WARES OF SATSUMA
exceeding scarcity, the first two kinds are almost beyond the reach of ordinary collectors, but examples of black glazes may be met with occasionally. In producing them, Saburo-hei, son of the celebrated Hōchiu, is said to have exhibited unique skill, but it should be noted that, in nine cases out of every ten, the pâte over which these black glazes are run is reddish brown in colour, and, though not less fine, is heavier than the pâte of the enamelled variety, while the glazes themselves arc without crackle. To the white-pâte class belongs also the remarkable tortoise-shell glaze, so little known outside Japan. Though, perhaps, less charming than curious, it exhibits wonderful technical skill, and is deservedly held in high esteem. Passing, then, to the characteristic reddish brown pâte of the Chōsa, Tatsumonji, and Tadeno factories, there are quite a number of glazes all showing delicate or rich effects of colour and all admirably manufactured and applied. Of these the rarest is the Jakatsu-gusuri, or glaze run in large globules, the earliest Chōsa-yaki. Descended from it is the Same-gusuri, or shark's-skin glaze, with a finely shagreened surface, light brown and somewhat dull. This last cannot be classed among the choice products of the Satsuma kilns. Very much commoner and more attractive is the Namako-gusuri, or flambé glaze, sometimes called Seto-gusuri, though it bears little real resemblance to the Owari faience. In this a rich brown, occasionally verging upon chocolate, is flecked or overrun with transparent blue or green. Then there is the tea-green variety, in which are included many shades of colour, olive, greenish brown, dead-leaf brown, and green fading into grey. In these the overglaze—for all the Satsuma-yaki now in question
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