All through the periods from Müller onwards the famous blue-and-white has remained as a standard output; but as a rough generalization, with the reservation admitted in regard to figures, it may be said that the classes above mentioned followed one another in quick succession, until the climax of the Müller period was reached, when the Royal Copenhagen Factory worthily claimed a place beside the great factories in Europe. CHAPTER III FRANTZ HEINRICH MÜLLER (1773-1801) _continued_ QUEEN JULIANE MARIE PERIOD PART II (1780-1796) CHRONOLOGY 1780. The first retail depot opened by the Royal Porcelain Manufactory in Copenhagen. The china becomes national. 1784. Queen Juliane Marie and her son Frederik, the Hereditary Prince, overthrown. The Crown Prince Frederik undertakes the government of the country on behalf of his imbecile father, Christian VII. 1790. The importation of foreign porcelain into Denmark prohibited. The great _Flora Danica_ service for Catherine II, Empress of Russia, commenced. 1796. Queen Juliane Marie dies in retirement. 1801. The battle of Copenhagen. Müller retires from active work at the factory, then in his sixty-ninth year. 1807. Copenhagen bombarded by the British fleet. Considerable damage done to the Royal Porcelain Factory. 1808. The Crown Prince Frederik ascends the throne as Frederik VI on the death of his father, Christian VII. The _Flora Danica_ service completed. 1820. Death of Müller. Buried 9th March. CHAPTER III FRANTZ HEINRICH MÜLLER (1773-1801) _continued_ _QUEEN JULIANE MARIE PERIOD_ PART II (1780-1796) The great outburst of activity in 1780--The manufacture of porcelain an assured success--A contemporary account of the factory--A national style created--The diversity of Müller's designs--National sentiment--Table of marks (1775-1801)--List of leading painters and modellers (1773-1801). The masterpieces of Müller come, as do all _chefs-d'œuvres_, as a surprise. Their gracefulness and poetic charm are captivating. 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 revelation. 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 factories. But to the most superficial observer it is at once evident that here is something at once national and beautiful.