re dishes and plaques in blue
monochrome with somewhat overcrowded scenes of popular life in the style
of the engravings of Goltzius. Imitations of the oriental porcelain
imported by the Dutch East India Company were introduced about 1650 by
Aelbregt de Keizer and continued for some time among the finest
productions. At the same time the earlier tradition was developed in the
finely painted landscapes and portraits of Abraham de Kooge and
Frederick van Frytom. Other potters of the best period were Lambartus
van Eenhorn and Louwys Fictoor, makers of the large reeded vases with
Chinese floral designs in polychrome, Augestyn Reygens, Adriaen
Pynacker, and Lucas van Dale; to the last are attributed the pieces with
yellow decoration on an olive-green enamel ground. The rare examples
with polychrome decoration on a black ground in imitation of Chinese
lacquer are the work of Fictoor and Pynacker. With the 18th century came
a largely increased demand and a consequent deterioration in artistic
quality. The rise of the German porcelain factories had its effect in
the introduction of overglaze painting fired in a muffle kiln, typified
by the work of the Dextras, father and son. This innovation, by which
the Delft potters attempted to compete with European porcelain,
contributed to the ruin of their art by eliminating the skilled touch
required for painting on the unfired enamel. The ware frequently, but
not invariably, bears a mark derived from the sign of the factory (the
rose, the peacock, the three bells, &c.), or the name or initials of its
proprietor.

A small faience factory was started by Jan van Kerkhoff about 1755 at
Arnhem; its productions were of good quality, chiefly in the rococo
style, marked with a cock.

The exportation of the Delft ware to Germany occasioned the rise of
numerous factories in that country for making faience in imitation of
the Dutch. Among these may be named Hanau (founded about 1670),
Frankfort and Cassel. Others, such as Kiel and Stralsund, drew their
inspiration from the productions of Marseilles and Strassburg (q.v.). At
Nuremberg a factory was founded in 1712, which was but little affected
by extraneous influences; among its characteristic productions are
dishes with sunk decoration in the form of a star, and jugs with long
necks and pear-shaped bodies, often spirally fluted. Similar wares were
made at Bayreuth. The Dutch and French styles were carried by German
potters into Scandinavia; fa