Page:Brinkley - Japan - Volume 8.djvu/395

 Oe. The production ceased about A. D. 1700, but was revived in 1801 by an amateur, Ikeda Mompei, who departed somewhat from the fashions of his predecessors. His specialty lay in polychrome glazes, among which his most noteworthy manufacture was red glaze passing into green and buff and overlaid by a blush of blue. The pâte of this second-period Setayaki is coarser and more sandy than that of the old ware: its colour is light buff. Mompei was succeeded by his son, who obtained the assistance of some experts from Kyōtō, and added to the Seta productions a ware resembling that of Awata but of inferior quality.

The Kokubu-yaki was first manufactured at a village of the same name, about 1660, and, as might be expected, Ninsei's influence, which was just then beginning to effect a thorough metamorphosis in the character of Japanese faience, did not fail to make itself felt in the province of Omi also. The finely crackled Awata pottery was taken as a model by the workmen of Kokubu, so that the only immediately apparent difference between their ware and that of Kyōtō is absence of coloured enamels in the former, its decoration generally consisting of some simple floral subject painted in black. The manufacture came to an end in 1725.

In the beginning of the present century the manufacture of faience called Barin-yaki was commenced in the village of Minami-bata, in the same province of Omi. This was altogether different from its predecessors, being an imitation of the so-called Cochin-Chinese style; that is to say, faience covered with green, yellow, and purplish glazes. The coloured glazes were, however, invariably toned down almost