"A good wine needs no bush" is an old English proverb, and this is essentially true in regard to the art of the Royal Copenhagen Porcelain Factory. The late M. Louis Solon, in preparing his colossal bibliographic work on Ceramic Literature, called my attention to the curious fact that a small pamphlet (some four and a half by five inches square, of fourteen pages) written by me originally for the Artist magazine in 1902, and reprinted as a guide to the Royal Copenhagen porcelain exhibit at the Wolverhampton Exhibition in 1902, was marked "rare" and being sold to collectors for five shillings. M. Solon, with his usual perspicacity, added: "It looks as though, in its course from East to West, ceramic painting has deserted its old home to take refuge in the North. C'est du Nord aujourd'hui que nous vient la lumiÈre!"

In 1911, Royal Copenhagen Porcelain: Its History and Development from the Eighteenth Century to the Present Day was issued by my publisher, who in bringing out this sumptuous monograph fell under the spell of the beauty of Copenhagen art. That volume appealed to connoisseurs and collectors and was welcomed both here, on the Continent, and in America.

It has been thought desirable, in view of the limited circulation of that volume, to issue a popular edition, which is here presented in a slightly abridged form with none of the essentials omitted. Many of the illustrations have not found their way into this gallery. But a brave array of pictures is given to convey to the general reader, and to those who have not perused the larger volume, the chief characteristics of Royal Copenhagen porcelain, and indicate reasons why this factory is now regarded as the leading factory in Europe.

How many of the great factories of the world can claim two great epochs in their history? But Copenhagen can do this. The first is the MÜller period (overglaze decoration), when the factory assumed its well-known mark, in 1775, of the three blue lines indicating the three waterways of Denmark—the Sound and the Great and Little Belts. The second great period, the Modern Renaissance (underglaze decoration), practically commenced in 1885.

The porcelain of this factory has long been held in high esteem. Admiral Nelson in 1801, when with the British fleet outside Copenhagen, wrote to Lady Hamilton, "I was in hopes to have got off some Copenhagen china to have sent you"; and later, "As I know you have a valuable collection of china, I send you some of the Copenhagen manufacture." The bowl made at the royal factory in memory of the brave Danes who fell in the battle of Copenhagen is herein illustrated.

The EncyclopÆdia Britannica (11th Edition), 1911 (article on Ceramics), awards a high place to the Royal Copenhagen Factory, "the productions of which are not only famous all over the world, but have set a new style in porcelain decoration which is being followed at most of the continental factories."

At the present time museums and private collectors in this country and in various parts of the world are acquiring Royal Copenhagen porcelain on account of its artistic character.

Ordinary collectors of porcelain have always been desirous of selecting a subject which has not been exploited. The Worcester vase which to-day brings two thousand guineas at Christie's was once bought when it was new for as many shillings by some person who recognized its beauty. But in regard to old factories, most of the histories have been written to extol their work when the factory had closed down for ever. The lack of contemporary records of English porcelain is particularly noticeable. It is as though the factories attempted to hide their personalities, as indeed they did disguise their productions by trade signs only decipherable by the indefatigable zeal of later generations. They assumed pseudo-Chinese marks or adopted the crossed L's of SÈvres and the crossed swords of Meissen, to the confusion of collectors a hundred years afterwards. It is therefore with no misgiving that in the present volume modernity receives due consideration. National recognition for the artist potter comes, alas! often too late.

In passing, we may add that there are some wonderful productions being made in England to-day, especially in earthenware, and those who are buying wisely are laying down wine for posterity.

I have to offer my renewed thanks to the various museum authorities, mainly in Scandinavia, and to private collectors and friends who were duly acknowledged in my larger volume as being instrumental in affording me access to data on a new subject.

In that work, although the omission was corrected in the German edition published at Leipsic in 1912, various notes were embodied and remain in the present volume, which were supplied to me by correspondents without any knowledge on my part that they were based on the work of Professor Nyrop of Copenhagen, who has made assiduous research into the history of the old Copenhagen factory, and to whom, therefore, a tribute is in courteous acknowledgment obviously due.

A new chapter has been added to this volume dealing with Copenhagen Art Faience, the character of which ware has claimed recognition from competent critics throughout Europe and in America as having brought a new note into ceramic art.

ARTHUR HAYDEN.