orf and Limbach.

Mention must also be made of the work of certain famous decorators,
like Bottengruber and Preussler, who decorated both German and
oriental pieces; while Busch, the canon of Hildesheim, produced
effects like fine engraving by etching the glaze with a diamond and
rubbing black colour into the lines.

While France and Germany were each developing their own particular type
of porcelain, it was only natural that the kings and princes of other
countries should strive to emulate them in the manufacture of this still
rare and highly esteemed form of pottery. Naturally, perhaps, the
countries to the north and east seem to have been influenced most by
German methods, whilst those to the south and west followed the French
example.

_Holland._--The earliest Dutch factories were started as early as
1704, first at Weesp near Amsterdam, and afterwards at Oude
Loosdrecht. The mark of this factory occurs as M: O.L., or M.o.L.
After 1782 the works was removed to Nieuwe Amstel, but the "Amstel"
porcelain came to an end with the French invasion. The ware resembled
the German both in material and decoration. The best porcelain made in
Holland was produced at a factory at the Hague, founded some time
after 1775. There is a choice collection of this ware in the Gemeente
Museum at the Hague. No porcelain appears to have been made in Holland
after about 1810 until 1890 or later.

_Denmark._--It has been stated that porcelain of the German type was
made in Copenhagen as early as 1731, but there is no definite record
of the production of true porcelain until about 1772, when potters,
modellers and painters from some of the German works founded the
enterprise which was taken over by King Christian VII. in 1779 and
converted into a royal factory. Fostered by the king's patronage, fine
porcelain of pronouncedly German style was largely made down to the
end of the 18th century. The collection in the castle of Rosenburg
contains many examples of the work of this period. In the early years
of the 19th century the Empire style of decoration was adopted, and
the artistic influence of Sevres became paramount. Large sums of money
were continually required from the crown to maintain the establishment
until, in 1867, it was sold into private hands to get rid of an
encumbrance. The subsequent new-birth of the existing royal Copenhagen
porcelain works must be noted in the next s