that it was in Hizen Shonsui put in practice the knowledge he had acquired in China. It may, therefore, be expected that the older specimens will show signs of Chinese teaching. That such is the case may be inferred from the grouping usually resorted to in dividing Japanese porcelain into Chrysanthemo-Pæonian and Rose families. The place of manufacture of many of the pieces belonging to the first of these families is authenticated by the peculiar Japanese symbols, such as the Imperial bird, the _guikmon_, the Imperial three-clawed dragon, the crane, bamboo, and other emblems of longevity; and also occasionally by the pieces being decorated with legendary subjects. One of the latter is decorated in part with a water-fall, and a carp leaping upward. The latter is a symbol borrowed from China. Mr. Griffis says of it: “The koi (carp) leaping the water-fall is a symbol of aspiration and ambition, and an augury of renown. The origin of the symbol is Chinese. In an old book it is said that the sturgeon of the Yellow River make an ascent of the stream in the third moon of each year, when those which succeed in passing above the rapids of the Lung Men become transformed into (white) dragons.” The same writer relates that when Kiyomori was on his way to view Kumano water-fall, a carp leaped out of the river upon the deck of his state barge, and gave rise to much rejoicing as an auspicious omen. [Illustration: Fig. 129.--Old Imari Porcelain. (A. A. Vantine & Co.)] [Illustration: Fig. 130.--Japanese Dish. Ground, Red and Blue; Figures, Green and Gold. Diameter, 11 in. (Robert H. Pruyn Coll.)] The paste and glaze of the older examples of Hizen are inferior to the Chinese, the former being thick and comparatively coarse, as we find it in the accompanying specimen (Fig. 129). Such are the early vases of the Chrysanthemo-Pæonian family. They represent, apparently, the struggles of workmen attempting to apply recently acquired knowledge to native material: a further proof that when the Dutch opened their trade with Japan the porcelain industry was still in its infancy. That the manufacture improved with great rapidity is evident from such examples as the dish (Fig. 130), an admirable specimen of early Gosai, or Nishikide. Only five colors were employed in its decoration: black for the outlines; red, green, gold, and blue, as we find them on Mr. Pruyn’s dish, where the design in green and gold is laid upon a ground of red and blue. In modern times the porcelain of Hizen includes some of the best coming from Japan. To it we owe those exquisite specimens of a double art, trays and vessels of porcelain, decorated with flowers and birds in raised enamels, encased in a cover of bamboo wicker-work.