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. One of these men, Boku Heii, discovered (1603) clay fitted for the manufacture of white _craquelé_ faience. This was the subsequently celebrated _Satsuma-yaki_. But in Boku's time, and indeed as long as the factories flourished, many other kinds of faience were produced, the principal having rich black or _flambé_ glazes, while a few were green or yellow monochromes. One curious variety, called _same-yaki_, had glaze chagrined like the skin of a shark. 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. Kutani. The porcelain of Kutani is among those best known to Western collectors, though good specimens ofthe old ware have always been scarce. Its manufacture dates from the close of the 17th century, when the feudal chief of Kaga took the industry under his patronage. There were two principal varieties of the ware: _ao-Kutani_, so called because of a green (_ao_) enamel of great brilliancy and beauty which was largely used in its decoration, and Kutani with painted and enamelled _pâte_ varying from hard porcelain to pottery. Many of the pieces are distinguished by a peculiar creamy whiteness of glaze, suggesting the idea that they were intended to imitate the soft-paste wares of China. The enamels are used to delineate decorative subjects and are applied in masses, the principal colours being green, yellow and soft Prussian blue, all brilliant and transparent, with the exception of the last which is nearly opaque. In many cases we find large portions of the surface completely covered with green or yellow enamel overlying black diapers or scroll patterns. The second variety of Kutani ware may often be mistaken for "old Japan" (i.e. Imari porcelain). The most characteristic examples of it are distinguishable, however, by the preponderating presence of a peculiar russet red, differing essentially from the full-bodied and comparatively brilliant colour of the Arita pottery. Moreover, the workmen of Kaga did not follow the Arita precedent of massing blue under the glaze. In the great majority of cases they did not use blue at all in this position, and when they did, its place was essentially subordinate. They also employed silver freely for decorative purposes, whereas we rarely find it thus used on "old Japan" porcelain.