The Owari potters were slow to follow the lead of Miyagawa Shozan and Seifu Yohei. At the industrial exhibition in Kioto (1895) the first results of their efforts were shown, attracting attention at once. In medieval times Owari was celebrated for faience glazes of various colours, much affected by the tea-clubs, but its staple manufacture from the beginning of the 19th century was porcelain decorated with blue under the glaze, the best specimens of which did not approach their Chinese prototypes in fineness of _pâte_, purity of glaze or richness of colour. During the first twenty-five years of the Meiji era the Owari potters sought to compensate the technical and artistic defects of their pieces by giving them magnificent dimensions; but at the Tokyo industrial exhibition (1891) they were able to contribute some specimens showing decorative, plastic and graving skill of no mean order. Previously to that time, one of the Seto experts, Kato Gosuke, had developed remarkable ability in the manufacture of _céladon_, though in that field he was subsequently distanced by Seifu of Kioto. Only lately did Owari feel the influence of the new movement towards Chinese types. Its potters took _flambé_ glazes for models, and their pieces possessed an air of novelty that attracted connoisseurs. But the style was not calculated to win general popularity, and the manufacturing processes were too easy to occupy the attention of great potters. On a far higher level stood egg-shell porcelain, remarkable examples of which were sent from Seto to the Kioto industrial exhibition of 1895. Chinese potters of the Yung-lo era (1403-1414) enriched their country with a quantity of ware to which the name of _totai-ki_ (bodiless utensil) was given on account of its wonderfully attenuated _pâte_. The finest specimens of this porcelain had incised decoration, sparingly employed but adding much to the beauty of the piece. In subsequent eras the potters of King-te-chen did not fail to continue this remarkable manufacture, but its only Japanese representative was a porcelain distinctly inferior in more than one respect, namely, the egg-shell utensils of Hizen and Hirado, some of which had finely woven basket-cases to protect their extreme fragility. The Seto experts, however, are now making bowls, cups and vases that rank nearly as high as the celebrated Yung-lo totai-ki. In purity of tone and velvet-like gloss of surface there is distinct inferiority on the side of the Japanese ware, but in thinness of _pâte_ it supports comparison, and in profusion and beauty of incised decoration it excels its Chinese original. Ware of Kaga.