's ironstone china1 #caj ,meehl1 ,hans1 mark of1 #ajd ,meissen-- ,establishment of factory at1 #bi ,figure subjects of1 compared with ,copenhagen1 #gg1 #abf ,marks copied by ,english potters1 #aa1 #bha ,porcelain1 authoritative history of1 #bi ,secret of1 divulged and spread throughout ,europe1 #cj ,workmen and materials carried off by ,frederick the ,great to ,berlin1 #cb ,workmen at ,copenhagen1 #ei ,mehlhorn1 a potter from ,saxony1 comes to ,copenhagen1 #cf ,meyer1 ,elias1 #aji ,panel painted by1 #ig ,meyer1 ,m41 #aji ,,mii 7incised7 as a mark1 #agd ,,ml 7incised7 as a mark1 #agd ,modellers and painters1 ,mller period 7#aggc-ahja71 list of1 #aje-aj ,modellers' and ,painters' ,marks 7early blue-and-white71 #agd-f 7,renaissance period71 #bee-fb ,modern ephemeral art movements unheeded at ,copenhagen1 #bdh ,modern equipment of ,copenhagen factory1 #cdj ,modern ,renaissance at ,copenhagen-- ,crystalline glazes1 #bhi-cjc ,early days1 #bja-ai ,figure subjects1 #bfc-hh ,golden period1 #bai-ed ,moltke1 ,count1 of ,bregentved1 ,fournier porcelain in collection of 7illustrated71 #cc ,moore1 ,mr4 ,bernard1 his examples of glazing1 #bib ,moorish potters1 arabesque designs of1 #cah ,mller1 ,frantz ,heinrich 7#aggc-ahja7-- ,discontent and misery contemporary with establishment of his factory1 #ci1 #dh his secret mission to other factories1 #eb1 #hd ,portrait of1 #da ,range of his subjects and order of their production1 #fh ,recognition of1 in his lifetime1 #fd ,scurvy treatment of1 at factory1 #hj1 #hc ,statue of him that was never erected1 #fd ,successors of 7#ahbj-ahhj71 #agg-ig ,technique of1 #fc1 #fd ,mller period1 the1 culminating point of1 #ga ,mussel-blue painted1 the great service1 #agb ,mussel-blue painted1 underglaze1 the suggestive idea of modern developments1 #bcd ,napoleonic wars1 #bjb ,national character of early ,copenhagen porcelain1 #acj of ,japanese ceramic art1 #bdg ,national ,museum 7,stockholm71 ,copenhagen porcelain at1 #ch1 #fi1 #aae1 #aai ,national sentiment in ,mller's designs1 #ie in modern ,copenhagen porcelain1 #bce1 #bdf ,national style created at ,copenhagen1 #hd ,nature1 ,danish1 reflected in modern ,copenhagen porcelain1 #beb1 #bec1 #cci ,nature-study a dominant note at ,copenhagen1 #aej1 #cci ,nelson1 ,admiral ,lord-- ,letters to ,lady ,hamilton1 #ahg sends ,copenhagen porcelain to ,lady ,hamilton1 #ahh ,nicolaj1 ,christian ,faxoe1 #ajh ,numerals 7#a-g71 painters' marks on early blue-and-white1 #agf ,nymphenberg factory1 #cj ,oeder1 the originator of the ,flora ,danica1 #adi ,old ,copenhagen ,factory described by contemporary eye-witnesses 7#agij71 #gf-hd1 #aed ,omar ,khayym1 quoted1 #if ,ondrup 7#aggi-aghg71 signature of1 #ajb ,oriental prototypes of ,european porcelain1 #bae1 #bcg1 #bha1 #cji ,originality at ,copenhagen factory1 its avoidance of ephemeral art movements1 #bdh of stereotyped styles1 #bcd ,outburst of activity in #aghj1 #ge1 #aac ,overglaze decoration1 modern revival of old ,copenhagen forms1 #bbi ,overglaze painters1 ,mller period1 #aje-aj ,painters1 ,mller period 7#aggc-ahah71 list of1 #aje-aj ,painters' and ,modellers' ,marks 7early blue-and-white71 #agd-f ,painters1 underglaze1 early blue-and-white1 #ajf1 #aaj ,pallas1 ,dr4 ,p4 ,s41 the protg of ,catherine ,,ii of ,russia1 #aec ,paris ,exhibition 7#ahhi71 success of ,copenhagen porcelain at1 #bbj 7#aijj71 #bbc ,pte dure porcelain of ,meissen and allied schools1 #bb ,pte tendre porcelain of ,svres and allied schools1 #bb1 #bd ,peasant life a feature in ,copenhagen figures1 #bgc ,peasant types and contemporary character in figure subjects1 #acj1 #bgc ,peacock1 figure of 7,copenhagen71 compared with ,derby porcelain model1 #bhg ,peculiarities in marks 7blue-and-white71 #aga ,persian pottery1 #cah1 #cba ,petuntse1 definition of1 #bb ,placques1 heraldic commemorative1 #bcj1 #bdc ,poetry and imagination1 expression of1 in modern ,copenhagen work1 #bdf ,poetry of the potter's art1 the1 #ie1 #bde ,porcelain-- ,first made in ,europe 7,bttger71 #bb1 #bi in ,denmark1 #cd ,hard-paste1 schools of1 #ba ,semi-porcelain1 a term in ,english ceramics1 #caj ,soft-paste1 schools of1 #ba ,portraits-- ,frederik1 ,crown ,prince 7vase71 #di ,juliane ,marie1 ,queen ,dowager 7vase71 #de ,mller1 ,frantz ,heinrich1 #da 7cup71 #fi ,rabener1 #ib ,pott1 chemist at ,berlin factory1 #ca ,potter1 ,chinese1 the poetic terms of the1 #bde ,preus1 ,sren1 modeller of flowers1 #ajh ,processes at old ,copenhagen factory described1 #fc1 #gf-hj1 #ia ,rarity of old porcelain-- ,copenhagen 7,fournier period71 #cf ,florence 7sixteenth century71 #bc ,renaissance1 modern1 ,copenhagen1 #aii-bfb ,retail depot opened at ,copenhagen1 #fj1 #aac ,revival of overglaze painting1 #bbi ,rhodian pottery1 #cbb ,rhymes and mottoes on ,copenhagen porcelain1 #ii on ,staffordshire pottery1 #if ,ringler1 a workman at ,vienna1 carries the secret of hard paste far and wide1 #cj ,roscoe and ,schorlemmer1 ,treatise on ,chemistry1 quoted1 #ca ,rosenborg ,castle-- ,flora ,danica service at1 #acg-ef ,fournier porcelain at 7illustrated71 #be1 #cg ,rousseau1 ,jean ,jacques-- his influence on ,struensee1 #dg his naturalistic theories1 #ada ,royal factory established at ,copenhagen by ,frederik ,v 7#agfj71 #ce ,royal patronage of potters-- 7in general71 #bh 7in particular7 ,copenhagen3 ,christian ,,vii1 #ajd ,frederik ,v1 #ce ,juliane ,marie and royal family shareholders in ,mller's company1 #ef ,crown ,prince ,frederik and the ,flora ,danica service1 #adj ,berlin3 ,frederick the ,great1 #cb ,frstenberg3 ,duke of ,brunswick1 #ca ,meissen3 ,frederick ,augustus1 ,elector of ,saxony1 #bi acquires porcelain in exchange for a regiment of dragoons1 #cb ,st4 ,petersburg3 ,emperor ,paul1 #bh ,empress ,catherine ,,ii1 #ca ,empress ,elizabeth ,petrowna1 #ca ,vienna3 ,empress ,maria ,theresa1 #cj ,st4 ,cloud1 factory 7#afie-aggc71 #ba1 #bc ,scandinavian ,diana biscuit group in ,svres porcelain1 #bbd ,schleswig-,holstein1 war concerning the duchies of1 fatal to ,danish art1 #bje ,schmidt1 ,jacob1 #ajb ,schou1 ,philip1 pioneer of ,modernity1 #bje ,makes a ,european tour1 visiting factories of ,holland1 ,belgium1 ,france1 and ,england1 #bad ,rebuilds factory at ,frederiksberg--his genius1 #bje ,the triumph of his foresight1 #bac ,copenhagen porcelain raised to a new plane1 #baf ,schou1 ,philip1 comparison between1 and ,mller1 #baj ,schreiber1 ,lady ,charlotte1 letter from ,francesco ,antonibon to1 #bd ,secret of hard-paste porcelain spreads throughout ,europe1 #cj ,secrets of craftsmen not dependent on scientific accuracy1 #fg ,semi-porcelain peculiarly ,english1 #caj ,svres1 crystalline glazes at1 #cja ,svres factory1 date when hard paste first made at1 #bd ,svres factory1 marks of1 copied by ,english potters1 #aa1 #bha ,svres porcelain1 its spirit reflecting northern ideas1 #bbd ,svres porcelain1 ,louis ,,xv sends present of service to ,king of ,denmark1 #ch ,service made for ,catherine ,,ii of ,russia1 #aci ,svres styles introduced at ,copenhagen1 #cg ,shakesperean subjects 7,copenhagen71 #cbf ,signatures of artists1 etc41 in ,copenhagen porcelain-- ,baer1 #ajc ,clio1 #aja ,hald1 #ajb ,holm1 #ajc ,krog1 #bee ,lehmann1 #aja ,liisberg1 #bef ,luplau1 #aja ,meehl1 #ajd ,ondrup1 #ajb ,schmidt1 #ajc ,skovgaad1 ,peter ,christian1 ,danish painter1 #aig ,soft-paste porcelain1 definition of1 #bc ,english1 #bg ,when made at ,copenhagen1 #cf ,sren ,preus1 #ajh ,sroe1 view of1 painted on a cup1 #aie ,spiritual outlook1 the1 of modern ,copenhagen1 #beb ,staffordshire figures stripped of their pigment1 #bff ,staffordshire potters' fondness for rhymes1 #if ,stockholm1 ,national ,museum1 specimens of porcelain at1 #ch1 #fi1 #aae1 #aai ,fournier period1 #ch ,juliane ,marie period1 #fi1 #aai ,struensee1 ,john ,frederick1 his fatal influence at the ,court of ,christian ,,vii1 #dg his overthrow by ,queen ,juliane ,marie1 #dh his execution1 #ea ,styles which modern ,copenhagen wisely avoided1 #bcd ,subject1 the apt choice of a fitting1 the truest test of the highest ceramic art1 #bch ,successors of ,mller1 #agg-ig ,supernatural1 the1 untouched by ,copenhagen1 #bec ,t 7incised7 as a mark1 #age ,table of leading painters and modellers1 ,mller period 7#aggc-ahaj71 #aje-aj ,table of ,marks1 ,mller period 7#agge-ahaj71 #ajj-d ,table of ,marks1 old blue-and-white porcelain1 #agd-f ,tables of ,marks1 painters and modellers of ,renaissance period from #ahhe1 #bee-fb ,technique-- ,copenhagen art faience1 #cag1 #cbe ,copenhagen porcelain 7modern7 imitated by many factories1 #bbi1 #bdg ,copenhagen porcelain 7old71 processes described1 #fc1 #bfh 7,mller period7 its triumph with primitive methods and impure materials1 #fg1 #hh1 #ia ,english porcelain1 #caj ,figure subjects1 the limitations of the potter obeyed1 #bfg ,modelling and its especial1 #bff1 #bfg ,modern schools of potters1 #bbi1 #bdg ,underglaze decorated porcelain1 #bcf1 #bcg ,underglaze painter1 true ideal in1 #bad1 #bcd1 #bdb ,thomaschefsky1 ,carl ,fridrich1 #aaj ,thorvaldsen1 figures after sculpture of1 #aif ,three blue lines 7,copenhagen mark71 origin of1 #ef ,,ti 7incised7 as a mark1 #agj ,times 7#ahja71 quoted1 #ahc ,toby jugs stripped of their pigment1 #bff ,transmutation glazes1 #bia1 #cja ,tschirnhaus1 ,ehrenfried ,walter von1 #bi ,tuscany1 ,grand ,duke of1 patron of ,florence factory1 #bc ,tvede1 ,claus1 modeller1 #aje ,underglaze painted1 early blue-and-white1 #aeg-gf ,underglaze painting1 new technique created1 #bad1 #bcd1 #bdb ,underglaze painting succeeds overglaze painting in figure subjects1 #bfh ,unmarked ,copenhagen porcelain 7#aggc-agge71 #db1 #ef ,verses on ,copenhagen porcelain1 #hg1 #ii ,vincennes factory 7#agdj71 #bc ,voltaire1 letter to ,catherine ,,ii of ,russia1 #adc ,w#b 7incised7 as a mark1 #agf ,wedgwood exhibition1 the1 by ,messrs4 ,josiah ,wedgwood ,sons1 ,london1 #aiji 7including service made for ,catherine ,,ii1 ,empress of ,russia71 #adj ,wedgwood1 his introduction of classicism into ,staffordshire1 #aib1 #bgh his jasper ware1 its classification1 #caj ,wedgwood service made for ,catherine ,,ii of ,russia1 #adj ,wedgwood workmen apply in vain at ,copenhagen1 #abb ,wiedewelt1 the sculptor1 assists ,fournier1 #cf ,wilkins1 ,w4 ,h41 ,a ,queen of ,tears4 ,history of ,caroline ,matilda1 ,queen of ,denmark1 #dg ,winther1 ,christian1 quoted1 #bea ,worcester1 its ,oriental prototypes1 #bae1 #bcg1 #bha ,workmen1 foreign1 at ,copenhagen1 #ei1 #fj1 #hc1 #aba1 #abb ,workmen1 foreign4 ,english artisans from ,wedgwood's factory apply in vain at ,copenhagen1 #abb ,zimmermann1 ,professor ,ernst 7,meissen porcelain71 #bi ,zurich factory1 #ca ,printed in ,great ,britain by ,,unwin ,,brothers1 ,,limited1 ,,the ,,gresham ,,press1 ,,woking ,,and ,,london ,transcriber's ,note3 ,unusual and archaic words have been maintained as in the original book4 ,words that were in bold in the original book are surrounded by 1 such as bold4 ,instances where the ,list of ,illustrations did not match the contents of the book were corrected3 ,corrected entries for ,chapter ,,ii3 ,saucer4 ,eagle and ,lamb #eg ,saucer4 ,water-god #fa ,originally3 ,saucers4 ,eagle and ,lamb2 ,water-god #fa ,corrected entry for ,chapter ,,xi3 ,dish with tropical bird 7,christian ,joachim7 #cjg ,originally ,dish with tropical birds 7,christian ,joachim7 #cjg ,instances where the index did not match the contents of the book were corrected4 ,in all cases1 the preferred spelling in the body of the book was maintained and the index was changed4 ,corrected3 ,baer1 ,j4 ,c41 the painter of the ,flora ,danica service1 #aje ,originally3 ,bayer ,corrected 7under ,foreign ,workmen44473 ,thomaschefsky1 #hc ,originally3 ,thomasefsky ,corrected3 ,frederiksborg ,castle1 vases at1 #abe ,originally3 ,fredericksborg ,corrected3 ,kndler of ,meissen and his style1 #abf ,originally3 ,kandler ,corrected3 ,mehlhorn1 a potter from ,saxony1 comes to ,copenhagen1 #cf ,originally3 ,melhorn ,corrected3 ,ondrup 7#aggi-aghg71 signature of1 #ajb ,originally3 ,ondrop ,corrected3 ,schreiber1 ,lady ,charlotte1 letter from ,francesco ,antonibon to1 #bd ,originally3 ,antibon ,corrected3 ,shakesperean subjects 7,copenhagen71 #cbf ,originally3 ,shakesperian ,corrected3 ,thomaschefsky1 ,carl ,fridrich1 #aaj ,originally3 ,freidrich ,in researching the letter from ,francesco ,antonibon to ,lady ,charlotte ,schreiber 7and the correct spelling of ,antonibon71 ,i found that the cited work1 ,marks and ,monograms on ,pottery and ,porcelain by ,william ,chaffers does exist1 but does not contain the cited information4 ,a related work by the same author1 ,marks and ,monograms on ,european and ,oriental ,pottery and ,porcelain with ,historical ,notices of ,each ,manufactory contains the cited information4 ,the citation has not been changed in the footnote in this ebook 7page #bd of the original book74