The date of these may be determined as subsequent to the year 1780, when a retail establishment was opened in Copenhagen in the heyday of Müller's triumph, for the sale of the factory productions. An outburst of popular feeling hailed this adventure with delight. The chronicles of the time are full of the subject. Hitherto great and important pieces were made under the Court patronage of Queen Juliane Marie and of Prince Frederik, her son, and important subjects were executed, giving to this period a character and dignity not surpassed by many of the older factories. But the royal factory now became the national factory. Henceforth merchants, burghers, the professional classes, and the Danish public in general were enabled to see a permanent exhibition of the ware of the Royal Porcelain Factory, and to purchase or give orders for a national ware which, naturally, was supplanting the use of all others in the country. In the year 1790 the importation of any foreign porcelain save Chinese was prohibited by law. From 1780 to 1790 one may expect to find the factory in full enjoyment of success, particularly in regard to its manufacture and sale of utilitarian blue fluted services, underglaze painted, and of small figures and vases, overglaze painted, of a less magnificent character, designed for use and ornament in the home rather than representative of types more fitted for presents to foreign princes and plenipotentiaries. In 1790 Müller was fifty-eight years of age. In 1801 he had retired from the factory. This chapter, while including important figures and groups, deals with types of a class which may be termed as in the second flight of Müller's artistic triumphs, and be it said much of the work is contemporary with more ambitious creations equal in character to some of the finest. [ILLUSTRATION: STATUETTE ENTITLED _A HERO_. With incised Mark HOLM/1780 and three blue lines painted. Height 12-1/5 inches. (_At the National Museum, Stockholm._)] As many of these minor pieces are dated and others have the signature of the artist or modeller, it is possible to arrive, with some degree of accuracy, at the period of their manufacture. 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 made. New forms were being added, and its decoration with the "Danish pattern" adhered closely to the original floral _motif_ now perennial to the ware.