The faience of the Kioto artists never reached quite to the level of the Satsuma in quality of pdte and glowing mellowness of decoration; their materials were slightly inferior.
Most of the finest pieces of enamelled faience were the work of artists at the Tadeno factory, while the best specimens of other kinds were by the artists of Tatsumonji.
The faience is thick and clumsy, having soft, brittle and very light pale.
Setting aside, however, the strong improbability that a style of decoration so widely practised and so highly esteemed could have remained unknown during a century and a half to experts working for one of the most puissant chieftains in Japan, we have the evidence of trustworthy traditions and written records that enamelled faience was made by the potters at Tatsumonjithe principal factory of Satsuma-ware in early daysas far back as the year 1676.
As for faience and pottery, howeverr the Chinese despised them in all forms, with one notable exception, the yi-hsing-yao, known in the Occident as boccaro.
It was at the little village of Seto, some five miles from Nagoya, the chief town of the province of Owari, or BishU, that the celebrated Kato Shirozaemon made the first Japanese faience OwarL worthy to be considered a technical success.
The name of Delft is most intimately associated with the manufacture of the beautiful faience pottery for which it was once famous.
Banko faience is a universal favorite with foreign collectors.
Its only notable production of a ceramic character was the work of Miura Kenya (1830-1843), who followed the methods of the celebrated Haritsu (I 6881704) of KiOto in decorating plain or lacquered wood with mosaics of raku faience having colored glazes.
Okamuia Yasutaro, commonly called Shozan, produces specimens which only a very acute connoisseur can distinguish from the work of Nomura Ninsei; Tanzan Rokuros half-tint enamels and soft creamy glazes would have stood high in any epoch; Taizan YOhei produces Awata faience not inferior to that of former days; Kagiya SObei worthily supports the reputation of the KinkOzan ware; Kawamoto Eijiro has made to the order of a well-known KiOto firm many specimens now figuring in foreign collections as old masterpieces; and ItO TOzan succeeds in decorating faience with seven colors sons couverte (black, green, blue, russetred, tea-brown, purple and peach), a feat never before accomplished.