In an examination of the art tendencies of the new school, it would appear that in the attempt to be surprisingly original there is the wilful abandonment of anything suggestive of Persian, or Rhodian, or Moorish, or Italian ideals. The _motifs_ are especially modern, and the schemes of colour are skilfully handled in a novel manner, and owing to scientific development the potter's palette is more extensive than heretofore. The promise has already been fulfilled, and connoisseurs await later developments with no little curiosity. =The Rich Output of Colour and Inventive Form.=--The illustrations to this chapter lack colour, and therefore they cannot do justice to what is one of the most important features in the new art faience. Among the pigments that are used are the following, no incomplete range in comparison with what has gone before in this ceramic field. The Dutch found blue the least refractory of colours, and adhered largely to its use till later they employed yellow. Rouen employed yellow and red and green. But Copenhagen has a palette consisting of cream, yellow, green, blue, red, lilac, and a warm plum colour or purple. This latter colour, the product of scientific modernity, is wielded with a sure hand by Christian Joachim and his school of artists. It is in such examples as the dish and the placque with tropical birds (illustrated, pp. 307, 311) that the rich colour effects procurable are seen at their best. In the placque extreme simplicity and artlessness of design is exhibited in the floral border. In the dish the border is luxuriant with colour, although broad in treatment. Such examples are extremely decorative, and exhibit this branch of ceramic art on a high level. They attain their excellence by methods of their own. They cannot be confounded with the productions of any other factory, either older or contemporary. Their originality is a factor not to be eliminated in adjudging them.