But "East is East and West is West," and Copenhagen underglaze decoration has produced the tones of the Northern world. Of all curious happenings, it is singular to record that to-day the Japanese ceramic artists are fashioning their work in the same subdued tones, and producing similar subjects in figures, to the little band of ceramic workers in Denmark. In the history of the manufacture of porcelain this is not exactly a new thing. In England we have Worcester copying Chinese examples and inventing a pseudo mark, and the Bow and Lowestoft factories copying Worcester's copy of Chinese originals. Meissen and Sèvres have both suffered heavily from votaries who have loved the originals so well that they could not forbear from imitating them. In England, at Worcester and at Coalport, the copyists excelled in their love for the Sèvres and Meissen originals by putting the marks of those factories on their productions. It is a remarkable fact that Denmark, with no coal and with no minerals, and with no quartz and no china clay, should stand to-day as the leading porcelain factory in Europe. In the admirable article on _Ceramics_ in the new edition of the _Encyclopædia Britannica_ (1911) this verdict stands: "The most admirable result of this revived interest in Japanese art was, however, developed at the Royal Copenhagen works, the productions of which are not only famous all over the world, but have set a new style in porcelain decorations which is being followed at most of the Continental factories." In connection with figure subjects the same critic recognizes their precious qualities. "The Royal Copenhagen works have also produced a profusion of skilfully modelled animals, birds, and fishes, either in pure white or tinted after nature with the same underglaze colours. Other European factories have adopted the modern Copenhagen style of decoration."