At NYON, on the other hand, the influence came from Sèvres, in later times at least, for on the earlier specimens the tulips, birds, and landscapes are of a Saxon type. The white ware, _semé de fleurettes_--blue violets and roses--is perhaps the most characteristic. There were probably two factories here at the end of the eighteenth century. Of these the better known one was established by Maubrée, a flower painter from Sèvres, to whom is attributed the porcelain marked with a hastily sketched fish in blue (PL. D. 50). Some of the Nyon porcelain was decorated at Geneva, and at a later date we find more than one artist of the latter town holding an important position at Sèvres; indeed under Charles X., a Genevese, Abraham Constantin, who copied the pictures of Raphael on porcelain, was director of the art school attached to the royal factory. HUNGARY.--A factory was established by Moritz Fischer at Herend, in Hungary, early in the nineteenth century. The porcelain of Herend is of especial interest to us, for Fischer appears to have mastered the problem of producing the brilliant and jewel-like enamels of the Chinese. Some of his imitations of the _famille rose_ are excellent. He appears to have devoted himself to making coffee-cups and other small objects for the Turkish market. There is an interesting collection of his ware at South Kensington. The _rouge d’or_, the green and even the black grounds of the Chinese are well imitated, but the blue, _sous couverte_, and the iron red are not so successful. He also imitated the porcelain of Sèvres and Capo di Monte. Fischer stamped his ware with the word Herend in very small characters, and the Hungarian coat of arms is sometimes added over the glaze (PL. C. 39). * * * * * At the time of the great porcelain fever of the eighteenth century, of which the culminating period may be held to be coincident with the Seven Years’ War (1756-63), the North of Europe--Holland, Denmark, and Russia--formed part of the great province that had its metropolis at Meissen, while the southern countries--Spain and Italy (in part)--may be said to have looked to Sèvres for their inspiration. As for England, its allegiance was divided, but at the beginning, and certainly during the best period, the French influence was predominant; and later on, as regards the materials at least, we struck out a line of our own.