These men seldom use vitrifiable enamels, pigments being much more tractable and less costly.
In TOkyO, KiOto, Yokohama and Kobern all of which places decorating ateliers (etsuke-dokoro), similar to those of TokyO, have been established in modern timesthe artists use chiefly pigments, seldom venturing to employ vitrifiable enamels.
It can scarcely be doubted that the true instincts of the ceramist will ultimately counsel him to confine his decoration over the glaze to vitrifiable enamels, with which the Chinese and Japanese potters of former times obtained such brilliant results.
Decoration with vitrifiable enamels over the glaze, though it began to be practised at Owari about the year 1840, never became a speciality of tile place.
To this increase in production and to the more elaborate application of vitrifiable enamels may be attributed the erroneous idea that Satsuma faience decorated with gold and colored enamels had its origin at the close of the 18th century.
From this judgment must be excepted, however, his ivory-white and cladon wares, as well as his porcelains decorated with blue, or blue and red sous couverte, and with vitrifiable enamels over the glaze.
It is plain that such a method as the latter implies great command of colored pastes, and, indeed, no feature of the manufacture is more conspicuous than the progress made during the period1880-1900in compounding and firing vitrifiable enamels.
Ninsei, in the middle of the 17th century, inaugurated a long era of beautiful productions with his cream-like fish-roe eraquel glazes, carrying jrich decoration of clear and brilliant vitrifiable enamels.