Awadji, an island lying between Shikoku and Hiogo on the main-land, produces a ware closely allied to the Satsuma. The glaze is similar, and the kaolinic paste is made from ground granite found on the island. The body-tint is an extremely soft yellow, the cracks are usually fine, and the painting, outlined in black, is decided in character. From the same place comes a strong stone-ware, either with a glaze containing oxide of copper or covered with a slip. The cracks are few in number, and the prevailing colors are green and russet. The above names, it will be observed, are taken from the places of manufacture. The Banko-yaki is so called from the inventor, and is made in the province of Ise. The paste is a strong, tough brown clay, on the unglazed surface of which enamel painting is laid. Very curious tea-sets, wonderfully light and thin, considering the quality of the paste, are made of this material. They are finished by hand, and the marks of the potter’s fingers are distinctly visible on the clay. These sets are favorites with the tea-drinkers of Japan. The white clay of Ise is also used for pieces which come in biscuit. When mingled with brown clay, the result is a peculiar mottled ware which has been extensively made within the past few years. The Banko tea-sets are sometimes moulded into imitations of the lotus leaf. [Illustration: Fig. 123.--Kioto Faience. Brown, Red, and Green on Buff. (J. F. Sutton Coll.)] [Illustration: Fig. 124.--Kiusiu Earthen-ware. Blue on Purple. Height, 15 in. (A. A. Vantine & Co.)] The ware called “Kiusiu” takes its name from the island already mentioned, but the exact place of its manufacture is not more specifically stated. The illustration (Fig. 124) exemplifies a large division of this pottery, which has designs more or less intricate graved in the paste, and painted purple or plum and turquoise blue. Some of the finer pieces have floral and emblematic incisions, and upon the mingled blue and plum are chrysanthemums and vines in lacquer. Karatsu is a town in the province of Hizen, and gives its name to a buff ware, somewhat resembling in appearance the darker qualities of Satsuma. It is finely crackled, and the designs are exceedingly varied. The tenacity of the fine paste is exemplified in the reticulated vase (Fig. 125), in which frequent changes in the pattern lighten, by variety, the sombre character of the piece. It will be observed that the inner surface is also decorated, and we are thus furnished with another of the frequently recurring evidences of inexhaustible Oriental patience. All the examples of this ware that we have seen are covered with very minute cracks like those overspreading the Satsuma. The paintings on tea-jars and incense-pots consist usually of flowers, insects, vines, or bamboos sometimes arranged in panels or medallions. [Illustration: Fig. 125.--Karatsu Vase. Reticulated Buff Crackle. (J. F. Sutton Coll.)]