There is no greater tribute to pay to the inspiring genius behind the Royal Copenhagen Factory than to enumerate these instances of old factories with the prestige of Sèvres and Meissen hailing the newly awakened spirit of a younger factory. On every side, in these days, came the tribute of praise generously given by masters of technique and by rival workers in art. The Renaissance was something more than a name--it had become an accomplished fact. The great achievement of the modern Renaissance period is the creation of a new technique in underglaze decoration, which has added something to modern European ceramic art. The underglaze blue, employed at the old royal factory by Müller, was familiar from early Meissen days. But the revelation that underglaze painting of landscape had become something more romantic than Chinese prototypes was a fact only realized after Copenhagen had made successful experiment. The landscape of the Oriental potter, at the best, had something of formality and followed a convention alien to Western laws of perspective. Differing essentially from the enamel colours of the overglaze Continental work, and not less so from the glost-kiln colours of the English factories in their underglaze work, the _grand-feu_ colours, with their scheme of harmonies imparted something fresh and original to the art of the modern potter. It is, therefore, of great interest, commingled with considerable speculation, to contemplate the various stages of evolution of this characteristic style, and to await the future phases of its development. In reviewing the work of this Renaissance period, an attempt has been made by the writer to arrive at some conclusion as to that exact point of time at which the genius of the factory reaches its whitest heat during a brilliant quarter of a century of work. In a rich field of design which exhibits so much character and freshness, when new surprises may come forth from the oven at any moment, no inconsiderable difficulty presents itself in selecting any period where the work is more excellent. Happily, in contemplating the underglaze productions of Copenhagen, there is an extended period which may be passed in review. It is perhaps natural, when making tests of the general output of work, to select the middle years as productive of ceramic art of the highest order. There is the advantage in point of date of being able to apply a standard to it, either side by side with earlier work, or in comparison with later creations in the same style of decoration by the same band of artists and modellers.