One of the most ancient of the arts of Japan is that of the potter. It is also one of the most profitable for study. The principles which have been enumerated as applicable to painting will be found carefully embodied in the fabrication and ornamentation of keramic wares, the variety of which is endless. In some instances these wares are known by the names of the makers, as Ninsei, Kenzan, Kozan, Seifu, and others; but in general they are designated by the names of the provinces wherein they 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 toughness which they nevertheless carve and chase almost as though it were wax, for casting in bronze and iron by the cire perdue process, and especially for the manufacture of armor, both offensive (such as swords and spears) and defensive (such as helmets and coats of mail). Japanese swords excel even the famous blades of Damascus and Toledo, and the names of the swordsmiths Munichika, Masamune, Muramasa, and others, are now of international reputation. The blades which were made by these men are not only of extraordinary excellence, but are also veritable works of art and highly prized as such by connoisseurs. Equally celebrated in different lines are the works of the Miochin and Goto families; and among the metal-workers of to-day are many worthy successors of these giants of the past.