We need not, therefore, be surprised to find that after the wonders of Japan had been laid open to the admiration of the West, the greatest hopes were entertained of finding artistic treasures at least as valuable in the great peninsula to the west which still remained a forbidden land. Failing direct evidence of this wealth, it became the habit to attribute to Korea any Oriental ware, old or new, of which the origin was unknown. This tendency was taken advantage of by more than one enterprising dealer, and when at a later time the country was in a measure thrown open, cases of gorgeously decorated Japanese ware, brand-new from Yokohama or Nagasaki, were sent round by way of Chemulpo, the port of the Korean capital, so that their Korean origin could be guaranteed. Long before this, the home of an important group of Japanese porcelain, that now generally known as ‘Kakiyemon,’ had been found by Jacquemart in Korea. Now that of late years these various fallacies and _supercheries_ have been exposed, and that the extreme poverty of the land in artistic work of any kind has been demonstrated, we may perhaps see a tendency to an undue depreciation of the artistic capabilities of the country in former days. We must at any rate remember that the Japanese experts, who are in the best position to know, have always maintained that the Koreans in the sixteenth century were possessed of the secret of enamelling in colour upon porcelain, or, at all events, that they were acquainted with the coloured glazes of the _demi grand feu_, and that so good an authority as Captain Brinkley has accepted, as of Korean origin, specimens of enamelled ware still existing in Japanese collections. Meantime we must be contented with the scanty examples of pottery, stoneware, and porcelain that have been actually brought home from Korea, and among these pieces we must discriminate between the wares of native manufacture and the porcelain that had been imported from China, either overland by way of Niu-chuang or across the Gulf of Petchili from the ports of Shantung. Of late years many specimens have been collected, chiefly at Seoul, the capital, especially by members of the various foreign legations, and some of these have found their way into European museums.[109] Apart from some small pieces of modern blue and white and enamelled wares, undoubtedly of true porcelain, but very rough in execution and poor in colour, which are said to be of local manufacture, we find:--