In any assemblage of the ceramic products of Japan, more especially in one of native origin, it will be seen that porcelain no longer, as in China, holds the place of honour. This place would be taken, in such a collection, by a series of small bowls and jars mostly of a dark-coloured earthenware, which offer little to attract a European eye. On the other hand, a Western collector of Japanese ceramics would be likely to find more to interest him in the decorated fayence of which the kilns of Kioto and Satsuma have furnished the most exquisite examples. And yet, perhaps, in no country, not even in China, do we find porcelain, and that of a high technical quality, so largely employed for domestic use. The commonest coolie eats his rice or drinks his tea or _saké_ from a bowl or cup of porcelain, while to find specimens of the old rough stoneware or earthenware we must explore the _Kura_--the fireproof storehouses of the rich noble or merchant--where, wrapped in cases of old brocade, these little objects are carefully preserved and classified. It would be out of place here to enter into the causes, political, social, and, we may add, also psychological, that have influenced the Japanese mind in thus associating all that is refined and intellectual with a class of pottery in which, to say the least, the artistic possibilities are confined within very narrow limits. But, as is now well known, this tendency has been fostered by the ceremonies connected with the social gatherings known as the _Cha-no-yu_ (literally ‘hot water for tea‘), when the powdered tea is prepared in and drunk from examples of these primitive wares. On such occasions the criticism and measured praise of the utensils employed forms an important--indeed an almost obligatory--part of the conversation among the guests.