Among the figures calling for regard in the highest sense, that of the _Peacock_ standing on an urn, modelled by Arnold Krog, is of surprising grace and symmetry. Its modelling is at once true to nature and true to the requirements of the potter's art. A model on a lower plane would have placed the peacock on a base or tree-stump and utilized this as a support, and no figure would be complete without the gorgeous colouring of the tail. This is exactly what happens in a Derby figure of a Peacock (at the Victoria and Albert Museum). On a rococo base covered with a wealth of coloured flowers, a peacock stands in brilliant natural colouring. But in the Copenhagen figure the drooping tail is support enough in the kiln, and the natural pose of the bird, proud and erect, conveys dignity and beauty of form. The treatment at Copenhagen is exactly the opposite to the old school of ceramic artists. Here it is beauty of form first and colour in reticent subjection as an adjunct, and the results are undeniably superlative. CHAPTER X CRYSTALLINE GLAZES CHAPTER X CRYSTALLINE GLAZES _Flambé_ or transmutation glazes of the Chinese potters--The Royal Copenhagen Factory produces the first specimen of crystallized glaze in 1886--Blue crackled glaze produced with design under control. During the last decade of the nineteenth century the Western potter came under the spell of the modern chemist. Scientific study applied to the body and glaze and vitrifaction of the materials composing porcelain and faience, together with a closer study of the exact conditions of temperatures in the kilns, resulted in the discovery of certain well-defined decorative qualities in connection with glazes which, after considerable experiment, offered practically a new field for colour-work of a very beautiful nature. In the _flambé_ or transmutation glazes for which the Chinese potters were renowned, the effects of variegated or splashed colour are due to the capricious action of the fire on the glazes during the firing process. The single-coloured glazes of the Chinese applied to vases and other objects have been much prized by Europeans. The tints are very numerous, sea-green or celadon, yellow, red, blue, purple, brown, black, and other tones. These include the celebrated _sang-de-bœuf_ colour of French collectors, so highly prized in China. It is thought probable that many of these single-colour glazes have been applied at a somewhat lower temperature, termed by the French _demi-grand feu_.