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.
No faience produced either in China or any other Oriental country can dispute the palm with really representative specimens of Satsuma ware.
To many Japanese observers i seemed that the restoration of 1867 had merely transferred the ad ministrative authority from the Tokugawa Shogun to the clans c Satsuma and ChOshC. The KOko Shimbun severely attacked th two clans as specious usurpers.
TAKAMORI SAIGO (1832-1877), Japanese patriot, was born in Satsuma in 1832.
Itagaki made the mistake of memorializing the government at the moment when its very existence was imperilled by the Satsuma rebellion (1877), and this evidentdisposition to take advantage of a great public peril went far to alienate the sympathies of the cabinet.
They took refuge with the Daimyo of Choshu, and, while there, established relations which contributed greatly to the ultimate union of the two great fiefs, Satsuma and Choshu, for the work of the Restoration.
The ceramic art in Satsuma owed much to the aid of a number of Korean experts who settled there after the return of the Japanese forces from Korea.
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.