differ essentially from the traditional Kioto types, their models being taken directly from China. But a sharp distinction has to be drawn between the method of Seifu and that of the other six ceramists mentioned above as following Chinese fashions. It is this, that whereas the latter produce their chromatic effects by mixing the colouring matter with the glaze, Seifu paints the biscuit with a pigment over which he runs a translucid colourless glaze. The Kioto artist's process is much easier than that of his rivals, and although his monochromes are often of most pleasing delicacy and fine tone, they do not belong to the same category of technical excellence as the wares they imitate. From this judgment must be excepted, however, his ivory-white and _céladon_ wares, as well as his porcelains decorated with blue, or blue and red _sous couverte_, and with vitrifiable enamels over the glaze. In these five varieties he is emphatically great. It cannot be said, indeed, that his _céladon_ shows the velvety richness of surface and tenderness of colour that distinguished the old _Kuang-yao_ and _Lungchuan-yao_ of China, or that he has ever essayed the moss-edged crackle of the beautiful _Ko-yao_. But his _céladon_ certainly equals the more modern Chinese examples from the _Kang-hsi_ and _Yung-cheng_ kilns. As for his ivory-white, it distinctly surpasses the Chinese Ming _Chen-yao_ in every quality except an indescribable intimacy of glaze and _pâte_ which probably can never be obtained by either Japanese or European methods. Miyagawa Shozan. Miyagawa Shozan, or Makuzu, as he is generally called, has never followed Seifu's example in descending from the difficult manipulation of coloured glazes to the comparatively simple process of painted biscuit. This comment does not refer to the use of blue and red _sous couverte_. In that class of beautiful ware the application of pigment to the unglazed _pâte_ is inevitable, and both Seifu and Miyagawa, working on the same lines as their Chinese predecessors, produce porcelains that almost rank with choice Kang-hsi specimens, though they have not yet mastered the processes sufficiently to employ them in the manufacture of large imposing pieces or wares of moderate price. But in the matter of true monochromatic and polychromatic glazes, to Shozan belongs the credit of having inaugurated Chinese fashions, and if he has never fully succeeded in achieving _lang-yao_ (sang-de-boeuf), _chi-hung_ (liquid-dawn red), _chiang-tou-hung_ (bean-blossom red, the "peach-blow" of American collectors), or above all _pin-kwo-tsing_ (apple-green with red bloom), his efforts to imitate them have resulted in some very interesting pieces. Tokyo Ceramists.