JAPAN
Nihei—afterwards leading experts at Akazu, in Owari—were working at the neighbouring village of Satonoki. Hearing of the novel processes introduced by Kagenobu, these men, as well as other potters of Mino and Owari, made several efforts to learn his methods. They were unsuccessful, until, one New Year's day, during an entertainment at Kagenobu's house, Nihei secretly climbed into the factory and took observations. The story runs that his temerity nearly cost him his life when, a few days later, Kagenobu discovered what had occurred. Thenceforth the art of manufacturing polychrome glazes received considerable development. Its best examples are the Mifukai-yaki and Shuntai faiences.
TOKONAME-YAKI
This ware derives its name from that of the village where it was first produced (in Owari) during the Tensho era (1573–1591). It is pottery of rude character made to imitate an imported ware called Namban-yaki (southern barbarian ware). Where the Namban-yaki was produced there is difficulty in determining. Some attribute it to Cochin China, some to Korea, and some to Luzon. Its qualities would scarcely repay the trouble of identification. It is coarse, unglazed pottery, having the appearance of rusty iron, and devoid of decoration, unless the term can be applied to impressed cord marks. The Namban-yaki is one of the inexplicable fancies of the Japanese Chajin. He distinguishes it by various names according to the nature of the cord marks—as Nawa-sudare (cord curtain), or Toko-nawa (cross cord)—and he pays two or three hundred dollars for a cylin-
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