KISHIU WARE.--This _kinrande_, however, is not the only kind of porcelain with which the name of this protean artist is associated. Although the name Yeiraku given him by the Prince Nariyuki is generally connected with his brilliant red and gold ware, it was a porcelain of quite another kind that our Zengoro the tenth, or perhaps his son Hozen, the eleventh of the family, turned out from the kilns that had been erected by that prince in the garden (the _Ô-niwa_) of his palace near Wakayama. The Japanese tell us that this well-known Ô-niwa or Kishiu ware was made in imitation of a kind of porcelain or fayence brought long ago from Kochi, a name generally rendered as Cochin-China, in any case a country to the south of China. We have seen grounds for associating this _Ô-niwa yaki_ rather with an early type of Chinese polychrome ware, painted on the biscuit with glazes of three or perhaps four colours. In any case, in the Japanese ware the turquoise, the purple, and the straw-coloured yellow (this last quite subordinate) are applied in a similar fashion, and this is indeed practically the only Japanese ware on which we find the turquoise colour that has played so important a part in other countries. It is here the most important colour of the triad, but occasionally we find it replaced by a deep, rich green. On this Kishiu or Ô-niwa ware, known also to the Japanese as _Kairaku_ from another seal used by Zengoro (PL. B. 20), the decoration is formed by ribs or lines which separate the surface into shallow _cloisons_. In other cases the turquoise or the aubergine purple is found alone as a monochrome glaze. Very few, however, of the large vases of this ware that have been exported of late years to Europe, and especially to America (where the turquoise blue has always been a favourite, as in the case of Chinese porcelain), can have come from the kilns in the ‘prince’s garden.’ This ware has, indeed, for some time since, been imitated at many other places--at Tokiyo, and since 1870 especially at Kobe, where vast quantities have been manufactured for exportation. These copies have gone through the stages of degradation in design and colour that usually accompany a large commercial production.