JAPAN
greatly of continuity could have been manipulated without accident. But his artistic instincts are higher than those of the Chinese, and there is reasonable hope that in time he may excel their best works. In other respects the Hirado factories do not produce wares so beautiful as those manufactured there between 1759 and 1840, when the Hirado-yaki stood at the head of all Japanese porcelain on account of its pure, close-grained pâte, its lustrous milk-white glaze, and the soft clear blue of its carefully executed decoration.
When the Owari potters entered the new school, which was not until 1894, they took flambé glazes for their first models, and their pieces presented an air of novelty that attracted attention. But the style was not calculated to win general popularity, and they soon entered a much better route, namely, the manufacture of egg-shell porcelain. Chinese potters of the Yung-lo era (1403-1424) enriched their country with ware to which the name of totai-ki (bodiless utensil) was given on account of its wonderfully attenuated pâte. The finest specimens of this porcelain had incised decoration, sparingly employed but adding much to the beauty of the piece. In subsequent eras the potters of Ching-tê-chên did not fail to continue this remarkable manufacture, but its only Japanese representative was a porcelain distinctly inferior in more than one respect, namely, the egg-shell utensils of Hizen and Hirado, some of which had finely woven basket-cases to protect their extreme fragility. The Seto experts, however, are now making bowls, cups, and vases that rank nearly as high as the celebrated Yung-lo totai-ki. In purity of tone and velvet-like gloss of surface there is distinct inferiority on the
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