HOLLAND.--There is little of novelty or originality to be found in the hard-paste porcelain made at this time in the North of Europe. The great days of Dutch art were over long before the introduction of porcelain into Holland, and the little that was then made fell readily into the Saxon school of decoration. Somewhere about 1760 the Count of Gronsfeld Diepenbroik established some of the Meissen workmen at Weesp. The mark on this early ware is doubtless derived from the Saxon swords (PL. C. 40). Later, when removed to OUDE LOOSDRECHT, the works were under the superintendence of a Calvinist _pastor_--his name is given as Moll. The mark on his porcelain, however, M. O. L., certainly referred in the first place to the place of manufacture (PL. C. 41). On the death of the reverend director in 1782 the factory was removed to Amsterdam, where the porcelain known generally as OUDE AMSTEL--a name that is often made to include the other Dutch porcelain of the time--was manufactured. At THE HAGUE, in 1778, a company was formed to make porcelain. This was under the patronage of the local magnates. They obtained the assistance of German workmen, and took the well-known badge of their town--a stork holding a fish in its mouth--as a mark (PL. C. 42). This was painted in blue _under the glaze_--for the native porcelain at least. In the case of the foreign white ware, much of which was decorated here--the soft paste of Tournai especially--the mark was painted _over the glaze_. The somewhat heavily decorated porcelain of the Hague, painted with landscapes, sea-pieces, and flowers, is now much sought after by the Dutch. At the time, however, the competition of both Oriental and German porcelain, of the enamelled fayence of Delft and later of the English wares, left little place in Holland for a native porcelain. SWEDEN.--The fayence and soft-paste porcelain made at Marieberg and at Rörstrand--both places in the neighbourhood of Stockholm--received their inspiration from Delft and Sèvres (or rather perhaps from Mennecy) respectively. Some hard paste was also made at Marieberg about 1780. The rare specimens of this ware are of considerable artistic merit. Of the soft-paste Swedish porcelain there are some custard-cups, closely imitating the Mennecy ware, both at South Kensington and in the Franks collection. The hard porcelain (and also, it is said, a ware that appears to be of a hybrid paste) bears as a mark the three crowns of the house of Vasa (PL. C. 44).