Describing some specimens of Corean porcelain, Julliot, a dealer of the last century, speaks of “the fine grain of its beautiful white paste, the attractive lightness and softness of its dead red, the velvet of its bright-green and dark sky-blue colors.” The decoration consists of conventional forms, either floral or animal. The peacock, pheasant, and dragon are met with. The colors are limited to red, black, gold, and pale shades of green and yellow, and the glaze is less vitreous than either the Japanese or Chinese. The Coreans adapted the decoration to the destination of the work. The pieces with Japanese ornamentation were intended for the markets of Japan, those with Chinese for China. On some of the pieces the styles are mixed, Chinese figures being accompanied by Japanese marks, or _vice versa_. Many of the pieces display very fine workmanship and simplicity of design. Finding their way to Europe in the cargoes of Dutch traders, they were highly valued by collectors, and for a long time served as models to both French and German artists. Their simple style and the chaste employment of a few colors rendered them peculiarly liable to kindle the emulation of unpracticed European decorators. [Illustration: Fig. 108.--Corean Porcelain. (W. L. Andrews Coll.)] [Illustration: Fig. 109.--Corean Porcelain; Persian Decoration.] [Illustration: Yebis. Shiou-ro. Bis-jamon. Benten. Tossi-toku. Daikoku. Hotei. Fig. 110.--Picnic of the Household Gods of Japan.] CHAPTER VII. JAPAN. How to Study Japanese Art: Its Origin.--Its Revived Independence.--Nomino-Soukoune.--Shirozayemon.--Raku.--When Porcelain was First Made.--Shonsui.--Form of Government.--The Gods.--Symbols.--“Land of Great Peace.”--Foreign Relations.--General Features of Art.--Chinese and Japanese Porcelains.