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are made. Thus we have the wares of Satsuma, Hizen, Arita, Imari, Kaga, Kyōto, Owari, Bizen, Iga, Ota, Soma, Izumo, and many more. Occasionally the name of a particular locality is used, as for instance that of Seto in Owari. Here it was that Shirozaemon, called "the Father of Pottery," established himself in the thirteenth century; and such was the repute of the products of his kiln that Seto-mono, or Seto ware, became a generic name in Japan for all keramic productions, quite as in English we use the term "china" for all kinds of porcelain wherever made.

Unfortunately the Japanese potter of to-day is largely under the influence of foreign markets, to the great degradation of his art. The condition is well portrayed by Huish, who says: "The wealthy 'red-hairs' who came to him from the West could see no beauties in the objects that had given the greatest pleasure to the men of refinement of his own country; and in order that the potter might participate in the overflow of silver dollars with which the foreigners were blessed, he was obliged to put aside those principles which he and his father before him had looked upon as the fundamental ones of their craft, and produce wares totally at variance with his preconceived ideas of the right."

Many and distinctive are the arts of the Japanese metal-workers. They are widely renowned for their skill in compounding numerous alloys, for inlaying one metal upon another, for clever manipulation of refractory materials such as wrought iron of exceeding