The modern Satsuma is much of it very beautiful, but of course it commands no such prices as the older. Most of it shows the glaze broken throughout into a most delicate network of crackle, which is peculiar and interesting.
The small teapot here shown is not only perfect in tone, glaze, and decoration, but also in form. It is modern work, and was imported by Mr. Briggs, of Boston. ([Fig. 123].)
Mr. Franks thus writes: “The princes of Satsuma have founded a manufactory from which have issued some very remarkable products, much esteemed by collectors; the paste is of a pale yellowish tint, not unlike Wedgwood’s queen’s-ware in color, and is slightly crackled; over this are thrown sprays of plants, with rich diapered borders, the effect of which is enhanced by the delicacy of the colors and the richness of the gilding. This ware is probably not very ancient. Mr. A. B. Mitford has informed me that he does not remember seeing any specimens more than fifty years old, and that the oldest were undecorated.
“Another beautiful ware is that made near Kioto, in which the colors are much stronger, and the paste of a darker tint. Some of the specimens seem to be of considerable antiquity.
“At Kutani (the Nine Valleys), in the province of Kaga, is made another fine ware, some of which appears to be porcelain. The most characteristic products of this factory are bowls and dishes decorated only in red with gilding.
“Another peculiar fabric has produced very thin teapots of a gray stone-ware, showing the marks of the workman’s hands. Mr. Mitford has furnished me with the following note respecting them: ‘For some thirty years past a man named Banko Insetzu, of Kuana, in the province of Isé, has been famous for producing a curious kind of pottery, which, being finished off with the finger and thumb before being subjected to the fire, shows the lines of the skin of the hand upon its surface. No teapots equal those of Banko for producing a delicate infusion of tea, and all lovers of tea patronize them; they are fragile to a degree, the paste being as thin as a wafer.’ ”
The peach, or, as the Japanese term it, the “peach of longevity,” is a favorite decoration with the Japanese; we can appreciate its value, as one of the finest fruits of our temperate zone. We give here ([Fig. 124]) a teapot showing the fruit with some of the leaves. This is copied from Jacquemart; but the curious may see a better example at the Metropolitan Museum of Art, from Mr. Avery’s Oriental collection.
Japanese art is still more marked than the Chinese in that it is as free and yet more delicate. The artist clearly was a close observer of Nature, and saw and felt its infinite variety; saw, too, that Nature was never square, or round, or double. Nothing in Nature need duplicate any other thing.
We Occidentals have delighted in the use of—
The square,