At Copenhagen, says M. Garnier, the new porcelain, which since its introduction in 1889 has been praised and exalted in all the art journals of Europe, is still produced on the same lines. Not to speak of the new and strange results already obtained from coloured and enamelled glazes, greater experience in the use of the extended palette at the command of the decorator has produced results in which we find an admirable delicacy and restraint. It was, however, from Sèvres that the impulse first came. We can trace it in the work turned out of late years by Messrs. Bing and Gröndhal. But in place of the amiable and gracious art of France we find here a severe, sometimes we might almost say a rude, style, but one not without character and elevation. At Rörstrand, near Stockholm (see above, p. 388), the work still continues on the lines of the older porcelain of Copenhagen (_i.e._ in the style in favour ten or twelve years ago), with the same simplicity and charm in the decoration and delicacy in the modelled relief. Perhaps we may attribute to a special quality in the felspar of the north the pure and refined quality so noticeable in the pastes and glazes. At Rozenburg, continues M. Garnier, a factory already well known for its fayence, a very original kind of porcelain has lately been made. The composition of the paste, though based on kaolin, presents some peculiarities. The ware is of an incredible thinness and lightness, and the strange decoration, based in part upon Japanese motives, is not without charm and originality. The shapes of the vases, however, go too far in the direction of eccentricity. (Cf. p. 389.) As at Meissen, so in the porcelain now made in Italy there is a total absence of all personality and novelty, and the old, well-beaten road is still followed. At Florence this is carried so far that the old moulds acquired so many years ago from the Capo di Monte works are still in use. ‘Ce sont des choses,’ says M. Garnier, ‘qui prêtent trop au “truquage” et qu’il faut laisser aux fabricants de vieuxneuf.’ EXPLANATION OF THE MARKS ON THE FOLLOWING PLATES (A. TO E.) CHINESE MARKS 1. _Ta Ming Yung-lo_, 1402-1424. Mark of Yung-lo, engraved under the glaze in early seal or ‘tadpole’ characters. 2. _Ta Ming Hsuan-te nien chi_, 1425-1435. 3. _Cheng-hua nien chi_, 1464-1487. 4. _Ta Ming Cheng-te nien chi_, 1505-1521. 5. _Ta Ming Kia-Tsing nien chi_, 1521-1566. 6. _Ta Ming Lung-king nien chi_, 1566-1572. 7. _Ta Ming Wan-li nien chi_, 1572-1619. 8. _Ta Tsing Kang-he nien chi_, 1661-1722. 9. _Ta Tsing Yung-cheng nien chi_, 1722-1735. 10. _Do._ _do_., in seal characters. 11. _Ta Tsing Kien-lung nien chi_, 1735-1795. Seal characters. 12. _Ta Tsing Kia-king nien chi_, 1795-1820. Seal characters. 13. _Ta Tsing Tao-kwang nien chi_, 1820-1850. Seal characters. 14. _Ta Tsing Tung-chi nien chi_, 1861-1874. Seal characters.