Takemoto and Kato of Tokyo entered the field subsequently to Shozan, but followed the same models approximately. Takemoto, however, has made a speciality of black glazes, his aim being to rival the _Sung Chien-yao_, with its glaze of mirror-black or raven's-wing green, and its leveret fur streaking or russet-moss dappling, the prince of all wares in the estimation of the Japanese tea-clubs. Like Shozan, he is still very far from his original, but, also like Shozan, he produces highly meritorious pieces in his efforts to reach an ideal that will probably continue to elude him for ever. Of Kato there is not much to be said. He has not succeeded in winning great distinction, but he manufactures some very delicate monochromes, fully deserving to be classed among prominent evidences of the new departure. Tokyo was never a centre of ceramic production. Even during the 300 years of its conspicuous prosperity as the administrative capital of the Tokugawa shoguns, it had no noted factories, doubtless owing to the absence of any suitable potter's clay in the immediate vicinity. Its only notable production of a ceramic character was the work of Miura Kenya (1830-1843), who followed the methods of the celebrated Haritsu (1688-1704) of Kioto in decorating plain or lacquered wood with mosaics of raku faience having coloured glazes. Kenya was also a skilled modeller of figures, and his factory in the Imado suburb obtained a considerable reputation for work of that nature. He was succeeded by Tozawa Benshi, an old man of over seventy in 1909, who, using clay from Owari or Hizen, has turned out many porcelain statuettes of great beauty. But although the capital of Japan formerly played only an insignificant part in Japanese ceramics, modern Tokyo has an important school of artist-artisans. Every year large quantities of porcelain and faience are sent from the provinces to the capital to receive surface decoration, and in wealth of design as well as carefulness of execution the results are praiseworthy. But of the pigments employed nothing very laudatory could be said until very recent times. They were generally crude, of impure tone, and without depth or brilliancy. Now, however, they have lost these defects and entered a period of considerable excellence. Figure-subjects constitute the chief feature of the designs. A majority of the artists are content to copy old pictures of Buddha's sixteen disciples, the seven gods of happiness, and other similar assemblages of mythical or historical personages, not only because such work offers large opportunity for the use of striking colours and the production of meretricious effects, dear to the eye of the average Western householder and tourist, but also because a complicated design, as compared with a simple one, has the advantage of hiding the technical imperfections of the ware. Of late there have happily appeared some