The love of landscape especially appealed to Copenhagen. The colours of the ceramic artist have limitations peculiarly their own. Atmosphere is rare in overglaze painting. There is a tendency to prettiness and an absence of breadth. But with pigments so refractory there are instances of work surprisingly powerful. Single colour scenes fare best, and there is one example in purple, poor enough medium, which has qualities almost suggesting the strength of a Dutch etching, as shown on a cup and saucer in the _Dansk Folke Museum_. The picturesque in colour finds its exposition in two octagonal dishes with sporting subjects. The one shows a man with a hound (illustrated, p. 93), and the other a man with a red coat engaged in the pastime of hawking. Vases with portraits secured their patrons. There is one at the _Kunstindustri Museum_ at Bergen; with the portrait of G. W. Rabener, born at Leipsic in 1714 and died in 1771, the friend of Klopstock, and the good-humoured satirist of German _bourgeois_ society. [Illustration: OCTAGONAL DISH. With figure subject, Huntsman with hound, finely painted in colours. Blue border with rich gold decoration.] Apart from colour and decoration, there is the fine modelling. The symmetry of the more important vases, instinct with decorative qualities of the highest order, having ornament in relief, moulded garlands, gay Cupids, or mask handles of some wood-god, is always paramount. Rarely is there a false note. To form and the mastery of the difficulties and the due observance of the technique of the potter, 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 Copenhagen. The essentials of ceramics were never lost sight of by the band of modellers working under Müller. =National Sentiment.=--There is a vein of sentiment, very pleasing and very piquant, running through much of the work of this period. It is the under-note of the potter, who, as other potters of other nations have before him, desired to convey a written message as well as the message in line, in colour, and in beauty of form that he set before his generation. Centuries before Müller, the Chinese potter revelled in his inscriptions. Potters the world over apparently are poets. On an old Chinese porcelain vase painted in blue, with a garden scene by moonlight, the following inscription in Chinese is found:--