At a rival Danish factory--that of Bing and Gröndhal--many clever artists, some of them ladies, have modelled in porcelain figures of animals either in the round or in relief on the sides of vases: we find dogs, cats, and even seals (but not the human figure). Indeed in this kind of work something in the nature of a school has grown up. Fresh life has lately been given to the old works at Rörstrand, near Stockholm. Here in the underglaze decoration the same cool, pearly colours that we find in favour at Copenhagen are predominant. Great care has lately been devoted to the modelling of flowers. At the Rozenburg works, near the Hague, a new paste has been invented by Juriann Kok. The extraordinary tenacity and plasticity of this material allows of its being worked into the strangest forms--some of the vases, with long, thin, angular handles, suggest work in hammered metal. By means of a fantastic decoration--quaint, elongated figures, and forms of marine life, such as the long-clawed Japanese lobster--a certain original _cachet_ has been given to this ware. The Charlottenburg works, near Berlin, have lately felt the influence both of Copenhagen and of the new school of Sèvres. Everything has been lately tried--sculpturesque developments in various directions, and again the decoration of large wall surfaces with porcelain plaques enamelled so as to resemble oil pictures; but as in former days, so now, the technical and scientific side of this industry tends to prevail over the artistic. M. Édouard Garnier, the late director of the Museum at Sèvres, in a report upon the porcelain exhibited at Paris in 1900, has ably summed up his impressions of the wares now being manufactured in various parts of Europe, and I cannot do better than follow so excellent an authority in his ‘appreciations’ of this modern porcelain. M. Garnier dates the latest renaissance of European porcelain from the new ground struck out in the seventies, not only at Sèvres, by Deck and others, but also in many private kilns, as by Bracquemont in Paris and by Haviland in the Limoges district. What specially distinguishes the latest work is the advantage taken of the new colours that can now be employed with the _grand feu_ so as to participate in the brilliancy and purity of the glaze. A delicacy of tone, a transparency and a harmony are now obtainable which contrasts favourably with the dry and dull colours of the old methods of painting. On the other hand, says M. Garnier, the progress in chemical knowledge has been so rapid that the new processes and colours have tended to become the masters of the artists who employ them, instead of remaining subtle tools in their hands.