132 
RERAMIC studio 
shima " ware, though it generally shows an attempt to copy 
the best cobalt decorations of China. Before it was known that 
the right clays existed in Japan, materials were brought from 
China for the manufacture of porcelain by the potters who met 
there to learn their art, and on very early porcelains the effect 
of blue over coarse paste and glaze, is different from the same 
blue used later, on finer grade ware. 
Two names "Seto" and "Sometsuke" are often used 
by the Japanese, to designate porcelain ( Seto ) and 
the blue and white wares (Sometsuke.) In the province 
of Ovvari, Sometsuke is made now, and has been for many 
years. Ever since the potters of "Arita" first sent to 
China for light on the subject, the art of the potter has been 
taught to men who have gone to the Province of " Hizen " to 
study. "Such, having learned their art long ago, settled in 
the province of Owari, at Seto and other towns, and vast 
quantities of wares are turned out annually from these places 
to supply both native and foreign needs. In speaking of Blue 
decoration reference is made to porcelain decorated with 
underglaze blue, exclusively. 
Pottery has been made in Japan for centuries, but no 
porcelain claims our attention, as such, much before the latter 
part of the 16th century. Blue had been used for splash glaze 
decoration, and for lines and frets upon rough pottery, but the 
"blue and white" such as affect our present study were of 
later date. 
The porcelain of Japan was, and is, so different from that 
of China that the eye becomes soon trained when one sets 
about the task of analyzing them. 
For such work, the amateur should equip himself with 
bits of white paper of varying shades. When about to study 
an object match a bit of paper to the color of the jar or vase. 
Notice if of a cream or blue white, — if of fine or coarse texture, 
and any other features of interest. When a bit of paper is 
found that really suggests the color of the porcelain, label and 
keep it, and compare other things with it. This will mate- 
rially help one to note differences in color. When examining 
the paste in a fracture, notice if the body of the ware is close 
grained or not. If the glaze seems closely united with the 
body, or is like a glass on either side of it. Notice too, if be- 
tween the two glazed surfaces, the body of the ware is of ex- 
actly the same shade as the face of the glazed ware. Note too 
whether the glaze chips evenly or unevenly from the body, 
and particularly whether it carries away a bit of the body with 
the glaze in chipped places. 
These observations will carry the thought along, and lead 
on to further discoveries. Perchance we note that the glaze 
is evidently much colored, or tinted, as it is almost always in 
old " Canton " and " Nankin " ware. Match paper to the color 
of the paste as well as to the glazed surface, and keep for 
reference. It is amazing to see how fast a student can pro- 
gress in analysis of wares, by thus drilling himself in details, 
and that which he learns in this way is his own private property 
and makes him an independent expert in the course of time. 
Although it is true that there are great differences between 
Chinese and Japanese porcelain, it is equally a fact that there 
are strong points of likeness between certain wares. Judg- 
ment based on experience, can alone detect the difference 
between delicate thin "Old Hizen" decorated with the "pars- 
ley," "barleycorn" or aster pattern, and the Nankin ware of 
equal fineness. One who is qualified to speak with absolute 
authority, will sometimes hesitate before determining which 
is which. Questions that interest experts regarding the com- 
parative merits of the wares of the two countries are of no use 
to beginners who are struggling to know a few things accu- 
rately, and who desire to be started in the right direction, so 
we shall do no more than lead to a fuller confidence those who 
are venturing to hold individual opinion. 
The color blue varies on Japanese porcelain, from the 
deepest sapphire to the softest grey blue tint. The color blue 
never seems quite as absolutely a part of the body of the ware 
as when used on Chinese biscuit. Some Japanese wares are 
baked slightly before any decoration is applied, and it is held 
by some authorities, that for this reason the blue is never 
quite as soft as Chinese blue. The student collector must 
learn to judge of this for himself, and also to notice the vary- 
ing shades of blue exactly as he does of white, using blue 
papers for comparison and guidance. 
Among the most famous designs used on Japanese blue 
and white is that which is painted upon ware made for impe- 
rial use. The porcelain selected for the palace is always as 
perfectly made as it is possible to make it, a slight flaw ren- 
dering an object unworthy. 
All ware made for the palace is marked with the Imperial 
crest, the sixteen petal chrysanthemum. Grave mistakes are 
made by collectors who know only this fact, that there are 
sixteen petals in the crest of Japan. Many unscrupulous 
Japanese dealers mislead the unwary by urging upon them 
articles that seem to bear the correct flower in decoration but 
unless made specifically for Imperial use, it is never legiti- 
mately used in the Empire. Whenever the sixteen petalled 
chrysanthemum is found upon objects for other than Imperial 
use there is some slight difference observable between it and 
the royal ornament. Either there is more or less shading, the 
center of the blossom is different, the tips of the petals are 
squared, or some slight change is made that is sufficient to 
quiet the conscience of the potter who made the object, but 
not to fail to mislead .the curio hunter in search of a specimen. 
mnn 
" Kusliite" (comb-tooth) pattern. 
(TUB The New York Society of Keramic Arts 
will hold its first meeting of the season, Octo- 
NOTES ber thirteenth, at the Waldorf Astoria. 
The Society will hold a sale on Fifth Avenue during 
December, instead of its annual exhibit of three days, at the 
Waldorf Astoria. 
e 
CTUDIO Mr - Marshal Fry expects to have model- 
ing in clay, in his studio this year. He has 
NOTES done some clever work in this line, and it is 
a thing to mark that the feeling for pottery has grown to such 
an extent that it pays to introduce it into the regular studio 
routine. 
e 
TN THE Davis & Co., of Rochester, N. Y., are 
sending out neat and inexpensive mountings 
SHOPS for belt buckles, shirt waist sets, etc. They 
are easily adjusted, and need not be sent to a jeweler for 
setting. 
We have received a neat little folder from A. B. Cobden, 
Philadelphia, announcing the opening on September 16th, of 
his Keramic Art School. 
Miss Mamie Owen, of Cincinnati, O., has removed from 
134 West Fourth Street, to 425 Elm, between 4th and 5th 
streets. 
