At Copenhagen, therefore, the manufacture of faience at a porcelain factory was a leap into the unknown. Not only were different kilns to be employed, but a different technique and especial conditions governed the manufacture. The theories which had been skilfully put into practice and the ideals which had been reached in the art of porcelain were alien to the new departure in the field of faience. To have welded together the two arts and the two techniques would have ruined the enterprise at its commencement. The two streams were allowed to run apart, and the result is an artistic achievement no less noteworthy than the Renaissance of the Royal Copenhagen porcelain. The mantle of Philip Schou has descended on his son-in-law, Frederik Dalgas, who has ably continued the traditions of his predecessor in the management of this national enterprise. The inception and development of this art faience of Copenhagen is due to Mr. Frederik Dalgas, who brought a keen and virile intuition into this new field of ceramic adventure. Whereas in the porcelain there is delicate artistry and finesse, in the faience there is breadth and vivacity of colour schemes. Never do the twain touch each other in kinship. The faience is not a poor kinsman of the porcelain. It is a new creation, a fresh and forceful note in ceramic art. It has a relationship with bygone majolica of another land. It is a transplantation of a southern stock into a northern clime. One is reminded of those labels at Kew Gardens indicating that certain rare trees from sunnier lands have been acclimatized and have become beauty spots in a far country.