Palmer; Elements of Physiological Psychology (1889, rewritten as Outlines of Physiological Psychology, in 1890); Primer of Psychology (1894); Psychology, Descriptive and Explanatory (1894); and Outlines of Descriptive Psychology (1898); in a "system of philosophy," Philosophy of the Mind (1891); Philosophy of Knowledge (1897); A Theory of Reality (1899); Philosophy of Conduct (1902); and Philosophy of Religion (2 vols., 1905); In Korea with Marquis Ito (1908); and Knowledge, Life and Reality (1909).
Florence was in the 14th century a city of about 100,000 inhabitants, of whom 25,000 could bear arms; there were Ito churches, 39 religious houses; the shops of the ante della lana numbered over 200, producing cloth worth 1,200,000 florins; Florentine bankers and merchants were found all over the world, often occupying responsible positions in the service of foreign governments; the revenues of the republic, derived chiefly from the city customs, amounted to some 300,000 florins, whereas its ordinary expenses, exclusive of military matters and public buildings, were barely 40,000.
Connected with this rejection of ChuHi were such eminent names as those of Ito Junsai (1627-1718), ItO Togai (1617-1736), Ogyu SOrai (1666-1728) and Dazai Shuntai (1679-1747).
Okamuia Yasutaro, commonly called Shozan, produces specimens which only a very acute connoisseur can distinguish from the work of Nomura Ninsei; Tanzan Rokuros half-tint enamels and soft creamy glazes would have stood high in any epoch; Taizan YOhei produces Awata faience not inferior to that of former days; Kagiya SObei worthily supports the reputation of the KinkOzan ware; Kawamoto Eijiro has made to the order of a well-known KiOto firm many specimens now figuring in foreign collections as old masterpieces; and ItO TOzan succeeds in decorating faience with seven colors sons couverte (black, green, blue, russetred, tea-brown, purple and peach), a feat never before accomplished.
The modern faience of Ito TOzan of KiOto, decorated with color under the glaze, is incomparably more artistic than the Tokyo asahi-yaki, from which, nevertheless, the KiOto master doubtless borrowed some ideas.
