WARES OF OWARI AND MINO
sionally exercised influence of such amateurs as Shino, Oribe, Rikiu, and Kobori Masakazu. Here, again, the Cha-no-Yu standard is applied. From a Western point of view the history of the factories reads differently. During the fifteenth and sixteenth centuries the disturbed state of the Empire undoubtedly affected the Owari potters and greatly checked the development of their industry. But from 1600 to 1800 there can be no question that they worked prosperously and skilfully. The remains of twenty-nine kilns can now be traced in the neighbourhood of Seto, and specimens belonging to that era show considerable technical ability. The preparation of the pâte underwent improvement. From somewhat coarse pottery it became hard, close stone-ware. As for the glazes, they offer charming variety. Although limited to a few colours, their richness, lustre, and depth, and the manner of their application are deserving of praise. The commonest body-glaze is feuille-morte, warm yet delicate. Frequently this is splashed or shot with deep claret, honey yellow, or golden brown. There is, also, very dark mahogany, almost black, with flecks of grey, clouds of russet, or bands of amber; iron red, dusted with metallic specks; claret brown passing into pinkish buff with ruddy effects of much beauty, and other combinations evincing taste and skill. Unfortunately these glazes are found only on insignificant pieces—tea-jars, cups, ewers, and so forth—that possess no decorative claims. A faience of quite a different class is craquelé Seto-yaki. The glaze of this is peculiarly vitreous, and so translucid that the brown colour of the pâte shows through it. The crackle is regular and well marked, and some very pleasing specimens have been
273
