For examples of Hr. Engelhardt's work, see illustrations, pp. 293, 297, 299, 303. The following marks are incised and are of modellers, and are used in conjunction with the factory mark of the three blue lines. AXEL LOCHER. Modeller of figures. [Illustration] E. NIELSEN. Modeller of animals. [Illustration] CHRISTIAN THOMSEN. Modeller of figures and animals. For examples, see illustrations, pp. 271, 275, 279, 285. [Illustration] THEODOR MADSEN. Modeller of animals. [Illustration] KNUD KYHN. Modeller of animals. [Illustration] FRK. A. PEDERSEN. Modeller of animals. [Illustration] FRK. M. NIELSEN. Modeller of birds and fishes. 1903 to present time. [Illustration] CARL MARTIN HANSEN. Modeller of figures. 1905 to present day. [Illustration] GERHARD HENNING. Modeller and painter of figures. 1909 to present time. [Illustration] This mark of the factory, with the crown and words "Royal Copenhagen" inscribed in circle are in _green_. The three lines beneath are in blue. [Illustration] The use of this mark is from the year 1889, on many examples for the English and American markets. These marks of the crown and the three lines, _in blue_, are used on all copies of the old models of the =overglaze= Müller period. These are found on reproductions of old and rare examples of the early days, made by the factory on traditional lines. The revival of this _overglaze_ painting is a new impulse. The artist's initials are added to the crown in colour or gold. [Illustration] CHAPTER IX FIGURE SUBJECTS AND GROUPS RENAISSANCE PERIOD CHAPTER IX FIGURE SUBJECTS AND GROUPS _RENAISSANCE PERIOD_ Form _versus_ colour--The technique of modelling--The sound principles of old Copenhagen porcelain--Underglaze succeeds overglaze colouring--The love of animal life--Peasant types and children. The highest test to apply to a figure subject in porcelain is that it should be criticized in the biscuit stage. The crudities, the disproportioned ornament or the restless lack of cohesion become at once evident, without the touches of colour added to conceal the poverty of the art.