=Underglaze succeeds Overglaze Colouring.=--Concerning the Renaissance figures as a whole, there is a tendency to produce them in white; this bespeaks great strength of modelling, and, varied as they are in character, dealing with different phases of life, they are never insipid. But it may be advanced that the underglaze colours are not extended enough in their range to do justice to some of the costume subjects. It seems to the present writer, and perhaps the criticism is confirmed by a pronounced tendency in that direction by the latest artistic movement in the factory, that many of the modern figures, such as peasant women in costume and the soldier in Hans Andersen's story of the _Tinder Box_, would give more complete results in overglaze painting. This revival of overglaze painting in Copenhagen in figures, and in combination with underglaze work, is a new development which is being curiously watched by connoisseurs and technical experts. The underglaze colours find complete harmony in the decoration of figures of birds, and are delicate and true to nature in the modelled fish, which have a graceful charm especially their own. They are a perfect medium for placques and vases, depicting the long vaporous clouds stretched across a leaden sky, the silvery blue transparent billows tossing in from the Baltic, or in the foreground streaming wearily over the level grey-yellow sand, flecked with the lilac seashore flowers and tufts of grass on the sand-dunes. The pale sad blues, the delicate greens, the amber, and pink, and dun-grey tones verging into violet which are transmuted in the _grand feu_ convey the faint colours, the mist and the sadness, the storm and the rainy air, the dim haze extending over meadow and lake, and the tremulously yellow tones of sunset. The landscape is tinged with that soft melancholy which tones down all harshness and softens all lines. Meditative, somnolent, indecisive, liquid, limpid, and alluring in tender serenity, these characteristics appeal to the soul of the artist as belonging to the dream country of lakes and beech-woods and sand-hills and kaleidoscopic waters. These intangible and wraith-like impressions have been momentarily snatched by the potters and painters at the factory, nor has anything been dropped in the fiery ordeal of the furnace, and they stand in ceramic art as a permanent national record of the homeland of the Dane.