The number and character of the decorative pieces produced at the Royal Copenhagen Porcelain Factory during the ten years from 1896 to 1905, to which the highest praise has been given, seem to indicate that a close investigation of the details of the work of the individual modellers and artists might with advantage be pursued by those cosmopolitan collectors intent on acquiring masterpieces representative of the highest modern ceramic art. [Illustration: PLACQUE. SNOW SCENE WITH SETTING SUN. Painted in underglaze colours. Signed A. Smidth.] Personal tastes and predilections are not unimportant factors in passing judgment upon the present-day work of the factory, but the authorities of museums in various parts of the world, whose standard is a high one, have not hesitated in selecting modern examples of Royal Copenhagen porcelain. In following the trend of the development of the porcelain since the great outburst in 1900, when at the Paris Exhibition by general acclamation Copenhagen was acknowledged to be ahead of all other European factories, disinterested critics and less disinterested competitors have eagerly watched the progress of the Danish ware. Art requires no passport to cross international barriers, and foreign experts have enthusiastically admitted that the work of Copenhagen is of surprising beauty. At successive exhibitions, when nation has stood in friendly rivalry with nation, the ceramic record of Copenhagen has not been dimmed by equal work. So far it is still in advance of every one in Europe. Imitators it has, and, as the old adage puts it, "imitation is the sincerest form of flattery." The question is always asked of factories "with a past," whether it be Sèvres or Meissen, Wedgwood or Worcester--Is the work of to-day an echo of past glories, has the lamp burned dim, is the sacred fire still alight? In regard to other factories this is not the place to make any pronouncement, nor is it impossible to say that at any moment the spirit of the presiding genius of these great factories with great traditions may awaken to inspire anew the modern potters upon whom the mantle of succession has fallen. To cover European factories in a survey is often to come upon silent and deserted temples with decrepit worshippers offering sacrifices to a dim and distant past. But the oracle may yet speak. It is here that Copenhagen, with its great period of overglaze work, under the Müller _régime_, holding equality with the great factories of its day, as we have shown in earlier chapters, now comes forward with a second great period of underglaze work, bearing no immediate relationship with the first. Holger Danske has awakened to give magic potency to the Danish art. The following are the chief characteristics of Royal Copenhagen porcelain. It is always hard fired _au grand feu_, and the various classes of the underglaze decorated ware may be summarized as follows:-- =Underglaze Painted= I. _Individual Pieces._