FORTY-NINTH CONGRESS, 1885-1887. 999 



No. 127. A Satsuma vase, 26 inches in height. One of the finest specimen* of an 

 Old Satsuma vase, both as to form and decoration, to be found 



NOB. 128 ana 129. A pair of Satsuma vases of the sixteenth 'century very unique 

 in form and finish; 24 inches in height. 



NOB 130 and 131. A pair of Satsuma vases, 27 inches in height. The form and 

 decorate of thus pair of vases are of the highest order. In Audrey and TwL' * 

 work on Japanese Ceramics, plate 16, part 2, and plate 22, part 6 will be seen 

 engravings of this character of vase. 



NOB. 132 and 133. A pair of Old Sateuma vases, 25 inchea in height, of the ele- 

 phant-trunk pattern. This particular form of decoration was only in vogue during 

 the seventeenth century, which indicates strictly the period of their manufacture 

 *or an illustration of a pair exactly similar to these, see plate 23, part 2, Audesley 

 and Bowes' s work on Japanese Ceramics. 



Nos. 134 and 135. A pair of Hizen vases, 48 inches in height. Decoration blue 

 and gold under a glaze. These vases are of. a peculiar construction, in two perfect 

 cylinders, one within the other. The outer cylinder is openwork, a pattern rarely 

 seen, and greatly admired by connoisseurs in this art. 



No. 136. Incense burner, in Satsuma faience. Very old and rare. 



No. 137. Japanese coat of mail of the sixteenth century. 



Nos. 138 and 139. Lacquered pedestals. 



Nos. 140 and 141. Lacquered pedestals. 



Nos. 142, 143, and 144. Three extra fine Old Satsuma vases. 



PORCELAIN. 

 SATSUMA KAlENCB. 



The manufacture of Satsuma faience was commenced in the sixteenth century. 

 "The earliest reliable specimens of Satsuma pottery are of very rude manufacture, 

 being of a dark-colored clay, rudely modeled, and very different from those beau- 

 tiful works of a soft-tinted faience of a later period, decorated with flowers, birds, 

 and other objects, a style more delicate and artistic than can be found throughout 

 the entire range of ceramic art outside the islands of Japan." 



About the year 1597, after the Japanese had invaded Korea, Shimadzu Yoehihisa, 

 Prince of Satsuma, who accompanied that expedition, brought with him on his 

 return to Japan a number of Korean potters, skilled in the fabrication of porcelain, 

 and settled them in the neighborhood of Kagoshima, in the" province of Satsuma. 

 Speedily setting to work, they experimented oh the various materials obtainable in 

 that neighborhood, and after repeated trials succeeded in producing a hard faience 

 which is now known by the name of Satsuma ware. 



The descendants of these Korean potters have ever since up to the year 1871 

 been under the authority and patronage of the many generations of the Satsuma 

 princes, whose immense wealth and influence were directed to t,he perfection of this 

 work. 



Shimadzu Yoshihisa had taken care to secure the best and most experienced work- 

 men, which policy has been continuously followed by all of his successors up to the 

 time of the abolishment of the feudal system in 1871. 



Since that period, deprived of the protection and support of the reigning princes 

 of Satsuma, this work has gradually fallen away, until at the present time there is 

 none manufactured worthy the attention of the foreign collectors. (See report to 

 the Asiatic Society, after a most careful inspection into the condition of the works 

 in Japanese ceramics.) 



The production of a fine crackle, observable in the pure Satsuma, is due to the 

 unequal contraction which takes place between the body and the glaze, which n-.-ults 

 in the minute network of fine cracks. " It can be said that in the entire range of 



