JAPAN
as well as the difficulty of procuring choice blue for decorative purposes, nearly led to the closing of the factory. But in 1751 Matsura, feudal chief of Hirado, took the kiln under his patronage, and guaranteed the potters against vicissitudes of trade by granting them ample rations. This nobleman was a most munificent connoisseur. He bestowed scarcely less attention on the potteries of his fief than Louis XV. did on those of Sévres. The pieces produced at Mikawachi were reserved entirely for his own use or for presentation to other noblemen, as well as to the Court of the Tokugawa Regents in Yedo. Regulations were enacted peremptorily forbidding the sale of any of the manufactures, and guards were appointed to see that this injunction was not violated. Porcelains produced under these special conditions were distinguished as Kenjo-mono, or "presentation pieces." Matsura is said to have particularly patronised the families of Nakazato and Imamura (Higuchi) in recognition of the fact that their ancestors had opened the first potteries in his fief.
To the ware potted at Mikawachi from 1750 until the era of Tempō (1830–1843) may be assigned the first place among the porcelains of Japan. The pâte of this Hirado-yaki was finer, purer, and whiter than that of either the Nabeshima-yaki or the Imari-yaki. Much was doubtless due to the excellence of the materials employed, but much also to the care bestowed upon their selection and manipulation. Of the stone brought from Amakusa not more than five or six parts in every hundred were used, and this serviceable portion was obtained by the most laborious processes of pulverising and straining. With the Amakusa stone was mixed a proportion of the ajiro-tsuchi of Mitsuga-
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