=Arnold Krog appointed Art Director.=--In 1885 Arnold Krog became an artist at the factory. Trained as an architect and a painter, he had already spent five years in the restoration of Frederiksborg Castle, and like those old Italian craftsmen who made all art their domain, he came to the decoration of porcelain with instinctive appreciation of its qualities. A happier combination than this could not have been desired. Schou, the business head, the man of strength of purpose, tenacity of will, battling with stern facts and figures, and Arnold Krog, the artist and dreamer, inventing new forms, wrestling with technical problems with a practical skill wedded to poetic impulses. The days of early Renaissance were filled with eager incessant work, and whatever difficulties surged up to the doors of the factory, Schou resisted them bravely. He believed in the future of the factory, he believed in the work of the artists. It was this great proud belief of a great man in his life's work that created the second great period in the history of the Royal Copenhagen Porcelain Factory. This quotation from a fellow-worker of that date shows how lovingly his memory is still cherished: "Optimistic and broad-minded man as he was, he firmly believed that the factory would succeed in spite of all difficulties. He did not look for immediate profit, but left us to work in peace, undisturbed by all the anxieties and pecuniary difficulties with which he, as managing director, must have had to contend." =A New Technique developed.=--In regard to the direction in decoration which the new porcelain took, it is interesting to realize how distinct a departure this was from contemporary art. The moment that Arnold Krog awakened to the fact that the body of the porcelain is smooth, white, hard, and of surpassing beauty, that moment determined its future. To cover it with colours or with gold in the overglaze style, as his predecessors had done, was at once to extinguish its innate loveliness. If blue dots and lines could be painted on plates, surely, thought the new art director, other artistic designs could be produced in the same manner. From these premises the principle of underglaze painting was accepted, and has been since followed so successfully. The determination of the method employed immediately led to the inquiry as to the exact definition such painting was to take. The difficulty now was to decide what to paint. It was obvious that mere ornamentation would lead to nothing new. Could Europe teach Copenhagen anything? It apparently could, at that stage. Accordingly, Philip Schou and Arnold Krog made a tour of Holland, Belgium, France, and England, and visited many of the leading factories. At the Antwerp Exhibition they saw many beautiful things from Sèvres and the other great European factories, but they had to admit that their journey was in a great measure fruitless, as they did not discover what they sought--new impulses for original work.