Ordinary collectors of porcelain have always been desirous of selecting a subject which has not been exploited. 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 beauty. But in regard to old factories, most of the histories have been written to extol their work when the factory had closed down for ever. The lack of contemporary records of English porcelain is particularly noticeable. It is as though the factories attempted to hide their personalities, as indeed they did disguise their productions by trade signs only decipherable by the indefatigable zeal of later generations. They assumed pseudo-Chinese marks or adopted the crossed L's of Sèvres and the crossed swords of Meissen, to the confusion of collectors a hundred years afterwards. It is therefore with no misgiving that in the present volume modernity receives due consideration. National recognition for the artist potter comes, alas! often too late. In passing, we may add that there are some wonderful productions being made in England to-day, especially in earthenware, and those who are buying wisely are laying down wine for posterity. I have to offer my renewed thanks to the various museum authorities, mainly in Scandinavia, 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 subject. In that work, although the omission was corrected in the German edition published at Leipsic in 1912, various notes were embodied and remain in the present volume, which were supplied to me by correspondents without any knowledge on my part that they were based on the work of Professor Nyrop of Copenhagen, who has made assiduous research into the history of the old Copenhagen factory, and to whom, therefore, a tribute is in courteous acknowledgment obviously due. A new chapter has been added to this volume dealing with Copenhagen Art Faience, the character of which ware has claimed recognition from competent critics throughout Europe and in America as having brought a new note into ceramic art. ARTHUR HAYDEN. CONTENTS PAGE PREFACE 9 LIST OF ILLUSTRATIONS 15 CHAPTER I. THE EARLY HISTORY OF THE COPENHAGEN FACTORY 19 THE FOURNIER PERIOD. SOFT PASTE PORCELAIN (1760-1766) II. FRANTZ HEINRICH MÜLLER (1773-1801) 41 QUEEN JULIANE MARIE PERIOD (PART I, 1775-1780) III. FRANTZ HEINRICH MÜLLER (1773-1801)--_continued_ 73 QUEEN JULIANE MARIE PERIOD (PART II, 1780-1796) IV. FIGURE SUBJECTS AND GROUPS (1780-1820) 111 V. THE _FLORA DANICA_ SERVICE (1790-1802) 137 MADE FOR CATHERINE II, EMPRESS OF RUSSIA VI. EARLY BLUE-AND-WHITE UNDERGLAZE PAINTED 157 VII. THE SUCCESSORS OF MÜLLER (1820-1880) 177 THE DECADENCE VIII. THE MODERN RENAISSANCE 199