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 much attention in Japan. By careful selection and preparation of pâte, glaze, and pigments, Dr. Wagener proved not only that the manufacture is reasonably feasible, but also that decoration thus applied to pottery possesses unique delicacy and softness. Ware manufactured under his direction at the Tōkyō School of Technique (Shokko Gakko), under the name of Asahi Yaki attracted considerable attention at one time, but the glazing material being prepared in accordance with European formulæ, presented a vitreous aspect offensive to Japanese taste, and, indeed, not likely to appeal to any connoisseur. Nevertheless Dr. Wagener's innovation bore fruit in the ateliers of Kyōtō artists, as will be seen when the modern developments of Japanese keramics come to be discussed.

The decorative industry in Tōkyō owes much to the Kōshō Kaisha, an institution started by Messrs. Matsuo Gisuke and Wakai Kanesaburo (a connoisseur of note), in 1873. Owing to the intelligent patronage of this company and the impetus given to the keramic trade by its enterprise, the style of the Tōkyō etsuke was largely improved and the field of their industry extended. It must be acknowledged, however, that Tōkyō artists often devote their skill to purposes of forgery, and that their imitations, especially of old Satsuma-yaki (vide Satsuma Wares), are sometimes franked by dealers whose standing should forbid such frauds.

In Toyokawa-machi of the Takata suburb, there is a factory established by Takemoto Hayata in 1867. This expert had come from Seto some years previously, with Inouye Ryōsai, at the invitation of Matsu-