Influences there undoubtedly were bearing on the form and on the style of decoration employed at Copenhagen. Luplau had little technique to learn. He came as a maturely trained modeller from Fürstenberg, which accounts for the fact that busts and statuettes were produced at a much earlier date in the history of the Copenhagen than in a factory having slowly to train its modellers. But undoubtedly a close examination of the porcelain of the Müller period exhibits the fact that there was a fine reticence applied to the form and the decoration which stands out in strong contrast to the extravagances and reckless prodigality of ornament employed by factories with older traditions. The new factory at Copenhagen was endowed with a sense of beauty from the first. The rococo style prevalent then at Meissen and dominating art is seldom found in old Danish porcelain; now and again its presence is noticeable and indicates that the work is of the early experimental days. But Copenhagen created a characteristic and natural style of its own, not only in the choice of Danish or Norwegian subjects, but in its intense love of nature and of simple forms.
The whole series of fine pot-pourri vases with natural flowers in relief is essentially different from Meissen examples where the vase is overloaded with fancifully modelled flowers and leaves. The graceful form and subdued decoration of Copenhagen stand out in effective contrast.
Moreover, the flowers themselves were evidently copied direct from nature, and are executed with such skill and refinement that they still stand as ideals of technical and artistic perfection.
In regard to the modelling of figures, especially those in costume, the reticence of Copenhagen is noticeable in comparison with the outré cavaliers and dames in crinolines of the Saxon and other factories. The subdued colouring and the simple charm of the Danish figures places them in a gallery of their own. Nor must this be mistaken for insipidity or weakness of design. Judged by the highest canons of art, the quality of such creations indicates complete control and mastery of technique, and art in due subjection.
The outburst of strong national intensity, love of nature, breadth of conception, and virility of execution lasted at the most for twenty years. The verse on a plate:—
Enhver sin Sæk til Möllen bærer
Hvor tungt den ham end og besværer:
which may be turned into English:—
Each man to the mill must bear his sack
Although the load may break his back—
was the leading precept of the staff under Müller. All worked together with single-heartedness of purpose, and the result is the admiration of all who love ceramic art, purposeful, and instinct with grace and dignity.