Page:Brinkley - Japan - Volume 8.djvu/267

 the ancient decorators are almost entirely free from glitter. They present the appearance of virgin metals that have undergone the action of heat without subsequent burnishing. This is partly due to the oxidisation of age, but chiefly to the manner in which the metals were prepared and applied. The subdued richness and harmony of the result can hardly be over-praised.

It is stated above that blue sous couverte was seldom used in combination with enamels by the Kutani potters. The statement is intended to direct attention to a difference between the decorative methods of Arita and Kutani. At Arita, it will be remembered, masses of blue designs under the glaze were commonly combined with similarly profuse coloured ornamentation above it. At Kutani this fashion was not followed. Where blue sous couverte occurs, it is found only in subordinate positions, as on the under surface of plates or in the minor parts of a design. But specimens decorated entirely with blue under the glaze, though exceedingly rare, are sometimes met with. In these, as well as in the former class of cases, the tone of the blue is peculiar. It lacks the depth and richness of the best Hizen blues, and is equally removed from the delicate purity of the Hirado colour. It is, in fact, an inferior and somewhat muddy pigment, though not unredeemed by a certain softness and sobriety.

For two reasons these remarks have been thus far confined to the decoration of the Kutani ware: first, because the character of the decoration is so essentially distinct, and secondly because the question of pâte and glaze presents peculiar difficulty. To explain the nature of this difficulty, analyses of Kaga ware recently made by Mr. Korschelt may be quoted. The following results were obtained:—