THE 
 
 ORNAMENTAL 
 
 ARTS OF JAPAN 
 
"unfit 
 
THE 
 
 ORNAMENTAL . 
 
 ARTS OF JAPAN 
 
 BY 
 
 GEORGE ASH DOWN AUDSLEY 
 
 FELLOW OF THE ROYAL INSTITUTE OF BRITISH ARCHITECTS 
 MEMBER OF THE ASIATIC SOCIETY OF JAPAN 
 JOINT AUTHOR OF "KEKAMIC ART OF JAPAN" 
 AND AUTHOR OF SEVERAL WORKS ON ART 
 
 VOLUME 1 
 
 LONDON 
 
 SAMPSON LOW, MARSTON. SEARLE, & RIV1NGTON 
 CROWN BUILDINGS, tSS, FLEET STREET, E.C. 
 MDCCCLXXXI I 
 
DEDICATED 
 
 BY SPECIAL PERMISSION 
 
 TO 
 
 THE MOST DISTINGUISHED COLLECTOR AND PATRON 
 
 OF 
 
 JAPANESE ART 
 
 His Royal Highness 
 THE DUKE OF EDINBURGH, K.G., KT., 
 
 WITH EVERY FEELING OF RESPECT 
 
 BY 
 
 HIS ROYAL HIGHNESS- 
 OBEDIENT SERVANT 
 
 The Author 
 
PREFACE. 
 
 T is not often the good fortune of an author to 
 write the first Preface to his Work after it has 
 passed safely through the fire of Press criticism ; 
 but such is my enviable position at this juncture. 
 I cannot but believe that it is due to the beautiful 
 and interesting arts I have endeavoured to illustrate 
 and briefly describe, and the considerate indulgence 
 of my patrons and reviewers, rather than to any 
 artistic and literary ability I may have displayed, 
 that I am able to record with excusable pleasure 
 the almost unparalleled success of The Ornamental 
 Arts of Japan. 
 
 The courteous reviewer in The Academy 
 (January 19, 1884) has remarked: — "It was always 
 to be hoped, if not to be expected, that a work of 
 the same importance as the Kcramic Art of Japan 
 should be devoted to those other decorative arts in which the Japanese 
 excel rather more than less as compared with pottery and porcelain." I 
 may say, in response, that even before the Kcramic Art of Japan left 
 
 the press I had resolved to complete the task thus happily initiated, by 
 
PREFACE. 
 
 illustrating and describing, to the best of my ability, all the other and 
 still more interesting art industries of the Japanese. With the well-known 
 business enterprise and untiring zeal and support of my publishers, I 
 have been enabled to place before the public the present Work, of 
 which, in comparing it with the previous book, another reviewer has 
 said : — " Those who possess the Keramic Art are not without means of 
 knowing what can be done in this kind, and they will be disposed to 
 satisfy themselves of the simple fact, which we record, that the former 
 W ork, great as it was, was only on the road to the elaborate perfection 
 of this." 
 
 While on this subject, I must tender my thanks to all my critics 
 for their kind and highly valued words of encouragement ; especially 
 to those of The Times, The St. jfamcss Gazette, T/ie Pall Mall 
 Gazette, The Academy, The Illustrated London JVezas, The Building News, 
 The Scotsman, and Liverpool Daily Post. By all of these my aims anil 
 endeavours have been clearly understood, and have been commended, I 
 cannot help fearing, beyond my just deserts. 
 
 In the production of The Ornamental Arts of Japan it has 
 been my steadfast desire to do all the justice possible, by the most 
 advanced processes of chromolithographic and photographic printing, 
 to the masterpieces of Japanese art, so kindly placed at my disposal 
 by English, French, and American collectors ; and in the literary portion 
 to treat rather of the manipulatory processes resorted to by the Japanese 
 artizans in their production, than to fill the space at my disposal with 
 dry historical data, arrived at through devious channels, and always 
 more or less unreliable when reached. After eighteen years of careful 
 study of Japanese art, I am free to admit that a biographical list of 
 names of native artists — names which can have no possible connexion 
 with the art history of the rest of the world — has no special charms 
 for me. On the other hand, a comprehensive knowledge of the art 
 works of Japan, and an acquaintance with the manipulatory processes 
 
PREFACE. 
 
 by which they were created, are of absorbing interest and full of valuable 
 lessons and suggestions. These lessons in ornamental design and these 
 suggestions in manufacture may be taken to heart by our decorative 
 artists and artizans with unalloyed advantage. I trust that the laborious 
 task I have undertaken, and now happily completed, may prove to be 
 a not unimportant means of spreading this knowledge. 
 
 No one can be more impressed with the manifold shortcomings 
 of the present Work than I am ; for it is not too much to say that had 
 its entire series of Plates and every page of its Text been devoted to the 
 treatment of any one of the more important Sections it embraces, much 
 would remain, even in that single art, unillustrated and unexplained. 
 Such being the case, I trust to the indulgence of my readers and the 
 consideration of my critics when they turn over the following leaves. 
 
 The great difficulty in an undertaking like the present is not to 
 obtain objects for illustration but to select them. From an enthusiastic 
 collector's point of view I may have altogether failed to make a wise 
 selection, for I certainly have made no attempt at an historical or 
 chronological one; but as my Work is not so directly addressed to him 
 as it is to the artist, artizan, and general art-loving public, his opinion 
 is of secondary importance. To him a chronological list of artists' 
 names, dates, and inscriptions would be of far more interest and fancied 
 value than the most elaborate and accurate description of the mode of 
 manufacture and artistic treatment of the articles made and thought 
 worthy of being signed by the men whose mere names he values. It is 
 certainly always agreeable to know the name of the artist who has left 
 a record of his taste and skill on a lovely work ; but the simple know- 
 ledge of his name cannot or should not affect our appreciation of the 
 work itself. Pure admiration for a work of art may reasonably engender 
 respect for the name of its maker; and it is this consideration that has 
 induced me to obtain and record, in all possible cases, the names of 
 the artists who have produced the objects illustrated. 
 
PREFACE. 
 
 With these few remarks I place my Volumes before the world. 
 I shall indeed be well content if the completed Work wins the 
 good opinions and sustains the reputation already acquired by the 
 separate Parts as they in succession came under the trying ordeal of 
 criticism. 
 
 It is now my pleasant duty to acknowledge the good services of 
 all who have contributed to the Plates of this Work, and who have 
 so freely lent me their valuable objects for illustration. Their names 
 are recorded in all cases in the Descriptions of the Plates. My special 
 thanks are due to my friends Ernest Mason Satow, Esq., C.M.G., 
 Late Second Secretary and Japanese Secretary to Her Majesty's 
 Legation in Japan, and William Anderson, Esq., F.R.C.S., for much 
 valuable information and help relative to the arts of Japan ; to 
 Mr. Tadamasa Hayashi, the accomplished Japanese expert ; and also to 
 Ernest Hart, Esq., F.R.C.S., one of the most enthusiastic and successful 
 collectors of Japanese works of art in Europe ; Walter Macfarlane, Esq., 
 Professor Edward S. Morse, and Professor Charles E. West, for assis- 
 tance in the description of their interesting contributions. 
 
 I have great pleasure in acknowledging the help I have received 
 from the writings of John J. Ouin, Esq., Her Majesty's Acting Consul 
 at Hakodate, Thomas R. H. M c Clatchie, Esq., and other members of 
 the Asiatic Society of Japan, Sir Rutherford Alcock, K.C. B., D.C.L., 
 Christopher Dresser, Esq., Ph.D., F.L.S., Monsieur Louis Gonse, and 
 other gentlemen whose names are mentioned in the Text. 
 
 My best thanks are clue to MM. Lemercier, Bauer, Blondet, 
 Dambourgez, Daumont, Dubois, Gaulard, Heidet, Levie, Pralon, Sanier, 
 Spiegel, and Teucher, of Paris, and Herr Greve, of Berlin, the artists 
 and printers engaged in the production of the Plates, for their unre- 
 mitting care and attention in all the details of their art, and for the 
 unwearying display of their patience and skill under my peculiarly 
 exacting supervision. 
 
PREFACE 
 
 And, lastly, I have to acknowledge the important services of 
 Messrs. Sampson Low, Marston, Searle, and Rivington, without whose 
 enterprising spirit and masterly administration this large and costly 
 enterprise could not have been brought to a satisfactory issue ; and to 
 whom, in co-operation with my American publishers, Messrs. Charles 
 Scribner's Sons, the commercial success of the Work is mainly due. 
 
 G. ASHDOWN AUDSLEY. 
 
 Devon Nook, Duke's Avenue, 
 Chiswick. 1SS5. 
 
 FROM A WOODCUT IX THE ZEA'A'EX KOJITSU. 
 
INTRODUCTION. 
 
 F all the countries of the Orient, Japan holds a pre-eminent 
 position in all matters connected with the Ornamental and 
 Decorative Arts ; and in several branches of art-manufac- 
 ture it stands at the head of the civilised world. Japanese 
 Art is, however, now so well known and so widely appre- 
 ciated in Europe and America, that it is quite unnecessary 
 to enlarge on these facts ; everyone who takes any interest 
 in the subject of art-industry is acquainted with the won- 
 derful works in lacquer, ivory, metal, embroidery, enamel, 
 and pottery which have reached us from Japan, and now 
 adorn so many of our public and private collections; and 
 these alone are sufficient to prove the exalted position the 
 Japanese art workmen have held for centuries and still 
 hold at the present time. 
 
 It has been the fashion to remark that art and 
 manipulative skill in Japan are things of the past : but 
 investigation with an unprejudiced mind hardly supports this 
 view. Indeed, the careful examination of many examples 
 of work executed during the last few years has convinced 
 us that the art workman of to-day is quite as clever and 
 painstaking as he of two or three centuries ago. Why 
 should he not be, with all the advantages the study of the works of the past 
 gives him? It is questionable if modern science can be included in his advantages; 
 
11 
 
 INTRODUCTION. 
 
 one thing is certain, it has supplied him with bright and glaring dyes and 
 pigments, which he has, in the interests of commerce, been induced to adopt, 
 frequently to the total suppression of his natural taste. One of the characteristics 
 of the best periods of Japanese Art is a peculiarly quiet and refined scale of 
 colour, in which the harmonies of analogy are generally more marked than the 
 harmonies of contrast. Vivid contrasts are not of frequent occurrence, except for 
 the production of some startling effects ; as, for instance, in the embroidery illus- 
 trated on Plate II., Section Second, where a bright red sun, with a white crane 
 flying across it, is placed directly upon a light blue ground. Brilliant colours asso- 
 ciated with rich gilding are lavishly employed by the Japanese architects in the 
 decoration of temples and shrines ; indeed, in the application of brilliant colour, both 
 on plain. and carved surfaces, they rival the decorations of the Alhambra. But the 
 amount of shade which of necessity pervades such elaborate and complicated wooden 
 structures as the Japanese temples, exercises an important modifying influence upon 
 the bright colouring and gilding, refining and subduing vivid contrasts, and blend- 
 ing all into a pleasing harmony. The effects of the decorations are ever changing 
 with the changing daylight; salient portions now sparkling in the sunshine, now 
 retiring into shade ; and parts buried in deep shadow under the powerful sunshine 
 come forward in rich hues under softer and more diffused light. We may safely 
 state that a careful study of all the departments of decorative art leaves us no 
 alternative but to pass a favourable opinion on the skill of the Japanese colourists ; 
 they are unquestionably in advance of all Oriental artists in this respect. 
 
 In metallurgy, modern science has taught the Japanese founders nothing ; for 
 centuries they have been unapproachable in the composition of bronze and other 
 alloys for ornamental purposes, their skill being only surpassed by that of the 
 artists who wrought them into quaint and expressive pictures ; or into sword- 
 guards, vases, perfume burners, domestic utensils, and countless other objects of 
 utility and beauty. The Japanese appear to have been for many centuries acquainted 
 with all the processes of Ornamental Metal Working ; and in certain branches have 
 surpassed the artists of all other countries. With great manipulative skill, untiring 
 patience, and consummate taste, they have produced works in the precious metals, 
 upon grounds of iron and bronze, which are unsurpassed, and we may say unsur- 
 passable, as examples of Ornamental or Decorative Art in their own class. 
 
 The Japanese have always shown a warm love for the common productions of 
 nature, and have with the greatest ingenuity bent them to their service in the Orna- 
 mental Arts. Such materials as finely marked and coloured woods, ivory, mother-of- 
 pearl, tortoiseshell, coral, metallic ores, pure metals, alloys, rock crystal, and coloured 
 stones have one and all been manipulated with most happy results, especially in 
 their Applied and Incrusted Work. To this list must be added the sap of the 
 Rhus venue if era, which plays the most important part in the greatest art industry 
 of the country, being the material from which all the Japanese Lacquer is made. 
 
INTRODUCTION. 
 
 The conditions under which the old artists and artificers cultivated their special 
 talents were those most favourable to the production of perfect works of art. Living 
 under the protection and in the establishments of the great Daimios, perfectly free 
 from all the cares, and supplied with all the necessaries of life, they concentrated 
 every thought and expended the most loving care upon each object they essayed 
 to produce. Time was of no account to them ; and their masters were well content 
 to watch the gradual development of ideas, and the tedious processes of manipu- 
 lation, which were to produce masterpieces never before achieved. It was under 
 such circumstances that all the great artists worked ■ for centuries prior to the 
 suppression of the feudal system ; and, in examining their masterpieces, especially 
 those in lacquer and metal work, we can with great difficulty form any idea of 
 the thought, skill, and time expended in their production. 
 
 In examining or passing an opinion on a work of Ornamental Art, one 
 cannot well separate the artistic design from the manipulative treatment ; and in 
 works of Japanese origin the separation of the two equally important elements is 
 a matter well-nigh impossible ; this springs from the fact that the artist and 
 workman are one individual, and that mind and hand go together in all he does. 
 It is true that the artist of to-day works on tradition to a large extent, and 
 adopts the materials and motives for his designs which have been common property 
 for generations ; yet, after all, there are evidences, never wanting, which indicate 
 that they have been filtered through his own heart and seen through the window 
 of his own mind. 
 
 We are not going to press an opinion that all the Japanese artists have done 
 is perfect or even good art, as the term is understood in the West ; on the 
 contrary, we will freely admit that their works are full of imperfections and even 
 distortions, especially in the schools of drawing; but yet it must be maintained that 
 in their purely Ornamental and Decorative Art works there are charms of design, 
 quaint beauties of treatment, and immense skill in the graphic delineation of 
 natural objects, so far as the immediate requirements extend, and in the happy use 
 of different materials, which one can find in the corresponding works of no other 
 nation. The peculiar habits and simple modes of life of the Japanese have not 
 favoured the general production of what may be considered important works of 
 art. Their tastes and industry have expended themselves in the formation, in an 
 artistic form, or with elaborate ornamentation, of countless articles of utility — 
 articles of every-day use, suited for all classes of the people. Beyond a few small 
 cabinets, tiers of shelves, low stands, trays, and such like objects, they have 
 no household furniture. Mats cover the floors, and on these they sit during 
 the day and sleep at night. Japanese houses are divided into apartments at will 
 by sliding screens, formed of wood frames covered with paper, patterned, or 
 painted with landscapes, flowers, and birds. Folding screens, either painted or 
 embroidered, are also used. Special works of art in the shape of hanging pictures, 
 
INTRODUCTION. 
 
 kakemono, are hung up on certain occasions, and help to relieve the extreme 
 simplicity of the apartments. The most talented Japanese artists have produced 
 many of their best drawings in the shape of kakemono ; and numerous examples 
 of great interest are now in the possession of European and American collectors. 
 
 It is a fact worthy of notice that many of the most talented artists which 
 Japan has produced have been satisfied to labour in the humble fields of art 
 industry; and painters and designers of repute have not thought it beneath their 
 dignity to display their manipulative skill and the wealth of their imagination in 
 the adornment of common objects of daily use. Speaking of the " artisan artist," 
 Mr. W. Anderson truthfully remarks : — " He is commonly nothing but a copyist, 
 but he is a skilful one, and repeats with the eye of understanding the experiences 
 of form and colour that have accumulated during the preceeding ages: his models, 
 with their absence of light and shade and of strict accuracy of detail, are far less 
 difficult to imitate than would be the more advanced works of the European 
 schools, and, as a trifle supplies him with the necessaries of life, his skill may 
 be exercised on the cheapest and. simplest objects. But side by side with him we 
 may find labouring diligently over a netsuke, colouring a vase or sketching a design 
 for a woodcut, the inventor, gifted with talents of a very high order, telling us 
 in his own manner the history or legends of his country, showing quaint touches 
 of his own mother-wit, or putting into form an original observation of some simple 
 oft-repeated motive of a bird or flower. Many such men, even in the present day 
 of money-making, have that artist love of their handicraft which leads them to 
 add patiently, day by day, during months or years, little touches to the slowly 
 growing work that haste or ill-timed devotion would spoil or render tasteless ; 
 and when all is done, the price yields him little more than the daily pay of a 
 mason or a tailor, while the crafty middle-man or merchant may grow rich on the 
 skill which is so little profitable to the producer." * 
 
 After all, a very careful study of Japanese art throughout its extensive range, 
 inclines us to pronounce the entire family of native artists deficient in purely 
 inventive power. On the other hand, the marvellous patience, highly cultivated 
 manipulative skill, and the happy and lively fancy of the artisan artists of Japan, 
 have led them to improve upon every idea or suggestion they have received from 
 other countries. This fact may be readily proved by the comparison of Japanese 
 and Chinese art works. China, India, and Korea have largely contributed to the 
 foundation of Japanese art; and it is not a difficult matter to trace their influence 
 in the works of all the great periods. Every thought, however, which the Japanese 
 artist has received from these nations, he has invested with a charm and expres- 
 sion peculiarly his own ; so, although the origin may be foreign, the work is in 
 treatment and excellence altogether Japanese. Of course no allusion is here made 
 to such works as are simply accurate copies of foreign originals. 
 
 * Tiatuaciiotu of Iht Arialic Society of Japan. Vol. VII., p. 370. 
 
INTRODUCTION. 
 
 v 
 
 Honest workmanship is a leading characteristic in all branches of Japanese 
 ornamental art ; and in nothing is this more fully exemplified than in the con- 
 struction and elaborate ornamentation of the temples and shrines which exist in 
 great numbers throughout the country. In these interesting buildings one looks 
 in vain for the slightest evidence of careless or slovenly work ; in places which 
 cannot possibly be seen under ordinary circumstances, the carved or painted 
 enrichments, and the ornamental metal-work, are as beautifully and carefully 
 detailed and executed as on those portions which are close to the eye and can be 
 touched by the hand. There is a greatness about such loving honesty which 
 cannot be over-estimated, and its influence is stamped upon every genuine art work 
 which has been produced in Japan. 
 
 In examining and criticising works of Japanese art, such as are represented in 
 the present treatise, the few hints given in this brief Introduction may with 
 advantage be borne in mind. Much of the misconception relative to Japanese art 
 springs from ignorance of its origin, motives, and manipulative treatment ; and 
 objects really worthy of admiration and careful study are often passed over 
 through the simple want of ready appreciation on the part of the observer. 
 
 TORA.-^TO.tf A /APAXESE WOODCUT. 
 
Section First. 
 
 rawing, Painting, 
 Engraving, and 
 Printing. 
 
FROM A WOODCUT BV HOKUSA1. 
 
 SECTION FIRST. 
 
 DRAWING, PAINTING, ENGRAVING, 
 AND PRINTING. 
 
 HE Japanese draughtsman, in his best mood, is essentially 
 a creature of impulse ; every sketch he produces, with 
 characteristic rapidity and dexterity, goes to prove this. 
 He is ever alert to catch ideas from what passes before 
 him, and from the humblest objects which surround him ; 
 nothing, indeed, seems too simple or too insignificant for 
 his cunning pencil. No sooner has his mind realised an 
 idea which gives it pleasure than it is conveyed, with a 
 few impulsive touches, to paper ; and so expressive are 
 these touches, that his sketch seldom fails to convey, in an 
 unmistakable manner, even to a casual observer, the thought 
 which originally gave it birth. His ideas are, however, 
 seldom deep or difficult to define ; and with almost child- 
 like natvetd he keeps them very near the surface of his 
 sketches. These remarks specially apply to the modern 
 draughtsman, who, since Hokusai's time, has almost 
 entirely freed himself from the many Chinese traditions 
 handed down in his art. 
 
 Much as we feel ourselves bound to admire, and, 
 indeed, we cannot help admiring, the lovely and graphic 
 drawings of flowers, birds, and insects met with in Japanese 
 art works, we are compelled to admit that the Japanese artist is very unequal in his 
 
2 
 
 powers. The keenness of perception and the fidelity to nature which are so 
 apparent in the class of drawings just alluded to, are, as a rule, sadly deficient in 
 drawings of the human figure, quadrupeds, and scenery. We must not on this 
 account sweep all such works away as valueless or unworthy of study ; for it must 
 be borne in mind that all the best Japanese art is decorative, and, as such, is 
 subservient to several rather hard ami fast rules — rules which the native artists 
 have intuitively recognised and accepted. 
 
 With all its beauties and all its shortcomings, we cannot glance over the wide 
 domain of Japanese art more or less connected with the skill of the draughtsman, 
 without being struck by the loving appreciation of nature it displays. Everywhere 
 are happy ideas, quaint conceits, and lovely objects, which speak of the ardent 
 
 ROM AN OLD 11LOCK HOOK. 
 
 student of nature, and of the delight of the artist in her works. As we have said 
 elsewhere, " the Japanese artist is indeed an ardent student of nature ; he watches 
 her silent operations with keen perception, and notes her changes of mood and 
 costume with loving eyes, until each detail of her marvellous handiwork, and each 
 expression of her changeful face, becomes imprinted on his mind, to be transferred 
 to every work he sets his hands to do. In the animal and vegetable worlds he 
 is ever watching for expressive action, or seeking for lovely forms and combinations 
 of colour ; and when satisfied with his research, how boldly and truthfully he 
 depicts that which has pleased his artistic taste." That Japanese artists appreciate 
 the principle of direct reference to natural objects, such as flowers, grasses, insects, 
 and birds, with the aim of realising their peculiar characters, and of introducing 
 them in their works, we have satisfactory proof in the writings which certain artists 
 have attached to their drawings. A noteworthy instance of this occurs in an 
 
Section First. DRAWING, PAINTING, ENGRAVING, AND PRINTING. 
 
 orihon, or folding book, painted by an artist of the name of Masatami, between 
 the years a.d. 1804 and 1818 (the period of Bunkwa), and now in the Bowes 
 Collection. In a sort of introduction, the artist tells those who desire to draw 
 flowering plants and beautiful grasses that they cannot do better than study them, 
 so as to realise their natural spirit and habit of growth. He specially desires 
 them to notice whether the branches should be represented drooping or bending 
 upwards ; whether the leaves should be drawn thick or thin ; whether the flowers 
 should be depicted with their faces or their backs to the eye ; and whether their 
 colour should be deep or light; pertinently remarking, "how can we attain 
 perfection unless we study from the real objects." And further 011 he continues : — 
 
 FROM AN INDIAN INK DRAWING. 
 
 "Whenever I see a flower or a grass, I never fail, in spite of my meagre 
 ability in painting, to copy it out, so that it may serve the purpose of a model 
 in the future."* 
 
 Speaking very generally, it is in the delineation of plants, flowers, and grasses 
 that the Japanese artist displays his characteristic tenderness ; in his rendering of 
 birds and live fish he displays his keenness of observation and his mastery over 
 action and its power of expression ; in the drawing of insects he evinces pains- 
 taking accuracy; and in his portrayal of human life he reveals his deep-seated 
 love for the humorous and ofttimes the grotesque. Of course we do not here 
 
 * The whole of the Inlroducliem alluded to is worthy of attention. A translation from the pen of 
 Mr. Kawakami will be found in Japanese Marks and Seals, by James L. Bowes. Liverpool, 1882. 
 
4 
 
 DRAWING, PAINTING, ENGRAVING, AND PRINTING. Section First. 
 
 allude to religious subjects, which he can, at will, invest with singular dignity or 
 the extreme of horror. In the rendering of animals he is very unequal ; some- 
 times conveying their characteristics with a masterly ease and certainty, and at 
 others confusing their forms and habits in a cloud of detail. As examples of 
 clever animal drawing we may point to 
 the tiger which forms the tailpiece of 
 our Introduction; and to the cut of two 
 horses on page 2. No one can help 
 being struck with the talent displayed in 
 the latter ; and the graphic way in 
 which the graceful actions of the horses 
 are rendered by a few impulsive brush 
 strokes. Legends exist which probably 
 had their origin in the skill evinced by 
 certain early artists in the representation 
 of horses. Two of these legends are 
 thus given by Mr. W. Anderson: — 
 " Every child in Japan has heard of 
 Kanawoka's horse, painted on a screen in 
 Ninnaji temple near Kioto : a strange 
 picture, which so far exceeded the limits 
 of mere imitative art, that in the hours 
 of darkness it would quit its frame and 
 gallop wildly through the cultivated land 
 around, till angry peasants, recognising 
 in the matchless form of the mysterious 
 depredator the Kanawoka steed, and 
 finding full confirmation in the damning 
 evidence of the mud that yet clung to 
 its shapely hoofs after its return to 
 pictorial existence, ruthlessly blotted out 
 the eyes of the masterpiece ; and thence- 
 forth the nocturnal excursions ceased. A 
 rival horse in the Imperial treasury, a 
 creation of the same brush, was wont 
 to devour the Lespedeza flowers, till by 
 
 a happy inspiration it was tethered to its panel by a painted rope." 
 
 That several of the later artists have shown, in their own peculiar sketchy 
 style, considerable skill in figure drawing there can be no question ; but the 
 almost universal exaggeration found in some form or feature goes far to impair 
 their works. The cut on the previous page, accurately reproduced, by a photographic 
 
 FROM HOKUSAI'S AV/f'.V TEl-Kl y U-KAI. 
 
Section First. DRAWING, PAINTING, ENGRAVING, AND PRINTING. 
 
 5 
 
 process, from an original drawing" of the Hokusai school, and probably by one of 
 Hokusai's immediate followers, shows, in a simple form, the graphic power and love 
 for exaggeration which characterise much of the work of the advanced school of figure 
 drawing in Japan. The figure subjects from the brush of the greatest of Japanese 
 artists, Hokusai, though wonderfully life-like in their action and full of expression, 
 conveying the artist's idea with remarkable directness and force, are all more or less 
 incorrect in their anatomical details; this is particularly to be noticed in his drawing 
 of legs and arms, where the muscular development is cither coarsely exaggerated or 
 inaccurately rendered. His fully draped figures, due allowance being made for con- 
 ventionalism and the peculiarities of the national costume, are in many respects 
 admirable specimens of drawing. The cut on opposite page from Hokusai's E-hon 
 Tci-kin O-rai, fairly represents the master's usual manner of treating figures in his 
 genre pictures. We shall have more to say on the subject of Hokusai's drawings 
 further on. 
 
 So far as mere execution is concerned Japanese pictorial art may be divided into 
 two sections; the first comprising works characterised by redundancy of detail and 
 painstaking and laboured execution; the second comprising works in which details are 
 paid but little attention to, and which are characterised by great graphic power and 
 rapidity and freedom of execution. The earlier schools may be said to belong to the 
 first section, the later schools to the second. This, however, is a very general classi- 
 fication and must not be looked upon as defined. 
 
 We have no intention of treating the subject of Japanese pictorial art historically 
 or in any exhaustive manner ; but it is almost impossible to allude to the several 
 schools of art which have obtained in the country, without entering the domain of 
 history, and without mentioning, in a more or less prominent manner, the great 
 masters who have either founded or adorned those schools. To those of our readers 
 who desire to become thoroughly conversant with the subject of Japanese pictorial 
 art, we have much pleasure in recommending the learned and valuable book written 
 by our friend Mr. William Anderson, entitled The Pictorial Arts of Japan* — an 
 interesting and exhaustive treatise on the subject both from a historical and a 
 practical point of view. 
 
 Native authorities and modern investigations appear to agree in stating that 
 the Japanese derived their knowledge of drawing and painting direct from Chinese 
 artists who visited and settled in the country. The introduction of the art by a 
 Chinese painter is believed to have taken place about the middle of the fifth century; 
 and his descendants appear to have been distinguished artists for some centuries later. 
 In all probability the foundation of the national taste for painting took its rise some 
 time between the sixth and eighth centuries. The introduction of the Buddhist 
 
 * The Pictorial Arts of jfapati, by William Anderson, F.R.C.S, Late Medical Officer to H. M.'s Legation in Japan. 
 Sampson Low & Co., London, 18S6. 
 
6 
 
 DRAWING, PAINTING, ENGRAVING, AND PRINTING. Section First. 
 
 religion in the sixth century doubtless gave a definite direction to native talent; at 
 least it is tolerably certain that the earliest essays of any note were in the service 
 of religion. At this time there was friendly intercourse with Korea, and the native 
 art in all probability received some inspiration from the works of the Buddhist 
 artists of that country. It is not, however, until the beginning of the tenth century 
 that the historical data of Japanese pictorial art assume any degree of certainty. 
 During the preceding centuries three styles of painting had gradually formed them- 
 selves under different sources of inspiration, namely the Kara-ye, or Chinese style, 
 the Kaurai-ye, or Korean style, and the Butsu-ye, or Buddhist style. 
 
 We are accustomed to underrate Chinese art, and, indeed, to deny it the posses- 
 sion of any merit ; but this opinion of it springs from ignorance of what has been 
 done in the best periods. It is now past a doubt that at the time Chinese art was 
 exerting its greatest influence on the Japanese mind a high standard of excellence 
 had been attained within the limits it had imposed on itself. Speaking on this 
 subject Mr. Anderson remarks: — "The main characteristics of the older Chinese art, 
 almost identical with those of early Japanese art, may be briefly summarised as 
 follows : — Composition, nearly always good, though unguided by written laws; the 
 grouping of figures and accessories contributing as far as possible to tell the story 
 of the picture and to please the eye. Drawing, almost invariably conventional, except 
 in the representations of monkeys, birds, and certain specimens of vegetable life; the 
 outlines of human figures and of most mammalia incorrect, although the action is 
 commonly truthful and spirited, and the proportions true. Manipulation, almost 
 invariably good, constituting, in fact, the most important element in the eyes of the 
 native connoisseur, with whom painting was looked upon as a kind of caligraphy. 
 Laws of perspective, unknown, but replaced by strangely perverted rules : thus the 
 landscape painter finds it absolutely necessary to reduce the size of distant objects, 
 but sees no inconsistency in widening the further extremity of any cubical object 
 that may find a place on the picture ; again, although he elevates the horizontal line, he 
 draws the foreground from the level of the plain. He has of course no conception of 
 vanishing points. Colouring, nearly always tasteful, the Chinese being masterly in 
 the skilful distribution of harmonies and contrasts; the tints are seldom gaudy, and 
 gold is more sparingly used than by the Japanese. Many of the greatest artists 
 preferred to use black ink without intermixture with colour : drawings in silhouette, 
 chiefly representing the bamboo or orchid, are constantly met with, and the rapid ink 
 sketches which are often erroneously supposed to be of Japanese origin are of very 
 ancient date in China. Chiaroscuro, entirely omitted, unless a little shading of the 
 folds of garments or beneath the prominent markings of the face can be considered 
 to represent it. Projected shadows are never depicted." 
 
 It is easy to trace, from the above clear and accurate n'sumd of the principles 
 and peculiarities of ancient Chinese drawing and painting, the source from which the 
 Japanese artists have derived their chief inspiration, and the models from which those 
 
Section First. DRAWING, PAINTING, ENGRAVING, AND PRINTING. 
 
 7 
 
 beautiful and clever drawings so commonly looked upon as essentially and charac- 
 teristically Japanese, both in conception and manipulation, have been produced. The 
 influence of Chinese pictorial art has not stopped short, for it is quite easy to trace it 
 in the higher walks of Japanese draughtsmanship. We have in our possession a 
 kakemono, painted by a Chinese artist, named Kiu-ju, in the year 1 791 , which 
 represents a boy watching the actions of a spider pendent from the branch of a tree. 
 So similar is the general treatment and free manipulation of this painting to Japanese 
 work of a kindred class that few save experts would hesitate a moment in pro- 
 nouncing it to be from the brush of a Japanese artist. 
 
 It is also certain that the Japanese owe the dragon, as they so spiritedly represent 
 it in all departments of their art, entirely to Chinese teaching. A proof of this is 
 furnished by the following Plate, which contains a truly grand rendering of the 
 three-clawed dragon, from a copy by Shumboku — an artist of the Kano school who 
 lived about the close of the seventeenth century — of the original painting by Tchin- 
 showo, a Chinese master of the Sung dynasty who appears to have painted about 
 the end of the eleventh century. In this representation we find all the characteristics 
 which are usually attributed to the more spirited renderings of the dragon by great 
 Japanese artists. The great Hokusai, with all his originality of art thought, did not 
 emancipate himself from this traditional rendering of the dragon. Probably the most 
 celebrated drawings of dragons still preserved in Japan are those which ornament the 
 ceiling of the yd-mci mon, or gate to the third court of the mausoleum of Ive-yasu, 
 at Nikko. These drawings are in Indian-ink, and were executed by Kano Motoxobu 
 (late fifteenth century), an avowed imitator of Chinese masters of the Sung and Yuen 
 dynasties.* In these renderings of dragons one recognises all the characteristics of 
 the work of Tchin-showo, as presented in the illustration on the Plate just alluded 
 to. Again, in the clever drawings of the bamboo so frequently met with in Japanese 
 art, Chinese teaching is everywhere apparent. Indeed, it is questionable if even the 
 most advanced essays in this direction by Japanese artists fully equalled the works 
 by the early Chinese masters. The finest painting of bamboos we remember ever 
 having seen was the work of a Chinese artist. 
 
 From the foundation of the Kara-ye rin, or Chinese school of painting, until 
 the present day, it has been handed down through a continuous chain of talented 
 artists with all its mannerisms and technique intact. For some time it languished 
 while the greater geniuses were espousing the Bittstt-ye Hit, or Buddhist school, but 
 as it directly appealed to the love of nature, ever prominent in the Japanese mind, 
 it ran on through all obstacles, and may be said to obtain in almost its original 
 purity at the present hour. Plates I., III., IV., and XII., give several examples of this 
 school of painting in its late development. The drawing on Plate I. is a highly 
 characteristic example of the school generally so far as the representation of natural 
 
 * A representation of one of these drawings is given in Z'Arl yaponais (vol. i., p. 215), where it is attributed to the 
 brush of Tanix, an artist of the early part of the seventeenth century. 
 
8 
 
 objects— rocks, foliage, and birds — are concerned. We have before us as we write 
 two late kakemono of this school widely different in character. One, belonging to 
 Mr. R. Phenc Spiers, in which there is a remarkably spirited rendering of a crane 
 washing itself ; above are rocks, a beautiful branch bearing fruit and blossom, and 
 a large red orb, evidently intended for the rising sun. The composition and drawing 
 are good and the colouring vivid. The other kakemono, in our own possession, by 
 an artist named To-Setsu (beginning of the present century), presents two figures — 
 a lady and her attendant — wearing costumes richly coloured and most elaborately 
 ornamented with patterns in gold, evincing a reflection of Buddhist art. Behind 
 the figures is a fence of diapered and carved work, such as the great master of 
 architectural sculpture, Hidari Jingoro, might have executed in his happiest moments. 
 Above is a branch of a tree bearing fruit and blossom as usual. The whole is most 
 carefully executed. The figures are Chinese in type and costume. The Chinese 
 school of painting has always held an honoured place in the estimation of Japanese 
 art critics. So far has this been the case, that, as Mr. Anderson remarks, " in the 
 biographical accounts of distinguished Japanese artists we find that the majority 
 avowedly modelled their styles upon the works of one or other of the old Chinese 
 masters, such as Ma Yuen, Mu K'i, Hia Hwui, etc., and native critics can find no 
 higher expression of praise than that implied in a comparison with one of these." 
 
 The greatest Japanese artist of early times was Kose no Kanawoka or Kanaoka. 
 This famous master lived and practised his art during the reigns of Montoku-Tenno 
 (851-858) and Seiwa-Tenno (859-876); and it appears to have been at the court 
 of the latter emperor that his fame reached its zenith. He studied under direct 
 Chinese influence if not under Chinese teaching. Being of noble lineage he could 
 command access to all the treasures of art Japan then possessed and could procure for 
 his own edification the works of Chinese or other distant artists. His chief fount 
 of inspiration is said to have been the paintings of Wu Taotsz', a renowned Chinese 
 artist of the Tang period. 
 
 Kanawoka is reputed to have been a most successful delineator of landscapes 
 and horses : his skill as a figure painter is established by the few precious relics of 
 his brush which still exist. We have already alluded to the legend which seems to 
 have originated in his remarkable skill as a painter of horses. No records of his 
 genius are known to exist either in paintings of landscapes or animals ; but this can- 
 not be wondered at, for about a thousand years have passed since he laid down his 
 pencil. The few pictures, at all authentic, which exist are of Buddhist subjects. It 
 has been our good fortune to have a favourable opportunity of examining a remarkable 
 kakemono by this master, the much envied property of Mr. Wakai, of T6ki6, the art 
 adviser of H.I.M. the Mikado of Japan. This kakemono represents Dzizo, God of 
 Benevolence : a figure of wonderful dignity and refinement, standing erect on clouds, 
 and holding in his hand the sonorris cane. It is painted in colours on silk. No 
 words could do justice to the singular merits of this interesting painting ; and one is 
 
Section First. DRAWING, PAINTING, ENGRAVING, AND PRINTING. 
 
 9 
 
 lost in wonder at the marvellous perfection of manipulation and perfect harmony of 
 colour presented by such a work, executed more than ten centuries ago. It is said 
 that Fra Angelico never took up his brushes to begin his day's work without first 
 praying for divine inspiration and aid; and the thought forcibly presented itself to us, 
 while we gazed at this masterpiece of early art, that Kanawoka's pencil was also 
 guided by an inspiration derived from the habit of prayer for special guidance. 
 Truly Kanawoka was the Fra Angelico of Japan. The most remarkable work 
 attributed to Kanawoka is a painting of the flame god, Fudo [Akschara], in the 
 temple, Dai-yo-ji, at Tokio. This painting is remarkable for the grandeur of its 
 conception, and for the force of its drawing and the boldness of its colouring. 
 Although it is not beyond question that Kanawoka is the painter of this picture, it 
 has been pronounced worthy of his genius. It is quite apparent from the works we 
 have alluded to that this great master studied the Buddhist school as well as the 
 secular school of China; and was, so far as can now be known, the greatest painter of 
 religious subjects of his day in Japan. 
 
 Of the descendants and followers of Kanawoka it is unnecessary to speak : the 
 former appear to have practised the art of the painter to as late as the sixteenth 
 century, while the influence of his work created followers until a much later period. 
 Most of his descendants were noted painters of Buddhist subjects. 
 
 Of the Kattrai-yc fit/, or Korean school of painting, in Japan, one is able to say 
 very little; and that little is of no importance in the present review. It was closely 
 allied to the Chinese school ; and so far as its influence on Japanese art is concerned, 
 it may be looked upon as the handmaid of the Kara-ye riu. 
 
 Of almost equal importance to the Kara-ye riu is the Butsu-ye riu, or Buddhist 
 school of painting. Speaking of this school, Mr. Anderson remarks : — " The Buddhist 
 style was undoubtedly the first with which Japan made acquaintance, and nearly all 
 the early paintings referred to in the native historical works were of this class. 
 Internal evidence shows that although brought to Japan and taught there by Korean 
 and Chinese painters, its origin is distinct from that of the Kara-ye and Kattrai-ye. 
 The features given to the pictured deities are not Mongolian in type; the horizontal 
 direction of the fissure between the eyelids, the comparative prominence and the 
 delicate moulding of the nose and chin, and the sensual but well-formed lips unpro- 
 truded by prognathous jaws, remind us of the Indian prince, but bear no resemblance 
 to the Chinese mandarin. The colouring, too, in its richness, in its bold contrasts, in 
 the use of bright body pigments, and in the overlaying of garments with scrolls and 
 diapers of gold, recalls the decorative art of India, but offers no points of relationship 
 to the comparatively sober hues of the best schools of Chinese painting. The drawing 
 of Buddhist subjects is strictly conventional, but in the better specimens shows signs 
 in the outline of face, limbs and uncovered portions of the body, of a higher sense of 
 the beauty of natural form than is observable in the secular schools.'' 
 
IO DRAWING, PAINTING, ENGRAVING, AND PRINTING. Section First. 
 
 As in the Byzantine school of painting in the West, so in the Buddhist school of 
 painting in the Hast, there obtained traditional rules binding on all disciples of 
 religious art. Originality of conception or treatment was not favoured, if, indeed, it 
 was not looked upon as presumption highly flavoured with profanity. Such being 
 the case it cannot be wondered at that so little variety is to be observed in the vast 
 number of representations of Buddhas, Bodhisattvas, Devas, Arhat, and the hosts of 
 other beings— celestial and infernal— which crowd the Buddhist pantheon. It is much 
 to be regretted that the Japanese artists of the religious school were thus fettered in 
 their treatment of sacred subjects ; for had entire freedom been granted them there 
 can be no doubt many remarkable compositions would have enriched the world of art, 
 the joint production of fertile imagination and marvellous powers of delineation. But 
 although tradition fixed forms, attitudes, . and attributes for all the beings of the 
 Buddhist pantheon, it left the artists somewhat free in matters of detail, and at 
 liberty to expend their highest manipulative skill in portraying them. The skill 
 displayed by the generality of the Buddhist painters of Japan in all technical matters 
 pertaining to their art is altogether remarkable, their works recalling to the eye the 
 finest illuminated miniatures of the fourteenth and fifteenth centuries in Europe. 
 Indeed, in gorgcousness of colouring and in the lavish use of gold the representative 
 Butsu-ye (Buddhist picture) far excels the most elaborate works of the Byzantine 
 and Western Gothic schools. 
 
 In this rich system of colouring and gilding, as well as in certain mannerisms to 
 be observed in almost every Butsu-ye, one can easily recognise the original Indian 
 parentage of the school. There can be no doubt that the Chinese artists derived their 
 models direct from India at a very early period, and that they worked from them 
 with very little modification. Certain details and accessories exclusively Indian were, 
 however, rejected by both the Chinese and Korean artists. 
 
 The great Buddhist artists of Japan were, like the mediaeval painters and 
 illuminators of Christendom, monks, living apart from the distractions of civil life in 
 the seclusion of their monasteries, and devoting all the time spared them from their 
 religious exercises to the cultivation of an art fully recognised by them as the hand- 
 maid of religion. It is interesting to note that the art of the illuminator was 
 cultivated at a very early date in Japan. In Chi-on-In, the chief monastery of the 
 Jo-do sect of Buddhists, at Kioto, arc several remarkable illuminated manuscripts 
 amongst which is a Buddhist siitra in gold characters on dark blue paper having a 
 Buddhist miniature prefixed (early tenth century). As writing has always been looked 
 upon in Japan as a fine art, quite as distinguished as that of painting, it is not a 
 matter for wonder that sumptuous specimens of caligraphy should have been produced 
 and highly valued from the earliest epochs of learning. In the seclusion of their 
 monasteries the Buddhist artists worked lovingly at their temple pictures with untiring 
 patience, painting, as Fra Angclico painted, in the atmosphere of religious fervour 
 and undisturbed faith. Speaking of these devoted artists Mr. Anderson feelingly 
 
Section First. DRAWING, PAINTING, ENGRAVING, AND PRINTING. II 
 
 remarks :— " The names of many have failed to reach us, as the picture, hallowed 
 by its motive, would have been considered desecrated by the imprint of other characters 
 than those composing prayers, and hence bears no record of the painter [See Plate 
 VII., Section First]. The Buddhist priesthood of the present day appears to receive 
 little reverence in Japan, but it was different in past ages, when books were filled with 
 the lives of holy men who, careless of temporal reward, carried out in self-denial the 
 grand principles that underlie alike the tenets of the Buddhist and the Christian 
 creeds. With many of these the painter's art was a form of prayer, and the devotee 
 would set himself a daily task of industry that left his temple rich in curious works. 
 They appear to have been favoured by extraordinary visions, some of these old 
 artist priests, if we may believe such stories as those related of Shinsai and Teu 
 DenSU ; and others, equally wonderful, like that which tells how the blazing god 
 Fudo, armed with his two-edged sword and binding rope, appeared to Chishiyou 
 Daishi, that the monk might give to the world a true image of the terrific form of 
 the deity, and how Taigen Miyauwau for the same purpose suddenly manifested his 
 presence to Zhiyaugeu Azhiyari beside the sacred well of Akishino. But the race is 
 nearly ended, and perhaps the last of the true Butsu-ye has already left the monastic 
 atelier. Yet even in these degenerate days we may sometimes see remains of the 
 veneration formerly lavished upon such works in the formality and reverence with 
 which the priest takes from the innermost box the treasured Amida, Fudo, or Kwan- 
 non, and raises the precious roll to his forehead before he proceeds to display its 
 beauties to the awed or curious visitor; but foreign gold has tempted the more 
 needy or avaricious of the brotherhood to disperse in thousands over the lands of 
 the heretics, the possessions once held too sacred for the unhallowed gaze of common 
 men." 
 
 The Buddhist school of painting is strictly of a decorative character, observing 
 all the laws which should govern pictorial embellishment applied to architecture. In 
 the paintings of this school, the fiat surface is recognised, neither chiaroscuro nor 
 projected shadows being introduced. Of course a slight shading is resorted to to 
 accentuate the folds of drapery and important details, but this frequently extends no 
 further than an increase in the thickness of the defining lines. Whatever the manner 
 of this local shading may be, it does not disturb the flatness of the composition. 
 The painting represented on Plate VII. is a perfectly characteristic example of the 
 Butsu-ye. The central figure standing on the Buddhist lotus, supported on pink 
 clouds, is the Bodhisattva of Eternal Benevolence, attended on the right hand by the 
 Dcva king, Bishamon, and on the left by Fudo, the flame god. The original painting 
 is executed in a fine description of body-colour, laid on in the most even manner and 
 subsequently lined with black or dark colours and elaborately ornamented with patterns 
 in gold. The large surfaces of gold as well as the minute ornamentation are pro- 
 duced by fine gold dust attached to the paper by some kind of varnish or size. The 
 entire composition with all its brilliant colouring and gilding is greatly enhanced in 
 
12 
 
 value by the black ground adopted. The thoroughly conventional character of the 
 school is exemplified in this example, as well as its highly decorative nature. In 
 some of the finer paintings, the ground surrounding the central subject is of a deep 
 blue colour enriched with countless fine lines or rays of gold, radiating from the 
 central figure of the composition to the margin of the picture. A very beautiful effect 
 is produced by this decorative treatment, the figures appearing to float in or to be 
 the source of an atmosphere of light. The marvellous delicacy to be observed in the 
 manipulation of Buddhist paintings, and the consummate skill displayed in the laying 
 on of the pigments and gold, must strike every one who examines them in the light 
 of some practical knowledge of the difficulties attending work of the class. 
 
 The perfection attained by the Japanese in early times in the preparation of 
 pigments is satisfactorily shown by these paintings; in this respect they resemble the 
 mediaeval illuminations of the West, in which we find pigments used of a purity 
 and permanency unknown at the present day. In some remarkable fifteenth century 
 illuminations in our possession there is a class of ornamentation executed in shades 
 of blue so marvellously delicate that it would be hopeless for any one to attempt to 
 reproduce it with the blue pigments now at our disposal. We speak with no little 
 experience of the illuminator's art. In gilding, the Buddhist painters seem to have 
 preferred gold powder to gold leaf, securing by its adoption a rich and refined effect. 
 The powder was in all probability dusted on in the manner followed by the lacquer 
 workers. 
 
 So far we have been speaking of what may be considered the more exalted and 
 healthful side of Buddhist art ; but we must now turn for a moment to its morbid 
 aspect. A glance at the fearfully conceived and gruesome painting which forms the 
 subject of Plate XIII., will explain what is meant by the morbid side of Buddhist 
 art ; a side which seems to have exercised a strange fascination for the followers of 
 the Butsu-ye riu in all periods of its existence. There is a curious picture by 
 Yosai in the Zenken Kojitsu (a Japanese work containing representations of the 
 heroes and remarkable men of the country) in which the artist, Kosfi no Hirotaka, 
 an early descendant of Kanawoka, is depicted falling backwards, struck with death, 
 while in the act of completing his masterpiece — a large painting of the Buddhist 
 Inferno. The awful character of the composition is graphically indicated in Yosai's 
 sketch. The Inferno by Kosfi no Hirotaka is, we understand, still preserved in one 
 of the Japanese Buddhist temples. In addition to the makimono illustrated on Plate 
 XIII., we possess a photograph of a large picture of the Buddhist Hell, so complex 
 and horrible in all its details that words, however powerful, would utterly fail in 
 describing it. Where the original is preserved or who the artist is we unfortunately 
 do not know, for as usual it bears no signature. 
 
 In the eleventh century the first school of painting which may be correctly called 
 a national one was founded in Japan. This school, known as the Yamato riu, 
 
Seitun First. DRAWING, PAINTING, ENGRAVING, AND PRINTING. 13 
 
 was doubtless led up to by the descendants of the renowned Kanawoka, although it 
 appears to have, strictly speaking, originated with an artist named Fujiwara no 
 MOTO-MITSU, who received lessons in drawing and painting from a descendant of 
 Kanawoka, called Kose no Kinmochi. The following particulars relative to the style 
 of painting established by Moto-MITSU are given by Mr. Anderson :— " The work of 
 the school was characterised partly by the motives illustrated, and partly by the mode 
 of execution. The subjects most favoured were portraits of the great personages of the 
 court, scenes of ceremony, records of temples, illustrations of the early native romances 
 (of which the Takatori Monogatari is the prototype), varied by careful drawings of 
 falcons and horses taken from life, sketches of birds and flowers in the graphic 
 Chinese style, and occasionally burlesques in which the ceremonials and amusements 
 of human existence were mimicked by frogs and other animals or by goblins of the 
 most comically grotesque aspect — a hint which the modern artizan artist has not 
 neglected to utilise. Landscape does not appear to have held as important a position 
 in the list of motives as in later times. It is seldom met with as the subject of 
 a picture, and when appearing as an accessory it is always extremely conventional 
 in treatment and compares very unfavourably with the suggestive representations of 
 mountain, plain, and valley, bequeathed us by the painters of less ancient schools. 
 The drawing was careful and traced with a fine brush, but more formal in style and 
 less vigorous in execution than that of the older Chinese artists. The colouring in 
 typical examples had all the attractions to be derived from a lavish use of gold and 
 bright pigments, but possessed little breadth of effect, and suggested the influence 
 rather of Buddhist than of Chinese example. The perspective was isometrical, but its 
 effect was often varied by the curious practice of omitting the roofs of buildings in 
 order to permit a better display of the incidents of the interior, an expedient which 
 was afterwards adopted by other academies." 
 
 This national school continued to flourish during the following century, numbering 
 several distinguished followers. During this period its methods underwent but little 
 change, and its system of illuminated colouring was retained with practically no 
 modification. 
 
 In the early half of the thirteenth century the leader of the Yamato nil called 
 Tosa Tsunetaka, a descendant of Moto-mitsu, reached so great an eminence in his 
 art that he gave his family name to the school which received a fresh impulse and 
 new starting point from his labours. Henceforth the school was distinguished as the 
 T 9sa mi, or school of Tosa. It retains its individuality and name to the present day. 
 
 As the subjects selected by the artists of the school were of a character 
 demanding careful delineation and minute detail the brushes used were generally small 
 and fine, probably identical with those now employed by the Tosa artists. In the 
 following illustration are given, exactly full size, the fourteen brushes of the school as 
 at present supplied. These we have accurately drawn from originals kindly procured 
 for us in Japan by our friend Mr. IZrnest Satow. They are carefully formed of different 
 
kinds of hair, all of a strong and springy nature. The hair of the horse and white 
 hare appear to be employed for the larger number. With the smallest brush, which 
 is of black hair, it is possible to draw lines so fine as to be almost invisible to the 
 naked eye. After careful examination and trial we have come to the conclusion that 
 it would be impossible to find a better series of brushes for illuminating after the 
 fashion of the mediaeval artists. This is easily accounted for by the fact that much 
 of the work of the Tosa school closely resembles the miniature painting met with in 
 the illuminated manuscripts of the middle ages in Europe. Reference to Plate X., 
 on which is a representation of a very beautiful painting of a crane by a late artist 
 attached to the Tosa riu, will show, in another direction, the necessity for the 
 employment of the several brushes here delineated. This work admirably illustrates 
 
 BRUSHES USED BY THE ARTISTS OF THE TOSA RtU — FULL SIZE. 
 
 the careful and laboured style of bird painting which owes its origin to the teaching 
 of the Tosa school. 
 
 M. Gonse gives so admirable a rdsumd of the Tosa riu that we prefer giving it 
 here in preference to any essay of our own. 
 
 " Le style de lecole dc Tosa occupe une place a part dans l'art japonais ; il repre'- 
 sente le gout de l'aristocratie, mis a la mode par la cour de Kioto, et personnifie en 
 quelque sorte le style officiel. II ne doit rien a l'influence chinoise et se caractense 
 par des proce'de's patients, par un soin extreme dans l'ex&ution. Une grande 
 distinction de formes, une finesse precieuse de pinceau, comme celle des miniatures de 
 la Perse, avec lesquelles elle a, du reste, de singuliers rapports de style, une rigueur 
 delicate dans les contours, peu d'invention, un sentiment conventionnel assez e'troit, un 
 coloris clair, vif et opaque, une habilete incomparable a peindre avec minutie les objets 
 inanities, les fleurs et les oiseaux, un amour excessif du detail, tels sont les caracteres 
 dominants de cette ecole. Les peintures de Tosa se reconnaissent aisdment entre 
 toutes. J'ai vu des cailles, des paons, des coqs, des branches de cerisiers en fleurs, 
 des bouquets de roses qui auraient fait honneur au pinceau d'Albert Diirer. Les 
 
15 
 
 artistes de cette e"cole, dont les plus distingue's furent, ainsi que nous le vcrrons plus 
 loin, le quatrieme descendant de Tsounetaka, Foujivara Mitsounobou, puis Mitsouoki, 
 et enfin Mitsouyoshi, se sont surtout employe's, dans les albums, les makimonos et les 
 paravents, a peindre des scenes historiques, les fetes et les clauses de la cour, et a 
 repre'senter les daimios dans leurs costumes de cdnSmonie, ces vetements aux plis doux 
 et harmonieux dont la splendeur decorative ne saurait etre surpassee. lis se servent 
 de pinceaux pointus et bicn effiles ; ils affectionnent l'emploi des feuilles d'or, 
 dont l'application sur les fonds accentue encore l'eclat un peu aigre de leur coloris. 
 Les paravents de l'ecole de Tosa, si apprecies a Kioto, ressemblcnt a de vastes 
 missels a fond d'or. Les plus beaux dessins pour le de'cor des laques sortent de cet 
 atelier." 
 
 Shortly after the establishment of the Tosa riu in the thirteenth century a taste 
 for humorous art or caricature was created by the works of an abbot of the temple, 
 Toba no In, near Kioto, named Toba Sojo. The love of humour and a taste for 
 fun and frolic appear to have been characteristics of the Japanese from the earliest 
 times; and it is not to be wondered at that a successful delineator of mirth-creating 
 scenes should receive willing admirers and enthusiastic followers. Although this 
 humorous abbot cannot be said to have founded a school, pictures in his style have 
 received the name of Toba-ye. Toba SojO found many imitators amongst the 
 artists of the recognised schools, for his style was to all intents and purposes an 
 outcome of the Japanese mind, practically uninfluenced by foreign ideas, and peculiarly 
 local in its motives and allusions. 
 
 In the Toba-yc one meets with all manner of grotesque representations, dis- 
 tortions of the human face and figure, impossible positions and situations, all 
 descriptions of quaint conceits, and, generally speaking, hasty and crude draughts- 
 manship. No stress appears to have been laid on the quality of the drawing, while 
 everything depended on the quality of the humour and the ingenuity and bizarre 
 invention displayed in the composition. The love for this class of pictorial art has 
 obtained without intermission up to very recent times. The new state of affairs in 
 Japan and the continued intercourse with foreign nations have given what in all 
 probability will prove the death-blow to this extravagant phase of national art. Its 
 decay cannot altogether be regretted, for, in the hands of many artists, the Toba-yc 
 became the medium of much grossness, sometimes bordering on the indecent. 
 
 In the middle of the fifteenth century appeared Sesshiu, an artist who after 
 acquiring great skill in his own country completed his studies in China. He founded 
 the Sesshiu riu, and had many talented followers, amongst whom were the three 
 acknowledged masters Yomon, Togan, and Toveki. The latter lived some time in 
 the sixteenth century, and appears to have been a draughtsman of considerable 
 powers. Some idea of his vigorous style may be gathered from the woodcut on 
 
i6 
 
 DRAWING, PAINTING, ENGRAVING, AND PRINTING. Section First. 
 
 the opposite Plate. It is worthy of note with what few and decided brush strokes 
 the birds have been represented ; and the masterly manner in which every charac- 
 teristic detail has been expressed rather than clearly delineated. All the masters of 
 this school were celebrated for their bold free-hand style of delineation, chiefly in 
 monochrome. Birds, whose plumage offered favourable fields for the exercise of 
 skilful single brush-stroke work, were naturally favourite subjects; and in their simple 
 and expressive treatment offered a decided contrast to the laboured and minutely 
 detailed drawings of the Tosa rin, as illustrated by Plate X. 
 
 There can be no question that the founder of the Scss/iiii riu was a man of great 
 natural gifts, for several legendary tales allude to early efforts of his brush ; tales 
 which, although they cannot be believed, may be accepted as founded upon some 
 remarkable essays of his youthful genius, sufficiently noteworthy to be treasured in 
 the memories of contemporary artists and handed down with the usual exaggeration. 
 He is reputed to have been pre-eminently skilful in landscape and figure painting, and 
 to have excelled the artists of his day in the portrayal of birds, animals, and flowers. 
 His manner was distinguished by the rapidity and certainty of its brush work; and he 
 appears to have cultivated the habit of doing as much of the subject as possible with 
 one stroke. Effects of any breadth, and details such as leaves, feathers, and the 
 like, were almost invariably done at a single application of the brush, controlled by 
 an unerring but perfectly free hand. About the beginning of the seventeenth century 
 the Sesshiu riu appears to have died out. Its decline and death can hardly be 
 wondered at, for perhaps no school of Japanese pictorial art so entirely depended 
 on the skill of the delineator. The artists of the Sesshifi riu cultivated colouring 
 to a less extent than those of any other contemporary school, and accordingly their 
 best essays were ineffective in comparison with the richly coloured works of other 
 masters. 
 
 The next great star in the firmament of Japanese pictorial art to which we have 
 to allude is Kano Masanohu, a contemporary of Sesshiu, and the nominal founder 
 of what may justly be considered one of the greatest, if not the greatest of all the 
 Japanese schools — the Kano riu. Masanobu studied under several masters of note, 
 and excelled them all in the boldness of his conceptions and the grandeur of his treat- 
 ment. His masters were followers of the Kara-ye riu, his models were paintings of 
 that school and its offshoots, and his natural tastes led him to adopt a kindred class 
 of subjects ; such being the case, the Kano riu at its inception can only be classed 
 as a development of the Chinese school. Besides painting kakemono and other 
 portable pictures Masanohu appears to have executed works of purely decorative art. 
 In the temple, Kin-kaku-ji, at Kioto, is a ceiling painted with ten-win (mythological 
 female figures playing musical instruments), and a border of conventionalised birds 
 and flowers. The painting, executed on a gold ground, is now in a very decayed 
 state. As Mr. Satow justly remarks : — " The decoration of this ceiling was executed 
 
Section First. DRAWING. PAINTING, ENGRAVING, AND PRINTING. 
 
 17 
 
 after it had been put up, rather an uncommon achievement for a Japanese artist." 
 MASANOBU died in the early years of the sixteenth century, leaving his son, Kano 
 Motokobu (born in 1476), the real founder of the Kano riu. 
 
 The name of this great artist has ever been held in the highest veneration by 
 all the art lovers in Japan. Speaking of him Mr. Anderson remarks : — " For many 
 years of his early career he worked in relative poverty and obscuritv, but at length 
 rose into notice, and soon achieved a reputation unsurpassed even by that of Kose 
 no Kanaoka. He was an avowed imitator of certain Chinese masters of the Sung 
 and Yuen dynasties, and like Sesshiu and Shiubun adopted his motives almost 
 entirely from Chinese sources, expending extraordinary powers of composition and 
 manipulation in the delineation of scenery and personages that for him existed only 
 in imagination or in the works of others. The Kano school nevertheless became 
 the most important in Japan, and held its pre-eminence for nearly three centuries 
 after the death of its true founder in 1559. 
 
 "The Sesshiu, Kano, and Chinese academies must be regarded as three branches 
 of the revived Chinese school. Although distinguished from each other by minor 
 details of manipulation, their style was essentially the same, and was characterised by 
 a quiet and harmonious colouring, and by a bold caligraphic drawing in which little 
 attention was paid to naturalistic details. The favourite motives were almost always 
 classical, consisting of portraits of Chinese sages or Buddhist saints, sketches of birds 
 and flowers after the manner and often from the works of the Chinese masters, anil 
 Chinese landscape, of which most of the artists were cognizant only through the 
 paintings imported from the Middle Kingdom. By exception the subjects were drawn 
 from native scenery, the Peerless Mountain especially possessing all the sanctity of 
 a classical inspiration [see Plate V.]; but it may safely be asserted that not one in 
 twenty of the productions of these painters, who to the present day are considered 
 to represent the true genius of Japanese art, was inspired by the works of nature as 
 seen in their own beautiful country.". 
 
 Numerous examples of Motonobu's skill are still extant in the temples of Japan 
 and in private possession. In the temple, Nin-na-ji, at Kioto, are several wall panels 
 and sliding screens, painted with Chinese scenes upon gold grounds; in the oratory 
 of the temple, To-no-mine, near Oiwake, are portraits of the "Thirty-six Poets"; in the 
 temple, To-ji, at Kioto, are a pair of screens on which are depicted scenes from the 
 wars between the Taira and Minamoto clans in the twelfth century; in the Butsu- 
 den of the temple, Ken-cho-ji, near Yokohama, the ceiling is painted with h&Wd 
 (mythical birds) on a gold ground; in the temple, Chi-on-In, at Kioto, arc a pair of 
 wooden doors excellently painted with geese; here also is a characteristic painting of 
 a cat, highly esteemed by the Japanese because it appears to face the spectator from 
 whatever point he views it; in the monastery, Sei-ken-ji, at Okitsu, is a screen 
 cleverly painted with willows and maple trees ; and in the yd-mci mon of the 
 mausoleum of Iye-YASU, at Nikko, the ceiling is decorated with Indian-ink drawings 
 
i8 
 
 of ascending and descending dragons, as already mentioned. In the Mart collection 
 is a painting of a Buddhist ascetic by Motonobu, a highly characteristic work of 
 the master. 
 
 As will be observed from the above short list of MoTONOBu's works, the range 
 of the master's brush was very great; indeed, it appears to have embraced all classes 
 of painting from sketches remarkable for their graphic force and simplicity of treatment 
 to the most elaborately coloured and delicately manipulated pictures. He was also a 
 decorative artist of great originality and power. It is probable that no successor in 
 the Kano riu equalled the founder in the versatility and certainty of his technique ; 
 at least, no name which subsequently became renowned appears to have eclipsed that 
 of Motonobu. 
 
 The Kano riu had many remarkable masters in the descendants of the founder 
 and their pupils, amongst which are the famous names of IZi-roku, the painter of the 
 decorations of birds and cherry trees on gold grounds in the first room of the Tsune 
 Go-ten, or apartments of the prince of Nin-na-ji, in the monastery, Omuro Go-sho, at 
 Kioto ; San-kaku, the painter of Chinese sages and scenes in the same suite of 
 apartments; Tan-vu, the painter of several fine sliding screens decorated with cranes, 
 peonies, and bamboos on gold grounds, in the above named monastery, and many 
 other interesting works in different temples in Japan ; and Yasu-NOBU, the painter of 
 the immense kakemono of the Death of Buddha, in the temple, Go-koku-ji, at 
 Koishikawa, Tokio. 
 
 The great range of the subjects, and the different modes of representation, both 
 in monochrome and varied colouring, adopted by the artists of the Kano riu, compelled 
 the use of a large assortment of brushes. We give, on the opposite page, accurate 
 drawings of the complete set as supplied to modern artists of the school. The 
 five flat brushes represented in the upper row are so large that we have been 
 compelled to represent them one half the full size. The largest brush measures 
 y/ 2 inches in width. These brushes appear to be formed of deers' hair, firmly 
 stitched into thin pine handles, split at their broad ends to receive the cut end of 
 the hair, previously bound and cemented into a firm band. These brushes are used 
 for producing graduated effects of colour and for laying on broad washes. The 
 round brushes represented in the two lower rows are exactly the size of the originals 
 now lying before us. They are chiefly formed of horses', deers', and white hares' hair, 
 inserted in handles of bamboo. When a collection of drawings of the Kano school 
 is examined it is not difficult to trace the operations of the different classes of brushes 
 here illustrated; but it is not possible to describe the operations in words without a 
 very exhaustive series of illustrations, carefully selected and reproduced for the purpose. 
 The following interesting account of Japanese artists at work, from Mr. Dresser's pen, 
 may, however, convey some idea of how such apparently unwieldy brushes as those 
 of the Kano artists are manipulated. The description is in itself most graphic and 
 interesting, so we need not apologise for the length of the quotation. 
 
Section First. DRAWING, PAINTING, ENGRAVING, AND PRINTING. 
 
 19 
 
 Mr. Dresser says: — "Hearing that Mr. Sano had prepared a great treat for me, 
 asking five of the greatest artists of Japan to his house for the purpose of making 
 
 BRUSHES USED BY THE ARTISTS OF THE KANO RIV— HALF FULL SIZE. 
 
 BRUSHES USED BY THE ARTISTS OF THE A'AXO RIU — FUEL SIZE. 
 
 sketches, Sir Harry and Lady Parkes, Mr. and Mrs. Mounsey, and Mr. Crossley, 
 expressed a wish to be present. Mr. Sano kindly assented. 
 
 "The room in which we assembled to see the artists is of considerable size, and 
 is one of those which Mr. Sano has not furnished in the European manner. The 
 artists kneel upon the floor, which is covered with mats, as is usual in a Japanese 
 house. On the centre of the floor is spread a piece of red felt, on which, held down 
 
20 
 
 by weights, rests a sheet of paper, which is smooth and yet of a somewhat bibulous 
 character. The tools of each artist are a small piece of charcoal held in a light 
 bamboo porte-crayon, about fourteen inches long and very slender; flat brushes 
 formed of deers' hair, varying in width from three inches to one inch and three- 
 quarters, while the hairs protrude from the socket about three-quarters or seven- 
 eighths of an inch, round brushes in bamboo, and formed of white vegetable 
 fibres [? *], and about half an inch in diameter, plenty of water in a large bowl, 
 Indian-ink with its accompanying slab, and a few colours. 
 
 "There is one old flower-painter in whom I ultimately became much interested, 
 for he is full of innocent humour, and his ability as an artist seems as great as his 
 fun. His colours are Indian-ink, indigo, gamboge, crimson lake, and red earth. 
 One of the other artists includes in his pigments a kind of dragon's-blood colour. 
 The artist who is to paint first comes forward, bows in Japanese fashion, and takes 
 his place in front of the paper. He is an elderly gentleman, and after having 
 looked thoughtfully at the paper for a minute or two, begins his work. Taking the 
 porte-crayon, he touches the paper with the charcoal point at four or five places, so 
 as just to leave a perceptible dot ; and then with his flat brush three inches broad, 
 charged with Indian-ink, makes on the paper, by an almost instantaneous dash, a 
 large irregular mass of gray-black colour. With a smaller brush he now indicates, in 
 close proximity to the gray mass, what appear to be a few feathers, next, at a little 
 distance, the end of a pendent branch. Then, beginning at the top of the paper, he 
 works the branch downwards till it is in the line of the end which was first 
 drawn. Now an eye is drawn, then a bill, then come a few bits of colour, and we 
 see completed, in less than fifteen minutes, a cock and hen picking in front of a 
 branch of a tree, and, curiously, a great portion of the white body of the hen is 
 rather indicated than drawn ; for as the body of the cock is gray (being the large 
 mass of this colour which was first placed upon the paper), and as the white hen is 
 seen against the black cock, the stopping of the black gives the form of a great 
 portion of the hen's body.-h 
 
 " The old flower-painter, of whom I have before spoken, now took his place 
 before the paper, and after looking at it as though he were picturing in his own 
 mind a group of flowers already painted, made, like the former artist, two or three 
 dots with the charcoal upon the paper, and filling a brush with some green pigment, 
 began by forming here and there certain peony leaves — one leaflet at a touch ; but 
 although from time to time he somewhat varied the colour in the brush, no two parts 
 of the same leaflet differed in tint. With another brush he formed a red peony 
 flower— shading each leaf by a dexterous application of a little water to the paper 
 
 * In all our large collection of brushes belonging to the various schools of painting in Japan we are unable to find one 
 formed of vegetable fibre ; all the brushes are of animal hair. — G. A. A. 
 
 t If the reader will look back to the Plate on which are the cock, hen, and chickens, by Toveki, he will observe an 
 instance of this treatment in the chicken against the hen's body. 
 
Section First. 
 
 DRAWING, PAINTING, ENGRAVING, AND PRINTING. 
 
 before the red was wholly absorbed. Rolling up the paper at the bottom (a practice 
 which all the artists adopt when they wish to work at the upper part of the sheet), 
 he draws petals of an unfolded bud. Now with faint Indian-ink he forms both 
 flowers and buds of the magnolia, then he arranges pink petals into groups, resembling 
 the flowers of the almond, and afterwards forms clusters of red masses, so that they 
 ultimately appear as the peeping petals of red flower buds. The masses of colour 
 being thus carefully distributed with due regard to the laws of composition, the stalks 
 are so drawn that all the isolated parts are brought together with marvellous skill. 
 Then the calyces are added, after which conies a little touching-up, as the formation 
 of veins in a few leaves, the addition of certain bits of pure colour, and a spot of 
 dark here and there. 
 
 "A young lady, who is, I understand, a flower-painter to the Empress, now made 
 a sketch of a little yellow flower allied to our winter aconite, but it appears as 
 though just bought in the market, for the root is tied up in a bit of paper. This 
 sketch took the lady about ten minutes to complete. She was followed by a young 
 man who made a drawing of a flying duck, which is < worked ' much in the manner 
 of the first sketch; but the skill with which the body, with its light, shade, and 
 outline, was managed, was truly marvellous. A brush of considerable breadth was 
 d.pped in water and drawn between the fingers of the artist till nearly dry. It was 
 then dipped in a thin wash of Indian-ink, the central portion of the brush being 
 bent outwards, so that the hairs of the brush assumed a crescent-like form. The 
 convex or centre portion was now hastily dipped into dark Indian-ink, and the brush 
 was allowed to straighten itself. Two or three hairs were now separated from one 
 side and d.pped into dark ink, but these remained detached from the other part of 
 the brush. By a dexterous movement the artist produced with one stroke the shaded 
 body of the duck and an outline, the few separate hairs making the latter, while the 
 shading resulted from the darker ink of the centre not having fully spread to the 
 sides of the brush. A bill is now drawn, then feet, and then tail-feathers An eye 
 is added, then follows a neck, legs, and a few finishing touches, when an admirable 
 sketch of a flying duck is before us. 
 
 "After two or three other drawings are made the middle-aged man, who painted 
 the domestic fowls, kneels again in front of the baize, and begins what we all take to 
 be a sea-piece, which he is drawing simply in Indian-ink. Like the last artist this 
 gentleman produces a tint and an outline at the same time, and by the same method 
 After what we take to be waves are finished, and, when we expect the artist to place 
 in the water fish, or upon it junks, he simply adds a few dots and dark touches and 
 s.gns his name. It is now held up to view, when, to our astonishment, the sketch 
 is that of a train of rats, with one or two members of the party straying from the 
 others. What we took to be waves proves only to be a background, against which 
 the rounded backs of white rats appear , -the uncoloured paper forming the animals." 
 
 From the above graphic description the methods of using the broad flat brushes 
 
22 
 
 of the Kano school can be readily understood ; and, although the brushes appear 
 unwieldy and would prove extremely awkward in our hands, they are absolutely 
 necessary for the production of many of the rapidly and powerfully drawn subjects 
 held in high estimation by Japanese connoisseurs. We have in our possession a 
 folding book by Yei-SHO, who painted at Kioto about the close of the last century, 
 devoted to drawings of bamboos only. It contains forty-eight powerful and spirited 
 double-page sketches, executed with a masterly freedom of touch. In one of these 
 there is a stem of bamboo, nearly 4 inches in diameter, drawn completely across the 
 page. This is beautifully shaded and has one joint depicted ; yet it has evidently 
 been executed by only two brush strokes, one ending and the other beginning at 
 
 A PAINTER AT WORK. FROM HOKUSAl'K E-//OV TF.I-KIX URAL 
 
 the joint. To produce this stem a brush similar to the largest flat brush shown 
 on page 19 must have been used, skilfully charged with graduated Indian-ink. On 
 another page of the book is a stem of a green tint shaded with Indian-ink, produced 
 by a flat brush first dipped in a green wash and then partly charged with ink of 
 different degrees of strength. 
 
 Many stories are told of the marvellous skill of the Japanese artists in using 
 the brush, or sometimes two or more brushes at the same time. The above 
 drawing, by the great Hokusai, shows an artist painting a screen with two brushes 
 held in one hand, and both apparently being used at the same instant. One of his 
 friends seems to be watching his manipulation with great interest, while the other 
 is having his joke. The painter appears to be absorbed in his work, as well he may 
 
Section First. DRAWING, PAINTING, ENGRAVING, AND PRINTING. 
 
 23 
 
 be with double brushes to demand his attention. We have an illustration in a native 
 book which shows an artist seated upon a stool, opposite a screen, which he is 
 painting with no fewer than five brushes, one held in each hand, one in each foot, 
 and one in his mouth. This we presume is intended to caricature those artists who 
 attempt extravagant modes of painting. 
 
 Long practice in drawing and painting has frequently produced wonderful 
 certainty and delicacy of hand ; so much so, that when an artist is asked, on the 
 spur of the moment, for a sketch, he will probably not disturb himself much about 
 the shape or quality of the brush which comes readiest to his hand ; and perhaps, if 
 the whim strikes him, he will dispense with a brush altogether. One instance of this 
 was some time ago brought before our notice by a traveller who had visited Japan. 
 On one occasion he had the pleasure of observing a screen painter at work in his 
 studio, which consisted of a portion of the house, screened off from the rest by his 
 own finished productions, but open to the street ; being struck with his great freedom 
 of hand he requested him, through his interpreter, to draw a bunch of grapes. This 
 subject was given as a difficult task and severe test of skill, for the traveller had in 
 his mind the laboured works of the artists of his own country, and naturally expccteil 
 that, from the time required to depict the fruit, the artist would laugh and shake his 
 head. Judge of his surprise when the artist seized a piece of paper, and, dipping 
 the point of his thumb into a dish of Indian-ink, proceeded to make a number of 
 softly shaded crescent-like forms close together. Thinking that he must have been 
 misunderstood, but saying nothing, he watched with growing interest the rapid 
 movements of his artistic friend. The crescent forms being finished, his first finger 
 and thumb were together dipped into the ink and transferred to the paper, and with 
 a few rapid movements produced two shaded forms of irregular outline. With his 
 thumb nail, dipped into another slab containing dark ink, he added a few decided 
 lines and sundry other trifling touches, and politely handed the traveller the finished 
 sketch, which was found, when turned round, to display a bunch of plump round 
 grapes with leaves and stalks complete. 
 
 In the closing years of the sixteenth century a new school of painting took its 
 rise in the works of Iwasa Matahei, a pupil of the Tosa riu. He appears to have 
 been the first notable sketcher of popular or every-day subjects. These sketches are 
 known as nkiyo-ye. He was also a clever caricaturist, although his style can only be 
 imperfectly known by some roughly executed caricatures, produced at Otsu near Kioto 
 and known as Otsu-ye (Otsu pictures), which arc said to have had their origin in his 
 works. It was not, however, until about a century after Matahei's death that this 
 strictly native school was really established by an artist named Hishigawa Moroxobu, 
 best known to fame as the illustrator of numerous books. The firm establishment of 
 the Popular school was materially aided by the artistic labours of another con- 
 temporary artist named HANABUSA Itcho, said to have been a pupil of the Kano riu. 
 
-4 
 
 His works were varied in character, and became extremely popular from their new 
 ami amusing class of subjects and the novel manner of their treatment. He does not 
 appear, like his contemporary Moronobu, to have drawn for the then rapidly 
 developing art of the wood engraver. Towards the close of the seventeenth century a 
 great light in the Popular school arose in the person of Ritsouo, an artist of varied 
 accomplishments. Apart from being a painter, he was a sculptor of note (see 
 Description of Plate VIII., Section Eighth) and a master of the first rank in 
 incrusted-work (see page 43, Section Fourth). All subsequent artists of this school 
 appear to have followed the example of the founder in chiefly devoting their talents 
 to the preparation of drawings for wood engraving; and as these drawings were 
 invariably destroyed in the process of engraving, original works of the class are very 
 rarely to be met with. Only those sketches exist which, for some reason, have not 
 been considered worthy of reproduction. On Plate II. is given a reproduction, on 
 a small scale, of a very beautiful kakemono by Miyagawa Choshun, a distinguished 
 artist of the school of Matahei, who painted in the early part of the eighteenth 
 century (see Description attending the Plate). The Popular school went on in the 
 even tenor of its way until it was lost in its development into the great Artizan 
 school which took place at the close of the last century. 
 
 In the seventeenth century arose the noted Korin riu, founded by Ogata Korin, 
 an artist of remarkable originality. He was a painter, as proved by numerous fine 
 examples of his brush still in existence ; a decorative artist and designer, as proved 
 by the interesting work entitled Korin Shinsen hiakn-dzn (A new series of a hundred 
 designs by Korin), in which are to be found beautiful designs for lacquer (see page 
 44, Section Fourth), embroidery (see pages 4, 5, Section Second), screen and fan 
 decoration, etc. ; a worker in raised gold and incrustcd lacquer of the first rank (see 
 page 41, and Plate XI. with Description, Section Fourth). From the varied 
 acquirements and style of this talented artist it is to be presumed that he studied 
 under more than one contemporary master. His creations, however, bear the unmis- 
 takable stamp of originality; both in his style of drawing and system of colouring 
 he departed from the recognised methods which obtained in the Tosa and Kano 
 schools. In lacquer his boldness and originality of treatment and design are truly 
 remarkable. On looking at such a piece as that illustrated on Plate XL, Section 
 Fourth, one involuntarily remarks, no one but Korin could have conceived this. 
 Speaking of this masterly decorative artist, M. Gonse says — " Korin, dont je viens 
 de prononcer le nom comme laqucur, est pcut-etre le plus original et le plus 
 personnel des peintres du Nippon, le plus Japonais des Japonais. Son style ne 
 ressemble a aucun autre et desoriente au premier abord l'ceil des Europeens. II 
 semble a I'antipode de notre gout et de nos habitudes. C'est le comble de 
 l'impressionnisme, du moins, entendons-nous, de l'impressionnisme d'aspect, car son 
 execution est fondue, legere et lisse ; son coup de pinccau est dntonnammcnt souple, 
 
Section First. DRAWING, PAINTING, ENGRAVING, AND PRINTING, 
 
 25 
 
 sinueux ct tranquille. Le dessin tie Korin est toujours etrange et imprdvu ; ses 
 motifs, bien a lui et uniques dans l'art Japonais, ont une naivete 1 un peu gauche qui 
 vous surprend ; mais on s'y habitue vite, et, si Ton fait quclque effort pour se placer 
 au point de vue de l'esthetique japonaise, on finit par leur trouver un charme et 
 une saveur inexprimables, je ne sais quel rythme harmonieux et flottant qui vous 
 enlace. Sous des apparences souvent enfantines, on dc-couvre une science merveilleuse 
 de la forme, une suretd de synthese que personne n'a possedee au meme degre dans 
 l'art japonais et qui est essentiellement favorable aux combinaisons de l'art decoratif. 
 Ccttc souplesse ondoyante des contours qui, dans ses dernieres ceuvres, arrondit tous 
 les angles du dessin vous sdduit bientot par son ctrangete' meme. . . . Korin est ne 
 
 BRUSHES USED BY THE A'tifff.V RIU — FULL -SIZE. 
 
 a Kioto, en 1661, d une famille bourgeoise du nom d'Ogata. Son premier maitre fut, 
 dit-on, Tsoun^nobou Kano ; il entra ensuite a lecole de Tosa et ctudia enfin dans 
 la maison de laqueurs fondee par Koetsou ; mais e'est peut-etrc dans letude des 
 esquisses de Shiokouado qu'il trouva sa voie definitive. II quitta Kioto assez jeune 
 et se fixa a Yedo. II revint plus tard dans sa ville natale et y mourut en 1716 
 a l'age de cinquante-six ans." 
 
 All Kokin's works must be considered from a certain standpoint; they arc- 
 works of decorative art pay excellence. Perhaps it is not too much to say that no 
 one can fully appreciate the genius of the master who has not a knowledge of the 
 laws which govern decorative art, and a keen appreciation of the skill which bends 
 those laws to its varied purpose. Korin's designs have never fallen to the ground ; 
 
26 
 
 on the contrary, it may safely be said that much that is striking and excellent in 
 Japanese art of the eighteenth and nineteenth centuries would not have existed 
 had it not been for the genius and labours of this original artist. His school 
 languished after his death, for he appears to have been immediately succeeded by no 
 one worthy to lift the brushes which fell from his dying fingers; but in the 
 commencement of the present century special attention was directed to his works, and 
 the school was resuscitated, exerting a decided influence on native decorative art. 
 The illustration on the preceding page shows, full size, all the brushes used by the 
 students of the Korin riu during the present century. No brush of the broad, flat 
 form adopted by the Kano riu appears in the collection ; all the brushes are round 
 and mounted in bamboo handles. The hairs used in their formation appear to be 
 chiefly those from the body of the horse, the deer, and the white hare. The great 
 range in the size of the brushes admits of both extremely bold and very minute 
 work being executed by their aid. 
 
 In the Hart collection is a very beautiful kakemono by Korin, which is highly 
 characteristic of his decorative style. It presents branches of the tree-peony (botcm) 
 with flowers and leaves, executed in thin body colours, without any attempt at 
 shading. The flowers have their petals indicated by bold outlines only, and the 
 leaves are simply outlined and veined. The design is treated so strictly within the 
 canons of decorative art that it might be repeated as a wall decoration. 
 
 Towards the end of the last century arose the Slrijo riu — the naturalistic school 
 of painting founded by a talented artist named Maruyama Okio. The school took 
 its title from the street in which Okio painted. The founder and his pupils 
 advocated the practice of painting directly from nature; and carried their teaching so 
 far in their own labours as could be expected from men previously impressed with 
 the methods of the established schools of the country. Talented as Okio was, and 
 firmly impressed as both he and his immediate disciples were with the truth of their 
 principles, the early productions of the school were little more than bold compromises. 
 Perhaps the opposition with which the innovations were at the outset received 
 prevented a more radical departure from the old and highly favoured methods. In 
 the works of the school, especially at its inception, a decided leaning to ancient 
 Chinese principles is apparent ; this is most obvious in the direction of perspective 
 and chiaroscuro. In copying directly from natural objects, as the artists unquestion- 
 ably did on all possible occasions, it is a matter of no little surprise that they did 
 not see the fallacy of the old ideas on perspective, and at once recognise the 
 necessity for a careful study of all matters relating to light and shade. In nearly all 
 other directions, however, the paintings of the S/iijo riu show a decided advance on 
 those of all contemporary academies of earlier origin. In manipulation they present 
 a freedom of touch and a delicacy of manner which, combined with the results 
 achieved by an emancipation from the chains of purely conventional principles, gave 
 
Section First. DRAWING, PAINTING, ENGRAVING, AND PRINTING. 27 
 
 them at once a position superior to the works of the traditional Chinese school. The 
 subjects which were more directly affected by Okio's teaching were landscapes, flowers, 
 and animals. In all these, .the accuracy secured by a reference to nature was evident 
 from the first, and no doubt went far to win supporters to the school. 
 
 The most noted pupils of the Shijo riu were Ro-setsu ; ShiO-ho, a skilful 
 delineator of animals ; So-sen, the celebrated painter of monkeys (see Description of 
 Plate VIII.); Ippo, a famous drawer of birds; and Yosai, probably the most versatile 
 and original of all the followers of the school. Kikuciii Yosai is best known to 
 European students as the author of the Zenken Kojitsu, a work in twenty volumes 
 containing representations of the noted historical personages of Japan who have lived 
 between the years 660 B.C. and 1300 a.d., compiled from four hundred different 
 authorities. The cut printed at the end of our Preface is a reproduction from one of 
 the engravings in the work alluded to. The remarks on Yosai made by M. Gonse 
 are so accurate and complete that we give them here in preference to any of our own. 
 He says: — "Yosai" appartenait par sa famille a la meilleure socidte de Kioto. Avant 
 de se distingucr comme peintrc, il etait deja celcbre comme litterateur et comme 
 erudit ; il avait approfondi l'histoire des arts et des coutumes du Japon ; c'dtait tin 
 esprit cncyclopedique et peut-etre la plus belle intelligence de son temps. II apprit 
 les e'le'ments de la peinture dans l'atelier des Kano ; son professeur fut Yenjo. II 
 ctudia par la suite la maniere des differentes ecoles de peinture, sans se lier a aucune, 
 mais en se rapprochant de plus en plus de lecole de Tosa. De cette etude d'en- 
 semble poursuivie avec la vigueur qu'il apportait en toutes choses est ne son style 
 de pcintre, style eclectique, independent, et en- mC-me temps fortement individuel, 
 melange heureux de spiritualisms raffine et de rcalisme scrupulcux. Une conception 
 poetique toujours clevee, toujours imprevue ; une sorte dc philosophic sereine, une 
 connaissance approfondie des caracteres sociaux et humains de ses compatriotcs, de 
 larges et hardis coups d'ailes dans le champ de I'ideal : tel est le concours de hautes 
 qualites qui composent le talent d'Yosal. C'est si je puis dire, le peintre du Japon 
 qui a mis le plus de littdrature dans son art. Le sujet et la composition jouent dans 
 chacune de ses ceuvres un role auquel ses compatriotes n'avaient pas songe\ En cela, 
 bien que tout en restant tres national, Yosai est celui des artistes japonais qui se 
 rapproche le plus de ['Europe, II dddaigne les recherches du coloriste ; tout en lui 
 etait tourne vers les qualites expressives du dessin, vers l'idce, vers le caractere. Un 
 beau kakdmono de Yosai est une jouissance plus encore pour l'esprit que pour les 
 yeux. II n'est jamais sorti du domainc de l'art noble, mais il a dessine" les sujets 
 les plus divers. Lorsqu'il est venu a Tokio en 1875, l'empereur le recut avec les 
 plus grands doges et lui decerna le titre dc premier peintre du Japon. II est mort 
 en 1878, a lage de quatre-vingt-onze ans. Les pcintures de Yosai sont tres recher- 
 chees au Japon. Ses ceuvres les plus cdlebres sont : X'Enfer, en deux panneaux ; 
 les Cinq cents Lakans, cn douzc, et VIncendie d'Abdkiou (palais des empereurs de la 
 Chine, brule en l'an 206 avant J. C), en un seul et gigantesque kakemono." 
 
23 
 
 The latter part of the eighteenth century witnessed the founding of what is com- 
 monly known as the Artizan school of Japanese pictorial art. The founders and pupils 
 of all the previously established academies were of the aristocratic or upper classes; 
 but now talent, wherever it showed itself, found for the first time the field of art 
 open to it. Speaking of the new school, Mr. Anderson remarks: — "The most widely 
 interesting phase in the art history of the period was the development of a new 
 school recruited entirely from the working classes. The pioneers of the movement 
 had been the older masters of the Ukiyo-ye-riu, Hishigawa Moronobu, Nishigawa 
 Sukenobu, and Tachibana Morikuni, who were of Samurai grade, but the profession 
 of drawing for engravers from about 1770 fell into the hands of heitnin or commoners, 
 of whom the Katsugawas, noted for colour-print designs of actors and courtesans, 
 were amongst the earliest representatives. The mantle of the master, however, fell 
 upon a reputed pupil of Katsugawa Shunsho, who at the end of the last century rose 
 into fame under the assumed name of Hokusai, and from that time until his death, 
 at the age of 89, in 1849, poured forth an unceasing stream of novel and vigorous 
 creations in the form of book illustrations. The subject matter of Hokusai's works 
 epitomised the whole range of Japanese art motives — scenes of history, drama, and 
 novel ; incidents in the daily life of his own class, realisations of familiar objects of 
 animal and vegetable life, wonderful suggestions of the scenery of his beloved Yedo 
 and its surroundings, and a hundred other inspirations that would require a volume 
 to describe." 
 
 Of the early life of this versatile artist little authentic is known. He was born 
 in the year 1760 in the Hon-jO quarter of Tokio, where his father, Nakajima Ise, 
 carried on his trade of mirror making. Hokusai's real name appears to have been 
 Hachiye.mon. His full uoiu de pinceau is Katsushika Hokusai. * Katsushika was 
 derived from the district of Tokio in which he lived during the greater part of his 
 artistic life. It is stated that at a very early age he displayed some taste for 
 sketching, but he seems to have attracted no public attention until about the begin- 
 ning of this century, when he commenced the career of a decorative artist and a 
 teacher of drawing. Previous to this he had undergone a course of instruction and 
 training under Katsugawa Shunsho. Probably the best known of Hokusai's works 
 are the Manguwa, or Ten thousand rough sketches, and the Fugaku Hiyakit-kei, or 
 a Hundred views of Fuji. Speaking of the former work and its author Mr. 
 Anderson says: — "His public career did not commence until about 1810, when he 
 was induced to take a wider range of action by establishing himself in Yedo [Tokio] 
 as an industrial artist and teacher of drawing. Pupils quickly flocked to him, and 
 his original sketches being insufficient to provide them with models, he was led to 
 
 * Like many other artists, Hokusai assumed several names, notably Sori, Saito, Man-ro-jin, I-itsu, Manji, and 
 Tahbichi. His best known iw»i de pinceau has been written by various European authors thus — Hoffskai, Hoffksai, 
 Hoxie, Hoksai. Mr. F. V. Dickens remarks : — " Hokusai is a Chinese compound, which may be rendered ' northern studio,' 
 and in it we see an allusion to the master's place of abode, Katsushika, which is situate in the northern part of the city." 
 
2 9 
 
 multiply them by engravings, and to this end the publication of the Manguwa, Or 
 I en Thousand Sketches, was commenced. The novelty and beauty of the woodcuts 
 attracted immediate attention, and the draughtsman and teacher became almost at 
 once a celebrity in a wide though humble sphere. His fame grew as volume after 
 volume of his book appeared and edition after edition sold, and there were not 
 wanting learned and clever men to write admiring prefaces to each issue, imitators to 
 print rival works, and a multitude of pupils of his own class to perpetuate his name 
 and style. There was nothing in his pictures to shock the taste of the more 
 aesthetically constituted of his admirers, no lack of gravity or dignity in his saints 
 and sages, of might and fierceness in his warriors, or of artless beauty in his render- 
 ings of his gentle compatriots, but his real strength lay in the popular sketches in 
 which the everyday life of the people was mirrored with a truth that could come 
 only from one of whose life these things formed a part — a truth that on-lookers from 
 another world, like Moronobu and Itcho, could never attain ; a truth, moreover 
 brightened by flashes of the native humour of the artist and never defaced by coarse, 
 ill-tempered, or misconceiving caricature. Their ceremonials and amusements, their 
 historical landmarks, their folk-lore and the homely jokes that repetition could not 
 spoil were there in characters that the most unlearned could read, while at every page 
 a well-known view, a common bird or insect, a household pet, a favourite flower, or 
 some other of the thousand objects of daily familiarity found a graceful record in a 
 few suggestive touches of the artist's magic pencil. It is impossible to conceive a 
 work more calculated to influence those for whom it was intended, or to give the 
 student of Old Japan a more complete view of the sentiments and tastes of the easy- 
 going peaceful millions of the people." 
 
 e are indebted to Professor Edward S. Morse for the following translation of 
 some notes written to him by an aged pupil of Hokusai. " Hokusai drew his Man- 
 guwa, or series of books, in Nagoya, a place celebrated for its painters. When he 
 first went there the people went to see him, and asked him in what kind of drawing 
 he excelled. And. he replied that he who only excels in one thing is not a painter, 
 but only a part of a painter. So they all came to him, and asked him to draw this 
 object and that. He drew according to their requests, and this is said to be the 
 beginning of his books. When he was very young he learned the art of drawing, 
 but could not draw very well, and some one advised him that he had better give it 
 up. This advice he did not follow, but went on studying, not from books, but from 
 nature. It is said that, when he wanted to draw a dragon, he could see it before him 
 (some kind of hallucination). When he was about to die, he sent a very pleasant 
 letter to Mr. Takagi, one of my father's friends, which runs as follows : — 
 
 '"King Etna [a sort of Japanese Pluto] has grown very old, and is about to 
 retire from office. He has accordingly had built for him a nice little house in the 
 country, and wants me to paint a kakemono. I must start within a few days, and 
 when I go shall take my drawings with me, and take lodgings at the corner of 
 
30 
 
 DRAWING, PAINTING, ENGRAVING, AND PRINTING. Section First. 
 
 Jigoku dori Niclwme [Hell Street], and shall be very glad to have you visit me when 
 you have occasion to go there. Hokusai.' 
 
 " He changed his name very often. He was first called Jaito, then Hokusai, 
 then Irrsu, and finally Manji. At the time he published his Manguwa he was called 
 Hokusai, and this name became predominant. Unfortunately, his drawings were not 
 appreciated. It is even supposed to be a sign of poor taste to have his kakemono 
 hanging in our rooms. He used the worst kind of brushes and colours, — the 
 brushes made for writing and not for drawing, as they were cheaper." 
 
 Whatever may have been the amount of appreciation in which the kakemono 
 and other paintings of the master were held during his lifetime, there can be no 
 question that they have been highly valued since his death. In the painting of 
 kakemono he displayed great power and versatility of invention and manipulation. 
 As a fine example of his free and graphic style we may direct attention to that in 
 the Hart collection, illustrated on Plate II. BIS: and as an equally fine example of 
 wXptl may be called his historical and elaborated style of painting we may mention 
 the magnificent kakemono in the possession of Professor Morse, a woodcut of which 
 is given on the Plate opposite. This work was executed when the master was in his 
 eighty-sixth year, while his eyesight was still so good as to require no aid from 
 glasses. " The kakemono" says its owner, " is exceedingly rich and beautiful in 
 colour. It is a veritable 'harmony in red, green, and grey.' The extreme length of 
 the figure, measuring from the extremity of the bow to the lower edge of the right 
 foot, is seventeen and a half inches." The personage depicted is TamATO-Dake 
 no Mikoto, a Japanese hero (a.D. 77-'30)- 
 
 But to return to the Manguwa. Mr. F. V. Dickens, in the Preface to his 
 translations of the prefaces and titles of the Plates of the Fugaku Hiyakit-kei, 
 remarks: — "Hokusai was, undoubtedly, even according to a Western standard, a man 
 of true genius. He belonged to the ' nkiyo-ye' (passing-world picture), that is, realistic 
 genre school, and founded a division or offshoot of it, known among the writers of 
 his time as the Katsushika school. The Preface to the First Volume of the 
 'Manguwa' already alluded to, is worth citing at length, as explicative of the 
 meaning and scope of his work, and showing the honour in which the Master was 
 held, at all events during the latter half of his life: — 'The looks and gestures of 
 men give abundant expression to their feelings of delight and disappointment, of 
 suffering and enjoyment. Nor are the hills and streams, herbs and trees, without 
 each their peculiar nature, while the beasts of the field and the birds of the air, 
 while insects and reptiles and fish, have all within them a vital essence ; and glad 
 are our hearts as we recognise such plentcousness of joy and happiness in the 
 world. Yet, with change of place and season, all vanishes, and is passed away. 
 How shall one hand down to future ages, and bring within the knowledge of our 
 remote fellow men beyond a thousand leagues, the spirit and form of all the joy and 
 happiness we see filling the universe ! Art alone can perpetuate the living reality 
 
3' 
 
 of the things of the world, and only that true art which ' abides within the realm 
 of genius can properly serve this end. The rare talent of the Master Ilokusai is 
 known throughout the land. This autumn, in his journcyings westwards, the Master 
 by good hap visited our city, and there, to the delight of both, came to know 
 Bokusen of Gekko (Moon-Light) Hall, under which roof some three hundred 
 compositions were thought out and executed. Things of Heaven and of Buddha, 
 the life of, men and women, aye, even birds and beasts, herbs and trees, were not 
 left unattempted, and the Master's brush depicted all phases and forms of existence. 
 For some time past the talent of our artists had been on the wane ; life and 
 movement were wanting to their productions, and their execution fell constantly 
 short of their conception. Of the sketches here presented, rough as they are, the 
 admirable truth and vigour will not fail to be recognised ; the Master has essayed 
 to give life to all he has depicted, and his success is shown by the joy and 
 
 FRONT HOKUSAI'S .V.t.XGUU: t. 
 
 happiness he has so faithfully expressed. Who can add to his work? To the 
 aspiring student of art this collection will form an inestimable guide and instructor. 
 The title ' Manguwa ' — rough or rapid sketches — was chosen by the Master 
 himself. — Written by Kcijin, of Honshu Hall, at Biroka in Owari (a.d. 1812), period 
 of Bunkuiva — Blooming of Letters' " 
 
 The above cut gives an idea of Hokusai's free and graphic style of sketching 
 as displayed in the Manguwa ; and rough though it is, it is full of the air of 
 life and happiness so ably descanted on by the author of the Preface just quoted. 
 
 The Fugaku Hiyaku-kei, or a Hundred views of Fuji, taken altogether may safely 
 be pronounced the masterpiece of Hokusai. It presents a skill in drawing, a tenderness 
 of treatment, and a poetical fancy, which are not found so closely associated together 
 in any other of the master's works. In this book, Hokusai has, in a hundred 
 drawings, essayed the portrayal of the " Peerless Mountain " from many different 
 points of view, and under varying conditions of atmosphere, and at different seasons 
 of the year. The whole of the illustrations are beautifully engraved and skilfully 
 
32 
 
 DRAWING, PAINTING. ENGRAVING, AND PRINTING. Section First. 
 
 printed in black and shades of grey. In many cases three wood blocks have been 
 used to produce the effects. Amongst the most noteworthy pictures are " A Thunder- 
 storm on Fuji," "On the road to the temple of Taiseki," "Through a bamboo 
 grove," " Mid the Spring blooms," " On a bright day," and " A Summer shower." 
 No description, however, can convey a correct idea of these characteristic composi- 
 tions; and to reproduce them properly would be a matter of great difficulty. The 
 following quotation from the Preface to the first volume of the Fugaku Hivnkn-kei, 
 as translated by Mr. Dickens, will afford some idea of the motives selected by 
 Hokusai for illustration : — " As Fuji is lifted high in solitary grandeur over all the 
 high hills around, so shall we say that the productions of the genius of Hokusai 
 stand alone in unapproachable excellence. Not only in the fifteen provinces that lie 
 within sight of him who gazes from the summit of Fuji, but throughout the length 
 and breadth of the land, dare we foretell — 'tis no rash prophecy— that these volumes 
 will bring home to thousands the marvellous and beautiful aspects of the Mountain. 
 Ten titles did the Master bestow upon Fuji, after heedful comparison of the various 
 names that the admiration of the people had given to the Peerless Hill. Men shall 
 never tire of turning over these pages, and as we are shown in them the high, bare 
 peak, viewed from the near shore of Tago, or seem to gaze upon the Great Mountain 
 from the distant Cape of Miho, our hearts expanding in the broad moonlight, our 
 souls penetrated with a delight subtle as the perfume that opening flowers lend the 
 passing breeze; or are persuaded that we are admiring the majesty of Fuji as we rest 
 on our staff on the remote plain of Fujimi, or alight from our ' kago' at the top of 
 the pass of Shiwomi ; whether a glimpse of the vast snow-clad slope is granted us 
 through the drooping willow-branches, or the mighty cone is shown towering high 
 o'er a billowy sea breaking in angry surf upon a rocky coast; whether we have 
 pictured for us hollow valleys hidden in rolling mists, or the arduous climb up the 
 cra &gy mountain-side, or the perilous descent from the rugged top, — we see the genius 
 of the Master revealed in every effort of the brush!" 
 
 Amongst the numerous other works of Hokusai, one deserves special comment 
 on account of the interesting subjects illustrated. We allude to the E-lwn Tei-kin 
 O-rai, From the graphic drawings contained in this book we can gather many facts 
 connected with the several industries and daily occupations of the Japanese. We 
 have reproduced some of the drawings in our pages. 
 
 It is much to be regretted that so few original drawings of this versatile artist 
 exist. None of those prepared for his published works were ever preserved. Owing 
 to the mode adopted by the Japanese wood engravers, of which we shall say a few 
 words later on, they were invariably destroyed in the process of reproduction. One 
 altogether remarkable series, however, exists, in the Hart collection, evidently prepared 
 for a book but never engraved. The drawings are sixty in number, and are of the 
 unusual dimensions of 143 .' inches by 10 inches. They are marvels of delicate execution, 
 so much so as to defy satisfactory reproduction. They bear no evidence of having 
 
33 
 
 been executed by the common writing brushes which Hokusai has been accused of 
 using on the score of cheapness ; on the contrary, much of the finer details, notably 
 the hair of the figures, must have been drawn with finely pointed brushes, such as 
 those used by the artists of the Tosa riti. The paper on which the drawings are 
 executed is extremely thin and fine and uniform in texture, as expressly prepared for 
 the process of wood engraving. While we are pleased that so valuable and beautiful 
 a scries of original drawings by the great master exists, we cannot help regretting 
 that it was not used for engraving. The publication of a book containing sixty 
 unusually large and beautiful illustrations would have been a boon to the art world 
 in general, and to the admirers of Hokusai in particular. 
 
 Professor Morse is the possessor of some interesting rough sketches made by 
 Hokusai as a lesson for one of his pupils — the old artist who wrote the letter 
 to Professor Morse which we have quoted — and these we are enabled, through the 
 kindness of their owner, to give reproductions 
 of. They appear in the two figures printed on 
 the vignette page of this volume and in that 
 shown in the accompanying cut. The figures are 
 drawn together on one piece of paper with the 
 
 A STUDY BY HOKUSA 
 
 attendant inscription which has been interpreted thus : — " The figures of persons 
 must have the head over either of two feet perpendicularly, for they will appear 
 tumbling down otherwise. You can compare with other pictures in application of 
 this rule. Consider it." The boldly drawn perpendicular line which appears in all 
 
34 
 
 DRAWING. PAINTING, ENGRAVING, AND PRINTING. Section First. 
 
 the drawings and also in the inscription shows the application of the rule. The 
 signature of HoKUSAI does not appear, but the fact that the studies are by his 
 hand is authenticated beyond doubt. 
 
 In concluding these hasty notes on the great Japanese artizan artist we cannot 
 resist quoting M. Gonse's tribute to his genius. He says: — "Quant a Hokousai, il 
 est un des plus grands peintres de sa nation ; a notre point de vuc europeen il en est 
 meme le plus grand, le plus genial. Si Ton considere en lui les dons gendraux, les 
 qualites techniques qui font les maitres, sans distinction de temps ni de pays, il petit 
 etre place a cote des artistes les plus dminents de notre race. II a la force, la 
 variete, I'imprevu du coup de pinceau, il a l'originalite et 1'humour, la fecondite, la 
 verve et l'elegance de 1'invention, un gout supreme dans le dessin, la mdmoire et 
 leducation de l'ceil pousses a un point unique, line adresse de main prodigieuse. Son 
 oeuyre est immense, d'une immensity qui effraye l'imagination, et resume, dans une 
 unite' d'aspect incomparable, dans une realite intense, nervcuse, saisissante, les mceurs, 
 la vie, la nature. C'est une encyclopedic du monde exterieur, e'est la come'die humaine 
 du Japon. Hokousai appartient a l'ecole vulgaire, mais il s'eleve bien au-dessus d'elle 
 par l'envergure du style, par la profondeur du sentiment et la puissance comiquc. II 
 est a la fois le Rembrandt, le Callot, le Goya et le Daumier du Japon." Notwith- 
 standing all that is said in the above panegyric, we must remark that words altogether 
 fail to convey a correct idea of the peculiar genius and artistic versatility of Hokusai ; 
 a careful and often repeated study of his very numerous works can alone create a 
 proper impression of his unique talents. 
 
 Of the contemporaries and successors of Hokusai in the Ukiyo-ye rill, we need 
 say very little ; their lesser lights are practically lost in the effulgence of the great 
 master. The names of the chief are Hokkei and Isai, pupils of Hokusai ; Kei-sai 
 Risen, Hiroshigh, Settan, and Kiosai, followers and imitators of the master. The 
 first three followers flourished between the years 1830 and 1850, while the last, we 
 understand, is still alive at the age of fifty-four. 
 
 Mr. Anderson says: — "After the death of Hokusai the productions of the artisan 
 artist shared in the temporary paralysis induced by the shock of foreign contact. 
 The only noteworthy workers of more recent times were Hiroshige and Isai, but 
 within the last decade a new generation has appeared, and a revival of the old. book 
 industry, together with an extension of all art produce, is setting in with a vigour 
 that promises well for the future. Japanese art is now in course of a somewhat 
 critical transition, directed by the gradually increasing influence of Ruropean example, 
 yet retarded in some degree by Ruropean demand for designs in the older manner. 
 The present stage, of the change is not altogether a happy one, but Japanese genius 
 bids fair to construct before long a new style in which all the beauties of the past 
 age will be preserved while its errors are eliminated." These are hopeful and 
 encouraging words; and as they are spoken by the greatest Ruropean authority on 
 the subject they may be accepted without reserve. 
 
Sec/ ion Firs/. DRAWING, PAINTING. ENGRAVING, AND PRINTING. 
 
 35 
 
 MATERIALS USED IN PAINTING. 
 
 The pictorial artists of Japan have used, apparently in all the great epochs, both 
 paper and silk for their drawings and paintings. The paper preferred for painting 
 on is called td-slii, the best quality of which was and perhaps still is imported from 
 China, but several kinds of home manufacture are used for ordinary works. For 
 drawings in Indian-ink the to-shi is preferred in its manufactured state, that is, 
 without any further preparation; but for paintings in colours and gold the paper is 
 washed with a thin size called do-sa, the composition of which is as follows: — 
 
 Glue . (10 mommi) = 1-32507 ounces. 
 Alum . ( 5 momme) — '662535 ,, 
 Water . ( 1 sho) — 15968 quarts. 
 
 This wash is allowed to become perfectly dry before the paper is painted on. 
 The coating of size prevents the colours from running and becoming too much 
 absorbed by the soft paper. The reason why unprepared paper is preferred by the 
 sketchers in Indian-ink is because it allows more freedom of touch, and lends itself 
 to the graphic sketchiness of brush-stroke so much affected and admired. 
 
 The silk used by painters is called e-ginu (picture silk). This is a fine gauzy 
 material which, although it does not vary in its nature, is manufactured in several 
 qualities. The e-ginu is carefully prepared with do-sa in the following manner. The 
 silk is stretched on a light frame of wood, and the edges secured by strips of paper 
 pasted over them. When these are dry, the silk is washed with the do-sa and set 
 to harden for a couple of days. One or two additional washes may be required 
 according to circumstances and the class and nature of the work to be executed. 
 After all the washes have become thoroughly dry the silk is removed from the frame, 
 and either used in its simple form or after it has been carefully pasted to a paper 
 ground. 
 
 Wood panels are also used by Japanese artists for painting on. Those most 
 commonly preferred are made of ki-no-ki (Chama:cyparis obtusa), a fine variety of 
 white cedar, and of sitgi (Cryptomeria japonica), Japanese cedar. These panels are 
 simply treated with do-sa before being painted on. When a hard wood is used, such 
 as keya-ki (Zelkowa keaki), the portions of the surface to be covered with painting 
 have the grain filled up with a species of gesso prepared from calcined oyster shells, 
 and then washed over with do-sa. 
 
36 
 
 As we have both described and illustrated the brushes used by the leading 
 Japanese schools, it is unnecessary to particularly allude to them here. We may state, 
 however, that the different kinds of hair used in the fabrication of artists' brushes in 
 Japan arc obtained from the horse, deer, goat (imported), hare, cat, marten, and the 
 racoon-faced dog. The handles are of a species of bamboo' called mc-dake. The 
 only description of pencil used for temporarily outlining or indicating the design is a 
 piece of charcoal made from hi-no-ki or kin (Paulownia imperialis). This is called a 
 yaki-fude (burnt brush). This is not universally used by artists, some considering 
 it beneath their dignity to resort to any such assistance. 
 
 For laying on gold powders the tsutsu, or dusting tubes, used by the workers 
 in lacquer are employed. Illustrations of these are given in Section Fourth, page 30. 
 The portions of the picture to be gilded are moistened with a very thin solution of 
 glue immediately before the gold is dusted on. 
 
 'I he colours commonly used by the Japanese painters are precisely the same as 
 those employed in high-class block printing; a list of these is given at the end of 
 this essay. 
 
 Colours ground with lacquer have been employed by certain artists, notably 
 Zetshiu. In the Hart collection there are two fine albums of lacquer paintings by 
 this master; one painted by him while in his seventy-fifth year. The paintings are 
 executed for the most part on thick prepared paper somewhat resembling vellum : 
 one or two are executed on gold grounds. The colours, with the exception of the 
 red, are low-toned. The natural varnish, as prepared for the lacquer workers, appears 
 in the browns; and rd-urushi is used for the black touches. 
 
 ENGRAVING AND PRINTING. 
 
 The Japanese derived the art of wood engraving from China about two centuries 
 after it is understood to have been invented there. The earliest known efforts in the 
 direction of preparing wood blocks for printing characters date about the end of the 
 eighth century ; but earlier attempts may possibly have been made. But as we have 
 nothing to do with the art of wood engraving previous to its use for the purpose of 
 pictorial or ornamental illustration, it is unnecessary to follow its history in the 
 earlier stage. On this subject the learned Japanese scholar, Mr. Ernest Satow, 
 remarks : — " The history of wood engraving in Japan is of course closely bound up 
 with that of printed books, and in fact, as is well known, the number of illustrated 
 books produced in this country [Japan] is enormous ; consequent upon the extreme 
 cheapness of the method. It costs no more to engrave a pictorial page than to 
 
37 
 
 cover it with letter-press, and the popular literature is made up of the two 
 ingredients combined in almost equal proportions. Nearly all the novels of the 
 present century consist of illustrations, generally extending over two pages, and 
 divided in the centre in a way that is distracting to a person unaccustomed to look 
 at pictures by halves at a time, the corners of the page, or any blank space in the 
 centre of the illustration being occupied by the story. The history of this application 
 of the engraver's art is comparatively modern, and the oldest illustrated book I have 
 yet met with is dated 1610. But previous to this there were engraved woodcuts on a 
 large scale representing the popular gods, and to some of these a very great age is 
 ascribed." 
 
 The wood preferred for engraving is that of the cherry tree, sakura (Prunus 
 pseudocerasus), which originally grew wild in Japan, but is now carefully cultivated so 
 that a constant supply of wood may be insured. The blocks are cut, in the direction 
 of the grain, from the outside of the log, the heart-wood being altogether rejected by 
 engravers. Blocks of considerable width are obtained ; one in our possession measures 
 t)]A inches. They are sawn about % of an inch thick; and when planed and made 
 ready for the engraver they are about 3+ of an inch thick. In order to prevent the 
 wood warping and cracking, cross pieces are frequently attached to each end of the 
 blocks : but when the wood is old and thoroughly seasoned this precaution is often 
 dispensed with, as in the case of the block now before us. 
 
 The paper preferred by the artist in preparing his drawing for the engraver is 
 either gampi-slii, made chiefly from the bark of the Wikstraemia canescens ; or Mino- 
 gami, made from the bark of the Broussonetia papyrifera (paper mulberry). The finest 
 quality of the latter paper is manufactured in the province of Mino, hence its name. 
 
 When both the drawing and the wood block are prepared, the engraver spreads 
 on the surface of the latter a coating of very smooth rice paste and carefully removes 
 all except the thinnest possible layer with his finger. Upon this he immediately 
 lays, face downwards, the drawing, gently smoothing and pressing the same with his 
 hand into perfect contact with the wood. After the paste has become dry, the paper 
 is carefully scraped away as much as possible, in order that the drawing, next the 
 block, may be seen more distinctly. A slight smear of hempseed oil is now applied to 
 increase the transparency of the remaining film of paper and bring up the drawing 
 clearly and sharply. At this stage the block is ready for engraving. As the grain of 
 the wood runs lengthwise, the process of engraving differs entirely from that followed 
 in European ateliers, and, accordingly, the outlining tools employed bear no resemblance 
 to our gravers, which are only adapted for cutting fine lines in end-grain boxwood. 
 The Japanese, however, use gouges, not dissimilar to ours, for cutting away the useless 
 wood within and around the lines of the design. We have before us while we write 
 a complete set of Japanese wood engraver's tools, comprising three ko-gatana, or out- 
 lining knives, in the form of firm blades of steel, from 1 to 1)4 inches in length and 
 respectively j/ 3 , and % inch in width, ground at their ends to about the angle of 
 
38 DRAWING, PAINTING, ENGRAVING, AND PRINTING. Section First. 
 
 40°, and fixed in round wood handles of about 3 inches in length; five chisels, varying 
 from y i6 to 3/ inch in width, ground square, and fixed in flat handles; and eight 
 saraye-nomi, or gouges, varying in width from to nearly % inch, ground in the 
 usual way on the convex side, and fixed in round handles. 
 
 The process of engraving is extremely simple. The artist first takes a suitable 
 angular outlining knife, carefully sharpened, and holding it in an almost vertical 
 position cuts an incision on each side of every line and detail of the drawing, 
 leaving between them the exact width of line required. This is a proceeding 
 demanding a keen eye, perfectly steady hand, and much practice. The experienced 
 engraver attends to the minutest touch of the original drawing, cutting so 
 as to produce a faultless fac-simile. The skill displayed by the engravers of 
 Hokusai's sketches, and of such drawings as those on the Plates which face 
 pages 8 and 16 of this article, is worthy of special comment. Prom the freest and 
 most dashing brush-stroke, with all its broken effects, down to the most delicate 
 hair-line work, the skill of the Japanese engraver never falters. His work may be 
 called mechanical ; but it demands immense practice and special culture to attain 
 great proficiency in it. When all the outlines have been cut, the surface of the 
 block between and around them is carefully cut away with the gouges and square 
 chisels. Extreme caution has to be observed not to touch the finer lines left in 
 relief, for, by reason of the grain of the wood running across them, they are liable 
 to chip or splinter off at the slightest touch of the gouge. No greater relief is given 
 to fine lines than is absolutely necessary for their successful printing, while the larger 
 spaces of the ground are gradually sloped down from them. By this treatment the 
 maximum durability of the engraving is secured. At one corner and at one side of 
 the block are two small pieces of the original surface of the wood left standing: that 
 at the corner has a rectangular depression, and that at the side of the block a 
 straight rebate cut in it. These are the register marks, against which the paper is 
 placed in the process of printing: they are called by the Japanese kento (literally, to 
 take aim at). 
 
 The Plate opposite is printed from the wood block in our possession, engraved 
 expressly for this Work by a clever artist of Tokio. Although it is perfectly repre- 
 sentative of the larger class of Japanese wood engravings, it presents no instance of 
 specially difficult work. It is by no means so masterly a piece of cutting as the 
 original block from which the dragon, after the drawing by Shumboku, was printed 
 (see page 8). 
 
 When the engraving is completed and the kento adjusted, the thin film of paper 
 still adhering to the portions left in relief is washed off, and the block is ready for 
 the printer. 
 
 For designs which are to be printed in several colours several blocks are required. 
 The outline is first engraved in the manner above described ; and from it are printed 
 as many impressions as there are to be colour blocks. These impressions arc 
 
39 
 
 separately coloured or marked on those portions in which the respective tints are 
 ultimately to appear, and subsequently pasted to blocks in the usual way. Care was 
 of course taken to print the kento .along with the design, to enable the register to 
 be correctly transferred to every block. The colour blocks are engraved in precisely 
 the same way as the outline. 
 
 The printing of the colour blocks is a matter in which the Japanese display 
 both taste and skill of no mean order. The colour is distributed on the block by 
 means of a brush properly charged and dexterously manipulated. By this method, 
 varying shades can be imparted to one block. The graduated tinting so much 
 admired in certain Japanese coloured prints, is obtained by first fully coating the 
 block with colour, and then wiping it partly off again, leaving the coating in a 
 perfectly even gradation of body on the surface of the wood. This is taken up by the 
 paper in the printing. Different colours are blended by the same method, assisted by 
 a blending brush. This mode of applying the colours to the blocks of course gives, in 
 many instances, all the charm of hand colouring to the impressions: indeed, we have 
 seen prints so produced in which there were effects of colour that would have been 
 no easy task to imitate by the brush directly applied to the paper. For a very fine 
 example of this class of chromo printing we may refer our readers to Plate XVI., 
 on which is a reduced but faithful copy of a block print in our possession; and for 
 equally fine examples of the older style of printing, in which graduated colouring 
 does not appear, reference may be made to Plates XIV. and XV., on which arc 
 accurate reproductions from a book published in the year 1775. The colouring in 
 these is of the most refined and harmonious character. 
 
 When the colour has been spread on the block to the printer's satisfaction, he 
 takes a sheet of paper, on which the outline or black impression has already been 
 printed, and carefully lets it fall on the block after placing the proper corner and edge 
 accurately in the depressions of the ketitd. Then with a nearly flat circular pad or 
 rubber he presses, with a gentle sliding motion, the paper against the block until he 
 is satisfied it has absorbed all the free colour. The same method is followed in 
 printing all kinds of wood engravings. The rubber is usually made of twisted paper 
 string, rolled spirally into the form of a circular mat, having on its underside several 
 layers of paper, pasted on, to make it durable and smooth. Over this is strained 
 tightly a piece of the dried sheath of a bamboo sprout, slightly touched with goma- 
 abura (Scsamum oricntalis oil) to make it pass over the paper more easily. No press 
 is used, but the block is laid on a board, the further side of which is slightly 
 elevated, with its corners resting on four small, damp cotton cloth cushions, to 
 prevent its slipping. These are placed on the flooring mats of the room on which 
 the workman also sits. 
 
 For ordinary black printing the paper is not specially prepared beyond being 
 very slightly damped ; but that employed in colour printing is treated with dd-sa to 
 prevent the tints spreading. 
 
40 
 
 DRAWING, PAINTING, ENGRAVING, AND PRINTING. Section First. 
 
 " Printing in colours appears," says Mr. Satow, " to be nearly two centuries old. 
 Sakakibara attributes its origin to the year 1695, when portraits of the actor 
 Ichikaha Dan-zhifu-rau, coloured by this means, were sold in the streets of Yedo for 
 five cash apiece. Before this woodcuts were rudely coloured by hand, as in the 
 illustrated edition of the Hoti-gcn and Hei-ji Monogatari, in six vols., of 1626. At 
 first sight the colours may appear to have been printed, but closer examination shows 
 that they sometimes overlie each other, which proves that they were laid on in suc- 
 cession with the ordinary hair-pencil." The first artists of note in this branch of 
 pictorial art were the Katsugawas, and notably Katsugawa Shunsho, the reputed 
 master of the great Hokusai. The Katsugawas were celebrated for their coloured 
 prints of contemporary actors and courtesans ; but Shunsho appears to have widened 
 the circle of his subjects. The eight figure subjects represented on Plates XIV. and 
 XV., give a correct idea of the style of this school of printing as it obtained towards 
 the end of the eighteenth century. The coloured prints after Hokusai are of the most 
 beautiful character and quite worthy of the master's genius. The principal contempo- 
 rary colour-print draughtsmen were Utamaru, the author of the Seird Ncn-jin Gioji, 
 published in 1804, the Utagawas — Toyokunt 1st and 2nd, Kuniyoshi, and Kunisada, 
 all noted producers of theatrical prints, Sadatsage, Sadahidi, Hiroshige, Kuniyasu, 
 Shunye, and Shuntei. The last two produced many works remarkable for their 
 bold handling both in design and colouring. 
 
 COLOURS. 
 
 The colours used by the Japanese pictorial artists and colour printers are in all 
 essentials identical. They are neither numerous nor expensive, in their nature, as the 
 subjoined list will show. 
 
 Konjo or Gunjo, blue carbonate of copper, as procured from gold or copper 
 mines. This is ground in a mortar and afterwards carefully sifted. Four different 
 tints are produced, the lightest being called biaku-gunjd (pale blue). 
 
 Roku-slio, green carbonate of copper, or ordinary malachite. This is ground and 
 sifted, producing six tints of awo, or green, the lightest being called biaku-roku. A 
 light olive green is produced from the deepest tint by boiling it in a decoction of 
 grass, and fixing the shade thus obtained with a solution of borax. 
 
 Ai-ro-bti, dark blue, prepared from old blue rags by boiling out their colour, 
 native indigo originally prepared from Polygonum tinctorium. In the crude state in 
 which it is employed by the dyer it is not considered sufficiently matured for high- 
 class artistic work. 
 
Section First. DRAWING, PAINTING, ENGRAVING, AND PRINTING. 
 
 4' 
 
 Slut, vermilion. 
 
 Bcnigara, red oxide of iron, prepared from a native ore. 
 Tan, red oxide of lead. 
 
 5110- ycn-ji, apparently cochineal. It is imported from China in the form of small 
 pieces of felt impregnated with colour. 
 
 Yo-ko, carmine, imported. 
 
 5111- do, brownish ochre, a native earth. 
 Tai-sha-bo, red ochre, a native earth. 
 O-iio, yellow ochre, a native earth. 
 Shi-o, gamboge, imported. 
 
 Go-fun, white, prepared from oyster shells, buried for some years, and then 
 calcined. 
 
 Siimi, black, Indian ink. 
 
 Several pigments of an inferior description, both native and imported, have been 
 recently used by the printers of the commoner class of pictures, notably those called 
 nishiki-ye (brocade pictures) : the principal ones are as follows : — 
 
 Ukon, turmeric yellow. 
 
 Seki-o, realgar. 
 
 Bciti, safflower. 
 
 Bero-ai, Prussian blue. 
 
 Bcro-ai and seki-o mixed, producing a green. 
 
 To-no-tsuclu, white lead used for lightening the above pigments. 
 
 Iyeu-sumi, soot of pine wood specially prepared. 
 
 The medium used for all the above pigments is commonly very thin rice paste. 
 The colours are sold either in powders or sticks. 
 
SECTION FIRST. — PLATE I. 
 
 PAINTING. 
 
 HE picture given in this Plate is reproduced by heliogravure from a 
 large Japanese painting, of the Chinese School, by Bai-itsu Ro-jin 
 YaMA-MOTO, and is a work probably executed in the early years of 
 the present century. The subject is described as spring time, a 
 composition of birds, bamboos, and rocks. The painting may be 
 accepted as fairly representative of the School, presenting the 
 conventional rendering of rocks, the absence of perspective, the decorative disposition 
 of bamboos and flowers, and the really clever and spirited drawing of birds. The 
 general manipulation is good, giving the impression that it is the work of an 
 unhesitating hand, perfectly certain of producing the effects desired. The whole is 
 executed with a free brush in Indian ink; accordingly the reproduction gives, on a 
 small scale, the exact appearance of the original painting. The height of the painting 
 is 4 feet 8 inches. 
 
 /// the possession of MM. J. de Vigan et C", of Paris. 
 
Sampson Low .f Co Publ 
 
t 
 
SECTION FIRST.— PLATE II. 
 
 PAINTING. 
 
 HE Painting which is given in this Plate is a reduced copy from a 
 fine kakemono by Miyagawa Choshun, a distinguished and much 
 admired artist of the old popular school of Matahei, who lived at 
 Tokio at the commencement of the eighteenth century. 
 
 The original is executed, on paper of a cold buff tint, almost 
 entirely in body colours, very evenly applied. The colouring gene- 
 rally is rich and refined, combining force and harmonious repose with singular skill. 
 The figure is thoroughly well drawn, from a Japanese art standpoint ; and is expressive 
 of gentleness and meditation which accords well with an attitude so full of elegance 
 and tranquillity. 
 
 The figure represents the celebrated Takao, who, owing to her unfortunate child- 
 hood, became a courtesan of Yoshiwara; but who, from her innate refinement of 
 manner and conversation, was compared to the flower of the nymphcea which smiles 
 in the mud with all its natural freshness and purity. 
 
 This Painting is thoroughly representative of Choshun's style. Although the 
 subjects of the old popular school may be said to have displayed a lack of refinement 
 and distinction, those from the brush of Choshun go far to redeem the school from 
 reproach; indeed, many of his subjects express very elevated sentiments. The 
 kakemono under review bears the full signature of the master. 
 
 The portion represented in the Plate measures in the original 25 inches in height 
 by 17 inches in width including the silk margins. 
 
 /// t lie possession of Ernest Hart, Esq., M.R.C.S., of London. 
 
SECTION FIRST. — PLATE II. bis. 
 
 PAINTING. 
 
 CHARACTERISTIC example of the great Hokusai's free and 
 rapid style of painting is represented in the accompanying Plate. It 
 is taken from a kakemono painted, on paper, for the most part in 
 transparent colours, dexterously laid on with large brushes. It is 
 probable that the entire subject did not occupy the master above a 
 couple of hours. 
 
 The subject is Ofuku throwing beans at a demon ; and accordingly illustrates a 
 popular Japanese legend. Ofuku is an imaginary personage, derived from Ousume, 
 the goddess who danced before the grotto in which Amat£rasu, the goddess of the 
 sun, was confined ; she is believed to be a beneficent spirit who brings good fortune 
 to her friends. Hokusai has in this picture conceived the happy idea of making 
 Ofuku, as the good genius, expel the demon or the principle of evil. The scene is 
 in allusion to the popular ceremony observed on Setsu-bnn, the last evening of the 
 old year. On this evening it is usual in Japanese families for beans to be parched 
 and, while still hot, thrown into all the corners of the house where an evil spirit 
 could be supposed to lurk. The throwing is accompanied by loud cries of " Fuku- 
 WO-uchil Oni-wa-sofo I "' — "In with good luck and out with the devil!" 
 
 The kakemono is in the artist's later style; and was probably painted about the 
 year 1800. It bears Hokusai's signature. Kakemono by this highly esteemed 
 master are very few in number and are valued at high prices by collectors. 
 
 The portion reproduced in our Plate measures in the original 27 inches in 
 height by 16 inches in width including the silk borders. 
 
 In the possession of Ernest Hart, Esq., M.R.C.S., of London. 
 
SECTION FIRST-PLATES III. and IV. 
 
 DRAWING. 
 
 AREFULLY executed drawings or paintings in Indian-ink, or 
 in delicate colours on wood, are sometimes met with on the folding- 
 wood fans which have reached us from Japan ; but it is very 
 rare to meet with drawings on wood panels of the importance 
 and exquisite delicacy of those which are reproduced on the Plates 
 under review. 
 
 The drawings are executed in Indian-ink upon panels of close-grained pine 
 wood, apparently the Japanese hime-ko-matsti (Finns parviflom). The birds, 
 flowers, and other details are finely outlined, and shaded with delicate washes of 
 ink, the surface of the wood having been previously sized to prevent the ink 
 from running or sinking in. The designs are characteristically Japanese, displaying 
 the skill of the native artists in (lower and bird drawing to great advantage. 
 
 The transparency and extreme delicacy of these Indian-ink drawings have 
 rendered it extremely difficult to reproduce them in a perfectly satisfactory manner; 
 and the autotype process adopted is the only one capable of giving anything 
 like a truthful idea of the originals ; even in it a certain degree of hardness is 
 unavoidable. 
 
 The panels are 20 inches long by 12 inches broad. 
 
 In the possession of The Author. 
 
SECTION FIRST— PLATE V. 
 
 PAINTING. 
 
 HE " Peerless Mountain,'' FuSIYAMA, is of all natural objects the 
 most beloved by the artists of Japan ; and they appear never to 
 weary in their efforts to portray it in painting, embroidery, and 
 lacquer, or to represent it in porcelain and metal-work. As Mr. 
 Dickins writes: "There is hardly a garden or a park throughout 
 Japan that does not boast of a miniature 'Fuji.' On fans, on 
 trays, on screens, on almost every article whether for use or ornament, the bold, 
 shapely lines of the mountain are reproduced. No poet has omitted to celebrate 
 its grandeur and beauty. The plot of the most interesting of the old classical 
 romances, the ' Taketori monogatari,' written in the tenth century, turns upon a 
 legend connected with it. Upon it gods dwell ; about it demons make their lair. 
 A hundred modes of writing the name have been fondly invented by the learned. 
 To wise and foolish alike it represents the perfection of beauty and the height of 
 sublimity; and the least patriotic and most soulless of Japanese keeps in his heart 
 an undying and enthusiastic love for the 'August Mountain,' the centre and glory 
 of his country." 
 
 The mountain is most skilfully represented in the painting on silk from 
 which the present Plate has been produced by autotype : and in looking at its 
 beautiful cone we can understand the feelings of Rozanko when he wrote the 
 following panegyric:* — "Like that of a carefully worked gem is the form of Fuji; 
 its hue is that of polished silver. From whatever quarter beheld, it is seen to 
 rise, not sheer into the sky, but as a perfect cone, not more inclined on one side 
 than on another. Eight are the sloping faces of Fuji ; the pure, gem-like Mountain, 
 
 * Fugatu Hiyatu ltii, translated by F. V. Dickins, Sc.B. 
 
Section First. 
 
 PAINTING. 
 
 Plate V. 
 
 standing out against the blue sky like a lotus-flower emergent from the surface of 
 a pool. Exalted over all hills is the lofty summit of Fuji, majestic monarch of 
 our land. How splendid is the Peerless Mountain illumined by the red rays 
 of the rising sun ! how beautiful its purple mass set in the midst of the glory 
 of sunset! — at birth and death of day, alike calling forth the wonder and admi- 
 ration of men. It changes in hue and form as we approach it or recede from 
 it. A hundred aspects has the Great Mountain ; in spring its peak is tipped by 
 spiral cloud-wreaths ; in autumn the vast mass is blown by the winds clear of 
 all mist. Now vapours encircle its top, now haze clings round its base." 
 
 The last aspect described by Rozanko is that depicted by the artist in the 
 painting under review. The work is executed in Indian-ink on white corded silk, 
 with a touch at once free and unerring, plainly indicating a master hand. Like 
 most works of Japanese art of a similar nature, the present strikes one as remarkable 
 on account of the great effect produced by so few and simple touches of the 
 brush: but in painting of this class the Japanese artists are unrivalled. It is to 
 be regretted that the modesty of the painter has prevented him recording his name 
 on the work. 
 
 hi the possession of Messrs. Jackson & Graham, of London. 
 
SECTION FIRST.— PLATE VI. 
 
 PAINTING. 
 
 AVING described the companion painting, illustrated in the pre- 
 ceding Plate, it is unnecessary to do more than direct attention 
 to the new features introduced in the quaint and characteristic 
 composition which forms the subject of the Plate now under 
 review. It will be observed that the landscape represented in the 
 hanging picture is identically the same as that which forms the 
 subject of the companion painting; but that it is here subordinated to other and 
 more forcible decorative features, namely, an elaborate frame-work, a vase of flowers, 
 and an open ori-Iwn laid across a peacock's feather. The frame-work of the 
 hanging picture is painted in imitation of strips of ornamental stuffs ; and real 
 stitching divides them, and represents the scams which would be necessary to 
 connect such strips were they applied. The cords which suspend the picture, and 
 which are shown interlacing the side pieces and terminating in tassels, are embroidered 
 in a very careful manner. The stand, vase, leaves, and two of the flowers are 
 painted ; but the third flower, which falls across the lower edge of the frame, is 
 skilfully worked in embroidery. The ori-Iwn, or book, is entirely represented by 
 painting, while the feather is for the most part embroidered. The entire com- 
 position and the modes employed in rendering it with such telling effect are highly 
 characteristic of Japanese art. 
 
 In tlic possession of Messrs. Jackson & Graham, of London. 
 
SECTION FIRST. PLATE VII. 
 
 PAINTING. 
 
 HE kakemono reproduced on the present Plate is a characteristic 
 Butsu-ye, or Buddhist picture, executed with the greatest delicacy 
 and precision of touch, on paper, in a fine class of body-colour, 
 closely resembling that used by the western illuminators and 
 miniaturists of the middle ages. Gold is profusely introduced 
 throughout the entire subject, and with very beautiful effect. The 
 black ground imparts great value to the illuminated portions. 
 
 The central figure, standing on the sacred nelumbium, surrounded with light 
 pink clouds, is Kokuzo BoSATSU (Akas'dgarblia), the Bodhisattva of Eternal 
 Benevolence ; represented in this case with one hand open and the other holding 
 the sacred gem, but more commonly depicted with a sword in the right hand and 
 the gem in the left. The Chinese inscription on the right side of the picture 
 signifies — "Adoration to the All-compassionate and All-merciful Bodhisattva 
 Akas'agarbha, King of the precious gem of omnipotence, who bestows full and 
 perfect happiness and wisdom in accordance with prayer." The Sanskrit inscription 
 on the other side of the figure has a similar signification. Kokuzo Bosatsu is 
 clad in rich garments, and is crowned with a diadem, in the centre of which is 
 the precious gem, and invested with a circular nimbus of green and gold. 
 
 The figure standing on a rock, on the right of Kokuzo Bosatsu, is the 
 flame god, Fudo (Akschara), bearing his usual attributes, the sword and cord, and 
 invested with his aureole of flame. The opposite figure, standing on a crouching 
 demon, is Bishamon ( Vdisramana), one of the four Dcva kings of Mount 
 Sumeru, and the guardian of the North. 
 
 The inscription between the lower figures appears to indicate that the picture 
 represents the particular group worshipped at the temple of Kiyosumi-zan, situated 
 
Section First. 
 
 PAINTING. 
 
 Plate VII. 
 
 on the boundary between Shimosa and Awa. In all probability the kakemono came 
 from this temple. 
 
 The original painting, exclusive of the silk mounting or borderings, measures 
 15 inches by 10 inches. 
 
 In the possession of the Author. 
 
SECTION FIRST. — PLATE VIII. 
 
 PAINTING. 
 
 WO pages from an ori-hon devoted to the representation of monkeys 
 are given in the present Plate. The Paintings are most carefully 
 executed in broad washes and pencilling of extreme delicacy on 
 c-giiui, or picture silk, prepared with do-sa. 
 
 The Paintings bear the signature of the great master of the 
 Shi-jo naturalistic school, So-sen, but there is just a doubt as to 
 its authenticity. Prom certain characteristics in the drawing, chiefly about the joints 
 of the legs of the monkeys, it appears probable that the paintings are from the 
 brush of So-sen's clever imitator Gan-SEN. Be this as it may, the works in 
 question are fine specimens of the naturalistic school of Japanese painting. 
 
 Speaking of Mori So-sen, who painted in the latter part of the eighteenth and 
 the first twenty years of the present century, M. Gonse, in his L'Art Japonais, 
 remarks: — " Sosen est connu chez nous comme peintre de singes. Son nom vent 
 dire litteralement ' sennins des singes.' II avait pris pen a pen, dit-on les manieres, 
 les mouvements, presque le physique des singes qu'il allait etudier pendant des mois 
 entiers dans les forets des environs d'Osaka, vivant lui-meme de fruits et de racines. 
 II est certain qu'il a peint ces quadrumanes avec beaucoup d'esprit et une connais- 
 sance incomparable de leurs habitudes et de leur anatomic On pent dire qu'aucun 
 artiste ne les a rendus avec cette intensity de vie. Mais e'est rabaisser [.'immense 
 talent de Sosen que de l'enfermer dans cette speciality II y a dans la collection de 
 M. Ph. Burty un poisson lave a l'encre de Chine, qui est une merveille de dessin 
 large et rcsolu ; dans celle de M. Bing, deux rats trainant un coquillage, qui sont d'une 
 dedicatesse charmantc ; dans celle de M. Georges Petit, un daim a l'encre de Chine, 
 d'une vigueur superbe. Je possede une biche broutant des herbes Henries, d une 
 nonchalance et d'une jeunesse de mouvement inimitables, et un tigre dune souplesse 
 
Section First. PAINTING. Pl ate VIII, 
 
 feline ct d'une science de dessin qu'aucun artiste de l'Europe n'a jamais surpassee. 
 Ces ceuvres de choix sufnsent a classer Sosen au premier rang des peintres animaliers 
 de tous les temps et de tous les pays." 
 
 Notwithstanding So-sen's pencil was extremely prolific, his works arc rarely to be 
 met with and difficult to procure. This fact has doubtless led to imitations of his 
 works and style, and also to the reprehensible practice of forging his signature. 
 
 In the possession of Professor J. A. Ewing, of Dundee. 
 
SECTION FIRST.— PLATE IX. 
 
 PAINTING. 
 
 MONG the many highly interesting and beautiful specimens of 
 Painting on silk tissues, which have reached Europe from Japan, 
 few, if any, may be said to surpass the one represented on this 
 Plate, cither in artistic conception or skilful manipulation. It is 
 painted on a thick crape silk, called cMrimen, stained with grey 
 tints to represent a pool or broad stream of water. The water- 
 lines, the duck, and the water-plants are produced in colours resembling dyes, 
 which pass entirely through the fabric. From the general appearance of the work 
 it seems highly probable that the tissue was originally dyed of a light grey colour, 
 with a " resist " applied where the body of the duck and some portions of the 
 leaves fall. To impart the natural brilliancy to the feathers of the bird, the artist 
 has added to his painting a delicate system of embroidery. The head, neck, and 
 tail feathers are covered with small horizontal stitches of bright green silk, which 
 glisten with every change of light ; and the feathers of the wings have their edges 
 defined and their shafts produced in fine embroidery. The small portion of the 
 leg, above the water, is also embroidered. The plumage of the bird is most 
 artistically rendered, and with a tenderness and fidelity to nature absolutely charming. 
 In this work we have a skilful combination of painting and embroidery, to which 
 may also be added dyeing, each lending valuable aid in the production of a master- 
 piece of decorative art. The original work is of an important size, measuring 
 32 inches high by 27 inches wide. Painted by Nishi MuRA, of Tokio. 
 
 In the possession of the Author. 
 
SECTION FIRST-PLATE X. 
 
 PAINTING. 
 
 HE important and beautifully executed Painting, which has been 
 reproduced in the most accurate manner in the present Plate, is 
 the work of an artist, apparently attached to the Tosa School, 
 and is of recent date. The inscription on the upper part of the 
 picture reads Dai Nippon (Great Japan) Nan-zen Haku-gd (pro- 
 bably the artist's noms tie pinccau) Ozawa (the artist's surname). 
 This artist, however, is not one of the great men whose reputation is established 
 in connexion with the Tosa School of painting. 
 
 The painting is most carefully executed on c-giiiu, or picture silk, prepared 
 with do-sa, chiefly in a very thin body-colour ; but in certain parts, such as the 
 seeds of the grasses, the shafts and barbs of the feathers of the crane, the red 
 crest of its head, and the markings of its legs, the colour is laid on so thick as 
 to produce the effect of relief. This has been imitated in our reproduction by 
 embossing. The colouring throughout the picture is most refined, and the manipula- 
 tion, in its special class, leaves little to be desired. The general treatment is 
 more laboured than that which is held most in repute by Japanese experts ; but, 
 to our mind, the beauty of the result quite justifies the means adopted to 
 produce it. 
 
 The original painting is of important dimensions, measuring 2.y/t inches by 
 19 inches. 
 
 In the possession of Thomas W. Cutler, Esq., of Loudon. 
 
*V I 1 . ,/i 
 
 «... j- /' 
 
SECTION FIRST.— PLATE XI. 
 
 PAINTING. 
 
 ill 
 
 8m 
 
 AREFUL reproductions of six paintings from a very beautiful ori- 
 hon, or folding book, are given in the accompanying Plate. The 
 originals are evidently the work of a very talented Japanese artist. 
 The book contains eight paintings, the best of which have been 
 reproduced. They are very carefully executed, on a fine silk ground, 
 in transparent colours, laid on so thinly as to resemble stains. The 
 flesh colours are the only ones which have any appearance of body, but even these 
 are clear and lustrous. The grey backgrounds of all the pictures are most dextrously 
 manipulated ; and have a depth and mysterious softness which are altogether charming. 
 Gold is introduced sparingly, and in a manner which strongly reminds us of the 
 miniatures of mediaeval manuscripts. 
 
 The subjects of the paintings appear to be mythological or legendary ; but we 
 have not been able to obtain any satisfactory description of them. The original 
 paintings measure 7% inches by 6% inches. 
 
 In the possession of Henry Doulton, Esq., of Loudon. 
 
SECTION FIRST-PLATE XII. 
 
 PAINTING. 
 
 IX examples of a simple class of painting, apparently after a 
 Chinese style, are reproduced in the present Plate. Although not 
 of the highest excellence, they convey a good idea of the skill of 
 the Japanese artists in the portrayal of birds, vegetation, and land- 
 scape by simple and rapid brush work — work essentially unlaboured, 
 but in which every touch is made to tell. 
 The six examples have been selected from a large number of a similar class ; 
 and may be accepted as fairly representing the common range of such subjects, and 
 the favourite manner of treating them, a manner which the Japanese artists have 
 unquestionably at some time derived from the Chinese. They are painted in wash 
 colours, more or less transparent, on a very thin picture silk which has been 
 prepared with do-sa in the usual way. They are evidently the work of an ordinary 
 artist, and as such are here given. 
 
 The reproductions on the Plate are about one-third the size of the original 
 paintings. 
 
 //; the possession of Messrs. Liberty & Co., of London. 
 
Sampson Low & Co.Ribi 
 
SECTION FIRST-PLATE XIII. 
 
 PAINTING. 
 
 HE remarkable series of Water-colour Paintings represented on 
 this Plate, are from a Japanese makimono or roll, measuring about 
 eleven feet six inches long by ten and a half inches wide ; the 
 paintings join each other and form a continuous subject about ten 
 feet in length. The divisions adopted on the Plate are slightly 
 indicated by the original artist by a trifling alteration in the treat- 
 ment of the background. The painting is executed chiefly in a transparent class of 
 water-colour, with a very sparing use of body-colour, upon silk tissue, mounted 
 upon tough paper. The order in which the various scenes follow each other is 
 shown by the letters placed under them. This, like all Japanese rolls and books, 
 reads from right to left. 
 
 The entire subject represents Hell, according to the ideas of the Japanese 
 Buddhists, in which the torments of the wicked are portrayed with fearful vividness, 
 and not altogether without a trace here and there of very grim humour. The first 
 division opens (A) with a green, hilly country, doubtless intended to signify the 
 world, and three human figures, dressed in grave-clothes, finding their way from a 
 dark valley — the valley of the shadow of death — towards a direction-post which 
 marks the ford of a mighty rushing river; one being is depicted dashing across, 
 with a staff in one hand, and holding up his shroud with the other ; and on 
 the left bank are two pallid creatures peering into the dreadful land they have now 
 to enter. The valley and the river are expressive emblems of the departure from 
 this life and the cold passage towards the unknown realms beyond. Far on the 
 bank (B) is seated a terrible hoary-headed giantess (San zit no Kanc-baba* ), 
 
 * For the Japanese names of the mythological personages in these scenes we are indebted to a writer in the 
 Theological Review (vol. xi., 1874), who, in describing a similar Inferno, was assisted by a Japanese scholar. 
 
Plate XIII. 
 
 PAINTING. 
 
 Section First. 
 
 resting against the trunk of a lifeless tree : she is grinning with grim and signifi- 
 cant import at a group of miserable beseeching creatures kneeling at her feet, from 
 whom she is removing the grave-clothes before she insists on their continuing 
 their journey. In their scanty funeral garments and head-dress they have travelled 
 the dreary valley and forded the mighty river; now, devoid of all covering, save 
 a simple loin-cloth, they have to appear before the inexorable judge who is 
 to pronounce their awful doom. 
 
 The second division opens (C) with the great tribunal. The presiding judge 
 ( Emiiia-oh), a huge, red giant, richly robed and crowned, is seated behind a 
 table, upon which is spread a leaf of the book of records. In his right hand 
 he holds what appears to be a fan, a desirable article in the neighbourhood of so 
 much heat ; or it may be a sort of bat, with a blow of which he may intimidate 
 the culprits or emphasise his summing-up. On his left hand are two assistants, 
 one holding a scroll, and a blue demon, horned, tusked, and holding a ponderous 
 club, the officer and messenger of the tribunal ; on the right of the judge is the 
 recording scribe, carrying a brush and a tablet covered with writing ; near the 
 scribe, and slightly in advance of the table, is an elevated stand, supporting two 
 heads of very dissimilar aspect ; one is that of a sad-looking female, the other that 
 of a red demon, with piercing eyes and open mouth, from which latter issues a 
 scathing stream, directed downwards upon a miserable being kneeling before the 
 table. One can almost hear the hissing words of accusation. The writer in the 
 Theological Review, alluded to in our note, describes the two heads thus: — "One 
 with searching eyes and open, accusing mouth, is 'Seeing' (Mi ru me), an awful 
 witness. The other, less active, is 'Hearing' (Ki ku me), pale-faced and 
 thoughtful, waiting to reveal. These two are obviously watching to check the 
 completeness of the confessions of several wretched wicked ones, who crouch, 
 groaning and entreating, in front of the judge's table." The tribunal is held 
 upon an elevated platform, from which steps lead down to the floor of hell. The 
 awful realms of punishment are now entered, and the first scene met with (D) is 
 that of a red, grinning demon, holding up a yelling terrified sinner to see, in 
 a large mirror — the mirror of memory — a reflection of the crime which has con- 
 signed him to eternal perdition. We learn his crime from the scene dimly portrayed 
 in the mirror, a farm-house in flames, and the incendiary speeding away through 
 the darkness of the night, still carrying his burning torch. Adjoining the mirror, 
 another red demon is weighing a sinner (E) against a ponderous rock, and watching 
 with glee the effect of the weight of mortal sin which carries down the scale ; and 
 still further on, a green demon is hurrying away with a blazing chariot (F) full 
 of agonised creatures whose immediate destination, burning as they are, appears 
 to be a frozen lake — the "eight times cold" (Hachi kan zigoku) — where are 
 shown struggling wretches endeavouring to keep their heads above the ice. Surely 
 in hachi kan zigoku extremes meet, and the climax of torture is reached. 
 
Section First. 
 
 PAINTING. 
 
 Plate XIII. 
 
 In the third division a new phase of torture is entered upon. It may appro- 
 priately be designated the division of blood, for in it are represented numerous 
 wretched sinners beaten to pieces with a club wielded by a furious red demon 
 (G), and torn by a bird-fiend ; others cut and tortured with stake and knife (H), 
 an operation at which a blue devil presides ; others crushed between huge rocks 
 (I) ; and, lastly, others pounded in a mortar (J) with an immense spiked pestle 
 which is wielded by a green demon. All is horror and blood. The fearful 
 punishments here depicted are rendered tenfold more horrible to the Buddhist mind 
 by the belief that at every infliction the body is restored, to experience fully 
 the recurring tortures. 
 
 The last division, which may be called the division of flame, is the most 
 fearful and imaginative of the series. It appears to represent a realm in which 
 whirlwind, lightning, and flame struggle for the mastery, yet only render each 
 other more potent in their mission of torture. In describing this division, the 
 writer in the Tlicological Review says: — "This last design of all represents the 
 final pit called ' Eight times deep ' — a vast whirlpool of lurid storm, broken by 
 awful streams of blood-red lightning — the whole scene seen through raging flames. 
 On the outer edge writhe serpents, ever watchful to prevent escape. Within, a 
 three-headed monster (L), girdled with skulls, whirls a flaming, red-hot club. 
 Another, with a bull's head, gathers the miserable ones, and thrusts them bleeding 
 into a mighty cauldron (M), that boils in the midst of fiercest fires ; while over 
 this finale of horrors there hang, head downwards, poor creatures whose anguish 
 is even there enhanced by the fear of falling in. Over the abyss floats a gigantic 
 head of Seeing (K), that terrible accuser, here glaring on each tortured sinner a 
 too lasting recollection." 
 
 There is no descriptive writing attached to this thrilling picture of woe and 
 horror; indeed it is graphic enough to render such unnecessary. On the external 
 label is the single word Kame (tortoise), placed there, as we are informed by a 
 Japanese scholar, simply with the view of diverting special attention, for these 
 paintings are not now in favour in Japan. 
 
 /// the possession of the Author. 
 
SECTION FIRST. — PLATES XIV. AND XV. 
 
 COLOUR PRINTING. 
 
 HE eight figures on these two Plates are reduced but otherwise 
 accurate reproductions from one of the earliest Japanese books 
 printed in colours. The book, which is now extremely rare and 
 held in high estimation in Japan, contains a collection of drawings 
 by Katsugawa ShunSHO and his pupils, and was published in the 
 year 1775. 
 
 The subjects selected for illustration give a good idea of the style of drawing 
 and the refined scale of colouring which characterise the entire work, and arc all in 
 the master's best manner. With such a beginning, we can only regret the falling off 
 in both drawing and colouring observable in the later books of a similar class 
 printed in Japan. 
 
 The size of the original prints is 12 inches by 5% inches. There are two on 
 each page, the book accordingly measures 12 inches by 11 inches. It is printed with 
 great care on a close fibred and well made paper. The printing has of necessity 
 faded somewhat, yet the general harmonious effect has in no way suffered by age. 
 
 In the possession of William Anderson, Esq., F.R.C.S., of London. 
 
SECTION FIRST.— PLATE XVI. 
 
 COLOUR PRINTING. 
 
 N important collection of prints in colours, produced from wood 
 blocks, was exhibited in the Japanese Court of the Paris Expo- 
 sition of 1867 : and one of the most perfect and interesting of 
 the prints, from an artistic point of view, is represented in the 
 present Plate. It is a beautiful example of the graduated printing 
 which the Japanese have brought to perfection, and which we 
 have already spoken of in the sectional article. 
 
 The subject selected by the artist is certainly one admirably adapted to display 
 the process of printing. It is a spirit — a veritable "maiden of the mist" — 
 visible, yet thin as air. The first condition is clearly marked by the force and 
 richness of her coloured garments ; while the second condition is made evident to 
 the observer by the clever way she is depicted as passing through the spider's 
 web without breaking it. She appears to be rising out of the mist at her feet, 
 bearing a makimono covered with writing, one end of which is held by a large 
 spider — the weaver of the web. There is doubtless some curious Japanese legend 
 attached to this interesting picture, but we have been unsuccessful in obtaining 
 satisfactory information regarding it. A companion print may probably be, in 
 some way, connected with the present ghost subject : and as it is also in our 
 possession, it may be briefly described in this place. It presents the figure of a 
 man, richly attired, and bearing on his back the skin of a huge spotted toad, the 
 head of which, in an almost entire state, forms his headdress, its closed mouth 
 and glaring eyes appearing immediately above his brow. In his hand is a 
 makimono, unrolled, and entirely devoid of writing. The only object on its white 
 surface being a jet black horse tethered by two ropes. The lower end of the 
 makimono is held in the mouth of a grey rat. Is the tethered horse the crest 
 
Section First. 
 
 COLOUR PRINTING. 
 
 Plate XVI. 
 
 of the Prince of Soma, or does it allude to the marvellous legend of the ancient 
 artist, Kanawoka, who is stated to have painted a horse which was so life-like 
 that it actually became endowed with vitality, and used to leave the paper, and 
 make sad havoc in neighbouring gardens, until, by a happy thought, it was 
 tethered to its place by painted ropes? 
 
 Both the prints are on strong paper, and the colours are dense and evenly 
 applied. The register of the numerous blocks employed is quite perfect. Blocks 
 simply producing impressed patterns have also been used, as may be seen on 
 examination of the Plate, where the patterns are faithfully reproduced. The 
 original print measures 14 inches by g]/ z inches. 
 
 In I lie possession of the Author. 
 
ection Second. 
 
 Embroidery. 
 
SECTION SECOND. 
 
 EMBROIDERY. 
 
 HE Embroiderers of Japan have for centuries held an 
 unrivalled position in their art, surpassing those of all 
 other nations in the combination of richness of fancy, 
 beauty of colouring, and skill in manipulation. The art 
 of embroidery, like most of the ornamental arts in which 
 the Japanese have excelled, was unquestionably of foreign 
 introduction ; but whether its introduction into Japan was 
 due to Chinese or Indian influence, or at what date it was 
 first practised in the country, are questions which appear 
 unlikely to be answered in a satisfactory manner. We are 
 assured, on good authority, that in the Mikado's collection 
 at Nara are specimens of Indian embroidery twelve hundred 
 years old. Speaking of these, Mr. Christopher Dresser, who 
 had an opportunity of examining them, says: — "There are 
 some grand pieces of Indian embroidery, in which the 
 simplicity and purity of the ornament is delightful. These 
 certainly surpass in tenderness of line, precision of form, 
 and just distribution of the parts, anything that I have 
 before seen of the kind ; and they have been in Japan for 
 twelve hundred years." Here we have a fact, based on 
 historical records, which assures us that in the seventh 
 century Indian embroidery had found its way into Japan ; but as we know that at 
 
2 
 
 EMBROIDERY. 
 
 Section Second. 
 
 the same period, or indeed earlier, Chinese embroidery was in an advanced state, if 
 not as perfect as it has been at any subsequent time, it cannot be definitely 
 assumed that the art was originally introduced through Indian influence. It must be 
 remarked that the earliest known examples of Japanese embroidery show no direct 
 evidences of Indian art teaching in design or execution, while there is much that 
 links them with Chinese examples of a kindred class. 
 
 From the earliest known epoch of the art, the embroiderers of Kioto have 
 been the most celebrated in the country, and they appear to have been invariably 
 men, specially trained. Embroidery does not seem ever to have been an accom- 
 plishment acquired by Japanese ladies, or to have been cultivated as a home 
 amusement. At the present time the embroiderers are men ; and, although commerce 
 with the West has done much to debase their art, there are still artists of great 
 refinement of feeling and delicacy of manipulation to be found in Kioto and 
 elsewhere. The accompanying sketch by Hokusai shows three embroiderers at work 
 upon a long piece of embroidery stretched in a frame. 
 
 The objects upon which the old embroiderers of Kioto bestowed their greatest 
 ingenuity and skill were kimono, or robes of ceremony ; obi, or the long and wide 
 sashes worn round the waist by the Japanese ladies ; and fukusa, or squares of 
 rich textile fabrics, used for covering ceremonial presents during their transmission. 
 
Section Second. 
 
 EMBROIDERY. 
 
 3 
 
 The above three articles formed the most important part of the trousseaus of the 
 ladies of the aristocracy ; and their production engaged the unremitting attention 
 of the best designers and embroiderers congregated in the imperial city during 
 the periods of its greatness. 
 
 Of the primitive schools of Japanese embroidery we have little knowledge ; but 
 there is reason to believe that work of a high class was produced in Kioto as 
 early as the fourteenth century ; and from that time until very recently the art 
 has steadily progressed. Gorgeous court dresses were among the presents brought 
 by the great Embassy in 1584; and the following passage, which occurs in the 
 description of the Embassy from the East-India Company of the United Provinces, 
 to the Court of Japan, in 1649, proves the common use of embroidery in 
 connection with articles of dress at that time : — " Their prime Ladies, and high- 
 going Dames, wear stately gorgeous Dresses, their Hair is curiously sleeck'd, 
 and neatly turn'd up"; and their Gowns are much fuller, and more flowing 
 in thick and looser Folds than meaner Women, the Stuff not onely rich and 
 costly, but Embroider'd all over with Gold, with a large Silken Scarf about 
 their Necks, which meets athwart over their Bosoms : a Needle-wrought Girdle, 
 rich with Silver and Gold, doth compass and keep in their well-shap'd Bodies : 
 on their left hand a great Fan, with a long Handle, Painted with several Birds 
 and Flowers, richly Gilt and Varnish'd : under their upper Garment, or Gown, 
 which (as we said before) is so richly Embroider'd, they have seven or eight Silk 
 Petticoats, every one a degree longer than the other, the longest trailing after 
 them upon the Ground." * 
 
 Examples of seventeenth century embroidery have reached Europe ; and, although 
 they do not appear remarkable when compared with the works of later date, 
 they display designs and treatment which are thoroughly Japanese in character and 
 bear evidences of having been designed by contemporaneous artists. There is little 
 doubt that the celebrated artist of this century, Tanyu, and other members of his 
 family, furnished designs for fukusa and other pieces of embroidery. In the posses- 
 sion of M. Louis Gonse, of Paris, is an embroidered fukusa of this period. It 
 represents a crane in full flight above the sea, the waves being indicated in the 
 simple and graphic manner peculiar to the Japanese embroiderers. The crane is 
 rendered with great spirit in white and black silks, with beak and legs in gold. 
 M. Gonse says this interesting piece was designed by Youho, and reminds us of 
 the style of Tanyu ; and that one sees in it the first use of the splashes or blotches 
 of gold powder which modern artists have imitated with more or less success. 
 
 We find ample proof in the Korin Shinsen hiaku-dzu, or, "A New Series of 
 a Hundred Drawings, by Korin," that its celebrated author did not consider it 
 
 * Atlas Japannensis: being Remarhable Addresses by way of Embassy from the East-India Company of the United 
 Provinces, to the Emperor of Japan; by Arnoldus Montanus, translated by John Ogilby : London, 1670. 
 
4 
 
 Section Second. 
 
 beneath his dignity to 
 prepare designs for em- 
 broidery. The two illus- 
 trations, on this and the 
 following page, arc repro- 
 duced from woodcuts in 
 the first volume of the last 
 series (1864) of the Korin 
 Sinusal hiaku-dzu. They 
 were originally drawn by 
 Agata Korin, the founder 
 of the Korin school of pictorial art, who lived 
 in the end of the seventeenth century. The 
 description which attends the woodcuts directs 
 that the designs of autumn grasses are to be 
 executed in delicate colouring upon a short- 
 sleeved dress of habutaye, a variety of white 
 silk. The highly artistic treatment of the 
 designs requires no comment, and knowing 
 the skill and tenderness of the Japanese 
 embroiderers, it is not difficult to realise the 
 beauty of a dress so ornamented. The illus- 
 trations here given are of the front of the 
 dress ; the back portions are also given in 
 the original book, and are of a precisely 
 similar character and treatment. 
 
 The embroidery executed during the 
 eighteenth century surpassed, in richness of 
 design and careful execution, everything pre- 
 viously produced, and the most celebrated 
 
 artists of the time lent their aid to the advancement of the art. Towards the latter 
 part of the century, luxury in dress probably reached its highest point in Japan, and 
 embroidery was lavishly used both on plain silk materials and on the gorgeous 
 woven brocades of silk and gold. For the dresses of actors and courtesans, highly 
 extravagant designs were produced and executed in the most brilliant colours and 
 gold. For proof of this, we have only to examine the colour prints of Katsugawa 
 Shunsho and his followers, produced between the years 1770 and 1800. The 
 designs on the dresses worn by the aristocracy were of a rich and refined character, 
 chiefly of a floral nature, embroidered in delicate, harmonious colours, upon crapes 
 and thin silk fabrics of quiet tints. On the other hand, the theatrical dresses 
 and those worn by courtesans were of the most sensational character, their designs 
 
Section Second. 
 
 EMBROIDERY. 
 
 5 
 
 presenting every object 
 which the popular artists 
 of the time could press 
 into service. Some dresses 
 were covered with com- 
 plete landscapes, in which 
 rocks, waterfalls, trees, 
 flowers, human figures, 
 animals, and birds were 
 depicted with wonderful 
 skill and decorative effect. 
 Other dresses showed the sea lashed into 
 waves and spray by the gambols of a mighty 
 dragon wrought in glittering gold ; or were 
 covered with a net containing fishes and all 
 sorts of marine creatures, most naturally 
 rendered by the cunning needle. Others, 
 again, were embroidered with flights of 
 cranes or wild geese, masses of flowers 
 and countless insects, or with such startling 
 objects as octopuses, crabs, crawfish, tortoises, 
 gigantic spiders, the kirin and lwn'6, and 
 demons. Robes entirely covered with snow 
 scenes, moonlight pictures, sunset effects and 
 rain storms, were frequently worn on the 
 stage. Of the colouring and gorgeous con- 
 trasts of these costumes it is impossible to 
 give a clear description. 
 
 During the latter part of the eighteenth 
 century, the embroidery of fukusa attained the 
 highest possible excellence. These dainty squares of the richest silk were made the 
 recipients of the popular artists' many happy thoughts, and the most painstaking 
 manipulation on the part of the embroiderers of the imperial city. When a fukusa 
 is found with an inscription attached, it almost invariably records the name of the 
 artist who prepared the design, not that of the embroiderer, as one would expect. 
 The embroiderer, however skilled he might be, was simply considered as a copyist. 
 He was much more than a copyist, however, for he had to translate the ideas of 
 the designer, laid before him either in simple outline or in a very free style of 
 brush work, in the laborious methods of his art, producing a picture full of the most 
 subtle colouring and the most painstaking accuracy of detail. We need only direct 
 the reader's attention to the fukusa represented on Plates IV and V of this Section, 
 
6 
 
 EMBROIDERY. 
 
 Section Second. 
 
 in support of this statement. The geese of the latter example are embroidered with 
 a skill in manipulation and a refined sense of colour almost marvellous. Indeed, it 
 is not too much to say, that the result obtained in the lustrous silks is in this 
 instance beyond the power of either water-colour or oil painting. This beautiful 
 work was embroidered during the closing years of the last century. The decora- 
 tive effect of the fukusa on Plate IV could not possibly be produced in any 
 other known art materials. With such works before us, we are fully warranted 
 in pronouncing the skilled embroiderers of Japan decorative artists of the highest 
 order. 
 
 It would require a book of no mean size properly to describe a collection of 
 Japanese fukusa; the variety of design and treatment they display is absolutely 
 bewildering. Everything about them is so beautiful — the materials and refined 
 colours of the grounds ; the designs, so consistently decorative in disposition ; the 
 harmonious arrangement of the colours of the embroidery silks, heightened with 
 flashes of gold ; and the free accuracy of the different stitches employed. Truly, 
 everything about them is beautiful, so much so that we are disposed to agree 
 with M. Gonse when he says: — " Le foukousa japonais, mis sous verre et encadrd, 
 est le plus somptueux ornement que puisse faire entrer dans son interieur le raffine- 
 ment d'un delicat." 
 
 The designs commonly met with on fukusa consist of birds in all positions, 
 fishes, insects, trees, bamboos, flowers, figures, landscapes, buildings, sea scenes with 
 ships, rocks, &c. ; while conventional devices, crests of the imperial and aristocratic 
 families of the country, and, of course, the fabulous dragon, kirin, howd, and 
 tailed tortoise are also pressed into service. In those embroidered with birds are 
 found cranes standing or flying; falcons at rest upon their perches, or in full pursuit 
 of or engaged in killing their quarry; ducks and geese swimming, standing or flying; 
 hens feeding with their chickens ; cocks perched upon drums ; peacocks with their 
 tails displayed ; and the howd, flying, resplendent in its celestial colouring, and 
 gorgeous with its magnificent tail plumage. The fish most commonly embroidered on 
 fukusa is the native koi or carp. This the Japanese artists never fail to represent 
 with wonderful spirit, swimming or swerving in the water or dashing up a waterfall. 
 Among the most remarkable specimens of Japanese art known to us, are two 
 representations of this fish swimming in still water. One is in the form of a 
 black lacquer panel, on which the carp is depicted in dusted gold, as if indistinctly 
 visible through the water. The wonderful rendering of this picture, and the 
 artistic excellence both of conception and execution which it displays, are beyond 
 the powers of description ; and its delicacy is so great that a proper represen- 
 tation by any printing process is out of the question.* The other is in the form of 
 a large slab of porcelain, on which the fish is painted with an ichthyological accuracy 
 
 *This work is in the possession of our contributor, W. C. Alexander, Esq., of London. 
 
Section Second. 
 
 EMBROIDERY. 
 
 7 
 
 and delicacy of touch which leave nothing to be desired. The representation of 
 this beautiful piece is beyond the range of the present Work, otherwise we should 
 certainly have given it a prominent place in our pages.* 
 
 When embroidered, the carp is usually of fine twisted gold thread, carefully 
 laid over cording or some raised ground-work, so as to accentuate the scales 
 and give an effective relief to the head and other parts. When represented swim- 
 ming, it seldom appears straight : one of the most favourite positions is that of 
 a sudden swerve, as shown in the accompanying illustration from a design by 
 Hokusai, very probably intended by him for a fukusa. One can readily realise 
 the beautiful decorative effect of such a design, with the fishes rendered in raised 
 
 FROM HOKUSAI'S E-HON TEI-KIN O-RAl. 
 
 gold, or in their natural colours flashed with gold, upon a ground of water-blue 
 satin, and amidst glistening green algae. 
 
 Crabs and crawfish are also favourite objects on fukusa, the latter commonly 
 being represented with great spirit in raised gold. Shells are frequently introduced. 
 
 The trees generally met with in these embroideries are the fir, the emblem of 
 long life, and the ume, the emblem of springtime and happy youth. The bamboo, 
 
 * This unique piece is in the possession of A. O. Walker, Esq., of Chester. 
 
8 
 
 EMBROIDERY. 
 
 Section Second. 
 
 also an emblem of longevity, is a great favourite, its habit and the delicate 
 character of its foliage rendering it peculiarly suitable for representation in 
 embroidery. It is shown both in its summer and winter, aspects: in the latter 
 it appears laden with snow. Of the floral fukusa it is unnecessary to speak, 
 beyond remarking that, although well executed, they are amongst the least inter- 
 esting of the Japanese embroideries in this direction. 
 
 The fukusa, on which are depicted landscapes, sea scenes and buildings, 
 present countless varieties of design and treatment. The designs are rarely, if 
 ever, purely fanciful, the landscapes and sea scenes representing districts and views 
 celebrated in Japan ; and when figures are introduced in a prominent manner, 
 the subjects are pretty certain to be historical, mythological or legendary. It is 
 somewhat difficult, with our present limited knowledge of the country and its 
 historical and legendary traditions, to make out the general subjects and points 
 of interest in these clever needlework pictures, but a little painstaking enquiry is 
 commonly rewarded by success. One instance of this may briefly be alluded to. 
 A fukusa in our possession is embroidered with two peculiarly shaped rocks, of 
 different size, standing up from what are evidently intended to represent the 
 waves of the sea. The rocks are tied or connected together by large ropes, wound 
 several times round them, from which hang, at intervals, double streamers or 
 strips. Behind the whole appears the glittering orb of the rising sun, executed 
 in spiral threads of gold, closely laid. For a considerable time this rather 
 unusual subject, evidently not a fanciful one, remained open for enquiry. At last 
 its import became known to us. During some investigations with reference to 
 the Shinto faith — the oldest, and now the State religion of Japan — we found 
 what appeared to be conclusive evidence that fire-worship was, and indeed still is, 
 recognised by its votaries; and, as might be expected, that the great visible giver 
 of light and heat was hailed with devotion and prayer. That this worship has 
 not died out, is proved by the following facts. 
 
 Opposite the village of Futamigaura (Isd), and situated a few hundred yards 
 from the beach, two rocks stand out of the water side by side, one of which is 
 about twice the height of the other. For hundreds of years these rocks have 
 been connected by large ropes of twisted straw, which fall in graceful curves 
 from the higher to the lower. At intervals all along the ropes are pendant strips 
 — the emblems of the Shinto religion — which wave to and fro in the sea breeze. 
 The ropes with their emblematic fringe have been attended to, repaired, and 
 renewed from time to time during many centuries, how many it is not in our 
 power to say, and the custom still obtains. At certain times of the year, 
 viewed from a platform erected on the shore, the sun is seen to rise between 
 the rocks and underneath the festoons of Shinto emblems. At these seasons 
 devout pilgrims visit Futamigaura for the purpose of worshipping the rising sun. 
 Why these rocks have been selected and festooned with ropes as a framework for 
 
Section Second. 
 
 EMBROIDERY. 
 
 9 
 
 the sun, while the object of special worship, still remains a mystery, but the 
 ceremony clearly explains the meaning of the subject embroidered on the beautiful 
 fukusa we have alluded to. Pictures and objects representing the sun rising 
 behind the rocks are eagerly purchased by the pilgrims. We have in our possession 
 a paper-weight, of blue and white porcelain, formed of a circular disk rising from 
 a mass of waves, and behind the two rope-bound rocks. This was in all probability 
 made for sale at Futamigaura. 
 
 On the purely conventional devices and the crests or family badges embroi- 
 dered on fukusa, it is quite unnecessary to pass any remarks ; they present no 
 special features of interest, either in design or execution. 
 
 During the first half of the present century much beautiful embroidery was 
 worked in Japan, as perfect in execution and, in many instances, as beautiful in 
 harmonious colouring as any work of previous centuries. In fact, the greater 
 proportion of the fine embroideries met with in European and American collec- 
 tions may be attributed to this late period. 
 
 Here our brief historical notes may end, for we have nothing to do with the 
 purely modern school of embroidery, which simply aims at the production of 
 showy, meretricious objects to meet a foreign demand. 
 
 With one or two unimportant exceptions, the stitches and methods of couching 
 used by the Japanese workmen are similar to those met with in old European 
 embroidery. This is easily accounted for by the fact that the early mediaeval 
 embroiderers derived their art from the east, and imitated the methods of execution 
 presented by the oriental examples which came under their notice. Whether the 
 birth and cradle of the art was in India or China will probably never be a satis- 
 factorily answered question ; but we feel certain it was from one or other of these 
 countries that the art moved eastward to Japan and westward to Europe. 
 
 Of the ordinary stitches met with in Japanese embroidery, the most charac- 
 teristic is that which has been called, far excellence, " the Japanese stitch " ; it is 
 long and usually taken in a diagonal direction. Both floss and twisted silk are 
 used according to the effect desired. The stitches are taken with great regularity 
 so as to fall side by side and as nearly parallel as possible. In embroidering the 
 graceful, curved sweeps, of varying width, by which the Japanese artists so graphic- 
 ally represent waves and dashing spray, this class of stitch is invariably employed, 
 and generally executed in fine white or pale blue floss silk. It is used for the 
 white portions, representing snow, on the fukusa of Plate I., but in this instance 
 thick and slightly twisted silk is adopted, doubtless with the view of better 
 imitating the soft surface of newly- fallen snow. On the same fukusa the stitch, 
 executed in fine floss silk, is successfully adopted for the black and white tail 
 feathers of the cock. It also appears, in a slightly modified form, in the yellow 
 and orange neck and back plumage. 
 
IO 
 
 EMBROIDERY. 
 
 Section Second. 
 
 The next variety of stitch requiring notice bears a strong resemblance to the 
 one just described ; it is the " feather stitch " — the opus phtmarium of the mediaeval 
 embroiderers — deriving its name from the likeness which work executed in it 
 presents to the soft plumage of a bird. The silk commonly used is a fine floss ; 
 and the stitches are laid long and short, and fitting in between each other, so as 
 to appear to overlap. When skilfully done, the result is exceedingly soft and 
 down-like. The most delicate gradations of colour and the roundest shading can 
 be produced by the dexterous intermixture of silks of different tints. The beautiful 
 geese of the fukusa on Plate V. have all the soft portions of their plumage 
 rendered in this stitch. Rocks, trunks of trees, and similar objects, where many 
 shades of colour are required and broken effects are aimed at, are commonly 
 embroidered in a coarse variety of feather stitch, as in the fukusa with the sun 
 rising behind the rope -bound rocks, previously spoken of. The rocks here are 
 cleverly rendered in broad masses of broken colour ; browns, greens, and blues 
 combining in the most artistic manner, while their edges, caught by the rays of 
 the rising sun, are in gold couching, intermingling with the coloured silks. 
 
 The Japanese embroiderers make effective use of "laid work" or "couching." 
 This class of embroidery properly includes all work in which threads of gold or 
 silk are laid side by side on the surface of the fabric, and stitched down to it 
 by thin silk threads. 
 
 The gold used by the Japanese embroiderers is made of very narrow strips 
 of gilded paper twisted round cotton thread. It has a very brilliant appearance, 
 and seems to be fairly durable. Its nature prevents its being readily passed through 
 a fabric by the needle, so it is almost invariably applied in the form of couching. 
 There are not many varieties or patterns of gold couching met with in Japanese 
 embroidery, perfectly plain and the " brick pattern " being most commonly introduced. 
 Plain couching over raised grounds — cords and pads — produces very effective results, 
 and in the representation of fish and dragons it is always used with the greatest 
 skill. The dragon and the circular border of the drum on Plate I are for the 
 most part in raised couching : the former is in high relief, with its scales, head 
 and feet boldly modelled. The effect here obtained is increased by the judicious 
 use of black paint, used to kill the glitter of the gold in the hollow portions, 
 and accordingly to impart greater force to the shadows. In the same fukusa 
 the comb of the cock and hen are in red silk couching. 
 
 To give some idea of the patience and skill displayed by the Japanese in 
 gold couching, we may mention the case of the sun in the fukusa of the rope- 
 bound rocks, which is a disc twelve inches in diameter, formed by closely and 
 spirally-laid double threads of gold, secured with fine red silk stitches. There are 
 about five hundred and fifty threads of gold in the diameter of this disc, and 
 every one is laid with unerring accuracy from the centre outwards. In covering 
 large surfaces with gold, the Japanese embroiderers do not adopt pronounced 
 
Section Second. 
 
 EMBROIDERY. 
 
 diaper work and "basket couching" in the manner of the mediaeval embroiderers; 
 but, as we have already mentioned, the " brick pattern " very commonly appears, 
 and in some instances a timid treatment in the direction of diaper patterns may 
 be found, generally on the dresses of figures. Gold couching, in curved, spiral 
 or wavy lines, is very commonly used in surfaces of considerable size ; but it 
 appears to be adopted with the view of producing a broken effect of light and 
 shade, rather than an ornamental arrangement of lines and stitches. 
 
 A much greater use is made of laid work in silk by the Japanese than by 
 the embroiderers of any other country ; indeed, they appear to avoid passing the 
 silk threads through the fabric whenever they can be successfully and effectually 
 laid on its surface. This practice has one bad result — it makes the embroidery the 
 very reverse of durable. The Chinese embroiderers, realising this, almost invariably 
 use the stitches which require the threads to be passed through the fabric and 
 carried across on its under-side. By this mode of procedure a large quantity of 
 silk is expended and the maximum of durability is secured. The effect of much 
 of the Japanese laid embroidery is highly artistic, especially when shaded or mixed 
 twisted silk thread or floss is used. Most beautiful effects of broken colour are 
 obtained from the shaded silks, which are skilfully dyed in greens, browns, tawny 
 yellows, russets, low-toned reds, blues, etc., graduated into one another, and laid 
 side by side without any regard to the tints which may fall in juxtaposition. 
 
 In addition to couching, there is another species of work very frequently 
 adopted for surfaces of all sizes, and in some cases for entire compositions. The 
 stitch employed is identical with that known in this country as the " knotted 
 stitch " or " French knot," used by European embroiderers only in small 
 spaces, most commonly in the centres of flowers. This stitch is made by bringing 
 the needle up exactly at the spot where the knot is to be formed, then by 
 winding the thread several times round the needle and passing its point through 
 the fabric close to the spot where it was brought up : the right hand draws the 
 needle from the under-side, while the thumb of the left hand keeps the thread in 
 position until the knot is secure. Tedious as this process is, the Japanese 
 embroiderers frequently adopt it for entire pieces of work, using fine and coarse 
 thread according to the effect desired. They execute very large compositions of 
 a singularly bold and decorative character, using for the knots a thick twisted thread 
 of a size quite unknown to European workers. It is most probable that the 
 Japanese learned this class of work from the Chinese embroiderers, who appear 
 to have used it from very early times, and to have distinguished themselves in 
 its successful manipulation. It is unnecessary to mention particularly the other 
 stitches (very few in number) used by the Japanese, for they are either simple 
 modifications of those already described, or such as are common to all schools 
 of embroidery; one instance of the latter is the familiar "chain stitch" used by 
 the Japanese precisely as by European embroiderers. 
 
12 
 
 EMBROIDERY. 
 
 Section Second. 
 
 The Japanese embroiderers frequently introduce "applied work," or what is 
 perhaps better known as "applique"'; but, in high-class embroidery, not to the 
 same extent as it obtains in mediaeval and later European examples. Faces of 
 figures are frequently produced by applied pieces of flesh-coloured silk fabric, cut 
 to the required shapes, stitched to the ground, and modelled in slight relief over 
 padding cleverly disposed and secured to the ground. The hair and moustaches 
 are sometimes represented by strands of fine floss silk, the ends of which are 
 left free, producing a most natural effect. In large faces a still more naturalistic 
 appearance is given by the introduction of small convex pieces of glass painted 
 on the under-side to represent the eyes. Dragons and fishes are frequently furnished 
 with most expressive eyes in this way. 
 
 In conclusion, we may just mention that, by their cunning needles, the 
 Japanese embroiderers impart most brilliant effects to the dyed and painted crapes 
 and other woven fabrics used by the native ladies for articles of dress. The 
 introduction of small details in vivid silks and glittering gold, on their quiet- 
 toned grounds, commonly patterned with white, produces an artistic result quite 
 unknown in the productions of other countries. But this subject properly belongs 
 to the following Section of our Work, and accordingly we may leave it for the 
 present. For an instance of the introduction of embroidery for the purpose of 
 imparting a special effect to painted work, we may refer the reader to Plate IX., 
 Section First, and its attendant description. 
 
SECTION SECOND-PLATE I. 
 
 EMBROIDERY. 
 
 ICH embroideries in silk and gold have, for several years past, 
 been exported in considerable quantities from Japan ; the finest of 
 these have almost invariably been in the form of fukusa, or the 
 ornamental cloths used for covering ceremonial presents. The 
 embroidery from which the present Plate is taken is a fukusa of 
 dark blue satin, on which is worked, in silk and gold, a cock and 
 
 hen standing on an elaborately ornamented drum. The treatment throughout is 
 singularly bold ; and the colouring and mode of rendering the several portions 
 by different kinds of stitches produce a most effective result. 
 
 The representations of the cock and hen, which are so frequently met with 
 in Japanese art, appear to be intended as emblematic of conjugal attachment and 
 felicity. The representations of the cock perched on a drum allude to the story 
 told of one of the ancient emperors of Japan, who caused a drum to be placed 
 outside his palace gates for his subjects to beat and summon attention when 
 they had any grievances to complain of ; but the people were so contented and 
 happy during his reign that the drum was never used, and became in course 
 of time the undisturbed roosting place of a cock. The cock and drum, therefore, 
 became the popular emblem of national peace and contentment. 
 
 The size of the portion of the fukusa represented on the Plate is 32'/ 2 inches 
 by 26 inches. The original is bordered in the usual manner with rich scarlet 
 crape ; but this has not been reproduced on account of the crude contrast of 
 colour. 
 
 The border round the embroidery on the Plate is taken from a piece of 
 Japanese silk brocade. 
 
 In tlie possession of E. Marston, Esq., of Loudon. 
 
SECTION SECOND— PLATE II. 
 
 EMBROI DERY. 
 
 RANES and tortoises, as popular emblems of longevity, are great 
 favourites with the Japanese embroiderers, and form most appro- 
 priate embellishments for the ceremonial fukitsa, conveying the 
 wish that the recipient of the present which it covers may be 
 blessed with long life. 
 
 Alluding to the crane, we have elsewhere remarked:* — "The 
 crane is held in a sort of semi -veneration by all classes of the community in 
 Japan, and is, on account of its supposed long life, very generally accepted as an 
 emblem of longevity. For these reasons, it is one of the greatest favourites 
 with the artists of the country, and is introduced in ornamentation throughout 
 the entire range of their arts. It is treated in countless ways; and, indeed, it 
 is impossible to imagine any position the living bird could assume which is not 
 depicted by the Japanese artist; and it is difficult to imagine anything more 
 artistic, from a decorative point of view, than their manner of treating it in these 
 varied positions. There is one rather remarkable fact in connection with the crane, 
 which is, that the Japanese avoid representing it as dead. During many years' 
 study of their art works, we do not remember once having seen a representation 
 of a dead crane. This may satisfactorily be accounted for by the symbolic value 
 attached to the bird — a dead crane would scarcely be an expressive emblem of 
 longevity." 
 
 The tortoise commonly depicted must be classed amongst the fabulous animals. 
 We have said of it: — "Of all chimerical animals the tailed tortoise is unquestionably 
 the favourite, and the most frequently introduced in works of art. Unlike the other 
 
 Kcramic Art of Japan, by G. A. Audsley and James L. Bowes. 
 
Section Second. 
 
 EMBROIDERY. 
 
 Plate II. 
 
 fabulous creatures, which are altogether unnatural in appearance, and born of the 
 imagination, it is perfectly natural in the form of its body, differing only from 
 the ordinary tortoise by the addition of a long hairy appendage or tail. As this 
 creature is not believed to be endowed with any supernatural gifts, it would, 
 on that account perhaps, be more correct to call it an emblematical animal. 
 The Japanese believe that the tortoise lives, under favourable circumstances, for 
 several hundreds of years; they have accordingly accepted it as an emblem of 
 longevity, and introduced it with that significance into every department of their 
 art works. The tail indicates great age, and is supposed to grow only after the 
 lapse of centuries; we have heard it said that the tailed tortoise represents ten 
 thousand years of life, whilst without a tail only one thousand years is signified." 
 
 Both the crane and emblematical tailed tortoise are embroidered on the beautiful 
 fukusa represented in the present Plate ; the former flying across the red disc of 
 the sun, while the latter floats on the rippling waves of the ocean. They appear 
 as if conversing with one another — discussing the events of many centuries. The 
 embroidery is most beautifully executed on light blue satin, while the sun is in 
 applique'. 
 
 The border is taken from a Japanese book of designs for textile fabrics. 
 
 In the possession of James G. Orchar, Esq., of Broughty Ferry. 
 
SECTION SECOND-PLATE III. 
 
 EMBROIDERY. 
 
 HE quaintly treated and highly characteristic piece of Embroidery 
 which forms the subject of the present Plate represents the 
 "lucky ship" or the "ship of good fortune," a favourite Japanese 
 idea, followed by another ship laden with packages of rice, and 
 attended by the emblems of long life — the crane (fan-cho) and 
 
 the mythical tailed tortoise (fcamc). In the lucky ship are the 
 several emblems of prosperity and temporal blessings, prominent among which are 
 the "purse of plenty" and the potent hammer of the god of riches, the good- 
 natured Daikoku. On the sail of the lucky ship is the word jiu, signifying 
 long life ; while on that of the rice-laden vessel is the word fuku, prosperity or 
 good fortune. The entire composition breathes a fervent wish for long life, 
 prosperity, and happiness, and forms a most appropriate enrichment for a fttkusa — 
 the covering sent with a ceremonial gift. 
 
 This beautiful fukusa is richly embroidered in gold and coloured silks upon 
 deep blue satin, nearly all the stitches commonly met with in the works of the 
 Japanese embroiderers being present. The gold is " couched " with much skill, 
 producing a most brilliant effect as the light plays upon it. The waves and 
 spray are rendered in the simple conventional manner peculiar to the Japanese 
 embroiderers in works of this kind. 
 
 In the possession of James G. Orchar, Esq., of Broughiy Ferry. 
 
SECTION SECOND-PLATE IV. 
 
 EMBROIDERY. 
 
 HE beautiful fukusa which forms the subject of the present 
 Plate is of rich light blue satin, embroidered with silk and 
 gold, and powdered with gold dust. 
 
 The three cranes are drawn with the usual skill of the 
 Japanese artist : and the manner in which they are rendered in 
 fine silk embroidery is absolutely faultless. The embroidery has 
 been most carefully represented by our artist, as well as the refined system of 
 colouring adopted by the embroiderer. The eyes of the birds are of glass. 
 
 The moon is cleverly executed in thin horizontal lines of gold, which glisten 
 with every movement of the fabric ; and the fleecy clouds are produced by gold 
 dust fastened to the surface of the satin by sprinklings of some description of 
 size or gum. The whole treatment of this interesting piece of work is 
 characteristically Japanese and singularly successful and pleasing. 
 The size of the original fukusa is 2A l A inches by 26% inches. 
 The border round the Plate is taken from a silk and gold brocade of a 
 simple diaper pattern. 
 
 In the possession of Monsieur S. Bing, of Paris. 
 
SECTION SECOND-PLATE V. 
 
 EMBROIDERY. 
 
 ERY few of the specimens of the Japanese embroiderer's skill 
 which have come under our observation are equal, in point of 
 refinement of feeling and delicacy of colouring, to the fukusa 
 represented in the present plate. The execution of the embroidery 
 is absolutely faultless; and the stitches (opus plumarimn) are laid 
 with a skill and accuracy unknown even in the finest specimens 
 of fourteenth and fifteenth century English or Continental embroidery. 
 
 The perfect representation of such marvellous embroidery is almost beyond the 
 powers of chromolithography ; but every care has been taken to do justice to the 
 original in our reduced Plate, and the general effect of the colouring has been 
 admirably secured. 
 
 The size of the original fukusa is 29% inches by 24 inches. 
 The border round the embroidery in the Plate is from a piece of silk and 
 gold brocade; the pattern is one of the simple interlaced diaper designs so much 
 affected by Japanese artists. 
 
 Iu the possession of Monsieur S. Binc, of Paris. 
 
SECTION SECOND-PLATE VI. 
 
 EMBROIDERY. 
 
 NOTHER embroidered Fukusa, of great beauty and interest, 
 forms the subject of the present Plate. The design is a favourite 
 one with Japanese artists — a trained falcon on its perch, under 
 a fir tree. The ground of the fukusa is dark blue satin ; and 
 the embroidery is executed with the greatest delicacy and accuracy 
 in floss silk and gold thread. The direction of the stitches, 
 and the manner in which they are laid, are clearly indicated on the Plate. The 
 bird is most beautifully rendered in white and grey silk, every stitch being laid 
 with marvellous precision. The fir tree, conventional clouds, and the greater 
 portion of the perch, are in fine gold couching; and the scarlet cords and tassels 
 are laid on in relief. This is a characteristic work of the early part of the 
 present century. The border round the embroidery is copied from a silk and gold 
 tissue. 
 
 The fukusa measures 29 inches by 25 inches. 
 
 In the possession of Monsieur S. Bing, of Paris. 
 
SECTION II. 
 
 Plate VI! . 
 
 O A Audslev Ji 
 
 bampson Low «Co Pub 
 
 Ino l_err.ercier «'„ 
 
SECTION SECOND. — PLATE VIE 
 
 EMBROIDERY. 
 
 II PRESENTATIONS of the peacock arc great favourites with the 
 Japanese artists, and arc successfully given in nearly all branches of 
 their decorative arts. They are cleverly rendered in their kakemono 
 and screen paintings ; on their large dishes and other articles of 
 porcelain ; on objects of lacquer ; on fukusa and richly embroidered 
 robes; and are also carefully modelled and cast in bronze. 
 The following remarks, which we have made in a preceding work on Japanese art,* 
 may not be out of place here : — " The peacock is not a native of the Japanese islands, 
 having been introduced there about two centuries ago. A story is told connected with 
 its arrival in the country which runs somewhat as follows : — On the New Year's day 
 festival a Prince of Hizen entertained at a banquet numerous distinguished guests, who 
 had come to his court to pay their respects, and to compliment him in the manner usual 
 on that day. The guests, after the entertainment, were asked to inspect the numerous 
 presents made to the Prince, and expressed extreme admiration at two foreign birds 
 which they had never seen before : these happened to be a peacock and hen. The Prince 
 took occasion, while they were discoursing on the beauty of one bird in particular, to 
 ask which of the two was the cock and which the hen. The gentlemen turning to the 
 gaily dressed ladies, and desiring to compliment them, unanimously decided that the 
 most beautiful must be the hen bird, while the ladies very modestly apprehended that 
 the finest plumaged bird was the cock. ' You are right,' said the Prince, bowing to 
 the ladies, ' Nature herself will have the male best clad ; and it seems to me 
 incomprehensible that the wife should have more pride and desire to go more richly 
 dressed than her husband, who must be at the expense of maintaining her.' An 
 excellent New Year's sermon, as Kaempfer says, for a heathen Prince." 
 
 * Keratttic Art <'f Japan. By G. A. Audsley and James L. Howes. 
 
Sic/ion Second. 
 
 EMBROIDERY. 
 
 Plate VII. 
 
 The piece of embroidered work which forms the subject of the present Plate is 
 zfltkusa of deep blue satin, dusted in places with gold powder, and enriched with a 
 peacock and hen, a rock, and peony flowers. The feathers of the cock are laid in 
 strong twisted silk threads and beautifully executed ; those of the tail being in light 
 brown and green silk and gold cleverly plaited together, with their eyes in floss silk. 
 The feathers of the hen are in floss silk executed in the ordinary feather stitch. The 
 eyes of both the birds arc applied in glass. The rock is laid in plaited strands of 
 silk and gold, the flowers arc executed in floss silk, and the leaves in fine chain 
 stitch. The entire work is of great beauty notwithstanding a feeling of hardness 
 which characterises its general execution. In this respect it differs very materially 
 from the embroidery of the fitfcusa illustrated on Plate V. of this Section. 
 
 The fukusa measures 30 inches by 25^ inches. 
 
 The border which surrounds it is taken from a piece of silk and gold brocade 
 powdered with the kiri. 
 
 In tlie possession of W. C. Alexander, Esq., of London. 
 
SECTION SECOND. — PLATE VIII. 
 
 EMBROIDERY. 
 
 a| HE present Plate represents the principal portion of the back of a 
 ■ Robe of cream-coloured satin, richly embroidered with floss silk and 
 embellished with flat gilding. 
 
 The whole of the lower part of the Robe is covered with floral 
 designs similar to those reproduced in the Plate, while the upper 
 part and the sleeves are powdered with circular medallions of 
 
 different sizes, irregularly disposed, as indicated on the Plate. All these medallions 
 are beautifully embroidered with crests and other devices on grounds of flat gilding. 
 The whole of the embroidery is executed with the ordinary Japanese stitch in rich 
 floss silks of varied colours. The flowers and leaves, throughout the Robe, are 
 disposed and coloured in the most effective manner, producing, along with the 
 powderings of medallions, a work of decorative art rarely equalled even by Japanese 
 artists. The gilding is executed with thick gold leaf, laid on the surface of the satin 
 previously prepared with some elastic size. 
 
 This Robe bears evidence of considerable age, and was in all probability 
 embroidered during the early part of the last century. Old works of this class 
 are extremely rare. 
 
 The width of the portion of the Robe represented is 27 inches. 
 
 In the possession of Monsieur S. Bing, of Paris. 
 
SECTION SECOND. — PLATE IX. 
 
 EMBROIDERY. 
 
 XAMPLES of Japanese embroidery executed upon gold grounds are 
 extremely rare, indeed the one illustrated on the accompanying Plate 
 is, so far as our knowledge extends, unique. It is a production we 
 are informed on good authority of the latter part of the seventeenth 
 century and was probably produced in Kioto. 
 
 The fabric is of thin yellow silk entirely covered on one side 
 with gold dust, fixed with some description of size. Pure gold has evidently been 
 used, for, notwithstanding the age of the piece, it has not become tarnished. Much 
 of the gold has, as might be expected, been rubbed off in places, but we have not 
 thought it advisable to show such decay in our representation, although we have 
 accurately reproduced the present state of the colours in the embroidery. 
 
 The embroidery is executed in rich floss silk chiefly in the ordinary Japanese 
 stitch. The long threads which cross the leaves are fastened down by the veins, 
 which are in common stem stitch. The petals of the flowers are also in long stitch, 
 the threads being in most instances laid diagonally; and the centres of the flowers arc 
 diapered with crossing threads of twisted silk. 
 
 The design, which is on a large scale in the original, is singularly bold and 
 effective, while the colouring is subdued by the nature of the ground. 
 
 The piece has evidently formed the back portion of a robe, as in the case of the 
 embroidery illustrated on Plate VIII. of this Section. Width of portion represented 
 29 inches. 
 
 /// the possession of MONSIEUR S. Bing, of Paris. 
 
Section Third. 
 
 Textile Fabrics. 
 
SECTION THIRD. 
 
 TEXTILE FABRICS. 
 
 LTHOUGH the textile fabrics of Japan may not be so 
 generally interesting, either from a technical or art point of 
 view, as the productions of the greater and more distinctive 
 art industries of the country ; yet they well deserve careful 
 consideration on the part of those interested in the processes 
 of weaving and in the application of ornamental art to the 
 productions of the loom. The first time Europeans had a 
 favourable opportunity of forming correct ideas relative to the 
 development of the textile industries of Japan was during 
 the International Exhibition of 1862, where, thanks to the 
 efforts and contributions of Sir Rutherford Alcock, a fine 
 series of woven materials was shown. We specially record 
 this fact here because in a prev ious Work we made the mis- 
 take of stating the first display to have been in the Paris 
 Exhibition of 1867. Speaking of this fact and of the textile 
 fabrics of the Japanese, Sir Rutherford says : — " Of textile 
 fabrics and embroidery, a species of Art manufacture in which 
 they have also achieved great excellence, I feel hardly compe- 
 tent to speak. Mr. Audsley is mistaken, however, in assum- 
 ing that the first time Europeans had any opportunity of 
 forming definite ideas about the state of the textile industries 
 of Japan was during the Paris Exhibition of 1867. They were very fairly represented 
 in the Japanese Court of our own International Exhibition of 1862, and some of the 
 
2 
 
 TEXTILE FABRICS. 
 
 Section Third. 
 
 specimens are still in my possession. The robes manufactured for the Court in past 
 years were models of beautiful work, both in design, colour, and texture, and many 
 of those from the Tycoon's own looms were there. I agree with him, however, in 
 the opinion that many of the commoner textile fabrics afford the best evidence of the 
 essentially artistic feeling of the people and its universality. In some of the very 
 commonest fabrics — towels and dusters of the least costly material — may be seen 
 choice designs consisting of the simplest elements. A broken bamboo or two in 
 ' counter-changed colours,' a flight of birds, or a few creeping plants, suffice in their 
 hands to produce the most pleasing effects, as artistic as they are original. Were I 
 more competent to deal adequately with this part of the subject, space would not 
 allow me to give as detailed and elaborate an account of the textile fabrics of Japan 
 as they merit from their extraordinary beauty and variety. From the thickest of 
 satins, plain or decorated with designs in brocade, to the most gossamer-like gauzes, 
 every combination of silk and gold thread has been carried to perfection by this 
 people. 
 
 " It was the custom," continues Sir Rutherford Alcock, " for each Daimio to have 
 his private loom for weaving the brocade with his own crest, which he and his 
 retainers wore on their dress ; and these brocades were either of satin, with the design 
 in dull silk, or of combined silk and gold thread ; sometimes stiff as cardboard, 
 and quite incapable of making folds. 
 
 " They weave a thick striped silk, with a cunning arrangement of white strands, 
 which give the effect of a bloom on the surface, like the soft down on plum or peach, 
 through which we see the rich purple or red of the fruit. Thick crapes are made 
 with plain surfaces, and also curiously wrought in the fabrication with folds or 
 wrinkles in the material, as if in imitation of the skin of some animal."* 
 
 The collection shown in the Paris Exhibition of 1867 was large, and remarkably 
 rich in the silk and gold brocades for which the Japanese weavers are justly cele- 
 brated. Most of the finer pieces were from the looms patronised by the late Sho-gun ; 
 and presented highly interesting designs and arrangements of colour. At the close 
 of the Exhibition the entire Japanese Collection was sold ; and the exhibits, including 
 the many rolls of silk and gold brocade, delicate tissues, and figured velvets, were 
 dispersed all over Europe ; materially assisting the spread of the knowledge and 
 appreciation of Japanese industrial art, and in giving a new direction and impulse to 
 Western art thought so far at least as decorative design is concerned. We shall 
 never forget the feelings of pleasure, surprise, and envy — of a very pardonable and 
 harmless kind — which came over us as we studied the wealth of glowing fabrics 
 spread out for our inspection. Prom that hour we have freely recognised the genius 
 of the art-workmen of the islands of the far East ; and have willingly learned such 
 lessons from their beautiful productions as our Western training fitted us to receive. 
 
 * Art and Art Industries of Japan, by Sir Rutherford Alcock, K.C.B., D.C.L. London 187S. 
 
Section Third. 
 
 TEXTILE FABRICS. 
 
 3 
 
 Since the year 1867 several collections of Japanese textile fabrics have been ex- 
 hibited in this country and on the continent; and large quantities have been sent to 
 Europe in the ordinary way of trade : and it is not too much to say that the more 
 one sees the more one wonders at the fertility of invention and the richness of imagi- 
 nation their designs present. So long as they are produced on true Japanese lines, 
 and show no taint of Western influence or the crudity of modern European dyes, 
 they are invariably satisfactory in the treatment of form and colour. 
 
 The writer in the Reports of the Japanese Commission at the Paris Exhibition 
 of 1878,* speaking of the history of the textile industry in Japan, makes the following 
 statements, which we presume are for the most part founded on sufficient authority : the 
 first date he gives we think may be passed over as apocryphal. He says: — "So far 
 back as the year 660 n.c. mention is made of the rearing of silkworms and the manu- 
 facture of textile fabrics. Hence we have reason to believe that at that time the industry 
 was established ; but what the methods of manufacture were we have no means of 
 knowing. Historical records inform us that in the year 283 a.d. Korea sent to us two 
 women skilled in the art of weaving : and in all probability the fabrication of figured 
 textiles in Japan had its starting point at that date. The Court at once recognised 
 the importance of this new industry, and established a special department to direct 
 the fabrication of the stuffs suitable for its use. This administration, known first 
 under the name of Hatoribc, finally assumed that of Oribi. This Imperial admini- 
 stration exercised a great influence upon the advancement of the manufacture, for there 
 were very fine stuffs produced as early as the year 500. At Nara, in the temple of 
 To-dai-ji, are still preserved brocades made seven hundred and fifty years ago : these 
 are of great beauty and are proofs that at the time of their production the art of 
 weaving was of long standing. Towards the close of the tenth century native in- 
 dustries had made great progress ; and we feel guaranteed in declaring that that 
 connected with the cultivation of silk and the production of fine textiles in the loom 
 was no stranger to the progressive movement. From this date, however, up to the 
 seventeenth century it languished under the disturbed condition of the country, swept 
 as it was with civil wars and continued political strife. The seventeenth century, 
 inaugurating a period of peace, allowed a renewed attention to be given to the in- 
 dustrial arts, and that of silk weaving rapidly assumed its old importance, and has 
 advanced ever since. 
 
 "At a very remote date cotton seed was imported into Japan from India; but as 
 the plant was badly cultivated it gradually disappeared. In the year 1550 the Por- 
 tuguese reintroduced it ; and since that time the cultivation of cotton has gradually 
 spread throughout the country, at the present day occupying an important place in 
 the national industries." f' 
 
 * Lc Japon it rExpesitim Uitiverscllc de 1S7S. Public sous la direction tic la Commission Imperials Japonaisc. Paris 1S7S. 
 f As the enumeration of the several classes of textile fabrics produced in Japan and the localities of their manufacture 
 is really outside the scheme of the present Work, devoted as it is to the Ornamental Arts of the country, it is not necessary 
 
4 
 
 TEXTILE FABRICS. 
 
 Section Third. 
 
 Unsatisfactory as this historical information is, it is all, apparently, the Japanese 
 Commissioners were able to obtain on the subject ; and forms one more proof of the 
 meagre character of the records touching the industrial arts of Japan. The literature 
 of Old Japan was not of or for the people ; it consisted for the most part of historical 
 legends and poetical writings from the pens of those in high places ; and such being 
 the case, it can hardly be expected to contain either dry historical data or practical 
 information relative to the manufactures of the country. 
 
 The construction of the looms and the modes of weaving in Japan appear to 
 have been from the earliest period of the simplest character; but, judging from the 
 examples we have of the rich and beautiful old fabrics produced by such primitive 
 appliances, great credit is due to the native weavers by whose manual dexterity, care, 
 and taste such artistic materials were produced. The loom employed in weaving the 
 plain cloths of the country differs in no essential point from the old hand loom used 
 in Europe, although its construction, or the mode of putting together the parts, is far 
 less substantial. 
 
 If a piece of plain cloth be examined it will be found to consist of two scries of 
 threads running at right angles to each other: that which proceeds in the direction of 
 the length of the piece being called the warp, whilst that which runs in the direction 
 of the width is designated the woof or weft. Other names are given to both these 
 
 for us to follow this writer any further; yet, as the Reports from which we have quoted are not readily accessible to our 
 readers, we here append the additional notes in their. original form. 
 
 "On sait maintenant que le Nishijin a Kioto est !e centre principal de la fabrication des tissus et que les etoffes de 
 valeur, telles que le Karaori, le Yamalo ttishiki, le Tsusureori, le Donsu, le velours, etc., viennent toutes de la. 
 
 " La quantite d'dtoffes fabrique'es, y compris le Chirimai ct le Habuhu; s'eleve a un million six cent trente-six miUe 
 tan, repre"sentant une valeur totale de trois millions cent quatre-vingt-dix miUe yen. Kirin, dans la province de Kozuke, est 
 aussi un des plus anciens centres de cette industric. Tombee en decadence, clle reconquit son ancien prestige vers 1'an 
 1500, et depuis la fabrication augments chaque annee. Kirin produit annuellement mille cinq cent trente-six mille tan, dont 
 la valeur est un million hint cent vingt-neuf mille yen. Les etofles connues sous le nom de Se"ikoori, Haki ta ori, de 
 Miadju, province de Rikuzcn ; les Hakata-ori de Fukuoka, province de Chikuzen ; le Chirimen de Nagahama, province d'Onii ■ 
 de Gifa, province de Mino ; de Mineyoma et Miadju, province de Tango; de Himeji, province de Harimo ; de Matsumoto, 
 province de Shinano ; les Kano Kosi bori, de Kito et de Hagi, province de Yamato ; les Gumai et Kayikiori, province de 
 Kai ; les Yukitsu mugi, de la province de Shimosa ; diverses etoffes de Hachidji, de Chichibu, province de Musashi ; les 
 Hosha Huroagi, province d'Echizen ; les Uedaoro, province, de Shinano, sont les plus renomme'es. 
 
 "Une usine a vapeur a e*te* fondee tout recemment a Sakai, province d'Idzumi, pour y fabriquer des etoffes de colon. 
 
 " On fabrique ce genre d'e'tofTes faconnees ou unies dans les localites qui suivent : Yuki, province de Shimosa j Osaka, 
 province de Setsu ; Hiroshima, province d'Aki ; Shimodate\ province de Hitachi j Yoshida et Nishiwo, province de Mikawa ; 
 Kakegawa, province de Totomi ; Matsumoto et Takato, province de Shinano ; Nishida, Ohno et Maruoka, province d'Echizen ; 
 Kashiwa bara, province de Tamba ; Totori, province d'Inaba ; Himeji, province de Harima ; Koga ichi, province de Suwo- 
 Matsugaka, province d'Ise; Rodota et Kokura, province de Bungo. 
 
 " Les deux Etoffes nommees Mompa et Unset se fabriquent dans les provinces de Kii et d'Idzumi. 
 
 "Comme nous ne voudrions pas fatiguer le lecteur en enumerant tons les centres de fabrication, nous.n'avons donne 
 ici que les principaux. Les deux sortes de toiles fabrique'es avec le Boehmaia ou le chanvre ordinaire viennent en general 
 de Shiwooawa, Takaichi, Kosendani, etc , dans la province d'Echigo. On a fabrique egalement a Nara, province de Yamato, 
 a Shikumi mura, province de Shinano, et dans les provinces de Kai, Omi, Kaga, Echizen, Inaba, Suwo, Tosa, Bungo, 
 Tajima, etc. II y a un genre special d'etoffes que l'on de'signe sous le nom de Moji, qui se divise en toiles et en cotons. 
 Ces moji jouissent d'une grande reputation et viennent de Tsu, province d'Ise. L'etofTe nommee Shifu est fabriquee avec 
 des chalnes de coton et des trames de papier; e'est un produit renomme" venant de Shiralshi, province d'iwaki. L'etoffe 
 dite Kudju, de Kakegawa, province de Totomi, est fabriquee avec le Pueraria Tumbergiana, et du coton; le premier sert 
 a former les trames ; le second, les chaines. On fabrique aussi une e"tolTe avec le Tilica cortata et le Wiskria chirtensis ainsi 
 que le Hi/'iscus iyrianui, etc., mats elle est fort repandue." 
 
Section Third. 
 
 TEXTILE FABRICS. 
 
 5 
 
 series of threads, but it is unnecessary to give them here. In the simplest style of 
 weaving, such as that employed in producing- the common cotton fabrics of Japan, 
 the woof threads are passed alternately under and over the threads of the warp; and 
 this is done in a loom which comprises an appliance for stretching evenly and side 
 by side all the warp threads ; a mechanical contrivance for raising and depressing 
 alternately the odd and even numbered threads of the warp throughout the entire 
 width of the scries, so as to allow the passage of the shuttle, carrying the woof 
 thread, between them ; and, lastly, a contrivance for beating each successive woof 
 thread, delivered by the shuttle, close to the thread previously thrown, and for support- 
 ing the shuttle while thrown to and fro. The loom is constructed of posts and beams 
 of wood framed together in such a manner as to support the contrivances just 
 mentioned. The warp is wound round the yarn beam placed at the further end of the 
 framing, and attached at the nearer end to another roller called the cloth beam, round 
 which the woven fabric is wound as it is produced. Between these two beams the 
 warp threads pass through the healds or heddles, which consist of a number of twines 
 with loops in the middle for the reception of the warp threads. The twines are 
 attached to rods above and below the warp. The healds are two in number so as 
 to divide the threads equally for the passage of the shuttle, as before mentioned ; they 
 arc connected above by cords passing over a small roller or pulleys, called the harness, 
 and below they are attached to long pieces of wood operated on by the feet of the 
 weaver, and accordingly called treadles. Between the healds and the cloth beam the 
 warp passes through the vertical openings or spaces of the reed — the comb-like 
 appliance by which the woof threads are beaten against each other. The reed is fixed 
 in a swinging frame, called the lay or batten, which carries, close to the reed, the 
 shuttle-race : along this race the shuttle is thrown from side to side by the weaver's 
 hands. This simple loom seems to be common to all countries; and although differing 
 somewhat in form in different places its principles of construction are invariably the 
 same. In the Japanese looms the cloth beam is not always supported by the framing, 
 as in our old looms; for in a drawing in our possession a female is represented 
 weaving with the cloth beam lying across her knees, and held in position by two 
 cords attached to the board on w hich she is sitting. The loom has two healds ; 
 and the lay is suspended by cords carried through a bamboo in the centre. In this 
 drawing the woman is engaged in weaving a very narrow fabric, in all probability some 
 dainty silken tissue or crape, in the production of which the Japanese have few rivals. 
 But there is no doubt that the same form of loom and the same method of using it 
 are adopted in the weaving of the common cotton fabrics used so largely throughout 
 the country for towels and the dresses of the poorer classes. 
 
 When we come to examine these common cotton stuffs, our attention is quickly 
 diverted from all considerations connected with the weaving thereof to the artistic 
 manner of their ornamentation by dyeing and printing. In point of manufacture they 
 arc far inferior to the cotton goods produced in this country; indeed, the fabrics woven 
 
6 
 
 TEXTILE FABRICS. 
 
 Section Third. 
 
 in the native looms are extremely loose and uneven, and would be almost useless to us 
 for any of the purposes to which we put cotton materials. With the late introduction 
 of spinning machinery and power-looms of course a new era commenced in the Japanese 
 cotton industry ; but with that aspect of the matter we have absolutely nothing to do 
 in a Work professedly dedicated to the Ornamental Arts. 
 
 JAPANESE BLUE AND WHITE TOWELS. 
 
 From an artistic point of view, probably the common towels of the country arc 
 the most worthy of note. Chiefly in blue and white, dyed or printed, they present 
 designs in endless variety, invariably striking and pleasing in character. It will be 
 
Sect ion Third* 
 
 TEXTILE FABRICS. 
 
 7 
 
 observed from the quotation given in the opening pages of this Section that Sir 
 Rutherford Alcock agrees with us, in the opinion we have expressed elsewhere, that 
 many of the commoner fabrics, including these towels, "afford the best evidence of 
 the essentially artistic feeling of the people and its universality " which can be met 
 with in this direction. He alludes to certain designs, such as a bamboo or two in 
 counter-changed colours, a flight of birds, and a few creeping plants ; and justly 
 remarks that in the hands of the native workmen they suffice to produce " most 
 pleasing effects, as artistic as they are original." The illustrations on the preceding 
 page show two designs of the class alluded to. They are taken from towels, of the 
 commonest kind, in our possession — simple strips of coarse open cotton cloth measuring 
 about 34 inches in length by 12 inches in width. The illustrations are coloured after 
 the originals. Such towels are made in large quantities in the villages of Arimatsti 
 and Narumi, near Nagoya, and in several other places throughout the country. 
 
 The processes by which patterns in one colour are usually given to such cotton 
 fabrics in Japan differ from those commonly adopted in Europe. They group them- 
 selves under three heads, namely, staining, dyeing, and stencilling. 
 
 The process by which fabrics are stained with ornamental designs may be termed 
 negative block printing; for the blocks employed, although cut in a fashion somewhat 
 similar to those used for hand printing by us, are made to impart the stain or 
 colouring material in exactly the opposite way to that which has always obtained in 
 Europe, and which may be correctly designated positive block printing. With us the 
 design is left in high relief by cutting away, to a considerable depth, the surface of 
 the block around the figures ; and the patterns in relief are charged with colour and 
 applied with pressure to the cloth. The Japanese calico printer proceeds in a very 
 different manner. His blocks are prepared to produce two effects — a white pattern on 
 a coloured ground and a coloured design on a white ground — in the following manner. 
 A block of wood is taken of the size necessary for the complete design, and the 
 pattern is drawn or transferred to its smooth and perfectly flat surface. The carver 
 then cuts away the ground around the pattern to a considerable depth, keeping the 
 edges of the portions left in relief very sharp and clean, and leaving the depressed 
 parts perfectly smooth. When all this has been done to his satisfaction, he bores 
 holes from all the depressions through to the other side of the block, forming them 
 into funnel-shaped openings from that side; finally varnishes the whole to resist the 
 action of water, and hands the block to the printer, along with another piece of wood 
 of somewhat larger size perfectly flat and smoothly planed on one face. It will be ob- 
 served that, except in the matter of the funnel-shaped holes, this block is precisely 
 similar to the one used by the old calico printers in Europe ; but, as we shall now 
 show, the manner of manipulating it is widely different. The Japanese block has 
 been cut as described with the view of producing a white pattern on a coloured 
 ground, such as that on the lower portion of one of the towels we have illustrated, and 
 the mode of using it is as follows. The printer takes a white towel or other piece 
 
8 
 
 TEXTILE FABRICS. 
 
 Sec/ion Third. 
 
 of cotton cloth and stretches it tightly on the smooth surface of the plain block ; he 
 then places the figured block, face downwards, upon the fabric and tightly clamps the 
 two pieces of wood together so as to bed the relieved design well into the cloth. 
 When this is done he pours the coloured stain or dye through the funnel-shaped 
 holes until it fills up all the depressions on its under surface. The stain immediately 
 saturates the exposed portions of the cloth, but does not touch the parts which are 
 tightly squeezed between the raised pattern and the flat surface of the under block. 
 The whole is then inverted and the surplus stain allowed to run out through the 
 holes. After enough has drained away to prevent the possibility of the stain spreading 
 in the cloth of its own accord, the blocks arc disconnected and the fabric removed to 
 be dried and fixed. 
 
 When the required design is to be rendered in colour upon a white ground by 
 this process, the block is prepared in the reverse manner ; instead of the pattern being 
 left in relief, as in the previous case, it is sunk from the surface of the block and 
 provided with the funnel-shaped holes. The fabric is pressed between the blocks and 
 the stain poured into the depressed pattern in the way above mentioned. 
 
 To us, familiar as we are with the simple processes of block printing as 
 practised in Europe, the Japanese method appears clumsy and unnecessarily com- 
 plicated ; but before we condemn it, it is advisable to ask ourselves if there may not 
 be some good reason for the adoption of the negative process, as we have ventured 
 to call it. If we examine a fabric printed in the European manner we will find that 
 the colour is full and bright on one side only ; and that on the other side merely 
 indistinct traces of it show themselves. But when we take up a Japanese towel, 
 patterned in the manner just mentioned, we find that the colour has gone entirely 
 through the fabric, and that the pattern is equally distinct on both sides. Here, then, 
 we have the whole and sole reason explained for the adoption of the seemingly 
 awkward Japanese method. Both the towels we have illustrated were produced by 
 the means briefly described, and they are precisely the same on both sides as regards 
 intensity of colour and distinctness of design. Of course the Japanese are perfectly 
 familiar with the ordinary or positive process of block printing ; and use it freely 
 whenever it is suitable for the material to be ornamented and the effect desired : but 
 as this mode of printing is familiar to everyone it is unnecessary to describe it here. 
 
 The Japanese produce designs in single colours by dyeing combined with the use 
 of "resists" and "discharges." When the pattern is to be given by a "resist," a 
 material which has the property of resisting the action of the dye is applied to the 
 fabric by the previous process of printing, or by stencilling, and the whole is im- 
 mersed in the dye vat. When the piece has remained long enough to thoroughly 
 absorb the dye, it is taken out and washed; under this treatment the "resist" is 
 removed, and the pattern appears white on a ground of uniform colour. Mr. Dresser, 
 in his recent book, describes a rather curious method sometimes resorted to by 
 the Japanese; he says: — "Let us suppose that a little figure — say a leaf — has to be 
 
Section Third. 
 
 TEXTILE FABRICS. 
 
 9 
 
 distributed in green colour over the surface of a fabric, a thing which could obviously 
 be done by the use of a small stencil plate and a brush with a little green colour. 
 But the Japanese have a labour-expending process (not a labour-saving method) by 
 which they achieve this result. They cut a series of leaves, all of the same shape 
 and size, in paper, and instead of using the sheets from which the leaves have been 
 cut as so many stencil plates, they take these paper leaves themselves and arrange 
 them upon the cloth in the manner required. Now holding a leaf with a finger of 
 the left hand, and with a sort of trowel in the right, on which rests a quantity of 
 ' resist,' they so spread the ' resist ' that the leaf is buried, as well as the cloth inter- 
 vening between the leaves. Leaf after leaf is covered in the same manner, care being 
 taken that the ' resist ' does not get under the edges of the paper. Each leaf, which 
 is just visible through the ' resist ' with which the fabric is covered, is picked up by 
 a needle point ; hence at these particular places the fabric is clean. The ' resist ' is 
 now dried, the fabric is dipped in a green dye vat, by which the leaf-like spaces 
 assume their colour. The cloth is now exposed to the steaming process which is so 
 familiar to us, and is then washed; thus the 'resist' is removed, and we have a series 
 of green leaves figuring a white surface." It is certainly somewhat difficult to imagine 
 a satisfactory reason for the adoption of a process so inconvenient and roundabout 
 as this one certainly is, for, as the author just quoted remarks, the same result could 
 be readily produced by the application of the green dye by means of a brush and 
 stencil plate. 
 
 Fabrics dyed a uniform colour are also figured by the action of "discharges" — 
 chemical substances which attack and destroy the colouring matter in the fabric. The 
 "discharge" is applied either by the negative process of block printing, being poured 
 through the holes in the block, or by being rubbed into the fabric with a brush and 
 stencil plate. When the action of the "discharge" is complete, the fabric is well 
 washed and dried. This process requires care to prevent the " discharge " injuring 
 the threads of the fabric. 
 
 The Japanese are very skilful both in the preparation and use of stencils. They 
 cut them from very tough paper and saturate them with lacquer so as to resist the 
 action of the moist dye. The stencil is laid upon the fabric, which has been previously 
 stretched upon a smooth board, and the dye is rubbed through its openings with a 
 stiff brush. By this simple process the colour is driven well into the fabric and the 
 pattern appears on both sides. 
 
 It is unnecessary to follow the subject of cotton fabrics and the methods of 
 ornamenting them to any greater length here, for the space at our disposal is limited, 
 and the manufacture and artistic treatment of the important silk textiles of the 
 country press for as full a review as is possible at our hands. 
 
 There can be no question that for several centuries the culture, preparation, 
 dyeing, and weaving of silk have been carried to the greatest perfection in Japan. 
 Silken fabrics have, in all the great periods of the nation's history, been lavishly 
 
10 
 
 TEXTILE FABRICS. 
 
 Section Third. 
 
 used for the costumes of the wealthy classes and for objects of ceremonial use. The 
 abundant supply and fine quality of the raw material, and the artistic skill of the 
 dyers and weavers, working directly under court patronage and government super- 
 vision, could not fail to produce results noteworthy in the annals of weaving. About 
 the end of the sixteenth century the fame of the Japanese weavers first reached 
 Europe, for many gorgeous court dresses were among the presents brought home by 
 the officials of the great embassy of 1584. Long before that time, however, Japan 
 had mastered all the technical difficulties connected with the industry; and was in 
 possession of all the mechanical appliances requisite for the production of the most 
 elaborate and complicated patterns in colours and gold. There is every reason to 
 believe that so early as the thirteenth century rich brocades were manufactured in 
 the city of Kioto : we have seen and handled specimens stated on good authority to 
 belong to the fourteenth century. Monsieur Bing, of Paris, to whom we are greatly 
 indebted for so many valuable contributions to the Plates of the present Work, 
 collected during his recent visit to Japan many beautiful and highly interesting 
 specimens of early weaving ; and among these are several believed to be of fourteenth 
 century date — fragments of rich textiles which show a complete control over all the 
 processes connected with ornamental silk weaving. 
 
 M. Louis Gonsc, in his recent book on Japanese art, says: — "There is no doubt 
 that the different processes of manufacture were brought from China ; it is perhaps 
 in this handicraft that the primary influence of the Celestials is indisputable. At the 
 old Court during the period preceding the advent of Yoritomo it was even the fashion 
 to wear Chinese materials." This statement, although at variance with the Japanese 
 Reports before quoted, which give Korea the credit of having introduced the art of 
 silk weaving into Japan, is probably correct so far as the processes of weaving richly 
 patterned fabrics are concerned. Allowing that the Chinese taught the Japanese 
 weavers their modes of producing silk brocades, it is quite obvious that, as in other 
 arts derived from the Chinese, the pupils quickly surpassed their teachers. On all 
 points of artistic excellence the finest Japanese textiles are superior to anything of a 
 kindred nature produced by Chinese looms. In the matter of plain and heavy silk 
 fabrics, however, the Chinese may fairly defy competition. As examples of the finest 
 class of Japanese fabrics we may direct attention to Plates V., X., XII., and XIII., 
 of this Section, which are faithful representations of works of singular beauty and 
 richness. 
 
 Specimens of early weaving are now becoming extremely scarce in Japan ; those 
 persons who happen to possess any being very reluctant to part with them. There 
 appear to be several collectors in the country who highly prize such evidences of the 
 early art culture and industrial skill of Japan. M. Gonse states that the most 
 celebrated collection is in the possession of the Prince of Kaga. He says: — "The 
 greater number of the specimens were collected by the first Prince of Kaga, Mae"da 
 Toshiyd The valuables of this powerful family form the richest private collection 
 
Str/ion Third. 
 
 TEXTILE FABRICS. 
 
 existing at the present time. The stuffs were shown some years ago at the in- 
 auguration of the statue raised to the memory of Toshiye." 
 
 As nothing but silk was worn by the aristocracy of Japan during the whole of 
 the feudal period and down to the revolution of 1868, it is not to be wondered at that 
 we- find in every old fabric evidences of the most careful artistic thought and mani- 
 pulatory skill. The immense variety of designs these textiles present is truly wonderful. 
 Prior to the end of the sixteenth century the most costly and luxurious robes were 
 worn by the men on all ceremonial occasions: but about that date the dresses of 
 ladies of the court and of the wives and daughters of the nobles became richer in 
 material and colour, those of princes and noblemen assuming a more sombre and 
 retiring character in design and colour. Although the Japanese nobles have always 
 worn silk garments of the most costly kind, thick and stiff as best suited the peculiar 
 style of dress worn at court, they appear to have displayed a refined taste for quiet 
 toned colours whenever it became a matter to be decided by themselves. This refined 
 taste has never died out. The form and colour of all state and ceremonial costumes 
 were prescribed by hard and fast laws, which every one, from the highest down- 
 wards, had to observe. 
 
 At what date the introduction of gold took place in the weaving of silk brocades 
 appears to be uncertain; but it was probably not used before the fourteenth century; 
 and then very sparingly in comparison with later times. During the fourteenth century 
 the designs adopted for the rich silks were simple in character and generally small 
 in scale ; diapers, frets, and repetitions of heraldic devices being those most commonly 
 used. Brocades in two colours were produced in large quantities. Floral designs, 
 such as we are familiar with in the later fabrics, do not appear to have been favourites 
 with the early weavers. Simple, however, as the brocades of the fourteenth century 
 may be in point of design, they show no weakness in point of manufacture. The 
 preparation and weaving of silk were perfectly understood at that period. M. Gonse, 
 in his L'Art Japonais, gives a drawing of a robe of the court of the Hojo, dating 
 about the middle of the fourteenth century. The pattern consists of a simple diapered 
 ground powdered with kikit crests: the colours are red and white. lie remarks: — 
 "Although this material is simple and severe in taste, it proves the high state of 
 perfection attained at the date of its manufacture." 
 
 During the following century the art of silk weaving made steady progress ; and 
 the designs of the brocades became somewhat more elaborate and floral in character. 
 But of the works of these early centuries we can speak only in very timid and 
 general words; the few examples of fourteenth and fifteenth century fabrics which 
 have reached the West render anything approaching a comprehensive description of 
 them impossible. All our exertions to obtain reliable information from Japanese 
 sources have ended in the most unsatisfactory manner. 
 
 There are numerous specimens of early textiles preserved in the celebrated col- 
 lection of ancient art at Nara, but these throw no trustworthy light on the history of 
 
12 
 
 TEXTILE FABRICS. 
 
 Section Third. 
 
 weaving in Japan. Their age is reputed to be about twelve hundred years. This 
 statement must, however, be accepted cum grauo sa/is. Mr. Dresser, who examined 
 these fabrics at Nara, remarks: — "What interests me most perhaps is the woven 
 fabrics, for these, while of this great antiquity, are in perfect preservation, and are 
 thoroughly mediaeval and Italian in the style of their patterns. Had I not known to 
 the contrary, and had I made but a cursory examination, I should have supposed that 
 certain specimens from the Bock collection in South Kensington Museum had been 
 lent for exhibition here, while others were more Arabian in character. One of the 
 Arabian-looking fabrics reminded me strongly of a plate in that magnificent work 
 L'Art Arabc, in which a similar fabric is portrayed (see plate entitled Etoffe de 
 feature, XII? siecle). In the specimen here at Nara the pattern consists of circles 
 regularly distributed, both horizontally and vertically, and separated from one another 
 by a distance equal to about half their diameter. These circles are fringed by a sort 
 of Arabian ornament, of such width that these fringings of the various circles almost 
 meet. In each circle are two conventional lions, face to face, while in the spaces 
 intervening between the circles are other small animals. Red and dull yellow is not 
 an uncommon combination of colour in these Arabian-looking fabrics." The textiles 
 here alluded to are evidently of foreign manufacture; and were probably sent as 
 presents to certain Mikados many centuries ago. That any are twelve centuries old 
 we gravely doubt. But the fact that such examples of foreign art were imported 
 into Japan at an early date may reasonably account for the Persian and Indian 
 influences we continually trace in Japanese ornament. The strong likeness of certain 
 forms in native art to those we have so long looked upon as characteristic of Gothic 
 decoration, is not easily accounted for. It is unlikely that any direct communication 
 existed between Japan and Western Christendom during the twelfth or two following 
 centuries. With reference to the textiles at Nara, Mr. Dresser appears to have no 
 hesitation in accepting the age given to them by the Japanese. He concludes his 
 remarks upon them by saying: — "There is no museum of antiquities in the world, so 
 far as I know, half so instructive to the European as this rare collection at Nara. 
 Where else could we see fabrics printed, embroidered, and felted, and, although more 
 than a thousand years old, almost as fresh as on the day when they first left their 
 makers' hands in India, Persia, Central Asia, China, and Japan ? " 
 
 In the Reports of the Japanese Commission, already quoted, it is stated that 
 very fine stuffs were produced in Japan as early as the opening of the sixth century ; 
 and that at Nara, in the temple of To-dai-ji, arc still preserved brocades fabricated 
 seven hundred and fifty years ago. From this it would appear that the' Japanese 
 firmly believe in the great antiquity of the fabrics at Nara; and we can only remark, 
 if the former statement is correct, relating to the condition of the art of silk weaving 
 about the year 500, that the fabrics at Nara may well be of the twelfth century. We 
 feel, however, some hesitation in accepting it as an established fact. 
 
 During the sixteenth century the art continued much in the same state as in the 
 
Sir/io/l Third. 
 
 TEXTILE FABRICS. 
 
 '3 
 
 two preceding centuries; the disturbed state of the country in all probability checked 
 its development. In the matter of design a gradual change, however, took place ; a 
 greater richness of colour and a more florid style of decoration were introduced in the 
 silks used for court and ceremonial costumes. Some dresses, reputed to be of this 
 epoch, which have reached Europe, are distinguished by both the above characteristics. 
 Embroidery was resorted to in many cases to supplement and enrich the patterns 
 produced in the loom. Towards the end of this century, as we have before stated, 
 the more gorgeous fabrics were chiefly used for ladies' dresses. 
 
 In the seventeenth century we approach a field of more reliable nature ; historical 
 information, though scanty to a degree, is fairly trustworthy; and examples of textiles 
 produced during the later part of the period are more numerous and accessible. Japan 
 became settled and peace-loving during this century, and its art industries received a 
 new impulse and increased patronage. M. Gonse remarks :— " It was in the seven- 
 teenth century, at the Court of Yedo, that the costumes attained their most exalted 
 splendour and elegance. The art of weaving had arrived at perfection. I am of 
 opinion that the epoch of Yemitsou was the period at which the silk industry had 
 reached its best days." M. Gonse illustrates, in proof of this statement, a robe of 
 fiery red damask decorated with symbolical cranes, and a piece of an obi of velvet 
 (" velours dpinglc") figured with flowers and butterflies, the treatment of the latter 
 closely resembling that presented in our Plate V. of this Section. The general design 
 of the fragment in M. Gonse's collection is, however, by no means so bold or good 
 as that of M. Bing's obi, illustrated by us. 
 
 At this point we may make a few observations on the weaving of these charac- 
 teristic velvets in Japan. Very few specimens which can lay claim to any age have 
 reached Europe, but the few that have come are remarkable for the vigour of their 
 design and the perfection of their workmanship. We need only point to the velvet 
 represented in Plate V. to support what has been said relative to artistic treatment; 
 while we can assure the reader that, in point of manufacture, it can, as M. Gonse has 
 claimed for his fragment, "compete with the finest Genoese velvet of the commence- 
 ment of the seventeenth century." The pattern of the fabric on Plate V, has all the 
 character and masculine vigour of a design by KoRIN ; indeed, one can easily imagine 
 such a design having been derived from some superb piece of lacquer by that won- 
 derful master. It is produced by black cut velvet and black and buff uncut velvet 
 upon a ground of tightly woven silk having a slight satin finish. 
 
 At what time the art of weaving velvet was commenced in Japan is uncertain, 
 and conflicting opinions exist on the question. We do not think, however, that the 
 possession of dry historical data on this or any other art will add anything to the 
 popular appreciation of Japanese handicraft, or will in any way assist its influence for 
 good on Western ornamental design ; hence we have not sought to pad this book 
 with lengthy historical disquisitions, always certain to be, from the extreme difficulty 
 of procuring information from the Japanese, more or less unreliable. Our own expe- 
 
14 
 
 TEXTILE FABRICS. 
 
 Section Third. 
 
 fience during our eighteen years' study of Japanese art is that it is hopeless to find 
 two Japanese who will or can give the same information when questioned, or who 
 will agree on any one point. This may, in all likelihood, be the result of ignorance, 
 not at all to be wondered at, or a simple or suspicious reluctance to tell us what they 
 know relative to their native industries. If well-educated and intelligent Europeans, 
 travelling in Japan, were suddenly questioned as to the time when the weaving of 
 velvet was first practised in the West, it is more than probable, unless they were 
 thoroughly versed in the history of weaving, that they would be unable to give a 
 satisfactory reply, or feel themselves capable of making anything beyond the merest 
 guess. Hence we say that ignorance on the part of an ordinary, well-educated, and 
 highly intelligent Japanese on this or any kindred subject is not to be wondered at 
 for a moment. He may put aside the question by some hasty statement which must 
 not be relied upon. But to return. The weaving of velvet has, in all probability, not 
 been practised in Japan for much above a couple of centuries. If M. Gonse's fragment 
 is an authenticated work of the seventeenth century, it is a sufficient proof that the 
 manufacture of rich figured velvets was thoroughly understood during that epoch : and 
 the fine obi, in the Bing Collection, given on Plate V., is reputed to be about two 
 hundred years old. 
 
 The active commercial relations of the Dutch with Japan during the latter half 
 of the seventeenth century may have led to the introduction of examples of Flemish, 
 Italian, or French velvets into the country: and the very sight of these in Kioto would 
 fire the imitative faculties of the weavers of that imperial city, and spur them on to 
 produce similar materials. It is quite possible that the Portuguese may have brought 
 such costly fabrics as presents to the Court during the latter part of the sixteenth 
 century. The Portuguese trade commenced shortly after the year 1542, the year in 
 which the Portuguese merchantman was wrecked, during a voyage from Siam to China, 
 on the western coast of the island of Kiusiu. Or it is quite probable that the first 
 figured velvets ever seen in Japan were those forming the gorgeous vestments of the 
 Jesuit fathers under Francis Xavier. Sir Rutherford Alcock believes the manufacture 
 of velvet to be quite modern. He remarks : — " We arc now endeavouring to copy this 
 emancipation " (alluding here to the freedom of Japanese textile design) " from for- 
 mality, and the soft crape and silk materials, with patterns in satin, so much introduced 
 in Paris and London, are close imitations of Japanese materials. They," (the Japanese) 
 " on the other hand, are learning to make our velvet, which is not a native manu- 
 facture." Mr. Dresser, on this subject, says : — " The Japanese seem to understand 
 most of the systems of weaving that we employ, but they also have methods peculiar 
 to themselves. It is common to find terry cloths with parts so cut as to produce a 
 velvet pattern, when the velvet appears as the figure, and the terry as the ground ; 
 but when this is the case it generally happens that by looking into the cut surface of 
 the velvet gold may be seen, for the Japanese often weave gold into the substance of 
 a fabric so that it can only be seen through the cut pile surface." Some remarkable 
 
Section Third. 
 
 TEXTILE FABRICS. 
 
 •5 
 
 pieces of figured velvet were shown by the Japanese in the Paris Exhibition of 1867. 
 These had woven grounds entirely of dull gold, with bold patterns, in the style of 
 Korin, thrown up in black, white, and subdued tints, cut and terry velvets being alone 
 used for the designs. Kioto appears to have always been, as it is now, the seat of the 
 velvet weaving industry in Japan. 
 
 Another branch of manufacture apparently took root in Japan about the end of 
 the sixteenth or the beginning of the seventeenth century, in all probability through 
 Portuguese agency ; we allude to tapestry weaving. The silk tapestry of Japan is 
 characterised by extreme accuracy and delicacy of manufacture, produced, like the 
 Gobelins tapestry, entirely by a tedious hand process. On Plate VI. of this Section 
 is given a truthful representation of a characteristic piece; and we may refer the 
 reader to the Description attending the Plate for particulars regarding its fabrication. 
 
 M. Gonsc, who has given considerable attention, under specially favourable cir- 
 cumstances, to the textile art of Japan, thus speaks on the subject of its tapestry: — 
 " Ainsi que me le faisait remarquer M. Alfred Darcel, il ne s'agit pas d'un tissu prc- 
 sentant plus on moins d'analogie avec nos tapisseries europeenncs, mais bien d'un 
 veritable point des Gobelins, d'une execution ties soignee. Les proce'des en ont-ils 
 ct6 importes par les Portugais 011 par les Hollandais? Je n'ai pu avoir de renseignc- 
 ments precis a cet egard. Les Japonais m'ont affirme que l'origine de ces tapisseries 
 etait chinoise. Tout ce que je sais, e'est qu'on en fabriquait deja a Kioto a la fin du 
 XVL siecle. Taiko Sama fit exdeuter pour Mae'da Toshiye un grand panneau de 
 tapisseries que le prince de Kaga possede encore aujourd'hui. M. le comte de Monbel 
 m'a affirme" avoir vu au Japon, soit dans les temples, soit entre les mains de quelques 
 particuliers, des tapisseries europeenncs du XVIP siecle. La production des ateliers 
 de Kioto a, du reste, etc fort restreinte ; les specimens de cette industrie sont des plus 
 rares et a peine connus en Europe." 
 
 M. Gonse illustrates in his book, though in a weak and rather unsatisfactory 
 manner, five specimens of tapestry from his own collection. One of these presents 
 a trunk and branches of tunc in subdued colours on a mixed buff and gold ground, 
 reputed to be of the end of the sixteenth, or, at latest, of the commencement of the 
 seventeenth century. The remaining four pieces present floral designs in harmonious 
 low-toned colours and gold upon light blue grounds ; these arc fixed by their owner 
 to be of the eighteenth century. We have not seen the originals and can form no 
 opinion as regards their manufacture from the small and carelessly executed chromo 
 prints which are before us. 
 
 We have been unable to find in Japanese books any illustration showing the 
 tapestry weaver at work, although drawings of the ordinary loom weaving are nu- 
 merous. The fact that tapestry working was always a select and never a popular 
 industry in Japan may account for this. The absence of any illustration is to be 
 regretted, for the slightest sketch would inform us whether the tapestry is wrought 
 in a horizontal or upright frame. A careful examination of several examples of the 
 
i6 
 
 TEXTILE FABRICS. 
 
 Section Third. 
 
 finest description of Japanese tapestry inclines us to believe that the vertical frame 
 (the haute-lisse of the French weavers) was employed in their fabrication. 
 
 Tapestry cannot be considered true weaving nor is it genuine embroidery, yet the 
 mode of its production may be said to combine in a manner both weaving and 
 embroidery. It is wrought in a loom or frame on which are stretched the warp 
 threads. The designs and ground are not thrown across these from side to side by 
 means of a shuttle or any similar appliance, but are laboriously produced by countless 
 short threads of silk or gold put in by a sort of needle. The result is a compact and 
 durable web in which the woof alone appears on both sides ; the back being the same 
 as the front excepting that it presents a rough appearance in places where the ends 
 of the woof threads fall out. 
 
 It will be observed on reference to Plate VI. that a certain mosaic treatment 
 obtains, with no attempt at graduation or mingling of colours. This is the cha- 
 racteristic of all the Japanese tapestry we have met with; and appears, to our minds, 
 to favour the hypothesis of a Chinese rather than an European origin for the manu- 
 facture in Japan. Of course this flat-coloured and hard-edged style of tapestry is 
 simple and tentative ; and bears no comparison with the elaborate system of textile 
 painting practised at the Gobelins and other old and celebrated European establish- 
 ments: but it is quite possible that the Japanese, seeing that work requiring many 
 graduated colours could be more readily done by embroidery, never sought to imitate 
 European work or to develop the art of tapestry working beyond its simplest limits. 
 So far, however, as they elected to go they accomplished wonders : their tapestries 
 are absolutely perfect as regards manipulative skill. 
 
 The latter half of the seventeenth and the opening years of the eighteenth century 
 formed unquestionably the greatest epoch of Japanese textile industry. The beautiful 
 fabrics illustrated on Plates V., X., XII., and XIII., are characteristic specimens of 
 the silk weaving of this period, and prove the efficiency of the mechanical appliances 
 employed in their fabrication, as well as the dexterity and taste of their weavers. The 
 fabrics shown on Plate X. are remarkable essays, presenting much of the beauty and 
 refinement of hand embroidery in their floral decoration, and consummate skill in the 
 production of their graduated grounds by simple warp and woof threads. 
 
 During the eighteenth century the weaving of gorgeous brocades continued to 
 increase ; but their production in vast numbers led to a deterioration in quality and 
 a falling off in excellence of design and colouring. By some this century is believed 
 to have seen the culmination of all the arts of Japan ; but we gravely doubt, however 
 rich it may claim to be on the score of prolific production, that it surpassed the 
 previous century in artistic feeling and culture. We have carefully selected the 
 brocades represented on Plates IV., VII., and XL, to show the taste and skill of the 
 weavers of the first half of the century; and in them we may trace the lingering 
 refinement of the close of the seventeenth century struggling through new convictions. 
 The brocades on Plates III., VIII., and EX., show the true style of the eighteenth 
 
Section Third. 
 
 TEXTILE FABRICS. 
 
 17 
 
 century towards its close. This century was extremely rich in embroideries ; and the 
 production by the needle of so much in the direction of floral design no doubt 
 engendered a taste for conventional and geometrical forms in loom-wrought patterns. 
 Free treatments of flowers, such as may be seen on Plates X., XII., and XIII., appear 
 to have been almost totally abandoned in favour of such conventional and stiff ren- 
 derings as those presented by Plates VIII., IX., and XI. 
 
 Of the works of the first half of the present century it is unnecessary to speak in 
 any particular way ; they simply continued to be designed and carried out in the 
 same spirit as those of the end .of the preceding century. Plates I. and II. are from 
 brocades of this period. We arc now confining our remarks to those fabrics which 
 received their patterns, by coloured silks and gold, in the loom ; leaving the remarks 
 we have to make on fabrics decorated by hand until the closing lines of this essay. 
 
 Having concluded our brief semi-historical review, wc may now say a few words 
 on the method of weaving the silk and gold brocades alluded to. With the rearing of 
 the silkworms, the unwinding of the cocoons, and the preparation and dyeing of the 
 silk threads before they reach the loom we have nothing to do here * ; our brief 
 description begins with the arrangement of the warp threads in the loom. 
 
 All the appliances connected with the old Japanese loom are of the most primitive 
 kind, as few mechanical contrivances and as much simple manipulation being resorted 
 to as possible. For instance, a more primitive arrangement for "warping" could not 
 well be imagined than that shown in the cut on the following page, from the great 
 Hokusai's E-hon tei-kin d-rai. The threads for the warp are tied at one end to a 
 piece of bamboo stuck in the centre of an old millstone; while the other ends are 
 passed through the reed of the loom and wound in proper order on the yarn beam, 
 which is, in this case, a board reduced in width where the threads are wound, anil 
 
 * For the reader interested in this matter we quote the remarks which appear, on the preparation of the silk threads, 
 in the Reports of the Japanese Commission at the Paris Exhibition of 1S7S. 
 
 " Preparation des fils. Cette preparation n'a rapport qu'au traitemcnt des fils avant lemontage du metier. Dans le 
 cas 0(1 le hrin destine" a composer la chaine doit etre simple, on le teint d'abord, puis on le devide. Si le brin duit etre 
 tordu, on le devide d'ahord, on le teint, puis on le redevide. Si les brins doivent etre doubles, on les teint d'abord, on 
 les devide et on les double. Si les brins doivent etre cuits, on les devide a l'etat de soie grege, on les tord, on les cuit, 
 on les teint et on les redevide. Pour les trames, les fils employes en brins simples sont traites de la meme maniere que 
 les fils de chaine, puis passes a la canette, et mis dans la navette. Si le brin doit etre tordu, on le devide, on le tord, 
 on le teint, puis on le redevide pour monter ensuite la navette. Si les brins doivent etre doubles, ils sont d'abord devide*, 
 double's, teints, puis rede"vide"s. Pour les fits qui doivent etre cuits, on les devide h l'etat de soie grege, on les tord, on 
 les cuit, on les teint et on les deVide. Pour les fils qui doivent etre cuits et doubles, on les deVide d'abord a l'etat de 
 soie grt : ge, on les double, on les cuit, puis on les redevide pour monter la navette. 
 
 "Les fils, tant pour la chaine que pour la trame, doivent etre impregnes de colle de riz ou de colle d'algues marines, 
 quand le genre d'etoffe que l'on veut fabriquer l'exige. 
 
 " Le den'idage consiste a enrouler sur de petitcs bobines la soie en echeveaux, mouillee, puis sechee au prealable. 
 
 "La torsion consiste a tordre au moyen d'un deVidoir la soie grege devidee. Cette torsion simple se nomme Katayori ; 
 la torsion de gauche a droite de la soie a plusieurs brins s'appelle An'osiyori. La torsion en sens inverse se nomme 
 tdoroyeri. La soie it plusieurs brins, tordue tres-fortement avec des de'vidoirs de dimensions variees, porte le nom de 
 Honyori. Le fil qui a deja subi le traitement ci-dessus {Honyori) et qui a ett3 tordu de gauche a droite est joint a un 
 nouveau fil que l'on tord de droite a gauche ; ce procede porte le nom de Habtyori. Le doublage consiste a devider en 
 doublant plusieurs brins sur une autre bobine. 
 
 " L'operation dite Nayasu consiste a mettre environ cent motnme " (s/ 6 lb. avoirdupois) " de soie gre'ge dans un sac en 
 cuir souple et a le frapper pendant environ une heure avec des maillets en bois." 
 
i8 
 
 TEXTILE FABRICS. 
 
 Section Third. 
 
 notched at each end to fit into the loom. In another and older series of drawings, 
 illustrating the entire silk industry from the hatching of the silkworm eggs to the 
 operations of the loom, we observe that the warp threads are first wound to the 
 required length from large reels on to smaller ones, and thence collected in the 
 process of warping. This operation is partly shown in the large cut on the adjoining 
 page, which forms the last of the series. 
 
 The construction of the silk loom in the same cut is not altogether easy to make 
 out. It appears to be an old form of the simple loom employed in the weaving of 
 the plain fabrics so largely used in all epochs by the Japanese for articles of dress. 
 
 FROM HOKUSAfS E-//ON TEI-K1N O-K.-lf. 
 
 The loom employed for the weaving of the richly figured brocades, such as arc 
 illustrated in our Plates, is of the simplest form compatible with the work it has 
 to perform. It does not differ materially in its construction from the loom already 
 described in connexion with the weaving of cotton, except that the large healds are 
 omitted and an arrangement of independent vertical strings takes their place, exactly 
 as in our Jacquard looms. These strings are looped to receive the warp threads, 
 and are the same in number as those threads. A single warp thread passes through 
 each of the loops so that it can be drawn up at pleasure ; or any number can be 
 drawn up in combination as the design of the brocade dictates. 
 
Section Third. 
 
 TEXTILE FABRICS. 
 
 19 
 
 Previous to the invention by Jacquard of the ingenious apparatus which bears 
 his name, looms similar in principle to those used by the Japanese were universal in 
 Europe for figure-weaving. The following description of our old drawloom will serve 
 to fully explain the modus operandi of the Japanese brocade looms. 
 
 FROM A SERIES OF OLD DRAWINGS REPRESENTING THE PROCESSES OF SILK MANUFACTURE. 
 
 " Figure- weaving requires considerable preparation in mounting the loom, and 
 differs from plain-weaving in the number and arrangement of the healds, and the 
 method of moving them. As the number of healds is generally too great to be moved 
 
20 
 
 TEXTILE FABRICS. 
 
 Section Third. 
 
 by the feet of the weaver, an apparatus called the drawloom was in general use until 
 the introduction of the Jacquard machine, and still continues in use in certain localities 
 (1854). In the drawloom, the warp threads are passed through loops formed in 
 strings, arranged in a vertical plane, one string to every warp thread ; and these strings 
 were so arranged in separate groups, that when an attendant, called the drawboy, 
 pulled the handle which united one group, he drew up all those warp threads which 
 in the order of the pattern, required to be raised for the passage of the shuttle. The 
 order in which the threads are grouped is determined by a pattern paper or design ; 
 it is divided by lines into small squares, so as to represent a woven fabric, and upon 
 
 FROM HOKUSAI'S E-HON TEI-KIN O RAL 
 
 it the pattern is drawn and coloured. It thus guides the weaver in building the 
 ' wont lire,' or arranging and grouping the various threads; and the order in which 
 the handles are to be pulled or drawn is also arranged so that the weaver and his 
 drawboy may work with ease and certainty. The building of the monture was often 
 a work of some months, and then only served for one pattern." * 
 
 In all the looms for figure-weaving in Japan the "drawboy" is an important and 
 indispensable adjunct, for no attempt seems to have been made to substitute a me- 
 chanical appliance for his monotonous labours. He remains, perched up aloft, pulling, 
 
 * Cyclapadia of Useful Arts, edited by Charles Tomlinson. London 1S54. 
 
Sir //on Third. 
 
 21 
 
 with wearisome regularity, group after group of healds until the pattern appears 
 complete, and then commences the routine afresh, and so on from morning until 
 night.* A drawing of what is evidently intended fur a brocade loom is given in 
 Hokusai's E-hon tci-kiii o-rai. This we give a reproduction of in the cut on the 
 opposite page. Unfortunately the upper part, which is controlled by the "drawboy," 
 is omitted. 
 
 The process of weaving elaborate patterned silks is of necessity slow ; care must 
 be taken that no mistake is made by the "drawboy," and that the proper shuttle is 
 used each time. There are as many shuttles as there are colours in the woof, and 
 they are not quickly thrown from side to side by mechanical means, as they are in our 
 looms, but deliberately passed from hand to hand between the threads of the warp. 
 
 The gold used in the weaving of brocades is almost invariably in the form of 
 ■very narrow strips of paper, gilded on one side. The paper used is extremely tough, 
 called torino ko ; sheets of this are stretched and coated with size prepared from a 
 certain kind of seaweed. When dry they are smoothed by being rubbed with the 
 fibrous portion of a gourd which has been decayed in water; then again coated with 
 size and covered with gold leaf. The leaves of gold are gently pressed with wadding 
 to lay them evenly, allowed to become thoroughly dry, and finally rubbed over with 
 cotton wool dipped in colza oil. At this stage the sheets are ready for the shredding 
 process. They are accurately cut into strips, averaging about 75 to the inch ; and in 
 this condition are woven in the fabric. The strips are generally supported on the 
 underside of the fabric, where not required for the pattern, by a very fine secondary 
 system of warp threads. In some brocades we have met with the gold strips left loose 
 or cut away at the back. The secondary system of fine warp threads appears to be 
 generally adopted to support the thick silk woof threads in the best class of richly 
 figured fabrics. Indeed, it is absolutely necessary to the production of a firm and 
 durable material. Much ingenuity is shown by the Japanese weavers in building the 
 " monture " for their elaborately figured silk and gold brocades, grouping and arranging 
 the healds of both the systems of warp threads so as to throw the rich silk warp well 
 on the face of the fabric, and binding the silk woof and gold strips, laid woofwise, 
 into a homogeneous texture. Without a very elaborate series of diagrams, of a 
 technical nature, it would be impossible for us to explain the Japanese methods of 
 weaving these brocades ; and it is questionable if such purely mechanical matters are 
 within the limits of the scheme of our Work. 
 
 * The following extract from the Reports of the Japanese Commission proves our statement to be correct. "II y a 
 deux sortes de metiers connus sous les noms de Takabata et Sirttbata. La construction de ces metiers etant tres- 
 complique'e, nous n'essaierons pas ici de les decrire, car, alors meme que nous le ferions, le public ne pourrait s'en rendre 
 un compte exact sans voir l'appareil. 
 
 " Pour tisser, on commence par faire passer dans le peigne les fils de chaine prepares, puis on le met en place, le 
 scmple se composant d'un certain nombre de ficeiles, nombre proportion™? it celui des fils de chaine et de trame ; ce semple 
 est dispose scion les dessius trace's sur la carte quadrillee et il est tenu par un homme assis sur le haut du meuer, qui fait 
 descendre et monter les fils de chaine, ce qui fait bientot apercevoir le dessin. Dans le cas du me'tier dit Tttkabaia, on 
 empluie une grande navettc chargce de fils de trame ; s'il s'agit, au contraire, du Hira/'tita, on emploie une petite navette 
 dite Katamo (thon) par suite de sa ressemblance avec ce poisson." 
 
22 
 
 TEXTILE FABRICS. 
 
 Sec/ion Third. 
 
 In conclusion, we have a few words to say on the methods of ornamenting plain 
 silk fabrics by dyeing, printing-, and painting. The fabrics upon which the greatest 
 amount of ingenuity is expended by the Japanese artists are fine varieties of silk 
 crape, woven in narrow pieces, not exceeding, as a rule, sixteen inches in width. The 
 richer and heavier material called chiritnen, is produced of much greater width. 
 
 As the ornamentation of these crapes is almost entirely the work of the hand, it 
 naturally presents an interesting field of study to the decorative artist. We have 
 before us as we write three pieces of silk crape ornamented with striking designs. 
 These may be briefly described as follows. The first in importance has a ground of 
 a refined slate-blue, upon which arc disposed numerous oblong panels or medallions, 
 grounded with fawn and marked with graining lines, as if intended to represent wooden 
 panels or screens. These are erratically disposed in overlapping groups, and are most 
 elaborately enriched with square and irregularly-shaped compartments or patches of 
 richly coloured designs. Some of these designs, representing flowers and leaves 
 floating on water or lying upon ice, arc marvels of delicate manipulation. Between 
 the groups of panels the blue ground is relieved by masses of dark brown lines of 
 no definite pattern and white branches bearing pink and scarlet lime flowers and buds. 
 
 The second piece of crape is ornamented with most artistically drawn birds, flying 
 singly, or congregated together in groups of three, five, seven, and occasionally greater 
 numbers. The ground is a medium-toned slate-blue, and the birds are in several 
 shades of brown, drab, white, and black. The third piece is somewhat similar in 
 treatment. The ground is of the favourite slate-blue relieved with small dashes of 
 bamboo in darker slate-colour. The birds are wild geese, represented in full flight, 
 and rendered in shades of grey and black. 
 
 Even on the most careful examination of such fabrics it is extremely difficult to 
 discover the exact methods followed by the artists in their ornamentation. That they 
 combine dyeing, painting or brush staining, and printing there is no doubt; but to 
 what extent "resists" and "discharges" have been resorted to in all cases is uncertain. 
 
 The first operation of the artist, on being handed the piece of white crape, is to 
 carefully draw, throughout its entire length, the general outlines of the design, so 
 much at least as is requisite to direct the application of the " resist." The spaces are 
 now filled in with the paste-like compound ; and all the delicate lines, which arc to be 
 left white, have the "resist" applied in thin threads well pressed into the fabric. 
 When the " resist " has become perfectly dry, the crape is immersed in the dye vat : 
 and on removal is steamed and washed in the usual way. The fabric is now returned 
 to the artist, who, with brushes dipped in the various stains, paints in such details 
 as are required, and adds any ornamentation his taste directs to the ground. The 
 fabric is now finally steamed, washed, and dried. Such is evidently the method fol- 
 lowed in the production of the bird patterns above mentioned. 
 
 A still more complicated and roundabout way is followed by the Japanese silk 
 painters, for so they may be called, who produce the marvellous ornamentation 
 
Section Third. 
 
 TEXTILE FABRICS. 
 
 23 
 
 frequently to be seen on native dress fabrics, in carrying out their quaint and pretty 
 conceits. Mr. Dresser has so clearly described the mode of procedure we allude to, 
 that we venture to quote his words in preference to giving a description from out 
 own pen. He says : — 
 
 " Now as to the means of figuring fabrics, the silk is first given to an artist, 
 who draws the pattern upon it as carefully as if he were designing an historical 
 cartoon. The pieces of silk figured by the process which I am now describing, are 
 about forty feet in length by twelve inches in width, and on the entire fabric the 
 artist places either a varying or a repeating pattern as is required. This pattern he 
 draws with a preparation of indigo, which can readily be removed from the fabric by 
 washing; and he not only gives outline but adds depth, shade, or whatever may enable 
 him to produce a desired effect. Thus, at the outset, the whole pattern is drawn 
 by hand, and this we should think a sufficiently costly mode of giving figure to a 
 fabric ; but in the process which we are considering the work is only now in its first 
 stage of production. 
 
 " The artist having finished his work hands the fabric to a workman w ho has 
 prepared a material of a most tenacious anil ductile nature — a sort of glutinous 
 bird-lime. This mucous matter he forms by boiling the finest possible rice-flour with 
 lime water of a particular strength. Having previously prepared this glutinous matter 
 he warms it slightly, and rubs it on a board with a kind of putty knife, but it appears 
 to me as difficult to rub as warm india-rubber would be. A piece of this bird-lime 
 about the size of a small pea is placed on the end of a wooden point or skewer, and 
 a portion of the fabric is stretched flat by bowed pieces of cane being placed beneath 
 it. Thus all is ready for work. Holding the stretched fabric over a small charcoal 
 fire, with the left hand under the cloth, so as to raise any portion of it that may be 
 necessary, and with the point of wood, on which is the little ball of plastic matter, in 
 the other hand, the operator begins by touching the fabric at some point of the 
 pattern, say at the base of a leaf, w ith the mucous ball, which at once adheres to the 
 cloth. The ball of mucus is now drawn to some little distance from the surface of 
 the fabric, say a foot, but between the fabric and the ball there now intervenes a 
 thread of this mucus, for so ductile is the material, and so sticky, that it will adhere 
 to anything, and draw out to a thread some yards in length without breaking. By 
 certain dexterous movements of the right hand, in which the wooden point supporting 
 the plastic matter is held, and by the middle finger of the left hand raising the cloth 
 when necessary, a thread of the plastic matter is being constantly formed, and is as 
 constantly dropped upon the fabric as an outline to the pattern. With the utmost 
 skill leaves, flowers, and even the small parts of the flowers, as the stamens, are 
 outlined with this mucus, which falls upon the cloth as a thread of about the thickness 
 of an ordinary pin-shank. The whole pattern, however small its detail, or however 
 finely serrated its leaves, is thus outlined. But as this outline is not sufficient, means 
 arc adopted for thickening it. Hence a conical tube of oiled paper is formed of about 
 
24 
 
 TEXTILE FABRICS. 
 
 Section Third. 
 
 four inches in length, and with an orifice at its broad end of about an inch in 
 diameter. At the small end this tube terminates in a tin nozzle, in the apex of which 
 is an opening such as would be made by a fine darning-needle. This tube is charged 
 with the mucus, and through the fine opening in the tin nozzle the plastic matter is 
 so pressed as to thicken (on the outside) and also to raise the outline already formed. 
 All this has afforded a means of preventing the 'running' of dyes which are now to 
 be used ; and when thus prepared the fabric is ready for the next stage of the 
 process. 
 
 " This consists in the painting with dyes of various colours of the spaces enclosed 
 by the little banks of now-dry but formerly mucous material ; and a care is bestowed 
 upon this painting such as would suffice for the production of a highly-finished 
 water-colour drawing. In this way the pattern is wrought. The dyes having dried, 
 the colours are exposed for about six minutes to the action of steam in a steam bath 
 (which is a sort of kitchen ' steamer ' placed over a pot of boiling water), and then 
 the mucous matter is removed by the fabric being gently rinsed in a vat of clean 
 water. If the ground is to be coloured the whole of the figures are now painted 
 over by a ' resist,' and the fabric is then dipped in the dye vat, the ground receiving 
 its colour as it is unprotected. . . . The means of producing an effect just described 
 appear to us the most laborious that could well be imagined ; yet, while the method 
 is laborious, the results achieved are in the highest degree satisfactory, and nothing 
 could be more welcome than some of the effects thus laboriously obtained." 
 
 The piece of crape which we have mentioned as being ornamented with the richly 
 ornamented overlapping panels and other devices, has evidently been in part, if not 
 entirely, wrought by the above laborious process. It is not often that fabrics are 
 wholly decorated by this method ; it is much too tedious to be used except for the 
 choicest goods. Other processes are commonly associated with it, stencilling and 
 positive block printing taking the place of hand painting in the generality of cases. 
 
 As an example of the great skill of the silk painter, we may refer to the piece 
 of painted chirimen, illustrated on Plate IX. of Section First. This painting is 
 executed with stains or dyes and not with pigments or water colours. The general 
 ground, of a light grey colour, has evidently been produced by dyeing; those parts of 
 the fabric which were to be subsequently painted being covered with a " resist." The 
 darker tones and the lines indicating the movements of the water have been added 
 by the brush after the dyeing process was completed. The whole of the duck has 
 been carefully painted by the hand, and the colours fixed by steaming in the usual 
 way. The same is the case with the water-plants, so cunningly introduced in front 
 of the duck with the view of conveying the idea of a wide expanse of water. This is 
 a treatment highly characteristic of Japanese decorative art. To give brilliancy and a 
 natural appearance to the head, neck, and the green feathers of the wing and tail of 
 the duck, the artist has had recourse to another art, that of the embroiderer. Short 
 horizontal stitches of bright green silk, skilfully disposed, here produce an exact 
 
Section Third. 
 
 TEXTILE FABRICS. 
 
 25 
 
 resemblance to the natural plumage of the bird. The effect in the original painting is 
 little short of marvellous. It is not proper, perhaps, to speak of such a work as 
 belonging to ornamental textile fabrics; but it must be borne in mind that it is, 
 after all, produced by the same processes as those employed by the Japanese in the 
 ornamentation of their finest dress pieces. 
 
 The Japanese produce wonderful designs on their silks by means of positive block 
 printing, charging the blocks with colours in such a way as to give results closely 
 resembling brush work. It is possible that some parts of the painting just alluded 
 to may have been executed by blocks ; but the most critical and careful examination 
 has failed to discover evidences of their use. The exquisite softness on the breast 
 and the large feathers of the wing could only have been secured by most delicate 
 manipulation with the brush. 
 
 In the decoration of many of the most characteristic silk fabrics produced by the 
 painstaking Japanese, we constantly observe that dyeing, painting, and embroidery 
 are present in a happy league ; and in the preparation of the fabrics for the dye vat 
 both stencilling and negative block printing have been resorted to. In certain small 
 and often recurring details we may also detect the use of positive block printing. 
 With the employment of so many processes, all under the control of rare artistic 
 feeling, we can hardly wonder at the beautiful results attained — results met with in 
 the textile art of no other nation on the face of the globe. An examination of many 
 hundreds of dresses and dress fabrics has resulted in a conviction that every possible 
 combination of plain and figure weaving, dyeing, with and without "resists" or 
 " discharges," negative and positive block printing, stencilling, painting, and em- 
 broidery has been tried and exhausted by the Japanese art workmen. Without any 
 exaggeration, it would require an entire book, the size of this, to properly describe 
 and illustrate the ornamental textile industry of Japan : in the very limited space at 
 our disposal it has only been possible to allude to the leading methods of producing 
 ornamental fabrics in the loom and by the subsequent processes of dyeing, printing, 
 painting, &c. We are fully aware of the very imperfect nature of the essay we are 
 now concluding, and can only ask the reader's indulgence in regard to its sins of 
 omission. 
 
SECTION THIRD-PLATE I. 
 
 TEXTILE FABRICS. 
 
 ICH fabrics, woven chiefly of silk, such as those which are 
 represented in the present Plate, have from time immemorial been 
 much appreciated by the higher orders of Japan, and used for 
 articles of dress, especially for the obi, or girdle, worn by the 
 ladies. The fabrics here illustrated show two styles of artistic 
 treatment; the ground of one being uniformly purple-black, pro- 
 duced by the silk warp ; while the ground of the other is in bands of different 
 colours, produced, with the exception of those in black, by the silk threads of 
 the woof. The black portions throughout the design are derived from the warp. 
 The surface of the coloured patterns present minute diapers, formed by the regular 
 manner in which the threads are caught by slender filaments of the warp ; but 
 very little durability is obtained by the adoption of this method of weaving, and 
 the silk woof soon becomes frayed and detached from the groundwork. 
 
 Fans are very favourite decorative devices amongst Japanese artists ; and it 
 will be observed that they are freely introduced in both the designs in this Plate. 
 In one case they form the pattern almost entirely; whilst in the other, they are 
 associated with overlapping square and round medallions, filled with floral and 
 conventional devices. The latter pattern is represented one-third the real size ; 
 and the former about one-fourth. 
 
 /// the possession of Sir Rutherford Alcock, K C. B. 
 
SECTION THIRD.— PLATE II. 
 
 TEXTILE FABRICS. 
 
 ILK and gold tissues of great beauty of design and colouring 
 have been produced in the Japanese looms ; and the one illus- 
 trated in this Plate is an admirable specimen of them. Like 
 all the fabrics of a similar class, it is woven of silk and very 
 narrow strips of gilded paper; a mode of manufacture which 
 produces most brilliant and remarkably durable results. The paper 
 is extremely tough and richly gilded on the exposed side ; it is of course intro- 
 duced along with the woof. It will be observed, on reference to the Plate, that 
 great character and relief are given to the general colouring by the use of bands 
 of different tints woof wise, a mode of treatment very commonly resorted to by 
 Japanese weavers, as we have before mentioned. 
 
 The design, though based on very simple geometrical forms, is wonderfully 
 rich in that element which the Japanese artists so highly prize — variety : and here 
 we find it displayed, both in device and colour, with the most satisfactory results. 
 
 Rich tissues of this class do not appear to have been employed for articles 
 of dress, save, probably, for theatrical costumes ; but they were frequently made 
 up as fukusa, or the squares used by the Japanese for covering ceremonial 
 presents ; and employed for the bindings of ori-hon, or folding books. An 
 illustration of a tissue from a book cover is given in the following Plate. 
 
 In the possession of Monsieur S. Bing, of Paris. 
 
SECTION THIRD —PLATE III. 
 
 TEXTILE FABRICS. 
 
 OVERS or bindings of ori-hon, or folding books, frequently 
 present interesting specimens of Japanese silk and gold tissues; 
 and they have been the means of preserving many examples of 
 skilful loom work which if applied to other uses would not have 
 come under our observation. 
 
 The tissue represented on the left hand of the present Plate 
 covers an ori-hon containing a choice series of drawings of birds and flowers. 
 It is of characteristic geometrical design, beautifully woven in silk and gold in 
 the usual manner, and full of minute and carefully thrown up detail. 
 
 In the possession of Henry Doulton, Esq., of London. 
 
 The tissue represented on the right hand is also of silk and gold, and presents 
 a treatment much affected by the Japanese designers of textile fabrics. The pattern 
 consists of bold flowers {butan) and leaves, arranged in horizontal rows, and 
 produced in different colours by the woof threads; alternating with rows of 
 dragons and religious emblems, disposed in circular medallions, and also thrown 
 up in different colours. All the details of the pattern are outlined with gold, 
 producing an extremely rich effect. 
 
 /;/ the possession of Sir Rutherford Alcock, K.C.B. 
 
SECTION THIRD-PLATE IV. 
 
 TEXTILE FABRICS. 
 
 HE silk and gold tissue which forms the subject of this Plate 
 is a remarkably fine specimen of the loom work of the early 
 part of the last century. It is woven with great care and 
 uniformity, with gold strips of unusual narrowness, counting 
 about fifty-two to the inch. The green ground is produced by 
 the warp, and the pattern is thrown up in the silk woof threads 
 and the narrow strips of gilded paper passed woof-wise. 
 
 We observe in this tissue, as in the brocades illustrated in Plate I., great use 
 is made of the open fan as an ornamental feature ; but here it is treated and 
 coloured in a much more refined manner. The design measures, in the width, 
 6*6 inches from centre to centre of the fans. 
 
 This beautiful specimen of tissue came to Europe in the form of a fitkusa. 
 
 In the possession of Monsieur S. Bing, of Paris. 
 
SECTION THIRD-PLATE V. 
 
 TEXTILE FABRICS. 
 
 mm 
 
 ERY rich fabrics, woven of silk, and in which the more accentuated 
 portions of the patterns are boldly thrown up in cut and uncut 
 velvets, are unquestionably the choicest productions of the Japanese 
 looms. In fabrics of this description, the native love for refined 
 and low-toned colours is almost invariably displayed; and the 
 velvets are for the most part black, the cut and uncut portions 
 presenting two degrees of intensity, as may be noticed on the upper and under 
 wings of the butterflies in the present Plate ; and in the leading wavy lines of 
 the pattern, and the stalks of the leaves. In the fabric represented, which is that 
 of an obi, or scarf worn round the waist by the ladies of Japan, black cut velvet, 
 and black and light buff uncut velvet are introduced, the latter forming the leaves, 
 flowers, and the light portions of the wings of the butterflies. The tawny ground 
 throughout is in rich and tightly woven silk. 
 
 The designs met with in the fabrics of this class are as a rule of a bold 
 type, similar to that in the Plate. Minute or elaborate detail is avoided, for the 
 nature of the material is not well suited for intricate lines and forms. Bamboos, 
 with stems and leaves in black cut and uncut velvet, laden with snow, represented 
 in white velvet, are favourite devices ; and the grounds are sometimes in silk and 
 gold, woven so as to produce a granulated effect. The grounds are further dotted 
 with small patches of white velvet representing snow-flakes. 
 
 The design in the Plate is reproduced about one-third the size of the original 
 
 fabric. 
 
 In the possession of Monsieur S. Bing, of Paris. 
 
SECTION THIRD-PLATE VI. 
 
 TEXTILE FABRICS. 
 
 HE fabric which is accurately represented in the Plate under 
 review is a true piece of hand-made Tapestry, worked with 
 tightly twisted silk and gold over warp threads which run in 
 a diagonal direction on the piece, as clearly indicated in our 
 representation. The silk threads are 'tightly drawn, and with so 
 much regularity that the result has the appearance of loom- 
 work ; but the fact that it is true tapestry is proved by the manner in which 
 the colours abut on each other without mingling, and by the reverse side, which 
 is exactly the same as the front, only somewhat ragged with the cut and tied 
 ends of the different silks. The gold introduced is in the form of thread, made, 
 apparently, by twisting very narrow strips of bright gilded paper round silk. 
 The effect it produces is extremely rich, as the light strikes upon the twisted 
 gold at countless angles. 
 
 The silk and gold threads forming the woof are " coursed " with the utmost 
 regularity, the measure or count being about forty-six double "shoots" to the inch. 
 When held up to the light all the colours show themselves, in the direction of 
 the warp, to be disconnected, with a thin opening between their edges. This is 
 a characteristic feature of the mode of manufacture resorted to. 
 
 Specimens of Japanese tapestry are comparatively rare ; we have only met 
 with three or four in the course of our researches. 
 
 The bird represented is the mythical howd, and the tree is the kiri, from 
 which the imperial crest of that name is formed. 
 
 The background is taken from a scarce Japanese book of designs for textile 
 fabrics. 
 
 The Tapestry measures 40 inches long by 27 inches wide. 
 
 In the possession of Monsieur S. Bixg, of Paris. 
 
SECTION THIRD-PLATE VII. 
 
 TEXTILE FABRICS. 
 
 HE silk and gold tissue which forms the subject of the present 
 Plate is a characteristic specimen of early eighteenth century 
 weaving. The design presents several details of great elegance 
 of form ; and the leading features are cleverly disposed so as to 
 counteract, as much as possible, the stiffness inherent in designs 
 of a geometrical character. 
 The red ground is produced by the warp, while the other colours and gold 
 are thrown up by the woof in the usual manner. Green is freely introduced 
 throughout the design ; the changing colours being confined to the centres of 
 the leading features, the small birds, and the flowers. An almost endless change 
 can be imparted to the colouring of a fabric by this method of weaving. 
 
 hi the possession of W. Loring Andrews, Esq., of New York, U.S.A. 
 
SECTION THIRD. — PLATE VIII. 
 
 TEXTILE FABRICS. 
 
 HE two silk and gold fabrics which are carefully and accurately 
 represented in the present Plate, are remarkably fine specimens of 
 Japanese art in this direction. In both the colouring is singularly 
 refined and harmonious, and the loom work is of the most skilful 
 character. 
 
 The Brocade on the left of the Plate is evidently, so far as 
 design is concerned, of Chinese origin, probably copied from some sumptuous piece 
 of embroidery, or compiled from details furnished by works of Chinese cloisonne 
 enamel. The design bears strong evidences of being a compilation, for the four rows 
 constituting it do not bear any apparent reference to each other. All the devices 
 employed, however, are precisely similar in style and treatment, each one presenting 
 the conventional cloud treatment so frequently met with in Chinese art. The ground 
 is of deep blue satin, and the pattern is thrown up with thick silk threads and 
 the usual paper gold. The width of the piece, as illustrated, is 2 6}4 inches. 
 
 In tlte possession of W. C. Alexander, Esq., of Loudon. 
 
 The Brocade on the right of the Plate is woven in precisely the same manner 
 and of the same materials as the preceding. The design is essentially Japanese, and 
 of great beauty of detail and disposition. Unlike the majority of the rich coloured 
 silk and gold brocades of the Japanese weavers, this shows a regular repeat of the 
 colours; that is, the woof threads are not entirely changed in colour at each succeeding 
 repeat of the pattern. It will be observed that the left hand brocade shows this 
 alteration of colour in the repeats of the dragons and small clouds. 
 
Section Third. 
 
 TEXTILE FABRICS. 
 
 Plate VIII. 
 
 The oval form of the large chrysanthemum and other flowers and their 
 arrangement in trefoil fashion are happy ideas on the part of the artist ; and it is 
 difficult to imagine a more skilful disposition than that of the small sprays of fruit 
 and flowers which issue from these groups of large flowers. Everything is treated 
 in a way perfectly consistent with the canons of ornamental art ; and the whole 
 composition is of the highest suggestive value to the manufacturer of decorative 
 fabrics. The width of the piece shown in the Plate is about 21'/ inches. 
 
 Both this and the preceding brocade are evidently of some age; probably woven 
 in the end of the last century. 
 
 In the possession of Sam Coleman, Esq., of Newport, U.S.A. 
 
SECTION THIRD.— PLATE IX. 
 
 TEXTILE FABRICS. 
 
 ESIGNS of singularly bold and striking character arc frequently 
 met with in the rich velvets and silk and gold brocades used by the 
 ladies of Japan for the obi of their national costume. A magnificent 
 example in the former material is given on Plate V. of this Section ; 
 and an equally striking design, executed in silk and gold, is furnished 
 by the Plate now under consideration. The representation here given 
 shows the complete design so far as the width of the brocade is concerned, and one 
 repeat of the peony group lengthwise : in that direction the design simply consists of 
 groups of peonies and chrysanthemums alternating. The chevron treatment of the 
 ground, in its very striking contrast of scarlet and black, did not appear in the obi 
 while being worn, for the brocade was folded exactly in the centre ; each side accordingly 
 presenting a diagonal treatment with a single row of the floral groups. The black of 
 the ground is satin produced by the warp; while the scarlet is produced by the woof, 
 the threads of which are of rich floss silk. The pattern, which consists of bunches of 
 peony and chrysanthemum flowers and leaves, tied with thick twisted cords, and 
 butterflies, is thrown up, with the exception of the black margin lines and veins, by 
 woof threads in differently coloured silk and the usual gilded paper strips. The whole 
 is thick and heavy in material and woven very closely and evenly. The paper strips 
 are tightly woven in on the underside of the fabric, a rather unusual thing in textiles 
 of this class. 
 
 This obi was probably used for theatrical costume; its gorgeous character ren- 
 dering it rather unfit for ordinary wear; more especially as the wealthy ladies of old 
 Japan were noted for their taste for subdued colour. The obi illustrated on Plate Y. is 
 an example of what was worn at court and in the daimios' households in the palmy 
 clays of the Empire. The brocade illustrated on the present Plate was woven about 
 the end of the last century. Width 231s inches. 
 
 /// the possession of Monsieur S. BlNG, of Paris 
 
SECTION THIRD.— PLATE X. 
 
 TEXTILE FABRICS. 
 
 XAMPLES of old Japanese brocades of the character of those 
 represented on the present Plate are extremely rare, even in Japan, 
 and are much prized by collectors of textile fabrics. Both the pieces 
 are in the hands of M. Bing ; and were secured by him, along with 
 many other beautiful and interesting old fragments of woven and 
 embroidered materials, from old collections in Japan. 
 The Brocade represented on the left of the Plate has a ground of dull red and 
 green, the colours being graduated or shaded into one another in a very skilful 
 manner, as indicated. This graduation is produced by both the warp and woof. The 
 warp is dyed both colours, shaded in the yarn at regular intervals ; while the woof 
 is uniformly red and green, the line of junction being exactly in the centre of the 
 shading of the warp. The result is a perfect blending of the colours. The flowers 
 and leaves are thrown up in rich floss silks in long threads, clearly in imitation of 
 hand embroidery. The gold is, as usual, in the form of narrow strips of gilded 
 paper. The designs are quaint and stiff in character, not unlike some met with in 
 western mediaeval art. The ground is of fine texture and very tightly woven. 
 
 The Brocade on the right hand is precisely similar in mode of manufacture, the 
 ground being in tawny-yellow and red, graduated in the manner above described. 
 The general design may well have been suggested by a rich bed of flowers, seen from 
 an elevation ; while the colouring adopted is strictly conventional and decorative. The 
 result is most artistic and charming — full of suggestive value to manufacturers of the 
 present day. The flowers and leaves are in floss silks, producing a brilliant effect 
 against the dull closely woven ground. 
 
 These Brocades are among the best specimens of old Japanese weaving which 
 have come before our notice. They are believed to have been produced about the end 
 of the seventeenth century. Width 17 yi inches. 
 
 In the possession of Monsieur S. Bing, of Paris. 
 
SECTION THIRD.— PLATE XI. 
 
 TEXTILE FABRICS. 
 
 URING the eighteenth century rich silk brocades were produced 
 in large quantities in the Japanese looms ; and although, in design 
 and general treatment, they were not equal to the best work of the 
 preceding century, they were extremely beautiful fabrics. Ample 
 proof of this is supplied by the few specimens which have been 
 brought to Europe by collectors and others interested in art 
 manufactures. The most distinguished collector in this department is M. Bing, the 
 owner of the brocade which is represented in the present Plate. It forms one of a 
 large and varied collection of specimens made by that gentleman in Japan. 
 
 The ground is of a soft silk, resembling in finish the best European dress silks, 
 while the entire design is in rich floss silk, thrown up in a sort of minute " brick 
 stitch," as met with in embroidery. The floss threads appear on the surface in 
 uniform lengths of about three sixteenths of an inch. Underneath, they pass free 
 from one portion of the pattern to another ; in some cases they are between four 
 and five inches long, and quite unattached to the under surface except at their ends, 
 where they pass through the fabric. 
 
 The design consists of a succession of wavy lines, in light blue, forming a sort 
 of trellis pattern, over which is trained, as it were, a peony plant, with large flowers 
 and buds, conventionally treated, and produced in different colours. The leaves, 
 which are few and small, are also in different colours without shading of any kind. 
 The whole composition is of a highly decorative and suggestive character. 
 
 This fabric was in all probability woven at Kioto during the early part of the 
 last century, and used as an obi. It is represented in the Plate about three tenths 
 of the real size. 
 
 /// the possession of Monsieur S. Bing, of Paris. 
 
SECTION 111 
 
 Plate. XII 
 
SECTION THIRD.— PLATE XII. 
 
 TEXTILE FABRICS. 
 
 HE object represented on this Plate is a large Robe of extremely 
 rich silk and gold brocade, a fine specimen of Kioto weaving of the 
 end of the seventeenth century or beginning of the eighteenth. The 
 design is characteristically Japanese, not of a very complicated nature, 
 but so effectively disposed and so varied in colouring as to give the 
 
 whole the appearance of elaborate hand embroidery. In this respect 
 the fabric resembles the textiles represented on Plate X. of this Section. 
 
 The ground is of brown silk which gives great prominence to the brilliantly 
 coloured patterns. The leaves are in shades of green, the berries in scarlet, the 
 large masses of inflorescence in white, the broken trellis work in gold, and the tied 
 bunches of coral-like stems in blue. Such is the colouring of one section of the 
 design, but the repeats show different arrangements of the colours ; for instance, the 
 last named details are also produced in brown and gold. The predominating colours 
 are brown and green, but these quiet tints are lighted up by the masses of white, 
 the rich colours of the flowers and berries, and the details thrown up in gold. 
 The feeling throughout is singularly rich and refined. 
 
 /// the possession of Doctor Charles E. West, of Brooklyn, U.S.A. 
 
SECTION III 
 
 Plate, JUL 
 
SECTION THIRD. — PLATE XIII. 
 
 TEXTILE FABRICS. 
 
 N OTHER Robe of silk and gold brocade, similar in general style 
 of manufacture and date of production to that previously illustrated, 
 forms the subject of the present Plate. It is, however, much more 
 artistically handled in point of design and disposition of ornament ; 
 and is altogether more gorgeous in its system of colouring. 
 
 The ground of this Robe is parti-coloured, being woven in 
 bands of orange-red, dull green, and brown, graduated or shaded into one another, in 
 the manner shown on Plate X. of this Section. On this ground are zigzag bands, 
 apparently intended to represent garden fences, formed of vertical bars and top 
 rails of gold and colours. Below them are masses of curved lines in gold, arranged 
 into a species of diaper, and probably intended to represent beds of soil. From 
 these are growing beautiful flowering plants, and upon them are thrown faggots 
 and cut sprays of flowers and foliage. Here again is a treatment of ornament 
 peculiarly Japanese, quaint and thoroughly conventional, yet with a strange lingering 
 love of nature evident in every detail. 
 
 The pattern repeats itself in various colours, producing a kaleidoscopic effect 
 which baffles description ; for the graduated parti-coloured ground, the severe gold 
 ornamentation, and the ever changing tints of the flowers and foliage, produce a 
 dazzling confusion almost impossible to dissect but altogether lovely. It would be 
 difficult to imagine a more gorgeous piece of weaving than the fabric of this Robe. 
 It certainly surpasses everything of the kind which has come before our notice. It 
 is unfortunate that such a fabric cannot be properly represented by any photographic 
 process ; but, by the aid of a magnifying glass, the ornamental details and the method 
 of producing them in the loom may be clearly realised from the Plate. 
 
 /// the possession of Doctor Charles E. West, of Brooklyn, U.S.A. 
 
ection Fourth. 
 
 Lacquer. 
 
SECTION FOURTH. 
 
 LACQU E R. 
 
 EEPLY interesting as all the art industries of Japan un- 
 questionably are, it may be safely said that none has 
 aroused more interest or caused more speculation among 
 art lovers than the beautiful manufacture known as Lacquer. 
 This industry, in its higher developments, is exclusively and 
 characteristically Japanese ; it is true that the Chinese have 
 long produced two or three varieties of lacquer work, but 
 these are so inferior in point of manipulation and artistic 
 treatment as in no way to disturb the high and unique posi- 
 tion held by the Japanese artists. Much curiosity and 
 speculation have long existed among European collectors 
 with reference to the processes of lacquer working, and the 
 time occupied in producing the objects which have surprised 
 every connoisseur by the marvellous delicacy and accuracy 
 of their manipulation. Now, thanks to the careful and pains- 
 taking investigations of Mr. John J. Quin, Her Majesty's 
 Acting Consul at Hakodate, all these questions are set at 
 rest ; and we have great pleasure in expressing our obligations 
 to him for the information he has collected and laid so ably 
 before the student of Japanese art. In addition to this ac- 
 knowledgment, it is only right to remark that the details given 
 in the present Section are chiefly derived from his Report on tlie Lacquer Industry 
 of Japan, and a paper read by him before the Asiatic Society of Japan. The sources 
 
2 
 
 LACQUER. 
 
 Section Fourth. 
 
 of his information, Mr. Quin acknowledges to be a Japanese work, entitled Ko-gei 
 shi-riyo, and notes furnished by a lacquer manufacturer ; to these he has supple- 
 mented personal observation of the ware in passing through the various stages of 
 its manipulation. He opens his paper with the following appropriate sentence : — 
 " Among the Art Industries of Japan, that of lacquering undoubtedly holds the first 
 place, not only as furnishing occupation to thousands of people in various parts of 
 the country, but also as displaying skill, patience, and in many cases the highest 
 kind of artistic excellence. Its utility also is undoubted, for a large number of the 
 utensils used in Japanese households owe their strength and durability to the lacquer 
 which covers them." 
 
 The following short resumd of the history of the art, from his pen, cannot fail 
 to be of interest here, notwithstanding that the present Work professes to treat 
 only of the design and manipulation displayed in the Ornamental Art Works of 
 the Japanese. 
 
 "It is not known whether the lacquer industry flourished previous to the time of the Emperor Jimmu, 
 b.c. 660-581, i.e., during the ages known as Kamiyo or times of the Gods, but it is mentioned in the old 
 records, that during the reign of the Emperor Ko-an, who ascended the throne B.C. 392, and was the sixth 
 Emperor from Jimmu Tenno, a person named Mitsune no Sukune was the first on whom the office of Chief 
 of the Imperial Lacquer Department was conferred (Urushi-be no Muraji), but though this title existed, 
 unfortunately it is not known what articles were manufactured. The next notice of lacquer is during the 
 reign of the Emperor Ko-toku, who came to the throne a.d. 645. In his time the names of all the offices 
 were changed and that of Uritshi-be no Muraji was altered to that of Urushi-be no Tsukasa. In the various 
 provinces where the lacquer industry was carried on, lacquered articles were received by the Government in 
 lieu of taxes, and a notification was issued that in future the joints of the Imperial coffins should be covered 
 with lacquer. In this reign also, rules were established respecting the Kammuri or ceremonial head- covering, 
 and mention is made of the pendant being stiffened with lacquer. From this time lacquer began to be used 
 on numerous articles. In the reign of the Emperor Temmu, a.d. 673-686, a workman whose name has not 
 been preserved invented the manufacture of red lacquer, and he lacquered a set of shelves for the Emperor. 
 In the reign of the Emperor Moinmu, a.d. 697-708, the officials of the Lacquer Department were divided into 
 three grades, viz., Urushi be r.o Kami, J<>, and Sakuicati. Twenty workmen were engaged, and orders were issued 
 that all articles manufactured by these men should be certified by their names, and a prohibition was issued 
 by the Government against the manufacture of lacquer except by these workmen. During the reign of the 
 Emperor Gemmio, a.d. 708-715, and the two following reigns, viz., those of the Empress Gensho, a.d. 715-723, 
 and the Emperor Shomu, a.d. 724-748, the lacquer industry made great progress, and five different coloured 
 lacquers were used. The practice of inlaying with mother-of-pearl, and of lacquering gold, silver, copper, and 
 leather, was adopted; while about this time, also, gold powdered and mixed with lacquer was applied to the 
 articles. This was the origin of ' lacquer drawing 1 [inakiye). In the reign of the Emperor Kwammu, a.d. 
 7S2-806, the taste for lacquer ware spread greatly throughout the country, and great attention was paid to 
 this industry. In the following reign of the Emperor Heizei, a.d. 806-809, t' ie Lacquer Department was 
 incorporated with the Takumi-riyn, answering to the Public Works Department of the present day. In the 
 reign of the Emperor Daigo, a.d. 898-931, the lacquer industry made rapid strides, and it is mentioned that 
 lacquered articles were largely received in lieu of taxes. It would appear, therefore, that at this period the 
 restriction as to twenty workmen only being permitted to work in lacquer must have been removed, though 
 there is no special mention of the fact in the records of that time. In the reign of the Emperor Sujaku, 
 a.d. 931-936. Taira no Masakado and Fujiwara no Sumitomo rebelled and made war, the first in the eastern 
 provinces (Shimosa) and the latter in the western provinces (Shikoku), in consequence of which disturbances 
 the lacquer industry in those districts and in the neighbouring provinces declined greatly, and other articles 
 had to be substituted for the lacquer work paid in yearly to the Government for taxes. Only the commonest 
 articles for daily use continued to be manufactured. 
 
 " At that time, however, the Kuges at Kioto became very luxurious and fond of display, so that in that 
 city alone the lacquer trade continued to prosper, and the manufacture of gold, silver, and mother-of-pearl 
 lacquer ware improved considerably. The attention paid to this branch of industry at Kioto did not flag 
 during the period extending from the reign of the Emperor Murakami, a.d. 947-968, to the reign of the 
 Emperor Antoku, a.d. 1181-1185, and the fame of the Kioto lacquer ware was such, that moneyed persons, and 
 those who were fond of handsome furniture, induced numbers of Kioto workmen to come and settle in their 
 
Section Fou fill. 
 
 LACQUER. 
 
 3 
 
 provinces, and this tended greatly to ttie development of the lacquer trade. The Bakufu (or Government of 
 the ShOguns) was established during the reign of the Emperor GoToba, a.d. 1186-1198, at Kamakura, and 
 thither numbers of artizans in lacquer flocked eagerly, but they did not attain to the excellence of workmanship 
 arrived at by the Kioto tradesmen. Disturbances broke out at Kioto during the reign of the Emperor 
 Chiukio. a.d. iz22, in consequence of which the lacquer industry received a check and declined for a time. 
 During the previous period, viz., between a.d. 947 and 1181, a number of priests as well as officials became 
 very expert in working in lacquer, and they sold quantities of articles of their own manufacture 
 
 "In the reign of the Emperor Go-Kameyama, a.d. 1368-1392, Yamana Ujikiyo, and Ouchi Yoshihiro, two 
 powerful retainers of the Ashikaga family, built castles at Sakai, in the province of Idzumi, and the locality 
 prospered greatly. Numerous workers in lacquer were attracted thither, and this to so great an extent that 
 the ware made there acquired a high reputation. During the reign of the Emperor Go-Hanazono, a.d. 
 1429-1464, the Shogun Ashikaga Yoshimasa had a passion for lacquered articles. The best workers assembled 
 round him at Kioto, and as he gave large orders for all kinds of ware the industry was greatly stimulated, 
 while the style and finish improved vastly. During the reign of the Emperor Go-Tsuchi Mikado, a.ij. 1465-1500, 
 the country was disturbed. Yoshimasa, however, did not trouble himself about affairs of state, but devoted 
 himsdf entirely to frivolous pleasures, the encouragement of the fine arts in general, and the manufacture of 
 lacquer, so that this art continued to prosper in Kioto. About this time the Chinese patterns and modes of 
 working were copied and introduced, such as Tsui-shn (embossed red lacquer), Tsid-koku (embossed black lacquer), 
 i.e., incised lacquer on wood, and several other methods of applying gold lacquer. 
 
 " During the first three quarters of the 16th century japan was a constant scene of civil wars, which 
 caused the lacquer trade to decline greatly, until the advent of Taiko Hideyoshi, who conquered the whole 
 country and restored quiet, thus enabling the lacquer trade in Kioto and the neighbourhood of Sakai to revive 
 again. It continued to prosper during the reign of the Emperor Go-Yozei, a.d. 1587-1611, when Iyeyasu came 
 into power, and the lacquer industry flourished all over the country. From that date until now it has spread 
 in a manner unknown in former times." 
 
 The principal ingredient used by the Japanese manufacturer is the sap of the 
 Rhus vcniicifera, the lacquer tree of Japan. This valuable tree is cultivated with 
 more or less care all over the main island of Nippon ; and is also grown in 
 several districts of the islands of Kiusiu and Shikoku. A temperate climate 
 appears to suit the trees best, for they grow to the greatest perfection on the 
 main island in the provinces lying northward of 36' north latitude. The trees 
 are propagated both from seed and from cuttings of the roots of healthy young 
 trees. The seed is sown about the beginning of February ; and during the first 
 year the plants reach a height of from ten to twelve inches. They are then 
 transplanted, at the distance of about six feet apart, and allowed to grow 
 undisturbed. In ten years the trees attain a height of nine or ten feet, with 
 trunks from eight to ten inches in circumference. A tree of this size and age 
 yields two or three ounces, liquid measure, of sap. The growth of trees raised 
 from root cuttings is somewhat more rapid. The process of propagation is 
 quite simple, and attended with but little labour. The roots of vigorous young- 
 trees, which are about half-an-inch in diameter, are selected and cut into 
 six-inch lengths ; these are planted in a slanting position, with an inch left 
 exposed above the surface of the soil. The period of planting varies slightly 
 in different localities, but it is commonly confined to the month of March in 
 the temperate districts. From the cuttings shoots averaging nineteen inches in 
 height rise by the following spring ; these are transplanted, as in the case of the 
 seedlings, at the distance of six feet apart. The trees grow, under favourable 
 circumstances, about a foot per year, and, accordingly, in ten years are twelve or 
 thirteen feet high; and their trunks attain a circumference of twelve or thirteen 
 
LACQUER. 
 
 Section Fourth. 
 
 inches. Mr. QuiN remarks: — "It has not hitherto been the custom to bestow 
 any special care on the trees after planting them out, but in cases where leaf or 
 other manure has been applied they are much finer. Of late years hill sides and 
 waste grounds alone have been used for lacquer plantations, as, owing to the rise 
 in the price of cereals and farm produce generally, it does not pay the farmers 
 to have their land cumbered with trees. Those that have been hitherto planted 
 along the borders of the fields are being rapidly used and uprooted, and, where 
 practicable, mulberry trees are planted instead, with a view to rearing silk-worms. 
 Nevertheless, as a good workman is expected during the season to tap an average 
 of 1,000 trees ten years old, and as the province of Yechizen alone sends out 
 about 1,500 'tappers' yearly to the various lacquer districts, it will be seen that 
 an immense production annually takes place, stimulated, doubtless, by the demand 
 for cheap lacquered articles abroad. 
 
 " The whole country produces at present on an average from 30,000 to 35,000 
 tubs per annum, each tub being of about four gallons capacity. Some 70 to 80 
 per cent, of this total amount is produced from Tokio northwards. Nearly one- 
 half of the lacquer produced is sent to the Osaka market, where it is prepared 
 as required and resold all over the western and southern provinces, the remaining 
 portion being used up locally and in T6ki6." 
 
 The age at which trees are tapped varies greatly. Some are tapped when 
 about four years old, but the generality of cultivated trees are allowed to grow 
 ten years before they are denuded of their sap. Very old trees are said to yield 
 the best and strongest lacquer ; their sap is accordingly collected separately, and 
 sold at a high price. The best sap for transparent lacquer is obtained from trees 
 from one to two hundred years old. The present article would be incomplete 
 without some allusion to the operations of tapping; and as they are so carefully 
 given in the Government Report, we quote them here : — 
 
 "The tools used in obtaining the lacquer are as follows: — Kawamtiki (bark parer), a curved knife with 
 which the workman smooths all inequalities of the bark before tapping the tree. Yeda-gamtx (branch sickle), 
 an instrument with a gouge on one side and a knife on the otlier, fitted with a piece of bamboo to give the 
 hand a good hold when tapping branches. Kaki-gama (scraping sickle), a similar instrument, without the 
 piece of bamboo used for tapping trees generally. Yegim (a gouge), used in autumn to scrape the bark 
 smooth before giving the final cut with the Kaki-gama. Natsu-bera (summer spatula), used for scraping the 
 sap out of the incisions into the receptacle named go. Hoclw (knife), used for cutting the bark of branches 
 in obtaining seskime or branch lacquer. Seshime-bcra (seshime spatula), used for collecting the sap which 
 exudes from the incisions in the bark of the branches. G<7, the bamboo or wooden pot, in which the sap 
 is put as it is collected. Gu-guri (pot gouge), a long straight knife for scraping the lacquer out of the pot into 
 the tub. Te-bithtro (glove), worn by the tapper to protect his hand from contact with the sap. 
 
 "The first tapping takes place about the beginning of June. Having cleared away the grass from the 
 roots, the workman makes the round of his allotted trees, marking each with small notches about half an incli 
 long. The first of these notches is made about six inches from the bottom of the tree on the right-hand 
 side; the next, one 'hand stretch' higher up on the left-hand side; the next, one 'hand stretch' higher on 
 the right, and so on, alternately as far as the workman can reach. These preliminary markings, which are 
 to determine all the places for subsequent tapping, take fully four days. The tapper then goes round, 
 provided with the bark scraper, the ordinary scraping sickle, the summer spatula, and the pot to hold the 
 lacquer, and first smoothing the bark where required gives one cut above and one cut below the two lower 
 marks, and one cut above the remainder of the other marks, the cut being in each case about an inch and 
 3'half long. After giving the cut the instrument is reversed, and the knife is run along the incision to 
 
Section Fourth. 
 
 LACQUER. 
 
 5 
 
 insure the bark being entirely cut through. This process is repeated every four days, each incision being 
 made a little longer than the preceding one, up to the fifth tapping, inclusive, after which the remaining 
 incisions are made of the same length. At each round, when all the requisite incisions have been made on 
 the tree, the workman gathers the sap which has exuded with the spatula, beginning with the two lowest 
 incisions, and so on to the uppermost cut. Twenty-five is considered the normal number of cuts, which, at 
 the rate of one incision at each place every four days, occupy one hundred working days, and allowing for 
 some twenty days of rain during which the sap cannot be drawn, the season is brought to a close by the 
 end of September. . . . When the full number of incisions has been given, the workman gives an extra 
 long cut underneath all the initial notches on each tree to obtain the sap which has collected there, and 
 another above the uppermost cut of each set. These incisions are called Ura-me (back marks). The 
 workman also makes a number of cuts, each about a foot apart, in all the brandies whose diameter exceeds 
 one inch. The next operation is called Tome (the finish). This consists in a number of incisions completely 
 encircling the tree wherever the workman perceives a likely place. The next process consists in cutting off 
 all the branches: the larger ones are once more tapped after being cut off to extract any sap that may still 
 remain in them, and the small branches which have not yet been tapped are tied in bundles and steeped 
 in water for about ten days. When taken out and dried the bark is cut with a knife, and the sap which 
 exudes is collected with the branch spatula, and is called Seshime lacquer. It is also known as Veda urus/ii, 
 or branch lacquer. 
 
 "The sap obtained from the first five cuts above each notch is poor, containing, as it does, a large 
 proportion of water; the middle fifteen cuts produce the best sap, and the sap obtained from the last five 
 incisions is poor, and lacks consistency. Again, the sap obtained from the Ura-me (back marks) and Tome 
 (finishing) cuts is very good, and dries quickly. The sap from the first twenty-five cuts is mixed and sold 
 together ; but the Ura-me and Tome sap is almost always mixed and sold separately. The operations above 
 described kill the tree in one season, but frequently the tree is made to last two years or more, by giving 
 only half the number of incisions, and reserving the Ura-me and Tome cuts for the final year, The sap 
 obtained the second and following years is, however, of an inferior quality, and this method is only resorted 
 to by private individuals, who tap their own trees during the intervals of farming. Ordinarily, a wholesale 
 dealer in lacquer buys so many thousand trees from the owner, and, as a matter of course, extracts the sap 
 with as little delay as possible, making a contract for the purpose with professional tappers. A first-rate 
 workman will receive over 100 yen (equal, at the present low rate of exchange, to nearly 13/. sterling) for 
 the season, and can collect four and-a-half tubs (equivalent to eighteen gallons), but the average receive 
 75 yen, and collect proportionately less. The present price per tub of lacquer ranges from go to 100 yen. 
 (1882.) ... It should be mentioned that the above description of the method pursued in tapping the lacquer 
 tree is that which is recognised as the proper one; but the rule is not rigidly observed, the style and size of 
 the tree, and the caprice of the workman, combining to cause variations in the number of incisions given 
 in each series." 
 
 The illustrations given on the following page show the forms of the several 
 implements used in tapping the trees and collecting the sap. They are all drawn 
 to one scale, so that their respective dimensions may readily be realised. 
 
 The crude lacquer, as collected from the trees, termed ki-urushi, is sold to the 
 wholesale dealers, who dispose of it to the lacquer merchants. These latter prepare 
 it in different ways to suit the several purposes for which it will be required 
 by the lacquer workers. The first process is to rid the crude material of the 
 water which has exuded from the trees along with the sap. This is done by 
 exposing the lacquer in large shallow wooden vessels, and stirring it in the sun- 
 shine. To further assist the evaporation of the original water, about one per cent, 
 of fresh water is stirred in three times a day for two or three days, according to 
 the power of the sun. The fresh water combines with the natural water, and both 
 readily evaporate together. Until this process has been carefully completed, the 
 lacquer will not dry on any material. Mr. Quin draws our attention to an 
 interesting fact. He says, "A very remarkable property of lacquer should be 
 mentioned. If crude lacquer, which is originally of the colour and consistency 
 
6 
 
 LACQUER. 
 
 Section Fourth. 
 
 of cream, is exposed to the sun for a few days without adding water, it loses its 
 creamy colour, and becomes quite black, or nearly so, but also becomes thinner 
 
 A is the kawa-muki, a curved knife securely fixed in a long handle of wood. B is the veda-gama, a blade divided into two 
 members, one of which is sharpened as a knife at its extremity, and the other is bent round so as to form a loop for cutting semicircular 
 channels in the bark : it is fixed in a wooden handle, and has a piece of bamboo placed loosely on the blade as indicated ; by this the 
 tapper exercises full power over the tool. C is the KAKI-GAMA, a strong blade bent into a loop and fixed in a wooden handle ; this 
 is used for cutting the channels in the trunks of the trees r it is very similar to the preceding, but without the transverse piece of bamboo. 
 D is the YKGURI, a broad blade bent into an open loop and sharpened along its inner edge, fixed in a handle of wood ; this is used 
 in autumn to scrape the bark smooth prior to giving the final cut with the kaki-gamti, C. E is the NATSU-BEKA, a blunt-pointed blade 
 slightly curved at its extremity for the purpose of scraping the sap from the incisions in the bark. F is the HoCo, a strong blade used 
 for cutting the bark of branches in obtaining branch lacquer. G, seshime.hera, a short piece of steel, shaped and curved as indicated, fixed 
 obliquely in a round handle ; this is employed to scrape the sap from the incisions in the bark of the branches. H is the Gu. the vessel made 
 from a length of bamboo, lacquered internally, and carried by a handle of plaited string; this is the receptacle into which the sap is dropped 
 as it is scraped from the incisions. I is the Gu-Guai, a long straight blade with a blunt edge, fixed in a short wooden handle ; this is 
 used for scraping the lacquer out of the pot into the stock tubs. K is a piece of the trunk of a lacquer tree, showing the appearance of 
 the bark when fully incised : the incisions are about three-eighths of an inch apart. 
 
 and transparent, or rather translucent, as can be seen when it is smeared on 
 a white board. It will not now, however, dry if applied to an article, even if 
 kept a month or more in the damp press. But if water is mixed with the lacquer 
 which has thus been exposed and become black, it at once loses the black colour and 
 its transparency, and becomes again of a creamy colour, though slightly darker, as 
 if some coffee had been added, than at first. After evaporating this water, it can 
 then be used like any ordinary lacquer, either alone or in mixtures, and will dry 
 in the damp press, during which process it again turns black. What lacquer 
 workers have found their greatest stumbling-block is the difficulty of obtaining a 
 clear transparent varnish. What is called transparent varnish is really black to 
 the eye, and requires grinding and polishing after application before it presents a 
 brilliant surface, becoming also much lighter after a little time. It would be a 
 new era in the manufacture of lacquer ware if a method could be discovered of 
 rendering the lacquer varnish perfectly clear and light coloured when so desired, 
 without depriving it of its drying qualities, and also if colours could be used 
 with it other than those hereafter mentioned." 
 
Section Fourth. 
 
 LACQUER. 
 
 7 
 
 As we are on the subject of drying, and as the term " damp press " has been 
 used, it may be desirable to explain what that article is. It is a remarkable fact 
 that lacquer, however prepared, will not dry perfectly, on any material, in the open 
 air, but requires a damp, close atmosphere to perfect the operation. When an object 
 is coated, it has, accordingly, to be enclosed in a cupboard, the inside of which has 
 been damped with water, and tightly shut from the external air. The damp press 
 fmuroj is usually constructed of wood, left unplaned inside, so as to retain the 
 water which is brushed over it, and closed by tightly-fitting shutters or doors. A 
 damp cave or cellar has been often used for large works, such as those met with 
 in temple decorations. Under favourable conditions the lacquer takes from six to 
 fifty hours to dry in the press, according to its composition and the temperature 
 of the atmosphere. Lacquer left exposed to the open air will run and harden 
 with a tack which cannot afterwards be got rid of. Why a damp, confined air is 
 necessary for perfect drying has not been satisfactorily explained, but it evidently 
 has some connection with the fact that crude lacquer will not dry after exposure 
 to the air, unless water has been mixed with it. 
 
 The retail merchants have their own ways of preparing the crude lacquer for 
 the different purposes for which it is required, and these they keep secret. The 
 ordinary processes are, however, pretty well known. 
 
 Seshime-uruski, or branch lacquer, is in great demand by the lacquer workers; 
 but as its supply is limited, the dealers sell a compound for ordinary use, stated 
 to contain pure seshime-umshi, the best ki-urushi, vra-me, and tomi sap; to these 
 are added a jelly made from seaweed, called funori, and finely-grated sweet potatoes.* 
 This is coloured as required. 
 
 Nakcmuri- urushi, or middle coating lacquer, is simply good ki-urushi exposed 
 to the action of the sun, until its water has been thoroughly evaporated and its 
 colour deepened to a rich transparent brown. As its name implies, it is used for 
 under or middle coats, chiefly in the bringing up of the best work. 
 
 Ro-urushi, or black lacquer, is prepared from crude or branch lacquer by the 
 addition of colouring material, a liquid termed kaguro, made by boiling iron filings 
 in strong rice vinegar, and subjecting the mixture to the sun's rays for several days, 
 stirring it frequently until it becomes an intense black. About five per cent, of 
 this fluid is sufficient to stain the lacquer. The result is a varnish not unlike our 
 " black Japan varnish " in appearance and consistency, of an intense black in the 
 mass, but a deep transparent brown when smeared thinly on white paper. 
 
 • •' True branch lacquer becomes extremely hard when once dry, but used alone will not dry under some 
 twenty days, so that now, when time is an object, the pure sap is but little used. Previous to the Revolution of 
 1868 branch lacquer of a very superior quality, and which would dry quickly, was obtained by using the young 
 shoots which sprouted yearly from the roots after the trees had been cut down. This kind was called Ki-seslwm 
 (crude branch lacquer), and was made under directions from the Government, who received it as taxes; but 
 the practice has been discontinued of late. The price of pure branch lacquer is— owing to the difficulty in 
 drying— only 70 per cent, of ordinary good lacquer."— Mr. Quin's Report. 
 
LACQUER. 
 
 Section Fourth. 
 
 Nuritate-uruski, or finishing- lacquer, is a compouud of ki-uruski, a small 
 quantity of turpentine, and some water collected from whetstones on which steel tools 
 have been sharpened, called to-midzu. The compound is well mixed and exposed 
 to the action of the sun, which, acting on the iron particles introduced by the 
 whetstone water, darkens it, while it evaporates the water and renders the lacquer 
 fit for use. Nuritate- urushi is chiefly employed for the final coating of ordinary 
 ware, and receives no polishing by hand. Lacquer for the finishing coatings of 
 common ware is made from the above, with the addition of ye oil (perilla ocymoides 
 oil). That to which only a small quantity of oil is added is termed jo-haua- 
 uriis/ii, common finishing lacquer. Jo-chia or ckiu-hatta, and jo-tame or ge-hana, 
 are the names given to inferior compounds in which more and more oil is mixed. 
 These lacquers dry with a soft but brilliant surface, such as is met with on very 
 common articles. 
 
 We have now to glance at the several compounds used for coloured and gold 
 lacquer, flat and raised. 
 
 The mixture in which vermilion and the other pigments commonly used are 
 ground, is composed of the best ki-uruski or suki-urushi, transparent lacquer, 
 mixed with from 25 to 50 per cent, of ye oil, with the addition of pure water: 
 this is exposed to the sun in the usual manner until all the water has been got 
 rid of. As it is most commonly employed for red lacquer, it is called shu-urushi, 
 or vermilion lacquer. 
 
 For working with gold, koban, silver, or tin, the following preparations are 
 used ; the first in order being that on which the metals are powdered. This is 
 a mixture called ro-se-uruski, composed of seshime and ro-uruski: it is used in all 
 cases save when the natural grain of a wood ground has to be seen between the 
 metallic dust or scales. Nashiji-uruski, or " pear basis lacquer," is the transparent 
 lacquer used for coatings over the metallic powderings. It is simply the finest crude 
 sap obtained from old trees, freed, by natural precipitation, from its impurities, 
 mixed with clean water, and exposed to the air and sunshine. It is made ready 
 for use by careful filtration through Yoshino-kami, a very thin paper made at 
 Yoshino. When inferior gold or tin dust is used, the lacquer is coloured with 
 more or less gamboge, so as to impart a rich hue to the inferior alloy, or to 
 make the tin dust imitate gold. Yoskino-uruski, a crude lacquer collected in the 
 district of Yoshino, is employed for the final coatings before polishing. This is 
 sometimes mixed with about 30 per cent, of camphor to render it more fluid and 
 easier to spread : it is called Yoshino- uobe-uruski. 
 
 The under coat lacquers, skita-maki-uruski and shita-maki nobe-uruslii, are 
 prepared from seskime-uruski and red oxide of iron, in equal parts by weight. 
 The latter, as its name implies, is the spreading variety, to which some camphor 
 has been added. The addition of camphor to lacquer thins it, and causes it to 
 flow better: it does not, however, in any other way improve its character, and 
 
Section Fourth. 
 
 LACQUER. 
 
 9 
 
 is seldom used save when economy of material is a desideratum. Shita-maki- 
 urushi, which has been kept several months until it has become thick, is employed 
 for drawing the fine lines on raised work. The consistency it has acquired by 
 age prevents the lines from spreading after they are drawn, and secures their 
 desirable relief. This is designated ke-ttcki-urushi, or inside line lacquer. For 
 shading with very delicate lines and touches, on both flat and raised ware, kuiua- 
 urushi, or shading lacquer, is used: this is prepared from fine jd-hana-urushi 
 and best lamp-black, carefully incorporated. 
 
 The most important material employed in the fabrication of raised ware, is the 
 taka-maki-urushi, or raising lacquer. This, according to Mr. Quin, is made in the 
 following manner: — "A certain quantity of ro or nuritate is taken and divided 
 into three parts. To one part is added lamp-black and camphor in equal portions 
 of bulk. These after being well mixed are boiled together; then the other two 
 portions are added, and the whole stirred together, and afterwards filtered through 
 paper. It is boiled more or less according to the season. In summer, when 
 lacquer dries quickly, it is boiled for a longer period, while in winter, or during 
 cold weather, when lacquer naturally takes longer to dry, the mixture is boiled for 
 a shorter time. The reason why taka-maki is thus purposely rendered soft is 
 explained by the fact that otherwise the upper surface would harden at once, while 
 the under portion {taka-maki being applied thickly), being excluded from the upper 
 air, would not be able to dry, and later the top surface would crack and show 
 fissures, whereas the introduction of camphor renders it soft and much slower to 
 dry, and the whole has thus time to harden equally. Camphor being volatile is 
 gradually lost, and the composition becomes quite hard." 
 
 Having briefly described the modes of collecting the crude varnish from the 
 trees, and of preparing it for the use of the lacquer worker; and having enumerated 
 the chief varieties of lacquer employed, and the materials of which they are 
 composed, we may now consider the processes of manufacture, describing as we 
 proceed the materials and implements used by the artizan in all the different 
 stages of his operations. 
 
 PROCESSES OF MANUFACTURE. 
 
 The following processes are those usually employed in the production of high- 
 class black lacquer upon wood, termed honji, or "real basis." The processes are 
 more numerous than complicated, but all demand skill, care, and patience for their 
 satisfactory completion. 
 
10 
 
 LACQUER. 
 
 Section Fourth. 
 
 The best woods for this species of lacquer-work are those called by the 
 Japanese hi-no-ki ( Chamcecyparis obtusa), Iw-no-ki (Magnolia hypolcuca), kiri 
 ( Paulownia imperials J, and kcyaki (Planera japonica). The first named is a 
 favourite and very suitable wood for boxes, panels, and all kinds of cabinet work, 
 chiefly because it admits of a high finish and is not liable to warp; the second 
 has been almost universally used for lacquered sword-sheaths, and other fine works 
 requiring a tough wood; the third is a smooth -grained light wood, commonly 
 employed in the construction of large boxes for clothes, &c. ; and the last is most 
 suitable for turning and other ornamental operations." 
 
 When the article which is to be lacquered is handed over to the lacquer 
 worker, he first of all carefully smoothes its surface ; and then examines all the 
 joints which are likely to open through the warping or contraction of the wood. 
 These he will have to protect in such a manner that any slight opening or 
 starting will not extend to the lacquer surface. With a small gouge he cuts away 
 the wood on each side of the joint, forming a shallow channel, the joint running 
 along its centre. When this has been done, the entire surface receives a coat of 
 seshime- urushi, prepared as already described ; and the article is placed in the 
 damp press for about twelve hours. This operation is termed ki-ji-gatame — 
 "hardening the wooden basis." It is simply priming the surface of the wood, 
 as a painter would prime with a thin coat of oil colour. When removed from 
 the press, the lacquer is found to have sunk in, and to have formed a hard 
 dry surface. The workman now fills up the channels, over the joints, with a 
 preparation called kokuso, made of finely chopped hemp and rice starch, with 
 sufficient seshime-untshi to produce a thick pasty mass. This tenacious material 
 is pressed into the channels with a spatula (hera), of the form shown in the 
 cut on the opposite page, made of hi-no-ki, and enough is left above the general 
 
 * The following list of woods, given by Mr. Quin as used in making lacquer ware, will not be uninteresting 
 to our readers. 
 
 "The woods chosen for lacquering on are naturally selected according to the use to which the lacquered 
 article is to be put. For shelves, cabinets, and boxes of all kinds, the following are principally used, and are 
 set down in the order of their excellence : — Hi-no-ki (Chammyparis obtttsa). This is by far the best wood for 
 making boxes, as it does not warp. Kiri (Pauhwnia imperialist. A light wood used for clothes boxes, which 
 are only lacquered on the outside. It is also used for making tea-caddies, as the wood has no smell. 
 Ho-NO-Kl (Magnolia hypolcuca). All sword sheaths have hitherto been made of this wood. Sawara (Cliamercyparis 
 pisifera.) This is a wood of a coarser grain than Hi-no-hi (Ch. obtusa). Hime-ko-matsu (Pinus parvijlora). 
 This wood is used for carved figures of men, animals, &c. It is not liable to split or crack. Tsuga fAbia 
 tsuga). Hiba (Thujopsis dalabrala). Used for making cheap articles. Akamatsu ( Pinus dinsiflora). Sugi 
 (Cryptomcria japonica). This wood is only used in making the cheapest and most inferior goods. 
 
 "The following woods are mostly used in the manufacture of such articles as are turned in a lathe, 
 as bowls, rice cups, round trays, &c. : — Keyaki (Planera japonica), the best being obtained from the Province 
 of Hiuga. Shoji (Fraxinns). Sakura (Prunus pseudo-cerasas). Katsura (Circidiphyllum japmicum). Tern) 
 (Ginho biloba). I-oo. Grown in large quantities in the neighbourhood of Hakone. It is principally used in 
 the manufacture of toys and cheap articles. Buna. Principally used in the district of Aidzu for the same 
 kind of utensils as Keyaki and Sakura, but being a brittle wood, it cannot be turned in a lathe to make 
 such fine articles; those made of this wood are coarser and heavier. 
 
 " For raised gold lacquering over the unvarnished surface, the following hard ornamental woods are 
 often used:— Shitan. Tagayasan. Karin (quince). Kuwa (mulberry). Keyaki f Planera japonica) Ornamental 
 grain." 
 
Section Fourth. 
 
 LACQUER. 
 
 surface of the article to admit of a subsequent rubbing down. The article is 
 again placed in the damp press for from forty to fifty hours, or until the pre- 
 paration has become thoroughly set. The kokuso is now roughly rubbed down, 
 and covered with a thick coat of sabi, a mixture of two 
 parts of burnt clay,* moistened with water, and one and 
 
 a half parts of seshime-urushi. The article is returned 
 to the press for about twelve or fourteen hours ; and 
 afterwards the kokuso, with its hard coating of sabi, is 
 carefully ground down with a white whetstone (shiro-to), 
 until its surface is perfectly smooth and level with the 
 surrounding wood. 
 
 The next process is the covering of the article with 
 hempen cloth ( nuno ), with the view of preventing the 
 wood from cracking and the joints from springing. The 
 cloth also forms an admirable basis for the upper coatings 
 of lacquer. The process consists of covering the surface 
 of the article with what is called mugi-urushi — wheaten 
 lacquer, a fine paste made of wheaten flour and seshime- 
 urushi, thoroughly incorporated — and laying on this thin 
 hempen cloth, carefully trimmed, joined, and pressed per- 
 fectly flat to the surface of the wood. The hardening of 
 the mugi-urushi requires an enclosure in the damp press 
 for at least twenty-four hours. On removal from the press, 
 
 on ti,c htu„ and the ti le surface of the cloth, which has become very hard from 
 
 other lacouer preparations. 
 
 its saturation with the paste, is pared with a sharp knife ; 
 or, if the article is a panel or presents flat surfaces, the chief inequalities of the 
 cloth are removed with a small plane or some such tool. At this stage the 
 texture of the cloth can be seen and felt ; and to obliterate this, a thick coating 
 of sabi is evenly spread with the spatula, and pressed into all interstices of the 
 material ; and finally dried for twenty-four hours in the press. Three successive 
 coats of a preparation called jino-ko are now laid on with the spatula ; the article 
 being placed in the damp press for four and twenty hours after each application. 
 Jino-ko consists of burnt clay, finely powdered, and mixed with seshime-urushi, 
 in the proportion of one of clay to two parts of lacquer. The respective coatings 
 are laid on very thinly and smoothly. Above these are laid, with the spatula, 
 two coatings of kiri-ko, a mixture composed of one part of ordinary burnt clay, 
 one part of burnt clay from Mount Inari, and three parts of branch lacquer ; the 
 article being placed in the press for a period of twenty-four hours, after the 
 application of the first coating ; and after the second application it is allowed to 
 
 * The best clay, termed to-uo-ko, is procured from Mount lnari, near Kioto; it is burnt and reduced 
 to a tine powder. 
 
12 
 
 LACQUER. 
 
 Section Fourth. 
 
 dry for about three days, or for such a time as may be requisite to thoroughly 
 harden and consolidate the five layers of preparation laid on the sabi. At this 
 stage the surface of the article presents the appearance of that of a fine rubbed 
 brick. 
 
 The next proceeding is to carefully grind down the surface perfectly smooth 
 and level with a white whetstone ; and to then apply with the spatula a coat of 
 plain seshime-urushi. This sinks in and hardens the clay preparations during 
 the subsequent enclosure for a day or more in the damp press. The surface 
 now, for the first time, assumes a smooth dark appearance, approaching black. 
 Another coat of sabi is now distributed over this surface with the spatula, dried 
 for about two days, and then carefully rubbed down with the whetstone. 
 
 What may be considered as the lacquering" proper now commences ; all the 
 foregoing operations being required in the formation of the basis. The sabi 
 having been made perfectly smooth, it is covered with a thin coat of plain 
 seshime-urushi, evenly spread with the spatula. This dries sufficiently in about 
 twelve hours to receive the following coat of nakanuri- urushi, or middle coating 
 lacquer, applied with a peculiar made brush of human hair (hake 1 ), a representation 
 of which is given in the adjoining cut. The hnkd is formed of black hair, bound 
 together in a flat shape with some glutinous substance, 
 and tightly enclosed in a thin case of wood, the hair 
 passing from end to end like the lead of a drawing pencil 
 This arrangement allows a new brush to be cut at will, 
 by removing a short piece of the case, and paring the hair 
 in the angular form shown at A. At B is shown a 
 section of the hake, the dark inside being the hair. This 
 description of brush is made in several sizes, ranging from 
 about two inches to one-eighth of an inch wide. The 
 short and stiff nature of the brush enables the workman 
 to lay on the lacquer very thinly and evenly, a matter of 
 the greatest importance in high-class work. When the coat 
 of seshime-urushi has been allowed to dry in the damp 
 press for about thirty hours, it is found to present a hard 
 and glossy black surface. This is carefully rubbed down 
 with ho-no-ki-sumi, (magnolia charcoal) ; and then coated 
 with fine seshime-urushi, laid on very thinly with cotton 
 wool, and almost entirely removed with soft paper. The 
 article is enclosed in the press for twelve hours to dry the 
 coating thoroughly ; and on removal the surface appears 
 very smooth and with a semi -gloss. 
 
 The first coating of rd- urushi, black lacquer, is now applied with the brush; 
 and the article is set to dry for a period of from twenty-four to thirty hours. 
 
 Hake. The brush of 
 human hair, used for laying 
 on the coatings of lacquer. 
 
Section Fourth. 
 
 LACQUER. 
 
 13 
 
 On removal from the press, the surface is smoothed with a piece of close-grained 
 Myakujikkd-sumi, (charcoal made from Largcrstramia indicd) Another coating 
 of rS-urushi is now added, dried, and smoothed as above described ; followed 
 by a more careful polishing with finely powdered charcoal, applied with a soft 
 cotton cloth. Ro-urushi is again laid on, but this time very thinly with cotton 
 wool, and rubbed off with soft paper. The drying of this film takes about 
 twenty-four hours. 
 
 The final polishing processes commence at this stage ; and for very high- 
 class work, where great durability is required, the concluding operations are several 
 times repeated. The surface of the lacquer is now brought to a state of great 
 smoothness by being rubbed with a mixture, composed of burnt Inari clay, reduced 
 to an impalpable powder, and calcined deer's horn, applied with a cotton cloth 
 touched with goma-abura (oil extracted from Sesamum orientalis). A coating of 
 seshime-urushi is next applied very thinly with cotton wool ; and the article is 
 set to dry in the damp press for twelve hours. The surface now assumes a rich 
 black polish, which is improved by being slightly oiled, and gently rubbed with 
 a cotton cloth and powdered deer's horn ashes. Another coat of seshime-urushi 
 is now laid on with cotton wool and rubbed off with soft paper ; and the article 
 is again enclosed in the press for twelve hours. On removal, the final polishing is 
 carefully executed with deer's horn ashes, reduced to an impalpable powder, applied 
 with the finger or the fleshy part of the thumb. 
 
 Such, then, are the numerous processes deemed necessary by the Japanese 
 lacquer worker, for the production of the highest class plain black lacquer upon 
 wood. As before remarked, the processes are not complicated, but we cannot 
 examine fine specimens of black lacquer, such as may be found on sword-sheaths, 
 without recognising the great care and skill necessary for their successful practice. 
 In all matters requiring patience, loving care, and delicacy of manipulation, we 
 must acknowledge the Japanese lacquer worker as second to no workman the 
 world can produce. From the condensed description above given, it will be 
 found that in the production of an ordinary piece of Jionji no fewer than thirty- 
 three distinct and successive operations have to be followed, from the hollowing 
 away of the woodwork at its joints to the final polishing of the lacquer with 
 the hand and horn ashes. For extraordinary work in which the maximum 
 durability is required the number of distinct operations may extend to between 
 fifty-five and sixty. 
 
 The time necessary for the successful completion of a piece of honji cannot 
 well be fixed ; it naturally depends upon the time of year, the skill and diligence 
 of the workman, and the quality of the several materials used. In the earlier 
 processes the periods of drying may, with advantage, be considerably lengthened ; 
 but, as Mr. Quin assures us, the later processes are best carried out when the 
 drying of the successive coats of seshime-urushi is not extended beyond the 
 
 <■ 3 
 
'4 
 
 LACQUER. 
 
 Section Fourth. 
 
 number of hours given in each case. Calculating roughly, the total (minimum) 
 time occupied in drying in the damp-press amounts to five hundred and thirty- 
 hours, or upwards of twenty-two days. This time is divided into twenty 
 distinct periods. For the highest class honji, the total time will reach a far 
 higher figure. The time occupied by the workman in the application of the several 
 materials and coatings of lacquer, and in the grinding and polishing processes 
 which come between the periods of drying, cannot be clearly defined : it will of 
 course depend on his diligence and skill, as well as on the care he chooses to 
 exercise, and the form of the article lacquered. 
 
 We advise our readers who may be particularly interested in this beautiful 
 industry to lose no opportunity of examining the series of examples, preserved 
 in the Museum of Economic Botany, at Kew, illustrating all the stages (thirty- 
 three in number) which we have briefly described ; a better idea can be thus 
 arrived at than by any written description, however careful it may be. 
 
 KATAJI. — Certain of the above described processes are modified or altogether 
 omitted in the manufacture of another high-class black lacquer, termed kataji, or 
 " hard basis." The preparation of the wood, the covering of the joints, the 
 priming coats, and the first grinding down after the second application of sabi, 
 are carried out in the same manner as for honji ; but rice flour lacquer is then 
 applied instead of wheaten lacquer, and the hempen cloth spread upon it. After 
 inclosure in the press the surface of the cloth is smoothed down with a knife 
 or plane. On this are laid three coats of jino-ko, in this case composed of ten 
 parts of burnt clay, thirteen parts of scshime-urushi, and a small quantity of water. 
 Each coating is dried separately in the press. The six succeeding processes, as 
 previously described for honji, are now followed in their order, namely, from the 
 coating of kiri-ko, laid on the last coating of jino-ko, to the third grinding with 
 the white whetstone. The surface of the article, at this stage, is rubbed over 
 with cotton wool saturated with Indian ink, ground with water in the usual way. 
 This gives a rich black surface. A coating of nakanuri-iirushi, or the middle 
 coating lacquer, is now laid on with the flat brush of human hair, and allowed 
 to dry for about twenty-four hours in the damp press. This is rubbed down 
 with magnolia charcoal ; and a coating of seshime-uriislii applied with old cotton 
 wool and the excess removed with soft paper. After drying for twelve hours, a 
 coating of ro-urnshi is laid on ; dried for twenty-four hours ; and then rubbed 
 smooth with a piece of largerstramia charcoal, and afterwards polished with the 
 same material reduced to a fine powder. Another coating of black lacquer is rubbed 
 on with cotton wool and removed with soft paper, and dried for about twenty- 
 four hours. The final polishing processes are now conducted in precisely the same 
 manner as in the manufacture of honji, as before described. 
 
Section Fourth. 
 
 LACQUER. 
 
 15 
 
 HANDANJI. — Still following the classification of Mr. Quin, we now come 
 to another variety of black lacquer of less excellence than either of the pre- 
 ceding classes, but still of good quality, termed handanji, or " half-step basis." 
 The processes previous to the application of the hempen cloth are here followed, 
 as in the classes of work already described ; but instead of using the cloth, 
 tough paper is usually applied with wheaten lacquer, and rubbed down to a 
 smooth surface. On this paper are laid three coats of jino-ko, composed of ten 
 parts of burnt clay, two parts of thin rice starch, and eight parts of seshime- 
 urushi, each coating being allowed to dry in the sun instead of in the damp 
 press. The drying appears to be so rapid that, under ordinary circumstances, 
 the three coats can be applied in one day. Upon the final coating of jino-ko 
 are then spread two layers of sabi, composed of two parts of burnt clay, moist- 
 ened with water, and about one part of seshime-urusM, both of which are dried 
 in the sun. When thoroughly hardened, the surface, produced by the successive 
 layers of preparation, is ground down with a white whetstone ; and upon it is 
 spread with a spatula a coating of seshime-urushi, and the article is placed in 
 the damp press for about twelve hours. A coating of nakanuri-wrushi is now 
 laid on with a haki, and dried in the press for twenty-four hours. This is 
 ground down with magnolia charcoal, and a thin coating of seshime-urushi applied 
 with cotton wool and wiped oft with paper, this is dried in the press for 
 about twelve hours ; and then a coating of ro-urushi is laid on, dried for 
 twenty-four hours, and rubbed smooth and polished with largerstramia charcoal. 
 Now follows the second application of ro-urushi and all the final polishing 
 processes as already described in the manufacture of hoiiji. 
 
 MANZO. — This is a still lower class of black lacquer, introduced by a 
 lacquer worker of the name of Manzo, from whom the variety derives its name. 
 It does not differ much from handanji, the only important alteration being in 
 the composition of the jino-ko, which in this instance is made of burnt clay 
 mixed with liquid glue until it attains the consistency of ordinary lacquer. 
 Three coats of this preparation are laid on successively and dried in the sun; 
 when perfectly hard, they are ground down with a rough whetstone, and then 
 carefully smoothed with a spatula and a little water. Over this surface is now- 
 spread, with a spatula, a coat of seshime-urushi, and the article is placed in the 
 damp press for twenty-four hours. This coating hardens the jino-ko. Now 
 follows the coating of inferior sabi, as described in the processes of handanji, 
 with all the subsequent coatings and treatments there adopted. 
 
 The four classes of black lacquer working above described are employed for 
 articles of very good quality in which both beauty and durability are required : those 
 which we have now to touch upon are much less laborious and expensive, and 
 
i6 
 
 LACQUER. 
 
 Section Fourth. 
 
 are resorted to in the manufacture of ordinary and common articles for home 
 use and for exportation to Europe and America. 
 
 SABI-SABI, or "double sabi."— This variety of lacquer working appears to 
 be confined to Tokio, where it is employed for the fabrication of articles of a 
 fair but inexpensive quality. The joints of the woodwork are usually hollowed 
 out, and the whole surface covered with a priming coat of seshime-urushi, after 
 which the joints are filled up with kokuso, as in the manufacture of honji. The 
 kokuso is dried in the damp press; and brought to a smooth surface, level with 
 the surrounding woodwork, so as to allow paper to be evenly pasted over the 
 entire surface. Three coats of sabi (composed of about twenty parts of burnt 
 Inari clay, and eight parts of seshime-urushi) are spread on the paper and dried 
 in the damp press. When quite hard the surface is ground smooth with a 
 white whetstone. On this prepared basis is spread, with cotton wool, a thin 
 coating of seshime-urushi ; and the article is placed in the damp press for twelve 
 hours. This is followed with a coating of nakanuri-urushi, also dried in the 
 damp press. The surface is now rubbed smooth with magnolia charcoal, and 
 again coated with seshime-urushi, and dried in the press. The process is 
 completed by coating the article with jo-haua-urushi, or common finishing lacquer, 
 and enclosing it in the damp press for about twenty-four hours. On removal, 
 the surface is found to be hard and with a brilliant gloss, requiring no further 
 treatment. 
 
 This is unquestionably one of the best of the cheaper processes of lacquer 
 working, and as such it is much used by the T6kio manufacturers for boxes, 
 cabinets, rice bowls, and other domestic articles. 
 
 KANOJI.— The name of this class of black lacquer, signifying "inferior basis," 
 is taken from the composition used as the basis in preparing the ware. Kanoji is 
 a mixture of a white powder (gofuu), obtained from old shells, calcined and ground, 
 with liquid glue: it closely resembles the composition of whiting and size used 
 by our gilders in preparing grounds for gold leaf. As kanoji is never employed 
 for anything but common articles, it is unusual for the workman to do more 
 towards securing the joints of the woodwork than covering them with strips of 
 tough paper, tightly pasted down. When this is done, he covers the surface 
 with kanoji, laid on with a spatula in two or three successive coats, and dried 
 in the sun. The surface is then slightly damped with a brush dipped in water, 
 and rubbed smooth with a white whetstone, and finally scraped lightly with a 
 spatula. A coating of lamp-black and glue, or, in the commonest class of work, 
 soot and glue, is now laid on and dried. Upon this is spread a coating of 
 
Section Fourth. 
 
 LACQUER. 
 
 17 
 
 jo-hami-urushi or jo-chiu-itrushi, which, dried in the damp press, presents a 
 polished surface, and completes the process. Different makers somewhat vary the 
 process ; but it is unnecessary to note the modifications here. 
 
 SHIBUJI, or "persimmon juice bases."— This variety of lacquer working is 
 chiefly practised by the Aidzu manufacturers; and articles finished with it are, 
 accordingly, known also by the name of " Aidzu ware." 
 
 In this class of manufacture the joints of the woodwork are treated as in the 
 preceding class. When the strips of paper have been applied, the surface of the 
 article is covered with several coats (usually four or five) of shibtiji, a mixture of 
 persimmon juice and lamp-black, evenly laid on with a flat brush, each successive 
 coat being allowed to become quite dry before another is applied. The last coating 
 is rubbed smooth with equisetum (tokusa). When the surface has been brought 
 to a satisfactory state, the article is completed with a single coating of jo-hatia- 
 urushi or jo-chiu-tiruski, dried in the damp press. 
 
 The coatings of shibuji having very little body, indications of the grain of 
 the wood are almost invariably to be seen through the lacquer. This gives Aidzu 
 ware a rather common appearance, as if it was only partly finished ; but, on the 
 other hand, it is very durable, and owing to the absence of glue in its manu- 
 facture, it stands the action of hot water much better than kanoji. On this 
 account it is much used for rice bowls and for the small dining-tables or stands 
 [sen) which are placed before each person at meals. 
 
 KAKI-AWASE. — In this variety we reach the lowest grade of black lacquer- 
 work. Articles to be lacquered first receive a single coat of seshime-iirushi, with 
 which lamp-black has been incorporated. This coating hardens the surface of 
 the wood and, of course, stains it black. Upon it is laid a single good coat of 
 jo-hana-urushi or jo-chiu-urushi. For the commonest articles, however, a coating 
 of persimmon juice and lamp-black, or glue and lamp-black, is substituted for the 
 sesliime-urushi and lamp-black. 
 
 This class of ware is chiefly made in T6ki6, and the articles produced are for 
 the most part rice bowls and common boxes. The ware is also known as kuro- 
 shunkei, or " black Shunkei," from the name of its inventor. 
 
 Notwithstanding the necessarily condensed and meagre nature of the preceding 
 information, our readers will be able to gather from it a tolerably full and accurate 
 idea of the several processes and methods of manipulation followed in the manu- 
 facture of the different classes of black lacquer, from the highest class, honji, to 
 the commonest, kaki-awasc. As will be seen by the descriptions which have now 
 
 F 4 
 
i8 
 
 LACQUER. 
 
 Section Fourth. 
 
 to be entered on, many of the earlier processes, such as those for preparing the 
 wood and forming the basis, are the same in the three great branches of lacquer- 
 work, namely, black, coloured, and gold. 
 
 COLOURED LACQUER. 
 
 The processes required for the production of a piece of coloured lacquer of 
 fine quality do not differ generally from those followed in the production of hottji. 
 The first departure is made when the basis has been completely finished and the 
 time has arrived when the coloured lacquer has to be applied. 
 
 Before describing the mode of producing a piece of coloured lacquer, we may 
 give the list of pigments used by the Japanese lacquer workers. The first and 
 most important is vermilion {shii), which is employed for all high-class work. In 
 the production of a dull red lacquer, and for inferior articles, red oxide of iron 
 {benigara) is used instead of vermilion. Chrome yellow {kio) is employed for the 
 production of yellow lacquer; and in combination with Prussian blue (bero-ai) for 
 the different shades of green lacquer. For the skilful manufacture of yellow and 
 light green lacquer, the artists of the district of Aidzu are celebrated. In other 
 districts, and even in Tokio, although the same pigments are adopted, the results 
 are darker and generally less satisfactory. Green lacquer is termed sci-shitsu or 
 ao-urushi. Purple powder {murasaki-ko) is composed of white lead and magenta 
 roseine (to- beiti).* 
 
 In the production of a high-class piece of red lacquer upon wood, the 
 processes are briefly as follows : — The joints are hollowed out, and the article is 
 prime-coated with scshime-uruslii and placed in the damp press for about twelve 
 hours. The channels, over the joints, are now filled up with kokuso, by means 
 of a spatula, and the article is returned to the damp press for about fifty hours. 
 When thoroughly dry, the kokuso is rubbed down and coated with sabi, which 
 is afterwards allowed to become dry and hard in the press. After about fourteen 
 hours' enclosure the article is removed, and the kokuso and its coating of sabi are 
 carefully ground with a whetstone until everything presents a perfectly smooth and 
 
 *"In this collection [Mikado's Museum at Kioto; there is a specimen of what is called vellum lacquer — 
 a lacquer having the colour of parchment ; — but the art of producing this particular lacquer has long been 
 lost. I also hear [1878] that a violet lacquer was once produced in Japan, but the secret of its manufacture 
 is now unknown. Since my return from Japan I have given much thought to the lacquer industries, and I have 
 been enabled to send out material which has again brought about the production of purple lacquer ; thus a lost 
 art has been revived." Japan: Its Architecture, Art, ani Art Manufactures, by Christopher Dresser, Ph.D., 
 F.L.S., etc. London, 1S82. p. 154. The material alluded to we presume to be magenta roseine, now used in 
 the production of the murasaki-tio of the lacquer workers. 
 
Section Fourth. LACQURR. 19 
 
 uniform surface. The article is now covered with nuno, or the thin hempen cloth 
 used by the lacquer workers, carefully spread on the preparation of wheaten flour 
 and seshime - urns hi, called mugi- urushi, and dried in the damp press for twenty- 
 four or thirty hours. On removal from the press, the rough portions of the cloth 
 are pared or planed down, and the surface is covered with a thick coating of sabi, 
 applied with a spatula. This requires to dry for about twenty-four hours, sub- 
 sequently receiving three successive coats cf jino-ko, with intervals of drying 
 between each. Upon the last coat is laid a layer of kiro-ko, and the article is 
 placed in the press for twenty- four hours. ABother layer of the same composition 
 follows, with a drying period of about three days. The five coatings laid on the 
 sabi having become thoroughly consolidated and hard, the entire surface of the 
 article is ground smooth and level with a white whetstone, and then covered with 
 plain seshime- urushi, spread with a spatula, which is allowed to sink in and dry 
 for about twenty-four hours. This is followed py a coating of sabi, also spread 
 with a spatula, and allowed to dry in the press fo l r twenty- four hours. The surface 
 is now ground with a white whetstone as before, \and covered with seshime- urushi, 
 applied with a spatula, and dried for about twelve hours in the damp press. A 
 coating of nakanttri is now laid on with the hake", or flat brush of human hair, 
 and the article is returned to the press for twenty'- four hours. After this the 
 surface is ground smooth with magnolia charcoal, subsequently receiving a very 
 thin coating of seshime-urushi, applied with old coflton wool, the excess being 
 rubbed off with soft paper. An enclosure in the dtfrnp press for about twelve 
 hours completes this stage of the manufacture. All th\e above operation! will be 
 found more fully described in our previous article on tfi»e manufacture of honji. 
 
 The surface is now ready for the reception of the coatV'i£ of coloured lacquer. 
 The pigment, previously reduced to an impalpable powder, is thorouglyjv . ^ncof^ 
 porated by grinding with suki-urushi, or transparent lacquJr — the finest crude 
 sap obtained from old trees; or, for less expensive work, with shu- urushi, or 
 vermilion lacquer, so called because it is commonly used with vermilion — a 
 mixture of transparent lacquer with a liberal percentage of yc oil. With this 
 latter coloured lacquer the object is evenly coated with a brush and then 
 enclosed in the damp press until it is perfectly dry. On removal it is found to 
 have retained a brilliant polish, which receives no further treatment. 
 
 For higher-class work, in which the former coloured lacquer is used, namely, 
 that without the admixture of oil, several additional processes are followed before 
 the surface is considered to have acquired its approved character. When the coating 
 of suki-urushi and pigment has been allowed to dry for about thirty hours, it is 
 ground with a piece of largerstramia charcoal. A second coating of the coloured 
 lacquer is now applied, allowed to dry, ground smooth with the charcoal, and 
 finished by being partly polished with finely powdered charcoal applied with 'a 
 cotton cloth. A thick coating of pure transparent lacquer is now laid on with a 
 
20 LA\CQUER. Section Fourth. 
 
 -V— 
 
 brush, and set to dry in the damp clo.'iet for about thirty-six hours. On removal 
 from the press the surface is carefully treated with a very fine powder, composed 
 of burnt Inari clay and calcined deer's horn, applied with a cotton cloth and 
 sesamum oil (goma-abura). At this ■ stage the surface presents a fine semi-polish. 
 A thin coating of Yoshino-urushi, applied with cotton, is now given, and the 
 article is placed in the press for nboijit fifteen hours. The surface is next polished 
 with deer's horn ashes and a little sesamum oil, a soft pad of cotton cloth being 
 used as a rubber. Another coating 6f Yoshiho-umshi follows, laid on with cotton 
 wool and rubbed off with paper, an/J allowed to dry for twelve or fifteen hours 
 The surface is now finally polished with calcined deer's horn and a little oil 
 applied with the soft part of the 'hand, or, in the case of small objects, with the 
 point of the finger. 
 
 For inferior work many of; the above processes are omitted or modified 
 and inferior lacquers used. 
 
 TRANSPARENT LACQUER. 
 
 In addition to the opa/que black and coloured lacquers previously described, 
 the Japanese use transparent lacquer upon both plain and fancy woods, so that 
 their natural grain may bt seen. An article of some richly figured wood, covered 
 with its brilliant coating of lacquer, presents much the same appearance as wood 
 -h, polished, but L infinitely more durable. Mr. Quin furnishes us with the 
 details of the process for making the lacquer, called by the Japanese, Ki-ji-ro, 
 " colour of the grain of wood." 
 
 The article to be lacquered is made of some hard fancy wood, and carefully 
 smoothed; it is first coated with Yoshino-urushi, or the crude lacquer obtained 
 from the province of Yoshino, spread thinly with a brush. This priming coat 
 imparts a brown tint to the wood. After this is allowed to dry in the damp 
 press for about twelve hours, it is covered with a coating of the best sabi, composed 
 of seshimc-untshi and finely-ground burnt Inari clay, in the proportion of one 
 and a half of the former to two of the latter, with just sufficient water to mix 
 the clay into a paste. The sabi is spread with the hem, or wooden spatula, and 
 set to dry and harden thoroughly in the damp press for about twenty -four hours. 
 This coating, which is given for the purpose of filling up the exposed cells of 
 the wood, is ground with a green whetstone until none of it remains on the 
 surface of the wood. This grinding also removes the greater portion of the 
 priming lacquer and exposes the grain. A coating of pure uasliiji-urushi — the 
 
Section Fourth. 
 
 LACQUER. 
 
 21 
 
 lacquer commonly applied over metallic powderings, is now laid on with the 
 brush of human hair, and the article is enclosed in the press for twenty- four 
 hours. The surface at this stage presents a rich brown tint, which is reduced 
 by the green whetstone until it is perfectly smooth, and the grain of the wood 
 clearly appears. A second coating of nashiji-urushi is laid on with the brush, 
 dried as before, and then carefully ground smooth with a piece of largerstramia 
 charcoal. The surface now assumes a rich transparent tint with the grain of the 
 wood showing through it, and receives another coating of nashiji-urushi, applied 
 with old cotton wool, wiped off with soft paper, and dried for twelve hours. The 
 surface receives its preliminary polish with a powder composed of finely ground, 
 burnt Inari clay and calcined deer's horn, applied with a soft cotton cloth and a 
 little sesamum oil, and is afterwards coated with pure Yoshino-urushi, applied in 
 the same manner as the preceding coating, and dried for the same length of time. 
 On removal from the press the surface is polished with calcined deer's horn and 
 a little oil. Two other similar coatings and polishings follow, completing the 
 article. The result is a rich polish of great body through which the grain of 
 the wood shows with a lustrous sheen. 
 
 In the manufacture of ki-ji-ro only the better class of woods is used ; and, 
 as the processes are somewhat numerous and require careful manipulation, articles 
 of this class are of necessity expensive. The following variety of transparent 
 lacquer is used for the commoner and ordinary commercial articles. 
 
 AKA-SHUNKEI, or red Shunkei, derives its name from its inventor, 
 Shunkei, a lacquer worker of Sakai, in the province of Idzumi, who lived at 
 the end of the fourteenth century. 
 
 In the process introduced by this artist the commoner kinds of wood are 
 used, colour being imparted to them by staining. The best ware of this class 
 is now made in Akita, in the province of Dewa. 
 
 The article, after being properly smoothed, is coated with a mixture of 
 Yoshino-urushi and gamboge, well rubbed into the surface with a hard brush, 
 and placed in the damp press for a day. When perfectly dry, it is coated with 
 shu-urushi — the composition of suki-urushi and perilla ocymoides oil — and allowed 
 to become thoroughly hard in the damp press. This concludes the manufacture, 
 the article appearing with a bright polish, dark brown in colour, and showing 
 the grain of the wood. The colour becomes lighter when the lacquer has been 
 exposed for a few months. 
 
 Instead of the first coating of Yoshino-urushi and gamboge, liquid glue and 
 gamboge, or persimmon juice and red oxide of iron, are used. Cheap articles of 
 fairly good appearance but of little durability are produced by this modified treatment. 
 
 Speaking of Aka-Sliunkei, Mr. Quin remarks: — "This invention was plentifully 
 
 '5 
 
22 
 
 LACQUER. 
 
 Section Fourth. 
 
 copied by the workmen of Sakai, and met with great favour and a ready sale. 
 About the period extending from a.d. 1624- 1644, a chajin (a master in the art of 
 preparing powdered tea), named Kanamori So-wa, collected a number of workers in 
 this kind of lacquer at Takayama, in the province of Hida, and manufactured 
 quantities of articles for use in tea-drinking. The workmen from Sakai lacquered 
 trays of a colour between yellow and red, which were held in great repute, owing 
 to the fine grain of the wood employed, and the ware obtained the name of 
 Hida Skunkei. It rose rapidly in favour, and the quantity made increased yearly. 
 The Hida workmen, moreover, copied a species of lacquer of a light yellow, over 
 fine grained wood, manufactured at Noshiro, in the province of Dewa, and this 
 ware became known as Hida Noskiro. Later, as time wore on, this ware, finding 
 wide favour, was imitated in all parts of the country, but none of it could 
 compare in excellence with that made in Hida and at Noshiro. The places where 
 the Skunkei ware was imitated are the following :— Shimo Ichi Mura, province of 
 Yamato : Takeda Machi, province of Tajima : Ymada Machi, province of Ise : 
 Shimo Ichi Moto Machi, Awa Mura and Kami Ichi-ge, province of Hitachi : 
 Kami Shibotare Machi, province of Shimotsuke: Odaira and Yuda Machi, province 
 of Iwashiro : Hashiba Machi, province of Mutsu, and at Tokio. This ware is 
 still made in all the above named places." 
 
 VARIEGATED LACQUER. 
 
 Under this head are classed those almost countless varieties of lacquer in 
 which two or more colours are introduced for the purpose of imitating some 
 choice natural material ; for producing fanciful variegated grounds ; for producing 
 ornamental designs in one or more colours upon black or coloured grounds ; for 
 enriching with different colours carved or relieved surfaces of wood or other 
 materials ; for producing variegated coloured patterns by grinding, engraving, or 
 carving; and lastly, for rendering figures, animals, landscapes, &c, in one or more 
 coloured lacquers upon grounds of plain or clouded colours. 
 
 In the following brief remarks on the above mentioned varieties of lacquer- 
 work, several quotations are given from Mr. Quin's interesting paper, read before the 
 Asiatic Society of Japan. 
 
 In any collection of good works of Japanese lacquer one seldom fails to find 
 some specimens of what, for the sake of distinction, may be called imitative lacquer. 
 These, while they are of little interest from an art point of view, display great 
 ingenuity and skill on the part of their fabricators. The processes required to 
 
Section Fourth. 
 
 LACQUER. 
 
 23 
 
 produce the several effects, such as the delicate gradations of tone presented by 
 the grain of a richly figured wood, or the markings of some choice mineral, 
 are extremely complicated and uncertain in their results. During the progress 
 of his manipulation the artist has to depend entirely upon his ingenuity and 
 experience ; for he cannot see, while conducting the earlier stages of his operations, 
 the effect he is producing. The result is only realised after the grinding and 
 polishing processes are completed. Supposing he has set himself the task of 
 imitating a piece of one of the quiet-toned but beautifully figured woods of his 
 country, the artist has to proceed as follows: — The surface of the object has to be 
 brought up to the stage, as described in the preceding notes on Coloured Lacquer, 
 at which it is ready to receive the mixture of transparent lacquer and the pigment ; 
 upon this he first spreads a coat of lacquer, coloured to match the chief or ground 
 colour of the natural wood, and allows it to become thoroughly dry in the damp 
 press. On removal, he marks the leading lines of the grain, which is probably 
 of a darker tint than the ground, and then paints with the ground lacquer, as 
 previously used, all the interspaces, graduating the coat in thickness from the 
 edge of the lines inwards. This coating is dried in the press ; and the painting 
 with the same lacquer is repeated as often as is necessary in the opinion of the 
 artist to obtain the requisite thickness for the subsequent processes. Of course, it 
 is to be understood that the article has to be enclosed in the damp press after 
 every fresh application of lacquer, although we may not particularly mention the 
 drying in the course of our remarks. When the ground-work has been com- 
 pleted to the satisfaction of the artist, he commences to fill up the graduated 
 channels, left all along the lines originally marked, with lacquers coloured to 
 match the tints of the grain or figuration of the wood. Several tints may 
 probably be required, and as many applications, at least, as were necessary in 
 raising the grounds of the interspaces. Much skill and experience arc required 
 in laying on the tinted grain lacquers, for the artist has to foresee the effects 
 every touch will produce under the grinding process. When all the coatings have 
 been laid on and dried into a homogeneous layer, the surface presents an uneven 
 or daubed appearance, which to an inexperienced observer looks very unpromising. 
 This surface is ground down with a piece of Magnolia charcoal, moistened with 
 water, until it has become quite level. Largerstramia charcoal is now substituted 
 for the harder kind previously used ; and the grinding operation is continued with 
 great care and attention on the part of the operator. So soon as a slight film 
 of the lacquer has been removed, the different tints forming the ground and 
 markings of the imitation wood begin to show themselves ; and, on account of 
 the uneven disposition of the coatings of the different tints used, as above 
 described, the removal of the thickness of an ordinary gold leaf from the surface 
 materially changes its appearance and produces charming gradations of the different 
 colours. The artist watches the grinding with a keen eye until the best result 
 
24 
 
 LACQUER. 
 
 Section Fourth. 
 
 displays itself, when he at once cleans the article from all traces of charcoal., and 
 proceeds to the final transparent lacquering and polishing processes. These are 
 essentially the same as those required for work in plain coloured lacquer. 
 
 For the production of fancy variegated grounds in different colours, a mode 
 similar to that just described is followed, with certain modifications to suit the 
 peculiar effects aimed at by the artist. In Plate I of the present Section, is 
 given an accurate representation of a very remarkable specimen of flat variegated 
 lacquer — the most remarkable and interesting work of its class which has come 
 before our notice. On the complete box there are no fewer than one hundred 
 and two distinctly different patterns, which are, setting aside the few compart- 
 ments containing designs in polished black on dull black grounds, executed in red, 
 brown, green, yellow and black lacquers, combined in many ingenious ways. All 
 these variegated grounds have been produced by processes of a similar nature to 
 those just described for the production of an imitation of a piece of wood. It is 
 probable, however, that the practice of impressing the surface of the lacquer while 
 still soft may have been resorted to in some of the compartments of this box; 
 the sunk portions being subsequently filled up with lacquers of different colours. 
 The most celebrated ware produced by impressing designs in this manner is that 
 known as Wakasa nuri. 
 
 " ' WAKASA NURI.' — This ware takes its name from the province of 
 Wakasa, and is made in the town of Obama. The date when this ware was 
 first made is not known with any certainty. It is imitated from a Chinese kind 
 called Zen-sei. It was made with a mixture of red, green, blue, yellow, and 
 black lacquers, and presented a cloudy appearance : gold and silver leaf also were 
 used in many cases, forming a floral design, and the ware was considered very 
 handsome. The method adopted in the latter case was as follows : — The article 
 received a coat of lacquer of the colours required, upon which the leaf, flower, 
 or spray of fir tree, etc., desired to be reproduced, was pressed while the lacquer 
 was still fresh. It was then removed, and the lacquered article which had 
 received the impression was set to dry. Afterwards, gold or silver leaf was applied 
 to the whole of the surface so prepared, and another coat of the coloured lacquer 
 given. When dry, the whole was then ground down till the pattern came out. 
 Over this a final coat of transparent lacquer was applied. Good ware is very 
 hard. It was in great request from about 1624, and the demand has been steadily 
 maintained. The articles principally made were cabinets, book- shelves, tables, 
 and tebako, boxes for holding papers, etc., and continual improvements and excel- 
 lence of workmanship were aimed at. Of late years this ware has been imitated 
 in the neighbourhood of Nikko, but it cannot be compared to the Wakasa lacquer." 
 
 Clouded or mottled coloured lacquers have for a long time been produced in 
 
Section Fourth. 
 
 LACQUER. 
 
 25 
 
 the district of Tsugaru, and in the neighbourhood of Nikko. In the latter place 
 trays formed from slices of tree stems, hollowed and covered internally with a 
 mottled lacquer, are common articles of production. Of the lacquer wares of both 
 these districts Mr. Quin makes mention in the following words: — 
 
 "'TSUGARU NURI.' — This ware is manufactured at the town of Hirosaki 
 and the village of Tsukurimichi, in the district of Tsugaru, province of Mutsu. 
 The origin of this ware is unknown ; it resembles greatly the Wakasa lacquer in 
 presenting a cloudy and spotted appearance, but in this ware gold and silver are 
 not used. Of late years a kind called nishiki lacquer has been made, which consists 
 of painting on the lacquer, birds, grasses, plants, etc., in colours. Numerous articles, 
 long in the possession of, and made expressly for, the Lords of Tsugaru, were 
 beautifully made, and, though it has been imitated in various other localities, the 
 articles produced cannot be compared with this ware for excellence of workmanship, 
 hardness, or durability. The principal articles made are tables, book-shelves, tebako, 
 tobacco boxes, writing boxes, etc. 
 
 " ' NIKKO NURI.' — This ware, somewhat resembling Wakasa lacquer, is made 
 in the neighbourhood of Nikko. The date of its first being manufactured is un- 
 known, but ware made at the village of Hachi-ishi, in the neighbourhood, was ordered 
 by Iyeyasu about the year 1600. This ware is rough in its finish, but is exceedingly 
 hard, and still maintains a certain popularity." 
 
 YOSHINO NURI. — The ware commonly known by this name, from the fact 
 of its being made in considerable quantities throughout the district of Yoshino, in 
 the province of Yamato, is of black lacquer ornamented with designs painted on in 
 red lacquer. It is a simple class of variegated lacquer, used principally for cups and 
 bowls. A ware of a similar character is made at Tawara, in the district of Toichi, 
 and at Gojo, in the district of Uchi, in the above-named province. We have seen 
 many examples of this variegated lacquer decorated with consummate taste and skill ; 
 the contrast of the vermilion and the black being very effective. 
 
 Of the numerous varieties of ornamental lacquer, produced by the simple appli- 
 cation of one or more colours upon a ground of a different colour, it is of 
 course impossible for us to speak in a short essay like the present. Anyone 
 acquainted with Japanese art can form an idea of the endless variety of effects and 
 treatments even so simple a style of ornamentation would be capable of at the 
 
26 
 
 LACQUER. 
 
 Section Fourth. 
 
 hands of the ingenious and fanciful artists of the country. Most beautiful results 
 are produced by drawings in outline, by the repetition of geometrical forms, and 
 by the use of diaper patterns executed in fine lines of lacquer of different colours 
 and gold. 
 
 Variegated lacquer is also produced by processes of engraving or cutting away 
 the coatings of varnish ; and in this branch of the art a great number of varieties of 
 treatment are met with. The following arc amongst the most noteworthy styles 
 adopted by the Japanese artists. 
 
 GURI. — The ware known by this name is manufactured in the following manner. 
 After the object has been prepared, in the ordinary way for first class work, it is 
 coated with many successive layers of varnish, thickly mixed with different colours, 
 each one being allowed to become thoroughly set before another is added. When 
 the required number of coats has been applied, and the final one brought to a 
 finished surface, the thick body of lacquer is cut with curved and spiral patterns, 
 showing on their inclined sides all the layers as thin lines of colour. On Plate XL, 
 of this Section, is the representation of an inro of guri of nineteen layers, laid on in 
 the following order — black, yellow, black, red, black, yellow, black, red, black, green, 
 black, red, black, green, black, yellow, black, red, black. One of the finest pieces of 
 this class of ware, known to us, is a large cabinet, also in the Hart Collection. It 
 is of early seventeenth century workmanship, beautifully mounted with enamels of 
 the same date. There arc twelve layers of different colours, the finishing one being 
 vermilion. 
 
 TSUISHU NURI. — This is another kind of variegated lacquer produced by 
 carving or cutting into the surface. Of this ware Mr. Quin remarks : — " It is said 
 that in the reign of Go-Tsuchi Mikado (a.d. 1465-1501) a Kioto workman named 
 Mon-niu first manufactured this kind of ware. It consists of either red or black 
 lacquer laid very thickly on the article, and afterwards, landscapes, flowers, birds, or 
 figures were deeply carved in the lacquer in imitation of Chinese ware. Another 
 ordinary kind consisted of black, red, or green lacquer, on which a floral design was 
 lightly carved, and this was called Ko-kwa Riyoku-yo, ' red flower, green leaf.' There 
 is also a kind of Tsuisku and Tsuikoku called Hashika bori, the only difference 
 being that the engraving is shallower than on the real ware. Between 1596-1615 a 
 workman named Hei-ju-ro excelled so greatly in the manufacture of this style, i.e., 
 Tsuishu, that he took the name of Tsui-shu Hei-ju-ro. He was employed by Iye- 
 yasu, and his descendants followed his trade. Between the years 1716 and 1736 this 
 ware was greatly in fashion. At Kioto there was a workman named Tsui-shu-ya 
 Ji-ro-ye-mon who is said to have produced much finer ware than his ancestor Mon- 
 
Section Fourth. 
 
 LACQUER. 
 
 27 
 
 niu. At the present day the Kioto, Nagasaki, and Tokio workmen manufacture an 
 imitation of this ware." 
 
 ZO-KOKU NURI.— According to Mr. Ouin, "this lacquer derives its name from 
 a man called Tamakaji Zo-koku, who resided at Takamatsu, in the province of Sanuki, 
 about 1624. This man, having learnt the Chinese method of lacquering, invented 
 several improvements. The method used in making this ware was to lacquer over 
 bamboo baskets (a wooden foundation was also sometimes used) either with red or 
 black lacquer, and upon this surface floral designs were most minutely carved in the 
 lacquer. Over this a coating of either the same or different coloured lacquer was 
 applied, and then ground down and polished in such a manner that the carved 
 pattern could be seen through. This was looked upon as very excellent workman- 
 ship. This man's younger brother and one of his sons attained great excellence in 
 this ware, which is still made by the descendants of the originator, and the manu- 
 facture of which is confined to the one family." 
 
 " ' CHINKIN BORI.'— In this kind of ware the pattern was very lightly engraved 
 on the lacquer, and powdered gold was afterwards worked into the lines. The date 
 when this kind was commenced is unknown, but it is said to have been imitated 
 from the Chinese. During the first half of the 18th century a Nagasaki work- 
 man, whose name has not been preserved, excelled in this kind of work, and towards 
 its end a Tokio workman named Ninomiya T6-tei manufactured this ware. To-tei 
 carved the designs on the lacquer with rats' teeth instead of knives, and the articles 
 made by him are still preserved and greatly prized. The design of one piece of 
 lacquer made by him, representing a peony in full bloom growing beside a rock on 
 which a peacock is standing, is greatly admired as a beautiful piece of workmanship. 
 In the year 1868 the manufacture of this ware was started at Wajima, and it has of 
 late been made in several other localities." 
 
 Under the head of variegated lacquer must be included all those kinds which 
 have been produced by the ingenuity of the Japanese lacquer workers in imitation of 
 natural productions, notably metals and alloys. Some of the latter, representing cast 
 and wrought iron and many varieties of bronze, from a newly finished surface to that 
 covered with its rich green patina of age, arc marvels of skill and ingenuity. The 
 special finishing processes by which so many different effects are arrived at in these 
 lacquer imitations are far too complex to admit of anything approaching a clear or 
 full description here. They do not appear to be of a settled character, for each artist 
 adopts his own methods according to his own ideas and aims. As examples of such 
 
28 
 
 LACQUER. 
 
 Section Fourth. 
 
 imitative lacquer we may mention the large vase of the incrusted panel represented 
 on Plate II. of Section V, It cleverly imitates cast iron enriched with a howo and 
 man playing a c/ic/ig executed in gold, copper, and different colours of bronze. The 
 panel illustrated on Plate V. of Section V. is produced in imitation of a plate of 
 hammered bronze or copper of considerable age. On the work represented on Plate 
 VIII. of the same Section, the bell carried by Ben-kei is in imitation of old bronze 
 covered with its green patina. These are simple examples out of thousands which 
 might be brought forward. In the production of such curiosities of lacquer, the 
 earlier processes, required in the preparation of the basis, are the same as those 
 already described in connexion with plain lacquer : it is only in the few finishing 
 coats that the artist displays his individual skill and ingenuity. 
 
 It may be argued that all such imitations as we have above alluded to are 
 examples of misapplied ingenuity and patience ; and that they are not sound art. 
 To some extent this may be granted, without, however, doing the Japanese artists 
 a great injustice; but it must be borne in mind that the imitations are not intended 
 to deceive the eye, any more than the skilful representations of marble from the 
 masterly brush of Alma-Tadema are expected to do. We do not compare these two 
 classes of imitative art ; perhaps, for the credit of European art, it is desirable not to 
 do so. 
 
 GOLD LACQUER. 
 
 Of all the varieties of high class lacquer produced by the skilful artists of Japan, 
 those in which the precious metals play a prominent part are unquestionably the most 
 beautiful and interesting. It is impossible to examine a fine specimen of old gold 
 lacquer without a feeling of astonishment at the marvellous dexterity, patience, and 
 taste it displays : some, indeed, are so perfect in every way as to raise the question in 
 one's mind — Can these be the works of the unaided hand of man ? There is no 
 exaggeration in such remarks as these ; for it can be safely said, even with such 
 essays of patience and skill as the illuminations of the " Book of Kells " before one's 
 mind's eye, that in the whole range of ornamental art there is nothing which surpasses 
 the finest examples of old gold lacquer. 
 
 In the preparation of articles for the reception of ornamentation in the precious 
 metals, the numerous processes already described in connexion with the plain black 
 and coloured lacquers have to be followed, from the guarding of the joints of the 
 woodwork to the stage when the finishing coats of varnish have to be applied. At 
 this advanced stage the operations peculiar to the art of working in the metallic dusts, 
 scales, foils, etc., commence. 
 
Section Fourth, 
 
 LACQUER. 
 
 29 
 
 BRUSHES and IMPLEMENTS. — The complete equipment of the artist 
 embraces numerous articles; and these may be briefly spoken of before we proceed to 
 describe the processes of applying the metallic preparations. Certain of the imple- 
 ments already alluded to are of course required by the artist, namely, hera of hi-no-ki, 
 of which several sizes are used, all smaller than those employed in the preparation of 
 the basis (see page n), and hake, or flat spreading brushes of human hair (see page 12); 
 two sizes of these are provided. Several shapes and sizes of brushes are used, as 
 shown in the cut below, made of hair from different animals; the following are their 
 names and particulars of their formation. A — Menso, brushes of deer's hair, used for 
 spreading preparations of a thick and stiff nature, and for laying on the sabi at the 
 edges of raised work. B — Kibo, brushes of different sizes, made from the longer hairs 
 from the body of a horse, employed for distributing fine gold dust on freshly applied 
 lacquer and for removing the surplus particles. Large kibo are used for general 
 
 BRUSHES USED EOR GOLD LACQUER, FULL SIZE. 
 
 dusting purposes, having hair about three inches long. Four sizes are usually 
 provided. C — U-no-kc-usaji-fude, long and fine brushes made of white hare's hair, 
 used for drawing outlines of a bold character, and for filling in designs with prepared 
 lacquers. Two sizes, called dai (large) and did (small) are provided. The larger size 
 is shown in the cut. D — U-uo-kc-ji-iiuri-fudc, also of white hare's hair, employed for 
 grounding in. Five sizes are provided, called i-cho (number one), i-cho-han (number 
 one and a half), ni-cho (number two), ui-chd-han (number two and a half), and san-cho 
 (number three). 'E—Neji-fitdc, brushes made of carefully selected hair from the 
 backs of ship rats. These are the finest brushes provided for the lacquer worker, 
 and are used for tracing outlines and for drawing the extremely delicate lines to be 
 seen on choice specimens of lacquer. V—U-no-kc hakc, small flat brushes made of 
 white hare's hair, used for laying on thin coats of lacquer on small surfaces. Two 
 sizes are provided. A fine brush [neji-fude] attached to a primitive sort of compass, 
 made of bamboo, is employed for drawing circular lines. The instrument so fitted is 
 called bun-mawashi. For his convenience in working with the several brushes the 
 artist provides a fudc-kakc, or brush rest, a triangular rod of wood notched along 
 each edge. A sort of spatula formed of tortoise-shell or ivory, called fudc-ami, or 
 
30 
 
 LACQUER. 
 
 Section Fourth. 
 
 J 
 
 brush cleaner, is used for removing the lacquer from the brushes, with the aid of 
 goma-abura {sesamum orientalis oil). All brushes must be carefully cleaned imme- 
 diately after being used with lacquer or compounds into which it enters. 
 
 Several other implements besides those connected with brushes are required by 
 the worker in gold lacquer. First in importance are the tsittsu, or tubes, covered 
 at one end with silk gauze, used for 
 dusting the different metallic powders and 
 scales on the surface of the lacquer. Six 
 sizes of these are commonly provided, 
 three of bamboo and three of swan and 
 crane quills. Full size drawings of these 
 are given in the adjoining cut. The tubes 
 of bamboo are thinned down so as to be 
 extremely light, cut, at an acute angle, 
 at both ends, one of which is covered 
 with the gauze, tightly stretched, as 
 shown. The coarsest gauze has about 
 three meshes to one-eighth of an inch, 
 while the finest is a tightly woven silk 
 of extreme thinness. For applying the 
 larger metallic scales or the small squares 
 of gold or mother-of-pearl, used in cer- 
 tain classes of work, slender and sharply 
 pointed sticks of bamboo or other light 
 wood are provided : these are called hiva- 
 me-fude. The scales or squares are lifted 
 one by one on the point of the hira-me- 
 fudc and deposited in their places in the 
 work. A small spoon of thin brass, called 
 saji, is used for putting the metallic pow- 
 ders into the tsutsu. Spatulas of Chinese 
 
 " island whalebone," known as kujira-bera, are required for mixing the materials, and 
 for transferring traced outlines to the surface of lacquered articles. For burnishing or 
 polishing minute crevices or indentations a fish's tooth, mounted in a slender handle 
 of bamboo, is used. In addition to the above implements, the lacquer artist provides 
 himself with small oval palettes of horn or tortoise-shell, fastened on the left thumb 
 by a loop of string, called tsume-ban ; a take-ban, or small curved board of bamboo, 
 about 5 inches by i}4 inches, for cutting the small squares of gold and silver foils 
 upon; a small hexagonal piece of polished white shell, used for smoothing paper; and 
 boxes of different sizes for holding the brushes and other implements, the numerous 
 metallic powders, and such materials as require to be protected from dust. 
 
 TSWSV, DUSTING TUBES. 
 
Section Fourth. 
 
 LACQUER. 
 
 31 
 
 METALS and ALLOYS. — Besides the different kinds of lacquer and the 
 materials and preparations already described in the processes of making black and 
 coloured lacquer ware, the artist in gold lacquer requires a large assortment of 
 metallic powders, scales, foils, and compounds. These we shall now enumerate, 
 adopting the classification given by Mr. Quin. 
 
 In the preparation of the metallic dusts or powders, known as yasnri-ko or 
 yasuri-fun, namely, filings or file-powders, yaki-kin (pure gold), koban-kin (an alloy 
 of ten parts of gold and two and six-tenths of silver), and gin (pure silver), are used. 
 
 There are twelve varieties or sizes of dust obtained from each of the above, to 
 which the following distinctive names are given by the lacquer worker. Each variety 
 differs slightly in its degree of fineness. 
 
 I. 
 
 Ara-tsitne (coarsest grain). 
 
 7- 
 
 Komaka-me-mi-jin. 
 
 2. 
 
 Chiu-tsune. 
 
 8. 
 
 A ragokti. 
 
 3- 
 
 Komaka-me-tsune. 
 
 Cl- 
 
 Goku-gashira. 
 
 4- 
 
 Mi-jin-fstinc. 
 
 io. 
 
 Goku-mi-jin. 
 
 5- 
 
 Hanako. 
 
 1 1. 
 
 Komaka-tne-goku-mi-jin 
 
 6. 
 
 Mi-jin. 
 
 12. 
 
 Usuji (finest grain). 
 
 There is a dust, practically impalpable, called keshi-fun, made from pure gold 
 and koban only. The metal is beaten into leaf, such as that in ordinary use, and 
 then ground in liquid glue until a powder is produced. The glue is subsequently 
 washed away by water, and the dust collected and dried. This is the finest dust 
 used by the lacquer worker. 
 
 In addition to the above powders there are two series of scale dusts, known by 
 the general names of hira-me and nashiji. Eight varieties of hira-me, or " flat eye," 
 differing slightly in size, are prepared from gold, koban-kin, and silver. Their names 
 are as follows. 
 
 1. Dai-da i-ichi (largest scales). 5. Ai-no-san. 
 
 2. Dai-ichi. 6. Tsune-no-san. 
 
 3. Dai-ni. 7- Sho-san. 
 
 4. Dai-san. 8. Saki (smallest scales). 
 
 All these varieties are made from filings rolled out flat upon a polished plate of 
 
 iron. 
 
 The thin flakes, known as nashiji, are made from pure gold, koban-kin, jiki-ban 
 (ten parts of gold and three and one-tenth of silver), uam-bau (ten parts of gold 
 and three and six-tenths of silver), and pure silver. Seven degrees of fineness in 
 each of the above metals and alloys are used by the lacquer worker in producing 
 that species of glistening surface which bears a resemblance to the ripe rind of a 
 pear (nashi), from which the flakes of metal derive their general name, nashiji. 
 The following are the distinctive names of the varieties. 
 
32 
 
 LACQUER. 
 
 Section Fourth. 
 
 1. Dai-ichi (largest flakes). 5. Tsune-no-san. 
 
 2. Dai-ni. 6. Sho-san. 
 
 3. Dai-san. 7. Saki (smallest flakes). 
 
 4. A i-no-san. 
 
 A coarser kind, called Giyobu-nashiji, is made from an alloy of thirty-four parts 
 gold and thirty-five parts silver. This is seldom used, as it requires seven or eight 
 coats of lacquer to be applied over it before it is covered or filled up sufficiently to 
 stand the polishing operations. Nasliiji is also made from tin, but it is never used 
 by the worker in gold lacquer. 
 
 Foils made of gold, koban, and silver, called kana-gai, arc used for the prepara- 
 tion of the small squares which are to be seen, inlaid side by side, in the finer pieces 
 of raised gold lacquer. Four thicknesses are made from each of the above ; the 
 thickest is called hon-neji\ then follow in order chiu-neji, usushu, and kimc-tsitke. 
 The last and finest kind is frequently applied to the surface of the lacquer without 
 any covering of varnish : in this form it is perishable and apt to blister and peel off. 
 
 METALLIC COMPOUNDS, &c.-By the admixture of pigments and other 
 materials with the finer qualities of metallic powders, the artist obtains several 
 useful and effective compounds. These he adopts for shading and for imparting 
 subtle tones of colour to leaves, flowers, and other details executed in raised gold. 
 The principal compounds are the following. 
 
 Shaku-do-fun. — A mixture of seven parts of pure gold dust and three parts of 
 fine copper dust. This produces a deep metallic effect approaching pure copper in tint. 
 
 Aka-fnn. — A semi-metallic red powder, produced by mixing vermilion, in different 
 proportions, with pure gold, koban, or silver dust. A ha -fun is largely used for 
 shading leaves when autumnal tints are aimed at ; and frequently appears in other 
 details with pleasing effect. 
 
 Kuri-iro-JuH. — A chestnut-coloured powder, composed of one part of gold dust 
 and one part of a mixture of vermilion and finely powdered camellia charcoal. This 
 is also used for shading and for producing the effect of bronze. 
 
 Kuro-fun. — "Black powder" prepared by mixing gold, koban, or silver dust with 
 powdered camellia charcoal. 
 
 Nedzwni-iro-fun. — " Rat-coloured powder," a mixture of one part silver dust and 
 one part of powdered camellia charcoal with a trace of vermilion added. 
 
 The proportions above given are not fixed ; each artist modifies them according 
 to the effects he wishes to produce. Several different shades are to be seen on large 
 and fine specimens of gold lacquer. 
 
 In addition to metallic and semi-metallic powders, minute scales of choice green 
 and crimson mother-of-pearl are often used as a surface enrichment; in many instances 
 with far more beautiful results than anything possible with gold or silver similarly 
 treated. The scales of shell are sometimes so small as to be dusted on by the tsuisu, 
 
Section Fourth. 
 
 LACQUER. 
 
 33 
 
 while at other times they are so large as to be applied singly with the hira-mc-fiidc. 
 The finer green shell scale powder is called awjgai-mi-jlll. 
 
 In the collection made by Mr. Quin, now deposited in the Museum of Economic 
 Botany, at Kew, there is a panel on which one hundred and ten specimens are given, 
 showing all the varieties of yasuri-ko, hira-me, nashiji, and the coloured compounds 
 above described : these have been laid on the panel by the hand of a Japanese 
 expert. 
 
 We have now to briefly describe the processes followed in the production of 
 works decorated with designs in gold, silver, and the different metallic alloys and 
 compounds. All the varieties of gold lacquer may be said to group themselves under 
 three distinctive heads; namely, togi-daski, in which the metallic patterns are brought 
 out by grinding and polishing; hira-makiye, in which the designs are kept perfectly 
 Hat and do not show themselves above the general surface of the work ; and taha- 
 makiye, in which the ornamentation is in various degrees of relief, inlaid, and in- 
 crusted, according to the taste of the artist. 
 
 TOGI-DASIII.— In the preparation of articles to be decorated by this mode of 
 treatment, the processes followed in the manufacture of honji, from the first to the 
 fifteenth inclusive, are observed. This is the stage described on page 12, immediately 
 preceding the first coating of rd-urushi, or black lacquer. 
 
 The artist is furnished with a drawing of the design required, to enable him to 
 prepare his transfer sketch. This he docs in the following manner. Taking a piece 
 of thin tough paper on which a wash of a size made of glue and alum has been laid 
 to prevent absorption, he carefully draws the design, the exact dimensions required, on 
 one side with a brush and ink; then with a fine nefi-fude, or rat's hair brush, charged 
 with lacquer, he goes over all the ink lines, on the reverse side of the paper. The 
 lacquer for this purpose is prepared so as not to dry, by being heated over glowing 
 charcoal. When the tracing is finished, it is laid, with the lacquer lined side down- 
 wards, on the article to be gilded, and gently rubbed with a knjira-bera, or 
 whalebone spatula, similar in shape to the hcra illustrated on page n. On the 
 removal of the tracing the outlines are found to be transferred to the surface of 
 the article; a little ball of cotton wool, dipped in finely powdered white whetstone, 
 is then lightly applied to bring out the transfer clearly. When the entire design 
 has been treated in this manner, the artist proceeds with the gilding process. Those 
 portions of the design which have to appear brightest in the finished work have 
 to be slightly raised above those which are intended to be of deeper tone: the 
 artist accordingly lays these on with stiff lacquer and sprinkles them over with 
 gold dust from a tsutsu. The medium dusts, such as mi-jilt, komaka-me-mi-jin^ 
 and aragoku, are those best suited for this purpose. When the lacquer is fully 
 charged with the dust and the surplus is removed the article is placed in the damp 
 
34 
 
 LACQUER. 
 
 Section Fourth. 
 
 press for about thirty hours. On removal, the artist carefully goes over all the 
 remaining transferred outlines with a neji-fude charged with ro-sc-uriislii (described 
 on page 8), and then fills in all surfaces to be gilded with the same lacquer, 
 applied with a u-no-ke-usaji-fude of convenient size. While this coat is in its 
 unset state it is dusted over with gold hanako, from a bamboo tsutsu of the 
 smaller size, until the surface is evenly covered. The article is then returned to 
 the damp press for a period of twenty-four hours. On removal, the gilded portions 
 are recoated with ro-se-urushi, thinly applied, and the article is placed in the press 
 for about twelve hours or until the coat has become hard. At this stage the design 
 is in flat gold, with the details, first painted on with stiff lacquer, showing slightly 
 in relief, for they have received two coatings and have been twice dusted with gold. 
 The artist now covers the entire surface of the article with a good coat of ro-itritshi, 
 prepared as described on page 7, and sets it to dry in the press for three or four 
 days. The surface of this coat is then ground down with ho-no-ki-sumi (magnolia 
 charcoal), until the gold design underneath begins to show itself. The surface has to 
 be carefully watched and constantly dusted during this grinding, to prevent the gold 
 being accidentally reached and injured by the charcoal. So soon as the grinding has 
 reached the desired stage, another coating of ro-urushi is applied, and the article is 
 placed in the drying press for about forty hours. The grinding process is repeated 
 and continued until the design shows its details with the different degrees of clearness 
 required. The surface is finally finished by the polishing processes already described, 
 in connexion with honji, on page 13. 
 
 In the collection preserved in the Museum at Kew there are three interesting 
 specimens of togi-dashi, showing the principal stages of its manufacture. 
 
 No. 126.* — Subject, the branch of the lacquer tree. 1st and 2nd stages, showing 
 the transferred outline and the first drawing in with lacquer. 3rd stage, the same 
 application powdered with gold dust. 4th stage, the design coated with ro-se-urushi 
 and covered with gold dust. 5th stage, first coating of ro-urushi. 6th stage, the 
 same ground down with magnolia charcoal. 7th stage, from the second coating of 
 ro-urushi to the final polishing. 
 
 No. 127. — Subject, water and clouds. 1st to 3rd stages, transfer, veining, and 
 powdering with yasuri-ko ami hira-me. 4th stage, application of the coating of 
 ro-se-urttshi, dusted with gold. 5th stage, first coating of ro-urushi. 6th stage, the 
 same roughly ground down with magnolia charcoal. 7th stage, the finished surface 
 showing the desired effect. 
 
 No. 128. — Subject, branch of rose, executed on a panel of tagaya-san, a native 
 wood resembling "rosewood" in appearance. 1st stage, the transferred outline. 2nd 
 stage, the first application of lacquer on the portions to be in slight relief. 3rd stage, 
 the same powdered with gold dust. 4th stage, coating of ro-se-urushi, powdered 
 
 * The numbers here given are those attached to the objects at Kcw. 
 
Section Fourth. 
 
 LACQUER. 
 
 35 
 
 with gold. 5th stage, coating of suki-urushi, or transparent lacquer. 6th stage, the 
 same ground down with magnolia charcoal. 7th stage, second coating of suki-urushi. 
 8th stage, second grinding with charcoal, gth stage, thin coating of suki-urushi, 
 applied with cotton wool. 10th stage, the same polished with to-ito-ko (finely powdered 
 burnt clay) and tsuno-ko (deer's horn calcined and ground). 11th stage, a thin coating 
 of yoshino-urushi. 12th stage, the same polished with tsuno-ko. 13th stage, second 
 thin coating of yoshino-urushi. 14th stage, final polishing with tsuno-ko. It will be 
 observed that, in this case, the process of manufacture is somewhat modified ; suki- 
 urushi, or transparent lacquer, being applied instead of the usual ro-urushi, or black 
 lacquer. This is done so that the grain of the wood panel may be seen. 
 
 HIRA-MAKIYE. — This is the name given to all gold lacquer which presents a 
 flat or even surface. In the manufacture of flat gold lacquer the Japanese artists 
 display a wonderful delicacy and tenderness of feeling and treatment. Some speci- 
 mens we have met with are amongst the finest essays of the art of lacquer working. 
 Probably the most beautiful class of flat gold lacquer is that in which all the details 
 and transparent effects are produced by graduated or softened-off dustings of gold, 
 koban, or silver. This class is often met with alone ; but the most charming results 
 are obtained by its association with raised gold and incrusted lacquer. 
 
 The processes peculiar to hira-makiye are simple and few in number; this is 
 accounted for by the fact that they invariably begin when the groundwork has passed 
 through all the stages requisite for a highly finished work in plain black or coloured 
 lacquer, as already described on pages 9 to 14 and 18 to 20. 
 
 An article is taken, generally of black, although vermilion lacquer is sometimes 
 preferred, and the outline of the required design is transferred to it from paper, in the 
 manner spoken of in connexion with the manufacture of togi-dashi. The outline is 
 gone carefully over with a neji-fude, and the spaces grounded in with a u-no-ke-usaji- 
 fude, charged with shita-maki-urushi (described on page 8). On this is immediately 
 dusted from a kdbd, or horse's hair dusting brush, gold powder; the 8th degree of 
 fineness, called aragoku, being commonly used. The dusting is continued until the 
 lacquer will absorb no more of the gold. The article is then enclosed in the damp 
 press for twenty-four hours. On its removal the ornamented surface is thinly coated 
 with suki-urushi or yoshino-urushi, and the article returned to the press for about 
 thirty-six hours. If at this stage it is found to be perfectly dry and hard, the surface 
 is carefully ground with camellia charcoal, and afterwards polished with tsuno-ko and 
 a little oil, applied with the point of the finger. Any veining or other minute details 
 are now drawn in with a neji-fude, charged with ke-uchi-urushi (inside line lacquer), 
 and dusted with gold powder, goku-mi-jin, from a small kdbd. After drying in the 
 press for twelve or fourteen hours, the entire surface of the article is coated with 
 yoshino-urushi, applied with cutton wool and rubbed with paper until very little 
 
36 
 
 LACQUER. 
 
 Section Fourlh. 
 
 remains. Another twelve hours' enclosure in the press renders the surface ready for 
 the final polishing" with tsuno-ko and oil, applied with the finger as before. If the 
 design requires any black lines or spots, as the marking of hair or eyes or any 
 decided shading, they are added last of all with a brush charged with a mixture of 
 kuma-uruski, jo-hana-urushi, and yuyen-sumi (lamp-black). 
 
 In the manufacture of the very beautiful and delicate flat gold lacquer, alluded to 
 above, in which graduated and transparent effects are produced by thin dustings of 
 gold, kobctn, and silver powders, the Japanese artist displays a skill and refinement 
 little short of marvellous. All the effects are produced by repeated dustings from 
 tsutsu or small ki'bo upon very thin coatings of lacquer. The great skill is displayed 
 in so distributing the powders as to secure the exact proportions on the different 
 parts of the surface. Upon this the production and effect of the design depends ; 
 and the slightest mistake is fatal. In the finest examples, however, it is impossible 
 to detect a mistake or anything approaching one. 
 
 Regarding the manufacture of an inferior kind of Iiim-makiyc, Mr. Ouin supplies 
 the following particulars: — "The tracing is accomplished in the same manner, but 
 shita-maki nobe-urushi (branch lacquer, red oxide of iron, and camphor) is used for 
 filling in the pattern with a hare's hair brush. The article is then set to dry in the 
 press for ten or twenty minutes, during which time the lacquer has begun to harden, 
 and less gold will adhere. Then gold dust (goku-mi-jiri) is applied with cotton wool 
 thinly, and the article is set to dry for twenty-four hours. The whole surface is then 
 smeared over with yoshino-nobe-urushi (Voshino lacquer and camphor) on a piece of 
 cotton wool, and wiped off again with soft paper. The reason is that it is less 
 trouble to smear over the whole surface thinly, and it is, moreover, not necessary to 
 give a thick coat of lacquer to the decorated part, as the gold dust has been very 
 thinly applied. It is set to dry for twelve hours and ground smooth with camellia 
 charcoal and polished with powdered whetstone and oil on the point of the finger. 
 The fine lines are then drawn with a rat's hair brush charged with shita-maki 
 lacquer, and sprinkled with gold dust (go/cii-mi-jiii) from a brush (kdbo), and the 
 article set to dry for twelve hours. The whole is again smeared with yoshino-nobe 
 lacquer and carefully wiped off again with paper, and set to dry twelve hours. The 
 article is then polished with powdered whetstone and oil on the point of the finger; 
 and a second application of yoshino-nobe lacquer with a little water, wiped off with 
 soft paper, set to dry for twelve hours, and finally polished off with deer's horn 
 ashes and oil on the finger, finishes the operation.'' Of the still commoner kinds of 
 flat gold lacquer it is unnecessary to speak. The chief aim of their makers is to 
 expend as little gold as possible and to economise time and labour. 
 
 TAKA-MAKIYE. — Under this name are included all the varieties of raised gold 
 lacquer, produced by dusting, inlaying or imbedding, and incrusting with gold, koban. 
 
Section Fourth. 
 
 LACQUER. 
 
 37 
 
 and silver. It is only possible, in an essay like the present, to give a general review 
 of the processes followed in manufacturing taka-makiye in what may be called its 
 normal variety: of the countless modifications and individual treatments practised 
 by the Japanese artists it is beyond our power to speak. 
 
 As in the manufacture of hira-makiye, the groundwork has to be entirely 
 finished before the ornamentation is commenced. In taka-makiye different grounds 
 may be used according to the fancy of the artist. He may adopt a nashiji ground 
 or one of plain black, red, green, or other coloured lacquer, or of a lacquer imitating 
 some natural material ; or he may select an object of plain wood, ivory, tortoiseshell, 
 metal, &C., on which to display his skill. 
 
 For our present purpose we will suppose that he has selected a groundwork of 
 black lacquer; and that it comes into his hands after having been finished according 
 to the processes described under honji. 
 
 lie first prepares the design on paper, lines it with the roasted lacquer, and 
 transfers it to the surface of the article, as already described in connexion with the 
 manufacture of togi-dashi. 'When the design is completely transferred and brought 
 out clearly, the artist outlines and grounds in the portions to be raised with shita- 
 maki-untshi, or under coating lacquer, and immediately dusts over the design finely 
 powdered camellia charcoal, and places the article in the damp press for twelve hours. 
 With reference to this stage of the process Mr. Ouin remarks: — "If the outside 
 is to be higher than the inside, a broad margin is painted and covered with the char- 
 coal powder, leaving the centre untouched, and vice vcrsd; if the centre is to be 
 higher a faint line only is painted outside, and the inside is given a thickish coating 
 which is sprinkled with the charcoal dust." This primary coating and dusting is 
 given for the purpose of forming a hard basis for the reception of the subsequent 
 raising coats, that is, to secure their perfect adhesion to the surface of the original 
 groundwork. When the article is removed from the damp press it is dusted and 
 washed so as to rid it entirely of detached particles of charcoal and to clean out the 
 fine lines of the design. A little yoshino-nobe-urttshi, or Yoshino spreading lacquer, 
 is now applied to the design with a ball of cotton wool and carefully wiped off with 
 soft paper, and the article is returned to the drying press for twelve hours. On 
 removal, the portions in process of being raised are carefully ground with magnolia 
 charcoal, and a second coating of yoshiiw-nobc-urushi is applied with cotton wool, 
 rubbed off with paper, and dried for twelve hours. 
 
 For designs in slight relief, a coating of taka-maki-urushi ', or raising lacquer, 
 is now laid on w ith extreme care ; for the outer edges a fine rat's hair brush 
 is used, while for the interior surfaces a hare's hair brush is employed. When 
 this coating has been laid on all portions of the design, accurately graduated accord- 
 ing to the artist's intention, the article is laid in the damp press for a length of 
 time sufficient to thoroughly dry it. It takes from forty to sixty hours according 
 to circumstances. When removed from the press the raised portions are again 
 
38 
 
 LACQUER. 
 
 Section Fourth, 
 
 ground with magnolia charcoal, and then brought almost to a polished condition 
 with finely powdered camellia charcoal applied by a soft cotton cloth. For high- 
 class work a further polishing is carried out with oil and whetstone reduced to an 
 impalpable powder, also applied with a cotton rag. Seshime-urushi is rubbed over 
 the polished designs with cotton wool and cleared off with soft paper, and dried in 
 the press for about twelve hours. The raised portions which have now assumed the 
 forms desired by the artist, and have become very hard, are polished with deer's horn 
 ashes and sesamum orientalis oil applied by the point of the finger. At this point 
 the gilding operations commence. 
 
 For designs in high relief, several coats of sabi are laid on after the second 
 application of yoshino-nobe-urushi; the article being set to dry for about twelve hours 
 after each coating. Great skill is required in distributing the sabi, a brush of deer's 
 hair being used for the edges and thinner portions, and a spatula for those parts 
 intended to be highly raised. When sufficient relief has been obtained, the designs 
 are ground in the most careful manner with a fine whetstone, so as to present all 
 the details aimed at in the finished article. When this grinding process has been 
 completed to the artist's satisfaction, he gives the surface a coating of yoshino-wobe- 
 urushi, applied with cotton wool and rubbed off with paper, and places the article 
 to dry for twelve hours. Then follow the coating of taka-maki-urushi and all the 
 subsequent processes, already described for designs in slight relief, until the gilding 
 stage is reached. 
 
 The artist now selects the different kinds of gold dust required to produce the 
 effects he aims at in the work; and if he intends to bring out the high lights of his 
 picture or design by small squares of gold, he prepares them from foils of the requisite 
 thickness in the following manner. Taking a small sheet of gold, say about the 
 thickness of an ordinary piece of note paper, measuring an inch in length by half 
 an inch in width, he spreads it on a curved piece of black bamboo and covers it 
 tightly with a slip of tough semi-transparent paper, tied down with a string so as 
 to prevent any slipping of the gold in the process of cutting. W hen all is made 
 secure, he cuts the gold foil with a knife into a series of ribbons exactly the width 
 he requires the squares to be. In doing so he also cuts through the paper. As 
 about a sixteenth of an inch of one end of the gold foil has been bent over the 
 edge of the bamboo board, the knife docs not quite detach the ribbons ; this is 
 requisite to facilitate their subsequent division into squares. The paper is now 
 removed and the gold foil is held lengthwise on the curved bamboo with the fingers 
 of the left hand, while, with a knife, the ribbons are cross-cut into a number of perfect 
 squares. These are placed in a small black lacquered tray and are ready for use. 
 
 As these squares of gold, called by the lacquer workers kiri-kane, or cut metal, 
 have to be applied before the yastlri-fun, or file-powders, it is desirable that we 
 should describe the mode of their application first. After the portions of the design 
 which is to receive the kiri-kane has been thinly coated with rS-se-urushi, the 
 
Section Fourth. 
 
 LACQUER. 
 
 39 
 
 artist lifts the squares, one by one, on the point of the slender pointed stick of 
 bamboo, called the hira-me-fude, and carefully deposits them, side by side, at greater 
 or less distances apart as his taste may direct. After all have been laid a piece of 
 soft bibulous paper is carefully pressed over the portions operated upon, for the 
 purpose of removing the exposed ro-se-uruslii. The article is now set to dry in the 
 damp press for about twelve hours. On removal the portions are further relieved 
 from traces of the rd-se-urushi by being rubbed over with the finger and finely 
 powdered camellia charcoal. If any parts of the design are to be enriched with /lim- 
 ine or scales of shell they are now applied with the pointed stick in the manner just 
 described. The portions to be gilded with the gold dusts are now coated with shita- 
 maki-urushi, or under coating lacquer, and the powders are spread thickly over 
 them from a tsutsii or kdbo as the case may require. For high-class work this 
 gilding may be repeated. An enclosure of twelve hours in the damp press is required 
 after each operation. From this point the article is treated in a way similar to that 
 already mentioned in connexion with kira-makiye, beginning after the process of 
 dusting the gold on the coating of shita-maki-uruski. 
 
 In the finest class of raised gold lacquer, there is a great deal of after work, in 
 which all the minute details of the design are brought up from the general masses, 
 by delicate brush work and repeated dustings of the finer gold powders : but it is 
 impossible for us to describe the progress of this tedious after work without 
 confusing our subject and wearying our readers. 
 
 For taka-makiye on plain wood, Mr. Quin informs us that " the whole surface 
 is covered with tin-foil, stuck on with rice paste, to keep the wood quite clean, and 
 then the place only where the pattern is to come is cut out. In making all high- 
 class lacquer the edges of every article are pasted over with tin-foil to prevent their 
 being rubbed or injured by the workman, and the same is done over each portion as 
 it is finished." We cannot wonder that precautions of this sort are necessary when 
 we realise the time required to complete a fine piece of work. Mr. Quin, writing in 
 1880, says: — " Watanabe To-sen is at present employed by a company in Tokio called 
 the Sei-ko-sha, and is at work on a tobacco box for the Empress. The pattern is 
 landscape and water, with cranes in the foreground, and embraces the various styles, 
 viz., Togi-dashi, Hira-makiye, and Taka-makiyc. It has been six months on hand 
 and will probably be completed in a couple of months. The estimated cost is about 
 three hundred yen. The above facts will give a slight idea of the time it takes to 
 complete a good piece of lacquer ware ; the dimensions of this box are about ten 
 inches long by six deep and eight inches high. The great drawback to making 
 lacquer ware of a high order in the present day consists in the fact that the work- 
 men cannot afford the time necessary, but are obliged to work as rapidly as possible. 
 In former days time was no object." The time mentioned here does not seem at all 
 out of the way ; many important specimens of elaborately ornamented gold lacquer are 
 known to have occupied years in fabrication. 
 
40 
 
 LACQUER, 
 
 Section Fourth. 
 
 LACQUERING ON METALLIC GROUNDS. — The earlier processes required 
 for lacquering on metal arc the only ones which differ materially from those followed 
 in lacquering upon wood. The difficulty of getting the lacquer to firmly adhere to 
 the polished and non-absorbent surface compels the lacquer worker to resort to the 
 application of intense heat. When the first coat of crude sap is laid on the article 
 is held over a clear red charcoal fire until the varnish becomes a hard crust and 
 ceases to give forth any fumes. The crust thus formed is so firmly attached to the 
 metal as to prevent subsequent coats peeling off. It is smoothed with largcrstramia 
 charcoal, recoated with crude sap, and again submitted to the action of the fire. For 
 good work this process is repeated several times, or until the artist is satisfied that 
 a reliable groundwork or basis has been secured. At this stage the processes required 
 for the production of black or coloured lacquer, togi-dashi, hira-makiye, taka-makiye, 
 or any other variety of lacquer commence and are followed as already described for 
 wood grounds. 
 
 NASHIJI. — This class of lacquer is much used by the workers in gold lacquer, 
 for to their art it strictly belongs. High-class nashiji is made with flakes of the 
 precious metals and their alloys, but the inferior ware now made for the western 
 market is almost invariably made with tin flakes. This imitation ware is turned 
 out by the plain lacquer workers. The term nashiji signifies literally " pear basis " ; 
 and is given to the lacquer because its peculiar colour and glistening surface produce 
 an effect resembling, to some extent, the rind of a certain native pear in its ripest 
 condition. This variety of lacquer has been called in Europe "avanturine lacquer" 
 from its likeness to the natural substance of that name, and to the variety of Venetian 
 glass also called avanturine. An accurate representation of high-class nashiji is given 
 in Plate III. of this Section. It forms the ground between the two groups of books 
 on the large box. It is a body of transparent yellow varnish in which glistening 
 flakes of gold appear to be suspended. 
 
 The manner in which the nashiji flakes are made has been already described 
 under the head of Metals and Alloys ; and the names of all the sizes commonly used 
 are likewise given. 
 
 In the manufacture of nashiji lacquer, the same number of the preparatory honji 
 processes as required for togi-dashi (see page 33) have to be completed before those 
 peculiar to the present method of treatment commence. 
 
 The article at this preparatory stage receives a coating of ro-sc-urnslii ; and gold 
 flakes of the approved size are dusted evenly over it while wet from a bamboo tsitts/r, 
 or dusting tube. Considerable skill is here required to prevent anything approaching 
 a patchy or clouded effect through an unequal distribution of the flakes. The article 
 is now placed in the damp press for forty-eight hours; and in its dry state is liberally 
 coated with nashiji-urushi, pure transparent lacquer obtained from old trees, and 
 
Section Foil rlli. 
 
 LACQUER. 
 
 41 
 
 returned to the damp press for three or four days, or for such a length of time as is 
 necessary to thoroughly dry the coating. On removal it is ground with magnolia 
 charcoal and water, thoroughly washed, and again coated with nashiji-nruslii. After 
 drying for about two days the surface is carefully ground with the charcoal until it 
 becomes perfectly even and smooth. A third coating of nas/iiji-urushi is now lightly 
 applied with cotton wool and wiped off with soft paper, and the article is placed in 
 the damp press for about twenty-four hours. When taken out it is carefully polished 
 with a powder composed of fine to-no-ko and ground camellia charcoal and a little 
 oil. Then a coating of Yoshino-urushi is given with cotton wool and wiped off with 
 paper, dried for twelve hours, and subsequently polished with deer's horn ashes and 
 oil. Two further applications of Yoshino-urushi are given, followed by dryings and 
 polishings as just described. These complete the article and bring out the full 
 effect of the nasliiji. 
 
 Nasliiji is made with silver flakes, in precisely the same manner as when gold 
 flakes are used. 
 
 Of the manufacture of imitation or spurious nasliiji, in which tin flakes are- 
 used under a coating of transparent yellow stained lacquer, it is unnecessary for us 
 to speak here. 
 
 . INCRUSTED AND IMBEDDED LACQUER. 
 
 The manufacture of fine pieces of lacquer in the ornamentation of which incrusted 
 and imbedded-work plays an important part has, in all the great periods of the 
 industry, occupied the attention of the Japanese artists. But as we treat the subject 
 of Incrusted-work at some length in the following Section, it is only necessary to 
 say a few words on its more direct application to lacquer here. 
 
 The materials most commonly used for the incrusted and imbedded portions of 
 the ornamentations arc thick metallic foils, mother-of-pearl, tortoise shell, and ivory. 
 In addition to these, objects carefully modelled in faience, carved in pearl, coral, 
 wood, and ivory, or chased in gold, silver, bronze, shakudo, shibit-ichi, and other 
 alloys, have frequently been attached to the surface of objects of lacquer, forming 
 beautiful adjuncts to their designs. 
 
 The greatest artist in what may be considered legitimate incrusted and imbedded 
 lacquer was KORIN, born at Kioto in the year 1661. He was a painter and designer 
 of singular power and originality as well as a consummate artist in lacquer working. 
 Speaking of him, M. Louis Gonse truthfully remarks : — " L'epoque de Genrokou (fin 
 du XVI I c siecle et commencement du XVIII') est illustree par deux maitres qui 
 
42 
 
 LACQUER. 
 
 Section Fourth. 
 
 comptent parmi les plus originaux ct lcs plus eminents du Japon : j'ai nommd K6rin et 
 Ritsouo. L'un et l'autre out employe et associe des mdthodes si pcrsonnelles qu'on 
 pent dire qu'ils ont rdvolutionnd l'art des laques. J'ai dit au chapitre de la Peinture 
 que Korin etait le plus grand des impressionnistes, le plus genial des dessinateurs 
 japonais. II a transports dans le decor et l'exdcution des laques tout son esprit 
 d'initiative, toute l'inddpendance de sa fantaisie. II a fait craquer le vieux moule 
 dans lequel vdgdtaient les ateliers de Kioto soumis a I'influence presque exclusive de 
 l'dcole de Tosa. L'action de. Korin sur les arts decoratifs a etc toute-puissante. Par 
 son frfere Kenzan, qui etait son docile imitateur, il affranchit les ecoles ceramiques de 
 Kioto de tout asservissement aux formules chinoises et acheva l'ceuvre d'emancipation 
 inaugurde par Ninsei; par ses ceuvres de laque, oil il se rdvdla praticien de premier 
 ordre, il forca l'admiration de ceux de ses concitoyens qui etaient rebelles aux 
 dtrangetes de son style. On dit encore aujourd'hui Tor de Korin,' tant le ton de 
 ses laques d'or etait particulier. C'est un ton sourd, puissant, dgal, tin peu mat, 
 d'une chaleur concentree ct pleinc de vibrations. Ses ceuvres semblent taillees dans 
 un bloc d'or. Le vernis coule de son pinccau commc une matiere fluide et grasse. 
 Son decor est traite par grandes masses, avee des partis pris sommaires d'une 
 audace extraordinaire. II tire des incrustations dc nacre, d'argent, de plomb, et detain 
 des effets saisissants. Avee l'etain et le plomb employes comme note grise, en 
 surfaces minces ou en reliefs epais, il obtient des fuites de plans, des profondeurs 
 dont il avait, il est vrai, trouvd des exemples chez les artistes anciens, mais que lui 
 seul a amends a cette perfection." 
 
 The works in lacquer by Korin are extremely difficult to describe, and their 
 corrcct illustration is practically impossible. On Plate XL, of this Section, is given a 
 heliogravure of a remarkable piece, in the possession of Mr. Ernest Hart, which 
 conveys some idea of the boldness and originality of this master's style. We have 
 other equally characteristic examples before us while we write which could not be 
 done justice to by any known system of printing, plain or coloured. One is a writing 
 case, the lid of which presents the figure of a Dai-mio upon horseback. The horse 
 is graphically portrayed by bold outlines of thick sheet lead, cut into form and 
 incrusted on the black lacquer ground : a few touches of flat gold, representing the 
 trappings, complete the picture of the animal. The face of the Dai-mio is in flat 
 mother-of-pearl, with the features and hair indicated by fine engraved lines, filled in 
 with black lacquer. The entire costume of the figure is in thick sheet lead, roughly 
 cut and scored to indicate the forms and folds of the different garments, and enriched 
 with patterns in gold lacquer. The hill on which the horse is walking is in flat gold 
 of great body — the veritable " Korin gold." This fearless association of so brilliant 
 a material as polished mother-of-pearl with so dull and humble a material as 
 unpolished lead separates the masterpieces of Korin from the works of all the other 
 artists in lacquer. 
 
 Genuine works by Korin are now very scarce and difficult to procure. The 
 
Section Fourth. 
 
 LACQUER. 
 
 43 
 
 finest collection in England and probably in Europe is that in the possession of 
 Mr. Ernest Hart, of London ; it comprises remarkably fine examples of the rich 
 raised gold and the incrusted lacquer of the master. 
 
 Of another great artist in incrusted and imbedded lacquer, M. Gonse speaks 
 thus : — " Ritsouo, de Yedo, est moins un laqueur qu'un incrustateur, non pas qu'il 
 ne sc soit montrd a ['occasion un laqueur tres habile, mais parce que ce sont ses 
 incrustations sur laque et ses grandes pieces decoratives qui l'ont rendu celebre parmi 
 les amateurs des deux mondes et qui ont jete un lustre tout particulicr sur la 
 capitale des Shiogouns. Le moindre japonisant connait les travaux de Ritsouo. lis 
 ont un caracterc tellement tranche, si completemcnt japonais ; les precedes d'execution 
 sont si originaux, ['invention en est si personnelle et si franche, qu'il ne faut pas etre 
 grand clerc en matiere d'art pour en etre frappe. II a fait des panneaux d'applique, 
 des boites a gateaux, des cabinets, des n&essaires a l'usage des femmes, des cantines, 
 des plateaux, des etageres, des boites de pharmacie ; son ingeniosite" s'est excrete sur 
 les formes les plus diverses, son gout a rclcve les objets destines aux usages les plus 
 vulgaires. Ritsouo est un independant dans toute la force du terme ; il n'est d'aucune 
 &ole, il n'appartient a aucun genre. Entrc tous les modes d'incrustations ce sont les 
 incrustations de ccramique sur laque qu'il a traitees de preference. Dans ce genre de 
 travaux il a crc6 des merveilles dont aucun artiste n'a donne l'equivalent ni avant ni 
 apriis lui. Ritsouo ne se rdpete jamais. Chaque objet sorti de ses mains est une 
 ceuvre complete, marquee au coin d une recherche speciale, toujours interessante. Son 
 style a quelque chose d'etrange, d'imprevu et dc trouvd. Ses procddes forcent 
 l'admiration par la difficulte vaincue, ils enchantcnt le regard par une austeritc et une 
 simplicity de coloris pleines de saveur." 
 
 Several other artists have been celebrated for their incrusted lacquer works, but 
 it is unnecessary for us to speak of them in this purely practical essay. 
 
 The material most commonly found imbedded in fine pieces of lacquer is richly 
 tinted mother-of-pearl. This is first reduced to thin plates, then cut into the forms 
 required, and cemented with lacquer on the ground of the object while it is only 
 partly finished. The surrounding ground is then gradually brought up to the level 
 of the pearl, and the whole is finally ground and polished. When this is done the 
 operations of raised gilding, as described for takc-makiyc, are commenced. A fine 
 specimen of lacquer with imbedded pearl and raised gold ornamentation is illustrated 
 on Plate XI., Fig. 2. 
 
 In an incrusted work, the lacquer ground is first finished after the liouji method, 
 and the outlines of the design transferred to it from paper in the manner already 
 described under fogi-das/ii. The spaces to be incrusted are then carefully sunk 
 through the lacquer into the woodwork to a depth sufficient to give a secure hold to 
 the applied pieces. The several incrustations having been previously formed to the 
 required shapes and finished by any system of engraving, carving, or chasing, are 
 cemented into the depressions and carefully edged with lacquer. All decoration in 
 
44 
 
 LACQUER. 
 
 Section Fourth. 
 
 raised gold is finished before the incrustations are applied ; but any surface enrichment 
 in gold or coloured lacquer on the surface of the incrustations is usually executed 
 after they are fixed. 
 
 We have by no means covered the entire field of Japanese lacquer working by 
 our somewhat lengthy notes ; but enough has been said to acquaint our readers with 
 all the leading facts and details connected with this remarkable art industry. 
 
 DKSION FOR LACQUER DV OGATA KORIN. 
 KROM THE KORIN SHWSBN HIAKU-1IZU. 
 
 Errata. 
 
 Page 5. line 50, for Quinn, read Quin. 
 
 Page 12, line 31, lor sesliime-urmhi, read nakanuri'Urmhi* 
 
SECTION FOURTH-PLATE I. 
 
 LACQUER. 
 
 ARIETY is charming; and in no class of art work is this saying 
 more thoroughly exemplified than in the Ornamental Art of the 
 Japanese. The Lacquer Box, the lid of which forms the subject of 
 the present Plate, is a very noteworthy illustration of the extent 
 to which Japanese artists carry their love for variety : not only is 
 every compartment of the design of a different shape, but there 
 are no fewer than one hundred and two distinctly different patterns used for the 
 grounds of the compartments. This is certainly an extreme instance, for on no 
 single example of Japanese art work with which we are acquainted is there any- 
 thing approaching such a display of variety to be found. 
 
 As a specimen of lacquer this Box is altogether remarkable, both on account 
 of the ingenuity evinced in its general treatment and the range of its colours and 
 their combinations. It has evidently been a study-piece on which the lacquer 
 worker has expended his inventive powers so far as flat surface enrichment, in 
 coloured lacquers only, is concerned. Had the precious metals and mother-of-pearl 
 been introduced, the variety would not have been so noteworthy, but these rich 
 materials have been studiously avoided by the artist ; and their absence cannot be 
 regretted where everything is so quiet and refined. 
 
 The tedious processes followed by the lacquer worker, in producing such flat 
 patterns as cover this Box, have already been described in our brief essay on the 
 manufacture of lacquer, and need not be touched on here. The knowledge of 
 these processes, however, only tends to increase our wonder at the absolutely 
 perfect manner in which the lacquer ornamentation of this Box has been conceived 
 and carried out. The chromolithographic artist has succeeded, to a marvellous 
 extent, in accurately reproducing on the Plate the forty-four different patterns which 
 
Section Fourth. 
 
 LACQUER. 
 
 Plate L 
 
 the upper surface of the lid presents, 
 the early part of the last century. Its 
 inches, width 1 1 j4 inches, and depth 6 
 
 The Box is of old lacquer, made during 
 dimensions are as follows: — Length 1514 
 inches. 
 
 In the possession of the Author. 
 
SECTION FOURTH— PLATE II. 
 
 LACQU ER. 
 
 HE Box represented on this Plate is a most interesting and 
 beautiful specimen of Lacquer-work, presenting two widely different 
 styles of manufacture. The general form is peculiarly Japanese, 
 appearing as if composed of two boxes of similar shape, one partially 
 overlapping, or, as it were, absorbing the other. Compound shapes 
 of this class are greatly affected by Japanese artists. The major 
 division of the box is strictly Japanese in treatment : the ground is of rich 
 powdered gold, covered with a highly-polished, transparent lacquer, and decorated 
 with water-lines, two boat-like objects, and delicately drawn masses of grass and 
 flowers, produced in gold of three different shades. The under portions of the 
 boats and certain parts of the vegetation are executed in a dull metallic pigment 
 resembling oxidised silver, probably the material called by the Japanese lacquer 
 workers nedzami-iro-fun (rat-colour grey), composed of equal parts of silver and 
 camellia charcoal, with a trace of vermillion. This grey colour material enhances 
 the value of the gold by contrast. Red is skilfully applied in some of the plants. 
 The whole of this portion of the box is of the most perfect finish, indicating the 
 work to be of considerable age — probably not less than a hundred years. 
 
 The minor portion is completely different in design and style of manufacture. 
 Its general treatment has evidently been suggested by the Chinese lacquer-work, 
 commonly designated " Pekin lac," but has the usual evidences of superiority met 
 with in Japanese adaptations of Chinese art. The ground is most beautifully carved 
 in a minute hexagonal diaper and covered with a tawny-yellow lacquer; the stems, 
 leaves, and red flowers are carved in relief, thickly lacquered dark green and deep- 
 toned vermillion, and engraved. The light-coloured flowers are of carved and 
 engraved ivory, toned by a light buff stain, and the buds are of delicately-tinted 
 
Section Fourth. 
 
 LACQUER. 
 
 Plate II. 
 
 mother-of-pearl, also carved and engraved. The flowers are peonies and chrysan- 
 themums. It is very rare to find specimens of lacquer which display the variety 
 shown by this beautiful Box. Fine old gold lacquer is seldom associated with 
 any other variety which contrasts with it in a marked degree. The lid of the 
 Box is very accurately rendered on the plate, full size. The depth of the Box 
 is about 2% inches. The sides are ornamented with designs in continuation of 
 those on the lid. 
 
 /// the possession of James S. Ogilvie, Esq., of Brought y Ferry. 
 
SECTION FOURTH-PLATE III. 
 
 LACQUER. 
 
 OTWITHSTANDING the great difficulties which surround the 
 successful delineation of elaborate and minutely wrought speci- 
 mens of Japanese Lacquer, it is one of our chief aims in the 
 present Work to place before all art lovers a series of accurate 
 representations, in gold, silver and colours, of choice examples of 
 the most beautiful styles of treatment met with in this marvellous 
 branch of art industry. 
 
 The four Boxes, given full size in the present Plate, are remarkable alike for 
 the richness and variety of their ornamentation and the many styles of treatment 
 they display. The largest piece may be said to represent in itself all the styles 
 held most in repute amongst the Japanese in the finest periods of the art. It is 
 a box used by the Japanese aristocracy for holding letters in course of delivery, 
 of a very brilliant uas/iiji, or aventurine, lacquer, almost entirely covered with 
 ornamentation consisting of books with rich covers. These have given the artist 
 full scope for a display of his ingenuity in design, and his skill in manipu- 
 lation. On the lid, the upper surface of which is shown in the Plate, eight books 
 are disposed in an irregular, overlapping fashion, and on the sides of the box 
 itself are portions of seven books. The most striking of the books on the lid is 
 that shown spread open, and decorated with branches of the nine. The ground is 
 of flat gold, the time having its stems and leaves in raised koban and gold, and 
 its flowers in incrusted tin, a metal generally preferred by the lacquer artists to 
 silver, on account of its very slight liability to tarnish. The back and ends of 
 the leaves, and the oblong label, are also in incrusted tin, brightly polished. The 
 other open book, at the opposite end of the lid, is much more delicately and 
 elaborately decorated. The ground is of brown lacquer powdered with very fine 
 
Section Fourth. 
 
 Plate III. 
 
 koban dust ; just dimly appearing, and as if buried in this ground, are purple and 
 crimson leaves, while on the surface are wrought leaves in raised gold, koban and 
 coloured lacquer. The label is in mat gold, and the two circular medallions 
 adjoining it are in incrusted tin and raised gold lacquer. On the other side of 
 this book are numerous leaves in flat and raised gold and coloured lacquers, and 
 an object resembling a cap of state, executed in raised gold lacquer, inlaid koban, 
 and opalescent mother-of-pearl. Over this book is another with a gold ground, 
 decorated with leaves and flowers of the kin. The small portion of the book 
 seen under the edges of the leaves of both the open books is executed in flat 
 black and coloured lacquer, dusted in an ornamental pattern with silver. The book 
 shown overlapping the end of the lid, towards the right hand, is of black and 
 gold clouded lacquer, ornamented with gold hanging blinds, nine flowers executed 
 in gold and mother-of-pearl, and a spray of fir tree in raised gold. The adjoining 
 book is of dark green lacquer, slightly dusted with koban, and ornamented with 
 wistaria in gold, koban, and silver. The other treatments call for no special 
 notice. This beautiful box was evidently made in the latter part of the last 
 century. 
 
 The box in the form of two fans, which occupies the central position in the 
 upper portion of the Plate, is a charming specimen of old lacquer, decorated in the 
 most minute and careful manner, with a landscape on the upper fan, and waves 
 and spray on the under one. The grounds are of black lacquer dusted and inlaid 
 with gold ; the landscape is in raised and inlaid gold lacquer, and the waves 
 and spray are in raised and silver-dusted lacquer. This box is a work of the 
 middle of the seventeenth century. 
 
 The remaining two boxes are very choice specimens of raised gold lacquer 
 upon black grounds richly powdered with gold. The effective way in which the 
 deep gold and the lighter coloured koban are introduced in the decoration of 
 these boxes is worthy of notice. The sides of the boxes are in gold, with diaper- 
 work and scroll-work ornamentation in raised gold. Both these pieces date from 
 about the beginning of the last century. 
 
 In the possession of James F. Low, Esq., of Moniefieth, Dundee. 
 
SECTION FOURTH-PLATE IV. 
 
 LACQUER. 
 
 MORE characteristic specimen of Japanese ornamental art than the 
 beautiful Box which forms the subject of the present Plate, it 
 would be difficult to imagine. We have classed it among our 
 specimens of Lacquer, notwithstanding that it also presents an 
 important decoration in Incrusted-work. 
 
 The lid of the box, the portion represented in the Plate, 
 consists of a panel of the finest black lacquer, framed with richly- wrought raised 
 gold, gold dusted, and aventurine lacquers, displayed on portions of the medallions 
 which cover the entire sides and ends of the box, and fold over the edges of 
 the lid in the fashion so frequently met with in works of Japanese art. On the 
 panel is a spray of lime, executed in raised brown and gold lacquer, with flowers 
 and buds in opalescent mother-of-pearl. The bird which rests on this spray is 
 carefully modelled in faience, resembling that of Satsuma, but doubtless of Kioto 
 manufacture, enamelled in quiet tones of green, yellow and purple-brown. 
 
 The beautiful decoration which covers the sides of the box almost defies 
 description. It consists of overlapping, cusped medallions of different sizes, but all 
 of similar shape, produced in slight relief and covered with landscapes, flowers, 
 animals, birds, and conventional devices. The grounds of the medallions vary ; 
 gold, oxidised silver, dusted and powdered gold, rich aventurine, and imitation 
 grain of wood being the most striking varieties. Upon these the designs are 
 produced in raised gold and coloured lacquers with the greatest spirit, and, in the 
 case of the landscapes, with extreme delicacy of manipulation. The free and irreo-ular 
 disposition of the medallions, thirty-one in number, and the variety, both in colour 
 and treatment, of the thirty-one designs they present, produce a work of ornamental 
 art essentially characteristic of the Japanese artist in his most original mood. 
 
Section Fourth. 
 
 LACQUER. 
 
 Plate IV. 
 
 On the inside of the lid are two puppies at play, one in black and silver 
 lacquer and the other in carved ivory ; behind them are flowers and grasses, the 
 flowers being in carved ivory and mother-of-pearl. 
 
 The inscription and seal present some difficulty. The latter is interpreted 
 Go-s/io, but whether that is the name of the artist or not is uncertain. The 
 inscription reads Tai-kan hi-no-to i go kifsu shiki, meaning that the brush work 
 was executed in the 24th cyclical year of the period Tai-kan. This date is 
 probably fanciful, as there is no ncngo (period) "Tai-kan" in Japanese chronology. 
 It is improbable that allusion is made to the Chinese period, Ta-kwan, written 
 in the same characters, for it does not include the 24th cyclical year, and, if it 
 did, would place the date early in the twelfth century. The box is evidently 
 the work of the early part of the present century, and most probably made at Kioto. 
 
 The box measures n'/ s inches long, 7% inches wide, and inches deep. 
 
 /// the possession of James G. Orchar, Esq., of Bronghty Ferry. 
 
SECTION FOURTH— PLATE V. 
 
 LACQUER. 
 
 JAPANESE box maker is certainly one of the most ingenious 
 and painstaking of mortals ; and the endless variety of forms he 
 adopts for his dainty productions is altogether remarkable. On 
 the present Plate five shapes are given; and Plates II. and III. of 
 this Section furnish five other examples entirely dissimilar. 
 
 The illustrations on the Plate now under review are the lids 
 of boxes of fine old lacquer, all different in artistic treatment. The one on the 
 upper portion of the Plate, towards the left, is modelled in likeness to a folded 
 robe of silk and gold brocade. The patterns are brought out with great delicacy 
 in gold lacquer; while the lining of the garment is indicated by vermilion and 
 black. These colours also appear in the narrow strips disposed on the sleeve. 
 
 The small lid on the opposite side, although not of an uncommon shape, is of 
 a style of decoration very unusual in lacquer work. The richly coloured pattern 
 which forms the ground has evidently been suggested by cloisonnd enamel. The 
 object resembling the sleeve of a robe and the unie flowers which are disposed on 
 the rich diapered ground are carefully produced in raised gold lacquer. 
 
 The quaint lid in the centre of the Plate represents the Takara-bune, or ship 
 of good fortune, filled with its desirable goods, and above which hovers the crane, 
 the emblem of long life. The whole is rendered in low relief by gold and coloured 
 lacquer. 
 
 The lower lid is modelled to represent two lozenge-formed lids overlapping, in 
 the manner very often met with in Japanese works of the class. The under one, 
 only partly shown, is covered with a beautiful floral design and small circular 
 medallions containing birds, executed in gold lacquers of different tones on a black 
 ground. The upper portion, completely shown, is of black lacquer, ornamented with 
 
Section Fourth. 
 
 LACQUER. 
 
 Plate V. 
 
 powdered gold, divided into foreground and clouds, and having the representation of 
 a man tying an ox. 
 
 The whole of the objects illustrated are of fine old ware, and are choice cabinet 
 specimens of the lacquer worker's art. They are represented the full size of the 
 originals. 
 
 In the possession of W. C. Alexander, Esq., of London. 
 
SECTION FOURTH— PLATE VI. 
 
 LACQU E R. 
 
 EPRESENTATIONS of the mythical howo flying above the 
 hiri {Paulvwnia imperialis) were great favourites with the old 
 artists of Japan, who doubtless believed in the existence of the 
 fabulous bird, and reverenced the tree which was not only the 
 most imposing vegetable production before their eyes, but had 
 supplied the leaves and flowers which formed the Kiri-mon, or 
 one of the crests of their venerated emperor. 
 
 The peculiar form of the howo, with its numerous flowing tail feathers, 
 rendered it a decorative object which gave almost unlimited scope to the designer. 
 He could with facility dispose the long wings and neck and the pliant tail 
 plumage to suit the form of any object he desired to decorate ; and, as may 
 be judged from the present Plate, he seldom failed to produce a graceful and 
 pleasing object. 
 
 The article represented on the Plate is the lid of a black lacquer box, 
 chiefly enriched with raised gold lacquer. The sides and ends of the lid are 
 displayed so as to show as much of the design as possible. The remainder of 
 the wing and tail feathers of the bird are upon the sides and ends of the box 
 itself. The beautiful modelling of the different parts of the howo, and the artistic 
 manner in which several tones of gold and shading are introduced, give the work 
 a rare interest to the decorative artist. All have been most accurately reproduced 
 by the chromolithographic artist and printer. The kiri is represented with unusual 
 breadth and freedom. 
 
 In the possession of R. Phene Spiers, Esq., F.S.A., of London. 
 
SECTION FOURTH.— PLATE VII. 
 
 L ACQJJER. 
 
 HE variety of forms adopted by the Japanese for their ornamental 
 boxes is truly remarkable. Natural and artificial objects, at all suitable 
 for the purpose, are used as models, and are most cleverly adapted. 
 The article which forms the subject of the present Plate, is a tier of 
 boxes in the form of the favourite Cock and Drum, the origin and 
 
 significance of which we have already alluded to in the description 
 of Plate I. Section II. The piece under review is of fine quality gold and coloured 
 lacquer. The lower part, representing a drum, is executed, in imitation of the grain 
 of wood, with gold dust differently tinted, as described in the introductory article to 
 this Section. Over the surface is disposed a grape vine, chiefly in gold, but with 
 the grapes and a few of the leaves in a dark metallic lacquer. This portion is cut 
 into three parts, forming two boxes and a lid. The upper portion of the piece is in 
 the form of a cock, most beautifully worked in gold and dark metallic lacquers, with 
 the comb and sides of the head in red lacquer. The modelling and tinting of the 
 plumage are accurately represented in the Plate. The cock forms a small box and 
 lid ; and to adapt it to its purpose a condensed and somewhat clumsy treatment of 
 the bird has been found necessary. 
 
 This interesting piece is an admirable specimen of the lacquer worker's skill, and 
 is of considerable age. It was in all probability made about the middle of the last 
 century. It measures \o}4 inches in height. 
 
 In the possession of W. C. Alexander, Esq., of London. 
 
SECTION FOURTH. — PLATE VIII. 
 
 LACQUER. 
 
 MALL tables of beautiful design and execution, such as the one 
 from which the present Plate is taken, have come in considerable 
 numbers from Japan, and now form valued ornaments in 
 European and American collections. These tables are sometimes 
 entirely of fine nashi-ji and gold lacquer, minutely wrought with 
 diapers and floral designs, or powdered with the crests of their 
 original princely owners ; at others they are of black or coloured lacquer, ornamented 
 with gold patterns, or enriched with beautiful floral sprays. • The table, the top of 
 which is represented in our Plate, is a fine example of the last treatment. The 
 ground is of black lacquer, clouded with patches of dusted gold, and decorated with 
 artistically disposed flowers and foliage, executed, for the most part, in gold and 
 coloured lacquers. Five of the open flowers are in inlaid white mother-of-pearl, as 
 shown in the Plate, while others are in silver foil, now darkly oxidised by age and 
 exposure. Some of the buds have perished, only leaving dark-coloured grounds with 
 thin gold outlines. 
 
 The table is of the usual oblong form, supported on four short legs at the corners, 
 and having slightly raised ends. The portion represented is the entire top within 
 these raised portions. It measures 21^ inches by 14 inches. 
 
 /// the possession ofW, C. Alexander, Esq., of London. 
 
SECTION FOURTH. — PLATE IX, 
 
 L ACCRUER. 
 
 CREENS, formed of panels of various materials supported in 
 stands of carved or lacquered wood, appear to have long been 
 favourite ornaments both in China and Japan. They vary very 
 much in size, ranging from five or six feet square down to a few 
 inches. When of the smallest size they are sometimes modelled 
 in bronze or porcelain, and form suitable bun-chin, or paper-weights. 
 The beautiful piece of work which forms the subject of the present Plate, is a Panel 
 from a small screen, measuring 10 3^ inches by g'/i inches, executed in lacquer with 
 the figure incrusted in ivory. 
 
 The subject of the Panel is a celebrated Court lady and poetess of the eleventh 
 century. She was the daughter of the poet Shunzei, who lived in the reign of the 
 Emperor ANTOKU. She is said to have been observed by a prince while, rather poorly 
 clad, she was standing in a contemplative mood under an ume tree : he was so struck 
 by her beauty that he accosted her in the polite language of the native poets, receiving 
 a reply in the same educated strain. Finding her so highly accomplished he married 
 her. The composition is evidently taken from the design by Yosai, which appears in 
 one of the twenty volumes of his Zenken Kojifsn, a collection of drawings of notable 
 personages of Japan. 
 
 The ground of the Panel is of black lacquer powdered in places with gold flakes, 
 while the mountains are indicated with fine gold dusting, in the manner usual in flat 
 lacquer work. The trunks of the trees are cleverly rendered in raised brown lacquer, 
 imitating bark in the most perfect manner ; while the fine branches with the ume 
 flowers and buds are executed in raised bright gold lacquer. The foreground is in 
 raised lacquer with the small plants in gold. The figure of the poetess is carved in 
 ivory, slightly stained in certain parts. The entire composition is extremely pleasing 
 and highly characteristic of Japanese art. 
 
 /// the possession of James S. Ogilvie, Esq., of Brouglity Ferry. 
 
SECTION FOURTH.— PLATE X. 
 
 LAC Q_U E R. 
 
 HE small screen Panel illustrated on the present Plate is a com- 
 panion to that of the preceding Plate ; and is in all essential points 
 of similar manufacture, although a greater variety of materials are 
 introduced in the incrusted figures. The ground is of black lacquer 
 powdered with gold flakes in cloud-like patches ; the outline of the 
 mountain being indicated by fine gold dusting skilfully softened off. 
 
 The trunks of the palms are in raised brown unpolished lacquer ; and the foreground 
 is in raised green and black lacquer, with the flowers and small plants in gold 
 and koban, all most carefully and minutely worked. The leaves of the palms are 
 similarly treated. 
 
 The two incrusted figures are executed in several materials very skilfully carved 
 in low relief. The face and hands of the old bodzu are in ivory, stained ; his cloak 
 is of dark brown wood, while the skirt of his under garment is in close-grained wood 
 resembling box in nature and colour; and the white sleeve falling over his right wrist 
 is in mother-of-pearl. His shoes are in dark green pearl ; and the basket he carries 
 is carved from a light brown wood. The head of the attendant boy is in stained 
 ivory ; his outer garment is of brown wood, covered with transparent lacquer, and 
 ornamented with scrollwork in gold, with a collar of green stained ivory and black 
 lacquer diapered with gold. His girdle and under garment are in white mother-of- 
 pearl ; and his shoes are in shaded green pearl. 
 
 The entire work is highly characteristic of Japanese art and forms a beautiful 
 specimen of lacquer-work and application combined. Size of Panel 1054 inches by 
 9}i inches. 
 
 /// the possession of Professor J. A. Ewing, of Dundee. 
 
SECTION FOURTH. — PLATE XI. 
 
 LAC Q_U E R. 
 
 EVERAL remarkable specimens of the lacquer characteristic of the 
 great master Kohin adorn the Collection from which the objects 
 represented on the present Plate have been selected. Korin's works 
 in lacquer are distinguished by great boldness of conception and 
 remarkable vigour of execution. They stand alone in the entire 
 range of the art, unapproachable in their peculiar class of treatment. 
 The Panel represented in the centre of the Plate is a fine specimen of this artist's 
 skill. The ground is of a deep green streaked and spotted with red, closely 
 resembling a very plain piece of bloodstone. On this, in low relief, are clouds and 
 water in deep gold and koban, the latter much discoloured by age. The bank of 
 the stream is in incrusted lead. On the lower part of the Panel are large iris 
 flowers and leaves ; the former being executed with broad margins of richly tinted 
 mother-of-pearl and depressed centres of gold lacquer. The vertical leaves are alter- 
 nately in lead and gold. The use of lead and tin is one of the most noteworthy 
 characteristics of the Korin lacquer and proves how noble even the humblest material 
 becomes in the hands of a great artist. The heliogravure gives an idea of the general 
 handling of this remarkable piece; but no printing process, plain or coloured, could 
 convey a true idea of the beauty and peculiar charm of the original. The Panel was 
 made during the first half of the seventeenth century. The representation is two- 
 thirds the full size. 
 
 2. — An inro, or medicine box, of fine gold and incrusted lacquer elaborately 
 ornamented with chrysanthemum flowers and grasses. The flowers are executed in 
 raised gold lacquer and incrusted gold foil. Several of the leaves arc inserted in 
 the richest crimson and green mother-of-pearl. The general ground is black lacquer. 
 Work of the eighteenth century. 
 
Section Fourth. LACQUER. Plate XI. 
 
 3 . An inro of fl.it and raised gold lacquer with a snake incrusted in white 
 
 mother-of-pearl. On the reverse side is another snake twined round the branch of 
 a tree, in raised gold lacquer. The execution throughout is of the highest class. 
 
 4. — An inro of flat silver and raised gold and coloured lacquer. The falcon is 
 beautifully modelled while it is, along with the rest of the design, treated in a free 
 and broad manner, giving a highly artistic feeling to the entire work. 
 
 5. — An inro of gliri or laminated lacquer. The colours employed are black, red, 
 green, and yellow laid on in nineteen layers (see text of this Section, page 26). This 
 is a beautiful piece of late seventeenth century workmanship. 
 
 In llie possession of Ernest Hart, Esq., M.R.C.S., of London. 
 
SECTION FOURTH.— PLATE XII. 
 
 LACQUER. 
 
 HE object represented in the present Plate is the lid of a large and 
 beautiful Box of old raised gold lacquer, presented to its present 
 owner by the reigning Mikado. 
 
 The design, faithfully reproduced by a photographic process in 
 the Plate, is highly characteristic of old Japanese art in this material. 
 It represents a tract of land by the sea shore, with temple grounds, 
 rocks, waves, mountains, clouds, trees, and huts, executed with the greatest delicacy 
 in raised gold lacquer and minute metallic incrustation. The treatment of these 
 materials and the manipulation generally are precisely similar to those which 
 characterise all the finer specimens of early Japanese lacquer of the same class. 
 
 The sides of the Box are covered with scenes of a corresponding character 
 executed with the same delicacy and care. Taken altogether, this piece is among the 
 finest specimens of the art of the lacquer worker which have left Japan. It contains 
 a complete set of the articles required for an intricate game, once the most favourite 
 amusement of the noble families of Japan. Every article is lacquered and wrought 
 in the most perfect manner, in a style corresponding with the exterior of the Box. 
 
 In the possession of L. Prang, Esq., of Boston, U.S.A. 
 
SECTION FOURTH-PLATE XIII. 
 
 LACQUER. 
 
 HE object illustrated in the present Plate is the lid of a Lacquer 
 Box, decorated with a design composed of fans, flowers, and 
 grasses, arranged in a manner essentially characteristic of Japanese 
 art. The bold grouping and vigorous handling of the design 
 are indicative of a master- hand, and leave little to be desired 
 in their way. 
 
 The general ground of the lid is of black lacquer dusted with gold, 
 producing the clouded effect indicated in the Plate. The central fan, which is 
 open and complete, is in dull red lacquer, clouded with fine gold dust, and 
 worked in slight relief; the side fan — a portion of which only appears on the 
 upper surface of the lid, the rest extending down the side of the box — is in 
 green lacquer, modelled, and dusted with gold in a similar manner ; and the 
 partly-opened fan above is in gold lacquer, the surface of which is artistically 
 relieved by what appear to be tarnished patches, which were in all probability 
 intentional on the part of the artist. The Japanese artist has a wise and 
 consistent dislike for tame uniformity, especially in surfaces of considerable 
 dimensions ; arid his modes of relieving such surfaces are absolutely countless. 
 
 The lily-like flowers at the lower left hand corner are in inlaid opalescent 
 green and purple mother-of-pearl, outlined with gold, while the inflorescence of 
 the other sprays is in gold and a material which glistens, in certain lights, with 
 a deep crimson hue. The leaves are in lacquer of autumnal tints, shaded and 
 dusted with gold powder, and the stems are in tarnished gold. The convolvolus 
 at the right-hand corner has its flowers in mother-of-pearl and oxidised silver. 
 The beautiful bunch of grasses in the upper part of the lid has stems of gold, 
 leaves in dark greens dusted with gold, and the inflorescence in dull red. The 
 
Section Fourth. 
 
 LACQUER. 
 
 Plate XIII. 
 
 remaining spray, which rises from between the fans, has its masses of buds in 
 brown and bluish grey, and its stems and leaves in gold and green. 
 
 The colouring throughout is most refined, notwithstanding the richness which 
 is thrown over it by the introduction of the opalescent mother-of-pearl and the 
 free use of dusted gold. 
 
 The lid measures 15^ inches long by 12 inches wide. 
 
 In the possession of W. S. Bigelow, Esq., M.D., of Boston, U.S.A.