Another famous factory of Hizen is that at Mikawachi, where the Hirado ware, perhaps the finest of all Japanese porcelains, was produced. The factory was founded towards the end of the sixteenth century, and its first manufacture was an earthenware covered with a blue-grey glaze. In 1712, however, the discovery of fine porcelain stone was made in the vicinity, and in 1751 Matsura, the feudal chief of Hirado, took the kiln under his patronage, and for the next hundred years the ware may be assigned the first place among Japanese porcelains; for not only is the ground a pure and clear white, but the paté, free from gritty particles, is of a fineness of texture which is not possessed by other similar wares. With rare exceptions blue is the only colour used in its decoration, not the deep Chinese blue nor yet the rather weak tint of Nabeshima, but a delicate shade between the two. The favourite decorative motive was a scene with pine-trees and children at play. In ware of the finest quality seven children were introduced, in the second quality five, and in the third three. Many charming pieces were also made in plain white ware with pierced patterns or designs in relief, and at a later date the factory became famous for a delicate blue-and-white eggshell porcelain. Since 1830, however, the wares of the factory have declined greatly in quality.

Until within the last forty years the Keramic arts of Japan were only known to Europe by their porcelain, and only crude and inferior specimens of that, but the pottery and faience which merited even more attention were utterly unheard of. Since then matters have changed very much, and the faience of Satsuma is now the most sought after of all Japanese wares. But though Old Satsuma ware has become almost a household word, and there are few collections but boast of a specimen or two, the bulk of these objects are more or less clever imitations of a later date, excellent often in themselves, but not the rare and wonderful old Satsuma with its soft, ivory tint and its almost imperceptibly crackled glaze.

The original kiln appears to have been founded by Prince Shimazu Yoshihiro, chief of Satsuma, on his return from the Korean expedition, from which he brought back seventeen skilled Korean potters. In 1598 a kiln was opened close to his castle at Chosa, in the neighbouring province of Hiuga, which manufactured chiefly objects for the tea ceremony not unlike those previously made at Seto; but the glazes were of many varieties and very beautiful, some of them being exceedingly rich and brilliant. Prince Yoshihiro took great interest in the manufactory, settling handsome annuities on the most skilful potters, and stamping the finest pieces of work with his own seal.

In the year 1618 Boku, one of the original seventeen Korean potters, discovered in Satsuma a fine white clay or sand and other materials suitable for the manufacture of a finer quality of faience, and the result was a great improvement in the ware.

In 1630 the kilns were removed to Nawashiro, and by 1675 the ware had reached a high degree of excellence. About this time Tangen, a pupil of the great Kano painter Tanyu, was employed to paint or furnish designs for the potters, and Satsuma Tangen now constitutes one of the greatest treasures of the Japanese connoisseur. The decoration of such pieces as remain is slight and sketchy, the designs usually landscape, bird, and floral subjects, and the colours few and simple, often a reddish brown only being used.

Towards the end of the eighteenth century two Satsuma potters, Hoko of the Tatsumonji factory and Chiubei of the Tadeno factory, were sent by Shimazu Tomonobu, the chief of the clan, to travel all over Japan, visiting the different factories and learning the processes used in each. They visited Hizen, Kioto, Bizen, Owari, and other places, and particularly seem to have profited by their insight into the methods used in the production of the enamelled faience of Awata, for after their return, in 1795, may be dated a large increase in the manufacture of enamelled Satsuma faience, Nishiki-de, and it is this faience that is so widely known and valued as Old Satsuma.

The characteristics of this beautiful ware may be briefly noted. The paté is close as pipeclay and almost as firm and hard as porcelain. The chalky, porous nature of the newer work at once proclaims its late date. The old glaze is soft, lustrous, and mellow, with an exceedingly fine crackle. The decoration is simple, chiefly diapers and floral subjects in comparatively few colours, and the pieces are invariably small—tripod incense burners of about seven inches high being, perhaps, the largest objects. The large examples profusely decorated with human figures, peacocks, and other designs, are all of later date belonging to the period of forgeries which set in with the great increase of European trade after 1868.