The Satsuma paste varies in tint from buff to a cold and dark shade of brown; but the decoration of the latter is, as a rule, decidedly inferior. The shapes are manifold, and are generally characterized by simplicity and elegance. When the potter turns to intricate designs, his skill in manipulating the clay seems almost boundless. This feature is more remarkable in the older pieces than in those of more recent date, and is well illustrated in the vase on page 167 (Fig. 117), where a series of thin loose rings gives the piece an appearance altogether unique. The vase from Mr. Robert H. Pruyn’s collection (Fig. 118) is presumably from the Prince’s workshop, and is an excellent example of the refinement of Japanese taste. Full effect is given to the admirable workmanship displayed in the basket-work moulding, which is relieved, but not concealed, by the ivy decoration. A more prevalent style is exemplified by the vase (Fig. 119) in the Boston Museum of Fine Arts. The flowers appear to grow from the base to the neck, where a single flower and a few green leaves are left to finish the bouquet. The piece is a rare specimen both in regard to fineness of paste and the delicate treatment of the flower decoration. It belongs to the large class which is illustrative of the Japanese preference of flowers before figures, and of the careful fidelity with which the former are treated. They lead one to think that in the Japanese workshop the “Feast of Flowers” knew no end. A singular example of Satsuma ware--so singular both in body and ornamentation as almost inevitably to suggest a doubt of its coming from the same workshop--is the Sutton vase (Fig. 120). The decoration is in high relief, and stands out strongly against the brown ground. There are many fine examples of designs executed in relief. These assume the forms of turtles, fishes, frogs, lizards, and crabs, carefully modelled and truthfully colored. On pieces of a religious character the gods of the Japanese pantheon are moulded in bold relief. The same idea is occasionally carried out to a fuller extent by moulding the piece itself after a natural form. Thus we find trays shaped like leaves, cups like lotus leaves, teapots like melons, and one remarkable specimen in the form of an elephant, with a saddle brilliantly painted on grounds of red and gold. [Illustration: Fig. 120.--Satsuma Faience. Buff and Gold; Decoration in Relief. (J. F. Sutton Coll.)]