mmm 
 
 
 
 
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BSMflMlIB 
 
 
 A PAPER ON INRO: 
 
 READ BEFORE THE^^ 
 
 JAPAN SOCIETY, 
 
 February 13th, 1895. 
 
 encyclopaedia published in Tokyo some few years 
 since, quoting from the Shikiso, an old Japanese 
 work, says “ Yamato-DakeJ” a celebrated warrior 
 who died a.d. i i 3, carried, attached to the 
 scabbard of his sword, a bag containing flint and steel; this 
 bag was called hi-uchi-bukoro." At a later period we find 
 that seals and medicine were also stored in a receptacle of 
 this kind. The seal was of great importance and of general 
 use. From the 17 th century its impress has been affixed to 
 documents in place of, or in addition to the signature. 
 This custom was introduced, as were many others, from 
 China at a remote period, and, as you know, the Japanese 
 are likewise indebted to their Celestial neighbours for in- 
 struction in many arts ; to-day they are endeavouring to 
 return the compliment by teaching the Chinese the art of 
 modern warfare. The original seal boxes, or inro, [in meaning 
 “ seal ” and rd “ case ”) were square, and frequently took 
 the form of a nest of boxes of from two to five divisions, 
 and generally of carved lacquer about 3 J inches square. In 
 this box were kept the seal or seals, and also the pad for 
 stamping the impression. I am dwelling a minute on the 
 seal box, as from it we obtain the familiar word inro. In 
 this early time another receptacle for medicine was also 
 
2 
 
 used called yakuro ( yaku meaning “medicine”); this was 
 generally shaped like a covered bowl, and with the seal box 
 formed part of the decorative arrangement in the toko-no-ma. 
 The toko-no-ma is a raised recess reserved for conventional 
 decoration, and is found in every Japanese house to-day as 
 it was in the time of the Ashikaga Shoguns in the fifteenth 
 century. The early seal boxes were square, but the Kokkwa 
 (a monthly art magazine which is published in Tokyo) quotes 
 an extract from a book written by Soami and Noami, painters 
 and critics of fine art, in the year 1476, accompanied by 
 drawings of various seal boxes (inro) which show that not 
 only square but also round shapes were then used. From 
 these early boxes, used for seals and placed with objects in 
 the toko-no-ma , came the appellation inro because these shapes 
 were adopted ; and the majority of inro follow with modifi- 
 cations these forms. In the Keicho period, 1596-1611, the 
 use of the hi-uchi-bukoro or bag I first mentioned was partially 
 discontinued, and the portable medicine box called inro came 
 into fashion and general use ; prior to this date there is no 
 record of inro being worn suspended by a cord from the obi 
 or sash. The earliest inro we have any certain information 
 about date from early in the seventeenth century, and were 
 doubtless made of lacquer. I show examples here of inro of 
 this period — many have an encrusted decoration in metal 
 (generally silver), of dragons and other mythical subjects on 
 lacquer. These inro are rarely signed, but in my collection one 
 is signed Kizo, and dated 1640; another of the same period is 
 

 js'd nailed yakuro' (yaku meaning ! medid.ia ”) this was 
 generally slipped. like a cove-ed bqwL and with the seal box 
 foemve part •>; the decorative arrangement in the toko-no-ma, 
 r i.e !ak'>-no-tna is a raised rccecs reserved for conventional 
 ration, and is found in every Japanese house to-day as 
 in the tune ot the Ashikaga Skr^uns in the iifteenth 
 rti;.urv. The c»* 5 y seal hoses were square, but the XMwa 
 n.-uthiv art magazine which is published in Tokyo) quotes 
 v.iS.-t horn a b-«)k writi t> by Scatni ai.d Noami, pa’Vters 
 act cnuis r f une art, in the year 1476, accompanied by 
 ■. -if various aeal boxes ( in> :) which show that not 
 square but also round shapes were thtn used. From 
 ?h» sc <arlv >oxes, used tor eeais and placed with objects in 
 the -id -sc. t>,a, came tTe apoeilition two because these shapes 
 •••I adopted;.-. and the majority f inro -follow with itiodifi- 
 • J»es< forms. In the Kzicko period, 1596-16:1, the 
 u.-lc r- r the t. -Hchi-bukc ro or br;; I first Tie'.t'ont d was partially 
 
 J, ia.i the portable medicine box called two ciun>* 
 
 >sv tasbifn and general use; prior to this datr ‘here js'ao 
 ■•■< being worn m.; i.-.l Ly a eo-J from the ohi 
 easiest t'nro an have ar-y certain -.finawtie.; 
 
 xn the sjve ctenritli rt-mury, and wore 
 • -; lacquer. I show ex-iwpVs here of i>i> 1 of 
 any have an encrusted ieco»atic'> ; metal 
 other mytbicr' 1 subjects on 
 rely Signed but in my roT<*»ion one 
 641 , another t.f the same period is 
 
3 
 
 signed Igarashi Doho. These signatures are on the lacquer, 
 and I find in a book published 1878, the Kogei Shirio (a hand- 
 book of Japanese industries) that about the year 1646 Seki 
 Socho, of Kyoto, signed his name on his work in lacquer ; prior 
 to this signatures were invariably engraved. Other kinds of 
 lacquer were also used, and there are specimens in the 
 collection in Suri-hagashi, or rubbed lacquer ; this consists of 
 a coat of red lacquer on black; in places the red is rubbed 
 down exposing the under layer of black; also in Roden— an 
 inlay of awabi shell and gold : and in some inro we have a 
 combination of the two. Later (although the majority of inro 
 were made in lacquer) we find other materials employed, 
 various metals, faience and porcelain, carved wood, ivory, 
 and a fungus called by the Japanese Reishi (sacred fungus), 
 and often spoken of as Saru-no-koshi-kake (monkey’s chair), 
 also shagreen made of fish skin, occasionally the bark of trees, 
 and (but rarely) rock crystal and agate. Sometimes the inro 
 itself is in silver or other metal and the outer case in lacquer 
 or vice versa. The inro was worn suspended by a silken cord 
 from the obi or sash, and, to prevent it slipping through the 
 girdle, there is attached to the cord a toggle called a netsuke, 
 the evolution of which was so ably treated by our friend 
 Mr. Huish at the last meeting. The earliest netsuke of which 
 we can find any description were small gourds dried, sometimes 
 lacquered ; later, other materials were used, wood, ivory, rock 
 crystal, agate, onyx, cloisonne enamel, metal, nuts, and other 
 substances elaborately carved. Many netsuke are gems of art 
 
4 
 
 work delighting every one. At the sides of the inro are holes 
 as guides for the cord ; occasionally the guides are in silver 
 attached to the lacquer. Between the inro and the netsuke is 
 a bead called ojime, which gathers both cords together, and 
 can be moved either way ; these little objects, these ojime are 
 often exquisite examples of great works on a small scale. With 
 the inro was often worn in the girdle a pouch called kinchaku 
 for carrying seals, keys and money ; and also the tabako-ire, a 
 pouch, as its name notes, for carrying tobacco, which was 
 introduced about 1680. A wallet was used early in the 
 eighteenth century, carried in the folds of the kimono , or dress. 
 The inro and kinchaku then became less fashionable, and the 
 inro was less frequently worn, except as a decorative appendage 
 on occasions of state and ceremony. It is fortunate for col- 
 lectors that this change took place, as with such hard usage 
 as is indicated by the condition of many of the early inro, 
 the valuable examples of the great lacquerers would have lost 
 their rare artistic beauty. 
 
 Lacquer was preferred for inro, as it preserves the drugs 
 kept in the inro from drying up. On some examples, the finish 
 and make are so perfect that it is difficult to see the divisions 
 without separating them. Thus a writer in the Shaken Kisho 
 says, “ In verifying the best work of the Kajikawa, the Koma, 
 and other great artists, note how each section fits.” These 
 masters were careful to lacquer only on the best work. The 
 partitions do indeed fit with such marvellous accuracy that 
 the line of division does not show till the sections are drawn 
 
4 
 
 work flighting every one. At the sides of the ».*<» are holes 
 as guides for the cord : occasionally the guides are r stiver 
 attach id to the lacquer. Between the .nr:) and the netsuie >‘s 
 a bead called ojits.L which gathers both cords together, and 
 can be moved either way ; these little objects, , 'he=e cjimt are 
 often exquisite examples of great works on a small scale. With 
 the ir.ro was often worn in lire girdle a pouch called kinchahu 
 for earning s 1.1 Is, kys and money; and also the labaio-ite, a 
 pouch, as its name notes, for carrying tobacco, which was 
 introduced about 1680. A waller was used early m the 
 eighteenth century, carried in the fords of the kitnont.. or dress. 
 The inro- and ki/tchaku then become less fashionable, and the 
 into was less frequently worn, except as a decorative appendage 
 or occasions of state and ceremony. It is fortunate for col- 
 lectors that this change took place, as with such hard usage 
 as it indicated by the condition of many? of the early inro, 
 the valuable examples of the great lacquerers would Lave lost 
 their rare artistic beauty. 
 
 Lacquer was preferred for into, as it preserves the drugs 
 kept in the inro from drying up. On some examples, the finish 
 and make are so perfect that it is difficult to see the divisions 
 without separating them. Thus a wri er in the Shaken Kish ? 
 says, “ In verifying the best work of the Kajikawa, the Koma, 
 and other great artists, note how. each section fits.” These 
 toasters were careful to lacquer only on the. best work. " r he 
 partitions do indeed fit with such marvellous accuracy that 
 ■:he line of division does not show till the sections are drawn 
 

5 
 
 apart, and the sections are interchangeable. The celebrated 
 inru makers of the seventeenth and eighteenth centuries were 
 fond of copying works of painters, and often acknowledged their 
 debt by inscribing on the inro the name of the artist to whom 
 they owed the design, and so in a collection of inro we have 
 illustrations of the history, mythology, and folklore of Japan 
 rendered with beautiful harmony of colour and wonderful 
 profusion of detail. The process of lacquering is not for me 
 to dwell upon ; it has been treated thoroughly by Quin and 
 others, and anyone interested in the subject will find a capital 
 paper in the Transactions of the Asiatic Society of Japan, vol. 9. 
 I also commend to you my friend Mr. Gilbertson’s article in 
 the Catalogue of the Exhibition held last February at the 
 Burlington Arts Club. But whilst considering the decoration 
 of the inro I must mention some of the different kinds of 
 lacquering. I spoke of carved lacquer as being used for 
 the early seal boxes. Of carved lacquers there are Tsuishu, 
 or carved red lacquer ; Tsuikoku, or carved black lacquer ; 
 and Guri, which consists of successive layers of different 
 colours ; through these are carved channels of a V shape 
 which describe patterns of curves and scrolls, and serve 
 to show the different layers of which the lacquer is composed. 
 Chinkinbori is lacquer on which a design is engraved, generally 
 with a rat’s tooth, and into the lines thus produced gold is 
 rubbed. Some inro, again, have the lacquer inlaid in different 
 shades or colours. The groundwork of many is aventurine 
 
6 
 
 (in Japanese nashiji, meaning “ground like a pear rind”); this 
 is produced by gold finely dusted on to the lacquer. On 
 others the gold is inlaid in small fragments and called Hira- 
 kane. There is also Hira-makiye, where the ornamentation is 
 in flat gold on the ground, and Taka-ma-kiye, where the design 
 is in relief. Togidashi is polished or rubbed lacquer, with 
 the design without outline and often in various colours, a very 
 delicate process, producing in the hands of Shunsho, or one 
 of the Koma, a lovely effect. There are many other kinds 
 of lacquer, but I do not wish to weary you with a subject 
 sufficient in itself for several papers. In a book dated 1688, 
 called .“ Shin-Choja-Kio," we find an interesting passage. A 
 writer, after speaking of the flourishing condition of Tsuruga, 
 a town in the province of Echizen, alludes to the lawlessness 
 of its inhabitants, and says, “It is not wise to carry inro in 
 the streets, as many thieves are wandering about.” 
 
 I have already spoken of the first lacquerers of inro, -and 
 called your attention to certain examples. After these came 
 a school of impressionists, commencing with Koyetsu, who 
 was born in 1558 and began to follow the art of lacquering 
 about 1587. An example (Plate IV., No. 1), decorated with 
 fire-flies, and on the reverse a pier of a bridge, is signed, which 
 is very unusual in the work of Koyetsu ; these subjects were 
 frequently used by his pupils, Soyetsu and others. Another 
 is by Soyetsu, a pupil who, I think, excelled his master; it is 
 signed in full, Tsuchida Soyetsu, and inscribed as being made 
 
V 
 
 V 
 
 6 
 
 (in Japanese trukiji, meaning •* ground *>ke a pear rind '}; this 
 is produced by goict finely Jested, on to the ia-quer. • 
 others the gold is inlaid in small fragments and called Hiri- 
 kant. There is also Hira~.,iukiy'. where the omamen' . 
 
 in flat gold on the ground, and Tayi-rm-iiye, where the design 
 is in relief. To&Aasht .s polished or rubbed lacquer, wr ■ 
 the design without outline and onen in various colours, a vci v 
 delicate process, producing in ihc hands of Shu-stm, or one 
 of the Konm, a lovely effect. There arc many other kinds 
 of lacquer, but ' do not - wish to wear y you wrl - subject 
 sufficient in itself for s ra! pajurrs. In a. hoot dated t GS: . 
 called SI 1 :-; i'kpj<i-Kio," we find an interesting passage. A 
 writer, after speaking of the flourishing condition, of Truro., 
 a town 'in -the province of- Echizen, alludes to the lawlessness 
 o; its inhabitants, and says, “ it is not wise ip carry into •• 
 the streets, as many thieves are wandering- about.” 
 
 I have already spoken of tho first lacquerers of into, -artl 
 called sour attention to certain examples. After these <-an..- 
 a school of impressionists, commencing with Koyetsi , 
 was born in 1558 and began to follow the. art of lacquer- 
 about 1587. An example (Plate IV., N'o, A, decorated 
 fire-flies, and on the reverse a pier of a bridge, is signed, 
 is v-ry' unusual in the work of Key. sm: , tbrve subject 
 frequently used by his pupils, berets u and others r ; .-- 
 
 is by Soyetsu. a pupil who, I ihir.K, excelled his mastm 
 signed in full, rsticHitu Soyetsu, and inscribed a.- tor.. s-s 
 
 
mmm 
 
in his 8 1 st year (Plate I., No. 3). An owl is perched on a hoe, 
 the agricultural implement in use to-day, with which most of 
 the farm cultivation seems to be done. Awabi shell and lead 
 are inlaid, and gold lacquer used on a black ground. Another 
 with geese flying has a similar inlay on a ground of black 
 lacquer (Plate IV., No. 3). 
 
 We now come to the most celebrated impressionist of the 
 17th century, Ogata Korin, celebrated both as painter and 
 lacquerer. As a maker of inro he cannot be seen to advantage; 
 to be appreciated he should be studied in his larger works, 
 notably his writing boxes (suzun-bako) ; on these objects we 
 find him at his best. On inro his designs are far too often 
 rude and conventional; for instance, in Plate II. No. 3, of 
 a court carriage inlaid in lead and shell on a ground of gold. 
 Some subjects are almost unintelligible, but here is one (Plate 
 III. No. 6) decorated with storks and bamboo in lead and 
 mother-of-pearl on a ground of rich gold of a beautiful colour. 
 Korin was celebrated for this ground, and we find in it specks of 
 gold enhancing the richness. Korin adopted the best methods 
 of Soyetsu, and varied his inlay, as in this example (Plate 
 V, No. 3), by placing the shell in high relief, and often formed 
 the object in one piece instead of placing small pieces vertically 
 as did Koyetsu and Soyetsu. Works are frequently signed 
 Korin which are palpable forgeries, his style rendering bad 
 imitations easy, just as some of our Western painters produce 
 daubs and call their work impressionist to hide the fact that 
 they cannot either draw or paint, half-taught and often idle 
 
8 
 
 craftsmen, who follow the coarser and uglier forms ot art, 
 affecting to disdain the studies they do not themselves practise. 
 Korin’s paintings and lacquer are highly prized by the Japanese 
 and many have a true artistic feeling, while others are eccen- 
 tricities more curious than faithful or beautiful. Ritsuo, a 
 very clever and original artist, born in 1663, studied under 
 Korin. He was also a celebrated potter, learning the art from 
 Korin’s brother Kenzan, and was very fond of inlaying his 
 lacquer work with pottery ; the chrysanthemums on this inro 
 are in pottery inlaid on black lacquer (Plate V. No. 2). He 
 was also a celebrated painter, carver, and worker in metal. 
 A badger was a very favourite subject with Ritsuo and his 
 followers, and is so treated in one here by Ritsuo (Plate I. 
 No. 2), and in an example by a late follower of his, Kozan, 
 who produced some excellent work. Among the examples 
 in my collection is an inro dated 1742, and inscribed “ made 
 at 80 years of age.” Of Yosei’s work, a contemporary of 
 Ritsuo, I show one with utensils for the tea ceremony, inlaid 
 with ivory and decorated in colours (Plate IV, No. 2). The 
 risers of this inro are in chinkinbori engraved in gold. Here 
 is another by a pupil of Ritsuo, Hanzan (Plate IV. No. 8). 
 These coins wonderfully reproduce in lacquer the appearance 
 of the originals in metal. The risers of his inro are generally 
 in chinkinbori. An eminent lacquerer whom I cannot pass 
 over is Shiomi Masanari, or Masazane, as some translators 
 have it. He flourished at the end of the 17th century, and 
 produced very fine work in polished togidashi. Another notable 
 
8 
 
 cr.ic ih.sn, wrivi at'trw uie c.»ar.-:--i and uglier forms of „r>, 
 affecting to disdain V „ studies v do not tlir i, selves practise. 
 Korin's painth and i»< p er are high)- prized by me Japanese 
 and many have a true auistie fee 1 it g, while others are eccen- 
 ti. rat curious than faithful or beau' Ritsuo, a 
 
 very clever „nd origi; cl artist, born 1663, studied under 
 Korin. He was also • celeb’-aten pottt.r, learning the art from 
 Kflrins brother fitnzan, and was very fond of inlaying his 
 lacquer work with pOtt-i*y; th chrysant V.-mums on this inro 
 are in pottery iniaid on black lacquer (Plate V. ? ... 2). He 
 •vas also a celebrated painter, carver, and worker in metal. 
 A badger was a very favourite ect w. Ritsuo and h.s 
 followers, and ■ so tr„ • d in one here •>, Ritsuo (fiate 1. 
 No , and in an example bv a late follower of his, Xo 7 ,n, 
 whe produced some excellent wer Am g the examples 
 in my collection is an inti, dated 1742, and in*; c;bc.d ’‘made 
 at 80 years of ago." Of Yo; ’s work, a contemporary 1 
 Ritsur,, I : ios ora. with utensiis for the t< a ceremony, inlaid 
 with ivory ant. decor, ‘ed in colours (Fiat IV, No, 2). The 
 risers of this iwa are in chittkii.m'rl engraved in gold. P re 
 :s another by a pupil of Ritsuo, Hanzan (Plate IV. No. 8), 
 These ns wonderfully reproduce in lacque .he appearance 
 of the originals m tutstal. The nsers of his -.nro are generally 
 .1 rhn anbori. An eminent lacquerer wlioai I cannot pass 
 over is Shiovi M s»nari, or Masazane, as some translators 
 have it. He flourished at the end of the rnh century, I 
 produced very fine work in polished togidashi. otic her notab,e 
 


 9 
 
 example of togidashi lacquer is by Shunsho (Plate II. No. 3) 
 one of an eminent family of lacquerers, of whom the first was 
 Yamamoto Shunsho, the author of this piece, who died in 1682 ; 
 the family continued as masters in this beautiful process into 
 our own time, as I have some fine work I bought through my 
 collector in Japan of a late 19th century Shunsho. The 
 delicate process of togidashi lacquer so beautifully rendered 
 by the Shunsho, and the Koma, is nowhere clearly described, 
 and all I can tell you I understand is, that according to the 
 thickness of the layer of lacquer over the gold or colour the 
 gradation of tone is produced, and by rubbing down and 
 polishing afterwards the most lovely effect is obtained. We 
 now come to the family of lacquerers that are my special 
 favourites — the Koma. An example is in my collection (Plate 
 V. No. 8) of the first Koma, Kiui, who was lacquerer to the 
 great Tokugawa Shogun Iyemitsu, and died in 1663. His 
 son and pupil, Koma Kiuhaku, really founded the Koma school, 
 and this family have produced exquisite work down to our own 
 time. You will find most of the linings of their inro are in red, 
 gold, or both combined. Quin gives the date of Kiuhaku as 
 1624-1643 ; this could not be the first Kiuhaku, for he was 
 lacquerer to Tsuneyoshi, who was Shogun 1681-1708, or 
 forty years after Quin states that he died, his death really 
 occurring in 1715. Here is a lovely specimen of Kiuhaku’s 
 work in white lacquer on a ground of black (Plate IV. No. 6). 
 Another (Plate III. No. 5) illustrating Kanzan and Jittoku, 
 from a drawing by Hanabusa Itcho, early in 18th century, also 
 by Koma Kiuhaku. 
 
io 
 
 By the same master, but quite in another style (Plate IV. 
 No. g), is one encrusted in shell with gold lacquer. The 
 family continued to be lacquerers to the Shoguns, but on inro 
 after Kiuhaku I find no Koma before Kioriu, a pupil of the 
 fifth Koma, who worked in Yedo (now Tokyo) in 1772. Then 
 came Koma Kwansai, a lacquerer of the first merit, and master 
 of Zeshin, who was the best of the 19th century lacquerers; 
 Zeshin died in 1891 at the age of 84. Then followed Koma 
 Yasutada (Plate II. No. 6, Plate III. No. 3), and I think his 
 work in lacquer is unsurpassed. We now come to another 
 celebrated family, the Kajikawa, founded by Kajikawa Kiujiro 
 about 1680, and continuing late into our century. Although 
 they were court lacquerers, our information concerning them 
 is only meagre, whilst their works are very numerous, for 
 Kajikawa Hisataka, Takafusa, Hidetaka, and others will 
 probably be represented even in a small collection. The 
 Kajikawa are noted for their beautiful work particularly in the 
 linings of the inro, which are generally in nashiji, and at times 
 in a nashiji flecked with pieces of gold-leaf of irregular shapes 
 crumpled up and imbedded in a transparent reddish lacquer, 
 the colour of gold varying according to the depth of lacquer 
 with which it is covered. Mr. Gilbertson thinks, and I entirely 
 agree with him that this must be the giobu nashiji mentioned 
 in the “ Shoken Kisho ” as that for which the Kajikawa were 
 famous. A signed piece which I have is evidently a very 
 early Kajikawa (Plate IV. No. 4), with the cord guides in silver. 
 Another, with primula in gold and silver lacquer, is a good 
 example of the. aristocratic inro (Plate IV. No. 5). On another 
 
10 
 
 I'/ the a. ne mnstei, bu f quite i->. another style (Pla; - IV. 
 No. 9), is one ov.-rtrUxu in shell vrith 'old lacquer. The 
 tamily continued to x L ecuet-r to the J£**uhs, but on U,o 
 after Tiuhakt - ltr-i no foams be.ore Kioriu, a pupil of the 
 fifth -Toma, who wo Ted In Yedo (now Tokyo) in 1772. Then 
 came Kov • Kwans.j, a ’acquerer of the first merit, s;,<? mast*: 
 of Zeshis, who was the best of tne 1.9th century lacquerers; 
 Zeshin di J in 1891 at the age of 84. Then followed Koma 
 Yasotada (Plate II. No. d, Plate III. No. 3) and 1 think Sis 
 wore in lacquer ’■ unsurpassed We now come to another 
 ceir rated is .;K. ;Se Kajikawa. founded by Kajikawa Ktojiuo 
 about 1680, ana continuing late int» our century Although 
 they v re court lacquerers, our information concerning them 
 is on'y leagre, w’ list their voiles are. very numerous, Lr 
 Kajikawa Hisataka, Takas osa, HiOBTAiti, ar-d others wil 1 
 probably be represented even m a small collection. The 
 Kajikawa a;e noted for their beautiful work pH.tictdarly i tin 
 linings of t ie r nrj, which am generally i- nashiji, and at times 
 in a nashiji fic'.Sod vith pie-es of gold-: .af o! irrrg. lav shapes 
 crumpled up and imbedded in a transparent reddish lacquer, 
 the colour or gold varying accord! to the J epth of lacquer 
 with which it w covered. Mr. Gilbertson thinks, and 1 itireh 
 agree w-.lh .lim that this must be the giobu nashij: mentioned 
 in the 'Stoie** Risho ” as that for which .he Kajikawa were 
 famous. A s'gnea piece which I hove is evidently a very 
 ear^ Nan!. wa ^Pi, .> 1\ . No. 4), with the cord guides in sr-er. 
 Another, with primula in gold and silver lac.q h r is a good 
 examine oi the aristocratic inro (Plate IV. No. 5). Or another 
 
II 
 
 are flowers in white and silver lacquer, with an inlay of shell 
 and gold lacquer on a rich brown ground (Plate I. No. i). 
 Another is after a design by Hogen Yeisen (Plate V. No. 7), 
 a painter of the last century ; the flowers are in ivory, and 
 the geese on this are inlaid in shell and lacquered in gold and 
 colours. The inro decorated with chrysanthemums (Plate II. 
 No. 4) is signed Hisataka, after a design made by Kosen, one 
 of the Kano painters. 
 
 Many works of an inferior order bear the name of Kajikawa, 
 but of poor work, purporting to be by the Koma, I have seen 
 but little that was not palpably a forgery. Some large unsigned 
 inro I have seen are undoubtedly by the Kajikawa, and were 
 made probably for some of the great Daimyos. An example is 
 also shown of the work of Yamada Toyoyoshi (Plate II. No. 
 1), a clever artist of the last century ; the background is in 
 togidashi. 
 
 Joi was a celebrated sword*guard worker of the last century, 
 but we occasionally find his work encrusted on lacquer inro 
 (Plate V. No. g). In most collections will be found examples 
 of that most excellent artist of the 18th century, Jokasai, one 
 of the Kajikawa school ; he frequently employed metals in 
 relief on nashiji lacquer. The skilful worker Yoyusai brings 
 us into this century; the subject treated here is the Takarabune 
 (ship of good fortune) (Plate III. No. 2). 
 
 Kakosai was another master of the Kajikawa school, and 
 frequently worked with Shibayama, who carved in ivory the 
 
minute faces and hands that Kakosai mounted in lacquer. 
 He used a seal similar to one of the Kajikawa. 
 
 The inro of Tatsuki Kokio are often large and of unusual 
 shapes. I have one signed and inscribed as made when he 
 was 83 years old. I must mention also cloisonne enamel 
 used on inro by a celebrated family called Hirata, (Plate 
 III. No. 4) ; these enamels are inlaid on lacquer of gold by 
 Skeigawa. I will now show an inro which is a fine example 
 of minute metal work encrusted on nashiji lacquer (Plate I. 
 No. 4) ; it is signed Seiryuken, but I know nothing of the 
 artist. This inro delayed me in Osaka some time, for it was 
 the treasured possession of a man whose idea of its value 
 was far apart from mine, and we had great difficulty in 
 reconciling them. A collection of inro would not be complete 
 without some in both Tsuishu lacquer carved red, and Tsuikoku 
 lacquer carved black. This example (Plate IV. No. 7) illustrates 
 both kinds. You will remember I spoke of the early seal boxes 
 as being made in similar lacquer. Nor must we forget those 
 decorated with the very beautiful shell mosaic work called 
 Raden, which was applied to some of the earliest inro , as it 
 is to the latest (Plate V. No. 4), this being a igth century 
 specimen. Another of the 18th century has Kotobuki, “ long 
 life,” inlaid in shell on carved wood (Plate V. No. 5). 
 
 Lastly we have those in faience, for instance, one is in 
 polychrome on Kyoto pottery, with the edges in lacquer and the 
 risers in wood (Plate V. No. 1), made in the last century; also 
 

 13 
 
 in carved ivory such as this with exquisite encrusted work of 
 shell representing doves on a branch of wistaria (Plate V. No. 
 6) ; it is 19th century work, probably by one of the Shibayama 
 family. Although the elaboration of inlay on late 19th century 
 inro is scorned by classical collectors, some specimens should 
 be included in every, good collection, as they are marvels of 
 exquisite jewel work, with their inlay of various metals,, tinted 
 awabi shell, coral, malachite, and tortoiseshell (Plate III. Nos. 
 1 and 2). 
 
 I have often thought that the artist artisan of Japan is 
 unconsciously a true disciple of Ruskin, he well knows the 
 grace and preciousness of simple adornment, and his works 
 are like leaves in nature, no two alike ; seeming to follow our 
 Art Critic’s teaching when he says, “ If the materials of 
 ornament are noble, they must be various, and repetition of 
 parts is the sign of utterly bad, hopeless, and base work.’’ 
 The art worker of Japan goes to nature and carefully studies 
 the lovely colours there, unspoiled, always refined and beautiful, 
 and let us hope the commercial spirit will not debase those 
 true principles of decorative art which our friends in Japan 
 know so well. 
 
 MICHAEL TOMKINSON, F.R.G.S., F.J.S. 
 
sste 
 
^/ornte 
 
Wmmi 
 
 
 PWKf 
 
 mmm