Faience was made at various factories in Denmark, and it is more than conjectural that various native attempts were made to produce porcelain. The royal factory, which the king built near the Blue Tower at Christianshavn, with the aid of foreign workmen whom he had induced to enter his service, commenced to make various experiments. Mehlhorn was one of the alien potters brought from Saxony, but apparently, whether from paucity of natural earths or owing to faulty kilns, nothing of any moment resulted until Louis Fournier, a Frenchman (1760-1766), was induced to take charge of the factory. During what is known as the Fournier period the French director had the assistance of Danish artists, including Johannes Wiedewelt the sculptor. His contemporaries speak of the services he designed. Doubtless many of them were intended as presents to foreign princes and ambassadors, and found their way into royal and foreign cabinets. Although only about twenty pieces of the Fournier period are known, it is not impossible that careful research may discover that some of the early pieces attributed to Fürstenberg may really belong to Fournier of Copenhagen. Obviously, on account of their rarity they are of great value and of exceptional interest as being the first creations of the Royal Copenhagen Porcelain Factory. The identification should be rendered the easier when it is borne in mind that the early Copenhagen porcelain of the Fournier period is soft paste, whereas the Fürstenberg porcelain is hard paste. The mark F with the figure 5 stands for Frederik V and not for Fournier. The coincidence of the initial letter is like the W in Worcester porcelain of the Dr. Wall period. The early creations of the Copenhagen factory were porcelain, it is true, but they are not the hard or true porcelain of Meissen. They are the soft paste of the same nature as the _pâte tendre_ of contemporary Sèvres. 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 Germany, but they arrived at a dignity and a grace of style which are worthy of regard. As first attempts they are of surprising beauty, and the few specimens remaining arouse curiosity as to what masterpieces of this short period have been lost to posterity.