The rulers fostered agriculture, stimulated commerce and industry (notably the famous Attic ceramics), adorned the city with public works and temples, and rendered it a centre of culture.
Metallurgical operations, such as smelting, roasting, and refining, were scientifically investigated, and in some degree explained, by Georg Agricola and Carlo Biringuiccio; ceramics was studied by Bernard Palissy, who is also to be remembered as an early worker in agricultural chemistry, having made experiments on the effect of manures on soils and crops; while general technical chemistry was enriched by Johann Rudolf Glauber.1
Closely associated with it also, and under the management of the university trustees, is the New York State School of Clay-Working and Ceramics (1900), one of the most efficient schools of the kind in the country.
But although the capital of Japan formerly played only an insignificant part in Japanese ceramics, modern Tokyo has an important school of artist-artisans.
Before dismissing the subject of modern TOkyO ceramics, it may be added that KatO TomatarO, mentioned above in connection with the manufacture of special glazes, has also been very successful in producing porcelains decorated with blue sous couverte at his factory in the Koishikawa suburb.
In the upper rooms is placed a large collection of Milanese and central Italian ceramics, stuffs, furniture, bronzes, ivories, enamels, glass and historical relics; together with a picture gallery containing works by Vincenzo Foppa, Gianpietrino, Boltraffio, Crivelli, Pordenone, Morone, Cariani, Correggio, Antonello da Messina, Tiepolo, Guardi, Potter, Van Dyck and Ribeira.
Of bronze (the chief material) axes, daggers, swords, razors and knives are found, as also minor implements, such as sickles, needles, pins, brooches, &c. There are also objects of bone and wood, besides pottery (both coarse and fine: see Ceramics), amber and glass-paste.